Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders.
Artwork by Robert Beatty
Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.
Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”
Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.
Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.
His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.
Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.
Rochester-based composer mainTheme has announced the release of his rich new groove track “Take Over Me” (feat. Donno Jay).
Dan Romans plays drum set, synth, keyboard, and voice; composes and arranges music; and performs all styles. He has a diverse musical vocabulary and versatile playing style that is dynamic, expressive, and compositionally focused. mainTheme is a carte blanche repository of sounds and songs drawn from eclectic influences and presented as an approximation of pop music. mainTheme is another variation of Dan Romans’ compositional voice as he dons the figurative producer’s hat.
His latest track “Take Over Me” (feat. Donno Jay) encapsulates mainTheme’s minimal, rich groove and features storytelling and vocal talents of Miami-based hip-hop artist Donno Jay. The track is slated to release on most streaming services by December 27. The track is a powerful, introspective look at the core of one’s life, and the state of the world we all share. With Donno Jay’s cadence and hard-hitting, somber lyrics spit over the desolate electro-synth melodies, this track is strong, catchy, and meaningful.
mainTheme creates music that, to me, breaks down walls. His eclectic, diverse and dynamic range of music paints wondrous soundscapes in each piece of music released. This track, “Take Over Me” is a prime example of this idea. The instrumental to the track is smooth, unique, and presents a vibe that I can best describe as galactic. It is a spacey, synthy, psychedelic piece that contains climbing and falling volumes, with a heightened energy in the middle before slowly dying out like a dimming light. The track is brilliant in both instrumental sound from mainTheme and lyricism from Donno Jay.
For more information on mainTheme’s music and to keep up with “Take Over Me” which releases on December 27, click here.
Khruangbin, Bleachers, and CAKE are slated to headline the second edition of The Capitol Groove, downtown Hartford’s premier festival, returning to Bushnell Park June 28-29.
Presented by GoodWorks Entertainment, the festival will feature 14 artists over two days with performances from Thundercat, Sammy Rae & The Friends, Thee Sacred Souls, St. Paul & The Broken Bones, Fantastic Negrito, Steel Pulse, Ripe, Improvement Movement, Ghost Funk Orchestra, The Greeting Committee, and Spectre Jones. These titillating acts are ones you’ll certainly want to see live.
Beyond the music, The Capitol Groove will also boast a lineup of local craft vendors and food trucks to be announced closer to the festival. Situated in the heart of downtown Hartford, Bushnell Park’s ample green space and natural beauty provides festivalgoers the perfect backdrop for two days of live music, all within easy reach of Hartford’s rich history and vibrant arts scene.
This upcoming festival is the second ever in the fest’s history. The Capitol Groove saw much success last summer and hopes to reach new heights with an even more exciting lineup. Acts like Khruangbin, Thundercat, Bleachers, and CAKE are must sees. These artists are known to bring the absolute groove to new levels wherever they go.
For more information and to purchase tickets to The Capitol Groove festival, click here.
Fresh off a year that included the 2024 Super Bowl Halftime show and a critically acclaimed Las Vegas Residency, Usher brought Round Two of his Past Present Future tour for a two-night special in Brooklyn.
The crowd embraced Usher, one of the most influential artists of the early 2000s — eight-time Grammy-winning, multi-platinum influential and is one of the best-selling musicians of all time. The R&B phenom dazzled Brooklyn’s Barclays Center with an all-world, shining spectacle that added to his allure.
Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)
At around 9:30 p.m., the luminary touched the stage, commanding the landscape with a kind of mesmerizing aura and opened with “Coming Home,” the title track from his latest chart-topping outing. He followed that up with “Hey Daddy (Daddy’s Home),” which quickly summoned ecstatic gasps from the audience mid “I just wanna get your attention…” Like that, the sold-out audience went down memory lane singing right along.
Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)
Between the hits (“You Make Me Wanna…,” “U Got it Bad”), (“Yeah!,” “OMG”), and (“There Goes My Baby,” “Throwback”), Usher’s undeniable collection of classics was undeniable.
With each performance, each song sounded just as fresh as they did in 1997, 2001 or 2004 and is a testament to the singer’s enduring catalog. The show carefully curated these times by traveling through these eras as a way to illustrate the singer’s transformation through the years.
Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)
Above all things, if anything was clear from the two-hour extravaganza other than that an Usher concert is top-tier experience, it’s that one of the world’s greatest entertainers of all time and is still at the top of his game.
On Monday, November 18, the New York City Council passed a resolution designating every November 30 as “Shirley Chisholm Day,” honoring the longtime Bedford-Stuyvesant resident, political pioneer, as well as the first Black woman elected to Congress and first woman to run for President.
Chisholm speaking at the 1972 Decmocratic National Convention – photo via Library of Congress
The honor arrives a week that would have ended with Chisholm’s 100th birthday, on Saturday, November 30.
“This legislation is … an affirmation of the contribution of Shirley Anita Chisholm, who unlocked and opened doors for generations of political leaders who were excluded simply for being Black.”
Brooklyn Councilmember Farah Louis – regarding “Shirley Chisholm Day”
Earlier this year, breakout vocalist Samara Joy released an original single, “Why I’m Here,” a song so triumphant it was chosen for the Netflix film Shirley, starring Oscar winner Regina King as the title character.
Co-written with GRAMMY winner PJ Morton, “Why I’m Here” captures the inspiring drive of Chisholm. with Joy noting, “For me, this song was a representation of how Shirley Chisholm’s commitment to pursuing her purpose has affected us all, whether we realize it or not.”
The song further establishes Samara Joy as a voice to be reckoned with, both in the world of jazz and beyond. Likewise, Chisholm was a force to be reckoned with, and a passionate leader for decades.
Born in 1924 in Brooklyn as Shirley Anita St. Hill, Chisholm noted in her 1970 memoir “Unbought and Unbossed” that she was taken to Barbados at an early age to live with her grandmother, later returning to Brooklyn when she was 10. There, she lived with her parents and siblings in an “unheated, four-room, cold-water railroad flat” in Brownsville, a mostly-Jewish neighborhood at the time.
Chisholm graduated from Brooklyn College and in 1951 received a master’s degree in early childhood education from Columbia University before eventually joining the League of Women Voters and the NAACP. In 1964, she became the second African American in the New York State Legislature and in 1968 she won a seat in Congress, advocating for early childhood education, among other causes.
Chisholm represented Brooklyn’s 12th Congressional District, which covered much of Bed-Stuy, for seven terms from 1969 to 1983. In recent years her legacy has been celebrated with various honors, including a posthumous Presidential Medal of Freedom in 2015 and a statue in Prospect Park approved by city officials.
In the lead up to her run for the Democratic nomination for president in 1970, Chisholm argued, “Our representative democracy is not working, because the Congress that is supposed to represent the voters does not respond to their needs. I believe the chief reason for this is that it is ruled by a small group of old men.” Chisholm’s words from more than a half-century ago echo loudly today in the wake of the most recent presidential election.
The lyrics to “Why I’m Here” follow the course of Chisholm’s trailblazing career, with the chorus, “An easy road was never promised, and so much has been from taken from us, but I won’t stop no matter how much I have to go through, I won’t shed one tear, I know why I’m here,” solidifying the icon’s tenacity in the face of oppression, racism and sexism.
Photo by Ambe J. Williams
In February 2024 at the 66th GRAMMY Awards, Samara Joy added to her accolades by taking home Best Jazz Performance for her single “Tight.” Self-produced, the winner features Joy with her working band – pianist Luther Allison, bassist Mikey Migliore and drummer Evan Sherman – recorded at the legendary Electric Lady Studios in NYC.
Samara Joy is currently on tour, with a few upcoming New york performances, before heading to Europe to start 2025.
December 13 – United Palace, New York, NY
Decemeber 16 – Hart Theatre at The Egg, Albany, NY
December 17 – “A Joyful Holiday” Feat. The McLendon Family – UB Center for the Arts – Mainstage Theatre, Buffalo, NY
Shirleycan be seen on Netflix, starring Regina King as Chisholm and directed by Oscar winner John Ridley (“12 Years a Slave,” “Jimi: All Is By My Side”). Shirley follows Chisholm’s 1972 presidential campaign and the impact she left on modern culture.
Samara Joy “Why I’m Here” Lyrics Fight! Fight! Bending but never broken Knocked down but I keep going I’ve decided to stand my ground I will not be moved And I have no fear I know why I’m here
An easy road was never promised And so much has been taken from us But I won’t stop no matter how much I have to go through I won’t shed one tear I know why I’m here
The future is in our hands Now’s the time to stand Together we’ll pave the way Those who walk by faith With their heads held high Have the power to change the world
Bending but I can’t be broken I’ve been knocked down But I choose to keep going I’ve decided to stand my ground I will not be moved And I have no fear So don’t you shed one tear Cause I know why I’m here
Albany-based analog funk band Oobleck has been in Capital Region faces with their funk for 16 years and they don’t plan to quit anytime soon.
Oobleck, founded in 2008, is an original, analog funk band out of the Capital Region. Known regionally for inciting dance parties wherever they land, they boast a big, in your face sound inspired by New Orleans street music. It’s a melee of horns, super heavy drums and bass and your favorite type of chunky guitar riffing that leaves your bum shaking and your face grinning.
Bass driven. Horn laden. Layered textures and dark melodies. Funk to fuel your soul. The band is made up of five members – Sam Parker on guitar, Kevin Van Genechten on drums, Scott Vorwald on tenor sax, Audrey Van Genechten on trumpet, and Josh Radigan on bass. The band meshes effortlessly to create sound that is found nowhere else in the Capital Region.
Oobleck has four albums to date – Tell Your Mom I Said Hi (2012), Rise & Shine (2013), Don’t Mistake the Barn for the Basement (2015) and their most recent Down the Rabbit Hole which released January of this year. Down the Rabbit Hole contains 11 jaw-dropping tracks that are guaranteed to immerse the listener in something fun.
The band just finished recording a new single “Purse Candy” and are hoping to release in January, with an accompanying video filmed during the recording session that is also slated to release shortly. For the LaMP show at Lark Hall, the band worked with Frankie Cavone of Mirth Films and just released a multi-cam video of the full set which can be seen below.
On November 8, the band supported LaMP on their tour stop through Albany at Lark Hall. The band has only one upcoming show left in 2024.
At 8:00pm on December 6 at UNIHOG in Hoosick Falls, Oobleck hits the stage with rock & soul group Tops of Trees. Together, these two musically powerful groups create explosively funky grooves that’ll have you moving well into the night.
Oobleck has shows in 2025 with the Sugar Hold scheduled for January 10 at Ophelia’s in Albany to kick the New Year off with a dose of super funk. Oobleck plans to be back at The Eleven (Lark Hall’s downstairs bar) in Albany in early April, and at Single Cut Brewery in Clifton Park in the spring as well. The group is working on getting back to Vermont and potentially hitting up Ithaca for the first time later this spring.
For more information on Oobleck’s upcoming shows and to hear some of their tunes, click here.
On Sunday, November 24, Madison Square Garden hosted the Soulshine Concert, a powerful evening of music and charity dedicated to hurricane relief and recovery.
Net proceeds from the event supported the SOULSHINE Concert Fund at the Charlottesville Area Community Foundation, benefiting non-profits aiding communities in North Carolina and Florida heavily impacted by recent storms. At the heart of the event was Warren Haynes, renowned for both his musical talent and commitment to philanthropy.
Through ticket sales, merchandise, sponsorships, and donations, the event raised over $4.5M for the Soulshine Concert Fund, which will distribute funds to a variety of organizations on the ground in North Carolina and Florida.
While Haynes played a pivotal role in curating the lineup, the concert was a collaborative production by Dayglo Presents and Live Nation, delivering an unforgettable night of performances for a worthy cause.
A Star-Studded Lineup
The concert began with an intimate acoustic performance of “Soulshine” by Warren Haynes and Dave Matthews, setting the tone for the night with heartfelt emotion. The baton was then passed to Goose, whose electrifying set featured collaborations with some of the biggest names in music. Highlights included:
“Give It Time” with Robert Randolph
“Hungersite” with Derek Trucks
“Baby Donât You Do It” with Susan Tedeschi and Derek Trucks
“The Way It Is” (a Bruce Hornsby cover) with Dave Matthews
The collaborative spirit continued as Haynes joined forces with Tedeschi and Trucks for a moving acoustic rendition of “700 Houses”, a song with deep emotional resonance.
The stage then welcomed the Warren Haynes Band, who delivered a fiery set punctuated by guest appearances:
“Man in Motion” with Trombone Shorty
“This Life as We Know It” with Robert Randolph
“Shakedown Street” with Joe Russo
“These Changes” with Derek Trucks
A show-stopping “Whipping Post” featuring Trucks and Russo
Next, Susan Tedeschi and Dave Matthews delivered an acoustic version of “Angel from Montgomery”, honoring John Prineâs timeless legacy.
Nathaniel Rateliff & the Night Sweats Bring the Party
The soulful energy of Nathaniel Rateliff & the Night Sweats followed, featuring crowd favorites like “Look It Here”, “You Worry Me”, and “Call Me Whatever You Like”.
The set crescendoed with Mavis Staples joining for a heartwarming rendition of “Friendship”, culminating in a raucous performance of “S.O.B.”, with Robert Randolph and Trombone Shorty adding their flair.
Closing Acoustic and Dave Matthews Band Finale
Warren Haynes and Dave Matthews returned for a poignant acoustic segment, performing:
“Carolina on My Mind”
“Southern Accents” with Derek Trucks
“Waste” with Trey Anastasio
Finally, Dave Matthews Band headlined the evening with a dynamic set, launching with “The Weight”, featuring Susan Tedeschi, Nathaniel Rateliff, and Trey Anastasio. The band delivered a mix of classics and collaborations, including:
“Rapunzel”
“So Much to Say” into “Too Much”
“Jimi Thing” with Trombone Shorty
“Brick House” with Trombone Shorty
“Lie in Our Graves” with Trey Anastasio
A beautiful rendition of the Allman Brothersâ “Melissa” with Warren Haynes, Derek Trucks, and Trey
The grand finale brought all the nightâs performers back on stage for a powerful rendition of “Come Together”, symbolizing the unity and purpose of the evening.
A Night to Remember
The Soulshine Concert was more than a musical extravaganzaâit was a testament to the power of music to bring people together in the face of adversity. With its all-star lineup and heartfelt performances, the event left an indelible mark on attendees while raising much-needed funds for hurricane relief.
As Warren Haynes has proven time and again, music can shine a light in even the darkest times, and the Soulshine Concert at MSG was a beacon of hope for those in need.
Ari Joshua is on a mission to release 24 songs in 2024. Over the course of the last ten months, the South African-born, now American-based songwriter has been consistently releasing these singles, some of which contain multiple tracks and several stand-alone remixes. Each release features a unique line-up of all star musicians, including members of Trey Anastasio Band, Medeski Martin & Wood, and Joe Russo’s Almost Dead.
Photo by Joshua Hitchens – Bolt of Sunshine Photography
I had the wonderful opportunity to chat with Ari who shined a light into his musical process, spoke on his luminary collaborators and opened up about navigating the music industry and the world he has dedicated his life to.
“I’m super honored to be at the point in my career where I can share all the art I’ve been making. When I think about my art and the message that I want to give with it – something from the soul – it reminds me of creating an organic garden, planting seeds, and harvesting foods. If you scale it out one can imagine being an artist today is like sending a rocket ship or a satellite into orbit. I feel like once you’re in orbit as an artist, or once your seeds are harvesting fruits, you can feel like you are achieving your job – each note, each song, has the potential to propel things further. In a way all the legends are in orbit. In order to get up there, to resonate with listeners, you need a tremendous amount of fuel, and it’s a full time pursuit to manifest that.”
That need to resonate through the music inspired Ari to found The Music Factory, a Seattle-based music school giving lessons to hundreds of kids each week. He is a huge proponent of music education and has continued to grow the school since its inception. Ari has found himself at a point where he is able to take a step back and shift focus on his career being an artist and performer. “After years of juggling duties and taking continuous small steps forward I’ve found myself at a balancing point investing more time into creating meaningful and soul-fulfilling art.”
Left to Right: Medeski, Martin & Joshua – Photo by Chris Bittner
Ari’s first three releases of the year, “Dragon’s Layer”, “Country Stroll” and “Elephant Walk,” feature John Medeski and Billy Martin. These Woodstock, NY recorded country and jazz influenced instrumentals are defined by their laid back grooves and catchy melodies. Ari has spent his life studying diverse artists across all genres and setting the foundation for himself so that he can be both over prepared yet able to let go of everything in the moment. When asked about his process of going into the studio with the high caliber collaborators he shares his body of work with, he makes it clear that he wants to allow the space for them to shine and be who they are. It’s their unique voice that he wants captured in the studio. “There’s a certain kind of magic that comes from not knowing what’s going to happen and knowing that the musicians you’re working with are at a certain point. You’re free to trust the process and provide the space for them to do what feels right, and speaks for them.” These songs feel like an extension of the MMW universe – Medeski, Martin & Joshua. “Country Stroll” and “Elephant Walk” showcase tasteful soloing by all three musical juggernauts.
Ari holds the artists he has worked with to the highest regard. No collaboration is the same. No circumstance is the same. Improvisation usually takes the wheel. When working with artists on complete ends of the spectrum, you have to be able to adapt. Some of his collaborators prefer being sent audio and charts prior, while others only care about the moment once they’re all together. “Each person and each group of people that I get to work with is a totally different situation.” He compares this to making a child. “We’re going to go in there [the studio] and we’re gonna mix up our DNA, ideally with good intentions and love, and ideally a good level of pleasure [laughs]. And we’re going to come out with something that’s its own thing – a new creation.”
Ari’s songwriting knows no bounds. There is truly something for everyone. This is evident with the release of “Elon’s Musk”, his psychedelic, Tipper-inspired electronic single released under the moniker Guitari with ill.gates and Cory Cavazos. Ari’s follow up, “Rare Groove” once again shifts genre and lineup entirely. This funk, R and B-inspired instrumental features Skerik, Grant Schroff and Delvon Lamarr. A recurring theme in Ari’s song writing is his ear-worm melodies, his focus on improvisation and the prominence of organ players. “I am obsessed with really great organ players. There’s just this match made in heaven for me. I really studied that stuff so heavily and I just have this natural gravitation towards it.” “The Clinic” and “Audio Bicycle Day” were also released with the same ensemble. These singles can be categorized by their funky, yet more sinister progressions and feature fantastic improvised solos by all. “Audio Bicycle Day (Suncatchers Version)” is a unique take on the same song but recorded with Joe Doria and Brad Gibson. The Suncatchers Version has a more whimsical, airy quality. He continues this onward trend of eclecticism with his release of “One Dub”, a reggae-inspired instrumental groove that features John Kimock, Andy Hess, and Eden Ladin. There are four remixes of “One Dub” currently available on streaming services.
Ari has also worked and recorded alongside Russ Lawton and Ray Paczkowski of Trey Anastasio Band. When talking about his unique songwriting approach when working with different artists, he spoke about how Russ would send drum recordings to Trey over the phone, and then Trey would write parts based on Russ’ recordings. This is the approach that Ari wanted to take in the studio, and he had Russ send him a bunch of demo ideas prior to their session in that spirit. These sessions, which originally took place during the pandemic, resulted in over 25 songs, many of which have yet to be released. “Starlight Mountain” is the first release of the year that features Ari on lead vocals. These emotionally delivered vocals, along with his well-crafted distorted guitar solo are extremely powerful and moving. “The TriCeraphClops” was released with the same all star lineup – dubbed the RAAR Trio. This funky and crunchy instrumental showcases the band’s virtuosity and their chemistry as a unit.
Left to Right: Paczkowski, Joshua & Lawton – Photo by Ben Collette
What you see of Ari’s art is just the tip of the iceberg – “almost 90% of it is underwater.” He relates each piece of music to a blank canvas that he’s constantly revisiting, which could take years, if not decades to complete. “Tagine,” recorded with Marco Benevento and Joe Russo over 15 years ago, is just now seeing the light of day. This psychedelic soundscape takes the listener on a sonic journey through the unknown. It exudes imagery of exploring a distant alien planet.
With no slowing down in sight, Ari has recently announced a brand new supergroup, The All’s Eye, consisting of Ben Atkind (Elephant Proof) and Kris Yunker (Bearly Dead) formerly of Goose. The trio fuse boogaloo funk, soulful organ grooves, Afrobeat, bluegrass, and alternative rock. Fresh off a recording session at Carriage House Studios, the trio is set to release a series of singles over the coming months. They just announced their first official run, four dates on the East Coast and will be sharing their latest single “West Hill Road” on November 20th. When taking the deep dive into Ari’s catalog, you may find yourself pleasantly lost in a rabbit hole of musical and auditory goodness – a yellow brick road of art and sound.
Left to Right: Atkind, Joshua & Yunker – Photo by Mclee Mathias
Ithaca-based trio Pocket Bandits have released their Groovy third single “Second Drink” alongside the announcement of their debut LP.
A modern twist to the old-school organ trio, Pocket Bandits packs the musical punch of a large ensemble in a smaller unit. Members Joe Massa on guitar, Simon Bjarning on drums, and Samuel B. Lupowitz on organ, synth, and pedal keyboards combine their musical prowess into a final product that is full of infectious dancing energy.
Having performed separately in various groups across Central New York prior to the pandemic, when the group’s regular musical roster came to a halt they found themselves faced with a unique opportunity- and with that Pocket Bandits was born.
Since then, the trio has performed countless covers from Steely Dan to Chappell Roan with original compositions sprinkled throughout.
The unit debuted their first official release in April of this year, and since then have been hard at work writing, rehearsing, and recording. Returning for their third track to date, Pocket Bandits has released the infectiously funky “Second Drink.”
Clocking in at just over six and a half minutes, “Second Drink” capitalizes on each and every second with an overflowing, undeniable, stylish funk. Recorded almost entirely live at Redwood Lane in Ithaca, there’s some serious technical work at play hidden beneath the layers of boogy with shifting time signatures, a suitelike structure, and a gradual buildup to an organ solo that really bring the piece to life.
Even more exciting is the news that dropped alongside “Second Drink”- the reveal of Pocket Bandit’s debut EP. Releasing on January 24 is Nine– a set of nine vibrant originals from the trio that are sure to excite.
The group has also teased an album release show in their homebase of Ithaca with more dates across the Northeast to follow. To learn more about Pocket Bandits, find out about a show near you, and keep up to date with all of their latest endeavors, be sure to visit their official website here.
Jessie Murph brought an electrifying energy during her tour stop at the historic Landmark Theatre in Syracuse. With fans wrapped around the block, they were treated to an unforgettable night filled with emotions and powerhouse vocal performance that left them wanting more.
The night opened with Big Yavo, an emerging artist from Alabama who delivered a set with southern charisma and sounds. His blend of hip-hop and rap had the crowd dancing on their feet, primed for what was to come, setting the perfect tone for Jessie’s entrance.
The historic Landmark Theatre, with its architecture and old-world charm, was the perfect venue for Jessie’s soulful vibe. The 20 year-old Alabama native began her music career by sharing heartfelt covers and original songs on social media platforms, where her voice quickly gained widespread attention.
Now, she’s made her place as a force in contemporary pop/country and R&B, captivating audiences with her unapologetically honest storytelling. Performing hits like “High Road,” “Sip,” “Pray” and “Heartbroken” had the crowd singing every word along making the Landmark echo with energy.
Her breakout hit “High Road,” a collaboration with Koe Wetzel, dove into themes of resilience and facing personal battles. This track blends her emotive vocals with Wetzel’s gritty, country-rock influence, creating a unique crossover fans have welcomed with open arms.
Another highlight of her career is “Heartbroken,” her collaborative hit with Diplo and Polo G, which blends electronic beats with her signature raw lyrics. This song’s success further cements her as a versatile artist capable of thriving across different musical landscapes.
