The Orchestra Now (TŌN), conducted by Leon Botstein, performed a set of works by modernist American composer Charles Ives at Manhattan’s Carnegie Hall, on Thursday, November 21st.
The evening concluded a Bard College Ives festival, one of four Ives festivals supported this season by the National Endowment for the Humanities.
The Orchestra Now, conducted by Leon Botstein (Credit: David DeNee)
The concert highlighted pieces in which Ives used themes from famous American tunes, each work being preceded by a mini-lecture by J. Peter Burkholder. Snippets of the original pieces were also played on piano by Donald Perlman and sung by William Sharp.
The opening piece, The Fourth of July from A Symphony: New England Holidays, begins with a whispering and sighing of strings, a kiss of cymbals. Just when the audience has been tricked into thinking it can relax into this performance, Botstein is suddenly waving his arms and driving the orchestra into crashing crescendo.
Like the other pieces played in the first half of the concert, The Fourth of July falls into the ‘modernist’ classical genre associated with musical innovation away from rigid classical principles. (Jazz can be considered a modernist art form.)
In practical terms, Ives modernist work eschews such stuffy principles as ‘playing in time’ and ‘playing notes that sound good together’, in favor of less conventional means of constructing themes and musical ideas. Towards the end of the piece one feels that some part of the orchestra or another has lost the beat – the percussion is ahead, or no, the strings are behind, or, oh no it’s all falling apart! – until all of a sudden Botstein slams on the brakes. An exhausted sigh seems to emanate from the stage and all is – briefly – silent.
Then tolls, from somewhere in the back, an impish bell – just once. The audience is reminded that Botstein and his players, recreating the kind of wild and competitive soundscape of a parade, were in control the whole time. Just how is hard to say.
This is followed by Central Park in the Dark, a 7-minute tone poem about what one might hear during a steamy summer’s night in Central Park at the start of the 20th Century. We are invited to consider the mixture of sounds Ives might have heard before, according to the composer himself, “the combustion engine and radio monopolized the earth and air.”
The piece begins with a slow, painful lament by the string section, described in the program notes by Haley Maurer Gillia, TŌN violinist, as representing “the omnipresent heat and the surrounding nature” that Ives might have felt.
After the strings comes, from somewhere uptown maybe, a piano. But this pianist must not have been listening because now – vying with the sad, dissonant strings – we have ragtime?! And if that’s not enough, in chimes a trumpeter, warming up in a different key in the parlor of a nearby apartment.
Balancing these different instruments, allowing them to pierce into our attention so suddenly and violently at times, must be somewhat novel for an orchestral conductor. Botstein’s day job presumably involves balancing the parts of an orchestra, letting soloist augment, without overwhelming, the accompanying musicians. Here, it feels as if the very point of the work is to accentuate this competition between sounds, all the more redolent for its clashing nature.
The music cannot readily be described as beautiful, but it is so much more rewarding for its being challenging. Ives was not widely recognized in his time (other than for being a successful proto-finance bro), but there is a freedom, a playfulness to the performance which is hard to find elsewhere in classical music.
But where were we? – the whole thing seems to have veered off course again: what Ives has put down on the page just can’t be, the whole thing is just becoming too literal, too wonderfully overwhelming. Once again Botstein has to wrest back control, exhorting his percussionists to beat some order into the rest of the orchestra. Back we find ourselves in the original theme, those sweet, hot, sticky violins on a warm night.
The final performance before the interval is of Orchestral Set No. 2, which features themes from popular American hymns such as Bringing in the Sheaves by Knowles Shaw and George Minor (a ‘sheaf’, if for some reason you didn’t know, is a bunch of cereal crop tied together after a harvest).
Snippets of the original pieces were also played on piano by Donald Perlman and sung by William Sharp. (Credit: David DeNee)
The piece is opened by double bass and timpani – an ominous pairing. Listening to Ives’ work requires you to open your ear in a different way. In this kind of music, no use looking out for the violins or the oboes; better not try to contrast the clarinets and French horn with one another. The dissonance and, at times, lack of discernable rhythm invite you to listen to the thing as a whole, as a monolith.
The work therefore seems challenging to play, the musicians needing to shed their desire to play notes from conventional chords and at the same time. How one actually plays this, let alone conducts it; how the whole thing falls together just right – these are questions I am not qualified to answer.
Today there is a reasonable acknowledgement of the legitimacy of ‘borrowing’ ideas in music: from sampling to vernacular folk musics to – well, just about any ‘genre’ you care to name. Yet it is though hard to tell what Ives means through his musical borrowing.
Most of the songs he borrows from are innocent, patriotic, simplistic pieces of music: Fourth of July parades, Protestant harvest hymns etc. Yet Ives’ work feels as much written with the hammer at the anvil than with the pencil at the bureau. Simplistic, balanced phrases are melted down and violently annealed into dissonant, chaotic ideas. Is there something irreverent about Ives’ use of old-school Americana? What drove Ives to work like this?
After the interval, the final set of works is Ives’ Symphony No. 2. This is a return to more ‘conventional’ musical forms and, refreshments in hand, the audience can relax a little – no more errant drum rolls or angry trumpet notes flying overhead. I suspect that some members of the orchestra feel a little more relaxed now too.
The symphony is honey-sweet, Ives passing the silken memories of his New England youth through the loom into perhaps the most indulgent art form around, the orchestral symphony. As with the rest of the performance, TŌN’s musicians handle the work with love and care and Carnegie Hall is, of course, a wonderful place to hear this. (At one point I was certain that the harp was being plucked not on stage but somewhere over my head. It is a magical experience.)
Whether Charles Ives was an iconoclast or a proud patriot; whether he achieved his goal of writing the first Great American Symphony – these questions are not really relevant. Even though Ives was an innovator, his contemporaries chose not to enjoy his music in the way TŌN and Botstein treated us to in 2024. Their loss.
You want a rock concert? A mosh-pitting, floor-bouncing, head-yelling, crowd-surfing rock show? That’s exactly what Telescreens brought to Webster Hall on November 19. Hometown fans crowded the 1,500-person Grand Ballroom and for a few hours were swept up in the power of rock.
Telescreens Credit Aidan Lukomnik
Telescreens formed after frontman and lead guitarist Jackson Hamm moved to New York to attend the Clive Davis Institute of Recorded Music. There he met keyboardist Josiah Valerius and bassist/keyboardist Austin Brenner in 2016. The final member of the band, drummer Oliver Graf, joined the other three in 2019 – adding to their explosive sound. The band started playing gigs around the city before COVID-19 but was forced to stop because of the pandemic. Since their return to live touring, they’ve played Austin City Limits and Governor’s Ball.
Telescreens Credit Aidan Lukomnik
On Tuesday, hometown bands Skorts and Kareem Rahma & Tiny Gun opened the show. Skorts amped the crowd up with head-banging energy and a light show with more than enough fog to fill the room. The one problem was Skorts’ drummer hidden in a wall of mist. Following Skorts, the multi-hyphenate singer/ comedian/ interviewer Kareem Rahma came on stage with his trademark sunglasses – which he never took off. Playing off his success as a video creator, the band’s song “Content Machine” got the audience jumping as the singer poked fun at his other jobs.
Kareem Rahma Credit Aidan Lukomnik
By the time Telescreens came on, the audience was ready, and a moshpit formed almost immediately. Within the first two songs Jackson Hamm jumped from the stage into the crowd to re-form the pit in the middle of the room. Once he was back on stage, moshing started again, and the floor of the ballroom roiled like the ocean – visibly shaking and bouncing from the audience’s movement.
Throughout the night, Hamm encouraged the audience to lose themselves to the music, asking them to “take this as an opportunity to push yourself a little out of your comfort zone.” The lead singer also admonished wallflowers who weren’t engaging with the music, “You on the sides, why do you wanna be so fucking cool?”
Jackson Hamm reforms the Moshpit, Credit Aidan Lukomnik
It’s clear that Hamm believes in the power of rock. Throughout the set, the singer and guitarist worked up a sweat and, at one point, said: This [Rock and Roll] is like a religion. You have to believe it will make you feel better. You’re not supposed to stand there with your arms crossed. You’re supposed to move your feet. You’re supposed to get your heart rate up.
Telescreens, Credit Aidan Lukomnik
As the night wore on, mosh pits formed and closed, and dozens of people crowd surfed, egged on by Hamm, who said, “Keep crowd surfing, that shit feels good, I promise.” As crowd surfing escalated, Webster Hall had to call in extra security to ensure everyone was safe.
A crowd surfer, Credit Aidan Lukomnik
Telescreens ended their set with Hamm ripping chords, jumping from the stage to the crowd and back (again), and the band leaving it all out for their hometown fans.
moe. fans flocked to the Middle Ages Concert Hall in Syracuse on Friday, November 15 for the first of two consecutive sold-out performances by Monkeys On Ecstasy.
Perhaps one of the more poorly kept secrets in the music industry, Monkeys on Ecstasy serves as the pseudonym for jam-rockers moe. The alternatively billed shows allow the band to perform more intimate clubs and concert halls, harkening back to their early years. The lucky recipient this time around was the Middle Ages Concert Hall. The band, now entering their 35th year, recently announced their 14th studio album,Circle of Giants, would be released on January 31, 2025 and would be backed by an extensive U.S. tour.
On Friday, fans filled the area in front of the stage well before the band’s scheduled 8pm start time. As show-time approached, a nearly impassible wall of fans stretched beyond the listening room and out into an adjacent bar area. The excitement and energy of the audience was palpable, as their legion of fans traded stories of their previous moe. concerts.
Shortly after 8pm the band took to the stage and opened with their rendition of Pink Floyd’s “Interstellar Overdrive”. The slow building instrumental would culminate in a full-blown rocker, show casing the traits which make moe. great, with upper tier orchestration as each band member took their turn at adding layers of improvisation. The track would weave in the moe. original “Zed Nought Z” before returning to the outro of “Interstellar Overdrive”. In all the sequence would last over 20 minutes.
The band would play two sets on Friday, with each set pushing beyond 90 minutes. Set two featured the improv-heavy rocker “Timmy Tucker” garnering full-on audience participation on the chorus. As the night approached midnight, the evening would come to a close. Fans poured out into the Syracuse streets, celebrating what they had just witnessed and already eagerly anticipating what could be in store for night two.
Monkeys On Ecstacy – Middle Ages Concert Hall, Syracuse – Friday, November 15
Set 1: Interstellar Overdrive > Zed Nought Z > Interstellar Overdrive, Brent Black, In Stride, Bat Country, She, Space Truckin’ Set 2: Shoot First > Timmy Tucker, Bring You Down > Lazarus > Skitchin’ Buffalo > Skitchin’ Buffalo Reprise > Recreational Chemistry Encore: Light up or Leave Me Alone
Jessie Murph brought an electrifying energy during her tour stop at the historic Landmark Theatre in Syracuse. With fans wrapped around the block, they were treated to an unforgettable night filled with emotions and powerhouse vocal performance that left them wanting more.
The night opened with Big Yavo, an emerging artist from Alabama who delivered a set with southern charisma and sounds. His blend of hip-hop and rap had the crowd dancing on their feet, primed for what was to come, setting the perfect tone for Jessie’s entrance.
The historic Landmark Theatre, with its architecture and old-world charm, was the perfect venue for Jessie’s soulful vibe. The 20 year-old Alabama native began her music career by sharing heartfelt covers and original songs on social media platforms, where her voice quickly gained widespread attention.
Now, she’s made her place as a force in contemporary pop/country and R&B, captivating audiences with her unapologetically honest storytelling. Performing hits like “High Road,” “Sip,” “Pray” and “Heartbroken” had the crowd singing every word along making the Landmark echo with energy.
Her breakout hit “High Road,” a collaboration with Koe Wetzel, dove into themes of resilience and facing personal battles. This track blends her emotive vocals with Wetzel’s gritty, country-rock influence, creating a unique crossover fans have welcomed with open arms.
Another highlight of her career is “Heartbroken,” her collaborative hit with Diplo and Polo G, which blends electronic beats with her signature raw lyrics. This song’s success further cements her as a versatile artist capable of thriving across different musical landscapes.
Four years from the frays of the pandemic, Tiffany Majette, the New Jersey-born Orion Sun, is finally getting to live her dream out on the road. In the tender confessional on her Brooklyn Steel set on Thursday, November 7, the R&B songwriter reminisced on her first time in the Big Apple (the event marking the second occurrence), though, as she admits, what should’ve been a milestone performance felt like it didn’t really count.
Photos by Zachary Giller
“I was performing to an empty room, to a screen and there were clapping emojis at the end of every song,” she professed. “I remember being really scared that this was the new normal.”
Photos by Zachary Giller
Ever the optimist, Orion Sun didn’t let the stark anecdote’s sentimentality linger around long enough to sour, urging listeners to “don’t think about it too hard” into her lapse of vulnerability, choosing instead to let her music do all the heavy lifting.
Photos by Zachary Giller
Unbeknownst to her, despite all the worldly circumstances, 2020 proved to be a groundbreaking year. The singer-songwriter released two seminal albums, A Collection of Fleeting Moments and Daydreams and Hold Space For Me two months apart at the year’s emergence. And despite the catastrophic shutdowns that began mere days before the release of Hold Space For Me, Orion Sun forged ahead, gaining millions of eager fans with similar grievances and all the time in the world to slow down and listen.
Photos by Zachary Giller
On the stage set in East Williamsburg, a neighborhood teeming with hipsters and bearing a reputation as such, Orion alludes to a childhood of poverty and the embers of hope back when her days felt as dark as the obsidian-drenched room she currently occupied. With a timbre that oozes honey-like sincerity and eau de Jorja (Smith) tonality, she seduces with the throes “Space Jam – An Odyssey,” a track revealing dreams of a faraway home, as someone once intimately familiar with the rows of homelessness and housing insecurity:
“You wear Michael Jordans, I can’t afford them / I got dreams of Paris, I’d love to share them / I wanna go real far, like really, really far,” Orion croons, voice ringing with the disarming tenderness and lucidity of a teenager forced to grow up too quickly.
Photos by Zachary Giller
And travel Orion does, even within the confines of the 20,000-square-foot arena, never beholden to one place or once stagnating as she bounces lightly from left stage to right, surely making up for lost time, vocals even-kneeled and steady alongside improvised yet fluid choreography.
Photos by Zachary Giller
Her status as a former theater kid may serve as the resume for her captivating stage presence and even reserves Orion Sun the right to show off a little, with all the towel-flinging theatrics, a show-stopping megawatt smile, and endless gestures of gratitude in the form of generous leapfrogging daps and unadulterated quirks inundated with outbursts like “throat coat” and cheeky requests for a “No Judgement Zone.” As she leans into the opening acoustics of “These Days,” making promises that it’s really love that keeps us warm on days you’re “trying to keep your head above water,” you’re inclined to believe her, surrendering all lackluster cases against her indomitable thesis.
Photos by Zachary Giller
Fiddling with dials and clacks of a synthesizer, the self-made producer gave a glimpse at the honed skills that allowed her to retain all her masters as the sole writer and producer on her earlier works (“They want a ransom but if you make it yourself, the beat is free,” she sings cheekily in “Sailing”) and which attracted offers from big-time record labels. A twist here and a tap there, a dialed back reverb, and it’s a remix, on the fly: “This sounds better,” she joked, re-upping an intro with the click of a button.
Photos by Zachary Giller
Maybe predictably from someone who earlier in the night confessed to a craving of human interaction, Orion Sun proved to be a flight risk. Traipsing her way from left stage, confusion flooded the room from wall-to-wall as the top of Orion’s head disappeared — and re-emerged moments later in the crowd, weaving through shepherds of long-time fans and their equally enthralled compatriots, who parted for her like the Red Sea, granting her the hearty New York welcome she’d imagined many fortnights ago.
Photos by Zachary Giller
And to the dormant insurrected by her dare-to-dream purview, she leaves a ray of light as a parting gift. “For the creatives, do it for the archive first,” she urged, lessons she’s not only learned the hard way but intrinsically, forever embedded in her discography and way of life.
Photos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary Giller
SNL has officially returned, celebrating its 50th year on the air. Since its start in 1975, the show has introduced Americans to classic comedy skits, ranging from Wayne’s World to the Blues Brothers. On top of that, comedy icons like Eddie Murphy, Adam Sandler, and countless others have SNL to thank for launching their careers. But let’s not forget an often overlooked part of SNL’s history: its musical guests.
To celebrate SNL’s 50th anniversary, let’s take a look back at 50 classic performances from throughout the show’s history. In this installment, we’ll travel back to SNL of the 1980s to see some of the decade-defining acts that grace the 30 Rockefeller Plaza stage.
The B-52’s (1/26/1980)
To kick off the 1980s, New Wave icons the B-52’s performed an energetic set. Hailing from the college town of Athens, Georgia, the band was riding high after the release of their debut self-titled album. So in January, 1980, they made the trek up to New York City to soundtrack an episode hosted by the late-actress Teri Garr.
To start off their set, the band played their biggest hit at the time – “Rock Lobster.” Before the music even started, nothing stood out more than the band’s style. Their eclectic eighties meets fifties fashion was on full display. Cindy Wilson and Kate Pierson’s mile-high beehive haircuts instantly gave the audience a taste of the B-52’s ethos. They were deeply rooted in retro aesthetics, but also spearheading a New Wave of punk.
The audience did not have much time to gawk at the band’s style, because Ricky Wilson immediately fired into the iconic “Rock Lobster” riff. Alongside guitar, singer Fred Schneider played SNL’s favorite instrument – the cowbell. Throughout the song, Schneider bopped around the stage, waving his cowbell and drumstick. This dance party of a song dramatically halted at the bridge, with the band members collapsing as Schneider yells “Down! Down!” Following this, the band immediately sprung back up, whirling around the stage. Even Keyboardist Kate Pierson left her station to join in on the vortex. The B-52’s, unlike any band from that era, matched campy theatrics with a rough punk edge.
Following a number of skits, the band returned to play “Dance This Mess Around.” This track started off much differently than their opener, with harsh keyboard stabs and dissonant guitar. For this number, Schneider passed off vocals to Cindy Wilson. Her soft vocals grew into screaming as the chorus neared, with Schenider’s distinctive yelping backing joining in soon after. Throughout the song, the band all erratically danced, while somehow remaining unsettlingly still, mirroring their SNL predecessor Devo.
With this performance, the B-52’s both carried on history, and made history of their own. They brought the 1970s New Wave of Devo and Elvis Costello to a new decade. This performance, while unassuming at the time, hinted at a decade that both New Wave and the B-52s would thrive in.
Funky 4+1 (2/14/1981)
In 1981, a Bronx-based quintet made SNL history with a single performance. On Valentine’s Day, Funky 4 +1 played the first Hip-hop performance, not only on SNL, but on all of national television.
Known hip-hop aficionado Debby Harry hosted that night, and personally vouched for the band. During her work with Blondie, Harry formed a great appreciation for hip-hop. In 1981, Blondie made history with “Rapture,” becoming the first song with a rap verse to reach number one. As part of this, Harry became close friends with rap icon Fab 5 Freddy, who introduced her to Funky 4 +1.
From the first second of their SNL performance, “That’s the Joint” was a straight blast of joy. The Funky 4 all in matching red sweaters accentuate their female lead Sha-Rock. In a way, the monochrome male backers and the standout female lead vocalist wasn’t too different from Blondie itself. A sample of “Rescue Me” by A Taste of Honey propels the song forward with funky bass and horns. Over this disco beat, the five rappers pass off lines between each other, making for a great early hip-hop track.
One key member of the band wasn’t even a member, but rather a DJ. Throughout the performance, he can be seen spinning records in front of the group. This sampling-based number marks a radical shift in the style of musical performances on SNL, foregoing live instrumentation altogether. This showing also revolutionized how rap artists performed live. Rather than bopping to the beat, the band adopted fully choreographed synchronized dance moves. Drawing from older Motown acts, the band looked more akin to the Jackson 5 than the Sugarhill Gang on stage.
Only one week after Funky 4 + 1, SNL introduced a future superstar to the world. Prince, the artist formerly known as Prince, or Ƭ̵̬̊, whatever you want to call him, he made his special debut appearance on February 21st, 1981. While not the musical guest – that was rock icon Todd Rundgren – SNL invited Prince to perform one song from Dirty Mind. This performance marked the first of four guest slots Prince filled during his life.
Following two performances by Rundgren, it was Prince’s turn to perform “Partyup.” Prince and his band emerged on stage in matching trench coats. Under his trench coat, Prince wore only a bandana, short-shorts, and stockings, mirroring the cover of Dirty Mind. The performance got off to an energetic start, driven by funky synths, bass, and guitars. Throughout the funk number, Prince’s iconic falsetto vocals soared. However, one vocal line also caused controversy. Some claimed Prince sang the original lyric “Fighting war is such a f*cking bore,” violating broadcasting regulations. Prince himself, however, claims he said “Freakin.”
Funnily enough, yet another F-bomb overshadowed this performance, this time coming from cast member Charles Rocket. During the farewell, Rocket, parodying JR from Dallas, angered TV censors yet again. Turning to the camera he said “Oh man, it’s the first time I’ve ever been shot in my life. I’d like to know who f*ckin’ did it.” Needless to say, the cast and broadcast staff were all shocked, and Michaels promptly fired Rocket. This, however, was the last time anyone outshined Prince, as he would go on to dominate for the rest of the eighties.
This performance is sadly near impossible to find in its entirety online. Whether due to the multiple swears, or Prince’s estate’s strict licensing policy is unsure. It is a shame, as it is one of the best to ever grace 30 Rock. Immediately after, Jeffrey Doumanian writing for Rolling Stone said, “I was blown away, he was just the most original act I had seen in a long time.
FEAR (10/31/1981)
For one night only, the SNL stage transformed into a no-holds-bar mosh pit. That night was Halloween of 1981, when Lorne Michaels invited LA-based hardcore band FEAR onto the program. With his previous bad luck with punks *cough, cough, Elvis Costello* why would Michaels push his luck with an even rowdier crowd? The answer is pretty simple: he didn’t. In fact, it was SNL alum and notorious party animal John Belushi who pitched the idea.
John Belushi was an avid fan of all things punk rock, quickly becoming close friends with FEAR. Earlier that year, he even offered the band the opportunity to soundtrack his movie Neighbors. The studio, however, was not impressed and thought the band’s music was highly inappropriate. Belushi, being the good friend he was, offered FEAR a musical slot on SNL to make up.
Belushi’s plan, however, was much more complex than just having the band perform. He pitched Michaels his idea – to turn 30 Rock into a full-fledged punk venue with slam dancers. Then, Belushi began making calls to punks across New York and Washington DC. By Halloween night, 40 punks closed in on the SNL studio, including future Minor Threat singer Ian Mackaye. For the dress rehearsal, the punks mellowed out, lulling Michaels into a false sense of security. But when have punks ever been ones to follow the rules?
When FEAR took the stage that night, all hell broke loose. They began with “Beef Bologna,” a breakneck pace hardcore track with screamed vocals and fiery guitars. As soon as the music began, the punks in the audience showed what they were really made of. Some dove across the camera, others stormed the stage, and all of them indulged in the pure chaos. As singer Lee Ving recalled, “The real audience at Saturday Night Live was scared to death.” Luckily for everyone at 30 Rock, after the relatively short song, the crowd seemed to calm down slightly.
It wouldn’t last. Ving – the comedian he is – grabbed the mic and said, “It’s very nice to be here in New Jersey,” warranting immediate boos. This segued into their second track “New York’s Alright if You Like Saxophones.” Sonically, this song is unique among eighties hardcore, featuring dissonant saxophone at its center. The audience couldn’t savor this musical complexity, as not even two seconds into the song, the moshing resumed. In the mayhem, the mic even fell into the audience. The young DC-raised Ian Mackaye seized on this opportunity, yelling “New York Sucks,” starting a small fight.
The band’s final track was “Let’s Start a War,” which seemed like a good reflection on what they were doing in the studio. Unfortunately for FEAR, they did not have the chance to finish this performance. In fact, they didn’t even get 15 seconds in. From stage right, a man entered holding a massive pumpkin. Lumbering across the stage, he then chucked it directly at producer Dick Ebersol’s chest. In a panic, SNL cut to dead air for the first time in its history. After some hesitation, the broadcast resumed with a pre-recorded Eddie Murphy skit. As audiences watched on, cops chased the 40 punks out of the studio, restoring order to 30 Rock. Needless to say, Lorne Michaels never invited FEAR back to SNL.
Queen (9/25/1982)
SNL’s eighth season began with a performance by one of the biggest legends in rock: Queen. With SNL alum Chevy Chase hosting, the band joined to perform two songs from their 80s discography. This should have been an easy slam dunk: iconic host, equally iconic band, how could it go wrong? The issue came with Queen’s touring schedule. The SNL premiere came on the back of a 27-city US tour. The band were all exhausted, and Freddy Mercury’s booming voice was shot. Queen, however, were never a band to shy away from a challenge, and persevered. Playing sped up, more rock-edged versions of their tracks, they stunned the audience.
The first track they performed was #1 hit “Crazy Little Thing Called Love.” This performance was a much more beefed-up rock version of the hit. It began with Mercury front-and-center, surprisingly playing the acoustic guitar. Maybe it was because of his vocal limitations, or the need for the song’s iconic riff, Mercury ditched the keyboard for the guitar. Once the song started, honky tonk pianos and a jazzy electric guitar riff from Brian May joined in. Listening to the performance, you couldn’t even tell Mercury’s voice was all but destroyed from a month of touring. To close out the track, May laid down a legendary extended electric guitar solo.
Later in the episode, Queen returned to the stage to perform “Under Pressure.” Although their latest album Hot Space was a commercial disappointment, its lead single – a debut with David Bowie – was an instant classic. Prior to Mercury’s passing in 1991, “Under Pressure” was a sole Queen live track – with or without Bowie. Beginning with the song’s iconic bassline, everything started according to plan. However, when Mercury’s vocals begin, his exhaustion was much more noticeable. There was no way he would be able to hit the song’s rising vocal lines. As a result, he had to alter the melodies, allowing his more limited register to boom through the studio. Throughout the song, he confidently strutted across the stage in a leather jacket. It was clear that his voice didn’t phase him in the slightest.
This performance marks a sad moment in music history. SNL was the final performance the band ever played in the US prior to Mercury’s passing from AIDS 9 years later. Even though it was their final American show, and the band were clearly not at their highest, it was a clear show of force. They may have been exhausted and had no voice, but their musical prowess and stage presence made all of that unimportant. Watching the performance, there is no question why Queen was one of the greatest bands to ever do it.
The Replacements (1/18/1986)
Yet another punk band banned from SNL for disorderly behavior – I guess third times a charm. This story, much like Elvis Costello, began with a last-minute fill in by Lorne Michaels. Originally, SNL booked the Pointer Sisters to perform on a Harry Dean Stanton hosted episode. However, when they canceled, Lorne Michaels called in Minnesota-based alternative band The Replacements.
Riding on the success of their major label debut Tim, the Replacements’ SNL performance was a medium to prove themselves on a live stage. What better way to prepare for such a momentous occasion than partying like there’s no tomorrow. Leading up to the performance, the band made a day of binge-drinking with Harry Dean Stanton. And did they drink…and drink…and drink. When it came time to go up on stage, guitarist Bob Stinson tripped and fell, smashing his guitar.
Once a replacement guitar was given to the Replacements, they took the stage for their first song. From the first second of “Bastards of Young,” it was clear something was off. It seemed like each band member was playing in a different key. In other words, their drinking had caught up to them and the performance was a mess. Clearly, the band was already at odds with Lorne Michaels, poking fun at him during the performance. As Paul Westerberg sang, “The ones who love us least are the ones we’ll die to please,” he gave a big exaggerated wink right in Michaels’ direction.
The real trouble came right after this. Westerberg was worried that Stinson was so intoxicated that he would miss his cue for the song’s guitar solo. Taking action into his own hands, Westerberg yelled, “Come on f*cker” to cue Stinson himself. Michaels was furious, fearing backlash from network censors for this use of profanity.
Michaels, however, did let the Replacements take the stage for another song. When the band reemerged, they seemed to have swapped outfits with each other for some reason. Maybe it was the outfit change, or the extra time to sober up, but their performance of “Kiss Me on the Bus” was much more composed. The band played together, in tune, and in key. When the moment of truth came for Stinson to play his solo, he was even able to do so without any swearing needed.
This cleanup job was not enough to quell Michael’s anger however. By the time the Replacements left the stage, Michaels had banned them. For the third time in SNL’s history, a punk act’s hijinx had gotten them banned from the show. Singer Paul Westerberg, however, was allowed to return to the show seven years later as a solo act. During this performance, he even played a Replacements track – “Can’t Hardly Wait.” The band’s next performance at 30 Rock wasn’t until a 2014 appearance on Jimmy Fallon – a whopping 32 years later.
Phillip Glass (3/22/1986)
Who screams SNL musical guest more than pianist and experimental composer Phillip Glass? If you thought literally anybody else, you’d most likely be correct. However, for one special episode of SNL, Glass performed and soundtracked the whole night. This decision, while odd at first glance, makes much more sense in the greater context of the unique episode it soundtracked.
On March 22nd, 1986, filmmaker Francis Ford Coppola hosted alongside comedian George Wendt. This episode, unlike SNL’s normal skit-based format, this night had an overarching narrative arc. It followed Coppola in his quest for an Emmy award. To do this, he directed the entire episode, repeatedly misunderstanding and twisting SNL’s concept to make it more artful. This vision was put on display immediately after the cold open. In place of the show’s fun intro was a moody opening credits sequence. Glass’s track “Facades” from Glassworks substituted the usual upbeat jazz theme.
After this, the show’s skits doubled down on its concept. First came Wendt’s monologue, which Coppola repeatedly interrupted hoping to capture the perfect take. To add onto this, he even told the audience how they should laugh in response. Following the monologue was a number of experimental, esoteric, and realist sketches tackling everything from Vietnam to The Honeymooners. Coppola even recorded a number of satirical commercials to make sure every aspect of the broadcast was up to his standards.
Throughout this experiment in television broadcasting, Coppola invited the Phillip Glass Ensemble to perform twice. The first of these was “Lightning” from Glass’s 1986 album Songs from Liquid Days. This track was unlike anything 30 Rock had witnessed previously. In Glass’s normal fashion, repetitive whirling percussion and winds propelled the song forward. Minor-key keyboard stabs supplemented this, creating an almost alien atmosphere. At the center of the piece was Janis Pendarvis’ beautiful operatic vocals, performing lyrics by Suzanne Vega. This track marked one of the most accessible moments in Glass’s discography, while remaining musically complex.
Glass’s second performance was “Rubric,” an excerpt from his 1982 classical opus Glassworks. This track was much more abstract than its predecessor. Keyboard and woodwind arpeggios drove the song forward. This song was much more emblematic of Glass’s discography, being a repetitive, deeply-minimalist composition. As it went on, it grew more and more lush, adding operatic vocals on top of the mix. As the ensemble performed, clips from the experimental documentary Koyaanisqatsi overlaid the show. The excerpts, featuring nighttime timelapses of a city, only added to the monumental aura of the performance.
Due to the unorthodox one-off nature of this episode, it is unlikely that 30 Rock will witness anything else like it again. It really is too bad, as the Phillip Glass Ensemble’s appearance was one for the ages. Equal parts experimental and approachable, minimalist and lush, the performance bent the rules of what an SNL performance could really entail.
Elvis Costello (3/25/1989)
So far, Lorne Michaels has not shied away from banning anyone he disagreed with. Play a song he didn’t like – banned. Said a naughty word on air – really banned. However, on March 25th, 1989, Michaels felt in a much more forgiving mood. After a 12 year ban, SNL invited back New Wave icon Elvis Costello for a solo performance. 12 years prior, Elvis Costello and the Attractions received a “lifetime” ban for going off script. Instead of playing “Less than Zero” like planned, Costello switched into a rendition of “Radio, Radio,” which angered Michaels beyond belief. Now a solo artist, Costello returned to support his hit album Spike, playing two new songs.
In the leadup to Costello’s first song, host Mary Tyler Moore made one of the strangest performance announcements in the history of SNL. Continuing a streak of raunchy language, she told the audience “Elvis Costello’s penis is here tonight, so stick around, we’ll be right back.” After that strange introduction, Costello took the stage to perform top-20 hit “Veronica.” Co-written by Paul McCartney, the song was an upbeat pop-rock number, lacking Costello’s punk edge that got him in hot water during his first appearance. Picking up an acoustic guitar, Costello led the band, singing about a woman slowly losing her memories with old age. Despite the sad lyrics of the song, you would have no idea based on Costello’s lively energy.
Following this, Costello returned to perform “Let Him Dangle.” This track is noticeably more solemn than his opener, discussing a man preparing for the gallows. The mostly acoustic track provided a comedown from the frenetic energy of “Veronica.” Despite the more serious nature of Costello’s tracks that night, he managed to stay in Michaels’ good graces. All it took was Costello staying on script. This forgiveness appears to have lasted, with Costello making two additional guest appearances throughout the 1990s.
On top of this performance, the episode was also notable for its sketches. Following Costello’s second song, SNL debuted a new sketch. Featuring Mike Myers and Dana Carvey, it introduced the world to the Wayne’s World public access television show. The charming sketch, featuring the two loveable music nerds in Wayne’s basement, quickly became a fan-favorite. Within just four years, it became a recurring sketch, spawned two movies, and got an entire generation saying “Wayne’s World, Wayne’s World. Party time! Excellent!” This one unassuming episode not only mended SNL’s past conflicts, but also paved the way to its future.
Tom Petty (5/20/1989)
In 1989, Tom Petty arrived at 30 Rock for his third appearance on SNL. This episode, hosted by Steve Martin, however, marked Petty’s first time without the Heartbreakers backing band. His solo SNL debut was also preceded by tragedy. That night, SNL original cast member Gilda Radner passed away following a battle with ovarian cancer. In response, Petty made his performance a tribute to the legendary comedian
Petty’s first song was “Runnin’ Down a Dream.” Starting with its iconic descending riff, the song quickly jumped into an upbeat rock groove.With chugging guitars and Petty’s soft vocals, the song lilted along for a really fun two minute stretch. After this, the song erupted into a fiery guitar solo from Mike Campbell to close it out. With this amped up shredding over his usual heartland rock, Petty entered his solo career with a bang.
Prior to the episode, Petty had planned to play his hit “I Won’t Back Down,” to close his set. However, as Saturday approached, he felt it did not fit the mood of the night. Instead, he opted to play a yet-unreleased track off his new album Full Moon Fever. This track was the future megahit “Free Fallin’.” Originally, his label was unconvinced, wanting him to play his tried and tested current hit. In response, Petty told them that “Free Fallin’” was actually the late Radner’s favorite song, so they relented.
This SNL episode marked the first live performance of what many consider Petty’s signature song. Unlike the album cut, this live performance featured much more lush instrumentation, mirroring a wall of sound. In place of acoustic guitar is an immensely reverberated electric one. With synth strings, piano, and reverb vocals, the song echoed like Petty was performing in a cathedral. Aiding in this feeling were the Renaissance paintings surrounding the band on stage. To end this beautiful performance, Petty decided to make things a little awkward. As the song ended, he went to hug Howie Epstein who did not seem interested. So, they both just buffered in place awkwardly until the camera faded.
In this performance, Petty took a somber occasion and made it a celebration of life. In doing so, he not only introduced audiences to his new hit, but also his new path forward as a solo artist. Following this performance, Petty returned to 30 Rock a whopping five times as a musical guest.
Neil Young (9/30/1989)
To close out the 1980s, Lorne Michaels finally caught his white whale. For the past 10 years, SNL attempted to nab Neil Young as a musical guest. The first time they tried, SNL ended up stuck with weirdo new wavers Devo. Finally, the folk legend was in the building to perform a three song set.
At the time of this performance, Young was far from young. At the ripe age of 43, Young was still at the top of his game. When he entered 30 Rock, he sported an Elvis t-shirt, leather jacket, patched up jeans, and maple leafs gears. This outfit was equal parts cool and puzzling, but one thing for sure was that it was 100% Neil Young. In his three decades performing, Young had built up a routine for putting on amazing live shows, saving the upbeat rockers for last. After hours of building up adrenaline and intensity, he would rip out fiery guitar solos like they were nothing. For SNL he had to reach this intensity level instantly. To do this, he took up an intense training regimen, including weightlifting and calisthenics. This training paid off, as Young went on to unleash one of if not the greatest SNL performance ever.
Young’s first song was his newest hit “Rockin’ in the Free World” from 1989’s Freedom. The track kicked off with its iconic chugging guitar riff imbued with fiery distortion. As Young’s lyrics entered, they only added to the sonic intensity. The lyrics initially seem patriotic, referencing the “colors on the street, red, white, and blue.” As the song continued, Young’s lyrics transformed into an indictment of HW Bush-era America as fiery as its guitar tone. With lyrics attacking everything from drug addiction, pollution, and gun violence, the song was a scathing criticism of the US. As the song continued, Young stomped and headbanged across the stage, before erupting into a legendary guitar solo. While firing out metallic guitar bends, Young jumped on the drum kit and crashed into his bandmates. Apparently, Young’s training regimen worked, with the performance having the intensity of a grunge concert.
Following this incendiary performance, Young returned with a much more somber song. The solo acoustic rendition of “The Needle and the Damage Done” worked as a much needed comedown from the explosive energy of Young’s opener. Upon retaking the stage, Young received immediate applause. The song’s lyrics tackled the issues of heroin addiction and the overdose of Young’s Crazy Horse bandmate Danny Whitten in 1972. Following applause throughout the song, Young swapped out his acoustic guitar for an electric one to begin “No More.”
As Young swapped out his gear, his band rejoined him on stage for this last piece. Young originally wrote this track as a spiritual successor to “The Needle and the Damage Done,” and it continued many of its themes. Throughout the song, Young sang of the difficulty to kick drug addiction, accompanied by bluesy solos. Compared to “Rockin’ in the Free World,” the song was much more mellow, finding a comfortable middle ground with the rest of the set. When Young reached the repeated chorus of “no more,” harsh guitar stabs amped up the track. By the time the track ended, Young made all of Lorne Michaels’s greatest wishes come true. He had finally caught his white whale, and Young’s performance was well worth the decade-long wait.
Nearly a dozen Central New York songwriters gathered at the Capitol Theater in Rome on Sunday, November 10 to participate in Guitars Along the Mohawk. The musical showcase was a reboot of the popular Mohawk Vally television show which aired in the late 1980s. In keeping with tradition, the event was filmed for a future television release.
The event served as a benefit for the Capitol Theater. The picturesque theater, which opened in 1928, has been the beneficiary of a focused renovation project over the last several years, and remains a staple in the performing arts scene for the region.
Among the musicians performing on Sunday included Gridley Paige, Sydney Irving, Cassandra Harris-Lockwood with Mark Kelsey, Mark Macri with Ed Gotham, Justin Smithson, Katie Keating, Rocky Feola, Bill Carman with Scott Fleming, and Rose n’ Thorne. Ed Gorham and and Danny Holmes (Rose n Thorne) performed at the original event in 1987. Each act was given fifteen minutes to showcase their talents.
The Guitars Along the Mohawk television special will air in early 2025. Stay tuned for additional details.
On this blustery evening, Kendall Street Company brought the crowd to attention with a full band sound chocked with the influence of jam and alt rock from the late 1990s. A cover of ZZ Top’s “La Grange” was a key energy-driver, followed by an odd yet fun final song performed in the persona of a German band, Sauerkraut. Catch them at the Westcott Theatre on December 5 and Mercury Lounge December 21-22.
After a 30 minute break, Pigeons Playing Ping Pong – singer/guitarist Greg Ormont, guitarist Jeremy Schon, bassist Ben Carrey, and drummer Alex Petropulos – took to the stage for an opening funk trio of tunes to start the night, “Henrietta,” “Live It Up,” and Red Hot Chili Peppers’ “Around The World.” The quartet who formed in 2007 at University of Maryland are workhorses pushing well into their 17th year with no signs of slowing down. Sustained funk jams were moderated by mixed improv that was anything but formulaic.
A little something for Star Wars fans, “The Imperial March” was sandwiched inside “White Night,” and for giant ape fans, “King Kong” followed. A crowd ranging widely in ages from Gen X to Gen Z was dancing along to every song, grinning when the thumping rhythm section vibrated the floors of Empire Live.
Frequent collaborator, saxophonist Lee Ross, joined the band for “J-Town” and stuck around as Jake Vanaman (Kendall Street Company) joined on sax for “F.U.” Driving rock peaks from “Feed the Fire” gave way to “Julia,” which while chill to start, embarked into a surprisingly complex jam to end the set. An encore of “Fun in Funk” was the last piece of the puzzle for Pigeons Playing Ping Pong this evening in Albany.
Pigeons Playing Ping Pong – Empire Live, Albany – Friday, November 8, 2024
Setlist: Henrietta > Live It Up > Around The World, White Night > The Imperial March > White Night, King Kong, My Own Way, Distant Times, J-Town* > F.U.*^, Feed The Fire, Julia Encore: Fun in Funk * w/ Lee Ross on alto saxophone ^ w/ Jake Vanaman (Kendall Street Company) on tenor saxophone
It was an intimate evening at the Ballroom. Normally the pit and first landing areas are standing room only GA. Tonight was a little different with reserved seating replacing those areas.
As the lights went down the packed room was ready, and absolutely erupted when the band took the stage. After a 13-year absence from the area, they let the band know they were missed. And take notice they did, with some big smiles on their faces, Lucinda Williams and her band jumped right in with “Let’s Get the Band Back Together.” From the first song to the last, they were on point, and I’m sure as the tour continues, it will only get better.
Setlist: Let’s Get the Band Back Together, Can’t Let Go, Car Wheels, People Talkin’, Protection, Stolen Moments, Lake Charles, Juke Box, Fruits of My Labor, Where the Song Can Find Me, Are You Down, Rock N Roll Heart, Bleeding Fingers, While My Guitar Gently Weeps, You Can’t Rule Me, Out Of Touch, Righteously
Sammy Rae & The Friends brought soulful vocals, upbeat rhythms, sweet horns, and a genre-crossing show to Terminal 5 on Friday, November 8. Most importantly, they brought heartfelt joy and community to a packed venue when it was so needed – less than a week after the most contentious election in recent history.
Fresh off their first full studio album Something for Everybody, Sammy Rae & The Friends made a New York homecoming at Manhattan’s Terminal 5 for two nights on November 8 and 9. This isn’t the first time the band has toured in New York, having finished their CAMP world tour in Buffalo earlier this year, but it is the first time they’ve been back to showcase their new album.
Sammy Rae & The Friends appeal has grown exponentially since they formed in New York City, and played their first 30-person gig, as Sammy Rae said from the stage. The singer moved to the City in her late teens, originally intending to study music. She ended up playing at venues around the city and building her own network of musicians who would later become the eponymous “friends” in her band.
Smoke Ring, followed by Sub-Radio, opened the show, with the latter jumping onto the stage from their first note. The Washington DC-based Indie-pop band kicked, high jumped and sang soring lyrics for an action-packed hour before Sammy Rae & The Friends came on.
Showcasing that “Friends” isn’t just a name and community isn’t just an ideal, C-Bass Chiriboga, Sammy Rae’s drummer, replaced Michael Pereira, Sub-Radio’s drummer, with just four days’ notice since the latter was stuck out of the country. Throughout their set, Sub-radio and C-Bass created a safe space for queer teens highlighting the importance of music for those finding themselves, especially after an “incredibly hard week.”
As soon as Sammy Rae & The Friends stepped on stage, they exploded with energy, joy, and hope. Building on Sub-Radio’s message, early in the set, Sammy Rae highlighted that governmental policies may come and go but that community and radical joy will build true strength. The rest of the show expanded that message both on stage and in the audience. More than most front people, Sammy Rae shares the spotlight with her band, physically moving to the back of the stage to let her horn section riff off each other, her guitarists take the spotlight, and even letting her bassist solo with a standup bass. A string quartet even joined the band, so did Jacob Jeffries who was in from Los Angeles.
Their message of joy and community didn’t end at the stage. Throughout the audience, lyrics were yelled, fans danced, and Sammy Rae & The Friends encouraged it all – allowing fans to feel everything they needed. At one moment, as Sammy Rae saw members of the audience crying, she stopped the show, saying, “I see so many of you crying, and you’re so beautiful.” The singer then asked audience members to turn to their neighbors and tell them that they were beautiful.
As the night wore on, the band ended by bringing all their stored energy to bear, thanking their hometown audience with massive solos, sending the audience off with one more moment of joy.
Setlist: Friends Intro >Thieves, The Feeling, We Made it, Jackie O, Cool Douge, No Rule Book > Winds Intro, I Get It Now, David, Call Ya Back, Good Time Tavern, Luck of the Draw, Good Life Medley, State Song, Hold the Line, Coming Home Song
Sammy Rae & The Friends will be on tour in the northeast through December before going to Europe in February 2025. Notably, The band has committed to making their entire tour as environmentally friendly as possible, working with Headcount across the U.S. to register voters, and donating one dollar of every ticket sale to local LGBTQ organizations in each city they play.
Tour Dates:
Nov 11, 2024 Ulster Performing Arts Center Kingston, NY
Nov 12, 2024 Academy of Music Theatre Northampton, MA
Nov 13, 2024 Academy of Music Theatre Northampton, MA
