NYS Music 2024

Category: Show Reviews

  • Jeff Tweedy Kicks Off Rare Solo Tour In Woodstock

    For the first of three weekend shows at the Bearsville Theatre, Jeff Tweedy performed unplugged highlights from his Wilco and solo catalog, along with three newly penned and unrecorded songs.

    Tweedy’s hour and a half, sold-out concert in Woodstock on Friday, October 10, also marked the first of 15 relatively rare solo show dates that will wrap up in Menlo Park, CA at the end of the month.

    tweedy

    Tweedy kicked things off with “Feel Free” and “Now and Then,” two new tunes that have yet to appear on an official release. The former has been in steady rotation for the good part of a year, and has playful lyrics and a positive message about individuality. 

    While Tweedy is used to his bandmates in Wilco backing him up, he seemed equally comfortable with his Bearsville backdrop — several small body vintage Martin guitars with his beloved dead string sound. Before he kicked into the crowd-pleaser “I Am Trying To Break Your Heart,” he traded one guitar for another that could have been its twin. Tweedy joked that the guitar looked exactly the same, sounded pretty much the same, but had a minor variation in serial number. Guitar nerd stuff for certain.

    Solo Tweedy may well be the best Tweedy. He’s alternately the guitar collector, the Gen-X Bob Dylan, the troubadour, and more than a bit of a standup comedian. When the house lights went out momentarily after the second song of the night, Tweedy joked, “I don’t need full darkness ever, I carry that with me.” And he’s right – while his stage banter often elicits laughs from the audience, his solo material skews dark and his lyrical content has directly taken on the weighty themes of familial love and death. Tweedy called “Having Been Is No Way To Be,” “KC Rain,” and “Don’t Forget” his own “dead dad trilogy” and while he may have been leaning into the gallows humor, the songs themselves were confessional and poignant in this intimate setting.

    Tweedy seemed almost relieved to have the opportunity to play whatever he wanted to a knowledgeable audience of fans. The diehards in attendance managed to make an obscure song like “Laminated Cat” off of the side project Loose Fur’s first album feel like a sing along to a Top 40 hit (the performance of “Laminated Cat” was probably my favorite moment of the evening, and full-disclosure, yes, I’m one of those mega-fans that owns the Yankee Hotel Foxtrot super deluxe box set on vinyl and obsesses over cutting room floor outtakes. But isn’t that like half of Wilco’s fan base at this point?). Many of the fans in the audience planned a whole weekend around these Bearsville shows and planned to attend all three nights. Tweedy hoped to play a lot of “solo songs or songs I’ve written for someone else. I’ll still play Wilco songs, but I really do play those songs a lot.”

    And while the night did rely heavily on new songs, and tracks off of solo albums like Love is the King (“Gwendolyn”) and Warmer (“Family Ghost”, “Evergreen”) or even his Starship Casual newsletter (“Lou Reed Was My Babysitter”), Tweedy did dig out a number of Wilco “Greatest Hits”, which (maybe begrudgingly for Jeff) were still the undeniable highlights of the night. “Hummingbird”, with it’s delightful whistling outro, and a downtempo rendition of  “Box Full of Letters” were both excellent. For “Via Chicago”, Tweedy replaced his bandmates with a harmonica necklace, and in turn became a one-man-band. Tweedy’s best analogues really are Bob Dylan and Neil Young, guys who are songwriters at their core. They can rock in an electric setting, but they also have the magnetism, confidence, charisma, and lyrics to hold the spotlight on their own, or to let the song take the spotlight by itself. And they all look cool as hell wearing their harmonicas while also strumming and singing.

    Tweedy closed the night on a positive note, dedicating “I’m The Man Who Loves You” to his wife Susie Tweedy, whom he’d hoped would accompany him to Woodstock from their home in Chicago. Unfortunately, Susie Tweedy’s 92-year-old dad was in the hospital and she needed to stay close to him. To this remark, several audience members mentioned Mrs. Tweedy’s father by name, and Jeff chuckled at the parasocial relationship so many of his fans have with him. He’s shared a lot with his fans, but his fans are certainly prone to digging into the life of their favorite singer-songwriter. Tweedy may be creeping towards 60, but he is prolific as ever as a songwriter, a writer of terrific memoirs, and an internet presence in his newsletter. And let us not forget The Tweedy Show, a webcast that many Wilco fans embraced during the COVID lockdown as it drew back the curtain on Tweedy family life, making Susie, Jeff, and sons Spencer and Sammy, something of an indie Partridge Family.

    While it might be easy to call Wilco super-fans overzealous, Tweedy’s remarkable songbook and magnetism are certainly worthy of deep study. A few tickets remain for the Sunday evening show — get them before someone else does.

    tweedy

    Chicago-based songwriter Elizabeth Moen opened the show with a half hour set. Her excellent vocal stylings which were at times reminiscent of Stevie Nicks and Lucinda Williams were supported by the harmony vocals, bass, and guitar of Gus Martini. Moen’s bluesy and soulful originals like “Fields on Fire” and “The Empty Bottle” felt right at home in Woodstock, the home of classic laid-back rustic albums by the likes of Van Morrison and Bobby Charles. But it was the duo’s take on Bruce Springsteen’s classic “Darkness at the Edge of Town” that stood out the most for its fine performance and unique interpretation. 

    Jeff Tweedy – Bearsville Theatre, Woodstock – October 10, 2024

    Setlist: Feel Free, Now and Then, I Am Trying to Break your Heart, Mine Forever, Via Chicago, Lifetime to Find, Evergreen, Gwendolyn, Having Been Is No Way To Be, KC Rain, Don’t Forget, Laminated Cat, Country Song Upside Down, Hummingbird, I Am My Mother, Lou Reed Was My Babysitter, Box Full of Letters, One Wing, Pecan Pie, Family Ghost, You’re Not Alone, I’m The Man Who Loves You

    tweedy
    tweedy

  • How One Man and a Magazine Documented the Music Scene of the Hudson Valley in the 1980’s

    Rock legends can never seem to have enough press. From Rolling Stone magazine and personal memoirs to archived concert footage, the rich history of Rock and Roll is well-documented on the surface level.

    But it’s on the local level that unsung Rock and Roll veterans of their own right typically go unnoticed. Musician and journalist Michael Rabb didn’t want that to happen in the Hudson Valley.

    MusicMachine Magazine
    Michael Raab pictured at a film festival where one of his documentaries was streamed.

    In the late 70’s Raab – who grew up in Cornwall, NY – meticulously documented the music scene of the Hudson Valley for the subsequent decades. In 1979 he created the MusicMachine Magazine and started writing articles about bands in the region. He had first noticed a surge of live music and bands in Orange and Dutchess Counties but became frustrated when local papers didn’t cover the local scene. So armed with an IBM Selectric typewriter, he took matters into his own hands and began publishing his own articles.

    “The region was ready for media coverage in the trenches where it was all happening,” Raab said. “The time was right for Musicmachine Magazine.”

    Raab himself was part of a band called the Jelly Bean Bandits in the 60’s and 70’s. The group worked their way into a record deal with Mainstream Records and recorded an entire album in 12 hours in a studio in Manhattan. (Their 1967 debut self-titled LP still averages a few hundred streams every month on Spotify, Raab informs me.)  

    The Jelly Bean Bandits self-titled LP

    When the band first started out, they played all over the Hudson Valley in places like the Trade Winds nightclub in Newburgh and the Buccaneer in Poughkeepsie. The Bandits would eventually dissolve before releasing any subsequent records but has reunited a few times over the past decades for reunion shows and charity events in the region.

    As the 80’s came around, readership continued to grow for MusicMachine and the magazine expanded. The magazine partnered with brands like Budweiser Beer and even grew to interview stars such as Southside Johnny (of the famed Asbury Jukes)

    A rare interview with Southside Johnny in a 1983 edition of the magazine – photo via Michael Raab and MusicMachine Magazine Archives Facebook Page
    A 1983 edition of the magazine detailing concert ticket winners from a recent giveaway – photo via Michael Raab and MusicMachine Magazine Archives Facebook Page

    In the 90’s, Raab moved to North Carolina but continued to operate the MusicMachine remotely with the help of a friend and eventually sold the magazine to a company that ended up going bankrupt. In North Carolina, Raab also had an eye for the emerging music scene there and purchased a struggling publication called The Beat and eventually sold that as well.

    Later with the advent of the internet, Raab was able to archive video, photos and articles from the MusicMachine and share them with the world. He even made a documentary titled “Hudson Valley Music of the 1980s’, which is now available to watch on his Youtube channel.

    As Michael Raab himself puts it, “that’s the condensed version of an exciting 12 years in mid-Hudson music.”

    To explore more of the rich history of music in the Hudson Valley in the 80’s, check out the archives of the Musicmachine on Facebook: here

    Hudson Valley Music of the 80’s documentary by Michael Raab.

  • UPSAHL Brings The Heat to The Bowery Ballroom

    Alternative pop artist UPSAHL brought the party to Bowery Ballroom on October 1 at the New York stop of her Melt Me Down Tour.

    UPSAHL. Photo: Sophia Strange

    Chances are that UPSAHL’s work has reached your ears in one way or the other. With multiple viral hits to her name and collaborations with some of today’s biggest names under her belt, UPSAHL’s sharp production skills and lyrics that either pull you to the dance floor or inspire a serious bout of self-reflection were on full display in the Ballroom on October 1.

    Accompanied by opening acts Zoe Ko and Conor Burns, UPSAHL delivered an electric night of original songs, surprise covers, and even an exciting performance of a new unreleased track that made the Ballroom feel closer to a party only seen in movies.

    Photo by: Buscar Photo (www.buscarphoto.com)

    Tucked away behind an unassuming facade and a small set of stairs is the iconic Bowery Ballroom, polled as the best club in America by Rolling Stone in 2013. While the outside may be easy to walk past unintentionally, the venue itself creates the perfect atmosphere for a show like UPSAHL’s that cannot be missed- upon descending the stairs, you enter a swanky speakeasy style bar with a pre-show playlist blasting over the speakers. Once you ascend the stairwell into the main event, the venue opens up into a fascinating balance of a larger-than-life yet incredibly intimate theater. 

    This personal-yet-sparkling energy would be capitalized upon and matched perfectly throughout the evening, with UPSAHL and both opening acts looking almost untouchable upon the stage until they were right there at the closest corner of the stage or weaving through the audience mingling between sets.

    The night’s performances opened with Zoe Ko who delivered unapologetically gritty, girly, alternative pop rock tracks like “DIRT,” her song that caught the internet’s attention by asserting that the most fun a girl can have is donning a fur jacket, putting some mud in her purse, unapologetically offering no explanation, and absolutely jamming out. 

    Zoe Ko. Photo: Sophia Strange

    Supporting act number two of the evening came in the form of alternative artist Conor Burns, whose musical career seems to be exponentially growing with over 70 live shows and several single and EP releases under his belt so far with no signs of stopping. His guttural lyrics paired with the power of live instrumentals and a larger-than-life stage presence brought even more energy into the room.

    Conor Burns. Photo: Sophia Strange

    Starting her set with her newest single “Tears on The dancefloor”, the excitement when UPSAHL came on stage alongside touring drummer Jake Richardson and guitarist Sal Suriano was beyond electric- it’s no doubt the stage was hers from the moment she stepped out in a stunning chrome-and-teal outfit that caught the light with every move.

    UPSAHL. Photo: Sophia Strange

    Balancing high energy tracks like “NO HANDS” and “Last Supper” that had the audience dancing and songs like “Antsy” where it felt as though it was just her and her microphone, UPSAHL brought the audience to her level with an invitation to not care about anything but experiencing the moment, letting go, and having fun throughout the first half of her set. 

    After beginning her track “SLAYYYYY,” UPSAHL and her band stepped off of the stage and let the audience carry on singing- which they did word for word- before returning in a bright red latex costume change and her second most recent single, “SUMMER SO HOT”. 

    UPSAHL. Photo: Sophia Strange

    Impossibly enough, the powerful set only got more exciting as UPSAHL continued into a remix of her track “Sunny D” and the Yeah Yeah Yeah’s “Heads Will Roll,” bringing both opening acts out to party. 

    Photo: Sophia Strange

    From there, UPSAHL delivered an incredibly intimate performance of “0 OR 100” sat at the edge of the stage, a preview of the unreleased track “CUT EM OFF” that playfully complains about having to cut off other guys when one gets serious, and sang alongside her younger sister who was brought on stage for “Arizona,” named after their home state, and “Good In Bed,” a track off of Dua Lipa’s Grammy Award winning album Future Nostalgia that UPSAHL co wrote. 

    UPSAHL and sister Ryan. Photo: Sophia Strange

    UPSAHL closed the set out with “WET WHITE TEE SHIRT” and the viral track that put her on the map for most titled “DRUGS,” appropriately donning a white t-shirt with “I <3 NY” drawn out in sharpie- promptly before dousing herself and the audience with a water bottle. 

    UPSAHL. Photo: Sophia Strange

    UPSAHL’s Melt Me Down Tour may be wrapping in the United States in a matter of days in San Francisco, but the party doesn’t stop there- she’ll be continuing the tour in Europe through November, starting with Academy 2 in Dublin on November 7. An electrifying evening of letting go of inhibitions and letting yourself be whatever you need to be that night- whether that be dancing, crying, or somewhere in between- UPSAHL’s shows bring the party and the personality without apology.

    UPSAHL | October 1, 2024 | Bowery Ballroom | Manhattan, NY

    Setlist: Tears on the dancefloor, NO HANDS, Monika Lewinsky, IDFWFEELINGS, Toast, Wish You’d Make Me Cry X SMARTY, All My Friends Are Rich X Time of my Life, MoneyOnMyMind, Into My Body, Antsy, Condoms, Last Supper, SLAYYYYY, Summer So Hot, Sunny D X Heads Will Roll*, SICK PRETTY MIND, 12345SEX, CUT EM OFF, 0 OR 100, Arizona, Good In Bed, GOOD GIRL ERA X That’s Not My Name*, Thriving, Lunatic, WET WHITE TEE SHIRT, Drugs
    Encore: People I Don’t Like, Sad Sorry After Party

    Zoe Ko

    Conor Burns

    UPSAHL

  • Vampire Weekend Pay Tribute to Billy Joel at MSG with 2 Homecoming Shows

    New York founded band Vampire Weekend played two shows at MSG in New York City on Friday, October 5th. “We’ve been looking forward to this the entire tour,” said frontman Ezra Koenig on the first night. This show marks the final quarter of the band’s ongoing tour in support of their latest album, Only God Was Above Us.

    Vampire Weekend performs at MSG in NY. Photograph by David Reichmann (@davidpresspass)

    Billy Joel Cover band Turnstiles opened for Vampire Weekend both nights, with additional support from Mark Ronson for the first show, and the Brothers Macklovitch for the second.

    Ezra Koenig of Vampire Weekend performing at MSG in NY. Photograph by David Reichmann (@davidpresspass)

    The second show was a rare Sunday matinee, which ended at 4PM sharp. During the second show, Ezra commented, “I didn’t know if this would be a good idea, we ended kind of late last night. But I think I like it.” The crowd cheered in response. Ezra would also go on to describe the backstory behind some of the band’s songs throughout the shows.

    Turnstiles open for Vampire Weekend at MSG in New York. Photograph by David Reichmann (@davidpresspass)

    Vampire Weekend performed with their signature brand of intellectual lyrics and intricately produced tunes. They played vast set lists each night, with nearly a two-hour long main set, covering their five beloved studio albums.

    Each night featured a number of covers, including a rendition of Billy Joel’s “Scenes from an Italian Restaurant,” which featured a dinner scene performance behind the band as they played. Each show featured some pyrotechnics and a big blast of confetti at the very end of the encore.

    In the past, the band often took fan requests at the end of the shows, but for this tour Ezra told the crowd they would only accept songs that weren’t theirs. So after the main set, the band came back on stage and asked the crowd to hold up signs, notepads, and scream out song suggestions, which the band attempted with varying levels of success. Covers included Fall Out Boy, Billy Joel, bruce Springsteen, and a handful of others.

    You can follow Vampire Weekend “Only God Was Above Us” Tour here, and listen to their music here. Photo gallery by David Reichmann below.

    Photography by David Reichmann (@davidpresspass)

  • Wasia Project Brings Classical Indie Jazz to NYC

    The Artist

    Hailing from the UK, Wasia Project has quickly become one of the most exciting indie bands on the rise. The sibling duo Olivia Hardy and William Gao (along with drummer Luca Wade and bassist Tom Pacitti), fuse together jazz, classical, and indie pop, creating a sound that is as soothing as it is emotionally charged. With heartfelt lyrics and lush arrangements, the band has won over a dedicated fanbase both in the UK and overseas.

      The Show

      On Monday, Sept 30, night one in NYC of the “Isotope Tour” kicked off— and it did not disappoint. The show began with an atmospheric interlude, “Isotope,” which set the mood for an introspective and emotional night. Wasia Project then launched into “My Lover Is Sleeping”, immediately captivating the crowd with Olivia’s dreamy, tender vocals. The audience was buzzing, absorbing every word, as the band poured their hearts out on stage.

      A key standout moment was “Petals on the Moon,” which had the entire venue jamming to William’s piano solo. The duo’s chemistry on stage is undeniable, and their shared musical bond radiated through every track, but especially on “Burning Eyes Are Calling” and “How Can I Pretend,” where Olivia’s emotive voice soared over William’s intricate piano melodies.

      “U R So Pretty” was an emotional high point in the set, with its delicate lyrics and vulnerability. The song had the crowd cheering, resonating deeply with everyone in the room. The night’s energy took a shift with “My Vine” and “Cover,” with Olivia’s vocals floating effortlessly over lush instrumentals.

      The band’s raw emotion, combined with their experimental soundscapes, made for a captivating debut performance in New York City. If you missed them this time, be sure to catch Wasia Project soon —they’re just getting started, and their future looks incredibly bright.

      Setlist: Isotope (Interlude Intro), Is This What Love Is, My Lover Is Sleeping, U Deserve, Petals on the Moon, How can I pretend, Burning Eyes Are Calling, Takes Me Back Home, Remember When, U R So Pretty, My Vine, Cover, To Get Better, Somebody Come Through, Tell Me Lies

    • New Hope Club: The UK Pop Trio Lights Up Brooklyn

      The Band

      New Hope Club, the British trio comprised of George Smith, Blake Richardson, and Reece Bibby, have been charming fans worldwide since 2015. Their infectious guitar-driven pop and catchy choruses quickly made them standouts in the pop music scene. Their 2020 self-titled debut album solidified their status, with hits that have defined their sound and energized audiences everywhere.

      Now, they’re back with new music, including their latest single “Trouble in Paradise,” which is out now, with more music on the horizon.

      New Hope Club at Baby’s All Right by: Yisroel Teitelbaum (@thebigpic.inc)

      Beyond music, Richardson is gearing up to play a young Paul McCartney in the highly anticipated Beatles biopic, Midas Man.

      Richardson’s casting has fans buzzing with excitement, eager to see how he continues expanding his creative reach.

      The Show

      On a warm night, New Hope Club took the stage at Baby’s All Right, turning the intimate venue into a buzzing cauldron of energy. This show gave NY fans an intimate, up-close experience with the trio in one of the city’s coziest venues.

      As soon as the band hit the stage, the atmosphere was electric. They opened the night with the crowd favorite “Worse,” instantly igniting the room. The trio’s tight harmonies and infectious energy had the crowd dancing, singing, and smiling from the first note.

      Throughout the night, the band treated fans to a mix of their biggest hits and some sneak peeks of what’s to come. They performed their newest track “Trouble in Paradise,” and the crowd responded with in an excited frenzy. The song, packed with their upbeat rhythms and smooth vocals, was an instant hit and gave a taste of the new, New Hope Club.

      Richardson, with his effortless charisma, led the crowd through the set. The crowd interaction made the show feel intimate and personal, the boys exuding a chemistry that can only come from years of friendship and performing together.

      A highlight was “Who Do You Think You Are?” where their vocal harmonies captivated the crowd, swaying together. The boys performed “Let Me Down Slow,” prompting the crowd to join in a massive singalong that echoed throughout the room.

      Closing the night with the explosive “Permission,” New Hope Club left Baby’s All Right on a high note. As the band waved goodbye, the crowd chanted for an encore, not quite ready for the night to end.

      New Hope Club proved from start to finish why they’re one of the most exciting young bands today. Their blend of charm, talent, and crowd interaction created a memorable night for everyone in attendance.

      Looking to the Future

      For those who missed the magic at Baby’s, make sure to catch them next time they’re in NYC. With new music and a movie debut ahead, the band’s future success promises to be even bigger. Don’t miss out!

    • With Violin and Cello ARKAI Fused Classical Music With Pop, Rock and Jazz In A High-Energy Performance At Upper Jay Art Center’s “Recovery Lounge”

      Merging their deep backgrounds in classical violin and cello performance and composition with influences from an array of musical genres, NYC based instrumental duo ARKAI captivated a full house at The Recovery Lounge in Upper Jay, NY on Sunday, September 20.  

      ARKAI performed as part of their current world tour and in support of their recently released debut album, Crossroads.

      ARKAI 
      ARKAI at The Recovery Lounge

      ARKAI is violinist Jonathan Miron and cellist Philip Sheegog, graduates of New York’s renowned classical music institution The Julliard School. The pair met early in their music career and realized that, despite their devotion to classical music, they had a deep appreciation for a wide variety of music as diverse as pop, folk, metal, jazz and rock, giving birth to the fusion that became ARKAI.

      Jonathan Miron, ARKAI

      Performing a selection of genre-defying music that showcased both their instrumental virtuosity and compositional and arrangement skills, the duo performed with an energy way beyond what one would anticipate being delivered by violin and cello.  Their energy was infectious. Glances around the room showed not only smiles on appreciative faces, but listeners who moved with and to the music, clearly wanting to get out of their seats and dance. 

      ARKAI at The Recovery Lounge

      The pair performed the first half of their show on vintage classical instruments. Miron’s violin was made in Italy in 1709. Sheegog’s cello was made in 1914 in France, where it survived two World Wars. With those instruments they displayed their precise classical training, performing their unique arrangements of songs including A-ha’s “Take On Me”, The Beatles’ “Blackbird”, Charlie Chaplin’s “Smile”, as well as original compositions including “Patchwork”.   

      ARKAI 
      ARKAI at The Recovery Lounge

      In the second half of the show the pair switched instruments, and delivered an electrifying, high-energy performance on electric violin and electric cello, backed by tracks which they composed and created using a variety of computer and MIDI based techniques to explore and create what might be called soundscapes. Driven by, or perhaps because they are clearly inseparable from the music they deliver, the pair became animated, both facially and in near dance-like movement, during portions of the electro-delivery. And, in a display of technique that might perhaps drive their former Julliard professors to pull their hair out, on one song they used debit cards to play their instruments, Sheegog scraping the strings of his cello with the edge of a card to “swipe” notes or tapping it on the electric cello’s pickup for drum-sounds and Miron tapping the sides and edges of his electric violin to add percussion.

      ARKAI 
      ARKAI at The Recovery Lounge

      This “electric” portion of their performance included their compositions “Ascent”, which they said was inspired by Stanley Kubrick’s film “2001: A Space Odyssey”, and “Tokyo Sidecar”; their arrangement of Cold Play’s “Clocks”, and a composition they created based upon the melody of Joji’s “Glimpse of Us” which went viral on TikTok.  They also played their composition “Letters”, which came together while the pair was separated during the Covid lockdown period, when Miron and Sheegog would each record themselves on iPhone Voice Memos playing musical “ideas” or contributions and send the recordings back and forth to each other as “audio letters” created in a time of loneliness, sorrow and the hope to be together again. Those bits and pieces ultimately became “Letters” as a musical offering of hope to those in need of being brought together.  

      ARKAI at The Recovery Lounge

      ARKAI’s music, whether their originals or unique arrangements of others, is a signature sound resulting from skilled and exploratory improvisation, a collaborative creative process and pure instrumental virtuosity.  In performance they bring these talents full on, playing true to the score in the tightly composed sections, and following their creative spirit in-the-moment in improv sections, inspiring and feeding off each other and deeply enjoying every moment of their performance. 

      ARKAI 
      Philip Sheegog, ARKAI

      Their fusion, both as musician/composers and in the diversity of the music they explore, was born in part out of a realization that, in their words, they were the “weird guys” in traditional classical music; and out of a strong desire “to stay true to your heart” and to “do something not done before”.  And that was the genesis of ARKAI.

      Jonathan Miron, ARKAI

      Upcoming performances include October 10 at Town Hall, NYC, November 3 at The Strand Center for the Arts in Plattsburgh, NY, and November 14-16, PRISMA, NYC.  Their tour will also take them to other major US cities and Toronto as well as overseas to Berlin, Basel, and Rabat.  Their newly released CD Crossroads is a collection of seven ARKAI compositions ranging from traditional sounding classical pieces to electro-soundscape-emo music that explore a “journey of discovering one’s voice, overcoming adversity, and embracing new dreams”.  ARKAI’s music puts you in touch with your emotions, and if you allow yourself the freedom you “see a video” as you listen.

      Philip Sheegog, ARKAI

      This review and the photographs presented with it are truly an unintended consequence of attending this performance as a last-minute spontaneous decision, becoming captivated at the outset, capturing images of ARKAI’s performance on an iPhone. 

      ARKAI at The Recovery Lounge

      ARKAI’s performance was presented by Upper Jay Art Center at its “Recovery Lounge” space, where it hosts year-round music, art, and theatre ranging from touring artists and groups to its own productions in an intimate and out-of-the ordinary performance space.

      ARKAI 
      ARKAI at The Recovery Lounge
      Jonathan Miron, ARKAI
      ARKAI at The Recovery Lounge
      Philip Sheegog, ARKAI
      ARKAI 
      Philip Sheegog, ARKAI
      ARKAI at The Recovery Lounge
      Jonathan Miron, ARKAI
      ARKAI at The Recovery Lounge

    • Dirty Honey’s “Can’t Find The Breaks” tour rolls up to Foxwoods Casino

      After playing a successful show at the Huntington Paramount days ago, Dirty Honey brought their “Can’t Find The Breaks” tour to Foxwoods Casino.

      Supporting Dirty Honey was St. Louis natives The Band Feel. The night was the perfect revival of rock and roll by two young and hungry bands.

      Between the hustle and bustle of the casino floor, the Great Cedar Showroom sits in the back. But, an hour away from showtime, fans were lining up at the merchandise booth to pick up memorabilia. This is Dirty Honey’s first time in Connecticut since their March 27, 2022 show at Toads Place. But, before the Los Angeles natives took the stage, at 8:00 sharp, The Band Feel jumped on stage. Due to the casino curfew, they had a shortened setlist.

      Even though The Band Feel’s setlist was short, they didn’t let it deter them from introducing fans to their music. The quartet dressed as if the band was born in the 1970’s and their music matched. They played six songs that – by the end of the set – won the crowd over.

      The quartet features T.J. Steinwart on drums, Tyler Armstrong on guitar, Garret Barcus on lead vocals and Kadin Rea on bass. The four-man group channeled in callings of the Golden Age of rock and roll. It’s easy to see why Dirty Honey would bring them on tour. A young band in Dirty Honey is giving another younger band (The Band Feel) a chance at a national tour and getting the word out there that rock and roll is here to stay.

      After a stage change, quickly, AC/DC’s “Rock ‘n’ Roll Damnation” blasted on the speakers and Dirty Honey made their triumphant return to Connecticut. This was the first time that fans in the area could get a look at new drummer Jaydon Bean. Bean took over for original drummer Corey Coverstone after their debut record. With new songs in their arsenal, the band fully attacked the fans in the Great Cedar Showroom with material from their new record. It was refreshing to hear the band play music from their entire category and not strictly off one album or EP.

      Joining Bean was singer Marc LaBelle, guitarist John Notto and bassist Justin Smolian. The latter three were the three original members of the band and have been the longest-tenured.

      Their new material sounded great. As they plowed through their set, they alternated between older material and new songs. LaBelle’s vocals sounded just like the actual record. If you closed your eyes during the show, you could have been tricked that someone flipped on the record. They sounded great live.

      Something new that has been incorporated in this show – which did not happen at the Toads Place show – was the band extending songs and jamming. During one of their classic songs, “Scars” they added an awesome extended jam. To see Dirty Honey get more comfortable exploring their music and adding diversity and freshness to their music is amazing.

      Like The Band Feel, Dirty Honey dressed straight out of the 1970’s. It was almost like a crossover between The Black Crowes and Aerosmith. Also, their influences of classic rock and roll could be heard seeping through in their music.

      One of the songs off the new record, Can’t Find The Breaks that was one of the standouts of the evening was “Coming Home (Ballad of the Shire).” Before the song started LaBelle announced to the audience that his father and some of his hometown friends were in the audience. During the song, it was extremely quiet, you could hear a pin drop. The audience was transfixed by the acoustic song that captivated the entire theater.

      Immediately after  “Coming Home (Ballad of the Shire),” they plunged into a cover of The Rolling Stones’ “Honky Tonk Woman.” This received a massive roar from the audience. Throughout the night, their logo blinked to the beat of the song creating a visual spectacle.

      From the moment that the band got on stage to the moment that they sang their last song, they did not rest or slow down. Notto was running, duck-walking and arm-swinging the entire night. The smile on his face never waned as fans in front of him cheered and put up the rock and roll horns all night long.

      Even though the lower bowl of the theater had seats, fans treated it like a general admission. For Dirty Honey’s entire set, they were standing, clapping and cheering. Fans and high rollers who sat in the front merged up against the stage to take a closer look at the band.

      Dirty Honey is one of those generational bands that help revive a genre of music. The way they channel classic rock sounds and put elegant, modern twists on them is unforgettable. Even though this is their final leg of the tour supporting their new album, when the chance comes, you have to see them. Every year, their loyal following grows. It will be only a matter of time before they upgrade to the biggest venues in your area.

      The Band Feel setlist: Find a Love, Call It What You Want, G Rock, What of Now, Goodbye Virginia, In The Garden

      Dirty Honey setlist: Can’t Find the Breaks, California Dreamin’, Heartbreaker, Down the Road, Scars, Dirty Mind, Tied Up, Coming Home (Ballad of the Shire), Honey Tonk Woman (Rolling Stones cover), Don’t Put Out the Fire, The Wire, Another Last Time, When I’m Gone, You Make It All Right, Won’t Take Me Alive, Rolling 7s

    • Barenaked Ladies Flight stops in Rochester

      Synonymous with quirky lyrics and dreams of being rich, The Barenaked Ladies brought their “In Flight” tour to Rochester on Wednesday, October 2. Passengers on this tour are fellow 90’s alt-rock band, Toad the Wet Sprocket.

      Toad the Wet Sprocket

      Quietly gaining a strong following since 1986, Toad the Wet Sprocket has released seven studio albums and has had solid success on the pop charts with hits like “All I Want,” “Good Intentions,” and “Walk on The Ocean”. Playing for about 45 minutes, Glen Phillips and crew serenaded the sellout crowd as they filed to their seats to see the Canadian headliners.

      Jamming through a 12-song set, lead singer Phillips is joined on stage by Dean Dinning on bass and rhythm guitar, Todd Nichols on guitar and mandolin, Josh Daubin on percussion, and Jonathan Kingham on keys.

      After a brief delay in set up, Barenaked Ladies took the stage for nearly 2,000 fans shortly before 9pm. Starting out with “One Night” and 2003’s “Testing 1,2,3,” Ed Roberston and team were quickly thrown off script as there were more issues with sound, mostly with Jim Creegan’s bass. Luckily for them and the enthusiastic audience, BNL kept the show going as if nothing was wrong. Some ad-libs, a little magic trick and banter with bandmates paired with a less scary rendition of Michael Jackson’s “Thriller” kept the fans entertained.

      With the sound issues taken care of, Robertson along with Tyler Stewart on drums, Jim Creegan on bass, and Kevin Hearn on keys rocked through their 19-song set, with tracks from nearly every album, dating back to 1992’s Gordon.

      With nobody exempt from the wit of Robertson, including Robin the sound guy, “History Of Everything” theme from the Big Bang theory began with a jab at the opening band. While thanking Toad The Wet Sprocket for being on tour, he brags that although they are amazing in their own right, they don’t have a TV theme song.

      Having been around for over 30 years, many like myself, will recall a time when fans would bring in boxes of Kraft Macaroni and Cheese to heave during the set, as they belted out “If I Had a $1,000,000.” Those days are long gone, but the days of fan screaming out lyrics remain. With some guidance from Robertson, tonight was no different. Right on cue, the crowd gave BNL exactly what he wanted, minus the dijon ketchup.

      If I had a million dollars
      We wouldn’t have to eat Kraft Dinner
      But we would eat Kraft Dinner
      Of course we would, we’d just eat more

      Rounding out the classic, quirky set, the guys came out for a two song encore of “Tonight is The Night I Fell Asleep at The Wheel” and “Lovin Life.” The latter couldn’t have been better song to end the night, speaking about lovin’ the life you have and making the most of it, no matter what happens.

      Nearly 40 years, 17 studio albums, and millions of downloads later, Barenaked Ladies are still the goofy band from Canada that loves to have fun on stage and can make even a rough start (thanks, Robin) turn into a night of improv and laugher from start to finish. Make sure you go check them out if you haven’t already seen Barenaked Ladies.

      Toad the Wet Sprocket setlist: Come Down, California Wasted, Inside, Transient Whales, Nanci, Good Intentions, The Moment, Walk on The Ocean, Nightingale Song, Something’s Always Wrong, Fall Down, All I Want

      Barenaked Ladies setlist: One Night, Testing 1-2-3, Thriller (M. Jackson cover), For You, The Old Apartment, Big Back Yard, Boomerang, Just Wait, Toe to Toe, Brian Wilson, Fifty for a While, Aluminum, Pinch Me, Odds Are, History of Everything (Big Bang Theory theme), One Week, If I Had $1000000, Tonight Is The Night I Fell Asleep at The Wheel, Lovin’ Life

      Ed Robertson – Barenaked Ladies
      Barenaked Ladies
      Kevin Hearn – Barenaked Ladies
      Hearn and Robertson
      Tyler Stewart – Barenaked Ladies
      Jim Creegan Barenaked Ladies
      Tyler Stewart – Barenaked Ladies
      Ed Robertson – Barenaked Ladies
      Kevin Hearn – Barenaked Ladies
      Tyler Stewart – Barenaked Ladies
      Kevin Hearn – Barenaked Ladies
      Jim Creegan Barenaked Ladies

    • Nilüfer Yanya Conquers at Brooklyn Steel

      Wordlessly, London-based Nilüfer Yanya and her four-man band shuffle onto the Brooklyn Steel stage Tuesday night, launching right into the title single of her third album, My Method Actor.

      No second wasted, the indie-rock singer doesn’t come up for air until the end of the third song, “Chase Me,” acknowledging the audience for the first time with four words: “Wow, so many people,” she smiles.

      Photos by Zachary Giller

      The concession feels tongue-in-cheek, as Nilüfer picks up speed with “Like I Say (I runway)” and any sense there are witnesses present fades away. Though every inch of Brooklyn Steel is filled to capacity and the praise is thunderous, Nilüfer spends each verse singing nearly to herself, eyes lidded, looking but not really, it feels, registering anything or anyone in particular, as she gazes out into the crowd.

      Photos by Zachary Giller

      As she sings about running on borrowed time, you’re quick to understand that her sense of urgency is innate and learned. The settled mutual understanding permeates listeners, who are but happy to sway and hold any and all unadulterated applause for each track’s end.

      Photos by Zachary Giller

      It’s hard to say what she’s seeing, if not the hundreds of people in attendance, but you spend the hour-long set feeling as if you’re an intruder who stumbled across a girl singing alone in the woods, just happy to partake in the intimate scene. Make no mistake about the intended audience, however, as it becomes clear that each detail has been meticulously accounted for, including the aural tapestry of live sax for an upbeat jazz take.

      Photos by Zachary Giller

      At the show’s mid-way point, the momentum of Nilüfer’s well-orchestrated production swings in tandem with her solo acoustic rendition of “Heavyweight Champion of the Year,” the finale on her 2019 debut, “Miss Universe,” which earned the singer-songwriter Pitchfork’s Best New Music (a feat she’s achieved three times over). It’s an apt choice, with her angry staccato guitar strums only elevating her earnest frustrations, pained voice malleable and ever-flowing.

      Photos by Zachary Giller

      It’s also the show’s pinnacle, beholding entranced listeners to her writhing torments over the loss of self-jurisdiction and damning physical fatigue from “a lack of sleep” over nights spent tossing and turning. At no point is the plot lost as Nilüfer tears through “Binding,” feeling more resolute in her convictions, and the crowd is likewise, renewed with energy, as she croons: “I don’t want what’s left, got to give me something strong, got to make sure it’s your best.”

      Photos by Zachary Giller

      Waves of interludes weave the audience purposefully from one sequence to the next of Nilüfer’s purgatory tale. Even a rare cheer or whoop of appreciation feels out of place and almost sanctimonious, detracting from the world Nilüfer has built within and around herself. There’s just one brief moment where her absolute reign slips — a momentary technical difficulty that lasts but five seconds — and she chuckles, unsure. You’re instantly attuned that this is someone who regularly seizes utmost control of the moment. 

      Photos by Zachary Giller

      Nilüfer’s pain quickly turns into exuberance — a pity party is still, after all, a party — and there’s a resounding resurgence in the final act as she launches into “the dealer” and ‘stabilise,” off the 2022 “PAINLESS.” There’s even a reclamation of narrative as she sheds her victimhood, in a rendition of PJ Harvey’s “Rid of Me.” 

      Photos by Zachary Giller

      “I’ll tie your legs, keep you against my chest, oh, you’re not rid of me,” she sings in defiance against her former lovers and whoever else has wronged her, waking many in the pit from their deferential slumber. The Greek god of sleep, the gentle-dispositioned Hypnos, is said to own nearly half the lives of humans as he steers them through rest. As Nilüfer closes the show with the last exuberant dregs of “midnight sun,” it feels like she’s saying, to followers emerging from their trance, to look into the light of a new day, inherently triumphant in all its rich possibilities.