Janeâs Addiction has officially canceled the remainder of their tour with Love and Rockets following a string of incidents involving frontman Perry Farrell. Tensions within the band became evident during their September 10th performance at The Rooftop at Pier 17 in New York City, where Farrell appeared incoherent on stage, leading to an underwhelming show.
This came just days before a public altercation between Farrell and guitarist Dave Navarro during a concert in Boston, where Farrell lashed out, escalating tensions.
Jane’s Addiction at Pier 17 9/10/24
Love and Rockets, who had been opening for Janeâs Addiction on this tour, brought their own legacy to the stage with their unique blend of gothic rock and alternative sound. Fans were excited to see the iconic band reunite after years of absence, and their performances were well-received throughout the tour. However, the tension within Janeâs Addiction cast a shadow over the shows. While Love and Rockets delivered solid sets, the unpredictability surrounding Janeâs Addictionâs headlining performances often left audiences uncertain about the night’s outcome.
With the tour now canceled, Love and Rocketsâ involvement has come to an abrupt end as well, disappointing fans who were eager to see both bands share the stage.
Love and Rockets Pier 17 9/10/24
The band announced their decision on Monday via Instagram, stating they were taking time away due to Farrellâs ongoing struggles with mental health. Navarro, along with drummer Stephen Perkins and bassist Eric Avery, also issued a joint statement citing concerns for Farrellâs well-being and the safety of the entire band. Their message expressed regret over the cancellation but emphasized the need to prioritize safety and ensure a stable environment for future performances. The tour, which was set to run through October, was cut short, leaving fans disappointed but understanding of the difficult situation.
Perry Farrell Pier 17 9/10/24
Farrell later issued an apology to the band and fans, acknowledging his behavior during the Boston incident and taking full responsibility for his actions. He expressed regret over reaching a “breaking point” and the impact it had on those around him. Despite hopes that the band would return to the stage soon, no further tour dates have been announced, and refunds for the canceled shows are being offered to fans.
Dave Navarro Pier 17 9/10/24
This sudden breakdown has cast a shadow over what was expected to be a high-energy tour, leaving the future of Janeâs Addiction unclear. Fans are left wondering what lies ahead for the band as they face these internal challenges.
Jane’s Addiction Setlist: Kettle Whistle, Whores, Pigs in Zen, Ain’t No Right, Ted, Just Admit It, Summertime Rolls, Jame Says, Then She Did, Mountain Song, Three Days, Ocean Size, Stop, Chip Away
Love and Rockets Setlist: The Light, Kundalini Express, No Big Deal, The Dog End of a Day Gone By, Haunted When the Minutes Drag, No New Tale to Tell, An American Dream, So Alive, Ball of Confusion, Mirror People, Yin and Yang
The Grateful Dead played a brief 10-show tour in September of 1973 and included among these was a stop at the Onondaga County War Memorial in Syracuse. This tour featured the one and only time the band would be joined by a horn section on stage. Tenor saxaphonist Martin Fierro and trumpeter Joe Ellis were familiar with some of the Dead’s catalog, mainly due to their involvement with the recording of the band’s sixth studio album Wake of the Flood, which would be released the following month.
As it happens, Fierro and Ellis were members of The Doug Sahm Band which served as the opener for eight of these shows. Since they were already on tour with the Dead, a sit-in seemed only natural. According to Fierro, the horns were not incredibly well received at the time as this was a stray from the standard Grateful Dead concert experience. But their knowledge of the material is evident and offers a unique twist on some of the classic songs from the band’s repertoire. On this evening in Syracuse, with the exception of “Here Comes Sunsine,” the entirety of Wake of the Flood would be played, serving as a sneak peek for the new album.
The recording of this show, which can be found below, doesn’t start until the tail end of the “Tennessee Jed” opener. The Dead follow this up with a blistering “Me and My Uncle” with Phil Lesh coming in loud and clear on the bass guitar. This is succeeded by another first set staple with an uptempo version of “They Love Each Other” which made its debut earlier this year and is highlighted by some delicious guitar licks from Jerry Garcia and timely fills from Keith Godchaux on piano. It’s a short, but sweet, take and very much to the point.
Some classic Dead tuning then takes place with Bob Weir advising the crowd about a “couple of technical problems” before the band launches into an older first set standard with their cover of “Beat It On Down The Line.” Here, Donna Jean Godchaux makes her voice heard for the first time as she and Weir harmonize throughout on another crisp albeit brief opening set selection. The musical reigns are then passed back to Garcia who leads the band through a slow and soulful “Sugaree” with Lesh coming in hot on bass towards the song’s end.
Weir then reassumes lead vocals on another rapid first set song in “Mexicali Blues” that the Dead navigate through with ease before “Loser,” which is also partially cut on the recording and has some echoey vocal effects from Garcia to along with his signature pristine guitar solo. This sets the stage for a poignant “Looks Like Rain,” a song first featured on Bob Weir’s solo album Ace that was released last year. It features some interesting synthesizer and electric keyboard work from Godchaux that supplements Weir’s always impassioned vocals nicely.
Things stay in the emotional vein with a slow and plodding “Row Jimmy” that follows with Garcia, backed by Donna Jean on vocals, leading the way and drummer Bill Kreutzmann maintaining a deliberately steady tempo throughout. A little steam begins to pick up with the “Jack Straw” that follows which sees more intricate piano work from Godchaux to go along with some three-part vocal harmonies before Garcia leads the way on another fairly new number in “Loose Lucy” which also made its debut earlier this year.
Donna Jean even gets to take center stage in this opening set in Syracuse as she jumps on lead vocals for the Grateful Dead’s cover of Loretta Lynn’s “You Ain’t Woman Enough.” It’s a song the band would only play a handful of times in 1973 and this is the second to last ever performance of it with her husband throwing in some spirited work on piano. This carries right over into the “El Paso” that follows before the Dead end the first set at the War Memorial with the Robert Hunter and Garcia-penned “Casey Jones” that starts off rather mellow but, like a train barreling downhill, picks up in speed and intensity by the time all is sang and done.
After a chock full first set with 15 different songs played, the Dead opened up and let loose with a much more improvisational second one on this night in Syracuse and finally broke out the horn section. After an introductory “Mississippi Half-Step Uptown Toodleoo,” Martin Fierro and Joe Ellis finally emerge for the majority of the rest of the show. They begin with a rather unknown tune at the time, “Let Me Sing Your Blues Away,” which would be featured on the upcoming Wake of the Flood release. Garcia, Weir and Donna Jean are all involved on vocals with Fierro taking an extended saxophone solo that helps serve as the song’s bridge. It’s a song the band would only play live on this brief September 1973 tour.
Phil Lesh then gives a belated and quick introduction of Fierro and Ellis before the start of “Truckin’” which has a bouncier, jazzy feel to at the outset thanks to the additions from each. The horns maintain a steady presence all throughout the composed section and well into the jam that ensues. It’s a song that had been played three times already on this tour so there’s a discernable comfort level in the playing which makes for a very unique take on a Grateful Dead classic that sees Fierro and Godchaux linking up to take control in the latter portion of the jam that ensues.
The ensemble would go on to play some more songs from Flood, including “Eyes of the World” with Fierro and Ellis continuing to provide background harmonies on horns, especially in the purely instrumental sections between verses. Fierro gets an extended solo as the jam progresses and meshes nicely with the rest of the band although Ellis sounds a bit too excited and a bit off key before Garcia reels things back in to a more customary “Eyes” jam. Once finished, the band then jumps right into a full “Weather Report Suite” where the horns are much more understated and seem to fit a little better. The same can be said for the beginning of “Let It Grow” as Fierro and Ellis are comfortable with the composed/lyrical section but seem to do a little too much once the jam that ensues begins to stretch out a little.
The Grateful Dead wrap up this Syracuse show with a mellow and somber “Stella Blue” that sees Fierro on sax mesh perfectly with Garcia’s guitar tone. After one last tuning break, this one seemingly inspired by the Looney Tunes theme, a “Sugar Magnolia” closes things out with the horns taking a bit of a back seat at first and then coming alive in the “Sunshine Daydream” section.
Overall, there are moments of greatness, mainly during compositional and slower sections, but the horns seem to try to do a bit too much when the improvisation kicks into high gear. This is likely what led to some Deadheads being less than enthused about their addition to a traditional Grateful Dead show. This brief tour would go on to Philadelphia and Pittsburgh, PA before ending in Buffalo at the War Memorial nine days later.
Grateful Dead – Onondaga County War Memorial – Syracuse, NY – September 17, 1973
Set 1: Tennessee Jed, Me & My Uncle, They Love Each Other, Beat It On Down The Line, Sugaree, Mexicali Blues, Loser, Looks Like Rain, Row Jimmy, Jack Straw, Loose Lucy, You Ain’t Woman Enough, El Paso, Casey Jones
Set 2: Mississippi Half Step, Let Me Sing*, Truckin’*-> Eyes Of The World*-> Weather Report Suite Prelude*-> Weather Report Suite Part 1*-> Let It Grow*-> Stella Blue, Sugar Magnolia
*with Joe Ellis on trumpet and Martin Fierro on saxophone
Clairo kicked off her five-night residency at Webster Hall on Friday, September 14th to a sold-out crowd. Webster Hall is the perfect venue to experience Clairo’s music, and more artists should prioritize smaller venues like this. Sure, she’s playing four extra shows to sell the same amount of tickets as she would in an arena, but the difference in experience is staggering.
While Chappell Roan is currently making headlines for setting boundaries with fans, Clairo is just coming off a three-year hiatus with her new album Charm due to her own experiences with people repeatedly invading her privacy. Finding a way to comfortably interact with fans at shows and online should be a priority for any artist. Clairo deserves huge props for her commitment to doing things in a way that feels comfortable for her.
Webster Hall was packed before Frankie Cosmos opened, with people overflowing through the side doors of the main ballroom and lining the balcony. Frankie Cosmos’ sound has developed nicely over the past years, with better production and instrumentation. In particular, her drummer injects some extra funk into the mellower songs. Even though Frankie Cosmos was a late addition to the Webster Hall shows, Greta Kline said she was happy to see people outside her fanbase singing along.
Clairo and her ensemble entered the stage single file with a tray of glasses to cheers and sat down on the set for a little pre-show drink. As she poured wine and handed it to her bandmates, Clairo, in her headphones, black dress with gold ribbons, black tights, and heeled loafers, talked quietly with her ensemble before they eventually clambered to their designated positions on the stage’s tiered platforms covered in green carpet. The stage held a staggering amount of instruments to be used over the show’s hour and a half runtime with a flute, chimes, sax, electric guitar, nylon string acoustic guitar, bass guitar, a real piano on the stage, synths, and a drum machine on an antique table next to Clairo for her song “4Ever.”
Clairo played through the entirety of her excellent new album, Charm, interspersed with some of her fan favorites. Charm adds much more intrigue to Claro’s sound, incorporating jazzy layered synths and a laid-back West Coast cabana vibe on some tracks such as the album’s opener “Nomad” and “Glory of the Snow.” Clairo takes this sound further with a modern electronic spin on tracks like “Sexy to Someone” and “Echo.” “Echo” specifically features a jaunty little synth that harkens back to the likes of Broadcast.
After four songs she requested the lighting tech turn off the front lights and spent most of the show backlit by the giant light handing over the middle of the stage. She seemed reserved at the beginning, but by the second half of the show, she found her groove, and you could tell she was enjoying playing in her home city. A fan held up a red and white ringer tee they made for her that said “Clairo is For Lovers,” and Clairo loved it, saying she would wear it to bed that night. That’s probably the only fan out there who can say they’ve given an artist their favorite pajama tee.
On Saturday, September 7, the PNC Bank Arts Center in New Jersey was treated to a powerhouse lineup of rock and industrial legends, featuring Filter, Ministry, Alice Cooper, and Rob Zombie. The diverse crowd, a mix of metalheads, goths, and rockers, gathered for a night of electrifying performances, each act bringing its signature style and energy to the stage.
Filter Opens with Grunge-Industrial Anthems
Filter kicked off the evening, setting the tone with their grunge-tinged industrial sound. Opening with “You Walk Away,” the band immediately captured the crowd’s attention. Their setlist included fan-favorite hits like “Take My Picture” and the iconic “Hey Man, Nice Shot,” which sent waves of nostalgia through the audience. Richard Patrick’s intense vocals and the band’s tight instrumentation delivered a strong start, with plenty of sing-alongs and headbanging from the early crowd.
Ministry took the stage next, delivering a relentless barrage of industrial metal. Al Jourgensen and company wasted no time diving into their gritty catalog with tracks like “Stigmata,” “Just One Fix,” and the iconic “Jesus Built My Hotrod.” The band’s machine-like precision and pounding beats had the crowd entranced, while Jourgensen’s snarling vocals added an extra layer of chaos to the performance. With their dark, aggressive sound and pulsating light show, Ministry left a lasting impact, keeping the energy at a fever pitch for the next act.
Alice Cooper’s Theatrical Horror Show Steals the Spotlight
The legendary Alice Cooper, at 76 years old, proved he’s still the undisputed king of shock rock. Entering the stage through a massive “Banned in New Jersey” newspaper, Cooper launched into “Lock Me Up,” immediately immersing the crowd in his signature blend of rock and theatrical horror. Backed by a stellar band, Cooper’s set was filled with classic hits like “No More Mr. Nice Guy,” “I’m Eighteen,” and “Poison,” each song complemented by a dizzying array of visual spectacles.
From impaling a paparazzo to draping a boa constrictor around his neck and battling a Jason Voorhees-style monster, Cooper’s showmanship was on full display. The crowd was particularly captivated by “The Ballad of Dwight Fry,” where Cooper, in a straitjacket, met a chilling end at the guillotine – only to return for an explosive rendition of “School’s Out” to close out his set. His energy, despite his age, was awe-inspiring, leaving fans thrilled and cheering for more.
Rob Zombie’s Horror Extravaganza Caps Off the Night
Rob Zombie closed out the night with his high-octane, horror-infused set. Bursting onto the stage with “Demon Speeding” Zombie’s performance was a technicolor feast for the eyes, featuring scenes from his horror films and retro visual effects flashing behind him. The crowd was treated to a wild ride through Zombie’s discography with songs like “Living Dead Girl” and “Superbeast.”
Though longtime guitarist John 5 was absent, having joined Mötley Crüe, Zombie’s current lineup – Mike Riggs on guitar, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums – delivered a blistering performance that kept the energy sky-high. Zombie’s stage presence, with his high kicks and dramatic flair, kept the crowd engaged, dancing, and screaming for more until the very end.
Rob Zombie Setlist: Demon Speeding, Super Charger-Heaven, Feel So Numb, Well, Everybody’s Fucking In A UFO, What Lurks on Channel X?, Superbeast, The Lords of Salem, Dead City Radio and the New Gods of Supertown, The Triumph of King Freak, Drum Solo, The Satanic Rites of Blacula, More Human Than Human, Living Dead Girl, Thunder Kiss ’65, Dragula
Alice Cooper Setlist: Lock Me Up, No More Mr Nice Guy, I’m Eighteen, Under My Wheels, Billion Dollar Babies, Hey Stoopid, He’s Back, Snakebite, Feed My Frankenstein, Poison, Guitar Solo, Black Widow Jam, Ballad of Dwight Fry, Killer/I Love the Dead, Elected, Schools Out
Buzzcocks made a stop in NYC at Irving Plaza on Wednesday, September 11th as part of their recent North American tour. The show included opening performances by Native Sun and Lovecrimes. The crowd inside Irving Plaza spanned generations, all eager to support the UK band’s U.S. return.
Hailing from Bolton in the United Kingdom, Buzzcocks has made frequent stops in NYC since their formation in 1976. The inspiration behind the band’s sounds have New York origins, with late frontman Pete Shelley citing The Velvet Underground being part of inspiring the band’s formation.
Buzzcocks’ music was said to be ahead of its time, with songs alluding to subject matter that was considered taboo during the period of their formation. This led the band to be seen as a driving force of the Manchester punk scene. Buzzcocks has gone on to perform with many legends from the early era of New York punk and CBGB, including opening for Blondie in 1978.
With lead vocalist Pete Shelley’s passing in 2018, Steve Diggle has led the Buzzcocks vocals while also continuing on guitar. Diggle has continued on the high energy and humor that Shelley brought to Buzzcocks performances.
On Wednesday night, Buzzcocks played a setlist spanning 50 years of the band’s discography, including songs from their most recent 2022 album “Sonics In The Soul.” The current line-up consists of Diggle on vocals and guitar, Danny Farrant on drums, Chris Remington on bass, and Mani Perazzoli touring on guitar.
Buzzcocks continues on their North American tour with stops in Pittsburgh on September 14th and House of Blues in Cleveland on September 15. Starting September 22nd, Buzzcocks will embark on a US tour with Descendants throughout early October
After a successful tour opening in Brooklyn, Clutch and Rival Sons brought their duel headlining tour dubbed “The Two-Headed Beast” tour to the College Street Music Hall in New Haven, Connecticut.
Joining the two bands was the Orange County California band, Fu Manchu. The night was summed up perfectly by Rival Sons lead singer Jay Buchanan when he said “What a rock and roll evening it’s been.” Clutch closed the evening playing the entirety ofBlast Tyrant. It’s always cool to see when artists play their records all the way through.
The rock and roll festivities started when the doors opened at 6:30 and fans began to file into the theater. When Fu Manchu jumped on stage, fans had parked themselves in front or upstairs to witness the headbanging set. Despite Fu Manchu only playing for half an hour, they left their mark on the audience. Their heavy set featured new songs off their new record The Return Of Tomorrowas well as classics.
The powerful quartet featured the duo of Scott Hill on vocals and guitar along with Bob Balch on guitar. Also, Scott Reeder was behind the drums kits with Brad Davis at stage right on the bass. The band created such a heavy sound that fans in the audience could feel the power through their speakers. They were so heavy that they could feel the thumping in their chests during the 30-minute set.
As is tradition with co-headlining tours, it was Rival Sons’ night to play as the middle band. With the lights dimmed, the five-piece band slithered on stage and jumped right “Mirrors.” For the entire time that they were on stage, they blew away the audience with amazing guitar chords and excellent songwriting.
It’s amazing that during the show, Buchanan didn’t lose his voice. His powerful screaming left the entire crowd in awe. While Buchanan pranced around the stage in his bright red, Scott Holiday was dressed and looking as cool as ever. Holiday was suited up with a beautiful teal jacket, hat, sunglasses and scarf. It made him look like the perfect rock and roll outlaw. Throughout the night, his guitar tech would continue to bring out colorful guitars that would sound just as they looked, amazing.
Rival Sons played a total of 13 songs that spanned their discography. They showed their versatility when they jammed during “Open My Eyes” and played a ballad off their 2014 record. Fans got their money’s worth at this point as it was easy to tell that Rival Sons is a tightly rehearsed band. They didn’t miss a beat and had a stage chemistry that was apparent to the audience with each passing song.
Joining Buchanan and Holiday on stage was Dave Beste on bass, Jesse Nason on keyboards and Mike Miley on drums. Miley was drumming so hard that you could see how sweaty he was while on stage.
As the night slowly got later, fans refused to go anywhere until Clutch played their entire record. It wasn’t till after 9:30 hit until they hit the stage but, like Rival Sons, the minute they started their first song, there was no turning back. Their set felt like a train that would not stop. The constant rhythm of their music and their high level of energy made for a great night of music.
Like with any hard rock band and a general admission audience, mosh pits are bound to happen. During Clutch’s set, one did appear. But, in one moment between songs, lead singer Neil Fallon announced to the crowd that there were “young people against the barricade.” He that they were able to continue to mosh but to be respectful of the people around them. What Fallon said is what a true lead singer should do. It was a very respectful move on his behalf. The moment certainly won over a few fans who might have stayed after the Rival Sons set.
During the set, Fallon was the only member of the band to come within three inches of the edge of the stage. Throughout the entire night, he was running back and forth from one side to the other giving it his all. Bassist Dan Maines and guitarist Tim Sult flanked drummer Jean-Paul Gaster on both sides and didn’t move for the entire show. Sult shredded the entire time and stared down at his guitar barely looking up once as if he was possessed by his guitar.
Their set was amazingly heavy, a perfect blend of rock music. With each song coming to a close, the entire place erupted with joy and filled the theater. Their style of hard rock was the perfect way to end the night. People excited the College Street Music Hall with smiles on their faces. It’s not very often that acts will play an album of theirs front to back and straight through. So when they do, it’s an extra special night.
Clutch & Rival Sons “The Two-Headed Beast” tour is not to be missed. Between Rival Sons’ classic 1970s rock and roll style and Clutch’s hard rock, despite their styles being different, they make for a spectacular night. Despite the tour not swinging back into New York, fans need to try and catch them on one of their other upcoming dates. This late summer/fall tour is one to be remembered for both styles of rock meeting in the middle for a night of thrilling music between multiple bands.
Fu Manchu Setlist: Eatin’ Dust, Evil Eye, Hands of the Zodiac, Hell on Wheels, King of the Road, Loch Ness Wrecking Machine, Saturn III
Rival Sons Setlist: Mirrors, Nobody Wants to Die, Tied Up, Sleepwalker, Too Bad, Get What’s Coming, Open My Eyes, Pressure and Time, Feral Roots, Where I’ve Been, Do Your Worst, Electric Man, Secret
Clutch Setlist: Mercury, Profits of Doom, The Mob Goes Wild, Cypress Grove, Promoter (of Earthbound Causes), The Regulator, Worm Drink, Army of Bono, Spleen Merchant, (In the Wake of) The Sollen Goat, Subtle Hustle, Ghost, (Notes From the Trial of) LACurandera, Burning Beard, Slaughter Beach, Nosferatu Madre, D.C. Sound Attack!
The Headhunters kicked off their fall tour in Washington, DC at The Hamilton Live on Wednesday, September 11, with a few classics from seminal Herbie Hancock albums, as well as new originals off their latest album, The Stunt Man.
They last played The Hamilton for a monthly residency from January through September 2019, and are now back on tour for a few more dates in the US, followed by a two-week European tour.
Spear-headed by the fiery chops of drummer, Mike Clark, founding percussionist Bill Summers added his remarkable rhythmic skills, with Big Chief Donald Harrison on alto sax, Kyle Roussel on keyboards from the Preservation Hall Jazz Band, and Chris Severin on 6-string bass from the Neville Brothers. The Headhunters band was created in 1973 to thrust Hancock’s explosion into jazz fusion. They continue to carve new paths in musical exploration. Bill Summers reminded fans, “We’re not musicians, we are physicians; we heal people.” Donald Harrison showcased his sax brilliance on “Butterfly”, and throughout the night.
A charming moment occurred when Bill Summers demonstrated how he uses a beer bottle as a sort of flute on “Watermelon Man,” which originally recorded back on Hancock’s debut 1962 album, Takin’ Off. The song was re-arranged on Head Hunters in 1973, with the beer bottle iconically reimagined as a percussion instrument.Â
Summers announced at the start of “Chameleon” that it was their 50th anniversary (since The Headhunters re-recorded it in 1973), then quipped, “we only had one rehearsal, but it’s going to be alright.” After Chameleon, Summers introduced their two guest musicians, Morgan State University students Shawn McNeil and Brian Moten on sax and trumpet, respectively.
One of the most accomplished drummers of all times, New York resident Mike Clark has played on at least 50 to 60 albums, and thousands of live shows across the world for over 6 decades. He’s played or toured with Albert King, Wayne Shorter, John Scofield, Gil Evans, and dozens of other musical legends and pioneers. Few drummers are as influential or experienced, or as musical. Bill Summers is also a living legend, having played with Hancock, and other musical pioneers, such as Sonny Rollins, Quincy Jones, George Benson, Stevie Wonder, Nina Simone, and Sting, on roughly a hundred albums, and TV soundtracks.
The Headhunters roll up the coast to play an outdoor show at Times Square on Sep 12, and will be playing the Nola X North Fork Festival in Cutchogue, NY on Sep. 13. After a few more tour dates in Seattle, Portland, and Eugene, they will return back east for Hampton Roads, Virginia, on Sep. 28, followed by a European tour, kicking off in Norway on Oct 8 and ending in Warsaw, Poland on Oct. 19th.
Headhunters – 2024 Fall Tour Dates
Sep 13 – Nola X North Fork Festival – Cutchogue, NY Sep 17 & 18 – Jazz Alley – Seattle, WA Sep 19 – The Get Down Music Festival – Portland, OR Sep 21 – The Jazz Station – Eugene, OR Sep 28 – The Phoebus Jazz Festival – Hampton Roads, VA Oct 8 – Cosmopolite Scene – Oslo, Norway Oct 9 – On the Rocks – Helsinki, Finland Oct 10 – Loppen – Kobenhavn K, Denmark Oct 12 – Stockholm Jazz Festival – Stockholm, Sweden Oct 14 – Gretchen – Berlin, Germany Oct 15 – Blue Note – Milano, Italy Oct 16, 17 – Muxiekclub N9 – Eeklo, Belgium Oct 18 – New Morning – Paris, France Oct 19 – Jassmine – Warszawa, Poland
On a gorgeous late-summer evening in the heart of downtown Brooklyn, Anne Erin Clark (better known as St. Vincent) performed a second consecutive sold-out show at Brooklyn Paramount this past Wednesday, September 11.
Touring in support of her seventh studio album dubbed All Born Screaming, released on April 26, Clark not only self-produced the LP featuring a bevy of special guest artists, but also released it on her own Total Pleasure Records label.
St. Vincent | Photo Credit: Michael Dinger
Originally opened in 1928 and having hosted seminal artists the likes of Miles Davis, Buddy Holly, Frank Sinatra and Ella Fitzgerald, the 2,700-capacity Brooklyn Paramount reopened its famed doors this past March after years of restoration, and since doing so, has been a destination spot for industry veterans and rising stars alike.
Brooklyn Paramount Marquee | Photo Credit: Michael Dinger
With a constant stream of genre-spanning musical talent gracing its stage for the last six months, tonight was no different. Providing opening support for St. Vincent on this 12-date tour of North America, which launched in Boston, Massachusetts on September 5, was experimental electronic musician Yves Tumor (born Sean Lee Bowie). Taking the stage at exactly 8:00 pm, the 34-year old musician who was born in Miami, Florida and raised in Knoxville, Tennessee immediately launched into an eleven-song set with a heavy dose of tracks taken from their fifth and most recent studio album titled Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds).
Yves Tumor | Photo Credit: Michael Dinger
A self-taught multi-instrumentalist, Yves Tumor’s atmospheric stage lighting was the perfect accompaniment to their tonal palette – ranging from the sonically atmospheric to vibes of hypnotic trance – interspersed with glam cockiness resembling that of Prince. Exuding a kinetic stage presence and energy rarely seen, Yves Tumor was backed by a trio of extremely talented musicians who delivered the rock neo-psychedelia goods, complete with jangly guitar, looping basslines and a 4/4 drum beat signature.
St. Vincent | Photo Credit: Michael Dinger
Born screaming in Tulsa, Oklahoma, but a New Yorker at her core, I was introduced to St. Vincent a decade ago when she released her self-titled fourth studio album to critical acclaim. Like many of her fans, I was drawn to her melodic, distortion-rich guitar playing. Certainly not underrated, she is often cited as being among the best guitarists of all time, including a nod from Rolling Stone last year. Armed with her Ernie Ball Music Man signature guitar, St. Vincent brought the packed house to its knees on multiple occasions, often with humor:
I have to tell you about the first night that I ever met this woman [touring bassist Charlotte Kemp Muhl]. I went over to her house, and she put an albino snake around my neck. And she said ‘Hey, I’m Charlotte.’ On that same night, I had taken mushrooms for the first time. And then, we walked home at 4:00 in the morning and we were walking by construction, you know, ConEd doing stuff down below. And we were like ‘Hey, can we go down there?’ And the dude was like ‘yeah.’ So, we crawled through the bowels of this city, and I can tell you that the bowels of this city are as beautiful as its face. And let that be said at all of our funerals. I love you so much New York.
St. Vincent
The 100-minute long show featured twenty songs spread across fifteen years of St. Vincent’s discography, with “Birth in Reverse” and “Surgeon” substituted for “Krokodil” and “Year of the Tiger” the night before. The only album not represented in tonight’s setlist was her 2007 debut studio offering Marry Me.
After interacting with lucky fans in the first several rows center stage, falling backwards into their arms, the emotionally charged show culminated soon after with St. Vincent alone onstage for the encore, “Somebody Like Me” (Daddy’s Home, 2021). After the thunderous applause finally subsided, St. Vincent thanked Yves Tumor for opening the night and commenced the final number. Not a minute in, she exclaimed “Oh, I fucked this song, I fucked it so bad. I’m so sorry.” Erupting in a roar of laughter, the fans could not care less about the false start, but St. Vincent did – a testament to her professionalism as a musician. Retreating to her original position beneath the arch-framed stage design, St. Vincent came forth again to the edge of the stage apron and finished the show with style and grace, as if it could have ended any differently.
St. Vincent | Photo Credit: Michael Dinger
Following an appearance at Riot Fest in Chicago, Illinois on September 21, the next leg of St. Vincent’s tour resumes in Dublin, Ireland on October 13, concluding in Southbank, Australia on November 28.
Yves Tumor Setlist: God Is a Circle > Echolalia > In Spite of War > Gospel for a New Century > Jackie > Meteora Blues > Parody / Heaven Surrounds Us Like a Hood > M~~S B~~~~~E > Operator > Secrecy Is Incredibly Important to the Both of Them > Ebony Eye
St. Vincent Setlist: Reckless > Fear the Future > Los Ageless > Big Time Nothing > Marrow > Dilettante > Pay Your Way in Pain > Digital Witness > Sweetest Fruit > Flea > Cheerleader > Broken Man > Birth in Reverse > Surgeon > Hell Is Near > Candy Darling > New York > Sugarboy > All Born Screaming > Encore: Somebody Like Me
Thirty years ago, one of hip-hop’s biggest stars prepared to release his debut album. Biggie Smalls, The Notorious B.I.G, or Biggie, whichever nomenclature most suits you, had recorded one of the most important and influential albums of not only his era, but in hip hop and music history. As rap music began to take its place as part of mainstream culture, there was no telling what would follow with the release of Ready to Die on September 13, 1994.
Now, a full three decades later, it’s impossible to ignore the impact of Biggie’s only non-posthumous release. For a Brooklyn native, Biggie’s music is ever-present; blasting through the speakers of passing cars, in stores, and especially at parties (even now, no party is complete without a splash of “Warning” or “Mo Money Mo Problems”).
In Brooklyn, Biggie’s impact is found everywhere. You won’t get too far without seeing a mural dedicated to him. From East New York to Bay Ridge to Caroll Gardens, his face is plastered on walls, t-shirts, and merchandise in almost every store, and one of his most iconic (and laughably ironic) quotes from “Juicy” is spray painted everywhere: “Spread love, it’s the Brooklyn way.” Bed-Stuy revels in his impact on hip hop and the borough, as Biggie repped Brooklyn hard. Hence, now the city immortalizes him within the city’s infrastructure, with the city even naming the street he was born on after him. Rappers copied everything he had to offer; his flow, his style, his music subjects. They even would gather an entourage that was similar to Junior M.A.F.I.A., and of course, would copy his “beef” with Tupac.
Biggie’s Legacy
However, his legacy doesn’t stop at street signs and t-shirts or even music itself. The impact of his death (and Tupac Shakur’s) rewrote the rules to which an artist gains mainstream momentum.In the years following his and Tupac’s deaths, listeners were itching for another great conflict, missing the frequent drama and excitement and excellent music it brought. The entertainment of the Bigge-Tupac beef was what plunged rap into the mainstream, and it was only a matter of time before it became a regular aspect of the culture.
Amidst the influx of West Coast success (The Chronic, Doggystyle), Biggie, Nas & Wu Tang helped turn the tide, bringing a certain grit that over produced West Coast beats could not match. After all, Ready to Die was a testament to Biggie’s days as a young hustler just trying to make it big, as he details the life in the streets and the drug game. The album featured artists that would later be leading figures in hip hop, including Diddy, Method Man, and Lil’ Kim. The three singles released in anticipation of the album, “Juicy,” “Big Poppa,” and “One More Chance,” charted on the Billboard Hot 200 and were certified Gold (“Juicy”) and Platinum (“Big Poppa” and “One More Chance”) by the RIAA.
The Aftermath of Ready to Die
The surmounting success of Biggie’s debut implemented a drastic change in the culture’s perception of hip-hop. Rap was now a serious contender in the music industry, developing its own subculture with a discernable music and fashion style. Rappers from both coasts became more present in media, each competing for the top spot in the game; Biggie, Diddy, and Wu-Tang Clan from the East, and Dr. Dre, N.W.A, and Tupac from the West.
But with this emergence, a dark side followed. West Coast rappers were still gaining traction in the scene, battling with East Coast rappers for the top spots on the charts and within the zeitgeist. Biggie’s Ready to Die caused an almost cult-like following to develop in New York, forming the group Junior M.A.F.I.A. soonafter. In November of 1994, just two months after Ready to Die was released, California-based rapper Tupac was shot and robbed at Quad Studios in New York. By the time news of the shooting broke, most people speculated that Junior M.A.F.I.A was behind it, even if the shooters were completely unrelated. But this didn’t stop Pac from publicly pointing the finger at Biggie
Every Man For Himself
The music industry competitive, and there was simply not enough room for every rapper to become mainstream. Thus began an incredibly competitive culture within the genre, constantly pushing each newest member to “pick a side,” both for protection and the advancement of their career.
Within this competitiveness, the culture of “rap beef” became part of the norm for the genre. Rappers were never ones to shy away from expressing their disdain towards their peers.
It was during these three years that rap listeners were taking sides, proving their loyalty to the coasts, and in turn, their leaders. The Biggie vs. Tupac battle was dominating the hip-hop industry, with rappers that weren’t even affiliated with the main rivals picking sides and taking shots at one another.
All of the media attention and perceived beef would eventually lead to the tragically early deaths of both Biggie and Tupac. In September of 1996, Tupac was shot and killed in Las Vegas, when he was only 25. Six months later, in March of 1997, Biggie was shot and killed in Los Angeles at the age of 24.
Biggie’s Legacy and The Development of Rap Beef
Despite its tragic ending, Biggie and Tupac’s battles were just the beginning of this development in rap culture. Rap music may have lost two of its biggest stars, but that didn’t mean that the competitiveness of the genre was ever going to end. Rap beef was now implemented into the culture and a proven method to generate album sales.
The 2000s saw several incredibly entertaining and fundamental beefs between rappers that really elevated the genre to where it is today; Jay-Z and Nas, 50 Cent and Ja Rule, LL Cool J and Canibus, Nicki Minaj and Lil’ Kim, and so many more went through periods of time throwing shade at, or outright dissing one another on their tracks. For many rappers, their best chance at catapulting their careers was through conflict. 50 Cent became a household name through his feud with Ja Rule. While Nas’ feud with Jay-Z brought out the best out of him.
After the tragic ending of the Biggie and Tupac feud, rap beef became less of a genuine feud and more of a corporate tool to keep hip-hop in the mainstream. There was also this sense that a rap beef would make or break someone’s career. If a rapper admitted to losing their beef, their career was on standby or disappeared completely. Some credit 50 Cent’s endless dissing of Ja Rule led to his demise, while Canibus suffered perceived losses to LL Cool J and Eminem, helping kill his flame.
Hip Hop Bo Longer Jumping
During the last few years, rap has grown stale. The lyrical charm was wearing off, and the idea that rap was “so different” from other kinds of music, what originally made it stand out against pop, rock, and other existing trends, was no longer true. Rap, even though it dominated radio and Billboard charts and popular culture, was no longer something unique and special; rather, it was a pre-packaged, commercialized version of what listeners were getting pre-hip hop.
The genre has been performing poorly on the charts since 2020 after it started to turn to social media platforms like TikTok to advertise. Even if this did help more people reach the genre, it paved the way for thousands of artists to overload the app with their own music, so much so that it all began to blend together, devoid of originality or effort, and more concerned with “blowing up on TikTok” than saying or doing anything truly meaningful or different.
A New Age
The way we listen to music now has also played a major role; before streaming, purchasing physical copies of music meant that you could only choose a few albums at a time, or pick one and stick to it until the next album comes out. Now, we have the largest access to all of the world’s music on streaming services, whether it be Spotify, Apple Music, Soundcloud, or YouTube. Even if a rapper isn’t selling a physical copy of their music, or hasn’t been signed to an actual record label, you can access their music at any point. It’s a double-edged sword: you’re able to gain knowledge of incredible underground talent, but you’re also able to find someone that outshines them in less than ten seconds.
Rap “beef” also took a major turn. Instead of violent threats or disses, the “beef” became more about revealing a rapper’s secrets. We see this especially with the beef between Pusha T and Drake, when Pusha revealed Drake’s secret son in “The Story of Adidon” before Drake had the chance to do the Adidas advertisement with him. There was now a fundamental shift in what rap beef was about; it was no longer a race to the top based on merit or skill, but about character.
Drake v. Kendrick
This brings us to the one and only Drake. Over the course of Drake’s almost two-decade-long career, he has amassed rivals spanning across multiple genres, from The Weeknd, to Pusha T, Kanye West, Meek Mill, to even his own mentor Lil’ Wayne. After all, the rumor mills say that he took music from The Weeknd for his GRAMMY-winning album Take Care and he has ghostwriters. All of these were accusations that would hurt any other rapper’s career, yet Drake was able to stay at the top of the rap game for years afterward. He continued to dominate the charts, and every album he released quickly rose to the top. Rendering impermissible to decline.
That is until Kendrick Lamar reemerged onto the scene. With “Euphoria,” where Kendrick makes scathing accusations over a six-minute track accusing Drake of being a gambler, drug addict, and neglectful father. While also reminding the world of Drake’s not-so-spotless record with women and underage girls.
What Now?
But in an era where hip-hop has become so stale, even the reactions and consequences of a rivalry this intense are stale. The biggest and most impactful consequence of Kendrick’s diss tracks was a crowd of over 20,000 shouting, “Tryna strike a chord and it’s probably A-minor,” at The Pop Out in Inglewood on Juneteenth.
However, there is something different about this rivalry that encompasses what rap beef has become about in the last three decades. It’s no longer a physical game, it’s a mental one. Kendrick did not set out to physically harm Drake in any capacity.
Kendrick’s accusations against Drake, combined with people bumping “Not Like Us” all summer, reveal something to the audience more sinister than violence. This was not a rap beef that was essentially a petty argument about who was “better” Kendrick set out to start and finish this beef by ending Drake’s credibility within hip hop culture. He wants Drake’s impact on rap reversed. In the end, he doesn’t want Drake dead, he just wants Drake gone.
It’s hard to tell whether or not Drake is going to be able to bounce back from the blow of “Not Like Us.” Having crowds of people, including some of the biggest stars and Drake’s own personal idols, singing “You not a colleague, you a f—kin colonizer” will not be easy to retaliate against. Perhaps Drake should listen to “What’s Beef” and take this one on the chin.
It’s had many names over the years: The Knickerbocker, The Pepsi, The Times Union Center and currently the MVP Arena. But on Tuesday, September 10, the storied building was transformed into a cathedral of heavy metal. Playing host to the legendary Megadeth and their “Destroy All Enemies” tour featuring Mudvayne and All That Remains, the scorching night of thrash, prog, punk, speed and metalcore music bludgeoned downtown Albany like a 10-ton hammer in a way that hasn’t been felt in years.
An epic evening of arena sized anthems and a career-spanning setlist packed with deep cuts and fan favorites alike, Dave Mustaine once again proved why his band remains one of the cornerstones of metal’s “Big Four.”
Thrash metal icons Megadeth returned to the MVP Arena for the first time in 17 years on 9/10/24.
For anyone familiar with Mustaine’s storied career, the sight of him on stage, shredding through riff after riff, felt like witnessing history in motion. After being famously ousted from Metallica in the early ’80s, Mustaine forged his own path by forming Megadeth in 1983, determined to make his own mark on metal. His fierce ambition and relentless work ethic paid off—Megadeth has since sold over 38 million albums worldwide, earning their place alongside Metallica, Slayer, and Anthrax as the pioneers of thrash metal.
But the show in Albany wasn’t just about Megadeth’s past. It was a testament to the present power of Mustaine, who at 63, plays with the same ferocity that marked his early years, if not more. This resilience is all the more impressive considering his 2019 battle with throat cancer, which threatened to sideline him permanently. Instead, Mustaine emerged victorious, his unmistakable snarl and masterful guitar work as sharp as ever. His playing style—technical, lightning-fast, and rhythmically complex—defines Megadeth’s sound and was on full display during songs like “Holy Wars… The Punishment Due,” “Peace Sells,” and “Symphony of Destruction.”
Fuck Cancer: Megadeth’s Dave Mustaine was back in Albany on 9/10/24 after beating a life-altering diagnosis.
Megadeth would also play selections from their most recent album, 2022’s The Sick, The Dying…and the Dead! which featured the eerie visual aid of an old plague doctor pushing a wagon cart full of corpses across the stage. Also from the same album, “We’ll Be Back” stood out as a new favorite for its relentless power groove and over-the-top shredding, further proof this band still has plenty of gas in the tank. Adding fuel the frenzy, time-tested staples like “Washington is Next!,” “Hangar 18” and “Sweating Bullets” sounded massive and just as potent as they were decades ago.
Destroy All Enemies: Megadeth performing at the MVP Arena on 9/10/24.
The crowd, a sea of black-clad fans with fists pumping and heads banging in unison, responded with a fervor that could only come from decades of loyalty. For many, Megadeth’s music represents something deeper. Their songs, often steeped in political themes, war, chaos, and personal demons, strike a chord with listeners who revel in metal’s intensity and cathartic aggression. This is why heavy metal endures—its primal power, complex musicianship, and dark themes speak to a primal part of the human experience.
Symphony of Destruction: Watch fan shot footage of Megadeth performing at the MVP Arena on 9/10/24.
As much as the night belonged to Megadeth, it was far from a one-band show. Mudvayne, co-headlining the tour, brought their own brand of chaos to the MVP Arena. Rising to prominence in the early 2000’s, Mudvayne, known for their groundbreaking debut L.D. 50, has a reputation for blending nu-metal with progressive elements, and their set did not disappoint. Musically tight, they delivered heavy grooves, complex rhythms, and a raw power that paired perfectly with Megadeth’s thrash fury. Known for their theatrical costumes and high-energy performances, frontman Chad Gray worked the crowd with ease, demonstrating an innate ability to connect with fans. Dressed in his trademark face paint and blood splatter, Gray’s commanding presence and guttural screams during songs like “Not Falling,” “Death Blooms,” “-1,” and “Internal Primates Forever” were highlights of the night.
Dressed to Kill: Mudvayne’s Chad Gray painted the MVP Arena red on Tuesday, 9/10.
Speaking candidly to the audience after ”Dull Boy,” Gray gave a heartfelt speech about the importance of staying true to yourself. Saying how this is the place to leave your baggage at the door. The problems at work, in your relationship, at school, with your family, with the law—they will all still be there tomorrow, but here at the arena, this is a safe place to let it all out. Demanding the fans make enough noise to satisfy him before they continue playing, Gray talked about the honor it is to be playing with Megadeth, one of the big 4 that inspired and empowered him as a kid we he came from nothing. Addressing the elephant in the room, i.e. the amount of people at the show, he would tell us “Anyone who knows metal is here, and if you’re not, that’s probably a good thing. Because once metal is in you, it never leaves. It doesn’t matter if you’re 6 of 65, you’re a metal kid for life.”
Ryknow Power: Mudvayne bassist Ryan Martinie was dropping bombs all night long on 9/10/24.
After delivering a standout version of “Nothing to Gein,” and working their way through “Happy?” Gray would reflect once again. Talking about how to him, this tour represents the passing of the torch. From one generation of metal to the next, he’s made an oath to carry it forward from here. Referencing influences like Metallica and Slayer, and later Pantera and Korn, he said heavy music will always keep evolving and it’s up to the fans to keep showing their support, no matter who the current torch bearer may be. Wanting the audience to know that he’s proud of each and every person who came out to see the show, he says it’s important to remember to reward yourself every once in a while, and to not be ashamed tomorrow for liking heavy music today. Asking if Albany can dig what he’s putting down, the band then launched into their biggest hit, “Dig” to close out their set. What a performance!
Dig This: Watch fan shot footage of Mudvayne performing “Dig” in Albany, NY 9/10/24.
Kicking off the night was Springfield, Massachusetts’ All That Remains, a metalcore band whose blend of melodic and brutal elements set the tone for the evening. No stranger to the Capital Region, the band has been playing various Albany clubs since forming in the early 2000’s and clearly have developed a loyal following in the area. Their impressive guitar solos, particularly from lead guitarist Jason Richardson, caught the attention of the early crowd.
Opening up with “Now Let Them Tremble,” and working their way through songs like “Six,” Divine,” and a massive rendition of “This Calling” from their beloved 2006 album The Fall of Ideals, All That Remains have a style that leans more into metalcore than traditional thrash. Making sure to bring a balance of aggression and melody, by the time the band reached their set closing number and biggest song, “Two Weeks, anyone who was on the fence was converted. Showcasing the band’s ability to fuse heavy breakdowns with catchy hooks, All That Remains was the perfect choice for an opening act.
All That Remains kicked off the night in Albany on 9/10/24.
Despite the aggressive sounds emanating from the stage, the Albany crowd remained surprisingly tame. While many die-hard fans in the front row headbanged and moshed in sync with Mustaine’s riffs, a significant portion of the audience seemed content to take in the spectacle from their seats, perhaps a testament to the older demographic that Megadeth now commands. Even so, the energy in the arena was palpable, and the night felt like a celebration of heavy metal’s enduring legacy.
As the tour rolls on through the rest of North America, including this upcoming Friday the 13th at Bethel Woods, it’s clear that the “Destroy All Enemies” tour is more than just a trip down memory lane—it’s a reminder that Megadeth and their fellow metal titans still have plenty left to say. For those in attendance in Albany, it was a night that highlighted the power of heavy metal to bring people together, proving that, even in 2025, metal is far from dead.
Megadeth | September 10, 2024 | MVP Arena | Albany, NY
Setlist: The Sick, The Dying…and the Dead!, Dread and the Fugitive Mind, Kick the Chair, Hangar 18, Washinton is Next, Countdown to Extinction, Sweating Bullets, Angry Ain, Trust, Tornado of Souls, We’ll Be Back, Symphony of Destruction, Mechanix, Peace Sells
Encore: Holy Wars…The Punishment Due
Mudvayne | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Not Falling, Silenced, Internal Primates Forever, Fall Into Sleep, -1, Death Blooms, Dull Boy, Nothing to Gein, World So Cold, Happy?, Dig.
All That Remains | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Now Let Them Tremble, Chiron, Six, Divine, Let You Go, This Calling, Two Weeks.
