This spring, just as Election 2024 starts to warm up, Lost Radio Rounders will present a musical/historical program, titled “Songs America Voted By, 1840-1940.”
With six public performances of the “Songs America Voted By” program lined up, the group starts in March with shows at libraries, museums, historical societies and college campuses.
Back before TV, radio, and even PA systems, political parties would produce small booklets containing lyrics extoling their candidates virtues, while trashing the other guy. And in this time frame, it was all men running for office (how times have changed!)
The booklets would suggest that those lyrics should be sung to the tune of popular melodies of the day, in the form of parodies. The program also includes issue songs about women’s suffrage, abolition and temperance.
The “big bang” of campaign singing was led by the long defunct Whig party in 1840, and FDR’s use of radio for his fireside chats would put the first big nail in the coffin of campaign songs by 1940.
Although the program from Lost Radio Rounders does not deal with any aspect of the coming election, the program may certainly attempt to prove that “the more things change, the more they stay the same.”
Lost Radio Rounders “Songs American Voted By, 1840-1940” Performances
Tuesday, March 26 at noon H.V.C.C. Bulmer Auditorium 80 Vandenburgh Ave., Troy NY FREE
Friday, April 12 at 10 a.m. Bethlehem Public Library 451 Delaware Ave., Delmar, NY FREE
Saturday, September 7 at 2 p.m. The Berkshire Athenaeum (Pittsfield Library) 1 Wendell Ave., Pittsfield, MA FREE
Sunday, October 20 at 2 p.m. Guilderland Public Library 2228 Western Ave., Guilderland, NY FREE
Sunday, November 3 at 2 p.m. New Scotland Historical Association 7 Old New Salem Road, Voorheesville, NY FREE
On February 2, Annie Trezza provided the tunes and ensued the grooves at Arlene’s Grocery, a Lower East Side treasure. From the most eastern point of New York State, Annie and her band descended into the city from Montauk, bringing their east coast surf-rock demeanor with them in blue suitcases, fur coats, and their soulful sound.
Bass rattled the vintage infrastructure of Arlene’s as Annie prepped her stage. She twirled around her staple acoustic and a sky blue electric-guitar perched behind the microphone, sipping a Tecate and dancing to the pre-show tunes. Huddled on stage was the Arlene’s grocery drum set, a bass guitar, and a pedal set that her bandmates fiddled with. Friends and family members of the band milled about the tight-spaced room, and curious New Yorkers in search of live music filed down the stairs into the pit.
Annie and her whole crew made their way onto stage. “Hey everyone! We track from the east end, AKA Montauk – the coolest place on Earth!” She wore a memorable coat with fur trimmed cuffs, velvet cowboy boots, bell bottoms, and a cowboy hat. Her style matched her sound, as she strummed her band into play.
After her first couple of songs, Annie Trezza introduced her band: Jack Marshall on the steel guitar, Andrew Winthrop on the drums, and Kevin L. on the bass. Their stage presence was commanded by Annie’s charisma, and they gelled together seamlessly. After the song “Ave. A,” Annie was excited to play her song “Summer//Winter,” which can be heard in the neo-western thriller “The Last Victim” on Hulu.
With drinkable influence from iconic artists like The Doors and Fleetwood Mac, and more modern-scale groups like Houndmouth or The Growlers, Trezza has combined classic riffs and the jam-band groove with her own poetry and life-style flair.
Each song threaded a narrative with unique lyrics. In the span of the mere hour long set, we were pulled from New York City, to Montauk, to Florida, to the French countryside. With strong influences from the ocean, surfing, relationships, and the seasons changing, Trezza holds an earthy and empathetic discography.
Their set deserved more time, for the storytelling between songs had to be nipped in order for Annie to perform the entirety of her setlist. Trezza acknowledged the time passing, “ All of these songs have a story, and I do like to ramble…” The crowd replied, “Ramble on!” The collective reference to Led Zeppelin couldn’t be missed.
A story that seemed to resonate with the audience was that behind her song “French Countryside.” Sleeping in the room next door to the person you’re in love with. The song had a tremendous build that mirrored the feeling of emotional climax – when feelings can no longer be contained and the body becomes an emotional well.
The bridge warranted dancing and Annie’s pal Kate grooved front and center. She bounced around the rim of the stage, and her energy encouraged others to move their feet. Annie invited the audience to fill in the dance floor. Bodies pushed towards the stage and the motion met the music.
“Alright, that was the acoustic set. We’re gonna go surfing again!” Annie swapped her acoustic guitar for her electirc as she geared up for the last couple of surf-inspired songs “Surf Crush,” and “Pitted.” “This song is about surfing, the greatest thing in the world! We’re in New York City, let’s get pitted!”
“Pitted” was the final song of the evening, and it ended the night on a high note. Once the show concluded, Annie hung around the Arlene’s chatting with her audience. Her artistry as well as her connective nature was genuine.
Dylan was at Proctors Theatre on Monday, October 30, and although he did not entertain one of the songs that follow, here is a look at the many songs written about Schenectady, as well as the songs that reference the notoriously difficult to spell Upstate city.
Prior to being settled by the Dutch in 1661, the Mohican originally lived in the area around the Mohawk River. The Mohawk referred to the area as “Schau-naugh-ta-da,” meaning ‘Over the Pine Plains” which eventually morphed into “Sche-nec-ta-dee” and finally, Schenectady. Part of the colony of New Netherland settled by Arent Van Curler of Nijkerk, Netherlands. The town was famously burned by the French and their Indian allies in February 1690 in what has been known as “The Schenectady Massacre,” killing nearly all inhabitants. Home to Union College and General Electric, the town’s sobriquet is “The City that Lights and Hauls the World,” a little more wordy than ‘The Electric City’ that many also refer to the town.
With 350 years of history, and a cultural landmark in Proctors Theatre, the historic Stockade District, miSci (Museum of Innovation and Science), Jazz on Jay, Music Haven Concert Series, the Schenectady-Saratoga Symphony Orchestra, and the still relatively new Rivers Casino, the town on the shores of the Mohawk River is experiencing a downtown Renaissance, with events for all tastes and interests found all throughout the city.
So this ‘Electric City’ of Schenectady is notable enough, both for spelling and history, that over time, a few songs have been written about the town. Two of the most notable, “I Can’t Spell Schenectady” and “Schenectady” from Synecdoche, New York, we’ll get to in a moment, but let’s look at a pair of songs written for the town.
First, there’s “Schenectady Song” from Jason Martin. A ‘love ballad to the Electric City,’ the tune was originally released on cassette in 1998 and a re-edited version from Martin’s Magic Recording Eye (2001) can be heard below. Featuring samples at the start and end mentioning ‘High Voltage Hall’ and tests of electricity, the experimental song is unique, odd, and worth a listen.
Then there’s “Schenectady’s the Place,” the Official City Song, written by Cliff Brucker in 2016, a graduate of The Crane School of Music at SUNY Potsdam and The College of Saint Rose. Brucker’s song has the ‘commissioned by the local Chamber of Commerce’ vibe, although the version by SCCC School of Music heard below does have a certain panache and inviting nature to it. For an official city song, this is spot on for style, lyrics and music.
Then there are quite a few songs – much to this author’s surprise – that reference Schenectady, including “Hamilton Hill” by Demmene Syronn, released in 2020 and referencing a small neighborhood near Mont Pleasant. “I was a witness to the cultural birth of Hip Hop / From Hamilton Hill, Schenectady, Upstate New York”
“Starlight in Schenectady” by Peter JB Carman, the first track on Life the Pain, was released on Stockade Records in 2019. The song was first played at Moon and River where Carman and wife Lynn can often be found playing. Carman is a Baptist minister, writing hymns, poems and songs about Massachusetts, Rhode Island, North Carolina and Upstate New York, all places where he has served churches.
“Walking by starlight in old Schenectady And I don’t know where I’m bound Listen to the songs from the café down the street I surely love the sound And the years they do so swiftly roll And all day long it’s trouble and toil But I’m walking by starlight in old Schenectady And it’s home, it’s home I’ve found”
“Starlight in Schenectady”
“Afro Angel” by Will Smith (yup, that Will Smith) “Nothing” by Raekwon – “He felt bad but respected me / Pass the watch and the chain off respectably / Moseyed off, ran through Schenectady” – and “Someone to Love” by Fountains of Wayne – “Seth Shapiro got his law degree / He moved to Brooklyn from Schenectady, ’93 / Got some clients in the food industry” – all mention the town.
There’s also “Grim Reaper” by MC Zappa – “Try me; you might find I’m not in my right mind / Heads will roll, and I’ll repossess ya soul / I’m murderin’ rappers from here to Schenectady / Turn around, you see a sight you didn’t expect to see” “DECAP” by Dicaprio – “And I’m from Brazil, but I’ll always representing the County of that city, electricity, Schenectady” and “Bon Soirée” by Clay Coughlin – “I was laid up in Schenectady / But I’ll be bedding down on rue Sainte-Catherine.”
But for a double dose of local Upstate references, look no further than “The End’s The Same” by Off Balance, who drop a Stewart’s reference – “So sweet you make me feel at home just like some Stewart’s ice cream” as well as one for the town – “Disorder’s light to me / I hear these grimy synths like Ludwig on the ivories / and ebonies / Like nights I’m in Schenectady”
Getting back to the history of Schenectady, the Dutch settlement was burned to the ground in February 1690 by a war party of French soldiers and allied Mohawk and Algonquin. This event may have produced the first song in the 1840s, “The Burning of Schenectady.” Originally a broadside, featuring just lyrics and sometimes a suggestion for a familiar tune to pair with, the ballad can be sung to the tune of “Auld Lang Syne.”
The Burning of Schenectady – from a painting by Giles F. Yates, owned by A. A. Yates of Schenectady
There is some debate on the origin of the poem/ballad that led to the song, with folklorist ad historian Harold Thompson noting in his 1939 book Body, Boots & Britches that the original was written by Walter Wilie of Albany in June of 1690. Wilie notes before the lyrics (abbreviated below) “A Ballad – In which is set forth the horrid cruelties practiced by the French and Indians on the 8th of last February. The which I did compose last night, in the space of one hour, and am now writing, the morning of Friday, June 12th, 1690 – W.W.” Still, a debate continues as to the true origin of the first song of Schenectady.
God prosper long our King and Queen, Our lives and safeties all, A sad misfortune once there did Schenectady befall.
From forth the woods of Canada The Frenchmen tooke their way The people of Schenectady To captivate and slay.
They marched for two and twenty daies, All thro’ the deepest snow; And on a dismal winter night They strucke the cruel blow.
….
They then were murthered in their Beddes. Without shame or remorse; And soon the Floores and Streets were strew’d With many a bleeding corse.
The Village soon began to Blaze, Which show’d the horrid sight – But, O, I scarce can Beare to Tell The Mis’ries of that night.
They threw the Infants in the Fire, The Men they did not spare; But killed All which they could find Tho’ Aged or tho’ Fair.
O Christe ! In the still Midnight Air, It sounded dismally, The Women’s Prayers and the loud screams’ Of their great Agony.
…
And Here I End the long Ballad The Which you have just redde; And wish that it may stay on earth, Long after I am Dead.
Lyrics (partial) to “The Burning of Schenectady” – Walter Wilie, 1690
The aforementioned “Schenectady” from the motion picture Synecdoche, New York, stands out as one of the two most notable songs on the town. The title of the film makes a play on pronouncing the town name – Synecdoche (Sin-eck-duh-kee) while also being a literary expression alluding to a larger concept by bringing to mind a single part of the whole. Raul Yang notes “It perfectly captures the essence of the movie it was written for, and it stands on its own as a beautiful piece of music.” The deeply surreal film with a focus on aging and death, with director Charlie Kaufman including “Schenectady,” which introduces the idea of death in its last verse: “There’s always a never again.”
But of all these songs about Schenectady, the standard bearer has to be “I Can’t Spell Schenectady.” Written in 1948, let’s glance at the lyrics first.
Reading, writing and geography; But when it comes to spelling, I’m confessin’ There’s just one word that stumps me constantly. I can spell Dakota, can handle Minnesota, but I can’t spell Schenectady, I can spell Havana and figure out Savannah, but I can’t spell Schenectady. Why, one time at a spelling bee Said teacher all at once, “Now, Willie, spell ‘Schenectady’,” I felt just like a dunce! I spelled Anaconda and even Tonawanda, So what does she expect of me? I just can’t spell Schenectady. I can spell Pomona, Seattle and Tacoma, but I can’t spell Schenectady, I mastered Ypsilanti and Agua Caliente, but I can’t spell Schenectady.
Written by Al Trace, Arthur Terker, Abner Silver and Harry Clarkson, “I Can’t Spell Schenectady” is not in the range of “Weird” Al Yankovic for comedic songs, but rather resides in the realm of satire he would come to be known for, More so, this song is akin to a Bob Hope “Road To…” film featured song.
Starting out with a high pitched Alvin and the Chipmunks voice, the song laments Schenectady’s spelling difficulties with multiple voices joining in to drive home the orthographic dilemma they face.
The song was released on vinyl in July 1953, with a B-Side of “The Who is it Song,” both songs performed by Big Jon Arthur and No School Today Cast, and released on a 45 RPM Decca (9-88153) 7″ record, Children’s Series 1-252, with artwork by Sam Norkin.
Schenectady is the home of General Electric, the early radio-drama pioneer WGY, the first television station with WRGB, not to mention bread so delicious, Jack Nicholson had Perreca’s ship him loaves of bread following the filming of Ironweed in 1987. Yet for all these, Schenectady does not get respect in song or other media as should be afforded. Sure, the town name is difficult to spell, but ‘Place Beyond the Pines’ is a bit wordy. Schen-ec-ta-dy – it’s just that easy!
Album art for “I Can’t Spell Schenectady”
FormerLate Show with David Letterman head writer Bill Scheft once referred to Schenectady as “the Xanadu of funny-sounding places” in an interview with the Daily Gazette. “Four syllables, good rhythm and that hard comedy ‘K’ right in the middle. It scans perfectly. Of course, it’s no Cohoes, but what is?” And with that, check back soon following a search for songs about Cohoes.
Prolific bassist and songwriter Gregory McLoughlin has released his latest single, “Hemispheres” on January 15. Gregory McLoughlin, hailing from Jersey City, NJ, creates bass-forward, and acoustic tracks that can best fit into the category of folk or soft rock.
A first thought on Gregory’s single, “Hemispheres,” is the opening sounds quite reminiscent of Bob Seger’s “Against the Wind.” It begins with a subtle bassline, melodic piano, and a recognizable acoustic riff. You can also hear accordion kick in as the vocals do. Backing vocal harmonies on this track are quite smooth and relaxing.
The song tells a tale about a sort-of yearning for summer adventure with loved one. Certainly, a vibe any Northeasterner in the winter can get behind. The song has a mix of a tropical, Margaritaville sound, and American Folk. There is a smooth, guitar solo between verses and the chorus, which remains in the background for the remainder of the tune.
The single has the same melody throughout, with little to no diversion in neither vocals nor instrumentation. That said, the song is sweet-sounding, and one where emotion and hope are the defining narratives.
This is a song about summertime, but specifically inspired by the beautiful landscape of New England’s Cape Cod National Seashore. I am releasing it in the dead of Winter to remind us of warm summer memories and help push us through the cold months.
Gregory McLoughlin, on “Hemispheres”
To listen to Gregory McLoughlin’s latest single, check him out on Spotify, or YouTube. To learn more about the artist, visit his website at GregoryMcLoughlin.com.
Caffè Lena has announced it is partnering with activist/singer-songwriter Crys Matthews and local community groups to produce the Cry Matthews Black History Month Tour. The concert is happening on Friday, Feb. 9 at 8 p.m.
Cry Matthews is an activist, singer-songwriter and powerful lyricist who tackles heavy topics such as immigration, the opioid crisis, Black Lives Matter, and gun control with a warm heart, strong voice, and inspiring songs. Caffè Lena presents extraordinary music in an intimate setting, widely recognized as the longest-continuously operating folk music venue in the United States. The Library of Congress calls Caffè Lena “An American treasure,” and it has been recognized by The GRAMMY Foundation for its important contributions to the development of American music.
The Black History Month concert is also partnering with local community groups. MLK Saratoga, Saratoga Youth Safe Space, CREATE Community Studios, Camp Stomping Ground and Saratoga Pride are tabling before the event to socialize and discuss their organization’s role in the community.
MLK Saratoga shares Dr. Martin Luther King’s vision of peace and justice for all, building civil and human rights awareness by promoting equity, inclusivity, diversity, anti-racism, and social justice through community events and offerings, engaging via performance, dialogue, conversation, and the arts. Saratoga Youth Safe Space is a group intended to bring BIPOC youth as well as LGBTQ+ youth, and allies, together to have a place of reflection, dialogue, and support.
C.R.E.A.T.E. Community Studios is dedicated to providing a space where the benefits of art-making impact both the individual and the community. They offer low-cost art workshops and groups, community wellness activities, and open studios to promote art-making and the creative process as a vehicle for personal growth, communication, and social change. Unlike other art studios, their expectations are not rooted in a product or an image. They focus on the evolution of a piece and encourage conversation about its meaning.
Stomping Ground is an overnight camp in the gateway to the Adirondacks in Saratoga Springs. They aim to partner with young people to inspire the next generation of radically empathetic decision-makers. Saratoga Pride is a welcoming community of lesbian, gay, bisexual, transgender, and queer people and allies in the greater Saratoga Springs area.
Irish reels and jigs vibrated throughout Symphony Space as WFUV’s Irish music program, Ceol na nGael, celebrated its 50th anniversary. For half a century, Ceol na nGael has provided over 40,000 listeners nationwide with the best in Irish music every Sunday from 12-4pm on 90.7 FM. To celebrate the milestone, the Rogue Diplomats, Celtic Cross, Cillian Vallely and Kevin Crawford of the band Lúnasa, Patrick Mangan, Alan Murray, Séamus Egan of Solas, and Jenna Moynihan performed at Symphony Space located in the Upper West Side on Saturday, January 26.
Also present at the anniversary concert was Ceol na nGael’s co-founder Mary Maguire. Maguire was a student at Fordham University in January of 1974 when she and fellow student Gerry Murphy suggested a traditional Irish music segment during one of WFUV’s fundraisers. Murphy and Maguire believed they would have an audience with New York’s expansive Irish community. The two convinced WFUV (Fordham University’s radio station) to give them one hour of airtime. Little did they know that one singular hour on a winter afternoon would turn into a four hour weekly show.
“We were totally unprepared for how the phones exploded during the first program,” founder Maguire recalled. The one hour of airtime quickly turned into four hours. Eventually, Maguire had to leave the station, or she’d be late to work. Maguire recalled mentioning her workplace on air. She said, “When I got to my waitressing job, the owners came up to me frantically asking ‘What’s going on?! People have been calling and asking why Mary Maguire had to leave some radio station!’”
Due to the high demand of listeners across the tristate area for Irish music, Maguire and Murphy were asked to return next week to the station with more Irish tunes. With that, Ceol na nGael, which is Irish Gaelic for “the music of the Irish,” became a staple of WFUV, airing every Sunday from 12-4pm.
From left: Ceol na nGael hosts Deirdre McGuinness (01-04) with producer Jen Croke (99-02). Also pictured is Joanie Madden, leader of the group Cherish the Ladies, and host Frank McCaughey (00-01).
Not only was the show a staple of WFUV, but it quickly cemented itself as a staple within the Irish community. It could be heard from every corner of the house. Former co-host Dierdre Hogan, FCRH ‘98, said, “As I brought laundry in or out, my father was listening from a small radio in the garage. My mom would have it on again upstairs in the kitchen as she tidied and cooked.”
Ceol na nGael became a household name in the tristate area due to its human touch. “Anyone can go to YouTube or Spotify and search for a good mix of Irish music,” former host Kevin Quinn, FCRH ‘09, said. “But Ceol na nGael has that very, very important human element that makes it endure for as long as it has.”
This human element is seen in the numerous dedications the show takes each and every week. Hosts interact with the listeners on a weekly basis, reading out dedications wishing loved ones happy birthdays or sending out a song in their memory.
Former host Elizabeth Flanagan, FCRH ‘05, noted just how important these dedications are, especially when she hosted in the days that followed 9/11. Her co-host Deirdre McGuiness, FCRH ‘04, recalled playing Irish ballads along with the dedications going out to lost loved ones to provide “hope and healing” to all those affected. Flanagan said, “It goes to show how profound our music is, and how it’s there for us on the happiest and the saddest days of our lives.”
The music bonded together the tristate’s Irish community, which soon became much more than just a community. It was a family. Family is an essential aspect of Ceol na nGael as the music acts as a gateway for one to connect with their roots. Former host Maggie Dolan, FCRH ‘07, said, “Both my grandparents on my father’s side came from Ireland, Cavan and Mayo. I unfortunately did not get to meet my grandparents. However, through music, and its connection with Irish history, I felt that listening to Ceol nGael brought me a bit closer to my grandparents.”
From left: Ceol na nGael producer Liz Noonan with former hosts Colleen Taylor (09-12) and Tara Cuzzi (11-14).
The music continues to connect listeners to their families, their homeland, and their culture. The music’s lyrics depict various political figures and historic events that shaped Ireland’s cultural and political landscape. Ballads like “The Foggy Dew” depict Ireland’s 1916 Easter Rising; while “The Town I Loved So Well” depicts songwriter Phil Coulter’s experience during the Troubles.
This history doesn’t just stay in the past. Listeners can stay up to date with Ireland’s current news every Sunday at 2:00 pm during the show. Reporting straight from Ireland, Louise Williams and Brendan Tier give a seven minute report each on Ireland’s latest news and sports. Every hour, there’s also weekly community bulletin boards to keep listeners informed of local Irish events.
Since Ceol na nGael’s start in January of 1974, it has pushed the boundaries to be an active part of the Irish community. The show never just stayed in the studio. It was alive and breathing on the streets of New York and across the nation as the show is now available to stream on wfuv.org. Ceol na nGael has been broadcasted live from Mary O’Dowd’s in Manhattan. Former hosts have introduced bands at concerts, such as Cherish the Ladies at their annual Tarrytown Christmas concert and to multiple bands on the main stage at the Guinness Fleadh at Randall’s Island. Former hosts have also been guest judges for New York’s Rose of Tralee concert, and just this past week on January 20, Ceol na nGael was at the Symphony Space, celebrating its 50th anniversary.
Former Ceol na nGael host Eileen Byrne (89-94) conducting interviews on site.
Ceol na Gael’s 50th anniversary concert started off with a set by the Rogue Diplomats. The Pennsylvania-based band kicked off the show with their rendition of “South Australia” followed by “Step It Out Mary.” The Rogue Diplomats allowed the audience to ease into the show during these first two songs, but by their third song, they decided to grab hold of the audience and up the craic. Bodhrán player Matthew Cullen Breiner sang a witty introduction to “The Star of the County Down,” mentioning all the intricacies of the New York Irish community and even taking a jab at the New York Giants, all of which caused the crowd to erupt in laughter.
The Rogue Diplomats continued to add bits of dry humor throughout their performance, as heard in their next song, “The Galway Hooker.” Not even half-way through the first verse of the song, guitarist Patrick Marran laughed and said, “Don’t worry, it’s about a boat! Not what you think it is.” Laughter echoed throughout the crowd. Smiles were etched upon the audience’s faces as they were captivated by the Rogue Diplomats’ comedic and musical talent.
The fun of the night carried over into the next act, New York based band Celtic Cross. The band honored Ceol na nGael’s mission to “keep the tradition alive” with their song, “Who I Am.” The song’s lyrics – “I’ll not forget from where we came as I carry on their name” – speaks to remembering one’s roots and honoring one’s history. The song encapsulates what Ceol na nGael stands for and explains why it’s continued for half a century.
Celtic Cross continued to honor Ceol na nGael, dedicating their song “Those Were The Days” to all who helped make Ceol na nGael what it is today. It was a perfect song to dedicate as the song gives a direct shoutout to the show. “Ceol na nGael on FUV taught the words to you and me.” The crowd sang along to a song that captures at least one part, if not more, that they can relate to of growing up in New York’s Irish community. Celtic Cross rode the audience’s high-energy and continued with a fast-paced reel, titled “Mason’s Apron,” before concluding the concert’s first act.
From left: Former hosts Ryan Slattery (17-20), Allie Small (23-present), Maggie Peknic (20-23), and Patrick Breen (19-22).
There was a short intermission before the second half. The second act started with welcoming past hosts from 1974 to 2024 onto the stage. Out of the 40 past hosts, over 30 were able to make the concert. Seeing all the hosts on stage was truly like taking a screenshot of history. They represented 50 years of dedication to the preservation of traditional Irish music. It’s a feat not easily accomplished, especially when considering all of Ceol na nGael’s hosts were former Fordham students, and let’s just say, getting up early on a Sunday morning in college isn’t as easy as it seems.
The music then resumed with lovely tunes from Cillian Vallely and Kevin Crawford of Lúnasa, Patrick Mangan, and Alan Murray. Their melodic tunes created an otherworldly escape. A highlight was a tune titled “Sinead Maire’s,” which Vallely wrote for his daughter. The tune’s tin whistle starts off leisurely, slowly picking up pace before being joined by the uilleann pipes and fiddle.
Before the last act performed, short videos by Joanie Madden of Cherish the Ladies and Brian Warfield of the Wolfe Tones were played. Both musicians expressed their regrets of not being able to make the concert but wanted to make sure Ceol na nGael and its listeners knew just how vital the station was to their lives and their music. A live version of the Wolfe Tones’ “Streets of New York” was then played. Not a week goes by on Ceol na nGael without this song being played. It’s a fan favorite, and the audience confirmed that fact. They sang along to the song, waltzing up and down the aisles as if the Wolfe Tones were truly there in-person performing live.
The night then concluded with a beautiful set by Seamus Egan of Solas, who was accompanied by Alan Murray and Jenna Moynihan. Throughout the set, Egan told stories of his journeys before playing tunes from his 2020 album Early Bright.
At the end of his set, Egan was joined on stage by all of the acts. The stage became packed with various instruments as the opening notes to “Dirty Old Town” were played. The audience got up, sang, danced, and clapped along. And like all good Irish sessions, the concert ended with a fast-paced reel.
But the celebrations didn’t end with the last note. They continued into the next day in the studio. Previous hosts were invited back to the Fordham campus in WFUV’s studio to help host the show. Each host got to play one of their favorite Irish songs or tunes and share stories of their time on air. To listen to Ceol na nGael’s special 50th anniversary show that aired on January 21, head to WFUV’s archives by clicking here.
The celebrations then concluded with a big cheers, or as one would say in Irish Gaelic, a big sláinte to Ceol na nGael’s 50 anniversary with wishes for it to continue for 50 more years! Over the next 50 years, new hosts will take over the show. They’ll bring their own musical tastes and stories. They’ll teach the next generation and continue to keep the tradition alive, just as current hosts Allie Small and Matt Cuzzi do. To listen to Ceol na nGael, tune into 90.7 FM or WFUV.org every Sunday from 12-4pm for the best in Irish music.
On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.
Photograph by Shauna Hilferty
Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.
Photograph by Shauna Hilferty
In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.
When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.
Photograph by Shauna Hilferty
John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold.
Photograph by Shauna Hilferty
“I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.
Photograph by Shauna Hilferty
The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric.
The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.
Photograph by Shauna Hilferty
After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.
Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.
Photograph by Shauna Hilferty
The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.
He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed.
After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.
Three-time GRAMMY-winning producer and Woodstock residents Larry Campbell, and singer-guitarist Teresa Williams have announced the release of their latest single, “Desert Island Dreams.” The single is a true Americana piece with a road-trip feel, complete with hearty guitar licks and soulful vocals.
The single, “Desert Island Dreams” is an upbeat ode about disregarding the madness of the modern world. While the world around us may be hectic, we always have the chance to slip away to our own desert island and dream in peace. Whether that desert island be literal or metaphorical, we can all find one to escape the monotony and chaos. Campbell has his creative roots as a multi-instrumentalist with Bob Dylan, Sheryl Crow, Keith Richards, and others, and Williams as a stage actor in productions like Keep On the Sunny Side and Always… Patsy Cline. Together, the creative and talented duo combine to become the couple of Americana.
The duo also has a new album titled, All This Time, set to release April 5. The album is a milestone, marking 40 years of musicianship and partnership of the duo. Also on the duo’s agenda, a tour across multiple states is currently in effect.
Larry Campbell and Teresa Williams 2024 tour dates
1/13 – South Walton, FL – 30A Songwriter Festival
1/14 – South Walton, FL – 30A Songwriter Festival
1/17 – Cancún, Quintana Roo – Feat Camp
1/18 – Cancún, Quintana Roo – Feat Camp
1/19 – Cancún, Quintana Roo – Feat Camp
1/20 – Cancún, Quintana Roo – Feat Camp
4/16 – Boston, MA – City Winery
4/17 – Fairfield, CT – Stage One
4/18 – Ardmore, PA – Ardmore Music Hall
4/20 – Vienna, VA – Jammin’ Java
4/21 – Pittsburgh, PA – Thunderbird Music Hall
4/23 – Columbus, OH – Natalie’s
4/24 – Detroit, MI – Magic Bag
4/26 – Chicago, IL – Old Town School of Folk Music
4/27 – Minneapolis, MN – Parkway Theater
4/30 – Kansas City, MO – Knuckleheads
5/1 – St Louis, MO – Off Broadway
5/3 – Nashville, TN – 3rd & Lindsley
5/4 – Atlanta, GA – Eddie’s Attic
5/5 – Atlanta, GA – Eddie’s Attic
5/11 – Lexington, TN – Main & Monroe
For more information on Larry and Teresa’s upcoming shows or releases, click here. Stay up to date on Larry Campbell and Teresa Williams’ album, All This Time. To listen to the duo’s latest single. “Desert Island Dreams,” see below.
Bethel Woods Center for the Arts has announced that GRAMMY Award-winning folk icons Indigo Girls and singer-songwriter Melissa Etheridgewill perform together on a series of combined shows this August.
Indigo Girls
Beginning at Ravinia in Highland Park, Illinois, the tour will go on to include a co-billed West Coast tour with Amos Lee. Combining timeless songs and distinct styles, this unique collaboration between one of America’s most beloved singer-songwriters and one of folk’s greatest duos promises an unforgettable musical experience.
Adding to the excitement of the tour, It’s Only Life After All, the documentary film by the Indigo Girls, has finally been released in 2024. Having been screened by major international film festivals, including Toronto’s Hot Docs, SXSW, Tribeca, and Sundance Film Festival, anticipation is high.
Moreover, the jukebox musical romance, Glitter & Doom, is another upcoming film with even more music from the Indigo Girls. Glitter & Doom presents a brilliant queer supporting cast, including Lea DeLaria, Tig Notaro, Kate Pierson, and more. Scheduled for release on March 8 in NYC and L.A., followed by a nationwide theatrical rollout and a VOD release.
With Melissa Etheridge and Indigo Girls together, music lovers have a special chance to experience top-notch songwriting and singing.
Brooklyn-based singer/songwriter Sam Rappaport has released the music video for his latest single “Bicycle Away,” teaming up with Queens-based interpretive dancers and filmmakers Kathleen Dalton and Sonja Petermann for the intimate and emotional track.
Credit: John LaRosa.
Sam Rappaport is a Los Angeles-born writer and musician living in Bushwick. He pulls from rock, jazz, and soul, creating understated compositions. With a touch of delicate vocals, he creates an intimate vibe that makes the listener feel as if they are being addressed directly.
“Bicycle Away” was produced by Lorenzo Wolff and recorded in his East Williamsburg studio Restoration Sound. The track traces the volatile seesawing of a relationship struggling to reach equilibrium, with the narrator acknowledging his need for emotional growth while also yearning for an escape route. He wants to escape and move beyond the horizon but also wants to stay close.
I wrote this song about a year and a half ago. I think it started with this image–this memory–of my friends and I riding bikes through the streets of the valley, in Southern California–how it felt like we were explorers charting out a whole geography of experiences. We felt trapped by the valley, and we wanted to escape, but there was also such a feeling of freedom in being a kid, on a bike, after school, racing through different neighborhoods. Our entire lives were still in the distance. Then, from there, I moved into the present and started thinking about the difficulties I’ve had in finding equilibrium in relationships, the tendency to kind of swing between extremes. Somehow, I crammed all that stuff together into a song. I’m not really sure how it happens.
Sam Rappaport.
The music video is soft and nostalgic, bringing the viewer in deep with the rhythmic movement and slow edits. Sam Rappaport’s voice is melodic, bringing in irresistible slow guitars and percussion. The listener can fall hard into the track, reminiscing on their past along with Sam. The interpretive dancing was a unique touch and helped tell the story even more, bringing in scenes of nature that make you feel warm as you watch it.
“Bicycle Away,” the new daring and emotional track from Sam Rappaport made me feel many different emotions while watching it, and is perfect for these cold winter months coming up. It is available to stream now.
