On June 29, Phish frontman Trey Anastasio will perform with The Boston Pops at Tanglewood in Lenox, Massachusetts. The performance will feature Anastasio performing solo work and orchestral compositions, amid the atmosphere of the Berkshire Mountains.
Part of the Popular Artist Series, Anastasio will perform with the Boston Pops – conducted by Edwin Outwater – at the Koussevitzky Music Shed, in Lenox, MA on Saturday, June 29, at 7pm.
Anastasio had been set to perform with the Boston Pops in 2020, but the event was one of the many live music performances canceled due to the COVID-19 pandemic.
Performing along with a string section, a Rescue Squad or a philharmonic, Anastasio has taken his orchestration talents to a wider audience, melding compositions for rock and guitar along with an orchestra. Since 2000, Anastasio has performed with string groups, and the Tanglewood show is his second of this summer, having announced a July date with the National Symphony Orchestra in Vienna, VA.
photo by Conor McMahon
Tickets for Trey Anastasio and the Boston Pops at Tanglewood will go on sale Wednesday, April 17 at 10am at Trey.com.
MSG Entertainment and The Bowery Presents have announced five additional consecutive nights with award-winning music icon Barry Manilow at Radio City Music Hall from April 9 through April 13, 2025, and another five shows from Oct. 9-13, 2024.
Manilow’s ongoing Radio City Music Hall residency began with five consecutive shows in spring 2023 and continued in 2024 with two five-night runs – one in April and one in October. During his show on April 20, 2024, Manilow set the record for the most lifetime concert performances at the iconic venue with his 42nd lifetime show. The April 2025 shows will mark Manilow’s 49th-53rd lifetime shows at Radio City.
GRAMMY, Tony, and Emmy Award-winning music icon Barry Manilow will perform five nights at Radio City Music Hall this coming spring, his success became a benchmark in the American-pop music scene in the 1970s and has since named one of the world’s all-time best selling recording artists. Some of his top hit songs include “Mandy,” “I Write the Songs,” “Looks Like We Made It,” “Can’t Smile Without You,” and “Copacabana (At the Copa).”
The multi-award-winning musician has had an astonishing 50 Top 40 singles, including 12 number one hits and 27 Top 10 hits. He is ranked as the number one Adult Contemporary artist of all time, according to Billboard and R&R magazines.
Tickets for all five April 2025 shows will go on sale to the general public on Friday, January 17 at 10:00AM via Ticketmaster.com. Tickets will also be available in person beginning on Saturday, January 18 at the Madison Square Garden, Radio City Music Hall and Beacon Theatre box offices.
O+ will feature Grammy award-winning American Roots musician Allison Russell with her band at its upcoming “O+ 365” benefit concert on May 24th at the Old Dutch Church in Kingston, NY.
Ticket sales will provide direct support to The O+ Exchange Clinic, O+’s new year-round exchange-based clinic, which provides health and wellness services to O+ artist and musician alumni. Limited seating is available for 600 people. Tickets are now on sale and can be purchased here.
Allison Russell, recognized for her soulful vocals, vulnerable lyrics, creative instrumental arrangements, and activism, is an eight-time Grammy nominee with a 2024 Grammy Award win for Best American Roots Performance for her single “Eva Was Black.” Since going solo in 2021, the recognition of her unique style and power has garnered an array of accolades, including the 2022 Americana Music Association’s Album of the Year Award for “Outside Child,” Canadian and International Folk Music Awards, UK Americana Awards, and Juno Awards. Originally from Canada, Russell is on tour throughout North America this year.
Allison Russell
The O+ 365 benefit supports the organization’s efforts to address the extraordinary need for ongoing health care access for artists, many of whom are un/under-insured and don’t have consistent access to care. Last year O+ made a transformative shift: the organization moved from providing 3-days of exchange-based health and wellness services to artists who contributed to its annual festival to now providing 365-days of care for all O+ festival alumni. In addition, the Clinic secured its operating license from the State of New York.
“The shift from 3 to 365 days of care accelerates health care access for more than 6,000 O+ alumni,” said O+ Wellness Director and Primary Care Physician Dr. Lizette (Dre) Edge. “It isn’t hyperbole to say without ongoing care, lives are at stake; it’s real. The status quo marginalizes and harms – rather than heals. O+ shifts the care landscape.”
O+’s short term goal is to provide comprehensive preventative care – with an emphasis on mental health, dental and primary care – to its intersectional alumni community in order to build a sustainable model of exchange that is both scalable and replicable in order to then expand to serve entire communities. In fact, the year-round exchange-based model already has far-reaching implications for the entire community, beyond artists: The expansion now makes it possible to create more opportunities to offer public education and community wellness sessions through O+’s participating health practitioners, artists, and musicians. Upcoming sessions open to the community include education sessions on nutrition and gut health led by practitioners and doctors.
“We are honored to have Allison Russell and her Rainbow Coalition supporting our mission through the O+ benefit this year. Known for her incisive and deeply compassionate work, Allison is a charismatic performer, a survivor, and a joy bomb who sings from a place rooted in values and a desire for connection,” said O+’s Art Director Lindsey Wolkowicz. “Notably, her music is a conduit for radical healing, community building and belonging, which completely align with O+ values. Her participation as the lead artist in support of O+’s benefit concert is exceptionally timely, as we are deeply focused on expanding care through our unprecedented year-round model based in valuing everyone’s contribution to the collective, all while acknowledging the essential, healing power of the arts in our lives and communities,” she added.
Since 2010, O+ Festival’s 3-day exchange-based festival clinic has provided 5,292 clinic treatments and 1,457 dental treatments. “Our 365-day expansion means more care for more people. We appreciate our concert-goers, donors and sponsors who support our mission of exchanging the art of medicine for the medicine of art,” said Dr. Edge.
Event details
Date: May 24th, 2024
Time: Special Access Ticket Holders at 6:00pm, Doors open at 6:30 for general admission. The concert starts at 7:00 pm
Location: Old Dutch Church, 272 Wall Street Kingston
Tickets: $75 for general admission seating and $150 for special access tickets (premiere seating with cocktail hour). Tickets are on sale here
For more information about the event or to schedule interviews with the O+ team or Medical Director Dr. Lizette Edge regarding the vision for The O+ Exchange Clinic, please contact Lindsey Wolkowicz at lindsey@opositivefestival.org.
The Blue Note Jazz Club and Jazz at Lincoln Center are uniting to present the legendary Wynton Marsalis for six nights at Blue Note. June 11-16 sees the 2024 Blue Note Jazz Festival with historic performances.
These performances mark a historic event as Marsalis, Managing and Artistic Director of Jazz at Lincoln Center, headlines the Blue Note for the first time since 1991 as these two iconic cultural centers unite. Marsalis’ historic shows highlight this year’s Blue Note Jazz Festival, marking its 13 anniversary this summer with performances at venues across New York City.
The residency features the Jazz at Lincoln Center Orchestra with Wynton Marsalis performing from June 11-13, and Marsalis with Future of Jazz Septet from June 14-16. As part of the Jazz at Lincoln Center residency events, two ensembles from the organization’s High School Jazz Academy will also grace the Blue Note stages. The Jazz at Lincoln Center Youth Big Band, directed by Julius Tolentino perform on June 15, and the award-winning Jazz at Lincoln Center Youth Orchestra, directed by Tatum Greenblatt perform on June 16.
As a composer, Wynton’s work includes over 600 original songs, 11 ballets, four symphonies, eight suites, two chamber pieces, two masses, a string quartet, and a violin and tuba concerto. For more information on Wynton Marsalis, the Blue Note Jazz Festival, and to purchase tickets, click here.
Super Freak: The Rick James Story — the theatrical recounting of the life and times of legendary musician and Buffalo native Rick James — will be coming to Brooklyn‘s Kings Theatre for a limited performance from Friday, April 12 through Sunday, April 14. In light Super Freak: The Rick James Story delves deep into the tumultuous life and extraordinary talent of the legendary musician, exploring the highs and lows of his career against the backdrop of his unforgettable hits. In this case audiences will voyage on a musical extravaganza through the “Super Freak” singer’s groundbreaking music and the compelling narrative of his life, filled with passion, excess, and undeniable talent.
Theatrical Poster for on-stage biography of legendary musician Rick James
Created by renowned playwright and producer Je’Caryous Johnson along with Ty James the executive producer and daughter of the late Rick James, Super Freak makes its way to James’ home state of New York adding a multifaceted musical prodigy in his own right in Mint Condition’s Stokely Williams. In light, the Grammy-nominated vocalist, songwriter, and producer will step into the iconic role of Rick James, bringing to life the legendary singer’s electrifying persona and timeless music.
Additionally, Williams’ talent shone as the lead singer and drummer for R&B group Mint Condition. With his talent as a vocalist, songwriter, and producer making him a fitting addition to portray James in front over 3,000 fans at Kings Theatre, the largest of its kind in Brooklyn. Moreover, Ty James has shown nothing but confidence in Stokely Williams’ ability to carry the role.
I am so excited that we were able to cast such an amazing talented cast. I know playing my dad is stepping into some big shoes, but I am confident Stokley will kill it. My dad would be so proud.
– Ty James
All in all tickets for Super Freak: The Rick James story are on sale on the Kings Theatre’s official website, with tickets ranging from $69 to $112.
Just eleven days after the release of their fifth studio album, Hoist, Phish arrived in Binghamton for a show at Broome County Veterans Memorial Arena, just down the road from the Broome County Forum. The show quickly became known among fans for a funk-filled soundcheck, as well as creative placement of “Little Drummer Boy” throughout the second set.
Students from colleges across the state – Cornell, Syracuse, Albany and Binghamton among them – headed down to Binghamton on this evening, making for a lively lot scene. The marquee reportedly read “Reba McEntire” with “Phish – Sold Out” below it, perhaps the muse for “Reba” showing up in the second set this evening.
The soundcheck of “Makisupa Policeman” was indeed funky, although a full recording has yet to surface. All that we have so far is the clip below.
A reported “really difficult ticket,” Binghamton is no stranger to great Phish shows, with an early show at Campus Pub in 1988 and two shows at Broome County Forum in 1992. This 1994 show would unknowingly be the band’s penultimate show in The Parlor City, with only the notable December 14, 1995 show following, leaving Binghamton Phish-less for nearly 30 years – aside from two Trey Anastasio Band shows in 1999 and 2014.
A venue upgrade, this would be Phish’s first show at Broome County Veterans Memorial Arena, a minor league hockey arena, just down the road from the Forum. Opening up with “Magilla” for the first time, the GA show would hold a few songs that are ‘jamcharts‘ worthy, as well as some fun with “Little Drummer Boy” during the second set.
A pre-chant version of “Wilson” would follow this horns-less “Magilla,” a unique listen now after nearly three decades of fans chanting “Willllll-son” with each intro guitar riff. “Rift” would be met with great cheers in a typical early Set 1 slot, doubling as the title of the band’s prior album to Hoist.
“Bathtub Gin” would feature notable improv, giving way to “Nellie Kane” and the first track of the night off Hoist, a ripping “Julius,” also the first track on Hoist. “Fee” featured a piano outro from Page McConnell that bridged the way into the now ultra rare “All Things Reconsidered,” last played in 1997 and deserving of a return to the Phish rotation. The “Stash” that would follow is not one to sleep on, featuring ‘a gnarly and heavy-duty power rocking jam’ that paved the way for “The Squirming Coil” and set break.
Set two would open with another Hoist track, “Sample in a Jar,” to a brief crowd reaction. A hefty “Reba” that is well executed gives way to the Frank Zappa composition “Peaches en Regalia,” pairing Zappa-esque with a true Zappa tune, with an ending that featured a tease of “Little Drummer Boy” before shifting into the now-retired “Big Ball Jam.”
The debut of “Demand” would follow, and while a “Split Open and Melt” jam akin to the Hoist version was not paired with the short song, it did serve as a perfect bridge to “Mike’s Song.” This version of “Mike’s” finds Trey Anastasio using his pedals to create other-worldly sounds that are at times menacing and metallic, accented by LD Chris Kuroda’s strobes flashing through on-stage fog. A breather would be needed in the “I am Hydrogen” that followed, particularly because “Weekapaug Groove” would be chock full of teases – “Little Drummer Boy,” a latter portion of “Divided Sky” and even “Dave’s Energy Guide.”
Closing out this fun filled set were a calming “Tela,” “Slave to the Traffic Light” which featured a serene build and an outstanding peak, capped off by a well placed “Cavern.” For an encore, the band would start without microphones for an acapella rendition of “Amazing Grace,” followed by “Highway to Hell” – likely not exactly what the fans in the front row were looking for when they were chanting for “AC/DC Bag,” but a heck of a cover to drop on fans just as the show was coming to a close.
Listen to the show from Binghamton here (second set SBD). Phish would head west the next night to perform at Alumni Arena at SUNY Buffalo – stream that show here.
Set 1: Magilla, Wilson > Rift, Bathtub Gin > Nellie Kane > Julius, Fee -> All Things Reconsidered, Stash, The Squirming Coil Set 2: Sample in a Jar, Reba, Peaches en Regalia > Big Ball Jam, Demand[1] > Mike’s Song > I Am Hydrogen > Weekapaug Groove[2], Tela > Slave to the Traffic Light, Cavern Encore: Amazing Grace, Highway to Hell [1] Debut [2] Vocal jam
The new musical HELL’S KITCHEN will officially premiere on Broadway on Saturday, April 20, 2024, at Broadway’s Shubert Theatre, located at 225 West 44th Street.
photo credit:
Marc J. Franklin
HELL’S KITCHEN is directed by four-time Tony Award nominee Michael Greif, with choreography by Tony Award nominee Camille A. Brown, a book by Pulitzer Prize finalist Kristoffer Diaz, and the music of Alicia Keys, featuring new songs and her greatest hits.
The “powerhouse cast” (Variety) is led by Shoshana Bean, Brandon Victor Dixon, Kecia Lewis, Chris Lee, and Maleah Joi Moon. It features Chad Carstarphen, Reid Clarke, Chloe Davis, Nico DeJesus, Timothy L. Edwards, Desmond Sean Ellington, Badia Farha, Vanessa Ferguson, David Guzman, Gianna Harris, Jakeim Hart, Takia Hopson, Jackie Leon, Raechelle Manalo, Jade Milan, Onyxx Noel, Susan Oliveras, Sarah Parker, Aaron Nicholas Patterson, William Roberson, Niki Saludez, Nyseli Vega, Donna Vivino, Lamont Walker II, Rema Webb, and Oscar Whitney Jr.
The story revolves around Ali, a 17-year-old girl full of fire, searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story from 16-time GRAMMY Award winner Alicia Keys, whose life and songs inspire an experience made for Broadway.
Set in the rhythm of the 90s, Ali is rebellious and stifled by an overprotective single mother until she meets her mentor: a neighbor who shows her how to cultivate the power of piano and opens her mind and heart. This is an intergenerational story everyone can love, one of finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.
The creative team for HELL’S KITCHEN includes, Robert Brill (Scenic Design), Dede Ayite (Costume Design), Natasha Katz (Lighting Design), Gareth Owen (Sound Design), Peter Nigrini (Projection Design), Mia Neal (Hair and Wig Design), Michael Clifton (Makeup Design), Heidi Griffiths and Kate Murray (Casting), Danny Maly (Production Stage Manager), and Foresight Theatrical (General Management).
The music team of HELL’S KITCHEN includes orchestrations by Tom Kitt and Adam Blackstone, arrangements by Alicia Keys and Adam Blackstone, music consulting by Tom Kitt and music direction by Lily Ling.
HELL’S KITCHEN made its world premiere October 24, 2023 running until January 14, 2024, including a five-week extension—at The Public Theater this past fall.
Tickets for HELL’S KITCHEN are available at HellsKitchen.com and Telecharge.com. Tickets can also be purchased at the Shubert Theatre box office. Ticket prices range from $59-199.
Welcome Cotter! The t-shirts and banners in the crowd at Sunday night’s Goose show echoed the band’s excitement to unveil their new drummer to a sold out Capitol Theatre. It was apparent throughout the show that the band believes Cotter is the perfect fit – the hype did not disappoint. Peter reminded the crowd that “you only get to play your first show once.” What a first show for the new Goose drummer and Goose 2.0!
“Flopener” was a heavy favorite in the comment section for the opener and it made sense. Energy right out of the gate into a “Rockdale” showcased Cotters’ heavy rhythmic additions. One could not help realizing during the slow parts of “Seekers” that Ben was gone, but a little nostalgia did not get in the way of a truly rocking first set that showcased two new funky songs that will surely stay in the rotation.
Other than Cotter, two things were apparent: 1) Rick’s new tone with his new setup is fantastic and he is ready for an amazing year and 2) Trevor is way turned up in the mix in the best way. The second set “Pancakes” was probably the jam of the night and the Cap crowd responded. This is going to be a special four-night run- we are so lucky Goose couldn’t wait to show us how much they have been working since Hampton.
Scott Mendelsohn scores a miracle Goose ticket minutes before doors open at the Capitol TheatreA Goose fan displays his “Welcome Cotter” T-shirt outside the Capitol Theatre
Goose Captiol Theatre – Port Chester, NY 4/7/24
Set I: Flodown, Rockdale, Drive, Seekers on the Ridge pt.I, Seekers on the Ridge pt. II, Hot Love & Lazy Poet (live debut by Goose), Salt (live debut by Goose)
Set II: Eminence Front (The Who cover), Pancakes, Creatures, Everything Must Go, This Old Sea, Factory Fiction
E: Yeti
Peter hits the stage wearing a Pearl Jam T-shirtGoose fans wait outside the Capitol Theatre Peter hits the stage wearing a Pearl Jam T-shirt
Formed to “reprise” the Phish experience, Reprise is an all-star band featuring big names in the Northeast jam scene, with a unique spin on performing the music of Phish. They’ll make their New York debut this June in Woodstock at The Colony.
Featuring Cal Kehoe (guitar, Pink Talking Fish), Scott Chasolen (keys, Ulu, The Machine) Chris DeAngelis (bass, The Machine, Kung Fu, The Breakfast) and Adrian Tramontano (drums, Twiddle, Kung Fu, The Breakfast, RAQ, Marble Eyes, Twiddle, Mihali), Reprise debuted on March 1 and 2 at Nectar’s in Burlington, performing two classic Phish shows – one from Nectar’s itself on March 13, 1989 and Sugarbush, VT from July 16, 1994.
The two sold out shows at Phish’s original stomping grounds served as the start of a new era for these four musicians, as well as taking classic Phish shows and performing them in full each night.
The first two shows had the shows they would be covering announced in advance, but starting with the June 13 show at Milkboy in Philadelphia, and their first NY show at The Colony in Woodstock on June 14, the band will not announce what show they are playing until the show is complete. If this sounds like the Phish version of Dark Star Orchestra, Blaze on!
As with all Reprise shows, an iconic Phish show will be recreated at both Milkboy and The Colony – tickets are on sale now,
Texas singer songwriter Ruthie Foster brought her incredible cross-genre versatility to a standing-room-only house at Caffe Lena in Saratoga Springs on Thursday, April 4.
Combining a long set of her own songs of contemporary blues, Americana, gospel and country blues, including “Singing The Blues,” “Brand New Day,” and “4am” with her truly unique arrangements of covers like Pete Seeger’s “If I Had A Hammer,” June Carter Cash’s “Ring Of Fire” and Patty Griffin’s “When It Don’t Come Easy,” interspersed with crowd-pleasing stage banter that ranged from where the ideas for some of her songs came from, to family stories, she delivered a truly energetic show to a highly appreciative crowd in an intimate setting.
With her brilliant flatpicking and fingerpicking on a hollow body electric guitar, which she introduced as “Pearl”, she delivered her well-crafted original songs in a solo performance that matched the legendary intimacy of the room at Caffe Lena, giving the audience a clear understanding of what lies behind her multiple Grammy nominations, Blues Foundation’s Koko Taylor Award, and induction into the Texas Blues Hall of Fame.
The show marked the start of a six-month tour for Ruthie Foster, covering the US and parts of Canada, immediately followed with an April 5 show at The Folkus Project in Syracuse, with other shows in the region in Massachusetts and New Jersey. The tour is followed by a multi-day blues cruise out of Florida.
Ruthie referred to herself at one point as a country girl who grew up on a farm in Texas where she learned how to drive a car at eight years of age in the fields by sitting on phonebooks on the seat of her dad’s pickup truck, moving it slowly at his direction as farmhands loaded hay bales onto the back of the truck. She then segued into her beautifully fingerpicked rendition of Mississippi John Hurt’s “Richland Woman’s Blues” that brought her audience in for chorus sing-alongs.
Throughout the show, Ruthie’s energy fed the crowd and, in turn, was fueled by her audience’s response, both by her playing and singing as well as her eye contact and facial expressions. At the end of her single long set when she said she had only time for one more, she acceded to the the audience request of “Phenomenal Woman” saying “Okay, but that’ll be the encore,” and gave a stellar and moving performance that brought the crowd to its feet where they stayed and cheered until she returned for an a cappella gospel type tune with her appreciative audience joining in on.
There is something very special about a talented solo performance of well-crafted songs delivered to an audience in an intimate venue setting and this was just such an experience.
