Acclaimed U.K. band, Stereophonics, will embark on their first tour in three years in Spring, 2025. They will hit the Brooklyn Paramount on Mar. 25 and have announced a new studio album planned for next year.
Stereophonic’s North American tour will kick off Mar. 21 at Théâtre Beanfield in Montreal and will conclude Apr. 11 in Mexico City. The tour will reach major cities across the continent such as, New York, Chicago, Seattle, Los Angeles, and more.
The tour will see the band perform hits from their expansive catalogue including “Dakota,” “Have A Nice Day,” “Maybe Tomorrow,” “C’est La Vie,” “A Thousand Trees,” and more, along with songs from a new studio album coming in 2025.
In addition to the North American dates, Stereophonics will play some of the U.K. and Ireland’s biggest venues including Dublin’s St. Anne’s Park, Cork’s Virgin Media Park, London’s Finsbury Park, Huddersfield’s The John Smith’s Stadium, and Glasgow’s Bellahouston Park as part of Summer Sessions.
Frontman Kelly Jones notes, “Being on the road again with my best friends, playing all the hits of this band’s catalog, for people in 2025 makes me so excited, we should make a new album…oh wait…we already did that! See ya there for more good times….TUNE!!! TUNE!!! TUNE!!”
Stereophonics achievements include eight U.K. #1 albums, 12 U.K. Top 10 albums and 11 U.K. Top 10 singles, including the U.K. #1 single “Dakota.” The group have sold over 10 million albums, 1.5 billion global streams and five BRIT award nominations, with one BRIT award win. Their hits collection, Decade In The Sun, sold over 1.7 million copies in the U.K. alone and is certified Quintuple Platinum, while in 2022, on their last U.K. arena tour and Cardiff Stadium headline shows, they sold over 250,000 tickets.
Special guests for the tour will be announced soon. Tickets are available now. Learn more and purchase tickets here.
Stereophonics 2025 Tour Dates:
Mar. 21—Montreal, QC—Théâtre Beanfield Mar. 22—Toronto, ON—Massey Hall Mar. 23—Philadelphia, PA—Union Transfer Mar. 25—New York, NY—Brooklyn Paramount Mar. 26—Boston, MA—House of Blues Mar. 28—Washington, DC—Lincoln Theatre Mar. 29—Cleveland, OH—VENUE TBA Mar. 30—Chicago, IL—The Vic Theatre Apr. 2—Vancouver, BC—Vogue Theatre Apr. 3—Seattle, WA—Neptune Theatre Apr. 4—Portland, OR—McMenamins Crystal Ballroom Apr. 6—San Francisco, CA—The Regency Ballroom Apr. 8—Los Angeles, CA—The Wiltern Apr. 9—San Diego, CA—Humphrey’s Concerts By The Bay Apr. 11—Mexico City, MX—Teatro Metropólitan
In the 1980s, Iron Maiden led the charge in the New Wave of British Heavy Metal movement, guiding heavy metal music into a resurgence in popularity. A younger generation of hard rock fans embraced Iron Maiden and other NWOBHM bands that injected the intensity of punk rock into the more polished heavy metal sound of the 1970s.
As impactful as that new genre of music became in the 1980s, few bands survived beyond that era. Decades later, Iron Maiden still rules the heavy metal world. Forming in 1975 in London, England, Iron Maiden reached its widest mainstream appeal with a series of platinum albums and arena-headlining tours in the 1980s. Perhaps indicating another possible resurgence, the band’s 17th and most recent album, Senjutsu, recorded in 2019 and released in 2021, proved to be Iron Maiden’s highest-charting album in the United States.
Senjutsu (Japanese: 戦術, “Tactics”) was the band’s first album of new songs in six years. Despite fluctuating record sales, Iron Maiden’s tours have maintained high drawing power. Part of the success of the band’s tours in the 2000s was the return of vocalist Bruce Dickinson and guitarist Adrian Smith to the fold in 1999. Since their return, Iron Maiden stabilized as a sextet, with founder and bassist Steve Harris, guitarists Dave Murray and Janick Gers, and drummer Nicko McBrain, who is touring despite suffering a stroke in January 2023.
The latter part of Iron Maiden’s The Legacy of the Beast World Tour in 2022 introduced audiences to three songs from Senjutsu, but the overall setlist was largely a retrospective repertoire. The current The Future Past World Tour, which began in Europe in 2023 and will end this December in South America, includes five songs from Senjutsu, five songs from 1986’s Somewhere in Time, and five other songs, mostly from the 1980s. Fan favorites like “Run for the Hills” were omitted on this tour.
At Barclay Center, as at other tour stops, the house music blasted at 8:50 p.m. with UFO’s “Doctor Doctor,” followed by Vangelis’ instrumental “End Titles” from the 1982 science fiction film BladeRunner. Indeed, the graphics of the stage setting soon referenced the futuristic cyberpunk style associated with that film. The center back of the stage showed two animated videos of Iron Maiden’s mascot, Eddie the Head, the cyborg version on the left and the samurai on the right. Within seconds, a center panel revealed an artistic rendition of a barren, dystopian-looking city street in Japan in the dark of night.
The musicians began the synthesized bass and guitar introduction of “Caught Somewhere in Time,” the opening track from the 1986 album, Somewhere in Time. The front line of Harris, Smith, Murray and Gers immediately made use of the entire stage, pacing everywhere as they played their instruments. Wearing dark goggles and an open calf-length coat, Dickinson ran onto the stage, spun his microphone stand high above him, and added to the high energy. The now-standing audience sang loudly to the repetitive one-line chorus.
Dickinson was remarkable on stage. The 66-year-old’s soaring, operatic-style vocals were remarkably strong and brilliantly clear, especially considering that he has survived bouts of cancer on his tongue, neck and throat. He also moved amazingly well, continuously leaping across the stage, thanks to a recent hip replacement and five and a half inches of titanium hammered into his femur. Iron Maiden’s three-guitar structure extended nearly every song to showcase the talents in the band. Flighty solos, harmonious twin and triple guitar leads, and even a few brief duels superbly filled out the songs. Several times, Dickinson took advantage of these interludes to walk offstage and change his wardrobe.
In addition to all the futuristic visuals that accompanied Iron Maiden’s music, a 10-foot-tall Eddie made three appearances. The creature’s first cameo was during the second song, “Stranger in a Strange Land.” Appearing as a cyborg, parts of his internal musculature were exposed and his eyes glowed bright under his cowboy hat. Eddie returned to the stage during “Heaven Can Wait” and engaged with Dickinson in a gun battle, illuminated by pyrotechnics. Eddie’s final cameo was during the song “Iron Maiden,” in which he appeared as a samurai, threatening Gers with a giant katana sword.
Iron Maiden concluded the main set with the song “Iron Maiden,” which was recorded when Paul Di’Anno was the lead singer. Di’Anno died this past October 21 at age 66. The cause of death has not been disclosed, but he suffered health issues in recent years that restricted him to performing in a wheelchair. The band returned on stage for a three-song encore. The musicians and their fans maintained the same high level of energy for two hours. As the musicians took their final bows, a recording of the Monty Python song, “Always Look on the Bright Side of Life,” played through the arena’s speakers, finally reducing the temperature of the event.
Iron Maiden is far from finished. Although the band has no plans for recording new music between now and then, Iron Maiden this past September announced its next tour. The Run for Your Lives world tour will begin in May 2025 in Budapest, Hungary. The tour will celebrate Iron Maiden’s 50th anniversary with an elaborate stage show and a setlist comprised of selected songs exclusively from the band’s first nine albums, from 1980’s Iron Maiden to 1992’s Fear of the Dark. American dates have not yet been announced.
Iron Maiden – Barclays Center, Brooklyn – Saturday, November 2, 2024
Setlist: Caught Somewhere in Time, Stranger in a Strange Land, The Writing on the Wall, Days of Future Past, The Time Machine, The Prisoner, Death of the Celts, Can I Play with Madness, Heaven Can Wait, Alexander the Great, Fear of the Dark, Iron Maiden, Hell on Earth, The Trooper, Wasted Years
It has been just over a week since Phish played three shows in Albany, raising $4M from ticket and merchandise sales, as well as live stream fees, all to support the Divided Sky Residential Recovery Foundation and the recently opened facility in Ludlow, VT.
photo by Conor McMahon
The non-profit addiction recovery organization started by Trey Anastasio has set a $10M fundraising campaign goal to support the facility through capital improvements, future property acquisitions, increasing staff and ensure a scholarship fund that remains accessibly to anyone in need, regardless of their ability to pay.
“It’s hard to put into words how grateful we are to Phish and their fans for this generosity. But this isn’t about words–it’s about action. And because of these concerts, we will be able to help many more people take charge of their lives and to recover from addictions.”
Melanie Gulde, Program Director and co-founder of Divided Sky
Watch the video below for an overview of the Divided Sky Residential Recovery Program featuring testimonials from Anastasio, Gulde, guests, alumni, and staff.
This type of fundraising haul is not atypical for Phish. In 2023, Phish performed two benefit concerts at SPAC, raising over $3.5M for flood recovery efforts in Vermont and Upstate New York and welcoming special guest Derek Trucks. There are also two Phish charities – the band’s Waterwheel Foundation and the fan-based Mockingbird Foundation – have both raised millions of dollars for local causes and charities since their inceptions in the late 1990s (Ed. note: I am on the Board of Directors of Mockingbird Foundation, supporting music education across the country.)
The hometown show feeling provided a unique buzz in the air to the pre and post-show festivities, for although Phish was here in 2018, the mid-week shows were marked by cold and rain, and aren’t the most memorable shows the band has played on South Pearl Street.
https://www.youtube.com/watch?v=PofMFlw8MJI
The mellow anxiety of seeing so many people at the hometown venue fed into the buzz, a unique combination as a trio of shows were upon the crowd. Friday night’s show paid tribute to Phil Lesh, who passed away earlier that day, and the band brought out the jams early as well as throughout a huge second set.
Saturday night opened with “Possum,” just as the Saturday show in 2000 began, and a well rounded set highlighted by “Stash,” “Tube” and “Bathtub Gin” laid the groundwork for an action packed Set 2. From “Disease” onward, there was hardly a moment to breathe, let alone be distracted by Game 2 of the World Series, until late in the set during “Lonely Trip” where the unfortunate few who looked up at TVs near the bar had to suffer for the only letdown of the weekend. The “Dave’s Energy Guide” tease in Fuego (around the 9-minute mark) was just one highlight of this set, where deep improv driven by Page McConnell aided in keeping fans as dialed in as the band was.
By Sunday, where the banner hanging in the rafters would need to change from 16 to 19 shows, this friends and family affair started with shout-outs contained in the lyrics to “Heavy Things” and the newer “What’s Going Through Your Mind.” A bust-out of “Access Me” followed, along with spooky jams in “My Friend, My Friend” and an intense, never-ending jam in “Kill Devil Falls.”
https://www.youtube.com/watch?v=MguC2nYEK7U
For the five-song second set, “Everything’s Right” led the way for a 16-minute installment, followed by “Chalkdust Torture” going beyond the 23-minute mark, and “Mercury” – complete with a restructured intro – following suit. A breather from “Wading in the Velvet Sea” gave way to the original McConnell Vida Blue number, “Most Events Aren’t Planned” which has found a second life since appearing during Phish’s Baker’s Dozen.
https://www.youtube.com/watch?v=-9w1K0pIncw
To close the run, you might have expected “Divided Sky” but that would mean Phish doing something predictable. Instead, a four song encore, punctuated by the opening “Gotta Jibboo” (shout out to Albany’s Jibboo Crew!), with “Waste,” “Bug” and “Character Zero” closing the run of three incredible and charitable concerts.
Now, for those who attended the shows, you knew the cause was charitable given the month of rumors preceding the announcement of the shows, but there were times when the local media might have otherwise not known. The initial news of the concert announcement was shared of course, but when Albany County Sheriff Craig Apple sent out his press release noting a total of four arrests from the concert weekend, this is where the local media in Albany (like WTEN) could have made a small effort to tie the charitable aspect of the shows to the minor number of arrests (with around 50,000 tickets sold, that’s a ridiculously small percent of attendees – if they even were – at 0.008%) or go a step further and compare these few arrests to other local concerts held at MVP Arena.
Running pat-on-the-back news makes sense for Sinclair-owned WRGB, but the disservice begins with ignoring the purpose behind these shows, which supports those most affected by opiate addiction, by eschewing the steps taken by the other 99% of attendees to these shows that supports the treatment center in Ludlow, VT.
Beyond that, three concerts in a row at MVP Arena are an economic boon to the city, with sold out hotels across the region, full restaurants and bars on Pearl Street, and Downtown Albany seeing a busy weekend of tax revenue coming into the region, much from out of state. These tax dollars from music tourism are a real thing that continue revitalization efforts in the local economies of music destinations like Albany; whether the local media wants to investigate this angle remains to be seen.
WNYT’s Zach Richter gave ample coverage to the shows with a focus on the Divided Sky Foundation, one that presents the cause as tied to the band through Anastasio’s recovery journey since his 2006 arrest in Whitehall brought him to sobriety. But when the arrests are shared in a Monday segment, no connection between the two is made.
The Times Union did not run the story on the arrests, instead opting for a brief review and gallery of the shows, a true look at the shows with a focus after the fact on the charity side of the shows. Why is the TU the outlier here, when all the information on the shows is readily available to anyone seeking the answer? But therein lies the rub – you have to want to seek out more than what is spoonfed to you. Otherwise, you’ll eat anything they feed you.
With $4M raised from the shows, I would challenge these outlets to find out what other bands and artists out there do anything similar, and focus on the benefits of these shows – in and out of the arena – rather than the few bad apples.
You can support the Divided Sky Foundation by picking up merch from the shows, or visit the website directly here
Less than two months to go until Phish celebrates their 16th New Years Eve at Madison Square Garden. Get more info here.
New York City-based indie singer-songwriter and star of Hulu’s Claim to Fame Season 3 Gracie Lou has released her second single, “September.”
Born in California, Gracie Lou Hyland grew up in a home utterly immersed in music. Her parents are both talented singer-songwriters who were once a part of New York unit Girlfriend, which cultivated a love for all things musical in Gracie Lou from an early age.
She spent her younger years performing alongside her parents in their worship band and on the stage with her local church choir, alongside a notable nearly decade-long career in competitive figure skating.
In 2017, Gracie joined the ranks of the Young American College of Performing Arts and spent time touring globally, sharing her passion for music education with countless cultures across the map. The pandemic provided a turning point and quite a bit of newfound downtime, which led Gracie to the guitar. Picking up the instrument on her own and a songwriting venture to boot, Gracie Lou discovered an online resonance with her music that allowed her musical career to begin to bloom.
Relocating to New York City in 2022 to assist her grandmother Gretchen Cryer with the musical “House On Fire,” Gracie took the stage for the first time as a solo singer-songwriter at Rockwood Music Hall in October of 2023.
In addition to her solo ventures, Gracie Lou can be found performing with vintage jazz trio The Satin Dollz, touring as a front and backing vocalist with The Chiclettes, and providing her voice on tour with the Oldies Circuit which notably hosts member Bobby Wilson, son of the legendary Jackie Wilson. Lou is also the co-founder of the “Girl Dinner” all-female cabaret and variety show that celebrates women in the arts.
She recently made a notable appearance on hit Hulu show Claim to Fame hosted by Kevin and Frankie Jonas in which the competitors are challenged with guessing each other’s celebrity relatives, Gracie’s being her uncle- the well-known actor, comedian, and filmmaker Jon Cryer. It was on Claim to Fame where Gracie dazzled television audiences with a performance of an original song.
Soon following was the release of Gracie Lou’s debut single, “to have & to hold.” Self-written, sung, and produced, the track set an exciting precedent for her solo career and capabilities. After the success of her first song officially released to the public, Gracie has returned with her newest track, “September.”
With twinkling piano, the distant hum of crickets, and warm strings, Gracie paints a glowing image of the last bits of warmth held in the month of September. Her utilizations of indie lyricism, jazz homeliness, and folk twang meld perfectly with her hopeful wonderings about what awaits her at the end of the month and how she hopes to change, even if it isn’t a fully formed image quite yet.
“I wrote this during the first month I moved to New York, when nothing in my life felt solid and the future was uncertain. I was tentatively hopeful.”
– Gracie Lou
Following the release of “September,” Gracie will be appearing for a special guest performance on November 20 at fellow musician Blair Lamb’s show at Sanger Hall in Queens. For more information on the show and ticket purchasing, visit Blair’s post about the evening here.
“September” by Gracie Lou is out now. To learn more about the track, watch an archive of her performances, and keep up to date with her latest musical ventures, visit her official website here.
Ethnomusicologist, performer, and educator Joseph Alpar is set to perform music of the Ottoman Middle East at Arthur Zankel Music Center in Saratoga Springs on November 16.
Alpar explores the intertwined histories of Jews, Muslims, and Christians in the Ottoman Empire through music at Skidmore College’s Arthur Zankel Music Center. Admission is free and open to the public. The central theme of the concert, “Aşk: Music, Love, and Mysticism in the Ottoman World,” is love in all its forms.
It will feature poignant songs of unrequited desire, lyrical wedding ballads about marital loyalty, bawdy tunes delighting in infidelity, driving Sufi and Jewish mystical songs about divine and earthly beloveds, and musical vignettes of everyday courtship, relationships, and separation.
The concert will tell an inspiring story of shared musical traditions and intense cultural collaboration between the peoples of the Ottoman world in several languages — Turkish, Hebrew, Judeo-Spanish (Ladino), Greek, and Arabic. Alpar will sing and perform on several Turkish and Greek instruments, joined by a stellar ensemble.
The event is sponsored by Skidmore’s Jacob Perlow Series, Office of Special Programs, and departments of Music, Environmental Studies and Sciences, Religious Studies, Political Science, and History. Funding is provided by endowments established by Jacob Perlow, an immigrant to the U.S. in the 1920s who was committed to furthering Jewish education, and by a bequest from Beatrice Perlman Troupin.
For more information on Joseph Alpar’s upcoming Nov 16 concert at Skidmore College’s Arthur Zankel Music Center and to purchase tickets, click here.
Saratoga Performing Arts Center (SPAC) has announced that its popular “Sounds of the Season” holiday series will return from December 13-15 in Spa Little Theater.
The show features genre-defying trio Time for Three (DEC 13), Damien Sneed (DEC 14) leading “A Gospel Holiday” celebration, and GRAMMY-nominated vocal ensemble VOCES8 (DEC 15). Time For Three is back by popular demand following their “Sounds of the Season” appearance in 2023. Known for energetic performances that seamlessly merge classical, Americana, modern pop, and singer-songwriter styles, the trio will bring special arrangements of holiday favorites alongside original music.
Making his return to the Spa Little Theater stage on December 14 is multi-genre recording artist and instrumentalist Damien Sneed alongside his band. Sneed will present his new production of “A Gospel Holiday” featuring his original arrangements of gospel, jazz, and classical holiday favorites including Silent Night, The Christmas Song and Jesus, Oh What A Wonderful Child.
The “Sounds of the Season” series will culminate on December 15 with 2023 GRAMMY-nominated British vocal ensemble VOCES8 for its “Winter Tales” program. Following their SPAC debut in 2019, the a cappella group will perform a mix of holiday music spanning centuries from Es ist ein Ros’ entsprungen to Let it Snow. The announcement marks the continuation of SPAC’s year-round programming in the Spa Little Theater, which is inclusive of a fall, holiday and spring season and is part of SPAC’s mission to present year-round programming.
Time for Three
“Sounds of the Season” Program Schedule:
A Time For Three Holiday
Friday, December 13 | 7 PM
Defying conventions with genre-bending excellence, Time For Three’s captivating sound merges classical, Americana, modern pop, and singer-songwriter styles, and their charismatic performances push creative boundaries. In addition to incredible arrangements of Joni Mitchell, Leonard Cohen, Led Zeppelin and others, the trio featuring Charles Yang (violin, vocals), Nicolas “Nick” Kendall (violin, vocals), and Ranaan Meyer (double bass, vocals), will present original music and special arrangements of holiday favorites.
Damien Sneed: A Gospel Holiday
Saturday, December 14 | 7 PM
A multi-genre recording artist, Damien Sneed is a pianist, vocalist, organist, composer, conductor, arranger, producer, and arts educator. Sneed returns to SPAC with an all-new project, “A Gospel Holiday,” featuring his original arrangements of gospel, jazz, and classical holiday favorites like Silent Night, The Christmas Song and Jesus, Oh What A Wonderful Child.
VOCES8: Winter Tales
Sunday, December 15 | 7 PM
Touring globally, the group showcases their diverse musical expression and versatility through an extensive repertoire ranging from the Renaissance to contemporary. Their program “Winter Tales” features a mix of holiday music spanning centuries from Es ist ein Ros’ entsprungen to Let it Snow.
Damien Sneed
For more information on “Sounds of the Season” at SPAC and to purchase tickets click here.
There are cover bands and tribute bands, and then there are bands who take the tribute to another level. One of those bands is Dark Star Orchestra, who recreate classic Grateful Dead shows in their entirety, as they were once performed. Enter Reprise, a band that does for Phish what DSO does for the Dead – but with the added bonus of not only playing a classic Phish show from the town/area they’re playing in, they also make it a point to have the show be as accurate as possible to the original performance, in terms of song length, antics, commentary, and even interplay between band members and crew.
Photo by Chris Bobillo
On Saturday, November 2 at Lark Hall in Albany, Reprise – Cal Kehoe (Pink Talking Fish – guitar), Scott Chasolen (The Machine, Ulu – keys), Chris DeAngelis (Kung Fu, The Breakfast, RAQ, The Machine – bass) and Adrian Tramontano (Twiddle, Kung Fu, The Breakfast, RAQ, Marble Eyes, Mihali – drums) – brought to life one of Albany’s classic Phish shows, calling back to December 13, 1997, the Fall 1997 tour closer.
Photo by Chris Bobillo
For me, this was not only my first Reprise show, but they were recreating the first Phish show I ever saw live. While my memories from that show are limited to “Sample in a Jar,” “Good Times Bad Times,” the lights going out during “Hood” and the cacophony of ‘bringing the Dude’ during “Mike’s Song,” I have relistened to that show more times than I can count. The tour closer stands out in one of Phish’s greatest tours, and begged for regular relistening to see what I missed that night when I was still a noob.
The show is chock full of jams, some rarities and new songs (for 1997) and some silliness that you only find at a Phish show when the band is dialed in and wrapping up a tour. I know this show by ear, and without looking at the setlist, let the show play out as it originally did just under 27 years ago, seeing what surprises were in store, but more importantly, how well Reprise did their homework on the recreation of the improvisation within the show.
To that end, as students of this particular show, they nailed the assignment with flying colors. The “Ya Mar” was played to nearly the same length as the original 18+ minute jumping off point for the show, including the end of the jam that never really ended the song proper. A good chunk of the first set beyond that may appear on paper to be pedestrian, but the tempo of the “Theme From the Bottom” ending, the 11-minute “Vultures,” and the thrilling “Tube” that gave way to a set closing ball of energy in “Good Times Bad Times” gave an ebb and flow to the show that lines up with the original show, no complaints registered.
Photo by Chris Bobillo
The second set opening with “NICU” kept that free-flowing vibe going out of setbreak (were these the same length of time as well? A good question for manager Tom Marshall.) and into “Punch You in the Eye,” which never lets down but especially never in the second set. With dancing in “The Landlady” from Kehoe and DeAngelis, the full recreation is there, all the way down to the sudden intro of a ’97 “Ghost,” which is the jam of the night in both cases, overlooked for the “Mike’s” that follows, but still worthy of inspection.
Then again, that “Mike’s Song” is one of the odder things to catch at your first show, especially having no idea who this ‘Dude’ was they were suggesting to bring to the stage. The weirdness that Phish, and now Reprise, feed to fans amid an improv-vehicle is the launching point for the most furious part of this jam. By the time the weird returned in “Catapult,” wrapped up in a “Weekapaug Groove,” the set had flowed with the same ‘final show of the tour, all jams must go!’ intensity, wrapping up with a “Harry Hood” that saw the lights turned off, only a disco ball illuminating patrons and the stage.
photo by Pete Mason
The encore of “My Soul” paired with the sentimental “Squirming Coil” closed the night as Kehoe, DeAngelis and Tramontano walked off stage to cheers while Chasolen closed the song on piano, before departing the stage to cheers from a dedicated audience who hung on for every note of the show.
The only way this could have been more accurate (beyond the setbreak timing) is if an oddball opening act – ala J. Willis Pratt and Bionic, who opened for Phish this evening in 1997 – were to have performed ahead of Reprise.
Even though you can never go back and see your first show a second time, no matter how many times you relisten, Reprise offers the next best thing – four top notch musicians who do their homework, nail the songs and jams and master the interplay of Phish with self-assured panache.
Reprise plays Northampton, MA on December 19, 2024, recreating a classic show from the area. Tickets and more info here.
Setlist via Phish.net
Reprise – Lark Hall, Albany – Saturday, November 2, 2024 – recreating Saturday, December 13, 1997
Set 1: Ya Mar[1] > Axilla[2] > Theme From the Bottom, Ginseng Sullivan, Strange Design, Sample in a Jar, Vultures, Tube, Good Times Bad Times Set 2: NICU > Punch You in the Eye > Ghost > Mike’s Song[3] -> Llama, When the Circus Comes, Weekapaug Groove -> Catapult -> Weekapaug Groove, Harry Hood Encore: My Soul, The Squirming Coil [1] Unfinished. [2] Contained Axilla II ending. [3] Chants to “Bring in the Dude.”
Ya Mar was unfinished. Mikeâs Song included Foxy Lady quotes from Fish and some memorable vocal interplay from the band that included a chant to âBring in the Dude.â During Hood, Trey asked Chris Kuroda to turn off the lights for a Blackout Jam and the audience responded with a shower of green glowsticks. The opening act was J. Willis Pratt & We’re Bionic.
Wire Festival has announced the fourth installment of the world-class techno festival to take place at Knockdown Center from May 16-18, 2025.
In addition to its core programming, Wire also hosts community engagement events such as a series of Talks programmed in partnership with RA. Before the show, an industry meetup event will allow artists, organizers, booking agents, and label owners to connect with each other. Finally, the festival transforms the already-iconic venue with stunning, unique, and commissioned light installations. 2024’s collaboration with France’s Collectif Scale was the most ambitious work yet featured. Additional installations included pieces from NY’s Inner Light and Studio Gum Gum. The festival has grown steadily and organically, moving from strength to strength, creating a space for world-class techno and more amidst a thriving NY ecosystem.
The beloved, Ambient Stage will make a return in 2025. Introduced in 2023, the Ambient Stqage encourages artists to stretch into the unfamiliar. This year, Wire expanded from its initial two-night template to include a third-day program. Beginning right after the Saturday night rave, the Sunday program will run all the way from early morning through the evening.
Since 2022, Wire has platformed the most vital underground dance music, highlighting some of the genre’s most esteemed artists, freshest voices, and essential collectives. Previous standout acts include Jeff Mills, Surgeon (live), DJ Stingray 313, and showcases from Mala Junta, Bassiani, Herrensauna, and more. Wire Festival aims to highlight some of the city’s most adventurous artists while finding and sharing new talent.
Weekend passes are on sale now. Single day passes and lineup will be released in 2025. Learn more and purchase tickets here.
Brooklyn based rock unit The Giraffes have released their eighth album Cigarette, accompanied by an adventurously witty music video for the track “Million Year Old Song.”
Formed in 1996, The Giraffes have developed a unique sound self-described as “a hedonistic soundtrack”- it’s loud, dangerous, funny, complex, and unapologetically themselves. Mostly recognized for their trademark metal-tinged scuzz-rock, The Giraffes craft a unique blend of heavy rock, punk and post-punk, surf, and any array of other sounds that strike their fancy.
Comprised of lead singer Aaron Lazar, guitarist Damien Paris, drummer Andrew Totolos, and bassist Hannah Moorhead, the unit has made a name for themselves as one of the most unbridled acts to grace Brooklyn’s stages and beyond with their fierce musicality, fun-loving attitude, and dedicated fanbase.
In addition to their local draw, The Giraffes have toured alongside acts like Eagles of Death Metal, Local-H, The Vacation, and Skeleton Key. They’ve also performed alongside and in support of names including but not limited to Interpol, Fishbone, Yeah Yeah Yeah’s, and The Strokes– not to mention having scored various festival slots across the globe on the stages of SXSW, Bonnaroo, Amsterjam, and more.
Debuting with ‘Fransquilt’, The Giraffes have created quite the history for themselves. Now five years, seven albums, and countless achievements later, the band is back with their latest release, Cigarette.
Described as a “hypnotic hard-edged psychedelic rock score for our current age of decay and disappointment, fear and fury, idiocy and hope,” Cigarette delivers the same sharp grit and dexterity fans know and love while simultaneously taking new risks with excitingly adventurous composition and subject matter.
Recorded and engineered by Andrew Totolos, mixed by Grammy nominated producer Francisco Botero at the iconic Studio G Brooklyn and James Dellatacoma at Orange Music Sound Studio, Cigarette is a triumphant return for the band- especially as bassist Moorhead has joined the lineup in songwriting and backing vocals, allowing the group to settle the line-up and hone in on songwriting even further.
The final single released for Cigarette comes in the form of “Million Year Old Song,” which tackles both the nostalgia held by older generations for the relentless liveliness of being in your 20s and the dire state of today’s world in a fascinating blend of rebellious rock and roll nihilism- hence the phrase “a million year old song in twenty year old lungs.”
“I wanted to not be a total old man stuck looking back at my youth so I imagined someone my kid’s age hitting 20 and what the world will look like for them for the second verse. This protagonist has the power of youth but in a much more dire world. I believe that the animating spirit of “rock n roll” or whatever is that self-destructive imperative for fun at all costs. Interesting to think of what that will look like later on down the line. The song remains the same – just the world changes.”
– Aaron Lazar
Alongside “Million Year Old Song” came the release of its official music video, which pushes the song’s core concepts to the extreme in an over-the-top absurdist critique and deception of modern America. Between American flag get-ups, thrashes in pools (also red, white, and blue) filled with dollar bills and skeletons, and what can only be described as a cinema-worthy blood bath involving subs and giraffe masks, the music video created and directed by Damien Paris is an absolute must-watch.
The full seven-track album Cigarette by The Giraffes is out now, and the track list is below. To find out more about The Giraffes and keep up with their latest endeavors, check out their official website here.
TRACK LIST
1. Baby Pictures 2. Pipes 3. Limping Horse 4. Dead Bird 5. Million Year Old Song 6. The Shot 7. Lazarus
Sam Kogon has released his latest single “America”. The track arrives as a timely commentary on the current political landscape, just as the 2024 election season begins to heat up.
“America” was born during the tumultuous period of COVID-19 lockdowns and widespread protests, capturing the zeitgeist of a nation grappling with its identity and future. The song’s lyrics touch on various hot-button issues, from voting rights and social justice to healthcare and reparations, all wrapped in Kogon’s signature blend of catchy melodies and thought-provoking wordplay. This single is a precursor to whatâs next for Kogon, who recently completed recording a full album’s worth of material with Agnello this past spring.
This new body of work promises to build on the success of his previous releases, including his self-titled EP from 2022, which garnered critical acclaim and expanded his fanbase. Kogon has collaborated with notable artists throughout his career, including Al Jardine of The Beach Boys and Grammy Award nominee Patty Smyth. He also fronted the revived baroque pop group The Left Banke, known for their classic hit “Walk Away Renee.” These experiences have enriched Kogon’s musical palette, allowing him to blend influences from various genres into his own unique sound.
The track was co-produced by Jeff Berrall of the band Caveman and Zach Brewer, with Sam Kogon himself also taking on production duties. It features Kogon’s own vocals, guitar, and organ, alongside Graeme Gengras on piano and the rhythm section of Caveman providing bass and drums. The song was mixed by industry veteran John Agnello, whose credits include Dinosaur Jr. and Kurt Vile, adding a polished sheen to Kogon’s raw, emotive style.
With its timely release and politically charged lyrics, “America” is poised to resonate with listeners as they navigate the complex landscape of the upcoming election year. The chorus encapsulates the frustration and hope that many Americans are feeling: “You bought it, you broke it / How come nothing gets done right around here? / You built it, now fix it / We can’t wait another 4 more years.”
For more information on Sam Kogon’s music and to listen to his latest single, click here.
