Category: Genres

Bar Italia Brings Buzz to NYC for Two Nights on Path to Coachella Debut

Bar Italia made their highly anticipated return to NYC with a cigarette-tinged concert at Warsaw in Brooklyn on March 15. Touring with their new album, The Twits, and making their way across the US to their Coachella debut, the band gave one of their best performances to date. The band entered the stage cast in warm, low-key lighting to an ecstatic crowd and filled the room with guitar buzz and imagery-filled lyrics.

The British shoegaze/post-punk trio, signed to Matador Records, includes Sam Fenton and Jezmi Fehmi of Double Virgo and singer-songwriter Nina Cristante. They formed in 2020 to instant recognition but stayed away from the press until late last year, even keeping their names hidden from fans. This garnered them a mysterious image that they are now attempting to shed. They also added a new drummer, Liam Toon, just days before the show.

The band has garnered a strong following in New York after making two trips from the UK last year. For an international band of their size, they have made a particular effort to play in NYC, and it has paid off for them, as Friday’s show was more than packed with eager fans. Now they’re off to continue across the US, eventually making stops on the West Coast, including two days at Coachella.

Opening for them was Scarlet Rae, a Brooklyn-based singer-songwriter who did a great job of setting the tone for the show and got a lively reaction from the crowd.

It’s a feat how Bar Italia can get a crowd moving and cheering without almost any audience interaction. They uttered about 10 words between songs the entire show, but the audience was there for the music, and the music was electric. That’s not to say the band was closed off. They were full of smiles the whole night and didn’t hold back, showing a lot of emotion on stage.

The interaction between the trio’s vocals formed a texture that cannot be compared to any other act. Sam Fenton and Jezmi Fehmi’s distorted guitar riffs reverberated through the venue as they played “My Little Tony,” wallowing in their dramatic vocals before being lifted up by Nina Cristante and her tambourine in the chorus. The song’s lyrics connect deeply, focusing on imagery that conjures small, intimate scenes that convey displeasure for how our generation has learned to socialize.

They capped off the main set with “World’s Greatest Emoter,” a song title referencing an interview in which Liam Payne described actor Will Smith as the “world’s best emoter” after he slapped the comedian Chris Rock at the 2022 Oscars. The room was pounding with this song, and it only got more intense as they faked the audience out, ending the song multiple times, only to drop right back in seconds later at twice the volume. This was a highlight for the band’s new drummer, Liam Toon, whose skilled playing helped balance the song’s instrumentation with the song’s dense vocals and guitar.

The crowd was feverish by the time the band said thank you and walked off stage, only to walk back on moments later unceremoniously. The band capitalized on this, playing three of their most popular songs. They capped the concert off with “Skylinny,” which had the entire crowd of 1,100 people chanting, “Run-a-runaway, Run-a-runaway.”

This was the kind of concert that made you stop for a minute after to take in your surroundings and breathe. Hopefully, Coachella brings good things for Bar Italia because we are sure NY would be happy to welcome them back whenever they feel like hopping the pond again.

Bar Italia – Warsaw, Brooklyn – March 15, 2024

Setlist: Friends, my little tony, calm down with me, Real house vibes (desperate house vibes), twist, Jelsy, Brush w Faith, harpee, Nurse!, punkt, glory hunter, my kiss era, Polly Amour, worlds greatest emoter

Encore: Banks, changer, Skylinny

March 18, 2024
Free Jazz in Poughkeepsie: Joe McPhee with Strings at Cunneen-Hackett Arts Center

In a brief preface to Saturday’s performance at VBI Theatre of Cunneen-Hackett Arts Center in Poughkeepsie, 84-year-old free jazz legend Joe McPhee told the crowd that ‘no plan was the plan’ and that those in attendance would enjoy a performance that had never happened before and would never happen again.

Alternating between saxophone soloist, spoken-word beat poet, and band conductor, McPhee held true to that promise, leading the unconventional 10-piece group in an hour of adventurous free improvisation that drew on chamber music influences and the avant-garde as much as it did on the blues.

A Poughkeepsie native who lectured on jazz at Vassar College in the early 70s, McPhee is the connective tissue to the great saxophone innovators of the past. In his poetry, he namechecked John Coltrane, Ornette Coleman, and Albert Ayler. Before the show, McPhee joked that he always backs out of playing in his hometown, but that show organizer and electric guitarist James Keepnews just kept at him until the gig was scheduled. Kudos to Keepnews for making it happen.

The ensemble featured two basses (Michael Bisio of the Matthew Shipp trio and the masterful Hilliard Greene), cellist Daniel Levin, guitarists Keepnews and Billy Stein, violists Judith Insell and late-addition Fung Chern Hwei, and violinists Rosi Hertlein and Gwen Laster. McPhee noted that he had met some of the musicians that very day and that they’d had only a brief rehearsal. In other words, in this first of the 2024 Elysium Furnace Works concert series, anything could happen.

McPhee is a commanding presence on stage. In his red Puma sneakers, cap, and stylish vest, he looked 20 years younger than his age and he did an excellent job directing the group so that everyone wasn’t stepping all over each other. McPhee’s performance was also a kind of balancing act between recounting poetry, soloing on saxophone, and directing traffic.

The performance kicked of with McPhee’s line of poetry: “The sound begins.” He cued Rosi Hertlein to accompany him and her vocalizations and technique recalled the visionary deep listening stylings of Pauline Oliveros. “The sound surrenders to itself,” recited McPhee, “and becomes the place where the meeting begins.”

As the night progressed, Joe McPhee featured small groups of musicians. Bisio, Levin, and Stein all stood out for their contributions and innovative rhythmic bowing techniques. Then at times, McPhee would call for all of the players to improvise, leading to a beautiful cacophony. Then the sound entered the stratosphere when McPhee played his horn.

McPhee’s great gift is incredibly similar to his idol Ayler: though he can play atonally, sing through the horn, or play piercing overtones, the essence of his playing is rooted in a kind of spiritual blues that is more sensitive and melodic than other percussive players. Perhaps this is why his poem and piece “New Chicago Blues” may have connected best with the audience. At one time each of the ten members of the stage was playing his or her own version of the blues – this was no 12-bar nightclub band, but an expression of deep blues and immediacy that transcended meter and time while still honoring everything a listener knows about the genre. It was powerful, wild, and rare stuff. It appeared the show was being recorded, so hopefully it will be released by McPhee in the future – but knowing his ethos, he’s probably already on to the next thing.

But it takes real talent to look forward while also recognizing your link to the past. In the course of an evening, McPhee namechecked everyone from Duke Ellington to Sun Ra to his recently departed friend Peter Brotzmann who told him in a final email that they were “same age, different color, but brothers in soul. Stay straight, old friend.” It was a humbling realization that most of McPhee’s contemporaries aren’t around anymore, and it was a reminder of what a gift it is to see him in such fine form in 2024.

McPhee originally learned the trumpet in his youth, but it was the music of Albert Ayler that inspired him to pick up the saxophone. On only his second day owning the instrument, McPhee went to a jam session at the National Cafe on Main Street, and was kicked out by all the other musicians. As he forged ahead on the free jazz scene, it took a long time for McPhee to gain acceptance, and he rarely found it in Poughkeepsie where he worked a factory job to help fund trips to Europe. There his free jazz approach was appreciated and he met such luminaries at Cecil Taylor.

Joe McPhee is currently working on a memoir with Hudson Valley author (and Elysium Furnace Works show-promoter) Mike Faloon called Straight Up, Without Wings: The Musical Flight of Joe McPhee which will be published by Corbett vs. Dempsey upon completion. In recent years labels like Corbett vs. Dempsey and Superior Viaduct have been instrumental in releasing McPhee’s new music and reissuing classic releases from the HatHut label.

For those looking to dip their toes into McPhee’s experimental music, there’s no better place to start than 1970’s Nation Time. Originally released by the Poughkeepsie independent label CjR, original copies are extremely rare and collectible in jazz vinyl circles, but reissues have revived interest in the record and are readily available. But, McPhee is hardly about mining the past – he’s always doing something new and expressing his ultimate belief that “music is love and love is music”. At 84, he still has much to say in his poetry and through his horn.

March 18, 2024
Chick Corea & Bela Fleck “Remembrance” – Duo’s Final Album, due in May

Béla Fleck reflects highly on his years-long collaboration with late pianist Chick Corea, sounding like a bashful student musician, still in awe of the jazz legend whose impact transformed him as a teenager in the ’70s. The duo’s album, Remembrance – out May 10 via Thirty Tigers – serves as a moving final document of the profound creative and personal rapport Fleck and Corea have showcased previously on 2007’s Latin Grammy-winning The Enchantment.

Released just over three years after Corea’s passing, Remembrance serves as an addendum to Corea’s legacy, highlighted by three previously unreleased Corea compositions as well as five short free improvisations, or impromptus, that Fleck has infused with written music.

Recorded both live in concert, over the duo’s final tour dates in 2019, Remembrance was crafted by trading sound files amid the Covid pandemic. Running a stylistic gamut, the album features Corea’s unreleased tunes “Enut Nital” (“Latin Tune,” spelled backwards), and “Continuance,” an older work that resurfaced in the duo’s setlist, as well as new Fleck compositions, including “The Otter Creek Incident” and “Juno,” a winsome tribute to his son, the channeling Thelonious Monk and Scarlatti, and challenging exercises such as “Small Potatoes,” which evokes Corea’s work in the jazz avant-garde.

When the 18-time Grammy Award-winning banjoist reflected on his time collaborating with Corea, Fleck said, “I just feel so lucky to have played with him in such an intimate way, and to have gotten to know him so well.”

The title track, a Corea composition “Remembrance,” is one of the last pieces of music Chick ever recorded. “It’s just one of those perfect Chick Corea tunes,” Fleck says. “It sounds to me like a New Orleans funeral march, even though it has a Latin component, like everything he did tended to.”

Corea’s death in 2021 devastated the jazz community, who saw the pianist as a constant international presence, a vibrant musician who never ceased touring and recording. “It was a deep shock,” says Fleck, who also released an inspired live project with Corea, Two, in 2015. “It was one of the special relationships in my life. He was just so kind to me, and so helpful, and I learned so much from him.”

“We pushed this duo to a new place before we ran out of time,” says Fleck, who produced Remembrance. “We have here another cool look at Chick Corea, at the different ways that he can play that we wouldn’t have had. There’s a lot of great Chick Corea out there, and this is different.”

“I know it sounds unlikely. But it really happened. Once upon a time, I played banjo in a duo with Chick Corea.”

“He found the good in everything. I’m just so glad to be a part of this — glad I could be with him, and glad there’s more to share.”
Béla Fleck

The album is available now for preorder.

photo by C. Taylor Crothers

Chick Corea & Béla Fleck Remembrance track listing

1. The Otter Creek Incident (Béla Fleck)

2. impromptu III: march hare

3. Enut Nital (Chick Corea)

4. impromptu II: mock turtle

5. Bemsha Swing (Thelonious Monk, Denzil Best)

6. Lucky Bounce

7. impromptu I: cheshire

8. Remembrance (Chick Corea)

9. Juno (Béla Fleck)

10. Scarlatti Sonatas (Domenico Scarlatti, arr.. By Corea, Fleck)

11. impromptu V: jabberwocky

12. Small Potatoes

13. Continuance (Chick Corea)

14. impromptu IV: gentleman fish

“With Béla, our duet has become so simpatico, and comfortable–comfortable spiritually. And not meaning that we’re not adventuring musically, but I know that whatever we’re going to do is going to be musical.”
Chick Corea, speaking about Bela Fleck, in 2015

Béla Fleck Tour Dates

April 3 Buffalo, NY Kleinhans Music Hall ^

April 4 Oakville, Ontario Oakville Centre for the Performing Arts ^

April 5 Kingston, Ontario Kingston Grand Theatre ^

April 6 Stowe, VT Spruce Peak PAC ^

April 9 Ottawa, Ontario Centrepointe ^

April 10 St. Catharines, Ontario Partridge Hall ^

April 12 State College, PA The State Theatre ^

April 13 Goshen, IN Goshen College ^

April 14 Lexington, KY Lexington Opera House ^

April 24 Skokie, IL North Shore PAC *

April 25 Kohler, WI Kohler Memorial Theatre *

April 26 Royal Oak, MI Royal Oak Music Theatre *

April 27 Wilkesboro, NC MerleFest *

April 28 New Orleans, LA New Orleans Jazz Festival *

May 4 New York, NY Carnegie Hall (Béla Fleck: Rhythm, Raga & Rhapsody)

June 13 Groton, MA Groton Hill Music Center #

June 14 Kingston, NY Ulster PAC #

June 15 Hartford, CT The Bushnell #

June 16 Kennett Square, PA Longwood Gardens #

June 18 Boulder, CO Chautauqua Amphitheater #

June 20 Telluride, CO Telluride Bluegrass Festival (house band)

June 21 Telluride, CO Telluride Bluegrass Festival #

July 12 Vancouver Island Musicfest #

July 16 Breckenridge, CO Riverwalk Center #

July 17 Aspen, CO Aspen Music Festival #

July 18 Santa Fe, NM The Lensic PAC #

July 27 Lyons, CO RockyGrass ^

Oct 13 Pelham, TN CaveFest ^

Ticket information

*My Bluegrass Heart
^Béla Fleck & Abigail Washburn
~Béla Fleck w/ Symphony

# Béla Fleck, Edgar Meyer, Zakir Hussain featuring Rakesh Chaurasia

March 18, 2024
In Focus: Disco Biscuits at Empire Live

On Wednesday, March 13, a hungry crowd packed into Empire Live on North Pearl Street for the Disco Biscuits, currently on tour ahead of the release of Revolution in Motion, Part 1, due out on March 29.

The show marked a return to a smaller venue in Albany, instead of the Palace Theatre, where the Philadelphia trance-fusion pioneers have played 7 times, dating back to 2004. The 1,000 capacity Empire Live offered a club feel to the show, an underground vibe where fans of the Biscuits could gather and dance to nearly three and a half hours of live electronic jams. For a night, this was Albany, New York’s hottest club, and even with sightlines what they are, the crowd carried on and enjoyed the mid-week throw down late into the night.

Opening up with “Morph Dusseldorf,” the twists came early with samples of Dolly Parton’s “Jolene” dropped into the nascent “Morph” jam, honoring a fan’s birthday request and offering a glimpse of untzgrass, at long last. “Triumph” slipped in next, giving way to 30 glorious minutes of “Save the Robots” leeching into the ending of “Astronaut,” giving way to an inverted version of the fan favorite. A resounding “Suspended in the Air” middle section of “Astronaut” was particularly blissful, while the ending section was peppered by another sample, this time Tone Loc’s “Funky Cold Medina,” with the middle-age crowd nodding at each other upon recognition of the now 35-year old song.

After a standard 30 minute setbreak, the Biscuits returned with “M.E.M.P.H.I.S.,” venturing out into a spacious jam that found its way into the end of “Naeba,” which would be the second inverted song of the night. The slow churn into the song, as well as the stretched out ending were disco bliss, had plenty of room for improv as well as to dance – this was not a coincidance.

A Tractorbeam version (instrumental) of recent debut “Dino Baby” followed and made way to “Another Plan of Attack,” the two songs being the newest songs of the night, following nearly two hours of old school songs. With sampling becoming commonplace this tour, another surprise in the form of “Hella Good” from No Doubt was found in parts of “Another Plan of Attack,” and while this could have been the end of the night, the Biscuits whisked their way into a 36-minute “I-Man” that had twists and turns and the crowd fist pumping along well past midnight.

An encore featuring the recently released “Spaga’s Last Stand” was all that was left in this deep tank of electronica improvisation, where we find the Biscuits at the top of their game.

The Disco Biscuits will be back in New York on March 29 at Webster Hall for the album release show, followed by two nights at Town Ballroom in Buffalo over March 30 and 31.

Stream the full show from Albany here on Nugs.

Setlist via Biscuits Internet Project
Disco Biscuits – Empire Live – Albany, NY – March 13, 2024
Soundcheck: Magellan, Wet
Set 1: Morph Dusseldorf¹, Triumph > Save The Robots > Astronaut^2 3 > Save The Robots
Set 2: M.E.M.P.H.I.S. > Naeba² > Dino Baby⁴ > Another Plan of Attack⁵ > I-Man
Encore: Spaga’s Last Stand
1 with ‘Jolene’ (Dolly Parton) samples
2 inverted
3 with ‘Funky Cold Medina’ (Tone Loc) samples
4 Tractorbeam version (instrumental)
5 with ‘Hella Good’ (No Doubt) teases

March 17, 2024
Artist Profile: Upstate New York-Based Beach Hop Rapper, Cully

Beach-hop artist Cully has a new album out titled Sad Boy Nites. The seven-track album contains many new musical elements as well as his usual, unique sound.

Cully’s music can best be described as beachy, upbeat, bubblegum rap that lifts spirits and ensues relaxation.

Cully was inspired by music from a young age. In elementary school he was freestyling and beatboxing on the playground. Then in high school, he along with two friends formed rap-trio Tribe Style, where they would release song after song on YouTube.

It wasn’t until Cully’s college years at SUNY Oneonta where he’d really get the musical ball rolling. He met MC Righteous, joined Bright Dog Red and began releasing real-deal albums under Ropeadope Records. Shortly after graduation he began working in recording studios as a sound engineer, working for two years under record producer Sean Ono Lennon.Â

Cully’s music combines elements of pop, surf music, hip hop, and indie. Together, his music makes for an upbeat, chillaxed, and unique “beach hop” vibe. The artist loves to implement absurdist and dry humor into his lyrics with a flowing stream of melody behind it. He switches from catchy pop vocals, and a funky rhyme cadence frequently.

His new album, Sad Boy Nites has an overarching theme of a laid-back, uplifting summer. Many of the tunes on the album relate to being a young adult in the current age, trying to enjoy life amidst the daily chaos of the world. Each song has a unique and vibey melody. They also contain different themes of their own like love, relaxation, getting lifted without drugs, and enjoying oneself. This album is one to kick back, chill outdoors, and surround yourself with positivity to.

To lay your ears on some of Cully’s previous tunes, and to stay up on his upcoming releases, visit his YouTube channel or click here.

March 17, 2024
Chelsea Cutler Sells Out Radio City Music Hall

On the New York City night of February 23, Chelsea Cutler sold out her first ever Radio City Music Hall headline show. Nearly 6,000 New Yorkers wrapped around the Midtown blocks, adorned in Cutler-inspired sneakers, jerseys, and “vintage” Cutler merch. The energy circulating from city to city on “The Beauty Is Everywhere Tour” finally arrived in Manhattan, and it was well-received.

Photograph by Shauna Hilferty

The evening began with an opening performance from the New York City native group, Yoke Lore. Lead singer Adrian Galvin exclaimed how gracious he was to be on stage at “the most beautiful venue.” Galvin and drummer, Rafe Bouchard, warmed up the rapidly filling auditorium with their folk-pop discography. He sang crowd favorites like “Beige,” and “Shake,” and thrashed his limbs in a feral yet simultaneously elegant dance. Yoke Lore also performed one his favorite childhood songs, “Truly Madly Deeply,” which felt like an unveiled sentiment to playing at Radio City.

After Yoke Lore departed, Radio City’s iconic velvet curtains lowered to the stage floor. Behind them, stage crew shadows danced in a fit of productive motion, bringing Chelsea’s stage to life. It wasn’t long before the lights dimmed, hushing everyone’s conversations into a silence of excitement, and the curtains lifted to reveal the massive stage.

Photograph by Shauna Hilferty

White scalloped arches framed a platform with a miniature catwalk where a microphone waited at the end. A drum set, guitar setup, and Chelsea’s signature sound board accessorized the stage. Retro strobe lights at the base of the stage, casting long shadows over the audience while synth swallowed the space, and an intro-audio oding to the beauty in everything carried up to the mezzanine.

At the close of the audio, Chelsea appeared on stage. Her song “Something More” was the perfect opening song, and a great introduction to the yearn and desperation behind her record “Stellaria.”

Stellaria’s production grade is too large to be put in the confines of a single “type” of music. Chelsea really tapped into her personal writing style, and introduced her fans to the story-telling air of folk music. Instrumentally, the record is versatile – it relies on Cutler’s usual mastery of percussion and riffs, while also introducing more twang carrying sounds, and displays a phenomenal usage of synth. Radio City was the perfect venue to hold room for the performance of “Stellaria.”

After her first few songs “I Don’t Feel Alive” and one of her crowd-favorites, “Cold Showers,” Chelsea couldn’t contain her excitement. She stopped to acknowledge how “pretty fucking cool” it was to be playing Radio City. “It’s a Friday night in the city I call home! New York City, how are you doing?” The crowd erupted, charging Cutler’s amped energy.

Cutler spoke casually with the audience, like they were all just chilling together at a party she was hosting. “There are a few important things to talk about. One, I’m a bit of a sneakers girl, but tonight… I’m wearing loafers! Two, my mom just got a hip replacement and she is here tonight!” The crowd applauded Mama Cutler.

Photograph by Shauna Hilferty

On tour in celebration of “Stellaria,” Chelsea Cutler is fortifying her already established fanbase. Having been in the music industry since her college days, Chelsea is ever-evolving as a musician, bridging an experimental gap between genres. The community at the foot of her sound has only grown, as she’s planted her voice in the genres of folk-americana, pop, and continues to water her roots in electronic exploration. Her willingness to try something new grows her listener count album by album.

Cutler’s fanbase is composed of a large listener demographic. Fans of multiple genres, fans of all ages, and fans from the LGBTQ+ community. A Chelsea Cutler show has always been the friendliest and most welcoming environment, and it was heart-warming to see that energy occupying a notorious space like Radio City.

Photograph by Shauna Hilferty

The show rolled into some of Chelsea’s archives from albums “When I Close My Eyes” and “Sleeping With Roses II.” Songs like “Easy” and “AF1s” elicited a surefire singalong from the audience.

Sewn around two of her newer songs dealing with the weight of self-reflection “Hunting Season” and “Growing Up Is Hard,” were two of her older songs “NJ” and “Crazier Things,” two songs written with romantic grief. The parallel lines running beside each other added an intensity to the performance.

Halfway through the setlist, stage crew rolled out a rickety wooden piano and Cutler’s incredibly talented bandmates, drummer Michael Mason and keys player J.T. Becker stepped back to make room for an acoustic set that wrapped with her song “Hotel June.” Acoustic sets deeply favor Cutler’s flutey tonal ability, allowing her range to take up more sonic space.

The lights dimmed and the piano was pulled from the stage to make the transition into a different sector of her sound. When the lights flashed back into motion Cutler reappeared to sing two of her hits “Sad Tonight” and “The Reason.” “The Reason,” from “Sleeping With Roses” is a staple at a Chelsea Cutler concert, with one of the most electrifying instrumental choruses to ever drop.

After a few more tracks, the show closed with one of Chelsea’s most received single releases, “The Lifeboat’s Empty.” The seated structure of Radio City couldn’t contain the fans, as they jumped and pushed into the aisles. It was the perfect send off song, before Chelsea ran backstage.

Overhead, the lights turned on but Chelsea Cutler fans knew better than to assume the show’s over. It wasn’t long before reappeared on stage for an encore. She acoustically performed her most recent song of transcendence, “Your Bones.” The audience took matters into their own hands, singing the chorus as Chelsea sat back in awe.

Photograph by Shauna Hilferty

The evening closed with another track from “Brent,” “This Is How You Fall In Love.” The lyrics felt like an ode to her fans, her tour, and the earned chance to perform at Radio City. As the slow and melodic sound came to an abrupt close, Chelsea’s outro song “Paper Planes” took over the speaker and she exited the stage with the widest smile. The audience collectively sang along as they filed out of the auditorium.

Photograph by Shauna Hilferty

“The Beauty is Everywhere Tour” has been a true display of enjoyment, passionate songwriting, vocal maturity, and Cutler’s self-acceptance as a human being. This record has done great things for listeners and for Chelsea herself, and a sold out Radio City Music Hall is a symbol of that achievement.

The project behind this tour is a display of the cleanse that comes with the discomfort of acceptance. Acceptance of one’s self, acceptance of the mundane, acceptance of the past/present/and future. Acceptance sometimes feels otherworldly, like a transformance. This is what “The Beauty is Everywhere Tour” has been for Cutler – an artistic exploration of the space between one’s existence and their sound.

Setlist:

Intro/Something More

I Don’t Feel Alive

Cold Showers

Loved By You

Easy

AF1’s

Hunting Season

Growing Up Is Hard

Crazier Things

Men On The Moon

NJ

Devil On My Shoulder

You Were Good To Me

Hotel June

Sad Tonight

The Reason

You Don’t Think About Me At All

Stay Anything

Your Shirt

The Lifeboat’s Empty

Encore:

Your Bones

This Is How You Fall In Love

March 17, 2024
Spafford Releases 2024 Summer Tour Dates Featuring Multiple New York Shows

As Spafford continues their spring tour in Colorado, they’ve now announced their summer tour dates which include two more New York shows. The Arizona-based jam band will get a full view of the Empire State with shows scheduled in a variety of areas as well as an upcoming one at New York City’s Brooklyn Bowl on April 20.

Spafford’s summer tour pays special attention to the East Coast and Midwest with the tour starting in Michigan with performances slated in Ludington and Paw Paw. It then heads out to Illinois, New Hampshire for the Northlands Music Festival, and multiple New York stops.

The first one is on June 12 at Rochester’s Water Street Music Hall. Three days later, Spafford is set to play Colony in Woodstock, a New York town with a rich musical history all its own. Â The band then wraps up their time in NY with a stop on Long Island at The Stephen Talkhouse in Amagansett. See below for a full list of upcoming Spafford shows. The tour includes multiple stops and cities the band has yet to play.

Tickets for all Summer Tour dates are on saleÂ atÂ spafford.net.Â

2024 DATES

3.16 Frozen Dead Guy Days – Estes Park, CO
3.20 The Broadberry – Richmond, VA
3.21-23 5 Points Music Sanctuary – Roanoke, VA
3.24 Lincoln Theatre – Raleigh, NC
3.26 Tally Ho Theater – Leesburg, VA
3.28-29 Woodlands Tavern – Columbus, OH
3.30 Madison Theater – Covington, KY
4.18 XL Live – Harrisburg, PA
4.19 The Warehouse at FTC – Fairfield, CT
4.20 Brooklyn Bowl – Brooklyn, NY
5.24-26 CaveJam – The Caverns, TN

6.6 Stix – Ludington, MI

6.7 Moontown Brewing Co. – Whitestown, IN

6.8 Warner Vineyards – Paw Paw, MI

6.9 Danenburger Family Vineyards – New Berlin, IL

6.12 Water Street Music Hall – Rochester, NY

6.14 Northlands Music and Arts Festival – Swanzey, NH

6.15 Colony – Woodstock, NY

6.17 The Stephen Talkhouse – Amagansett, NY

6.19 Baltimore Soundstage – Baltimore, MD

6.20 New Realm Brewing – Virginia, Beach, VA

6.21 Bowstring Brewyard – Wilmington, NC

6.22 Pisgah Brewing Company – Black Mountain, NC

6.23 The Ramkat – Winston-Salem, NC

7.18-20 4848 Music Festival – Snowshoe, WV

March 16, 2024
Authentic Irish Music Is Heard All Week Long at Paddy Reilly’s

Sitting on the corner of E. 29th Street and 2nd Avenue in Manhattan is a pub that has been home to Irish music legends both past and present. Take one step through the pub’s signature red door to be greeted by notes of the Irish whistle, guitar, bass, bodhrán, uilleann pipes, and drums. The music overflows from the stage and captivates one to the point where more Guinness has to be ordered, because you just can’t leave the authentic Irish music. The name of this pub that has been such a vital component of the New York City Irish music community is none other than Paddy Reilly’s.

https://youtu.be/AGkDTFjHNVU?si=AHw_h-wh_sxhDK_M
Hozier celebrates his 33 birthday at Paddy Reilly’s on March 17, 2023.

For 37 years, Paddy Reilly’s has been a staple in the New York City Irish music scene. Musicians, such as Paddy Reilly’s house band The Prodigals along with Black 47, Eileen Ivers, John Whelan, and Joanie Madden, have all performed at this pub. Global icon Jimmy Fallon stopped to sing a couple of songs himself in February of 2023. A month later, Hozier celebrated his 33 birthday at the pub, which just happens to coincide with St. Patrick’s Day. Videos of Hozier performing at Paddy Reilly’s quickly went viral, causing people to swarm to Paddy Reilly’s and pack the narrow pub, each person hoping to catch a glimpse of the Irish legend.

Celebrities have made stops at Paddy Reilly’s long before Fallon and Hozier did. Gregory Grene, lead vocalist of Paddy Reilly’s house band The Prodigals, reminisced when supermodel Christy Turlington and actor Jason Patric booked a party at Paddy Reilly’s. In the midst of the party, Turlington hopped on stage and began singing with the band. Good craic was to be found in every corner of Paddy Reilly’s.

Lead singer of The Prodigals, Gregory Grene, sings alongside supermodel Christy Turlington at Paddy Reilly’s.

Despite Paddy Reilly’s fame, the pub almost shut its doors permanently after the Covid pandemic. Like many other establishments, the pandemic and the subsequent stall of live music caused Paddy Reilly’s to take an economic hit. “We were looking at the end of an era,” The Prodigals singer Gregory Grene stated. Just as Paddy Reilly’s future started to look bleak, its previous manager Desi Murray along with Joshua Irwin and Aria Bai took over.

“We gave the bar a nice, big hug when we took over,” Desi Murrary, one of the new owners of Paddy Reilly’s, stated. The bar closed for two months from April to June of 2023 for renovations. “We restored Paddy Reilly’s charms, upgraded equipment, and kept the same cozy and authentic environment.”

Grene stated the three “reinvested without trying to reinvent.” The foundation and old bones of the pub were given new life while keeping the heart and soul of it intact. With the renovations complete, Grene stated, “The pub is thriving in a way that brings back the early days.”

On June 18, 1993, Pierce Turner with Electric String Quartet performed at Paddy Reilly’s. Credit: Fred Parcells.

Paddy Reilly’s was established in 1986. During the early days, crowds would line up out the door whenever Black 47 would play on a Saturday night. At that time, the pub was owned by Steve Duggan and his partner, Irish musician Paddy Reilly, who gave the pub a direct link to the music industry. It’s only natural then that musicians would conjugate at the pub.

One such musician who frequented Paddy Reilly’s was Joanie Madden. As the leader of all-girl group Cherish the Ladies, Madden is an Irish-whistle player who’s charismatic and friendly nature is bound to put a smile on your face. With her big personality, Madden became omnipresent in the Irish music scene, seeming to somehow have either played with or helped every band. Paddy Reilly’s house band The Prodigals is no exception.

The Prodigal’s lead singer Grene remembered booking his first gig at Paddy Reilly’s. At the time, the band consisted of Grene, Ray Kelly, Brian Tracy, and Andrew Harkin. Grene went to the pub and gave a warm County Cavan greeting to owner Duggan and asked for a gig around St. Patrick’s Day. Duggan turned to the one and only force of nature Joanie Madden and asked, “Well Joanie, what’d ya think?” She replied, “Of course, go for it!” With that, Madden helped cement The Prodigals as Paddy Reilly’s band for the next 27 years.

From left to right: Owner of Paddy Reilly’s and Irish balladeer Paddy Reilly with The Prodigals – Ray Kelly (guitar / vocals), Andre Harkin (bass), and Gregory Grene (vocals / button accordion). Circa 1997.

Live music has always played a vital part in Paddy Reilly’s success. Grene stated, “Owner Duggan recognized that Irish music played a unique role in the Irish society in New York and recognized the fact that to be proudly Irish in a city that welcomes eclectic, authentic culture was key.” Grene referenced authentic restaurants and bars in various parts of the city. He stated, “They survive and thrive by being so authentically themselves. They reach out beyond their own community. Steve Duggan did that with Irish music.”

The music is unapologetically its authentic self. Take the late Shane MacGowan, the lead singer of The Pogues. “He wasn’t trying to cater to some other crowd,” Grene stated. “He was trying to cater to his own truth.” Grene went on to say, “I think when you have music that speaks truthfully, it becomes extraordinarily translatable, because people hear it’s speaking of the human condition.”

By speaking to the human condition, classic Irish songs, such as “Black Velvet Band,” “Dirty Old Town,” and “Wild Rover,” speak to the soul, allowing them to remain popular throughout the years. Songs and tunes dating back to the 18th century are now continuing to be played in 2024 in Manhattan. Their universal themes allow them to remain mainstream for generations to come.

These songs truly speak to every generation. Just take a look at Paddy Reilly’s audience. “You’ll meet a 23 year old from California and a 38 year old from County Clare or a 75 year old from Galway,” Grene stated.

On September 18, 1990, Black 47 performed at Paddy Reilly’s. Lead vocalist Larry Kirwan is pictured center. Credit: Fred Parcells.

Paddy Reilly’s appeals and offers events for all. Every Wednesday night starting at 9pm, Niall O’Leary hosts Irish Traditional Night. Not only can classic Irish tunes be heard on Wednesdays, but a small stage is brought out for Irish dancing. If you know a jig or reel, hop up on the square stage to step dance. Or if you’re more vocally inclined, you can sing at their Open Mic Night every Tuesday at 6pm. As always, there’s live music every single night of the week. Irish tunes alongside rock, folk, alternative, and bluegrass continuously echo throughout Paddy Reilly’s walls.

To join in on the craic, head to 519 2nd Avenue, New York, NY 10016. Enjoy the Guinness on draft, and sláinte to 37 more years of authentic Irish music at Paddy Reilly’s!

https://www.youtube.com/watch?v=AGkDTFjHNVU

March 16, 2024
Offset’s “SET IT OFF” Tour Hits Times Square

On Thursday March 14, Offset took his “SET IT OFF” tour to the Palladium in Times Square for its third stop. The rapper enlisted a strong group of up and coming artists to warm up the crowd before his performance.

Offset at Palladium Times Square. Photo by Lucas Kurzweil

The first rising talent of the night was YRN Mango Foo, followed by SleazyWorld Go and then Skilla Baby. Skilla took it upon himself to enter the mosh pit and perform most of his set from the crowd. In between songs, Skilla would have the fans chant four simple words: “I will have fun,” until late in his set where he sang a cover of FUN.’s “We Are Young” while in the mosh pit. After the openers, Hot 97’s own Funk Flex took the stage to perform a DJ set. Flex’s song choices and comedic adlibs ensured the crowd was ready for Offset to take the stage.

Skilla Baby at Palladium Times Square. Photo by Lucas Kurzweil

Offset opened with a plethora of songs from his new album, specifically: “Say My Grace,” “Fan,” “Broads Day,” “Big Dawg,” and “On the River.” With a live band behind and a set of stairs streaming down the center of the stage, there was never a dull moment. Offset had backup dancers and high energy throughout the entire show.

Offset at Palladium Times Square. Photo by Lucas Kurzweil

Offset decided to give New York a taste of their own music. He brought out Brooklyn rap group 41 as well as Bronx artist Cash Cobain. 41 and Cash Cobain both brought a great representation of New York rap to the stage.

41 at Palladium Times Square. Photo by Lucas Kurzweil

But Offset had one more special guest to round off the night. Near the end of the show, Offset and his DJ were talking back and forth saying, “we still gotta do it for New York,” before, abruptly, the beat to A Boogie Wit Da Hoodie’s “My Shit” started playing, and a few seconds later, A Boogie himself joined Offset on stage. The Bronx rapper performed “My Shit” and “Drowning” for his hometown crowd, sporting a Yankees cap and a Highbridge chain.

A Boogie Wit da Hoodie at Palladium Times Square. Photo by Lucas Kurzweil

Offset ended the night with some of his older classics, “Motorsport,” “Narcos,” “Clout,” “Ric Flair Drip,” and “Bad and Boujee.” Tickets for the rest of the “SET IT OFF” tour are available here.

Offset at Palladium Times Square. Photo by Lucas Kurzweil

Offset setlist: Say My Grace, Fan, Broad Day, Big Dawg, On the River, Danger, Ghostface Killers, Rap Saved Me, Legacy, No Complaints, Patek Water, 100 Racks, Monday, Hop Out, Skyami, Don’t You Lie, Zeze, Worth It, Fight Night, Call Casting, Last Memory, Motorsport, Narcos, Clout, Ric Flair Drop, Bad n Boujee

Offset (left) and A Boogie Wit da Hoodie (right) at Palladium Times Square. Photo by Lucas Kurzweil

Offset Upcoming Tour Dates
Fri Mar 15; Boston, MA; Citizens House of Blues Boston
Sun Mar 17; Toronto, ON; HISTORY
Tue Mar 19; Detroit, MI; The Fillmore Detroit
Wed Mar 20; Grand Rapids, MI; GLC Live at 20 Monroe
Fri Mar 22; Cincinnati, OH; Bogart’s
Sat Mar 23; Chicago, IL; Byline Bank Aragon Ballroom
Wed Mar 27; Denver, CO; Fillmore Auditorium
Fri Mar 29; Los Angeles, CA; Hollywood Palladium
Sat Mar 30; San Francisco, CA; The Masonic
Mon Apr 1; Anaheim, CA; House of Blues Anaheim
Wed Apr 3; Phoenix, AZ; The Van Buren
Fri Apr 5; Dallas, TX; South Side Ballroom
Sun Apr 7; Houston, TX; Bayou Music Center

Skilla Baby at Palladium Times Square. Photo by Lucas Kurzweil

Offset at Palladium Times Square. Photo by Lucas Kurzweil

Offset at Palladium Times Square. Photo by Lucas Kurzweil

A Boogie Wit da Hoodie at Palladium Times Square. Photo by Lucas Kurzweil

YRN Mango Foo Go at Palladium Times Square. Photo by Lucas Kurzweil

YRN Mango Foo Go at Palladium Times Square. Photo by Lucas Kurzweil

Sleazyworld Go at Palladium Times Square. Photo by Lucas Kurzweil

Offset at Palladium Times Square. Photo by Lucas Kurzweil

41 at Palladium Times Square. Photo by Lucas Kurzweil

Sleazyworld Go at Palladium Times Square. Photo by Lucas Kurzweil

Offset at Palladium Times Square. Photo by Lucas Kurzweil

March 16, 2024
Artist Profile: Up and Coming Indie-Folk Troupe Sweetboy

NYC Indie-folk band Sweetboy has been gaining popularity after the release of their 2023 album A Day in the Park. The group is known for their powerful style of indie, folk, pop, and alternative meshing.

Sweetboy was created by artists Anna Barnett and Jon Flores. The two met on Craigslist under aspiring musicians in search of a band. The pair got together, created some tunes, and began performing at open mics around NYC.

The duo then added some new members, put out some demos, and by 2023, released their first album A Day in the Park. Their sound combines infectious indie-pop energy and nostalgic alt-rock angst with an introspective throughline.

Sweetboy considers themselves not much more than nerdy music lovers trying to figure out the most interesting, authentic, and exciting ways to turn their feelings into songs. While the bandmates live throughout New York and New Jersey, the City is their musical home.

The group performed their song “Upstate” on Albany’s WTEN news station on February 25. The song is a wonderful combination of sound, beginning with a strong folk tone, shifting and evolving into a higher-energy pop-rock ballad with a punchy drumbeat.

“Upstate” features a percussive yet melodic piano. Throughout the tune, several changes of intensity and instrumentation occur. The track features Anna’s wonderous vocals along with soaring, choir-like vocals. From beginning as a slow, soft acoustic ditty, to a moving, quick-witted ballad, the song keeps the listener entranced and moving.

To learn more about Sweetboy and their upcoming music, visit their website here. Make sure to check out their YouTube channel for all past releases as well.

March 16, 2024