Brooklyn based soul-pop artists Lake Street Dive made their triumphant return to Beak & Skiff on Sunday, July 7. The Beak & Skiff veterans have been long embraced by the Central New York community.
Lake Street Dive was one of the first to bring live music back to the area during the Covid-19 pandemic, with a run of three consecutive shows at the venue in 2021. They are currently touring in support of their eighth studio album, Good Together.
The evening kicked off under crystal clear blue skies and warm temperatures, with a set by Alisa Amador, who won NPR Music’s Tiny Desk Contest in 2022, and dazzled the crowd with her blend of Spanish infused folk music. Amador’s powerful yet soothing vocals danced through out the already filled orchard valley and kept captive hold of the audience through out the 40 minute set. Late in her set, Amador paid tribute to Radiohead, with her own rendition of “High and Dry.”
The familiar opening synths of “Good Together” (the title track on the band’s latest release) kicked off Lake Street Dive’s set. The band immediately had the densely packed audience swaying and dancing, following the lead of singer and front-woman Rachael Price. Price enamored the audience with her charismatic stage presence as she strutted and danced across the stage, never missing a vocal beat. She took a seat and twirled at a makeshift bar on stage during “Seats at the Bar”, and even brought bystanders from side stage to center stage to dance along with her during the appropriately named “Dance with a Stranger.”
While much of the allure of seeing Lake Street Dive in concert is the fun and energetic set, perhaps the highlight on this evening was during “Twenty-Five,” the somber piano-ballad off the band’s latest release. Price’s vocals soared in perfect harmony with her bandmates during the emotional track, which likely left few dry eyes through out the audience.
Lake Street Dive would return to their high energy ways, closing their Beak & Skiff set with the Hall & Oates classic, “Rich Girl” and the band’s own fan favorite “Good Kisser”. The latter track’s catchy chorus allowed Price’s vocals to soar through out the LaFayette Valley one last time.
After a nine-year-long hiatus, Australian alternative rock band Atlas Genius co-headlines a tour with electronica-pop artist Robert Delong starting this September in Chicago and ending in October in Los Angeles. The tour takes the headliners across North America, with two back-to-back stops in New York on September 15 and 17.
Atlas Genius’s upcoming tour comes in anticipation of their newest album, End of the Tunnel, the band’s first in nine years, set to release on September 6. Co-headliner Robert Delong has also recently announced his newest album, Playlist of Doom, set for release on September 13 through Round Hill Records.
Before their hiatus, Atlas Genius traveled the world supporting Weezer, Blink-182, The Neighborhood, Imagine Dragons, The Kooks, and more. Atlas Genius have performed at some of the most iconic and prestigious festivals, including Lollapalooza, and featured on the late-night television shows of Jimmy Kimmel, Jimmy Fallon, James Corden, Conan O’Brien, David Letterman, and Jay Leno. Delong is no stranger to festival stages, either, captivating audiences with his incredibly unique and dynamic performances at Coachella, Lollapalooza, Bonnaroo, Outside Lands, and Reading and Leeds.
Now, after a long-awaited return, Atlas Genius are ready to re-emerge on stages across North America, including two shows in New York. Their first NY show is in Wantagh, Long Island, at Mulcahy’s Pub and Concert Hall on Sunday, September 15. Their second New York show brings them to the Chelsea neighborhood of Manhattan at Racket NYC, a concert venue located inside the Western Beef Supermarket on W 16th Street.
Mulcahy’s Pub and Concert Hall – Long Island Catering Halls
The full tour dates are listed below. Tickets go on sale on Friday, July 12, at 10 am local. Any additional information can be found on Atlas Genius and Robert Delong’s websites, linked here.
ATLAS GENIUS AND ROBERT DELONG: FALL 2024 TOUR
SEPTEMBER
8 – Chicago, IL – Taste of Chicago
10 – Detroit, MI – The Shelter
11 – Columbus, OH – A&R
13 – Jersey City, NJ – White Eagle Hall
15 – Long Island, NY – Mulcahy’s
17 – New York, NY – Racket
18 – Philadelphia, PA – The Foundry
22 – Boston, MA – Middle East – Downstairs
24 – Hartford, CT – Webster Underground
26 – Norfolk, VA – The Annex
27 – Washington, DC – Union Stage
29 – Atlanta, GA – Hell at the Masquerade
OCTOBER
1 – Nashville, TN – Basement East
3 – Austin, TX – The Ballroom at Spiderhouse
4 – Houston, TX – The Heights
5 – Dallas, TX – Kessler
7 – Kansas City, MO – Madrid Theatre
9 – Colorado Springs, CO – Black Sheep
10 – Denver, CO – Marquis
12 – Bellingham, WA – Bellingham Exit (Wild Buffalo)
New York multi-instrumentalist and producer Ben Cuomo has released two of four what he refers to as “single packs”, entitled “It’s still about you, Lucy” and “Smoke Sits.” Each single is accompanied by an additional intro and outro track, inspired by his background in ambient jazz.
Photo by @maevelovesyouu
“It’s still about you, Lucy,” officially released on February 7, 2024, was co-written by Cuomo and Brigid Hart. Cuomo says that “teaming up with genius folk singer-songwriter Brigid Hart helped me access the indie folk world after obsessing over artists like Blake Mills, Big Thief, Phoebe Bridgers, Nick Hakim and Luke Temple”.
Photo by @maevelovesyouu
Ben Cuomo recorded bass, piano, synthesizer, and percussion on the release. He is also the projects engineer, mixing engineer, and mastering engineer. Brigid Hart is accredited with vocals, guitar and shruti box (an instrument of the Indian Subcontinent which is known for its drone accompaniment). Shanne Garcia is also an accredited vocalist.
“Lucy’s Intro” immediately sets the soundscape and vibe for the single pack. A droning background paired with classical jazz paints the scene before perfectly transitioning into the single, “It’s still about you, Lucy”.
Hauntingly beautiful vocal harmonies paired with acoustic guitar just scratch the surface of this extremely well produced track. The vocals complement each other so well, and their strong musical chemistry creates this ethereal quality that transports you during the four and a half minute single.
“Lucy’s Outro” transitions into a solo jazz and classical influenced piano piece, painting the picture of watching the Sunday morning rain hit your windowsill. Cuomo’s recording technique and his ability to create these mental images in his music is powerful, and very well done.
Photo by @maevelovesyouu
The second “single pack” in Cuomo’s series, Smoke Sits features artists and co-writers JAYA and Ben Milstein. It was officially released on April 19th. Containing a mysterious introduction which notably features JAYA on bass clarinet and flute entitled “Smokes Sits Intro”, this once again perfectly transitions into the folk and indie inspired “Smoke Sits”, tackling the difficulties of leaving home and starting anew, featuring the samples of past works of Cuomo, as well as a poem written by his friend Coral.
Cuomo is a tremendous producer and engineer, and his work in the studio on these “single packs” is nothing short of outstanding and professional. Find out more about Ben Cuomo at linktr.ee/bencuomo1
“It’s still about you, Lucy” is currently available on all streaming services [here].
“Smoke Sits” is currently available on all streaming services [here].
The 2024 Caramoor American Roots Festival was held on Saturday, June 29, 2024. The festival featured blues, Americana, folk, and bluegrass music with a stellar lineup featuring Lizzie No, Solomon Hicks, Fantastic Cat, Poor Monroe, Hopalong Andrew, and headliner Madison Cunningham. Attendees were treated to a day of entertainment in a distinctive setting.
Milton opening the festival
Nestled in a secluded part of northern Westchester County, the Caramoor Center for Music and the Arts welcomes its visitors as they pass through a gate which reveals the sprawling 90-acre property. This welcoming gesture sets the tone for the immersive Caramoor experience.
Hopalong Andrew entertaining children in the Sunken Garden
The festival was divided into two sessions: daytime and nighttime. During the day, performances were spread across multiple locations within the center, while the evening session culminated with Madison Cunningham’s performance in the Venetian Theater.
Friends Field
Daytime performers had the chance to showcase their talents twice by performing in two of the four distinct show spaces throughout the day. This two-set format allowed attendees to catch every act without having to choose who to listen to. A map is provided to guide you through the vast expanse of the Caramoor Center. Each show location is sufficiently distant from the other and offers aunique listening experience.
Lizzie No with a young fan enjoying her performance
The Sunken Garden presented the most intimate setting, as it is nestled in a clearing among the trees. This charming location allowed the music to resonate in its purest form. Many at the festival brought their children. The garden proved to be an ideal spot for Hopalong Andrew’s family-oriented set, which encouraged interaction with the children in a tranquil setting. Poor Monroe, a bluegrass band that followed Andrew, equated the location to the origins of their musical genre and the natural materials of their instruments.
Fantastic Cat performing in the Spanish Courtyard
The Spanish Courtyard is situated inside the Rosen House, a Mediterranean-style stucco villa built in the 1930s. Originally the summer home of the Rosen family, the property was donated and converted into a center for the arts and music after the death of their son in World War II.
The Spanish Courtyard is described by Caramoor as “Spanish under the influence of the Italian Renaissance.” The picturesque courtyard with its arched walkways and central fountain, provided an unusual yet enchanting setting for a rock show. Fantastic Cat embraced this unique space with, as they dubbed it, a âspayed and neuteredâ acoustic set, before delivering a full-on electric performance later in the day at the Venetian Theater.
WFUV’s John Platt introducing performers
The third location, Friends Field, offered a spacious environment. Visitors could relax on blankets or chairs and enjoy great sightlines to the large stage. The grassy field also served as a soft dance floor for those so inclined. Singer-songwriter Milton opened this stage, and was followed by Lizzie No and Poor Monroe, with Harlem blues aficionado Solomon Hicks closing out the daytime session.
After the conclusion of the day session, Grammy Award winner Madison Cunningham and her band closed outthe evening with a heartfelt performance in the open-air Venetian Theater, leaving the audience thoroughly appreciative.
Bluesman Solomon Hicks closing the day session
Festivals bring to mindcrowds, long lines, and tight spaces. Caramoor Center for Music and the Arts started presenting music in 1945. They have learned the best use ofthe 90 acres offering space for the attendees, performances that do not compete against each other, as well as providinga special place for everyone to enjoy the arts.
Headliner Madison Cunningham / Photo : Gabe Palacio
The American Roots Music Festival is just one of the many curated musical events that take place at Caramoor. Caramoor has a full lineup of musical happenings throughout the year. Check their website for more details.
Day long winds and heavy rain, along with a gloomy evening forecast did not deter the strong contingent of Jason Isbell fans from turning out to Beak & Skiff in LaFayette on Saturday June 29, as Jason Isbell and the 400 Unit made their return to Central New York.
Isbell, the critically acclaimed singer, songwriter, and guitarist has been touring endlessly in support of 2023’s acclaimed release, Weathervanes. The album showcases Isbell at his finest, with a package of songs focused on heavy topics like love and loss, addiction, and nostalgia, backed by powerful guitars and haunting melodies. Isbell, an Alabama native, formed with the 400 Unit in 2009 after he departed the Drive By Truckers. The 400 Unit, which consists of Sadler Vaden (guitars), Chad Gamble (drums), Anna Butterss (bass guitar), Derry deBorja (keyboards), and Will Johnson (percussion), have become an integral piece to both Isbell’s studio albums and live tours.
Heavy winds and rains started early and often on Saturday and continued until one final rain shower blew through the outdoor concert field shortly before 6pm. The tumultuous weather forced the cancelling of opener Courtney Marie Andrews’ set and led to a restructured timeline for the music events on this evening. That did not deter music fans from turning out in near capacity, and shortly before 7pm they were rewarded with a sun which had finally broke free of the heavy cloud cover that had dressed the fields through out the day.
Just after 7pm Isbell stepped on stage with his bandmates, flashing a smile and delivering praise to those in attendance for riding out the weather. The band launched into the gritty rocker “When We Were Close” which immediately had fans out of their chairs and making way close to the stage. Isbell wasted no time showing off tracks from his 2023 release, opening the concert with four consecutive tracks off the album. The third song this evening, “King of Oklahoma” which features a powerful, stadium-anthem like chorus, saw the first of several epic guitar-solo duals between Isbell and Vaden.
Through out the evening it became abundantly clear why Isbell has received such high praises as a songwriter. Few artists have the ability to place the listener into the scene with their lyrics quite like Isbell can. Vivid imagery, like on “Strawberry Woman” place the listener next to the song’s narrator, while addressing heavy topics all too familiar to many.
Over the course of the 110 minute set, Jason Isbell and the 400 Unit treated those in attendance to a set spanning their entire catalog, performing favorites like “Alabama Pines”, “If We Were Vampires”, “24 Frames”, “Flying Over Water” and “Cover Me Up”. They even paid tribute to The Cure, by playing “Just Like Heaven” late in the set. It was a simple gesture to pay homage to the band’s classic rock roots, and one that was well received by all in attendance.
The Beak & Skiff Summer Concert Series continues on Sunday, July 7, with a performance by Lake Street Dive.
The Bearsville Theatre complex lit up with excitement and good vibes on Friday, June 28 for a double-headlined show from Ratboys and Water From Your Eyes. The event brought together fans of a multi-genre spectrum and vibrant performances to Woodstock.Â
Ratboys
Chicago indie-rock band Ratboys, are on a break from their tour opening for The Decemberists, which picks back up in July. After which the band, comprised of Julia Steiner, Dave Sagan, Marcus Nuccio, and Sean Neumann, will embark on a fall headline tour. For now, theyâre playing a few headline shows including Friday nightâs juncture with Water From Your Eyes, who then go to Europe and return to the States for a lineup of festivals.
The show served as a standalone experience with both bands, who are currently on their respective tour schedules, coming together for one special show. Fans got to witness the first time the two bands played a show together since 2016. Fans of both bands in the audience blended in with each other seamlessly in this union of rock music.
Water From Your Eyes
As the crowd shuffled into the venue, the first band of the night, alt-rock group Water From Your Eyes took the stage. Singer, Rachel Brown, began by declaring they had lost their voice, however, they along with bandmate, Nate Amos, proceeded to put on an electrifying performance. Each band member brought their own style to the set, making it an enjoyable watch.
Ratboyâs set presented music from old and new albums filling Bearsville Theater with their repertoire of musical approaches. Frontwoman, Steiner, rocked a flying V guitar throughout the show adding flare to their rhythmic indie music. Each tune sonically transitioned into another, with the occasional introduction, making the exhibition of their music look so natural.
Because the room fostered such intimacy between the audience and the bands, the connection was radiant. Attendees were able to interact easily with the band, whether it was while they were on stage or walking around when they weren’t performing. Overall, the casual and welcoming nature of the concert left everyone in high spirits.
Julia SteinerSean NeumannJulia SteinerRachel BrownJulia SteinerRatboysWater From Your EyesRachel BrownRachel BrownSean NeumannRachel BrownDave SaganRachel BrownJulia SteinerRachel Brown
Cake returned to Ommegang Brewery in Cooperstown, on Saturday, June 22, greeting over 7,000 fans who went the distance to attend this sold-out show in Central New York during a heat wave.
Cake, from California, has been around since the 1990s and has released original songs (“Going the Distance,” “Short Skirt” and “A Long Jacket”) and covers (“I Will Survive”) that never seem to age. Cake always makes an effort to stop in New York throughout their tours. This show was the fourth time Cake has been invited to play at the Ommegang Brewery.
Although Cake isn’t from New York, it felt like a homecoming show. The backdrop of the stage and the tree on stage blended into the mountains of New York surrounding the brewery and stage. The show opened melodically with Willie Nelsons’ ‘Sad Songs and Waltzes’ before launching into back to back songs from across their entire song catalogue – “Opera Singer,” “Rock and Roll Lifestyle,” “Long Time,” “Frank Sinatra”. Lead singer, Jon McCrea, who’s voice hasn’t aged a bit, also wasn’t stingy in use of the famous vibraslap throughout their set especially since many audience members egged him on by playing their own vibraslaps from the crowd.
The show slowed back down for ‘Mexico’ and the fans’ voiced echoes the words and melodies back to them. The frontman explained that they usually stop for a set break but they would continue to play ‘Shadow Stabbing’ and fight the impeding storm to stay away.
Sadly, lightning struck right after the song concluded and everyone was asked to evacuate the grounds to wait out the storm. Emails were sent out at around 10pm stating the show was cancelled, despite most people lacking any phone reception in the mountains to receive the update.
People went home soggy and disappointed after a short and sweet show and an hour long wait to know if the show would continue. But many Cake fans were satisfied to hear and singalong to songs old and new on a mostly beautiful day in New York and were relieved to know Cake will still be touring.
Cake is heading back to California to continue their tour in July. Perhaps, perhaps, perhaps they will be back to Ommegang soon to finish the show they started and plant a tree for the Cake Forest.
Cake – Ommegang Brewery, Cooperstown, NY – Saturday, June 22, 2024
Setlist: Sad Songs and Waltzes, Opera singer, Perhaps, Perhaps, Perhaps, Long Time, Rock and Roll Lifestyle, Meanwhile, Rick Jamesâ¦, Frank Sinatra, Sheep Go To Heaven, Mexico, Shadow Stabbing
On Friday, June 21, Wilco performed the first night of a string of three shows at the Beacon Theatre.
Opening for Wilco at the sold-out show was Brooklyn-based Cut Worms. This summer tour supports Wilco’s latest album, Cousin, released in September 2023.
The art deco interior of Beacon Theatre felt like the perfect venue for the band hailing from Chicago, a city known for its extravagant architecture. “I always remember this place because the exit signs have the Black Flag font,” frontman Jeff Tweedy joked to the crowd. “That’s how I know where I am.” The band has a new EP, Hot Sun Cool Shroud, set for release on June 28. The EP release coincides with Wilco’s Solid Sound Festival at the Massachusetts Museum of Contemporary Art in North Adams, MA.
Wilco performed songs spanning 30 years of the band’s discography. There were many celebrations throughout the night, including the 20th anniversary of A Ghost Is Born and a “Happy Birthday” crowd sing-a-long for the band’s multi-instrumentalist Pat Sansone. The crowd maintained high energy throughout the night, with many standing ovations and encouragement from the band along the way. “Were you singing? It sounded good.” Tweedy quipped after “Passenger Side.”
The band performed a four song encore before ending night one of their NYC run. Wilco performs again at Beacon Theatre in NYC on June 24. Their Solid Sound Festival in Massachusetts runs from June 28-30, followed by a few more summer tour dates across North America.
Wilco – Beacon Theatre, NYC – Friday, June 21, 2024
Setlist: Misunderstood, Forget the Flowers, Handshake Drugs, Pittsburgh, I Am My Mother, Cruel Country, I Am Trying to Break Your Heart, Meant to Be, If I Ever Was a Child, Summer Teeth, Hummingbird, Bird Without a Tail/Base of My Skull, Passenger Side, Evicted, Impossible Germany, Jesus, Etc., Whole Love, The Late Greats, Heavy Metal Drummer, I’m the Man Who Loves You
Encore: Falling Apart (Right Now), California Stars, Via Chicago, Spiders (Kidsmoke)
Up-and-coming artist MacInizby made her debut on May 24 with the release of her new single “Closet.” The song chronicles a queer coming-of-age love story. With its lyrics balancing between vulnerability and raging catharsis, MacInizby commands the spotlight as she advances in the indie-rock scene with her debut single.
MacInizby’s debut single “Closet,” released May 24, 2024.
MacInizby is the passion project of Maggie Bishop, a recent graduate of NYU’s Clive Davis Institute of Recorded Music. While Bishop released an album and an EP under her own name in high school, she wanted to separate herself from her old acoustic, bubbly rock sound. Her music, along with herself, matured throughout her four years of college. It was this evolution that transformed Maggie Bishop into MacInizby.
MacInizby is the surname of Bishop’s Scottish grandparents. Not only does the name harken back to Bishop’s heritage but it’s also a reminder of her days as a drummer in Scottish marching bands. MacInizby continued to play in a variety of bands throughout college. However, unlike the traditional Scottish marching bands of her youth, MacInizby now played with New York City’s indie rock bands, including Bec Lauder and The Noise, Breaker, and Rose Paradise.
Through collaborating with multiple NYC bands, MacInizby learned the art of collaboration. MacInizby recalled how she lacked this joint effort in her early high school years, crafting her songs in isolation. It was an isolation that slowly disintegrated the more she stepped behind the drum kit, working with various bands. She came to value other’s insights and perspectives on her music. It was this maturation as an artist that would help to inform her latest release, “Closet.”
Photo Credit: Hellen Elizondo
“Closet” was co-produced by MacInizby’s college friend Jacob Geoffery, who also played lead guitar on the track. The addition of Geoffery’s rhythmic guitar riffs helped transform “Closet” from an acoustic demo that MacInizby created early on in 2023 as a school assignment into an energetic, hypnotic, indie-rock single. MacInizby nurtured her acoustic demo 24/7 to make this metamorphosis complete. She recorded takes after takes of guitar, bass, vocals, and backing vocals, later editing them all together in her room. So every sound you hear on the track, excluding the lead guitar, is made and produced by MacInizby.
MacInizby admitted the numerous takes and recordings were due to her perfectionism, which she struggled with. “It’s hard to reconcile what you think something should sound like and what something does sound like, because it’s never going to be exactly what you hear in your head,” MacInizby stated. “But I think that’s the beauty of music production. Weird things and mistakes happen, but there’s beauty in it. I’m trying to allow myself to create without always being an editor or critic in my head.”
MacInizby’s dedication paid-off as the result is a single reminiscent of the late ‘90s and early 2000s with heartfelt lyrics that reach one’s core. MacInizby best summed-up her creation herself. When creating the song, she said, “I try to explore like, What would Phoebe Bridgers sound like if she were writing to an Avril Lavigne track?” Inspiration from Phoebe Bridgers is clearly visible in MacInizby’s debut single. Take Bridgers’ track “I Know The End.” Bridgers’ mellow beat that’s interrupted by her screaming is mimicked in MacInizby’s quiet vulnerability and raging catharsis. The two seemingly contradicting natures are blended together so beautifully that tears will well up all the way from the pit of the listener’s stomach.
MacInizby’s cover of Phoebe Bridgers’ “Halloween.”
MacInizby’s passion and meaningful lyrics also hit the listener’s heart. The lyrics highlight the struggles of a queer relationship. It tells the story of a first love, falling in love with someone, who isn’t ready to share that love with the rest of the world. While MacInizby has written love stories in the past, she has never expressed the queerness of those relationships until now. “I’ve never really been in touch with my emotions or able to explain that to people, especially as a young queer kid growing up, who didn’t always feel like I could talk about how I was feeling,” MacInizby said. “Songwriting is a place for me to allow myself to be introspective and feel things to their full extent.” She hopes to provide this place for others through her music.
That place will only continue to expand as MacInizby writes more music in the upcoming year. With talk of another single release later this year and a potential EP release next year, fans eagerly await to see this new artist carve out a space for herself in NYC’s indie rock scene.
MacInizby / Maggie Bishops will perform at the Song Suffragettes on June 25, 2024 at Pink Frog Cafe.
But fans don’t need to wait for the release of more singles. If you’re in the New York area, MacInizby will be performing this Monday, June 24 at the Map Room at Bowery Electric located at 327 Bowery Street. She’ll be performing alongside Lillian F**king Jones and Emily Patt. Doors open at 7:00 pm for a night of high energy melodies.
She’ll also be performing the following day, Tuesday, June 25 at Pink Frog Cafe located at 221 North 9th Street in Brooklyn, as part of the Song Suffragettes, an event highlighting the best women singer-songwriters in NYC. This event will be a change of pace from the night before. MacInizby will forgo her energetic persona for that of the acoustic, melodic Maggie Bishops. To hear MacInizby’s older music, head to the Pink Frog Cafe on June 25 at 8:00 pm.
A destination venue for industry veterans and rising stars, Brooklyn Paramount hosted The Church and The Afghan Whigs for their second co-headlining show on a 19-date tour this past Thursday evening, June 20.
Originally opened in 1928 and dubbed ‘America’s first movie theater built for sound,’ Brooklyn Paramount reopened its famed doors in the heart of downtown this past March, and since doing so, has seen a constant stream of genre-spanning musical talent – with a full slate of artists scheduled well into December. The night’s festivities were presented by WFUV, a non-commercial radio station owned by Fordham University, located on its Bronx campus, and nationally recognized for its alternative music format.
Fans wait in line ahead of entering Brooklyn Paramount | Photo Credit: Michael Dinger
Providing opening support was Kristin Hersh, who in addition to her solo work which often features emotional vocals delivered in raw, visceral manner, is best known for her singing and songwriting in the alternative rock band Throwing Muses. Taking a lone seat at center stage promptly at 7:30 pm, Hersh warmed up the large swarm of fans who arrived early to see her 30 minute set, which comprised three Throwing Muses offerings and four tracks selected from her eleven solo albums – Hips and Makers (1994), Sunny Border Blue (2001), Crooked (2010) and Clear Pond Road (2023).
At 8:10 pm, The Afghan Whigs appeared onstage and immediately launched into a 15-song set spanning a nearly four decade career. Hailing from Cincinnati, Ohio, the duo of frontman Greg Dulli and bassist John Curley – who started it all way back in 1986 – are cited as having influenced several musicians of high esteem in their own right, including fellow Ohio natives The National, Interpol, and The Gaslight Anthem, to name but a few.
Greg Dulli of The Afghan Whigs | Photo Credit: Michael Dinger
An eclectic blend of alternative and indie rock, post-punk, grunge, and for good measure, R&B, the hour-long set kicked off with “Pantomima,” the lead single from Dulli’s 2020 solo album Random Desire. Apart from an astounding cover of English singer-songwriter Martina Topley‐Bird’s “Too Tough to Die” midway through, The Afghan Whigs gifted its fans several of what are considered the best tunes from their nine studio album catalog.
Standout numbers from the night included the moody and atmospheric “Debonair” (Gentlemen, 1993), fan favorite “Algiers” and “Matamoros” (Do to the Beast, 2014), the introspective “Oriole” (In Spades, 2017), and “Somethin’ Hot” (1965, 1998), featuring a driving rhythm accompanied by a sound palette of power guitar riffs and energetic percussion.
John Curley of The Afghan Whigs | Photo Credit: Michael Dinger
The Church are touring off the strength of their most recent two albums, the universally hailed album The Hypnogogue, and its companion science fiction concept album Eros Zeta and the Perfumed Guitars, released in 2023 and 2024, respectively. The Aussie psych-rock quintet of founder Steve Kilbey (lead vocals, bass), long-time collaborator Tim Powles (drummer), Ian Haug (guitarist formerly of Australian rock icons Powderfinger, who joined the band in 2013), Jeffrey Cain (multi-instrumentalist who has been a full-time member since early-2020), and Ashley Nalor (touring guitarist and backing vocalist for The Church since February 2020, best known for fronting the Melbourne-based band named Even) silently slithered onstage under the cover of darkness at approximately 9:45 pm.
As The Hypnogogue’s title track played over the house PA, the crowd waited in eager anticipation as the slow burning introduction, with its multiple sonic layers, continued to build momentum. At long last, the cinematic extravaganza was underway.
Steve Kilbey of The Church | Photo Credit: Michael Dinger
With selections presented from six LPs spread across their massive discography (25 studio albums in total), The Church’s dreamy psychedelia experience continued with “Myrrh” (Heyday, 1985), but not before Kilbey first greeted the more than 2,000 souls in attendance. “Good evening ladies and gentlemen, thank you very much. We are so happy to be here tonight. What a wonderful – the word splendid comes to my mind – what a splendid, old theater. Thanks so much for coming along.”
Kilbey introduced the next song, “Metropolis” (Gold Afternoon Fix, 1990), as “the last time we ever darkened the doorstep of commercial radio, 34 years ago, you may remember this one.” The proceeding mystical journey that he and his bandmates brought all of us on was filled with indelible highlights, with too many to list in this review. However, the goosebump-inducing moment that tops that list, for me at least, would have to be The Church’s performance of “No Other You” (The Hypnogogue), a heartfelt love song showcasing Kilbey’s voice filled with a yearning for a woman who cannot be replaced.
The Church | Photo Credit: Michael Dinger
Outside of their psychedelic-tinged, instant classics appearing on 1988’s Starfish, “Under The Milky Way” and “Reptile,” the album that put Kilbey and company on my radar as a 16-year old entranced by their anthemic songs filled with melody and orchestration, it was another track from The Hypnogogue that filled the venue with an overall sense of reflection. The operatic “Flickering Lights,” which found Haug taking up the mandolin, was appropriately rendered by The Church to a backdrop of bright white flashing stage lights and multicolored strobes.
The stellar live show culminated with two tracks collected from opposite ends of their storied career – “Last Melody” (Eros Zeta and the Perfumed Guitars, 2024) and “You Took” (The Blurred Crusade, 1982) – a trippy, cosmic jam filled with epic, swirling guitar.
Watch The Church perform two hit songs from their aforementioned fifth studio album Starfish, “Under The Milky Way” and “Reptile,” below:
Following the current run of North American tour dates which ends in Los Angeles on July 13, our favorite mates have cleared their calendar for the duration of the summer. However, if at the end of the year you find yourself in the Land Down Under, The Church have a series of six shows beginning at the Enmore Theatre in Newton on November 23, culminating at Hindley Street Music Hall in Adelaide on December 7. Dates sandwiched between include stops in St Kilda, Brisbane, Hobart and Perth.
Kristin Hersh Setlist: Eyeshine > Kay Catherine (Throwing Muses song) > Mississippi Kite > Your Ghost > City of the Dead (Throwing Muses song) > Bywater (Throwing Muses song) > Your Dirty Answer
The Afghan Whigs Setlist: Pantomima (Greg Dulli song) > Debonair > Catch a Colt > Algiers > 66 > Matamoros > What Jail Is Like > Too Tough to Die (Martina Topley‐Bird cover) > Light as a Feather > Oriole > It Kills > Demon in Profile > Going to Town > Somethin’ Hot > Summer’s Kiss
The Church Setlist: The Hypnogogue > Myrrh > Metropolis > C’est la vie > No Other You > Under the Milky Way > An Interlude > Flickering Lights > Reptile > Realm of Minor Angels > Grind > Last Melody > You Took
UPCOMING TOUR DATES
June 24 – Toronto, ON @ The Danforth Music Hall
June 25 – Detroit, MI @ The Majestic Theatre
June 27 – Indianapolis, IN @ Hi-Fi
June 28 – Chicago, IL @ The Vic Theatre
June 29 – Milwaukee, WI @ Summerfest 2024
June 30 – Minneapolis, MN @ First Avenue
July 2 – Denver, CO @ Ogden Theatre
July 3 – Bellvue, CO @ The Mishawaka
July 5 – Seattle, WA @ The Showbox
July 6 – Portland, OR @ McMenamins Crystal Ballroom
July 8 – Sacramento, CA @ The Sofia
July 9 – San Francisco, CA @ The Fillmore
July 11 – San Diego, CA @ The Observatory North Park
July 12 – Anaheim, CA @ House of Blues Anaheim
July 13 – Los Angeles, CA @ The United Theater on Broadway
