On Sunday, January 28, the Binghamton Philharmonic Orchestra, together with the combined choirs of the Southern Tier Singers’ Collective and the Binghamton University Chamber Singers, mounted a moving musical performance of Mozart’s Requiem at the Broome County Forum Theatre. It was a rare treat to hear this great work of the choral repertoire, especially when performed with such great mastery.
The orchestra and choir were joined by four up-and-coming young soloists from the Curtis Institute of Music: soprano Juliette Tacchino, mezzo-soprano Katie Trigg, tenor Jackson Allen, and bass Evan Gray. The quartet of singers, hailing from as far away as France and New Zealand, powerfully conveyed the profound human longing in Mozart’s vocal writing. Tacchino’s silvery sound blended beautifully with Trigg’s rich, plummy tones, and all four soloists distinguished themselves by their highly expressive musicality.
Amanda and Talia Rabineau
Maestro Daniel Hege led a tight, seamless ensemble through the wildly contrasting emotions of the Requiem; as usual with this group, the woodwinds were particularly strong. Hege’s tempos seemed to grow organically from one movement to the next, giving the work a living, breathing pulse and a satisfying sense of wholeness.
Carlos Perez, Cassi Lee, Ajen Lewis
But it was the chorus that was the true star of the show. Prepared by William Culverhouse, the combined choirs infused Mozart’s majestic work with energy, elegance, and intimacy. Culverhouse’s singers showed themselves capable of rigorous counterpoint and stunning pianissimi, their phrasing crisply commanding and meltingly lyrical by turns. Mozart’s demands on the chorus are almost soloistic, and this chorus was fully up to the challenge, cycling through his extremes of volume, speed, and emotion with virtuosity and aplomb.
Tenor Jackson Allen, Bass Evan Gray
Over 1100 concertgoers, including many younger music lovers, came out on a snowy midwinter day to hear Sunday’s stunning performance, demonstrating their appreciation with a standing ovation and several curtain calls. The Philharmonic’s foray into the great repertoire of choral music was a great success, one that bears repeating!
Shooting for the moon with infinite potential, Asbury Parks’ next big thing is Fungkshui. Not stopping there, they may also be the next big thing in the Capital Region too. With frequent visits to the area, including recent high octane rock performances at Putnam Place and the Rye Bread Music Festival (RFB), the fun-loving psychedelic prog-funk quintet is quickly and consistently earning high praise from high people in high places.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Whether Fungkshui (pronounced funk shway) are playing to packed clubs along the boardwalks of New Jersey, or randomly stopping in for an unannounced happy hour improv set at The Eleven, it seems the band has found their ‘home away from home’ at Albany’s Lark Hall. As friendly with their staff as they are with their fans, Fungkshui originally made a good first impression at the hall last March while opening for acclaimed avant-garde jazz trio LaMP. Later returning for “Funk Night” with the E-Block in September, NYS Music was there for the for their most recent throwdown on Thursday, January 25th.
Teaming up with sonic astrological improv jammers Quantum Cosmic, a new experimental side project featuring members of Annie in the Water, Raisinhead and The Switch, the dynamic pairing of bands proved to be the perfect combination of good vibes and good times. On a night full of other-worldly jams, technical proficiency, soaring and sublime guitar solos, guest sit-ins, and enough funk to make you want to float around the room and dance with total strangers, both bands turned in peak performances that you ‘outta be kicking yourself for missing.
Blasting off a little later than the advertised 8pm start, Quantum Cosmic quickly made up for lost time by inviting the audience to help telepathically guide them through their all-improvised set. Encouraging listeners to share their positive and creative thoughts as well as birthday wishes to drummer Joshua West, “Just hopefully you’re not a dick about it, ” joked guitarist Michael Lashomb, who also plays with the ever-busy West in Annie in the Water.
Along with Matt Richards on keys, Raisinhead guitarist Ted Grey and bassist James Woods, the band who hasn’t played the same show twice and gambles on “making it up as they go along’ would surprise everyone by also inviting up fellow Annie in the Water/Space Carnival bassist Chris Meier for a memorable trippy dip on the AITW OG staple “The River,” in which the birthday boy West hilariously changed (forgot?) some of the lyrics. After coming back down to earth for a brief intermission, things at the hall were about to get even more Fungky.
Chris Meier sits in with Quantum Cosmic at Lark Hall 1/25/2024.
Barreling their way towards Nectars in Burlington, VT, the road to get there saw Fungkshui work their way through New York by way of gigs at Snug Harbor in New Paltz, an unannounced acoustic set at The Eleven and finally, their fiery headlining set in Albany. Kicking things into gear with a technically proficient and impressive “Meat Salad” >“Ready To Go” > “Power Out” jam sandwich, it was immediately evident what all the fuss over this band is about. Part punk, part prog and overflowing with all kinds of primal groove, there is no denying the twin ax attack and chemistry of guitarists Jack Reed and Max Vitale. Along with the luscious locks of Jon Scheps on the low end, drummer Bobby Reilly and the band’s most recent addition of Dan Hogan on keys, Fungkshui took the Lark Hall stage by sheer force.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Feeling confident and comfortable in the surroundings, Fungkshui would take the opportunity to debut a new song called “Run It” before getting down and dirty on “Barefoot Blues” and the playful “Dan Dan The Waterman.” One of the true highlights of the night came when the band invited Annie in the Water/Quantum Cosmic keyboardist Matt Richards out for some dueling piano action on Dan Hogan’s well-lit rig. Catharsis through collaboration shining through disco ball lights and huge smiles beaming from the faces of everyone on stage, it was the kind of magic musical moment that makes Lark Hall such a special place to see a show.
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
An unexpected guilty pleasure came next in the form of Alice DeeJay’s “Better Off Alone,” which had the whole room dancing around each other in circles. After successfully showing their hand, Fungkshui would then “Ante Up” and “Fade Away” before going deep into the night with one last party jam, “That’ll Do.”
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
With such a formidable relationship already forming between the band and the venue, you almost can’t help but feel optimistic there will be many more magical Fungkshui moments on Lark for years to come. Fresh off the release of their first full length album “Ready to Go,” it’s clear this band is just that. Buckle up in 2024, Fungkshui is about to blast off, and what can I say, I’m totally here for it.
Watch fan shot footage of Fungkshui performing “That’ll Do” in the video clip below:
Fungkshui | January 25, 2024 | Lark Hall | Albany
Setlist: Meat Salad > Ready To Go > Power Out, Run it•, Barefoot Blues > Dan Dan The Water Man, Didn’t Know Anything, Better Off Alone*, Ante Up, Fades Away, That’ll Do
*= Alice DeeJay Cover •= Original Song Debut
Quantum Cosmic | January 25, 2024 | Lark Hall | Albany, NY
Today marks the anniversary of the final show of one of the earliest Grateful Dead side projects. Lead guitarist Jerry Garcia along with Howard Wales delivered one last live interpretation of their jazz-rock fusion album Hooteroll to an audience at the University of Buffalo on this day in 1972. Wales, an avant-garde keyboard player, helped compose all songs on the album which was released the previous year.
The Buffalo gig ended a string of shows played at smaller venues in the Northeast, including one at Syracuse University the week before. While Jerry Garcia may have been the main draw, this tour is also renowned for introducing many to The Mahavishnu Orchestra for the first time, a burgeoning live act with the great Jon McLaughlin on guitar who opened the shows and, according to some bystanders, blew the main act off the stage sometimes.
But Garcia and Wales would get the final word each night with extended takes on Hooteroll, playing alongside Jerry Love on drums, Jimmy Vincent on guitar, and Roger Troy (aka Jellyroll) on bass and vocals, with the group announced as “Howard Wales and Friends.” Unfortunately, no known recordings of tonight’s performance exist, but this excellent one from the show three nights before in Boston paints a clear picture of what transpired at these shows, with the band immediately launching into the frenzied, organ-driven jam “Southside Strut,” the first track of the album, then going off from there.
The music never comes to a complete stop as the band weaves in and out of different tempos and arrangements, although mixing up the songs from the order in which they appear on the album. A section called “Outer Space Regions” completely lives up to its billing before a soul-heavy “Carry Me Back” with Jellyroll on vocals re-energizes everything. Another selection from the album, “DC 502” surrounds a verified “Drums” section as well later on. See Youtube for a full setlist. The entire show is essentially a long, enjoyable 90-minute jam that covers all of Hooteroll and then some.
Photo: Gordon James
Before being played in Buffalo and the Northeast, the seeds of Hooteroll were planted in San Francisco, as Garcia and Wales wound up performing at Monday night jam sessions at The Matrix. This would also be where Jerry met bassist John Kahn for the first time, marking the beginning of their long time partnership. For Jerry, the appeal of this outfit was the ability to play in a more relaxed context than Dead shows. Wales was a serious musician, and Jerry had to work hard to keep up with him, which he would say did more for his ear than anyone else he played with.
Howard didn’t have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn’t – unless you knew where it was going, you had no idea where to start. Sometimes they’d turn out to be just these things like four-bar blues turnarounds, relatively simple musical things, but they were so extended the way he’d play them – ‘God, what is this?’
~ Jerry Garcia, 1991 Interview
With the Hooteroll tour now concluded, Garcia would next turn his attention to a string of shows with another longtime collaborator, Merl Saunders, back home in the San Francisco area.
The Town Ballroom in Buffalo was set ablaze with raw energy and pulsating rhythms on January 23, as four powerhouse bands – Avoid, Counterparts, The Devil Wears Prada, and Fit For A King – took to the stage for a sold-out show on a rainy Tuesday night. Fans from across the city gathered in anticipation of a night that promised to be nothing short of epic, and they were not disappointed.
Fit For a King
Kicking off the evening with a relentless onslaught of hardcore energy, Avoid, got to work getting the crowd but the first thing that stood out before the music got underwear was the singer repping a local city hero, #17, Josh Allen from the Buffalo Bills with his Jersey.
Avoid
Going up next with a relentless onslaught of hardcore energy, Counterparts wasted no time in setting the tone for the night. Hailing from Ontario, Canada, the band delivered a blistering set that had the crowd moshing and screaming along to every word. With their signature blend of melodic hooks and ferocious breakdowns, Counterparts proved why they are considered one of the most exciting acts in the hardcore scene today.
Next up was metalcore stalwarts The Devil Wears Prada, who took the stage by storm with their electrifying stage presence and infectious energy. Drawing from their extensive catalog of hits spanning over a decade, the band treated fans to a set filled with fan favorites and new material alike. From the haunting melodies of “Sacrifice” to the crushing heaviness of “Danger: Wildman,” The Devil Wears Prada delivered a performance that left the crowd in awe.
The Devil Wears Prada
Closing out the night at Town Ballroom were metalcore juggernauts Fit For A King, who wasted no time in unleashing a sonic assault that left the audience reeling. With their bone-crushing riffs and anthemic choruses, the band commanded the stage with authority, inciting mass sing-alongs and frenzied circle pits throughout their set. Tracks “Tower of Pain” and “When Everything Means Nothing” hit with visceral intensity, showcasing the band’s undeniable skill and musicianship.
But beyond just the music, what truly made the night special was the palpable sense of camaraderie between the bands and their fans. From the shared shouts of the famous Buffalo chant “Let’s go Buffalo!” to the sweaty embraces in the pit, it was clear that this was more than just a concert – it was a community coming together to celebrate the power of music.
Between gamblers playing slot machines and Black Jack, fans crowded into the sold-out Great Cedar Showroom at Foxwoods Casino for the veteran rock band Extreme. The band is on the Thicker Than Blood Tour, supporting their new record, Six. This is the second show for the band after the tour kicked off at the Bergan Performing Arts Center in Englewood, New Jersey.
Extreme was founded in 1985 in Malden, Massachusetts and is made up of Gary Cherone on lead vocals, Nuno Bettencourt on guitar, Pat Badger on the bass guitar and Kevin Figueiredo on the drums.
Prior to Extreme taking the stage, the New York City native band, Living Colour warmed up the crowd for a 45-minute set. Like Extreme, Living Colour was founded in the mid-1980s and has produced classic hits like “Cult of Personality,” and “Glamour Boys.”
Living Colour is comprised of guitarist Vernon Reid, Doug Wimbish on the bass guitar, and Will Calhoun from the Bronx, on drums with fellow New Yorker, Corey Glover on lead vocals.
For the entire 45 minutes, Living Colour produced a powerful and memorable set that included eight songs. During the last song of the band’s performance, as they blasted into the aforementioned “Cult of Personality,” Glover hopped off the stage and walked into the crowd while belting out the lyrics to the song. The crowd erupted as Glover walked up and down each section of the theater, stopping for photos with fans and high-fiving concertgoers. Living Colour did a phenomenal job getting the crowd ready for Extreme.
As the clock ticked to 9 p.m., the houselights dimmed as the Extreme banner raised behind Figueiredo’s drum kit. With the blue spotlights on them, the band jumped right into “It (‘s a Monster)” off of the band’s most successful record, 1990’s Extreme II: Pornograffitti.
Throughout the entirety of the band’s set, they incorporated music from their entire discography starting with their self-titled debut record up until their most recent record. While storming through each song, Figueiredo was a man possessed on the drums. His kit didn’t stand a chance as he belted away throughout each song providing chest-thumping beats.
Fans who came to the show on the chilly Friday night were certainly in for a treat as Extreme played for two whole hours. At one point of the set, Figueiredo brought out a mini drum kit as the band embarked on a mini, two-song acoustic set that featured the beautiful ballads “Other Side of the Rainbow,” and “Hole Hearted.”
Even during the band’s acoustic set, there was still so much energy. Throughout the night Cherone slithered and stretched his way around the stage as Badger plucked at his bass guitar during Bettencourt’s shredding solos. It’s widely known that one of Bettencourt’s heroes was the late Eddie Van Halen and Bettencourt paid homage by playing the intro to Van Halen’s “Women In Love…” while saying “Happy Birthday Eddie.”
It was extremely impressive how each band member was able to work off one another and how they each complimented the other. The band’s stage presence and their comradery were visible from the stage and the smiles they had and the laughs they shared were heartwarming.
Each song that Extreme played was magical in its own way and it felt like the band was taking you on a career-spanning journey throughout the show. In between songs the band interacted with fans, joked around and overall gave the fans their money’s worth.
As the doors flew up at the end of the show and the sound of chips hitting poker tables and slot machines rang in the halls, fans left happy and smiles were shared all around as one of the most hard-working bands in rock and roll right now performed another mind-blowing show.
Living Colour Setlist: Middle Man, Leave It Alone, Ignorance Is Bliss, Open Letter (to a Landlord), White Lines (Don’t Do It)/Apache/The Message, Glamour Boys, Love Rears Its Ugly Head, Cult of Personality
ExtremeSetlist: It (‘s a Monster), Decadence Dance, #Rebel, Rest In Peace, Hip Today, Teacher’s Pet/Flesh ‘n’ Blood/Wind Me Up/Kid Ego, Play With Me, Other Side of the Rainbow, Hole Hearted, Drum Solo/Money Maker, Cupid’s Dead, Am I Ever Gonna Change, Thicker Than Blood, Midnight Express, Hurrican, More Than Words, Banshee, Take Us Alive/That’s All Right, Flight of the Bumblebee, Women In Love… (intro) Get The Funk Out, Small Town Beautiful/Song for Love, Rise
On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.
Photograph by Shauna Hilferty
Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.
Photograph by Shauna Hilferty
In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.
When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.
Photograph by Shauna Hilferty
John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold.
Photograph by Shauna Hilferty
“I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.
Photograph by Shauna Hilferty
The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric.
The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.
Photograph by Shauna Hilferty
After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.
Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.
Photograph by Shauna Hilferty
The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.
He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed.
After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.
Wednesday, January 24, intimate Brooklyn venue Baby’s All Right turned into a wild, fun, vibrant showcase of rap, R&B and Jersey club music. Serving as the first New York stop of her Sexploration Tour, Baby Tate pulled out all the stops to make sure this was one of her best shows yet.
Cookie Kawaii’s infectious beats at 10 PM set the perfect tone, as the crowd danced and sang along, creating an electric atmosphere that intensified throughout the night.
At 10:45 PM, DJ Sky Jetta took over the turntables, smoothly transitioning energy between acts. The venue transformed into a pulsating dance floor, with attendees fully immersed in the music.
The long-awaited moment unfolded at 11 PM when Baby Tate graced the stage, treating the audience to hits like “Hey Mickey!”, “Grip,” and “I Am.” Her vibrant performance showcased undeniable talent, and the room surged with energy as fans showered her with appreciation.
In a surprising and delightful twist, Baby Tate brought out drag performers during intermissions, adding an extra layer of glamour and entertainment. The synergy between the performers and the crowd was magical, creating an inclusive space for everyone to express themselves freely.
As the night unfolded, the venue metamorphosed into a glittering wonderland, the audience enthusiastically embracing the interactive elements of the show. Excitement filled the air, and the atmosphere exuded pure joy and celebration.
Baby Tate’s Baby Tate’s Sexploration Tour at Baby’s All Right was a triumph of music, self-expression, and community. Energetic performances and drag interludes etched unforgettable moments into the memories of attendees. Brooklyn pulsated with the spirit of Baby Tate, embodying her bold, vibrant artistry.
Visit Baby Tate’s official website for more details about her ongoing tour.
Grace Potter performed at the Capitol Theatre in Port Chester on January 18, in support of her 2023 release, Mother Road. This performance marked the third stop on a tour extending through August. Backed by a dynamic four-piece band, Potter delivered a two-hour rock exhibition, captivating and thrilling her fans at The Cap.
Grace Potter
As the house lights dimmed, a stage metamorphosis evoked the sensation of traveling down Route 66 in the 1960s. Enveloped in the simulated radiance of tour bus headlights, a silhouette materialized, and Potter took center stage, kicking off the show with “Lady Vagabound” from Mother Road.
The night was a musical inferno, igniting the stage from the instant Grace made her entrance. Throughout the night, Potter embodied a kaleidoscope of personas. In the early moments, she became a tornado, swirling dynamically around the stage. The song “Your Girl” from Midnight saw Potter confidently striding across the stage, and when “Good Time” hit, it nearly lifted the roof off the house with its electrifying energy.
Grace Potter
The evening resonated with an array of new songs. Nearly half of the Mother Road recording found its place in the setlist. “Ready Set Go,” from Mother Road, showcased Grace’s raw and textured voice, infusing the song with the necessary vigor. Long time GP & The Nocturnalfans were not left by the wayside. Tunes like “Medicine” and “Ah Mary” made their way to the night’s set list.
In the latter part of the evening, Potter graced the stage alone, accompanied only by her guitar. During this intimate moment, she presented a heartfelt interpretation of Etta James‘ “I’d Rather Go Blind.” Her minimal guitar accompaniment, combined with a deep haunting vocal, emerged as the focal point of the night. While this change in vibe deviated from the earlier energy, it introduced another layer to Grace’s seasoned rock ‘n’ roll expertise.
Grace Potter
This was also an evening of musical milestones. Brittney Spencer, the opening act, was releasing her debut album, My Stupid Life, at the stroke of midnight. Moreover, this was her first time opening for Grace Potter marking another significant first in her burgeoning career.
Recognized recently by Rolling Stone as one of the “25 Artists to Watch,” Spencer demonstrated why she earned such acclaim. Commanding the stage with a powerful presence and a voice of sultry richness, she allowed her self-penned tunes to resonate not only within the theater but also in the hearts of those who listened.
Brittney Spencer
Spencer collaborated with Potter for two duets during the show. She joined Grace in an acoustic rendition of “Little Hitchhiker” from Mother Road, and later during the encore, they united their voices for a cover of Bob Dylan’s “I Shall Be Released.” In each instance, their voices harmonized seamlessly, crafting a singular and exquisite sound.
Potter wrapped up the evening with a four-song encore, starting with a rocking version of “Paris (Ohh La La).” To bring the night to a close and with the audience illuminating the space with their phone lights, Grace concluded with “Stars.” The harmonious glow enveloping the hall against the backdrop of darkness orchestrated a melodic moment that transported everyone into a symphonic realm beyond.
Grace Potter
The tour takes Potter and crew to The Paramount in Huntington on January 24th, The Count Basie Center for the Arts in Red Bank, NJ on January 25th, and The Filmore in Philadelphia on January 26th, with Brittney Spencer opening all three shows.
Grace Potter – Capitol Theatre, Port Chester – January 18, 2024
Setlist: Lady Vagabond, Medicine, Ah Mary, Empty Heart, Mother Road, Ready Set Go, Something That I Want, Your Girl, Good Time, I’d Rather Go Blind, Little Hitchhiker, Nothing but the Water, The Lion the Beast the Beat Encore: Paris (Ooh La La), You and Tequila, I Shall Be Released, Stars
On the chilly evening of January 19, music enthusiasts and Pink Floyd fans gathered at the Patchogue Theatre for an unforgettable experience—the Pink Floyd Laser Spectacular. This extraordinary event promised a unique blend of music, visual effects, and a journey through the iconic albums Dark Side of the Moon and The Wall.
As attendees entered the theater, they were greeted with a surprise: each person received two pairs of glasses, hinting at the immersive visual spectacle that awaited them. Excitement filled the air as fans took their seats, eagerly awaiting the start of the show.
The first half of the performance was dedicated to the timeless masterpiece, Dark Side of the Moon. As the lights dimmed, the audience donned their 3D glasses, instantly transported to a world where music and visuals harmonized in an otherworldly dance. The stage came alive with a mesmerizing display of lasers, perfectly synchronized with the ethereal sounds of Pink Floyd.
A large screen on the stage served as a canvas for three-dimensional images that seemed to leap out into the audience. The combination of 3D glasses and intricate laser work created a surreal experience, immersing everyone in the music and the visual storytelling. Each note seemed to manifest as a burst of color, and the iconic album unfolded in a way that transcended the traditional concert experience.
The transition to the second half of the show marked a shift in both sound and visuals. The focus turned to the legendary album The Wall, with a special twist. Audience members swapped their 3D glasses for prism glasses, adding a new layer of complexity to the visual experience.
The prism glasses enhanced the vibrant and kaleidoscopic visuals, complementing the powerful narrative of The Wall. As classic songs from the album echoed through the theater, fans found themselves immersed in a dreamlike state, surrounded by an ever-evolving tapestry of lights and colors.
The Pink Floyd Laser Spectacular at Patchogue Theatre wasn’t just a concert; it was a journey through the band’s iconic discography, brought to life with cutting-edge visual effects. The fusion of music, lasers, and 3D imagery created a truly immersive experience that left a lasting impression on everyone fortunate enough to attend.
On Thursday, January 18, Miami’s alternative funk band Magic City Hippies performed at the Brooklyn Bowl in continuation of their ongoing winter tour featuring opening artists, The Palms and Josh Fudge.
The Palms formed in Los Angeles in 2015, and have become commendable in today’s independent musical landscape. Some of their top hits include “Breakin’ Up,” “Push Off,” and “All4you,” from their 2016 EP Sway.
Josh Fudge is an Oklahoma-born multi-instrumentalist who mixes modern vibrancy with alternative indie-pop that feels nostalgic. He is able to bring people together and creates an intimate, homegrown sensation throughout the crowd.
Magic City Hippies are originally from Miami and first dubbed themselves Robby Hunter Band before being renamed back in 2015. They began self producing in 2013 when their first self-titled EP was released. Over the years, their sound has evolved while utilizing loop pedals and incorporating elements of electronic indie rock with a strong emphasis on groove.
The band consists of lead vocalist and guitarist Robby Hunter, drummer Pat Howard, and guitarist John Coughlin. Some top hits include “Limestone” and “Fanfare” from the Hippie Castle EP and “Queen” and “Water Your Garden” from most recent album Water Your Garden.
Overall, their energetic live performance put on quite the show, blending a mix of psychedelic pop and funk groove while receiving both fan and critical attention during their musical success. Thursday night saw a youthful exchange between the artist and the crowd, cementing a memorable fifth night as part of their winter tour. MCH’s next pit stop is in Boston as we look forward to seeing what’s in store for the band’s evolution in the psych-funk music scene.
