Today marks a somewhat somber anniversary in Grateful Dead history as the band’s second show at their final residency at The Capitol Theater this day in 1971 would be the first of many without drummer Mickey Hart. Racked by depression and guilt from his father stealing money from the band, Hart would take a self-imposed hiatus for several years before rejoining in 1974.
stub via Ed Perlstein
As the Dead prepared for some of their last shows ever at The Cap, they were still treating this a short-term absence. They continued to deliver a string of new songs and material, many of which made their debuts at the memorable show from the night before. The music does not seem to suffer at all and takes on a sleeker, more focused sound with only one drum kit now being used. This show was even selected as one for live release by soundman Dan Healy back in the early 90s but never got officially unveiled until 2007 as Three From The Vault.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Unsurprisingly, the recording of tonight’s show begins with some on-stage tuning from the Dead. This actually elicits two distinct warm-up/time wasting songs with quick takes on “The Merry Go-Round Broke Down” and “Spring Song.” The end of the latter paves the way for the band to launch right into a show-opening “Truckin’.” It’s a tight and concise jam to start things off that certainly has a little less “thunder” to it thanks the subtraction of one drum kit. The always emotional “Loser” follows with Jerry Garcia taking the lead on vocals and delivering its powerfully somber guitar solo with ease.
“Cumberland Blues” swings the emotion right back the other way with a fun, spirited take fueled by some peppy Phil Lesh-produced bass lines before Pigpen gets his first say of the evening with his signature take on the Elmore James blues classic “It Hurts Me Too.” This rounds out a very similar opening to the show from the night before with the three of the four numbers being repeats.
These kept on coming with the brand new “Bertha” that follows, only the fourth one ever performed after its East Coast debut the night before. Some issues with the early vocals occur on the recording, but they soon get resolved on this fast-paced and energetic take with Pigpen on organ making notable contributions. The second-ever “Playin’ In The Band,” which also debuted last night, comes next although no jam of any merit is produced with the band very much still learning how to tackle this one. The string of repeats gets broken up with an electric take on a song more often associated with acoustic Dead, “Dark Hollow.”
The music does finally stretch out a bit with a 15-minute take on another blues classic “Smokestack Lightning,” with Pigpen once again manning the lead vocals and playing the part of Howlin’ Wolf as only he can. His improvised lyrics and harmonica play in conjunction with some stirring guitar licks courtesy of Garcia provide all the fuel that this first set highlight needs.
The Dead then round out the first set at The Cap this evening with a breakneck “China Cat Sunflower” and “I Know You Rider” that features its traditional seamless segue between the two. The new songs then kept on coming in the second set, beginning with the Bob Weir-led tunes “Greatest Story Ever Told” and then only the third ever known performance of “Johnny B. Goode,” a Chuck Berry cover that would continue to be seen on Grateful Dead setlists throughout the band’s touring career.
After some intricate tuning, a fresh song finally emerges, the brand new “Bird Song,” with Garcia reassuming lead vocals and leading the group through an especially rhythmic early rendition that seems to peter out fairly suddenly instead of being stretched out like it would be in the years to come. This sets the stage for Pigpen to shine once more as then leads the group through the blues-laden and Robert Hunter-penned “Easy Wind.” There would be only two more performances of this vintage Pigpen tune ever played after this one.
Another Dead classic then makes its live debut at the Capitol Theater as the first ever “Deal” is played with Jerry grabbing the reigns once more and leading the band through a rapid take on another soon-to-be live show regular. The second set “Drums” section may be missing one drummer this evening but Bill Kreutzmann handles this, and the rest of the show, with ease and finesse, paving the way nicely into the percussive-heavy opening of “The Other One.” This offers some of the real exploratory playing of the show as Garcia, Lesh and Kreutzmann all seem to lock in, eliciting tribal-like rhythms and patterns in a jam that slowly crescendos.
It comes to a pretty abrupt ending, however, as the Dead seem to want to fit in the second ever “Wharf Rat” before things come to a close. This slows the tempo down significantly as Garcia belts out the emotional lyrics on a another future live show staple. After one last extensive tuning session, which serves as an unofficial encore break of sorts, the band launches into one last cover for the night, a rousing, stretched out take of “Good Lovin’” with Pigpen once more adding his signature style to the proceedings.
The show then wraps up with a standard run through of an “oldie,” in “Casey Jones” as night two of the Dead’s final residency at the Cap comes to a close and the short-lived Mickey Hart-less era of the band begins.
Grateful Dead – Capitol Theater, Port Chester, NY February 19, 1971
Set 1: Truckin’ , Loser, Cumberland Blues, It Hurts Me Too, Bertha, Playing In The Band, Dark Hollow, Smokestack Lightnin’, China Cat Sunflower > I Know You Rider
Set 2: Greatest Story Ever Told > Johnny B. Goode, Bird Song, Easy Wind, Deal, Cryptical Envelopment > Drums > The Other One > Wharf Rat, , Good Lovin’ , Casey Jones
On February 6, GrooveSafe released a Fan Experience Survey, in an effort to obtain a broader view of harassment and sexual assault at live entertainment spaces.
NYS Music is proud to support Groovesafe since its inception.
Groovesafe was founded in 2017, with a mission to stop unwanted touching and sexual assault at concerts. The non-profit Groovesafe seeks to create a no-tolerance environment at concerts, with an emphasis on building a consent culture. The effort to be present in the live music scene across all genres helps to bring awareness to sexual misconduct, in the process teaching that a change in behavior starts with a recognition of the problem.
As part of Groovesafe’s mission, this survey will provide the most current, data-driven practices to ensure safety at live events. Part of a broader research study, the survey is designed to assess the prevalence and perceptions of sexual misconduct in live music settings, as well as the response to these types of incidents. GrooveSafe will use the results from this survey to identify strategies for more effectively preventing and addressing sexual misconduct at live music events.
The survey was designed and reviewed by trained academic researchers and has been given Institutional Review Board (IRB) approval. Institutional Review Boards, or IRBs, review research studies to ensure they comply with applicable regulations, meet commonly accepted ethical standards, follow institutional policies, and adequately protect research participants.
Survey takers can be confident that this survey meets these standards. All individual answers will be kept confidential and the results of this survey will be analyzed and then shared in a report based on valid and relevant research methods.
Completing the survey is a quick and free way to positively impact the live music experience, by becoming a part of the solution and ensuring that survey results are representative of the true fan experience. Take the survey and share with a friend.
Keep an eye out for updates from GrooveSafe about the survey and other ways to support safer live music environments.
Disco Biscuits have shared part 2 of their Rock Opera set in space, Revolution in Motion. The four tracks follow the January release of Part 1, which included newer jam vehicles, “Another Plan of Attack” and “Twisted in the Road.”
Revolution in Motion, Part 2, features songs “Times Square,” “Freeze,” “Tourists (Rocket Ship),” and “Spaga’s Last Stand,” all which have debuted by the Disco Biscuits since 2022 and become the basis for some of the band’s most exploratory work to date.
The video companion to Part 2 picks up where Part 1 left off, where we saw aliens enter a wormhole while getting too ‘shocked’ brings them to our solar system, where the aliens descend towards New York City, setting their sites on Times Square – specifically, in front of Palladium Times Square at 7th Ave and 45th St., where the Disco Biscuits are performing.
The aliens freeze all those outside waiting to get into the show, but with Disco Biscuits on stage deep underground, they are not frozen and come to the rescue, ascending the memorable escalator in the lobby of the Palladium theater. With the aliens planning to abduct the frozen humans for study, the Disco Biscuits confront the aliens, saving the day, but in the process of themselves being abducted onto the alien ship.
Part 3 and 4 will released in March, as the band builds up to their album release show at Webster Hall on March 29.
Disco Biscuits 2024 Tour Dates 3/7 – Silver Spring, MD – The Fillmore 3/8 – Silver Spring, MD – The Fillmore # 3/9 – Pittsburgh, PA – Stage AE # 3/10 – Charlottesville, VA – Jefferson Theater 3/13 – Albany, NY – Empire Live 3/14 – New Haven, CT – College Street Music Hall % 3/15 – Portland, ME – State Theatre % 3/16 – Boston, MA – House of Blues % 3/28 – Wilkes-Barre, PA – F.M. Kirby Center 3/29 – New York, NY – Webster Hall ! (SOLD OUT) 3/30 – Buffalo, NY – Town Ballroom 3/31 – Buffalo, NY – Town Ballroom 4/2 – Louisville, KY – Mercury Ballroom 4/4 – New Orleans, LA – House of Blues 4/5 – Houston, TX – The Heights Theater 4/6 – Dallas, TX – Longhorn Ballroom 4/7 – Burnet, TX – Texas Eclipse Festival 4/11 – Asheville, NC – The Orange Peel 4/12 – Nashville, TN – Brooklyn Bowl 4/13 – Atlanta, GA – Tabernacle 4/14 – Raleigh, NC – Lincoln Theatre 6/20-23 – Rothbury, MI – Electric Forest Festival
Satellite Collective will present Satellite Tribeca, at Satellite Gallery, over May 9-21 for two weekends of premieres and events from artists across all disciplines, plus new prints, projections, film and photography from featured artists Kevin Draper and Lora Robertson.
Formed in 2010, Satellite Collective features members of the New York City Ballet, visual artists, writers, and composers from across the country. Since then, Satellite has produced 14 seasons of multi-disciplinary work in New York City with an imposing cross section of the city’s young talent. Satellite has evolved since its inception, spinning off several dance and arts nonprofits, and incubates artists collaborating as equals. The company designs performances, arts exchanges, and publications that bring talented artists from all disciplines to work together.
Satellite is working in a new kind of venue for the collective. We are bringing the athletic performance and production values of our performing arts work into a gallery space. Here, we have the opportunity to engage in longer conversations with our audience and more prominently feature the compelling visual artists driving Satellite’s collaborations.
the Satellite Collective team
Satellite Tribeca is designed to foster intimate moments in a classic New York gallery space. In addition to new prints and projections from featured artist Kevin Draper and new film and photography by featured artist Lora Robertson, the Tribeca Show will consist of two busy weekends of new music, dance, discussion, and visual art, and film presented by Satellite Collective. Satellite Tribeca will include direct art experience with panels, performances, visual art, screenings, and a view into how creativity informs collaboration.
KEVIN DRAPER
Satellite Tribeca will also reveal the New York premiere of Sad Blimp Twins, a pair of forty foot long blimps coming to New York for the first time as Satellite’s official mascots. Sad Blimp Twins are a pair of aerostats designed to fly from tall masts and act as cinema screens for public performances. They first flew on the lawn of the Gerald R. Ford Presidential Museum and will premiere in New York inside the gallery at 101 Reade Street. At full inflation, the blimps are fourteen feet in diameter and nearly forty feet long. Designed by Kevin Draper, they act as reminders of distant technologies of observation.
To purchase a “Festival” ticket, giving access to multiple events go here. For more information, go here.
Satellite Tribeca Program
Thursday, May 9, 7:00 – 8:00 pm
SITE SPECIFIC DANCE
NYC Premiere of BODYSONNET’S “please come alone”
From creator-performers Moscelyne ParkeHarrison and Mio Ishikawa of BODYSONNET, “please come
alone” is a series of solo dance performances exploring what it means to be alone, and to come together. In the piece, performers participate in exercises to explore their artistic and narrative values as they devise movement solos. Each performer’s process will culminate in a twenty-minute movement score that shares the same music score and includes movement references to the other solo. The soloists rehearse apart from each other, thus experiencing each other’s work for the first time in performance.
The work was originally performed in The Berkshires, MA in June 2021, and workshopped further with
MFA drama students at Yale University in winter 2021 with Dramaturg Hannah Gellman.
Friday, May 10, 6:00 – 8:00 pm
GIANT PRINTS ON CANVAS, PHOTOGRAPHS ON METAL, and BLIMP MASCOTS
Reception for visual artists Kevin Draper and Lora Robertson and New York premiere of “Sad Blimp Twins”
Kevin Draper’s show “The Cartoon Before The Movie” features large scale prints on paper and canvas created with aerospace 3D software and innovative hand printing techniques. Beginning with nostalgic imagery of an older New York, the imagery looks out toward space, along the avenues of Central Park and the sidewalks of Park Avenue, and sees a future of artificial intelligence and buildings seeking autonomy. Images feature bold industrial colors and a unique, expressionistic use of the architectural drafting language.
Lora Robertson’s show “Agony In The Scrub Pines” features large, complex photographic compositions reproduced on smooth sheet metal. Robertson works with digital cameras produced as part of the Hubble telescope program, and the intense focus on color and light is almost pre-Raphaelite in complexity. With her digital tools Robertson translates the naturalistic settings and historical lighting techniques into photographs that are easily mistaken for paintings until a closer view shows how these have been brought into the present with a wily eye for metaphor and visual easter eggs.
“Sad Blimp Twins” are a pair of forty foot long blimps coming to New York for the first time as Satellite’s official mascots. They first flew on the lawn of the Gerald R. Ford Presidential Museum and will premiere in New York inside the gallery at 101 Reade Street. At full inflation, the blimps are fourteen feet in diameter and nearly forty feet long. Designed by Kevin Draper, they act as reminders of distant technologies of observation. Satellite intends to continue development of Sad Blimp Twins and their use as mobile cinema screens.
LORA ROBERTSON
Friday, May 10, 7:30 – 9:00 pm
SPOKEN WORD, SOLO PIANO AND ACCORDION, AND VIOLIN-PIANO DUO
NYC Premiere of Stelth Ulvang’s “The Heartbeats of Stars, In Which Aliens Love Louis Armstrong,” a spoken word and music collaboration with Satellite Collective, and violin-piano duo Upstream debuts with co-compositions for piano and violin. Refreshments served.
Stelth Ulvang premieres “The Heartbeats of Stars” inspired by Carl Sagan and Ann Druyan’s data capture of love that left our galaxy on Voyager’s gold record. This solo performance for piano and accordion is a meditation on the many orbits in two lives, and the many points of intersection between them.
And Upstream, with 2023 Leonard Bernstein Award Winner Will Healy, debuts violin-piano duo Upstream with George Meyer, performing a live program of co-compositions for piano, cello, viola, violin by these Juilliard-trained composers, reaching into hip-hop, bluegrass, and jazz.
Between and among world tours, Stelth Ulvang of the Lumineers has crafted spoken word and developed scores and theme songs for Satellite Collective films. He first appeared with Satellite on the stage of BAM Fisher.
LORA ROBERTSON
Thursday, May 16, 7:00 – 8:30 pm
BALLET SCORE FOR STRINGS AND NEW INDIE CLASSICAL
NY Premiere of “Liar Lear King” ballet score for strings by Ellis Ludwig-Leone. Performed live, with a performance of his “Past Life” for violin, cello, and piano. And three compositions by Will Healy, 2023 Leonard Bernstein Award Winner and Founder, SHOUTHOUSE. “Root Position”, “Chimes”, “Mariners” performed live with violin, viola, cello, and piano; and reception for visual artists Kevin Draper and Lora Robertson
“Liar Lear King” premiered in 2022, co-produced by Grand Rapids Ballet with choreography by San Francisco Ballet Alum and Oregon Ballet Theater Artistic Director Danielle Rowe, score by Brooklyn-based composer and indie classical phenom Ellis Ludwig-Leone, and film and scenery by Kevin Draper and Lora Robertson. In the runup to the New York premiere of the full ballet, the full thirty minute score will be performed live at Satellite Gallery, 101 Reade Street, with Ludwig-Leone conducting. “Liar Lear King” explores themes of narcissism and bullying, and their impact on our families.
Juilliard-trained composer and bandleader Will Healey will present solo piano work inspired by his Opus in development, Orbit – a piece that lays out a musical galaxy in which heavenly bodies interact, evolve, and eventually reach consciousness. Healy served as Music Director for the premiere of Aaron Severini’s score for “Echo & Narcissus” with Satellite Collective at BAM Fisher in 2018. This new work draws from Healy’s compositional experiments with hip-hop, jazz, and classical music.
Filmmaker’s Symposium: The toughest, wildest, and least talked-about challenge of independent filmmaking is finding the money. Join a group of award-winning filmmakers as they share the horrors and triumphs of getting their films green-lit. Hosted by Nikhil Melnechuk, and featuring directors working across the indie film landscape, Abby Kollek, Sylvia Ray, Manon Gage, DJ Daughtry, BODYSONNET, and more! Followed up by a sneak preview and discussion of the inventive animated short Shakespeare adaptation “Liar Lear King” by Lora Robertson and Kevin Draper. Drinks will be served.
KEVIN DRAPER
Saturday, May 18, 7:00 – 8:30 pm
ARTS PANEL w/FILM AND LIVE BALLET
“The New York of Gordon Matta-Clark: Alive in the City Today”
Feature Performance: “Central Park, Earlier In Time”, inspired by Satellite Collective’s “Echo & Narcissus”
Panel moderator Paulina Ascencio Fuentes lives and works between Guadalajara and New York City. She has worked with the Gordon Matta-Clark archives and the Estate on several research projects and exhibitions. Her research outlines transdisciplinary modes of knowledge production and transmission.
This intimate panel discussion will focus on creative collaborations between the Estate of Gordon Matta-Clark and Satellite Collective, Site:Lab, and other arts organizations in the US and UK. Panelists will explore how Gordon Matta-Clark’s vision and work in the 1970s can inform 21st Century multimedia performance, dance, and contemporary art. Following the panel, Satellite presents the New York premiere of Central Park, Earlier In Time, a dance work with projection incorporating the drawings of Gordon Matta-Clark. This work is in development for stage presentation.
In his short but prolific career, Gordon Matta-Clark centered collaboration at the core of his artistic practice. Ensconced in the downtown art scene of the 1970s, he not only incorporated film, dance, performance and food into his own work but also regularly participated in other artists’ projects such as performing in Joan Jonas’s film Song Delay, designing set ideas for Mabou Mines, or dancing with the Trisha Brown Dance Company.
Collaboration being central to Gordon Matta-Clark’s legacy, the Estate of Gordon Matta-Clark works with contemporary artists in the generation of new pieces in dialogue with his ideas. Satellite Collective is inspired by similar collaborative methods brought forward into a digital age. Although the art economy has radically changed since the 70s and 80s, the city remains a powerful source of raw material for commentary and transformation. How can engaging in a dialogue with an artist of the past inspire new work that addresses our present moment?
The evening will include a screening of a Gordon Matta-Clark short film with introduction by Co-Director of his Estate, Jessamyn Fiore and a feature performance of live ballet and projection. Using Gordon Matta-Clark’s drawings as source material, Satellite artist Kevin Draper has translated them into three-dimensional space bringing Matta-Clark’s images into a futuristic New York.
Panelists include: Jessamyn Fiore, Co-Director, Estate of Gordon Matta-Clark; Artists of SITE:LAB, and Kevin Draper and Lora Robertson, Satellite Collective.
Feature Performance : “Central Park, Earlier In Time”
The Southern Tier Singers’ Collective (STSC) will presents “Arches In Sound” at St. Patrick’s Church in Binghamton on Saturday, February 24 at 7:30 PM,
The Southern Tier Singers’ Collective is an organization of highly skilled singers presenting artistically polished performances of distinctive choral repertoire. Founded in the fall of 2018 by William Culverhouse, STSC is based in Binghamton and draws singers from as far as Ithaca, Oneonta, Elmira, and northeast Pennsylvania.
STSC was formed in order to offer a wide variety of vocal ensemble music in multiple configurations, ranging from an intimate one-singer-per-part madrigal ensemble, to a chamber choir of 32 accomplished singers. The groupings employ a variety of rehearsal models, but aim to accommodate the busy lives of the region’s most highly skilled singers by avoiding recurring weekly rehearsal commitments, opting instead for a project-based cluster-rehearsal approach.
The performance on Saturday, February 24 will be Ralph Vaughan Williams’s soaring Mass in G Minor for double choir, which will form the centerpiece of the concert, which also features the late Romantic English choral works of CV Stanford and Renaissance polyphony of Raphaella Aleotti in the marvelous acoustics of Saint Patrick’s Church.
St. Patrick’s Church is located at 9 Leroy Street, Binghamton. The concert is free but donations are accepted. More info can be found here.
One Vibe Media has announced the cherished Madaraka Festival, headlined by Sauti Sol in 2023, will make a return to America in 2024, with shows in 13 cities, including a stop at Irving Plaza on June 1.
The concert line up will include internationally acclaimed musicians such as Nyashinski, Eddy Kenzo, Naomi Achu, Dynamq, and Simon Javan Okelo and many surprise special guests.
The event’s headliner Nyashinski, is one of the most celebrated artists in East Africa and a co-founding member of the hip-hop trio Kleptomaniax before successfully launching his solo career during the 2010s. Eddy Kenzo, is a GRAMMY-nominated Ugandan singer and music executive whose touching albums like Sitya Loss and performances helped lead him to a 2023 GRAMMY Award Nomination for Global Music Performance. Naomi Achu is a Cameroonian singer, rapper, and songwriter. She is best known for “Alhadji, ” which was played in the eighth season of Big Brother Africa. Savara Delvin Mudigi, commonly known as Savara, is a Kenyan singer, drummer, and co-founder, vocalist, and producer of the Sauti Sol band.
The Madaraka Festival started in Washington State in 2014. Over the past decade it has become one of the state’s largest African music festivals. In 2023, the festival exceeded expectations by reaching over 25,000 people physically and 30 million virtually across six metropolitan cities in the US.
Come dressed to impress with your bright colorful African attire and the flag of the Country you represent. Expect upscale Afro-Pop, Reggae, Afrobeat, Afrohouse party vibes; good people; our award winning DJ DYNAMQ will be taking you on a musical journey across Africa.
Simon Javan Okelo, event producer
Representatives say the goal for this year’s show is to reach 150,000 people in person across the states and 50 million digitally.
In addition to a spectacular list of performances, One Vibe Media is dedicated to giving part of the proceeds from the Madaraka Festival 2024 to One Vibe Africa who through their work are supporting community-led change and impacting over 3.5 million people in the United States and Africa.
Tickets for Madaraka Festival 2024 are available at Ticketmaster.com now.
Madaraka Festival Tour Dates
Sat 5/25/2024 Dallas House of Blues
Sun 5/26/2024 Houston House of Blues
Thu 5/30/2024 Boston Big Night Live
Sat 6/1/2024 New York Irving Plaza
Sun 6/2/2024 Philadelphia The Fillmore
Mon 6/3/2024 Washington DC The Fillmore Silver Spring
Elliot Moss is a multi-instrumental singer and producer from NYC. His latest LP How I Fell is an emotional novel of his ups and downs as not only a musician but simply as a human. The 11-track LP boasts a variety of vibrant sounds coming together to form a meaningful, colorful, mix of musical talent.
The alt-pop album How I Fell begins with the floaty, intimate song “Altitude.” The track has ethereal vocals by Elliot, a punchy, powerful drumbeat, sprinkled saxophone pieces, layered guitars, and harmonies as well. The song reaches a powerful climax and then begins its soft descent before its ending.
“Lazy” and “Hearts Lose” keep a solid, chill, relaxed vibe in the musical journey that is this album. Autotuned vocals and low-vibration backing instrumentals keep the atmosphere melancholy but hopeful sounding.
“Magic” begins the same as the last two, down and relaxing. The tune later turns into a very alt-pop or pop-rock sound, showcasing Elliot Moss’s creative range. The remaining songs reflect this as well.
Elliot chose to add a variety of sounds to this album; the alternative heavy pop sound, the ethereal, floaty sound, the soft melodic down style, and other variety of sounds can be heard throughout.
How I Fell by Elliot Moss gives vibes of Sam Smith, with his vocal style, instrumentation, and the genre alone, as well as Tame Impala, The Score, and perhaps Green Day.
This album is a clear reflection of Elliot’s up and down moments as a musician and just as a person.
To learn more about Elliot Moss and to get your ears on How I Fell, click here.
Legendary guitarist Santana and GRAMMY-nominated band Counting Crows have announced they will be touring together this summer. The Oneness Tour will stop by Bethel Woods on July 18, Jones Beach on July 21, and Empower Federal Credit Union Amphitheater at Lakeview on July 24.
Santana and Counting Crows will deliver tons of high-energy, passionate, and classic hits from their catalogs. Carlos Santana will provide his legendary guitar playing, while the Counting Crows get everyone jiving and singing along.
These artists are visionaries, and a tour combining the minds of these talents will surely prove to be a spectacle. The musicianship of these artists allows for a plethora of hits to be unleashed this summer.
The tour will also offer different VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, commemorative tickets, exclusive merchandise items, and a collectible laminate.
Counting Crows Live
Tickets will be available starting with a Citi presale beginning on Wednesday, February 14. Additional presales will run throughout the week ahead of the general on-sale beginning on Friday, February 16 at 10 a.m. at Santana.com and CountingCrows.com.
Oneness TourNorth American Dates:
Fri Jun 14 – Hollywood, FL – Hard Rock Live
Sun Jun 16 – Tampa, FL – Amalie Arena
Tue Jun 18 – Duluth, GA – Gas South Arena
Thu Jun 20 – Bristow, VA – Jiffy Lube Live
Fri Jun 21 – Camden, NJ – Freedom Mortgage Pavilion
Sun Jun 23 – Noblesville, IN – Ruoff Music Center
Tue Jun 25 – Clarkston, MI – Pine Knob Music Theatre
Wed Jun 26 – Toronto, ON – Budweiser Stage
Fri Jun 28 – Cincinnati, OH – Riverbend Music Center
Sat Jun 29 – Tinley Park, IL – Credit Union 1 Amphitheatre
Thu Jul 18 – Bethel, NY – Bethel Woods Center for the Arts
Fri Jul 19 – Holmdel, NJ – PNC Bank Arts Center
Sun Jul 21 – Wantagh, NY – Northwell Health at Jones Beach Theater
Tue Jul 23 – Mansfield, MA – Xfinity Center
Wed Jul 24 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview
Fri Jul 26 – Milwaukee, WI – American Family Insurance Amphitheater – Summerfest Grounds
Sat Jul 27 – Maryland Heights, MO – Hollywood Casino Amphitheater – St. Louis, MO
Mon Jul 29 – Morrison, CO – Red Rocks Amphitheatre
Tue Jul 30 – Morrison, CO – Red Rocks Amphitheatre
Thu Aug 15 – Fort Worth, TX – Dickies Arena
Sat Aug 17 – Houston, TX – Toyota Center
Sun Aug 18 – Austin, TX – Moody Center
Wed Aug 21 – West Valley City, UT – Utah First Credit Union Amphitheatre
Sat Aug 24 – Auburn, WA – White River Amphitheatre
Sun Aug 25 – Ridgefield, WA – RV Inn Style Resorts Amphitheater
Tue Aug 27 – Mountain View, CA – Shoreline Amphitheatre
Wed Aug 28 – Inglewood, CA – Kia Forum
Fri Aug 30 – Chula Vista, CA – North Island Credit Union Amphitheatre
Iconic 80s-90s group CultJam will be hosting a dance party at City Winery Hudson Valley on February 23. CultJam has recently been working on new projects with a new singer, Mystina Sol – a Long Island native. The group is ecstatic to get back onto the scene with a new voice.
Multi-platinum group CultJam currently consists of founding members percussionist Mike Hughes, guitar & keyboardist Alex ‘Spanador’ Mosely, and their new lead vocalist, Mystina Sol. The group is best known for massive hits like, “I Wonder if I Take You Home,” “Head to Toe,” “Can You Feel the Beat,” and many others with previous lead vocalist Lisa Lisa.
They emerged in the late 80s and early 90s, launching freestyle music into the mainstream and around the world. With an infectious, unmistakable sound, CultJam inspired a generation of artists.
The group will perform their hits as well as their new music at City Winery Hudson Valley in Montgomery, NY. DJ Woody, a popular DJ of many NYC venues, will get the party started.
CultJam plans to go all out in their music for those who want to sweat on the dancefloor. The freestyle, pop, and dance tunes will certainly get you moving.
For information on CultJam’s projects and tickets for the upcoming City Winery show, click here.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists.
Tune into WEQX.com this Sunday night to hear new music from Liam Davis, A Cave In Bloom, and ShortWave RadioBand.
Liam Davis – “Comin’ For Gold”
Liam Davis just went solo for his brand new single “Comin’ For Gold,” featuring hints of blues, rock, and synth.
A Cave In Bloom- “Bent”
A Cave In Bloom is a three-piece band from Glens Falls, informed by post-punk, indie, new wave, and prog tones. A Cave In Bloom is Joseph Beaty (Vocals and Guitar), Paul Coleman (Bass and Vocals), and Andy Farry (drums). “Bent” off of their self-titled EP is out now.
ShortWave RadioBand – “Plastic”
ShortWave RadioBand started as a semi-acoustic duo in late 2019, Lonny Eaton and Andy Scullin performed cover songs for a little more than a year before meeting drummer John Woods. The three quickly learned some more covers to play out with and in 2021, started writing their own songs. They then added Abby Stone on Trumpet and Ryan Shaw on Guitar. “Plastic” is out now.
