New York City-based Irish Arts Center has announced their Spring 2025 season featuring bold and inventive new programming.
The Irish Arts Center is renowned for its dynamic, inspiring, and collaborative experiences that showcase the evolving arts and culture of Ireland and Irish America in its environment of warm Irish hospitality.
Founded in 1972 in Hell’s Kitchen, this year’s Spring 2025 season will be hosted in the Irish Arts Center’s recently opened state of the art facility as the organization platforms the newest works and artists of the future.
Highlights for the season begin on February 12-16 with John Scott Dance and Mel Mercier’s Begin Anywhere. A response to the inspirations and methodologies of the iconic choreographer Merce Cunningham and composer John Cage, Scott and Mercier will debut a new piece inspired by their shared histories with Cunningham and Cage’s works.
This world premiere will feature a preceding performance of Four Solos by Merce Cunningham presented in a continuous dance event with music by John King.
February 28-28 will host the GRAMMY-winning pianist, composer, and bandleader Arturo O’Farrill alongside the talents of the Afro Latin Jazz Orchestra in an exploration of the intersection between Irish folk and Afro Latin music.
Brothers Brían and Diarmuid Mac have expanded the lineup of Ye Vagabonds to feature Alain McFadden (concertina) and Caimin Gilmore (harmonium) for their first North American performance since the band’s sold-out debut at the Irish Arts Center on March 11 and 12.
April 30-June 1 will feature the five-week North American premiere of Colin Murphy’s The United States vs Ulysses directed by Conall Morisson.
A funhouse vision of 1930s radio performers re-enacting the courtroom battle for the future of James Joyce’s Ulysses against U.S. censorship, this production captures the very same world-changing potential IAC has sought to emphasize throughout its entire existence as an organization.
Arriving to the States with its original cast, The United States V. Ulysses celebrates the power of an idea on a page as it examines the forces that benefit from holding culture in stasis instead of allowing evolution of thought in the public eye.
In celebration of the famed Irish producer, composer, and performer Bill Whelan’s 75th birthday, the IAC will hit a two-day musical jubilee featuring fellow artists and special guests on June 26 and 27.
Throughout the season, Dublin-based artist Paul Hughes’ paintings will be displayed in the I am here & I am unwaiting exhibition from February 1-June 21, filling the walls of the IAC with vibrant abstract landscapes. An artist talk will also be hosted on March 6.
For further information on the IAC and their full calendar of events for the upcoming Spring 2025 season, be sure to visit their official website here.
The night was every hard rock fan’s dream. They got a great mix of metal, hard rock and pop-metal while witnessing great live stage performances. Daughtry made a triumphant return to the area after touring Breaking Benjamin and Staind in September and October.
As fans pilled in from the harsh winter cold, the Memphis, Tennessee-native band Devour the Day hopped on stage. Led by Blake Allison on lead vocals, the band blasted into their first tune of the night, “Respect,” off of their Time & Pressure record. The band’s hungriness was apparent from the start. Devour the Day made sure the crowd felt their impact for the seven songs they played. The quartet was the loudest group of the night. They infused post-grunge, nu metal and hard rock influences all into one band that put together a great performance.
Joining Allison who is also the drummer for Pop Evil, is Joey “Chicago” Walser on bass guitar, Justin Kier on drums and Stephen Freeman on guitar. The foursome did an excellent job at getting the – at the time small – crowd ready for the next two acts.
In between Devour the Day and Sleep Theory, there was a brief intermission. But, it wasn’t too long until the houselights dimmed for Sleep Theory. It was fitting that Mariah Carey’s “All I Want For Christmas” was blasted through the speakers sparking holiday cheer. Sleep Theory, also from Memphis, Tennessee, jumped right into the first song of the evening “Fallout,” off of 2023’s Paper Hearts – EP. Sleep Theory’s style of music was very similar to Devour the Day’s. So, the hard rock and metal theme blossomed during their set.
Lead singer Cullen Moore’s vocals were amazing. Throughout the band’s set, he would walk back and forth on stage and interact with the audience while he belted out the lyrics. There have been few singers who could yell in key. Rob Halford from Judas Priest and Bruce Dickinson are some of the masters. But, Moore was able to be in perfect key while screaming which brought goosebumps to some of the fans.
Unfortunately, Sleep Theory was extremely backlit and at times it was hard to see them on stage. This forced fans to listen rather than gain the whole experience of the show. Nonetheless, just by listening, you could tell that the band was extremely tight and together as one on stage. Because they were excellent musicians, fans were a lot more receptive to them and cheered loudly after every song. Sometimes middle bands don’t receive such generosity so it was great that they did.
In addition to Moore, Sleep Theory consists of Daniel Pruitt on guitar, Paolo Vergara on bass, and Ben Pruitt on drums. The quartet put the fans in the right mood for Daughtry and was an excellent middle band.
By this point, the crowd was in a frenzy for Daughtry and very quickly the band jumped on stage and went straight into “The Reckoning.” For the band’s entire performance, the entire theatre was on their feet and did not sit down for one single minute. There was a buzz in the building for their headline set since the next time the group would be in the area would be on the Creed summer tour in 2025.
Rounding out Daughtry was Chris Daughtry on lead vocals and guitar, Brian Craddock on guitar, Elvio Fernandes on keys, Marty O’Brien on bass and Jeremy Schaffer on drums
Like Moore in Sleep Theory, Daughtry’s vocals were amazing and were the best out of the three. For the time that the band was on stage, you could feel his power and strength. Even though he was as serious as can be while singing, in between songs he charmed the crowd. At one point before “Home” he told the audience to “light up anything that lights up… phones… lightsabers are also welcomed.”
The band kept their stage simple so the audience could focus more on the music. Only a few screens were lit up behind the group with lights draped on the drum riser. It was nice that the band kept their stage simple and did not overwhelm the crowd. Twice during their set, they paid homage to the mighty Led Zeppelin and Journey. During their rendition of “Crashed” there was a snippet of “Kashmir” before they fully jumped into a cover of “Separate Ways (Worlds Apart).”
The crowd let out a thunderous cheer to some of their favorites. “Home” and “It’s Not Over” received the loudest approval with fans taking out their phones to record the song or their favorite moment. It was great that they even played a handful of tunes from their newest record, Dearly Beloved. Their new material was even received positively by the crowd as if it were already setlist staples
When the band walked off stage before the encore, you could hear a low roar for them to come back on stage. It originated at the back of the theatre in the rafters before thrusting its way towards the front. Fans got what they wished for. Daughtry played “The Dam,” “Heavy Is the Crown and “Artificial” as the three encore songs before calling it a night.
When the audience left the building, the buzz was still thriving throughout the crowd. They witnessed a special holiday performance. There aren’t many groups that can put together a short and small holiday tour and knock it out of the park. But, for Daughtry, they delivered one of the best holiday shows in recent memory.
Devour the Day setlist: Respect, Nobody Owns Me, Good Man, Worse Than Death, Outsider, The Bottom, Empty
Sleep Theory setlist: Fallout, Enough, Paralyzed, Static, Hourglass, Gone or Staying, Stuck in My Head, Numb, It’s Over, Another Way
Daughtry setlist: The Reckoning, Changes Are Coming, World on Fire, Crashed, Separate Ways (Worlds Apart), Home, Waiting for Superman, Shock to the System, It’s Not Over, Nervous, Pieces, Over You, The Dam, Heavy Is the Crown, Artificial
Singer-songwriter Cosby Gibson has returned for her seventh album, the poetic and wonderfully whimsical The Hollow Crown.
Hailing from near the Adirondacks, Cosby Gibson is a singer-songwriter who specializes in unique and original folk-style songs on guitar and dulcimer. With multiple Capital District Music awards among many other trophies on her shelf, she spins whimsical tales on life in all of its aspects- the beautiful and the less than so.
Returning for her seventh album, Gibson has released The Hollow Crown– an album capturing the chase for something empty that she aptly dubs a “hollow crown”- something ultimately fruitless or unimportant.
At its core, however, the album tackles what is worth one’s time- remembering. Remembering the good, to remind oneself of the foundation you stand upon, and the bad to untangle the brambles of negative emotion.
Entwined with a sense of the magical between Gibson’s gentle vocals, deft acoustic guitar, and vivid lyricism, tracks like “In This Kind of Rain” and “Asking The Lilies” craft a sense of imagined adventure through the woods, pondering the complications of meanings of life while observing babbling brooks or blooming flowers.
Imagery is also rich in “Spinning in Spirals,” a song full of roses and sparkles and a sense of excited wanderlust, which is contrasted in the vulnerable and insightful “What’s Happening Is You” that decides that lyrical honesty is best for the frank conversation being had.
Wonderfully poetic and positively teeming with flora and fauna, The Hollow Crown is a beautifully crafted collection of tracks that balance emotional honesty with the whimsical. The full album is available now both in digital and physical format through Gibson’s Bandcamp page here.
To learn more about Cosby Gibson, listen to more of her work and The Hollow Crown, and keep up with all of her latest endeavors, be sure to explore her official website here.
New York City-based outfit Ecce Shnak has released their latest single off of their forthcoming EP titled Prayer on Love, meditating on the complexity of the word and all of its implications.
Subverting all concepts of genre and style while playfully embracing the full spectrum of sonic opportunities, Ecce Shnak is truly a one of a kind band. Based in New York City, their art-rock endeavors span pop, classical, punk, and beyond as they tackle the wide variety of ideas that capture their interests most.
Debuting in 2019 with Joke Oso with their second album Metamorphejawns soon to follow, Ecce Shnak has returned with the second pre-release single off of their latest project Shadows Grow Fangs.
Self-described as their most “whole-grain rock song to date,” “Prayer on Love” considers the concept of love in contrast to the conclusions drawn by today’s society.
Richly textured with guitars, snare drums, and distinct vocals, the track explores their ruminations on the topic above the group’s signature sound that subverts notions of style and is simply overflowing with dedicated creative care and complexity.
“It’s a meditation on the nature of love and its diverse manifestations. It honors the complexity of love without declaring that it ‘is all we need.”
– David Roush, frontman of Ecce Shnak
Defining love as not a singular necessity but a beautiful, intangible entity that coexists with the countless other aspects of life and in turn only making the others more precious, “Prayer on Love” is an entrancing contemplation whose deft lyricism lends itself to a rather poetic track at large.
Ecce Shnak has also published an official music video for “Prayer on Love” alongside the track’s release, featuring the members exploring their ruminations among a field of flowers and various eye-catching psychedelic visuals.
“Prayer on Love” is one of five tracks slated for release on the band’s upcoming EP Shadows Grow Fangs, which will reach the public on February 7.
For more information on their current endeavors, the upcoming Shadows Grow Fangs, and all things Ecce Shnak, be sure to check out their official social media pages here and here.
Music superstar Nelly will hit the road in 2025 with his “Where The Party At Tour.” The tour will celebrate the 25 anniversary of Nelly’s debut studio album, Country Grammar and includes dates at the Darien Lake Amphitheater in Buffalo on Aug. 1, and Northwell at Jones Beach Theater in Wantagh on Jul. 27.
Known for iconic 2000’s hits such as “Hot in Herre” and “Dilemma,” Nelly will perform his catalog across New Zealand, Australia, Canada, Europe, and the United States in 54 shows in the “Where The Party At Tour.” The tour will marks Nelly’s return to headlining following his success as a special guest for Janet Jackson’s Together Again Tour.
An incredible lineup of special guests will accompany Nelly across the various legs of the tour. Fans can look forward to electric performances from collaborators and friends such as Ja Rule, Eve, St. Lunatics, Fabolous, Jermaine Dupri, Chingy and Additional surprise guests.
The show will take fans on a journey through Nelly’s career, including chart-topping hits like “Hot in Herre,” “Dilemma,” and “Ride wit Me.” Known for his larger-than-life personality and ability to bridge genres from hip-hop to country. Nelly promises a show packed with surprises.
Albany indie-rock band Canella has released their latest single titled “Groomer,” a powerful track of resiliency and reclamation.
Based in and frequently performing throughout Albany, Canella is rooted in a shared love of creation. Written acoustically by lead singer and songwriter Juliana Castrillón, members Joe Taurone, Gabe Klingler-Horn, and Dan Carr expand each and every track to whatever extent they feel- whether that results in a song meant to make you laugh, or a track that’ll bring you to tears.
Having released their debut albumCan’t Make You Smile in 2023, Canella has returned with the second pre-release single off of their upcoming EP The Snake, the deeply personal and intense “Groomer.”
Penned after a turning point in Castrillón’s life, “Groomer” encapsulates the intense and complex emotions felt after she reconnected with a former music teacher from her adolescence, consequently uncovering an uncomfortable truth about her past.
With her perspective altered, Juliana was caught in a limbo of deep depression and months of silence. Unable to put the storm of emotion to paper, Castrillón would not be able to write again until 2024, driven by a mix of fear, anger, and shame.
Now, after years of processing and healing and in the wake of the 2024 election, Juliana is not only ready to share her story but is determined to do so in a show of reclamation, solidarity, and support.
“I didn’t realize how much I had blamed myself for being a victim of abuse,” says Juliana. “Now, taking back my story and sharing it is a crucial part of healing—taking my power back and feeling finally free and not alone.”
– Juliana Castrillón
“Groomer” is heavy, gritty, and full of sharp emotion. It’s always awe-inspiring to hear tracks full of pure emotion, but this track takes it to another level. The rage, disgust, betrayal, and defiance can all be felt palpably, an all-consuming experience with cutting vocals and aggressive instrumentals where words fail- perhaps the kind of all-encompassing emotion that can only be communicated through sound.
The track concludes with a powerful moment of pure guitar, drums, and bass- the kind of music felt down to the bones. “Groomer,” is a rallying cry just as much as it is a moment of emotional release. Intense, emotive, and guttural, Canella’s latest release is a striking example of shaping one’s darkest moments into something relentless.
Canella will be gracing the stage of No Fun in Troy on December 20 to celebrate the release along with support by Tula Vera and Rat Motel. Tickets are priced at $10 and are available here.
For more information on Canella, their upcoming EP, and all other future endeavors, be sure to check out their official website here.
Hudson Valley singer-songwriter Ginger Winn has released her newest single in honor of musical icon John Lennon, “Dear John.”
Based in the Hudson Valley, Ginger Winn is a singer-songwriter and guitarist who was launched into the spotlight after a captivating performance at Woodstock Way Hotel.
Since this fateful performance, Winn’s folk-tinged guitar and melancholy-tinted vocals have captivated folks across the Hudson Valley and beyond- eventually resulting in a gig touring the west coast alongside Gipsy Kings.
Released earlier this year, Winn debuted with Stop-Motion, a ten track album that quickly set the tone for Ginger’s career as a promising one.
Returning with her latest work, Winn has released “Dear John,” a heartfelt single dedicated to John Lennon that was published on the anniversary of his untimely passing; a crestfallen letter to a hero she’ll never have the opportunity to meet.
“John Lennon has inspired me from an early age. I remember being about 12 and buying a magazine that told his life story. It taught me a lot about being an artist, following the path you feel is right, and making sure that path leads you to a destination that is best for you, which I’ve used as a guiding light in my journey. He’s a true creative who did whatever he wanted to do, no matter the consequences.”
– Ginger Winn
Co-written with Matthew Baione, co-founder of Keep Good Company Records, “Dear John” has its roots in Paul Goresh’s images capturing Lennon’s interaction with Mark David Chapman, Chapman’s manifesto, the moment in the Imagine documentary where John invites the stalkers on his property in for tea, and the famous image of Pope John Paul II forgiving his would-be assassin.
“The song is as beautiful as it is tragic and John has always been an inspiration; we share a birthday and I’ve always admired his audacity, creativity, search for interconnectivity in society, and his attempts at leading with love, especially near his life’s end. He was a dreamer.”
– Matthew Baione
Following this release, Winn will be performing “Dear John” and other works of hers live at two upcoming shows in New York City. She’ll be gracing the stage of the Bowery Electric on December 29, and Arlene’s Grocery on January 29.
For more information on these shows, Winn’s previous works, and to keep up with all of her future endeavors, be sure to visit her official website here.
New York City-based singer-songwriter Olivia Reid has released her latest work in the form of the beautifully nostalgic “Quite Simple”.
A singer-songwriter who’s been putting her proverbial musical pen to paper since just six years old, Olivia Reid’s indie folk anthems contain an undeniable yet intangible touch of vibrant humanity.
Capturing the human experience in all of its forms, Reid and her guitar formally debuted in her 2021 EP Earth Water. Since then, Olivia’s work has caught the attention of many through its appearances on television shows in the likes of Love Island Australia and several official streaming service playlists.
Returning for her latest release, Reid has decided to channel hopeful optimism into the single “Quite Simple” in the face of personal and global strife. Inspired by her strong relationship with and gratitude for her grandparents who have recently passed, Olivia reflects upon the wisdom granted by her elders and the inherent wisdom and fondness for life that comes with age and a retrospective understanding of life.
Through a nostalgically woven sonic soundscape and storytelling-style lyrics, Reid walks listeners through an enlightening conversation with an older man that reframes her entire understanding of the world, especially in the face of the busy mindset so many share today- life is, in fact, “Quite Simple.”
“In old age, it seems there’s so much to look back on fondly and so many experiences that you don’t even know are ahead of you. I wanted to write a song that gives people my age some optimism. We’ve got time.”
– Olivia Reid
Curating a beautifully nostalgic ambiance with its guitar plucking, vocal layering, and warm outro, “Quite Simple” captures the beauty found in taking life in the slow lane while also giving a nod to the kind of perspective on life that comes with age and wisdom.
To learn more about “Quite Simple,” her future endeavors, and all things Olivia Reid, be sure to check out her official website here.
A tour-de-force combination of acclaimed jam band artists, the Skeleton Krewe Trio composed of Rob Barraco, Barry Sless, and Stephen Inglis have announced their debut tour along the east coast, including dates in Williamsburg and Woodstock.
Born from what was intended to be a one-off performance partnership, the Skeleton Krewe Trio is possibly one of the most exciting collaborations of today’s jam band scene.
Comprised of Rob Barraco of Dark Star Orchestra, Phil Lesh & Friends, and The Dead, Barry Sless of Bob Weir and Wolf Bros, David Nelson Band, and Phil Lesh and Friends, and the GRAMMY-nominated Hawaiian slack key guitarist Stephen Inglis, the Skeleton Krewe is a set of individually talented artists whose skills, distinct backgrounds, and natural musical connection culminate in a sound definitively their own.
In an exciting development, the Skeleton Krewe Trio has announced their debut tour across the east coast, including nights at the Brooklyn Bowl on February 22 and the Bearsville Theater on February 28.
In addition to their own talents, the unit will expand to a quintet for two nights with the addition of Barraco’s DSO bandmate Skip Vangelas on bass and his son Tom Barraco on drums- one of which includes the Brooklyn Bowl.
“This collaboration represents a unique moment in time where three distinct musical paths converge. We’re creating something entirely new while honoring the traditions we each bring to the table.”
– Rob Barraco
The Skeleton Krewe Trio’s debut tour promises a variety of sounds spanning original compositions, interpretations of works by the Grateful Dead, and dynamic improvisations that span genres from traditional Hawaiian to psychedelic Americana.
Tickets for the Trio’s tour are on sale now. For more information on the tour and the Skeleton Krewe Trio as well as ticketing information, visit their official page here.
The full list of tour dates are available below.
TOUR DATES
Feb. 20 • The Hamilton • Washington, DC
Feb. 21 • 118 North • Wayne, PA
Feb. 22 • Brooklyn Bowl • Williamsburg, NY
Feb. 23 • Newton Theatre • Newton, NJ
Feb. 24 • Rams Head On Stage • Annapolis, MD
Feb. 26 • Space Ballroom • Hamden, CT
Feb. 27 • Portland House of Music & Events • Portland, ME
Feb. 28 • Bearsville Theater • Woodstock, NY
Mar. 1 • Narrows Center for the Arts • Fall River, MA
Buffalo based singer-songwriter Ian McCuen has returned with their latest release, the utterly emphatic and scathingly topical As the Oceans Rise and the Empire Falls.
Buffalo-based Ian McCuen has been wowing listeners since 2017 with the release of their debut album Songs of Fleeting Permanence, Vol. I, the next two installations following in 2019.
A master of the soundscape, McCuen is no stranger to telling tales with their musical skill- which is a strength that lends itself perfectly to their latest release, the 22-track album As the Oceans Rise and the Empires Fall.
Utterly cinematic, As the Oceans Rise and the Empires Fall pulls listeners through each and every notion of emotion with an admirable span of instrumentation, tracks full of lyricism and others left purely instrumental- all-encompassing in an admirable and awe-inspiring critique on the state of the United States and its politics today.
“A Fairy Tale for the Obedient” makes deft use of the Omnichord, drawing upon sounds of whimsy and childhood nostalgia alongside haunting horns which carry directly into the simmering brush percussions and foreboding baselines of the instrumental “Indoctrinated, Propagandized.”
The omnichord returns in “I Don’t Know What Will Kill Us First,” this time taking on an undertone of grimness as McCuen ponders which environmental disaster will be the one to finally do us all in over the sounds of acoustic guitar and later horns, which have evolved into a sound almost funerary in sentiment.
“The Intermission” and “The Underture,” unsurprisingly enough mark the midpoint of the album, at which point McCuen takes the time to remind you that as much as their lyrical pieces stun, soundscapes are well within their wheelhouse too.
“Fear & Loathing (in the Home of the Brave),” while certainly not subtle in its messaging, makes a staunch statement regardless. McCuen pulls no punches in critiquing the hypocrisy found in defending the status quo blindly and existing in fear of anything new without interrogating the reason as to why either of those reactions were elicited- as they conclude, “in the home of the brave, it’s all we’ve got.”
They lean fully into the ominous for “A Ghost Story for the Sheltered,” telling a horrifying story of some untold monster that’s sweeping through your town, hunting you down- a haunting parallel to the paranoia kicked up and experienced by the “Sheltered” of America and a striking narrative on fear-mongering and its consequences.
“Death Is a Business and Sales Are Up” is not only incredibly topical but stunningly produced- headphones are highly recommended for this track, as the panning utilized creates an all-encompassing listening experience that’s practically impossible to pause.
The final lyrical track “A Swan Song for Quittin’ Time” feels like a conclusion in every sense of the word. Featuring a line that became the album’s title, this track feels simultaneously hopeful and hopeless, as McCuen struggles to come to terms with the state of the world- even for those with so much fight in them, there comes a point where the draw of nihilistic acceptance is unavoidable.
The song concludes in an anthemic culmination of all of the album’s instrumentation as McCuen accepts the state of the world as one full of strife and struggle, yet finding a determination to go on in the hope for a better future, they sing “just in case, stick around for the encore.”
There’s a certain cognitive dissonance to Ian’s work- if you let yourself be distracted by their calming vocals or gentle instrumentation, you may just miss their scathing critiques on today’s society. Haunting, scathing, and effortlessly engaging, As the Oceans Rise and the Empire Falls captures the full range of emotions felt within and in critique of the United States today.
To learn about Ian McCuen’s past work, more about As the Oceans Rise and the Empire Falls, and all of their future endeavors, be sure to keep up with them on their official Instagram page here.
