Category: Show Reviews

The Church Co-Headline Brooklyn Paramount With Afghan Whigs On A Hot & Steamy NYC Night

A destination venue for industry veterans and rising stars, Brooklyn Paramount hosted The Church and The Afghan Whigs for their second co-headlining show on a 19-date tour this past Thursday evening, June 20.

Originally opened in 1928 and dubbed ‘America’s first movie theater built for sound,’ Brooklyn Paramount reopened its famed doors in the heart of downtown this past March, and since doing so, has seen a constant stream of genre-spanning musical talent – with a full slate of artists scheduled well into December. The night’s festivities were presented by WFUV, a non-commercial radio station owned by Fordham University, located on its Bronx campus, and nationally recognized for its alternative music format.

Fans wait in line ahead of entering Brooklyn Paramount | Photo Credit: Michael Dinger

Providing opening support was Kristin Hersh, who in addition to her solo work which often features emotional vocals delivered in raw, visceral manner, is best known for her singing and songwriting in the alternative rock band Throwing Muses. Taking a lone seat at center stage promptly at 7:30 pm, Hersh warmed up the large swarm of fans who arrived early to see her 30 minute set, which comprised three Throwing Muses offerings and four tracks selected from her eleven solo albums – Hips and Makers (1994), Sunny Border Blue (2001), Crooked (2010) and Clear Pond Road (2023).

At 8:10 pm, The Afghan Whigs appeared onstage and immediately launched into a 15-song set spanning a nearly four decade career. Hailing from Cincinnati, Ohio, the duo of frontman Greg Dulli and bassist John Curley – who started it all way back in 1986 – are cited as having influenced several musicians of high esteem in their own right, including fellow Ohio natives The National, Interpol, and The Gaslight Anthem, to name but a few.

Greg Dulli of The Afghan Whigs | Photo Credit: Michael Dinger

An eclectic blend of alternative and indie rock, post-punk, grunge, and for good measure, R&B, the hour-long set kicked off with “Pantomima,” the lead single from Dulli’s 2020 solo album Random Desire. Apart from an astounding cover of English singer-songwriter Martina Topley‐Bird’s “Too Tough to Die” midway through, The Afghan Whigs gifted its fans several of what are considered the best tunes from their nine studio album catalog.

Standout numbers from the night included the moody and atmospheric “Debonair” (Gentlemen, 1993), fan favorite “Algiers” and “Matamoros” (Do to the Beast, 2014), the introspective “Oriole” (In Spades, 2017), and “Somethin’ Hot” (1965, 1998), featuring a driving rhythm accompanied by a sound palette of power guitar riffs and energetic percussion.

John Curley of The Afghan Whigs | Photo Credit: Michael Dinger

The Church are touring off the strength of their most recent two albums, the universally hailed album The Hypnogogue, and its companion science fiction concept album Eros Zeta and the Perfumed Guitars, released in 2023 and 2024, respectively. The Aussie psych-rock quintet of founder Steve Kilbey (lead vocals, bass), long-time collaborator Tim Powles (drummer), Ian Haug (guitarist formerly of Australian rock icons Powderfinger, who joined the band in 2013), Jeffrey Cain (multi-instrumentalist who has been a full-time member since early-2020), and Ashley Nalor (touring guitarist and backing vocalist for The Church since February 2020, best known for fronting the Melbourne-based band named Even) silently slithered onstage under the cover of darkness at approximately 9:45 pm.

As The Hypnogogue’s title track played over the house PA, the crowd waited in eager anticipation as the slow burning introduction, with its multiple sonic layers, continued to build momentum. At long last, the cinematic extravaganza was underway.

Steve Kilbey of The Church | Photo Credit: Michael Dinger

With selections presented from six LPs spread across their massive discography (25 studio albums in total), The Church’s dreamy psychedelia experience continued with “Myrrh” (Heyday, 1985), but not before Kilbey first greeted the more than 2,000 souls in attendance. “Good evening ladies and gentlemen, thank you very much. We are so happy to be here tonight. What a wonderful – the word splendid comes to my mind – what a splendid, old theater. Thanks so much for coming along.”

Kilbey introduced the next song, “Metropolis” (Gold Afternoon Fix, 1990), as “the last time we ever darkened the doorstep of commercial radio, 34 years ago, you may remember this one.” The proceeding mystical journey that he and his bandmates brought all of us on was filled with indelible highlights, with too many to list in this review. However, the goosebump-inducing moment that tops that list, for me at least, would have to be The Church’s performance of “No Other You” (The Hypnogogue), a heartfelt love song showcasing Kilbey’s voice filled with a yearning for a woman who cannot be replaced.

The Church | Photo Credit: Michael Dinger

Outside of their psychedelic-tinged, instant classics appearing on 1988’s Starfish, “Under The Milky Way” and “Reptile,” the album that put Kilbey and company on my radar as a 16-year old entranced by their anthemic songs filled with melody and orchestration, it was another track from The Hypnogogue that filled the venue with an overall sense of reflection. The operatic “Flickering Lights,” which found Haug taking up the mandolin, was appropriately rendered by The Church to a backdrop of bright white flashing stage lights and multicolored strobes.

The stellar live show culminated with two tracks collected from opposite ends of their storied career – “Last Melody” (Eros Zeta and the Perfumed Guitars, 2024) and “You Took” (The Blurred Crusade, 1982) – a trippy, cosmic jam filled with epic, swirling guitar.

Watch The Church perform two hit songs from their aforementioned fifth studio album Starfish, “Under The Milky Way” and “Reptile,” below:

Following the current run of North American tour dates which ends in Los Angeles on July 13, our favorite mates have cleared their calendar for the duration of the summer. However, if at the end of the year you find yourself in the Land Down Under, The Church have a series of six shows beginning at the Enmore Theatre in Newton on November 23, culminating at Hindley Street Music Hall in Adelaide on December 7. Dates sandwiched between include stops in St Kilda, Brisbane, Hobart and Perth.

Kristin Hersh Setlist: Eyeshine > Kay Catherine (Throwing Muses song) > Mississippi Kite > Your Ghost > City of the Dead (Throwing Muses song) > Bywater (Throwing Muses song) > Your Dirty Answer

The Afghan Whigs Setlist: Pantomima (Greg Dulli song) > Debonair > Catch a Colt > Algiers > 66 > Matamoros > What Jail Is Like > Too Tough to Die (Martina Topley‐Bird cover) > Light as a Feather > Oriole > It Kills > Demon in Profile > Going to Town > Somethin’ Hot > Summer’s Kiss

The Church Setlist: The Hypnogogue > Myrrh > Metropolis > C’est la vie > No Other You > Under the Milky Way > An Interlude > Flickering Lights > Reptile > Realm of Minor Angels > Grind > Last Melody > You Took

UPCOMING TOUR DATES

June 24 – Toronto, ON @ The Danforth Music Hall

June 25 – Detroit, MI @ The Majestic Theatre

June 27 – Indianapolis, IN @ Hi-Fi

June 28 – Chicago, IL @ The Vic Theatre

June 29 – Milwaukee, WI @ Summerfest 2024

June 30 – Minneapolis, MN @ First Avenue

July 2 – Denver, CO @ Ogden Theatre

July 3 – Bellvue, CO @ The Mishawaka

July 5 – Seattle, WA @ The Showbox

July 6 – Portland, OR @ McMenamins Crystal Ballroom

July 8 – Sacramento, CA @ The Sofia

July 9 – San Francisco, CA @ The Fillmore

July 11 – San Diego, CA @ The Observatory North Park

July 12 – Anaheim, CA @ House of Blues Anaheim

July 13 – Los Angeles, CA @ The United Theater on Broadway

KRISTIN HERSH

THE AFGHAN WHIGS

THE CHURCH

June 24, 2024
Spafford and Mike Gantzer Find Their Way Home in Woodstock

It was a hometown throwdown with an added twist for Spafford Saturday night. Playing the third show of their summer tour at The Colony in Woodstock on June 15, it notably featured Mike Gantzer of Aqueous filling in for Spafford guitarist Brian Moss as he continues dealing with the effects of a brutal crash the band was involved in earlier this spring. More than the sum of its parts, the show must go on and it did, yielding a most memorable and unique night of improvisational jams.

Mike Gantzer of Aqueous filled in for Spafford guitarist Brian Moss during the Woodstock performance on 6/15/24.

The quaint counterculture community of Woodstock was bustling with activity in the hours leading up to the show. Colorful, vibrant and welcoming, the main drag was covered in pride flags and business was booming at the numerous mom-and-pop gift shops, galleries, and gastropubs around town. The energy in the air felt like a throwback in time, reminding me of the neighborhood block parties when I was young and everything felt safe. Prior to showtime, early attendees at The Colony were treated to the delightful Americana sounds of The Jack Grace Band on the back patio stage. It was inside on the Ballroom stage, however, where the real magic was about to take place.

Spafford performing at The Colony in Woodstock, NY 6/15/24.

Fresh off their first gigs together in Rochester and the Northlands Music Festival, this incarnation of Spafford hit the ground running hard. With a schedule that includes 10 shows in 11 days, don’t let anyone tell you touring life is easy. Consisting of bassist Jordan Fairless, drummer Nick Tkachyk and keyboardist Cory Schechtman, the Spafford members humbly welcomed and thanked guitarist Mike Gantzer for joining them on this run of shows. Easing into things with an opening improvisational groove, it was around 17 minutes in when the band landed on the first actual Spafford song of the night, the explosive fan favorite “It’s a Bunch.”

Performing with man down, Spafford looked to Mike Ganzter to man up on 6/15/24.

Playing with a man down, it was here when Gantzer really stepped up and cut loose first the time, announcing his presence with swagger and authority, showcasing his undeniable ability as a player. Emoting with passion and simultaneously shredding his sparkling blue Gibson axe with the best of them, let’s be clear, no one can “replace” Brian Moss, but it was around this part of the show when you realized this was an unprecedented kind of Spafford experience. That we were witnessing something special and not only were things going to be just fine, they were going to be absolute fire.

Leaning heavily on bassist Jordan Fairless to handle the majority of vocal duties on this run, Saturday night at The Colony took on extra special significance for him. After celebrating his wedding anniversary two days prior, it was not only a homecoming for Jordan, but a full-on family reunion as well. With his beautiful wife and daughter in attendance, every time the local Woodstock resident stepped up to the mic you could see the sparkle in his eyes as he sang out to them. Touching and beautiful, the first time we’d hear it was on “Lonely,” a song written years ago and has emerged as one of the bands biggest jam vehicles.

It was a hometown throwdown for Spafford’s bassist Jordan Fairless who lives in Woodstock.

Clocking in just shy of the 20-minute mark, it was the clear standout of the first set and just seemed to hit a little harder given the circumstances of this particular night. Jordan’s soothing vocals carried over into the bluesy come down of “Shake You Loose” from 2022’s Simple Mysteries and would send the audience burning straight through intermission.

Met a man in New York and he had no time for me.

His New York minutes, they were ticking away.

But I’m not gonna give up, no I’ll just keep on standing here.

Waiting for that day…when we all say.

You don’t have to be lonely. Look no further, you can hold me.

And I will hold you till you’re not lonely.

We’ve got each other, and I’ll be on your side till the morning comes.
-Lyrics from “Lonely”

Prior to the start of the second set, the unofficial fifth member and band namesake, Chuck “Spafford” Johnson who would treat the audience to a reading of his poem “Would Etal.” A privilege to hear one of “Chuck’s Dreams” in person, his purpose with the band cannot be overstated. Aside from being a published poet, Johnson has also penned the lyrics for several of the bands most beloved songs, including “My Road, My Road,” “The Postman,” and “Slip and Squander.” He’s also the man primarily responsible for running the free Spafford live streams on YouTube and doing what some might call “God’s work.” Fans can’t thank him enough.

Chuck’s Dream: Lyricist Chuck “Spafford” Johnson read his poem “Would Etal” during set break on 6/15/2024.

Returning to the stage for round two, Spafford wasted no time putting the pedal to the metal by opening with “Diesel Driver,” a song that many fans have now come to associate with the aforementioned crash in March that still lingers over the band. It’s exploratory jam would segue nicely into the new and highly danceable Corey Schectman space-funk instrumental “Machine Elves” that had the entire room moving and grooving. Another sentimental moment came next as Fairless sang the blues based “Home (One Place I’ll Never Be). Dedicating the song to his wife two days prior, here he was able to sing it to her in person and just down the street from where they now live.

Spafford performing at The Colony in Woodstock, NY 6/15/24.

Playing up the novelty of Jordan’s homecoming, the undisputed jam of the night evolved next in the form of a near 30 minute version of “Leave the Light On,” a song first played by the band in 2012. This time, however, it seemed to take on a whole new level of maturity. Listening intently to each other and exchanging glances, the creativity flowed between the four musicians on stage. Largely anchored by the handiwork of drummer Nick Tkachyk, you would never know this lineup has only played a few shows together.

Mike Gantzer performing with Spafford at The Colony on 6/15/24.

Finding some limits and pushing through them, the playing was relentless and the improv was intense. With Gantzer pouring every ounce his of passion and spirit into the performance, you know somewhere out there Brian Moss is smiling knowing he made the right call. Feeling more comfortable with each passing show, you can see the healthy respect these guys have for each other and the budding friendship that’s blooming.

It’s so cold at night, and I pretend that it’s all right.

But I keep your candle burning in the window.

Leave the light on for me lady.

So in the darkness I can find my way home.

Leave the light on for me lady.

Let me know that I’m not alone
-Lyrics from “Leave the Light On”

Holding court near the merch stand with a small group of people listening intently, Gantzer opened up about the challenges of learning such intricate material in such a short time. While comparisons to Moss are inevitable and both players are among the scene’s elite, it’s not quite as turn-key when it comes to the type of improvisation Spafford is known for. Making it clear that he was honored to get the call and that he’s feeling a bit of pressure to deliver the goods, he humbly noted he “can’t play the songs like Brian does, that he can only play like himself.” Feeding off the crowd’s energy and hoping to send it all the way back to his friend, it’s fair to say Uncle Mike met all expectations and exceeded them in Woodstock.

Mike Gantzer performing with Spafford at The Colony on 6/15/24.

Returning to the stage for a brief encore, Jordan would address the crowd once again, thanking them for coming out to the show and thanking Gantzer for his incredible job filling in. After planting the homecoming seeds all night long, Spafford would finally spit them out with the lone cover and final song of the evening, a tasty take on Herbe Hancock’s “Watermelon Man.”

Mike Gantzer will remain with the Spafford through the remainder of the month before the band reevaluates. Following a scheduled run through Colorado and an appearance at the 4848 Festival in July, East Coast fans won’t need to wait long to see Spafford again. They’ve just announced a number of new tour dates in August that includes a stop at Lincoln Hill Farms in Canandaigua, linking up with red-hot New York jammers Annie in the Water. As for the future of guitarist Brian Moss, no one seems quite sure when he’ll return to the fold. Requesting privacy at this time, we here at NYS Music wish him all the best and hope the healing power of music starts working its magic soon.

Spafford | June 15, 2024 | The Colony | Woodstock, NY

Set1: Jam > It’s a Bunch > Lonely, Shake You Loose.

Set 2: Diesel Driver > Machine Elves, Home (One Place I’ll Never Be) < Leave the Light On.

Encore: Watermelon Man (Herbie Hancock).

June 20, 2024
20 Years Later: Phish’s 2004 SPAC Run

In June 2004, the “end” was nigh for Phish as a band. The thought-to-be career-ending Coventry festival was slated for mid-August and all indications at this time was that there was no turning back and to savor every last performance. Before Phish would hang it up though, they graced SPAC with a two-day run over Father’s Day Weekend that featured moments of sheer brilliance, musical flubs that were all too common to this era and a surprise dad of their own that evoked memories of a happier time in the band’s history.

This particular SPAC run, only the fourth and fifth times that the band has ever played here, starts off with a bit of a surprise in the form of a “Reba” opener. Phish breezes through the composed sections of this intricate arrangement with ease before a relatively brief but euphoric improvised jam that follows. Alas, there would be no whistle-led ending to this one. Instead the band immediately pivots to a much more traditional show opener in “Runaway Jim.” Trey Anastasio leads the way on this one with some driving guitar fills which continually increase the tempo and depth of the ensuing jam until it comes to a head.

Tonight’s show maintains a relatively old school feel to it early on with the “NICU” that comes next with the “looked back on those days when my life was a haze” and the “Play it, Leo” lines both getting a hearty round of applause from the SPAC faithful. Phish then finally dives into their newer material with “Scents and Subtle Sounds” from their Undermind album which was just officially released last week. There would be no slow introduction for this one though as heard on the album. Instead Phish immediately jumps into the lyrical portion of the song, the first time they would ever do this. “Scents” yields another brief but truly uplifting outro jam with keyboardist Page McConnell pounding away on the piano while he and bassist Mike Gordon bookend it with harmonized lyrics.

Phish 2004 SPAC poster by Louis Arzonico

There’s a noticeable break between songs afterwards, perhaps with Phish trying decide how to end this first set at SPAC. It begins with a very slow, almost plodding “Wolfman’s Brother” that the band really takes their time with and certainly doesn’t suffer from a lack of funk. The “Walls of the Cave” that follows provides some of the best moments of the first set. After its typical thunderous outro jam, Phish takes it around the block and then some, going into a full Type II ambient/melodic jam that includes guitar riffs from Anastasio that would reappear in tomorrow night’s second set. As the jam slowly peters out, drummer Jon Fishman starts up the signature high-hat intro to “David Bowie” which closes out the first set in grand fashion.

Phish jumps right back into the deep end to begin the second set with the second ever performance of “A Song I Heard The Ocean Sing,” another new selection from Undermind which debuted days earlier in Brooklyn. It showcases the band’s true colors with a rollicking early jam that stays true to the song’s original structure before veering off into another exploratory Type II vehicle that elicits authentic aquatic vibes in its early stages before a slow and gradual reshape back to form.

poster by Jason Lees

This sets for the stage for “Piper,” a legendary version that phish.net properly describes as “a multi-section improvisational super heavyweight.” There’s no slow build in this 30-minute plus rendition that some argue is the best one of all time. Phish gets right down to business immediately, ripping through the brief lyrical section before leaping into a ferocious jam that starts off at an incredible pace and doesn’t let up for a while. At one point, the jam starts to ascend in a true “Tweezer Reprise”-like fashion without the song ever actually being played, with Anastasio going full rock god mode and vamping maniacally. It’s all adds up to a “Piper” that rivals the one played at Camp Oswego in 1999 and one that certainly belongs in any “Best Of” discussion.

The groove that develops on the back end of “Piper” eventually rounds cleanly into the beginning of “Gotta Jibboo.” Anastasio has the digital delay loop ready to go and this yields another joyous albeit brief jam that never rounds back into the end of “Jibboo.” Phish instead pivots to “Limb By Limb” with a standout version that features a series of patiently crafted, blissful peaks. “Cavern” then brings the second set to a close, marred a little bit by Anastasio completely spacing on some of the lyrics. Phish ends the first show at SPAC this weekend with a tame and relatively nondescript “Wading In the Velvet Sea.” Unfortunately, the same couldn’t be said about their “last” one of these at Coventry later this summer.

June 19 review by Tim O’Shea

Phish – Saratoga Performing Arts Center (SPAC) – Saratoga Springs, NY – Saturday, June 19, 2004

Set 1: Reba, Runaway Jim>NICU>Scents and Subtle Sounds, Wolfman’s Brother, Walls of the Cave->David Bowie

Set 2: A Song I Heard The Ocean Sing>Piper->Gotta Jibboo>Limb by Limb, Cavern

E: Wading in the Velvet Sea

https://www.youtube.com/watch?v=_UIBFR2eVVs

In 2009, fans returned to SPAC for what would be a five-years and two month gap between Phish shows in Saratoga Springs, but no one at the time knew this, let alone the band. Having only played SPAC five times between 1994 and 2004, the band found new affinity for the (originally) summer home of the New York City Ballet and Philadelphia Orchestra. With Anastasio spending time from 2007-08 living in Saratoga Springs while serving probation, return trips to SPAC have been frequent, almost annual events, marking 19 shows since 2009 alone.

But this 2.0 era show stands out (as does the night before) with jam highlights throughout, erasing even if briefly the specter of the band’s ‘final’ shows coming up less than two months later. Never has the phrase “never miss a Sunday show” been more ominous, as for some, this would be the last time they would see the band perform live for many years.

Phish SPAC 2004 poster by Ryan Kerrigan

Opening up the first set with an energetic “Rift” that lit the audience up, segueing into “Julius” during which Trey broke a guitar string. Following the repair, the band was joined by Dr. Jack McConnell, the father of Page “Chairman of the Boards” McConnell, who performed “Bill Bailey, Won’t You Please Come Home” for the first time since 1999, even donning his tap shoes to soft shoe on this Father’s Day. This sit-in followed Jay-Z joining Phish just two days later in Coney Island on “99 Problems” and “Big Pimpin’.’

Shirt design by Tripp

The “Waves” that followed had a heavier flow to it, pushing past the composed section and keeping the song upbeat and lively until the end. A funky ‘Gumbo” gave way to a trio of shorter songs – “Water in the Sky,” “Horn” and “Poor Heart,” which offered a break in the action, before delivering a 22+ minute version of The Who’s “Drowned.” You could lump “Drowned” in with the second set jamming that followed, and rightly so – this version of “Drowned” is often overlooked because of the lore that has followed the second set of 6/20/2004, but should not be. Anastasio is in the zone throughout, shredding and leading the way, even working in a tease of Deep Purple’s “Lazy.”

Set two began with Round Room track “Seven Below” that showed early promise on December 31, 2002, and delivered in each appearance until that point. Starting out dark and working the tempo up, “-7” found its way into a rocking version of “Ghost.” This pairing would be found that November in Albany as another substantial “Seven Below” > “Ghost.’

An all-time great jam followed, with the rocking funk of “Twist” getting the balcony bouncing. At 21 minutes long, this deserves a few listens. By 7:00, the first Type II jam has lifted off, and as you listen, every two minutes, there is a fresh section of improv dissimilar from the previous two minutes. The jam from 7:00-17:00 just keeps evolving and developing, with Anastasio once again leading the way, while Fishman and Gordon lay down the rhythm to keep the pace. Locked in, after 17:00, “Twist” shreds until Anastasio pulls out the ‘hose’ and winds the song towards conclusion.

shirt design by Dylan Levene

“You Enjoy Myself” would follow and close the set, offering thunderous approval from fans and giving SPAC the ever rare, and coveted, four song set. An encore of “Good Times Bad Times” was bittersweet and is served as a mantra for that summer’s fateful tour, one that would put the band on hold for four and a half years, but bring them back stronger than ever in 2009.

June 20 review by Pete Mason

Phish SPAC 2004 poster by AJ Masthay

Setlist via Phish.net

Phish – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY – Sunday, June 20, 2004

Set 1: Rift > Julius, Bill Bailey, Won’t You Please Come Home?[1], Waves, Gumbo, Water in the Sky, Horn, Poor Heart > Drowned
Set 2: Seven Below > Ghost -> Twist, You Enjoy Myself
Encore: Good Times Bad Times
[1] Dr. Jack McConnell on vocals and tap shoes

Listen to both shows on Relisten.

June 19, 2024
Don’t Miss Beetlejuice: The Musical, Now Through June 23 at Proctors

Beetlejuice The Musical The Musical The Musical opened at Proctors Theatre in Schenectady on Tuesday, June 18, bringing in a packed audience who laughed and sang along to the beloved film, now in musical form.

Photo by Matthew Murphy

Telling the story of Lydia Deetz with greater empathy and backstory – she is at her mother’s burial at the onset of Act 1 – gives cause for Lydia to seek out the help of Beetlejuice, performed masterfully by Justin Collette.

With a recently ~~diseased~~ deceased couple, Adam (Will Burton) and Barbara (Megan McGinnis) Maitland, taking up residence in their former house – now the Deetz’ – they become visible to Lydia, leading to haunting hilarity and foot-tapping musical numbers amid a visually stunning series of sets that utilize the slant framed doors, windows and hallways of the Tim Burton film.

Photo by Matthew Murphy

Pulling from the source material effectively, but introducing Beetlejuice by the end of the first number, the focus in Act 1 on the demon in the striped suit was on par with that of Lydia (Isabella Esler, making her professional debut), a shift from the 1988 film. The 2018 debut on Broadway garnered Tony Award nominations for Best Musical, and well deserved given the production of songs “Dead Mom,” “That Beautiful Sound,” “Say My Name,” “Barbara 2.0” and of course, “Day-O (The Banana Boat Song).”

The first act was Beetlejuice’s time to shine, taking centerstage until he finally joins the world of the living by the end of the act. But Act 2 is greatly focused on Lydia, a time for actress Isabella Esler to be front and center, belting out number after number – “Home” being a show-stopping highlight. In Act 1, Lydia gives the story heart, a tease of what a treat audiences were in store for, both in Act 2 of Beetlejuice and Esler’s career potential as well.

Beetlejuice The Musical The Musical The Musical contains strong language, mature references, and a lot of the crazy, inappropriate stuff you would expect from a deranged demon, but great family fun nonetheless.

Photo by Matthew Murphy

Beetlejuice The Musical The Musical The Musical at Proctors runs through Sunday, June 23. Tickets are available here.

The Thursday, June 20 performance includes a TheatreTalks, free with ticket to the show.Â Check out the full schedule of TheatreTalks here.Â

Proctors will host an ASL performance of the show on Sunday, June 23 at 2pm. Contact the box office for specific seating.

June 19, 2024
Goose Flies to New Heights at CMAC

Nestled in the picturesque rolling hills of Canandaigua, CMAC proved to be the perfect setting for an wonderful evening of music with Goose, the jam band phenomenon that has been capturing hearts and ears across the country.

As the sun dipped below the horizon after a bluebird day, casting a golden glow over the amphitheater, Goose took to the stage amidst thunderous applause. The band’s lineup—comprising Rick Mitarotonda on guitar and vocals, Peter Anspach on keyboard, guitar and vocals, Trevor Weekz on bass, Jeff Arevalo on percussion and Cotter Ellis on drums —immediately set a vibrant tone with their eclectic mix of rock, funk, jazz, and electronic elements. Known for their improvisational prowess, Goose wasted no time in diving into extended jams.

Photo by Derek Java

The first set started off strong with “Hot Love & The Lazy Poet,” and then “Mr. Action,” followed by a blistering cover of “Me and My Uncle,” the song by John Phillips of the Mamas and the Papas that was made famous by the Grateful Dead and one of the highlights of the show. “Seekers on the Ridge” Parts 1 and 2 were followed by “Drive,” and then “So Ready” to end the first set.

Photo by Derek Java

Individually, each member of Goose shone brightly throughout the night. Mitarotonda’s soulful vocals and intricate guitar work provided the backbone of many songs, while Anspach’s keyboard solos added fiery bursts of energy to the mix. Weekz’ basslines were deep and resonant, anchoring the rhythm section alongside Ellis’ dynamic and precise drumming, which drove the band forward with relentless energy. The chemistry between the band members was palpable, with each musician feeding off the others’ energy to create moments of pure musical synergy.

Photo by Derek Java

Set 2 started off with a cover of “Fish in the Sea” by the New Zealand band Fat Freddy’s Drop. Then came another highlight of the night, “Tumble,” an extended jam where Goose brought the crowd to joyous heights with blissful high-energy guitar. Next was a serene “Red Bird,” followed by “726,” and then a lengthy “Arcadia” to end the set. The encore was a rocking “Madhuvan” that ended with a triumphal bow to thunderous applause.

Photo by Derek Java

Goose’s performance at CMAC was nothing short of spectacular. From their electrifying musical explorations to their heartfelt connection with the audience, Goose proved once again why they are at the forefront of the jam band scene. As they continue on the road, fans and new followers looking to catch the wave should be sure to pick up a ticket and treat themselves to a wonderful night of music.

Photo by Derek Java

Goose – CMAC, Canandaigua, NY – June 15, 2024

Set 1: Hot Love & The Lazy Poet, Mr. Action > Me and My Uncle [1], Seekers on the Ridge pt I > Seekers on the Ridge pt II, Drive, So Ready

Set 2: Fish In The Sea [2], Tumble, Red Bird > 726 > Arcadia

Encore: Madhuvan

Coach’s Notes:
[1] John Philips
[2] Fat Freddy’s Drop

Photo by Derek Java

June 19, 2024
Groove Masters Unite: Lionel Richie and Earth, Wind & Fire Light Up Buffalo’s KeyBank Center

On a balmy summer evening in Buffalo, the KeyBank Center buzzed with anticipation as legendary acts Lionel Richie and Earth, Wind & Fire took the stage for a night of soulful melodies and electrifying performances.

The show, a close sellout, drew fans from across the region from Toronto to Rochester, eager to witness two iconic bands in one unforgettable concert experience. There was a countdown clock on the stage video screen telling fans when the show would kickoff.

Earth, Wind & Fire, no strangers to the Buffalo area (last played Buffalo area at Artpark in 2022), kicked off the evening with an explosive energy that instantly captivated the audience. Opening with their timeless hit “Shining Star,” the band set the tone with their trademark blend of funk, soul, and R&B.

The crowd erupted in cheers as they seamlessly transitioned into “Let Your Feelings Show,” showcasing their impeccable musicianship and infectious groove. Their set was a celebration of musical mastery, with intricate horn arrangements, tight percussion, and the soulful vocals that have defined their legacy over decades. They played all of their fan favorites, “Boogie Wonderland”, “Sing a Song”, and closed with their big hit “September”.

After Earth, Wind & Fire left the stage to thunderous applause, the anticipation for Lionel Richie reached its peak when the lights blacked out and a montage video hit the screens. Richie, returning to the Buffalo area for the first time since his memorable performance in Niagara Falls in August 2022, began his set with the iconic ballad “Hello.”

The audience swayed in unison, singing along to every word, as Richie’s smooth voice filled the arena with nostalgia and emotion. One of his most energetic songs he played was his second song of the show, “Running with the night”. Digital cityscapes were displayed on the background video screens and the use of smoke blasts caught some fans by surprise.

Throughout his set, Richie delivered hit after hit, each song resonating deeply with the crowd. From the heartfelt “Say You, Say Me” to the infectious groove of “Dancing on the Ceiling,” Richie proved why he remains a beloved figure in music. His stage presence was magnetic, effortlessly engaging the audience with his charisma and charm Lionel told stories and joked with the crowd. He stated “there will be singing tonight, but not by me……..you the crowd will be singing and dancing”.

As the night drew to a close, Lionel Richie brought the audience to their feet with the ultimate feel-good anthem for his encore, “All Night Long”. The arena transformed into a dance party, with fans of all ages dancing and singing along, united by the joyous spirit of Richie’s music.

The collaboration between Lionel Richie and Earth, Wind & Fire was a testament to the timeless power of soul and R&B. Together, they created a night that transcended generations, reminding everyone in attendance why their music continues to endure for decades. For fans in Buffalo, this concert was not just a musical event but a cherished memory that will resonate for years to come. Both acts will be having their own residency this summer/fall in Las Vegas.

Earth, Wind and Fire’s setlist: Shining Star, Let Your Feelings Show, System of Survival, Serpentine Fire, Verdine White Bass Solo, Sing a Song, Got to Get You Into My Life (The Beatles cover), Devotion, After the Love Has Gone (David Foster cover), Reasons, That’s the Way of the World, Fantasy, Boogie Wonderland, Let’s Groove, September.

Lionel Richie setlist: Hello, Running With the Night, Easy / My Love (Commodores song/Lionel Richie song), Penny Lover, Stuck on You, Sail On (Commodores song), You Are, Dancing on the Ceiling (With a snippet of Van Halen’s “Jump”), Three Times a Lady (Commodores song), Fancy Dancer / Sweet Love / Lady (You Bring Me Up) (Commodores song), Just to Be Close to You (Commodores song), Endless Love (Diana Ross & Lionel Richie cover), Brick House (Commodores song) (With a snippet of Ohio Players’ “Fire”), Still (Commodores song), Say You, Say Me, We Are the World (USA for Africa cover)

Encore: All Night Long (All Night)

EARTH, WIND, AND FIRE’S HEART AND SOUL TOUR 2024 DATES:

Wed Jul 10 – Maryland Heights, MO – Hollywood Casino Amphitheatre

Fri Jul 12 – Rosemont, IL – Allstate Arena

Sat Jul 13 – Saint Paul, MN – Xcel Energy Center

Tue Jul 16 – Cuyahoga Falls, OH – Blossom Music Center

Wed Jul 17 – Clarkston, MI – Pine Knob Music Theatre

Fri Jul 19 – Cincinnati, OH – Riverbend Music Center

Sat Jul 20 – Noblesville, IN – Ruoff Music Center

Tue Jul 23 – Toronto, ON – Budweiser Stage

Wed Jul 24 – Saratoga Springs, NY – Broadview Stage at SPAC

Sat Jul 27 – Mansfield, MA – Xfinity Center

Sun Jul 28 – Wantagh, NY – Northwell Health at Jones Beach Theater

Tue Jul 30 – Bridgeport, CT – Hartford Healthcare Amphitheater

Wed Jul 31 – Camden, NJ – Freedom Mortgage Pavilion

Fri Aug 02 – Bristow, VA – Jiffy Lube Live

Sat Aug 03 – Holmdel, NJ – PNC Bank Arts Center

Mon Aug 12 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek

Tue Aug 13 – Charlotte, NC – PNC Music Pavilion

Fri Aug 16 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

Sat Aug 17 – West Palm Beach, FL – iTHINK Financial Amphitheatre

Mon Aug 19 – Alpharetta, GA – Ameris Bank Amphitheatre

Tue Aug 20 – Nashville, TN – Bridgestone Arena

Fri Aug 23 – Fort Worth, TX – Dickies Arena

Sat Aug 24 – The Woodlands, TX – Cynthia Woods Mitchell Pavilion

Mon Aug 26 – North Little Rock, AR – Simmons Bank Arena

Thu Aug 29 – Phoenix, AZ – Footprint Center

Sat Aug 31 – Chula Vista, CA – North Island Credit Union Amphitheatre

Sun Sep 01 – Concord, CA – Toyota Pavilion at Concord

Tue Sep 03 – Seattle, WA – Climate Pledge Arena

Fri Sep 06 – Inglewood, CA – The Kia Forum

Sat Sep 07 – Palm Desert, CA – Acrisure Arena

June 18, 2024
Jerry Garcia Band Glides Down Music Mountain: June 16, 1982

As the Grateful Dead found themselves in between tours in the early summer of 1982, side projects were apparently the name of the game in order to stay musically limber. And a new music venue in South Fallsburg, NY was more than happy to have them. Jerry Garcia Band kicked off a string of shows in the Northeast at Music Mountain on a co-bill with Bob Weir’s Bobby and the Midnites. This new venue in Sullivan County at a revamped hotel lodge that never quite made it actually played host to the first permissible concerts in the area since Woodstock in its very brief existence.

One of the last of the few shows ever played here was this heralded Jerry Garcia Band show on this day in 1982 that’s loaded with classic cover song selections and a few JGB “originals.” This particular iteration of the band features some of Garcia’s closest and longtime collaborators playing together and it certainly comes through in the sound. Bill Kreutzmann, his Grateful Dead cohort, is on drums with John Kahn manning the bass guitar. Longtime JGB member Melvin Seals is joined on keys by Jimmy Warren. And Julie Stafford and Liz Stires provide the backup vocals.

Jerry Garcia Band ticket stub – June 16, 1982

The show begins with a vintage take on Smokey Robinson’s “How Sweet It Is,” a staple in the Jerry Garcia Band songbook. A sizzling early guitar solo sets the stage for responses from Melvin Seals and Warren on keys with everyone in the band getting a chance to shine right from the start. The harmonized vocals add a layer of authenticity to this cover. Bill Kreutzmann then starts up the next number on the bass drum by himself as the rest of the band patiently merges into the beginning of “Catfish John,” a much lesser known cover song that JGB has also made one of its own. Garcia takes the wah pedal/effect out for a spin much to the delight of the Music Mountain crowd with the rhythm section maintaining a steady pocket of groove throughout. After some fun interplay with Seals, Garcia then fires in one last funky guitar solo on this well cooked “Catfish.”

Music Mountain – South Fallsburg, NY

In the three-spot is another Jerry Garcia Band regular, “That’s What Love Will Make You Do.” Originally credited to Little Milton in 1971, the song was played numerous times by Legion Of Mary, an all-too-brief previous side project of Garcia’s from the 70s that also featured Kahn, Martin Fierro on saxophone and flute along with Merl Saunders on keys. Their familiarity with this number comes through in spades as Garcia and Saunders take turns ripping through their respective solos on another groove-heavy funk vehicle that has Music Mountain in full swing.

Things finally cool off a bit with “Valerie,” a Robert Hunter-penned song that would go on to appear on Garcia’s Run For The Roses which would be officially released later this year. It’s got elements of “Loser” woven throughout and all the feel of an early 70s Dead song dressed up in a JGB jacket that fits perfectly in this spot. And, of course, it wouldn’t be a Grateful Dead-related show without a nod to Chuck Berry and the band takes care of this in the form of a ripping cover of “Let It Rock” that sees Garcia unleashing another bevvy of scintillating guitar runs. This funnels right into a set-closing “Deal” that’s as tight as any GD version with the harmonized backup vocals from Stires and Stafford adding some additional flavor to it.

A spirited Music Mountain crowd welcomes the Jerry Garcia Band back for a second set that starts with another cover, this time it’s “(I’m A) Road Runner,” a song first recorded by Junior Walker and the All-Stars in 1965. This would become another JGB live show staple throughout the years. Seals and Garcia get into some heavy interplay on this one as the the band stretches this “pop” hit into a fun, relaxed jam. “Love In The Afternoon” then follows, another Robert Hunter-penned song that first appeared on Garcia’s Cats Under The Stars album from 1978, his first LP using the band name Jerry Garcia Band and his first LP on the Arista label.

The real meat and potatoes of the second set, and perhaps the show itself, is the “Don’t Let Go” that comes next. It’s a near 20-minute joy ride of deep funk and some of the more exploratory jamming of the evening. The rhythm section of Kahn and Kreutzmann is hard at work once again and develop a deep groove that Garcia plays off of effortlessly. With Seals adding additional layers of sound atop it all, it makes for a lively jam that’s rife with musical cohesion and craftsmanship. Almost suddenly, the rest of the band then eases up that allows for a brief Kreuztmann drum solo that then turns into a bass duel with Kahn before Garcia slowly reenters the mix. It’s a loose, acid jazzy type jam that’s one of the show’s true highlights.

Although there would be no traditional encore tonight, the rest of the set almost feels like one, starting with a super slow take of The Band’s “The Night They Drove Ol’ Dixie Down.” With the tempo dialed down to an absolute crawl, this gives one of the last Garcia guitar solos of the night some added poignance and emotion. The beautiful backup vocals from Stires and Stafford certainly doesn’t hurt either. The show then comes to a close with “Run For the Roses,” the title track of the soon to be released album and another classic Garcia-Hunter collaboration. And with that, Jerry Garcia band puts the finishing stamp on one of the last shows to ever take place at the ill fated Music Mountain.

An apparently rain-soaked show from Bobby and the Midnites that went well into the night then followed – check out the audio here.

https://www.youtube.com/watch?v=uE27loWjRq0

Jerry Garcia Band – Music Mountain, South Fallsburg, NY – June 16, 1982

Set 1: How Sweet It Is (To Be Loved By You), Catfish John, That’s What Love Will Make You Do, Valerie, Let It Rock > Deal

Set 2: (I’m A) Road Runner, Love In The Afternoon, Don’t Let Go, The Night They Drove Ol’ Dixie Down, Run For the Roses

June 16, 2024
Larry Campbell and Teresa Williams Make a Perfect Pair at Caffe Lena

At Caffe Lena in Saratoga Springs, a captivated audience was on hand for the June 9 performance from Larry Campbell and Teresa Williams.

The second of two nights for the Woodstock couple at the historic venue, each night was opened by Jenna Nicholls, who brought a unique voice to the stage, one that is tailor made for Caffe Lena. With Jon LaDeau on guitar alongside her, Nicholls opened with a ukulele song that had an old timey radio sound, making horn sounds via bilabial fricative while she plucked away.

A resident of Saugerties, Nicholls cited the Jalopy Music Hall scene for her folk/Americana sound, one that is as unique as it is intriguing. Add in some cowboy songs and a little yodeling, and Nicholls rightfully has earned her first headline show at Caffe Lena on January 18, 2025.

Woodstock locals Larry Campbell and Teresa Williams, fresh off the release of All This Time earlier this year, took the stage around 9pm for a mesmerizing set. Joined by former Hot Tuna drummer (and longtime Midnight Ramble production manager) Justin Guip and bassist Branden Morrison (whose tone was on point all night), the band opened with the lead single from All This Time, “Desert Island Dreams.”

During the show, Campbell was impressively augmenting his guitar sound to have that of a slide guitar, minus the slide. He mentioned that his father grew up in The Bronx, while Williams mentioned her home of Peckerwood Point, TN, in a dry county, just north of Memphis.

Performing much of their new album in order – “All this Time,” “Ride with Me,” “The Way You Make me Feel” and others, Campbell and Williams would pause between songs to share stories, including those involving legendary drummer, Levon Helm. Sharing a story from the recording of Electric Dirt, Campbell recalled that Levon suggested the duo start their first record, which would be recorded at Levon’s barn in Woodstock. One of those tracks would end up on their recent release, the George Jones/Gene Pitney composition, “That’s All it Took.”

A mid show cover of Duke Ellington’s “Caravan” was time for all four on stage to shine, as seen below.

A deep cut of American comedy and vaudeville came to light with “A Little Better,” a song referencing Stan Laurel and Oliver Hardy, bringing to mind the simple joys of life that can make you feel better, by watching ‘Stan and Ollie Dance.’

Stories from Williams of ‘pew jumpers’ at revivals down south peppered the set, noting the spirit of the music that compelled even the most devout to rise from their seats in joy and exultation. A cover of “Long Black Veil” by Lefty Frizzell featured Larry Campbell on mandolin and tugged at your emotions as Teresa Williams belted out the lyrics in the small confines of Caffe Lena.

A cover of Helm’s “Poor Old Dirt Farmer” off Dirt Farmer, which featured Campbell as producer and on multiple instruments and was engineered by Guip, was presented as a ‘cajun waltz’ but had a distinct sound of having Irish and Appalachian roots.

The penultimate song, “When I Stopped Loving You” was a highlight of the night, as was the Julie Miller penned “I Love You.” The encore of “Down on My Knees” was followed by a rousing rendition of the Grateful Dead classic, “Sugaree.” The duo spent time meeting fans in the lobby of Caffe Lena, discussing songs and their show and taking photos, a treat to close out a spectacular performance.

On July 20, 2024, catch Larry Campbell and Teresa WilliamsÂ with musical friends old and new at their inaugural July JamÂ atÂ Arrowood FarmsÂ in Accord. Get tickets here.

June 16, 2024
Dreamer Boy at Baby’s All Right

Dreamer Boy is the alter ego of Zach Taylor, a rising star in the indie pop scene known for his dreamy soundscapes and heartfelt lyrics. Hailing from Nashville, Tennessee, Dreamer Boy blends elements of lo-fi pop, bedroom pop, and indie rock to create a unique musical experience that resonates with listeners across various genres. His music often explores themes of love, self-discovery, and nostalgia, wrapped in lush, atmospheric production.

Dreamer Boy released his debut album Love, Nostalgia in 2018, receiving praise for its introspective lyrics and innovative sound. Following this, he released All the Ways We Are Together in 2021, further establishing his presence in the indie music world. Dreamer Boy’s ability to craft emotionally resonant songs with a laid-back vibe has earned him a dedicated fan base and critical acclaim.

Dreamer Boy’s performance at Baby’s All Right in Brooklyn on June 11th was nothing short of magical, marking his triumphant return to New York City with a late-night show that left the audience enchanted and wanting more.

Eager fans filled the intimate venue to capacity, creating an electric atmosphere that perfectly set the stage for Dreamer Boy’s unique blend of indie pop. As the lights dimmed and the first notes filled the room, Zach Taylor, adorned in a painted clown face with a giant star over his eye, cowboy hat, and cowboy boots, took the stage with an infectious energy.

A Cowboy’s Charm

One of the most endearing aspects of Dreamer Boy’s performance was his playful and carefree demeanor. Throughout the night, he delighted the crowd with goofy little dance moves, his cowboy boots adding a whimsical touch to his already charming stage presence. His lightheartedness was contagious, and the audience couldn’t help but smile and dance along with him.

Audience Participation

Dreamer Boy’s interaction with the audience was a highlight of the night. He exclaimed early in the set, “We made it to the big city!” which the crowd met with enthusiastic cheers. His genuine excitement and gratitude for being in New York City were palpable, adding a layer of authenticity to his performance.

At one point, he playfully asked the crowd, “Can I get a yeehaw?” The audience responded with a resounding “Yeehaw!” that echoed through the venue, solidifying the bond between the artist and his fans. Later in the night, he expressed his appreciation by saying, “Thanks for having us yâall, this is too fun, this is too fun,” capturing the joyous spirit of the evening.

Dreamer Boy’s setlist for the night included a mix of fan favorites and newer tracks, each performed with an emotional depth that drew the audience in. His vocals, layered over dreamy instrumentals, created a sonic landscape that transported listeners to a place of introspection and bliss. Songs like “Falling for the Wrong One” and “Crybaby” showcased his lyrical prowess and ability to connect with the audience on a personal level.

The intimate venue allowed a close connection between Dreamer Boy and his fans, making the performance feel shared. Dreamy visuals and ambient lighting enhanced the show’s ethereal vibe, creating a captivating atmosphere that perfectly complemented his music.

Dreamer Boy’s show at Baby’s All Right showcased his growth as an artist. His playful personality and engaging presence stood out. Heartfelt music and fun moments made the performance emotionally resonant. As he rises in indie music, Dreamer Boy’s unique sound and genuine audience connection shine. Fans left the venue smiling and with hearts full of his dreamy melodies. They eagerly anticipate his next visit to the big city.

June 16, 2024
Melanie Martinez and the Trilogy Tour at MSG

Melanie Martinez’s return to New York City on June 5th for her Trilogy Tour at Madison Square Garden (Night One) marked a significant moment for the artist and her fans. Following her memorable performance at Radio City Music Hall last year, Melanie once again captivated her audience with a meticulously crafted show that highlighted her evolution as an artist.

As a native New Yorker, she played to a packed arena filled with passionate fans of all genders and ages; a true testament to her enduring appeal and artistic vision.

Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt

Melanie Martinez: An Album Retrospective

Martinez’s Trilogy Tour followed her journey as an artist through her 3 existing albums: Crybaby, K-12, and Portals. Her debut studio album, Cry Baby, was released in 2015. It was a concept album that told the story of a character named Cry Baby through whimsical yet dark songs.

Her sophomore album, K-12, released in 2019. This continued the story of Cry Baby with a corresponding feature film; showcasing Melanie’s talents not just as a musician but also as a filmmaker and storyteller.

In 2022, Portals explored themes of rebirth and transformation, marked by an ethereal and otherworldly aesthetic. Known for her theatrical live performances, Melanie’s concerts are immersive experiences that blend music, visual art, and storytelling.

Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt

Album 1: Crybaby

The concert began with a bang as Melanie appeared on an elevated platform for “Crybaby,” dressed in a pink cotton dress surrounded by dancers in bunny ears and “crybaby” costumes. The stage backdrop featured cradle imagery, setting the tone for the whimsical and dark narrative that defines the Crybaby album. Fans dressed in elf ears, dresses, and bows screamed in delight as the platform gradually lowered, seamlessly transitioning into “Doll House.” Here, Melanie and her dancers performed a doll-like choreography, with expressive movements that visually spelled out “d-o-l-l-h-o-u-s-e.”

The attention to detail continued with “Sippy Cup,” where her dress swayed to the beat as she reached the main stage. The show maintained its high energy with “Carousel,” featuring a two-headed rabbit carousel and pyrotechnics that mirrored the burning carousel imagery. For “Alphabet Boy,” Melanie rose on a platform stylized as alphabet blocks. During “Soap,” actual bubbles filled the stage, enchanting the audience.

“Pity Party” brought inflatable candles to the stage, with heart-shaped balloons falling from the ceiling during the song’s climax. Melanie’s playful use of a pink axe added a dramatic flair, much to the crowd’s delight. The first album segment concluded with “Play Date” and “Mad Hatter,” with Melanie disappearing in a cloud of smoke.

Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt

Album 2: K-12

Transitioning into the K-12 segment, the stage transformed into a school bus that landed in front of a school backdrop, revealing Melanie in her schoolgirl costume. The nostalgic “Wheels on the Bus” set the stage for the school-themed songs, including “Class Fight,” where Melanie and a dancer balanced on a seesaw.

“Show and Tell” saw Melanie as a marionette, complete with ribbons tied to her wrists, which she dramatically broke free from at the song’s end. The theatricality continued with “Nurses Office,” where Melanie was wheeled out on a gurney by dancers dressed as nurses. “Strawberry Shortcake” featured Melanie on a platform stylized as a strawberry shortcake, glowing ethereally.

“Lunchbox Friends” depicted a narrative acted out by dancers, while “Teacherâs Pet” was a solo performance with Melanie emerging from a desk, rolling on the ground, and utilizing fire pyrotechnics. “High School Sweethearts” featured dancers parading with lit-up sweetheart candies bearing cheeky messages, culminating with Melanie being “shot” by a cupid’s arrow on screen and lowered beneath the stage.

Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt

Album 3: Portals

The final segment, focusing on the Portals album, began with “DEATH,” aligning with the theme of rebirth. Melanie appeared in a floral, earthy dress with a fairy/alien mask, surrounded by dancers in minimalist forest nymph attire. The stage transformed into a cemetery, complete with giant headstones and a gate opening on the screen.

In “VOID,” Melanie danced with her mask on against a backdrop of a wispy black void. “TUNNEL VISION” featured a light ring that followed her, creating a mesmerizing effect. “FAERIE SOIREE” brought inflatable mushrooms to the stage, while “LIGHT SHOWER” had Melanie sitting on a giant slug prop, twirling gracefully.

“SPIDER WEB” saw Melanie donning wings on a platform, accompanied by a dancer in a fly costume, portraying a passionate young fan. “BATTLE OF THE LARYNX” was a dramatic solo performance where Melanie wielded a sword against a dragon on screen, complete with intense fire pyrotechnics.

Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt

Night One of Melanie Martinezâs Madison Square Garden run was a spectacular blend of music, theatrics, and storytelling. Each song was a meticulously crafted experience, demonstrating Melanieâs unparalleled attention to detail and artistic integrity. From her set designs and elaborate costumes to her dynamic choreography and powerful vocals, Melanie proved why she remains a trailblazer in the music industry. Her return to New York was nothing short of triumphant, leaving fans eagerly anticipating what she will create next.

June 15, 2024