Category: Genres

New York’s Musical History in “A Complete Unknown” Trailer

On July 24th, Searchlight Pictures released the first trailer for A Complete Unknown. The Bob Dylan biopic follows the legendary singer-songwriter through his early career up to his electric Newport Folk Festival set.

Throughout this period of the early 1960s, Bob Dylan made a name for himself in Greenwich Village’s folk scene, growing to become one of the most consequential musicians in history. Throughout A Complete Unknown’s trailer, many famous New York venues and figures can be seen, shining a spotlight on New York’s rich musical history.

Timothee Chalamet as Bob Dylan in A Complete Unknown

Hotel Chelsea (0:14)

One of the first sites seen in the trailer is the historic Hotel Chelsea. Opened in 1884, the hotel’s 11-story gothic structure looms large over Manhattan’s Chelsea neighborhood. From its beginnings, the hotel’s identity was deeply intertwined with New York’s art scene. Architect Philip Hubert envisioned a housing cooperative that would house a diverse artists’ community. At its opening, the building attracted many well-off professionals, making it “the most profitable and popular of [Hubert’s] enterprises” per the New York Times.

Despite its early success, economic pressures like the crash of 1893 made this model unsustainable. As a result, the Hotel Chelsea was transformed into hotel apartments. In the following decades, the hotel went through a revolving cycle of bankruptcy, buyouts, and renovations. The one constant was its appeal to New York’s artists. Partially due to low rents and close atmosphere, artists of all kinds made the Hotel Chelsea their home during the 40s and 50s. Painters like Jackson Pollock, and writers including Dylan Thomas all inhabited the hotel during this period.

The Hotel Chelsea’s sign, Photo by Chadd Scott

This artistic draw continued into the 1960s, with the hotel becoming home to countless legendary musicians. Of course, Bob Dylan made the hotel home upon his arrival in New York City. Throughout the early 60s, Dylan penned many of his classic songs in the confines of his Chelsea apartment, where he lived alongside his then-girlfriend Sara Lownds. Many tracks off his 1966 magnum opus Blonde on Blonde originate from the Hotel Chelsea. During the blackout of 1965, Dylan penned “Visions of Johanna,” which referenced the atmosphere of the hotel. “Lights flicker from the opposite loft. In this room the heat pipes just cough.” Also said to be written in the hotel are “Sad Eyed Lady of the Lowlands,” and “Sara.”

Throughout the 1960s and 70s, the hotel increasingly became home to rockers and punks. Much of this draw stems from one of the hotel’s most famous residents: Andy Warhol. The hotel acted as Warhol’s muse, inspiring his 1966 avant-garde film Chelsea Girls. The release of this film only increased the hotel’s fame among artists. Throughout the 1960s, psychedelic legends like Jimi Hendrix and Janis Joplin rented rooms in the hotel.

Andy Warhol filming Chelsea Girls in 1966

By the 1970s, the hotel’s fame and rent control made it a hub for New York’s punk rockers. By this point, however, the hotel was in decline. Cockroaches infested the rooms, and graffiti covered much of the building’s walls. As a result, some paid as little as $155 a month on rent. Punks like Patti Smith, Iggy Pop, and Johnny Thunders were all drawn to the hotel during this period. In one of its darkest episodes, Nancy Spungeon was murdered in the hotel, with her boyfriend Sid Vicious of the Sex Pistols charged for the crime. Only a year later, Vicious died of a heroin overdose in the building.

Following years of corporate takeovers and renovations, the Hotel Chelsea was converted into a luxury hotel.

Cafe Wha? (0:21, 1:00)

One of the most pivotal sites in the trailer is Greenwich Village’s Cafe Wha?. In 1959, Manny Roth bought an abandoned horse stable in the heart of Manhattan. Upon seeing the site’s dark basement with horse troughs and dung piles, he knew it was a prime location for his new cafe. After renovations, which involved Roth painting and tiling the building himself, the cafe was ready to open. The cafe was advertised as “Greenwich Village’s swingingest coffee house” and quickly became a haven for Manhattan’s Beatniks.

Cafe Wha? in 1967

From its start, Roth envisioned Cafe Wha? as a forum for aspiring musicians. The cafe regularly hosted “hootenanny” nights akin to an open-mic night. Roth invited the public to come and perform a couple songs, showcasing their talents to the village’s residents. On January 24th, 1961, a hitchhiker from Minnesota entered the cafe, asking Roth if he could perform at Hootenanny night. The young musician, Bob Dylan, was a smash success at the cafe, kicking off his musical career in New York City.

Throughout the remainder of the 1960s, the cafe became a mecca for future stars of music. In the mid-1960s, Roth hired the Blue Flames as the house band. Led by frontman Jimmy James, the band played 5 sets a night, 6 days a week for next to no money. Chas Chandler, bassist for the Animals, noticed James and believed he had potential for stardom. The two traveled together to England, where James renamed himself Jimi Hendrix, and ascended to rock stardom. Following, the Blue Flames, Roth hired the Castiles to play afternoon sets in 1967. The band, led by their frontman Bruce Springsteen, quickly became a local hit.

Jimmy James and the Blue Flames

Even those who weren’t performing played a major role in music history. One of the cafe’s waitresses was Mary Travers, future member of folk trio Peter, Paul, and Mary. Of special note was Manny Roth’s nephew, David Lee Roth who frequented the cafe. Gaining a love for live music, he went on to found the pioneering hair metal band Van Halen in 1973.

In 1968, Roth ceded control of the cafe to Menachem Dworman. Dworman converted it into Cafe Fenjoon, a venue focusing on Middle Eastern music. In 1987, Dworman reverted the club back to its original Cafe Wha? name. To this day, it remains as one of New York City’s most storied live music venues, hosting daily musical performances.

The Town Hall (0:29)

At the center of the trailer is Dylan’s performance of “A Hard Rain’s a-Gonna Fall” at The Town Hall. The hall began as a headquarters for New York’s suffragist movement in the leadup to the 19th Amendment. The League for Political Education envisioned the site as an egalitarian meeting space where they could educate the public on women’s rights. As a result, upon its opening in 1921, the hall featured no box seats, and no obstructed views, making sure all in attendance were equal.

The Town Hall’s interior in 1923

Throughout the 1920s, the venue housed countless classical recitals. Among its first events was Richard Strauss’ presentation of three operatic pieces in December 1921. For the rest of the decade, the Town Hall featured recitals by musicians like Pablo Casals and Andres Segovia, and dancers like Ruth St. Denis. Possibly more important was the venue’s dedication to social progress. It frequently presented public meetings discussing the pressing issues of the day. Whether it was Margaret Sanger’s lectures on birth control or a memorial to Sacco & Vanzetti, the Town Hall remained dedicated to its progressive ideals.

Across the coming decades, the Town Hall sat at the heart of New York’s jazz scene. It regularly hosted performances by legends, including Duke Ellington, Thelonious Monk, and Dizzy Gillespie. During this period, the venue’s public forums elevated it to national fame. In 1935, George V. Denny began to broadcast the Town Hall’s discussions on radio. The program titled America’s Town Meeting of the Air featured discussion of the hot-button issues of the day, highlighting all sides of the argument. The program, intended to continue the hall’s dedication to public education, became one of the first radio talk shows in history. NBC soon syndicated the program, receiving widespread acclaim.

The Town Hall’s importance in A Complete Unknown comes on April 12th, 1963. On that date, Bob Dylan made his first large-concert debut, playing to a crowd of over 1,000. During his 24-song set, Dylan played many self-written pieces, introducing the world to classics like “Don’t Think Twice, It’s All Right” and “Masters of War.” Included in this performance was a rendition of “A Hard Rain’s a-Gonna Fall” off The Freewheelin’ Bob Dylan, which soundtracks the trailer.

The Program for Bob Dylan’s historic performance at the Town Hall

This concert was a smash success that helped cement Dylan as one of the era’s premier songwriters. On April 13th, the New York Times reported on it, stating “He plays excellent guitar and one of the most inventive harmonicas to be heard these days. His voice is small and homely, rough but ready to serve the purposes of displaying his songs. The songs are among the best written in this country’s folk vein since Woody Guthrie stopped composing.”

This period also featured a legendary performance by folk singer Pete Seeger, who is key to A Complete Unknown’s plot. In 1963, performed a children’s concert at the venue, which was later nominated for “Best Recording for Children” at the Grammys.

Throughout the 1970s and 80s, economic uncertainty marked the Town Hall. In 1980, a lack of funding effectively closed the venue. However, a mix of government grants, NYU funding, and individual donations soon provided enough money to renovate and reopen the Town Hall. In 1984, the venue reopened for good. Since its reopening, the Town Hall has continued as a beacon for live music. Everyone from Elvis Costello to Celine Dion has performed at the venue since.

Riverside Church (1:08)

The trailer briefly features Bob Dylan’s performance at an “All-day hootenanny” hosted at the Riverside Church. The church traces its origins to legendary financier and philanthropist John D. Rockefeller Jr. Rockefeller wished to join a church that shared in his progressive social values, so donated $500,000 to Morningside Heights’ Cathedral of St. John the Divine. Soon, the church’s congregation expanded by the hundreds, leaving the facilities too small to accommodate them.

As a result, Rockefeller financed the construction of a new church on Manhattan’s Riverside Drive. Following three years of construction and over $4 million in funding, Riverside Church opened on October 5th, 1930. At its completion, the church was an architectural marvel. It featured gothic elements, like spires, flying buttresses, and slender windows, resembling the monumental cathedrals of France and Spain. Additionally, it remains the tallest church in the US, with its 392-foot tower dwarfing its surroundings.

For the next 20 years, the church welcomed 10,000 visitors a week for religious and social events. During the 1950s, Riverside Church began renovations, including a 15-foot radio tower. Starting in 1961, the church operated its radio station WRVR, which continued operations until 1978.

1961 marks another key moment for the church and for music history. On July 29th, Bob Dylan performed at a hootenanny event hosted by WRVR at Riverside Church. The then-unknown Dylan shrouded himself in mystery, claiming he came from Gallup, NM – in fact he was from Minnesota. During the hootenanny, he played a short five song set. Unlike later performances, none of the songs were written by Dylan himself. Among them were three traditional folk tunes, and two modern pieces written by Danny Kalb and Eric Von Schmidt. WRVR broadcast the performance live as part of a 12-hour music marathon. Luckily for posterity’s sake, a listener taped the live performance, preserving this early moment in Bob Dylan’s career.

The performance features a young Dylan still finding his musical footing. His iconic voice is quiet, sometimes to the point of mumbling. Throughout the recording, his guitar goes out of tune, requiring constant adjustment between songs. This matched with some guitar flubs at the beginning of songs creates a lot of empty space. While listening to the heavily distorted recording, you can hear a musician still anxious at the beginning of his career, but with the seeds of greatness present.

Gerde’s Folk City (1:14)

The trailer features performances by Dylan and Joan Baez at the legendary Gerde’s Folk City. Mike Porco founded Gerde’s foremost as a restaurant, which featured occasional musical performances. This all changed on June 1, 1960, when promoters Izzy Young and Tom Prendergast convinced Porco to rebrand the business as Gerde’s Folk City, a full-fledged music venue. A performance by poet Logan English and singer Carolyn Hester inaugurated the new venue.

Gerde’s quickly became a haven for Manhattan’s Bohemian crowd and writers for Village Voice who flocked in to hear up-and-coming folk artists. On April 11th, 1961, Bob Dylan performed his first professional set at Gerde’s. The unknown Dylan opened for the legendary blues virtuoso John Lee Hooker. This performance marked one of Dylan’s first chances to display his original pieces. By all definitions, this performance was a success for Dylan, prompting additional shows by Dylan and Hooker. The New York Times reported on these shows in September 1961, stating while Dylan’s outfit and voice were far from pretty, his originality and stage presence marked him for stardom.

Throughout the 1960s, Gerde’s was a necessary stop for any folk singer in New York City. It frequently featured legends like Pete Seeger, the Byrds, Simon and Garfunkel, and Joan Baez. Following a decade of success, Gerde’s moved to West 3rd street, where it continued operations until 1987. In that year, rent tripled, leaving no choice but to close the doors. Although Gerde’s has been closed for almost four decades, it holds a special place in popular memory. In its “Book of Lists,” Rolling Stone ranked it within the top three venues on Earth for its impact on Greenwich Village’s folk scene. Today, Hebrew-Union College inhabits the original location of Gerde’s Folk City.

Pete Seeger

One of the major figures in A Complete Unknown is Pete Seeger, played by Ed Norton. Throughout his career, Seeger cemented himself as the foremost folk musician of his day, as well as an activist. Seeger was born in New York City on May 3rd, 1919. From his birth, Seeger was surrounded by both music and political activism. His father was an ethnomusicologist forced to resign his position at UC Berkeley for his outspoken pacifism during WWI. His mother was just as musical, working as a concert violinist and teacher at Juilliard.

Seeger gravitated towards music at a young age, first picking up the ukulele while at boarding school. His focus soon shifted to the banjo, after visiting a square dance festival with his father in Asheville, North Carolina. In 1938, Seeger enrolled at Harvard, where he consequently joined the Young Communist League. However, he later dropped out to work with Alan Lomax to catalog American folk music. This early job began a lifelong dedication of Seeger’s to preserve America’s folk tradition.

Alan Lomax and Peter Seeger in 1950, Photo source: John Cohen

Seeger’s career truly began in 1940, when he embarked on a cross-country tour with Woody Guthrie. On this tour, Seeger and Guthrie performed a plethora of folk tunes to benefit workers and unions across the nation. The 1940s and the start of WWII also began Seeger’s focus on antifascist efforts. Alongside his first band The Almanac Singers, Seeger recorded the 1940 album Songs of the Lincoln Brigade. This album featured songs of anti-fascist fighters in the Spanish civil War. His career briefly paused, as Seeger was drafted into 1942.

Upon his return to the US, Seeger made two fateful decisions. Firstly, he bought a property in Beacon, NY, along the Hudson river. This began a lifelong mission to clean the heavily polluted river. For decades, Seeger raised public awareness of environmental destruction through the annual Clearwater music festival. Additionally, following years of fighting for legislation and corporate accountability, General Electric agreed to dredge the river to help clear it of contaminants.

The second of Seeger’s decisions was the founding of his new group: The Weavers in 1948. After signing to Decca Records, the Weavers became one of the most popular groups in America. During their heyday, the group sold over four million records, buoyed by hits like “Kisses Sweeter than Wine” and “So Long (It’s Been Good to Know Yuh).” In addition, they remained true to Seeger’s mission of musical preservation, recording folk songs from not only the US, but also South Africa and Israel.

The Weavers’ fame came to a sharp halt in the early 1950s. Leaks to the House Un-American Activities Committee (HUAC) claimed that the Weavers members were communists. These accusations and a subsequent sedition investigation forced the group underground. These tensions came to a head on August 18th, when HUAC subpoenaed Seeger. Seeger refused to answer any questions, leading to a 1961 conviction on 10 counts of contempt of Congress.

Dylan and Seeger at the 1963 Newport Folk Festival

Bob Dylan entered Pete Seeger’s life around this point. In 1961, Seeger introduced Dylan to John Hammond, who went on to produce Dylan’s self-titled debut. Four years later, Seeger made the consequential decision to invite Dylan to the 1965 Newport Folk Festival. Instead of playing a traditional acoustic set, Dylan brought in amplifiers and electric instruments. The crowd booed and heckled Dylan throughout the set, and according to some accounts, Seeger was just as disappointed. In a 2001 interview, Seeger recalled hating the live mixing, because he could not hear Dylan’s lyrics. He also recalled telling the sound engineer “Damn it, if I had an ax, I’d cut the cable right now.”

For the remainder of his life, Seeger remained dedicated to music and activism. He continuously used his platform to fight for environmental protections and civil rights for African Americans. Throughout his later years, he continued to perform at massive shows, including MSG, Farm Aid, and Newport Folk. After nearly seven decades of musical performance, Seeger passed away on January 27th, 2014.

July 31, 2024
Limp Bizkit Brings Bethel to Loserville

Bethel, New York, once the iconic site of the original 1969 Woodstock Festival, was transformed into a haven of nu-metal nostalgia on Friday, July 26^th when Limp Bizkit brought their Loserville Tour to Bethel Woods.

Notorious for their unforgettable set at Woodstock ’99, where their intense energy contributed to the festival’s infamous chaos, it took 25 years for Limp Bizkit to successfully rewrite the script. Now older and wiser and out for redemption, the band delivered a high-octane, testosterone-fueled performance that both honored and deviated from their controversial past.

Limp Bizkit performing at Bethel Woods on 7/26/24.

From the moment Fred Durst strutted onto the stage, sporting a backwards Yankees cap and a pinstriped Shohei Ohtani Japanese jersey, the audience—an eclectic mix of die-hard fans from the late ’90s and early 2000s and curious new listeners—erupted in a frenzy. The setlist, a deliberate nod to their greatest hits, had the crowd singing and headbanging along to former chart-toppers like “Nookie,” “Rollin’,” and “My Way.” Along with frontman Durst, all the OG members of Limp Bizkit were present and accounted for in Bethel.

Limp Bizkit’s Sam Rivers performing in Bethel, NY 7/26/24.

Bassist Sam Rivers was looking particularly dapper performing in all white suit and shades, while DJ Lethal and drummer John Otto confidently held things down from the risers in the back. Guitarist Wes Borland, the band’s enigmatic and theatrically dressed master of disguise, was truly a sight to behold. Wearing a gold battle helmet and a pseudo samurai gi, he resembled something of a cross between the Predator and a character straight out of the Warhammer games.

His dark black eyes barley visible as the iconic axman thrashed circles around the stage to songs like “Eat You Alive” and “Hot Dog.” After showing off some tasty Pantera and Metallica licks between songs, Borland would then break into a signature riff almost anyone can play, having a field day on an extended version of “Break Stuff,” the same song that became the scapegoat for the way things spiraled out of control at Woodstock ’99. This time, however, when the song kicked in, the people didn’t kick in nearly as hard. There were no fires set or crowd surfing on plywood the entire night.

Master of Disguise: Wes Borland shows off his latest look on 7/26/24.

The audience itself was a fascinating mix. There were those who had been at Woodstock ’99, now older but still wearing their vintage band tees and reliving the glory days. Alongside them were younger high school-aged fans, some experiencing the raw energy of Limp Bizkit live for the first time. Eavesdropping on a stranger’s conversation, I almost spit my drink out when a guy asked his friend if they’d ever seen Limp Bizkit before and she responded, “No, but I’ve heard a lot about him.” This blend of generations created a unique atmosphere, one where nostalgia met the present day in a powerful collision of sound, emotion and hormones.

Limp Bizkit’s in the house, yall. 7/26/24.

The history of Woodstock 1969 loomed large over the performance. Bethel, the birthplace of the peace and love movement, juxtaposed sharply with the aggressive, rebellious energy that Limp Bizkit embodied. Yet, this contrast seemed to be exactly what the crowd craved—a raw, unfiltered experience that tapped into the cathartic power of music. The resurgence of nu-metal, a genre that blends heavy metal with elements of rap and hip-hop, continues to captivate audiences. Fred Durst, as always, remained a polarizing figure and central to it all. Now in his 50’s and rocking a full silver beard, some see him as the quintessential anti-hero of the nu-metal era, a symbol of defiance and non-conformity.

Others, however, view him as a relic of a dark time in music history, often citing his vulgar and childish lyrics as the bands biggest handicap. Regardless, there is no denying Durst’s ability to command a stage and connect with an audience, even decades into his career. His provocative personality and off-the-cuff remarks kept the crowd at Bethel Woods on their toes all evening long as he clearly still resonates with a massive amount of fans. During the song “Livin’ it Up,” Durst would become one with the people by leaving the stage and performing while walking through the crowd. Later during “Full Nelson,” Durst would invite a bunch of kids up to sing with him and take selfies, a tender moment they will likely never forget.

Fred Durst performing with Limp Bizkit in Bethel, NY 7/26/24.

On the wheels of steel, DJ Lethal had his hands full all night playing samples of songs between songs. Touching on everything from Bon Jovi’s “Livin on a Prayer,” and Creedence Clearwater Revivals’ “Proud Mary” to the Beastie Boys “Fight For Your Right” and Cypress Hill’s “Insane in the Brain,” perhaps his most surprising selections were snippets from Britney Spears “Baby One More Time,” and George Michael’s song “Careless Whisper,” which Fred encouraged everyone to slow dance to.

DJ Lethal had his hands full in Loserville on 7/26/24.

After working their way through “Boiler.” Fred wound pander to the crowd some more, asking “How many people have been in a shitty relationship before and how many are in a shitty one right now? You can’t say it, because you’re with them tonight and your fucking miserable because you had to come to the Limp Bizkit concert with them, I understand.” Without missing a beat, the band would then drop into the song that started it all for the LB, their cover of George Michaels “Faith.” It was the only song played from the band’s 1997 debut album, Three Dollar Bill, Y’all$.

Limp Bizkit performing in Bethel 25 years after their infamous Woodstock ’99 performance 7/26/24.

Introducing its follow-up by saying, “This next song seriously chaps my nads,” the familiar riff of Mission Impossible had the crowd roar with delight when the band kicked into “Take a Look Around.” Getting a bit introspective in the middle of it, Durst would talk to the crowd once again. Using the opportunity to express his opinions on the current political climate, he would go on to suggest that politicians are using technology, cell phones in particular, to turn people against each other.

Declaring that it should always be “us against them” and that he will always be on the side of the people, he thanked everyone for coming out and rocking to some heavy music peacefully. Encouraging people to take a look around and hug their neighbors, Durst seemed genuinely appreciative for the strong turnout and that people still remember who they are. It was a clear sign of maturity for a group who, at one time, were considered the biggest and most juvenile band on the planet.

Limp Bizkit keeps rollin’ in Bethel, NY 7/26/24.

Prior to Limb Bizkit’s headlining set, Loserville kicked off with a diverse bill of opening acts that had a little something for everyone. Highlighted by underground rappers Bones featuring Eddy Baker and Xavier Wulf, their set had some of hardest rhymes and loudest bass I’ve ever heard in person. Before them was a dynamic synthpunk set from the one-man-band known as N8NOFACE. Mesmerizing the early attendees with his bizarre stage presence, guttural screams, and by slamming the microphone into his head to create drum beats, he openly discussed his struggles with crystal meth addiction, saying that for “anyone else who might be struggling, it doesn’t get easier, but it does gets better.”

Thanking Fred Durst from the bottom of his heart for taking him out on this tour, “Already Hate Your Next Boyfriend” was perhaps the song that stuck out most. Adding even more nostalgia to the festivities, actor Corey Feldman (yes that Corey Feldman) kicked off Loserville with a brief set of original music and over the top dance moves. A long-time friend of Durst, the two most recently collaborated on the music video for Feldman’s latest single “The Joke.”

Man of the People: Fred Durst reads the crowd in Bethel, NY 7/26/24.

As the night drew to a close, it was clear that Limp Bizkit’s performance in Bethel was more than just a concert. It was a testament to the enduring legacy of both the band and the historic site. It reminded everyone in attendance of the transformative power of music, capable of bridging gaps between eras, generations, and even differing personal tastes. For one night, Bethel and Limp Bizkit were once again at the center of a musical revolution, proving that while times change, the spirit of rock and rebellion is eternal.

Watch fan footage of Limp Bizkit performing “Faith” on 7/26/24.

Limp Bizkit | July, 26, 2024 | Bethel Woods | Bethel, NY

Setlist: Out of Style, Rollin’ (Air Raid Vehicle), Break Stuff, Hot Dog, Trust? My Generation, Livin’ It Up, My Way, Eat You Alive, Nookie, Full Nelson, Boiler, Faith, Take A Look Around, Break Stuff (Reprise).

N8NOFACE

Bones featuring Eddy Baker and Xavier Wulf

July 31, 2024
The Bell House in Brooklyn Bought Out by Live Nation

The Bell House, a celebrated entertainment venue in Brooklyn’s Gowanus neighborhood, has been bought out by Live Nation. The venue has hosted and supported many independent artists throughout the years, having opened in 2008.

Located in an old printing press warehouse, The Bell House has since served the community as an outlet for creatives around the city. Upon its opening, The Bell House was involved in the NYC Comedy scene, drawing the public to the industrialized neighborhood. The venue also racked up its fair share of bands, parties, burlesque, and a variety of other social events.

Because of the opportunities and shameless fun offered to artists and attendees, The Bell House acted as a safe space for people to express themselves. Since 2008, the space has been independently run by the same team responsible for Park Slope’s Union Hall. The two similar, close-by venues, along with other BK establishments gave access to an underground circuit of up-and-coming artists.

Recently, however, The Bell House has experienced a transition as Live Nation quietly purchased it. While the process of it becoming an evident Live Nation venue with mainstream acts is slowly coming into place, the community continues to raise concerns about the future of its beloved sanctuary.

Live Nation, which is in the midst of a federal antitrust suit due to its monopoly over the live entertainment industry, already dominates NYC music venues. Over the years the music industry giant has racked up rooms like the Gramercy Theatre, Irving Plaza, and Brooklyn Paramount.

The new addition of The Bell House has generated a lot of concern and questions from the community. Because the venues immensely support independent artists, people are questioning the risk of Live Nation trading in the smaller artists for bigger names. The possible exclusion of talented yet generally unknown musicians and comics contradicts the venue’s purpose and community. It also risks eliminating the proud diversity and public accessibility the venue has to offer.

The booker and the marketing team do such a great job taking chances on emerging artists and concepts, and giving them the best possible chance to succeed. My big fear is that as it’s engulfed into the bigger Live Nation fold, the venue will lose a little of its cozy Brooklyn familiarity for artists.
Frequent Bell House Performer for The Groove

So far, the lineup has yet to reflect any drastic changes from regular shows. While most people are anticipating mainstream acts, the calendar remains full of smaller, yet still notable acts and bands. They still have classic Bell House-style events such as an ABBA Glitter Disco and a Moulin Rouge Drinking game.

It’s unknown when Live Nation finalized the sale, and therefore, when their booking comes into play. The common fear among the public is how the company will decide to move forward with The Bell House’s trajectory.

To stay updated with events at The Bell House visit thebellhouseny.com.

July 31, 2024
In Focus: Cola and Galene No Fun

On Thursday, July 18, Cola and Galene gave us a night to remember at NO FUN in Troy. They played the perfect show for local indie rock fans.

NO FUN is a live music venue on river street in Troy, an amazing place to hear live music and enjoy some drinks. NO FUN has a full schedule of upcoming concerts, so despite the name there’s lots of fun to be had.

Galene opened the night with tons of energy that they kept thought their whole set. Cola followed close behind and ended the night leaving us all searching for their next congratulations . Be sure to visit NO FUN when you’re in need of good music or a new favorite song.

Upcoming Shows at NO FUN

August 1: Joyer, Shower Curtain, Stroma, and Cooper’s Hawk at 7 PM

August 2: Nailed Shut, Frozen Sun, Torpedo Lane, and Greyfleshtethered at 7 PM

August 3: Planetarium Party (Virgo SZN) at 8 PM

August 4: Coquette, Trepidation, Vaexus, and Beasteliaphiliac at 7 PM

August 8: The Thing, Native Sun, and Attack Dogs at 7 PM

August 16: Big Scary Indian, Adequate Phil, and Otobo from 7–11 PM

July 31, 2024
In Focus: The Double Bass Experience in Syracuse

The Double Bass Experience was in Syracuse on July 11th as part of the Jazz in the City Series.

The explosive Jazz Double Bass experience featuring Jacob Webb and Phylicia Rae takes an audience to a place where they’ve never been before. The combination of these two stars in contemporary jazz have obtained seven number one Billboard records under their belt.

As a matter of fact, Phylicia Rae is the first female lead bassist to ever obtain a number one record on Billboard’s smooth Jazz National Airplay Chart in the history of this genre. Her history making single “Now or Never,” featuring Marcus Anderson, has granted the opportunity for female bassists to thrive in this genre.

In addition to his bass skills, Jacob Webb founded Next Paradigm Records, a nine artist contemporary jazz roster of fresh talent acclaiming multiple number one hit Billboard singles. Today, Billboard has recognized Next Paradigm as the number four label in smooth Jazz.

With all this success, Jacob and Phylicia brough their show to Syracuse and created a night of great music. From their chart topping hits to covers of Earth Wind & Fire and more. Switching back and forth as the lead bass player Jacob & Phylicia created a magical evening of jazz.

July 30, 2024
Hozier Plays Sold-Out Show at Bethel Woods for Unreal Unearth Tour

Saturday, July 27 saw Andrew Hozier-Byrne, better known as Hozier, play a sold out show at the historic Bethel Woods Center for the Arts. Hozier is currently touring across North America with opener Allison Russell to celebrate the release of his Unreal Unearth album.

Hozier, photographed by Sarah Hyun

Hozier, born in Ireland but popular worldwide for his songs, “Take Me to Church” and “Too Sweet,” has made many stops in NY while on tour. He recently played four nights at Forest Hills Stadium in June. Hozier is well known for his powerful voice and honest songwriting, touching on themes of heartbreak, abuse, love, and humanity through his deeply personal and self-aware lyrics.

Hozier, photographed by Sarah Hyun

Fans flocked to the concert in the early afternoon, tailgating with friends and family in white skirts, floral tank tops, and Hozier merchandise. While the majority of people sat on the lawn, those who were lucky enough to snag good seats in the 20 minute period before completely selling out the show sat under the pavilion, with a clear view of Hozier and the stage. During the concert, friends, family, and couples danced freely, truly taking in the night. Hardly any phones were present—people were truly living in the moment.

Hozier, photographed by Sarah Hyun

During his song, “Like Real People Do,” Hozier experienced a guitar malfunction and quickly moved on to the next song on his setlist. He stated, “This is how you know I’m playing live,” followed by a few laughs from him and the crowd. He recognized a familiar face and shared a sweet interaction with the fan, stating, “Is that you? Yeah, yeah! Good to see you again… I love you too.”

Hozier, photographed by Sarah Hyun

Finally, he wrapped up the night with a surprisingly long, yet beautiful encore. He left the stage after “Take Me to Church” and snuck off to a separate makeshift area closer to the people in the nosebleeds, and performed a beautiful rendition of his song, “Cherry Wine.” Fans waved their phone flashlights in the air, looking up in awe, crying, and swaying peacefully to the eclectic music as Hozier entranced the crowd with his gentle vocals and intricate guitar playing.

Crowd, photographed by Sarah Hyun

Finally, to finish off the encore, he stopped to talk to the audience about the current social and political issues affecting the world. Hozier has always been vocal about his support of the LGBTQ+ community and in the importance of voting, protesting, and recognizing the violence that is happening in other countries. He stated, “I’d only like to see Palestine free from occupation, free from violence,” before leading into song, “Nina Cried Power.” Although Hozier does not have any more New York dates scheduled for the rest of his tour, he is sure to return in the future.

Hozier – Bethel Woods Center for the Arts – Saturday, July 27, 2024

Setlist: De Selby (Part 1), De Selby (Part 2), Jackie and Wilson, From Eden, Angel of Small Death and the Codeine Scene, Dinner & Diatribes, Francesca, It Will Come Back; I, Carrion (Icarian); Abstract (Psychopomp), Like Real People Do, Wildflower and Barley (with Allison Russell), Would that I, Too Sweet, Almost (Sweet Music), Eat Your Young, Movement, Take Me to Church

Encore: Cherry Wine, Unknown / Nth, Nina Cried Power, Work Song (with Allison Russell)

July 30, 2024
Big Shrimp to Debut at LonCon at Wonderland Forest

On September 20, Wonderland Forest in Lafayette, NY, will be home to LonCon, a two-day music festival featuring numerous rocking jam bands. This year, LonCon will also see the debut of newly formed Big Shrimp, ready to stun crowds with new faces.

Formerly known as Baked Shrimp, the group has decided to take on a new name, and of course, a new style. Hailing from Long Island and originally forming in 2017, Baked Shrimp took on the world as a trio, made up of Jared Cowen (Guitar/Vocals), Scott Reill (Bass/Vocals), and Jager Soss (Drums/Vocals). Their funk style brought them to festivals and shows all over the United States and Canada, and even provided supporting acts for artists like the Disco Biscuits, Pink Talking Fish, Aqueous, Dopapod, and more.

In 2021, Baked Shrimp formed LonCon, a two-day music festival featuring hundreds of artists over the course of three years. Up until recently, they performed as Baked Shrimp, but are now ready to change it up and announce their new and improved act.

Now known as Big Shrimp, the band has taken on not just a new name, but a new sound and even a new member. Joining the Big Shrimp crew is Matt Takesh, their brand new keyboard player.

“I am so amped up to have Matt Takesh with us behind a batch of keyboards, including a real B3!” says guitarist and vocalist Jared Cowen. “He and Max Perrotti have been a pure joy to bring into our world of music, and we can’t wait to see what this lineup looks and sounds like on the stage.”

This year, LonCon has moved to a new location, Wonderland Forest in Lafayette. Surrounded by beautiful scenery and dozens of hiking trails, attendees can choose to camp as close or as far from the festival as they’d like, and take in amazing hiking trails, scenic overlooks, waterfalls, and more.

The full lineup of LonCon is to be released soon, with performances from Mihali, Big Shrimp x2, Aliens Among Us (ft. Ben Atkind (ElephantProof/formerly Goose), Ryan Dempsey (Twiddle), Sam Lucid (Dogs in a Pile), Jared Sage Cowen (Big Shrimp), Gantzer, Sophistafunk, Annie in the Water, and more already announced.

“Having his and our friends and family be with us for what we continue to want to be an annual event, is so special, and inspires us to continue to want to grow our community,” says Cowen. The highly anticipated debut album for Big Shrimp is set to release in the Spring of 2025, following an incredible festival.

For more information on LonCon, visit the festival’s website.

July 30, 2024
Albany Riverfront Jazz Festival Announces 2024 Lineup

The 22nd annual Albany Riverfront Jazz Festival has announced its artist lineup for 2024. The all-day free concert will feature five live acts on September 14.

Since its start in 2002, the Riverfront Jazz Festival has been a staple of Albany’s live music scene. Each year, the festival has featured legends of jazz music and highlighted local up-and-comers, providing a vast array of sounds for audiences. The 2024 event will likewise feature jazz artists from across the country, each sharing their unique take on the genre.

The first artist to perform is Bright Dog Red at 12:30pm. The Albany-based jazz rap octet has made waves for their unique genre blending. Their sound mixes improvisational jazz in the vein of Ornette Coleman and Mahavishnu Orchestra with 90s hip-hop. The group’s socio-politically charged lyricism has drawn comparisons with legendary acts like A Tribe Called Quest and Digable Planets. Glide Magazine describes the group as “Genre-agnostic, uncategorizable, and intensely thrilling.”

Following up the first performance is a set by Melanie Charles at 2:00pm. The Brooklyn-based musician has gained traction for her blending of jazz, R&B, and soul. Following a 2021 NPR Tiny Desk Concert, Charles was propelled further into the mainstream. In the past years, she has collaborated with everyone from Gorillaz to Mach Hommy. Her music, while heavily indebted to jazz, looks to the future of the genre. She said “I love jazz, I really fell in love with it deeply. But I was interested in young people interacting with it.”

Third-up is the Philadelphia-based septet Snacktime. The group first made a name for themselves playing free shows in Philadelphia’s Rittenhouse Square, with their shows soon growing to sold-out concerts across the country. Their sound combines jazz, funk, punk, and more, creating songs that sound like no one else. Since their start, they have gained endorsements from Portugal. The Man and celebrities like Eric Andre and the Impractical Jokers. This performance comes in the leadup to their studio debut recorded by GRAMMY-nominated producer Will Yip. Snacktime’s set will begin at 3:30pm.

Following these performances is a presentation of the 8th annual Henry Johnson Award for Community Service. The ceremony is set for 4:30 pm with performances resuming at 5:00pm. At this point, Roosevelt Collier will perform a set, exhibiting his pedal steel guitar prowess. Since his start, Collier has performed alongside legends like the Allman Brothers Band and Los Lobos. In 2017, Collier launched his all-star band the “get-downs,” combining gospel, funk, rock, and more.

The final performance of the night comes from Nate Smith at 6:30pm. Hailing from Chesapeake, Virginia, Smith is a composer, drummer, and producer all in one. His emotional and raw style of drumming has brought collaborations with countless artists. Everyone from Norah Jones to Pat Metheny has sought out Smith for his percussion chops. Across his studio albums and collaborations, Smith has received three Grammy nominations. In recent years, his viral videos have introduced millions to Smith’s drumming, making him one of the most influential of this generation.

The Riverfront Jazz Festival is scheduled for Saturday, September 14th at Jenning’s Landing in Albany. The all-day free festival is an all-ages event, featuring music, food, beverages, and local vendors. For more information, visit the Albany Office of Cultural Affairs website here.

Riverfront Jazz Festival Schedule

12:30pm – Bright Dog Red

2:00pm – Melanie Charles

3:30pm – Snacktime

4:30pm – Henry Johnson Award Presentation

5:00pm – Roosevelt Collier

6:30pm – Nate Smith

8:00pm – Fireworks Show

July 30, 2024
Lawrence Gowan of Styx: Renegade of the Keys on the Current ‘Renegades and Jukebox Heroes’ Tour

In the 25+ years since joining Styx in 1999, keyboardist Lawrence Gowan has found a home anchoring the stage with his bandmates on top of an already successful (and still ongoing) solo career. The band has embarked on an extensive co-headlining tour this summer with Foreigner, supported by John Waite, and is coming to Saratoga Performing Arts Center on Tuesday, July 30 with subsequent performances in Pennsylvania and Massachusetts before venturing onward outside of the general Northeast area.

Lawrence Gowan of Styx at Bethel Woods Center for the Arts, August 2023

The longevity of the “classic rock” genre is proven with the younger generations (often not yet born when the bands first formed) showing up to these concerts with parents and friends the past few summers. That observation that many of us have made was affirmed from the stage perspective, echoed by Lawrence Gowan when he recently spoke to NYS Music.

Along with Gowan, Styx consists of James “JY” Young, Tommy Shaw, Chuck Panozzo, Todd Sucherman, Will Evankovich, and Terry Gowan.

Styx (Photo by Jason Powell, provided by Styx)

Gowan took a few minutes before Styx’s recent show in Georgia about the tour, his solo work, and time with Styx. Here’s the interview in its entirety:

Steve Malinski: How’s the tour going so far for you guys?

Lawrence Gowan: Honestly, it’s exceeded expectations. You know, it’s an at-capacity house every single night, and the audience, they’re really phenomenal, quite honestly. It’s amazing to see, first of all, that half the audience, on any given night, half the audience could be like, under 40 years of age. So, they weren’t even born when these biggest records of the classic rock era were recorded. And yet they’ve embraced this music like it’s concurrent with their lives. You know, you can’t miss the fact that that’s very, very evident. So there’s that. Then there’s the fact that, you know, four hours straight of classic rock where you know every single song (and I’m including opener John Waite). It’s really entertaining, quite honestly, and I’m as entertained as anyone, you know, with the fact that I get to see the other bands and we have this, shared experience of seeing that this tour has exceeded expectations, and it’s just a joy to be doing.

SM: And how’s it been sharing the stage with a Foreigner? A lot of fun for you, I bet?

LG: Oh, you know, the last time we toured together was ten years ago. We did an extensive tour together, and then we also played the UK with them. So we have a nice shared history over the years. I mean, I even remember when they were going through a lot of the transition phase, because originally, when first couple of shows I’d ever done with Foreigner anyway, was back in, I think, 2001 or 2002. And then, you know, all the various transitions that Mick Jones had to go through were really pretty phenomenal. The guys in the band today are just tremendous. They really carry that flag so well. And they sound great. Every single night they put on a great show, and, you know, they definitely set the bar really, really high.

SM: I saw you guys last year at Bethel woods as actually one of the photographers right at the front of the stage near your setup. That was a really fun show, seeing you and Joe Bonamassa there.

LG: Yeah, yeah. Wasn’t that neat? We did that one and the next night, we did Jones Beach with him as well. That was pretty amazing. Maybe 15 years ago, he came out and actually was opening shows for Styx. Of course, everybody knew it was going to explode as a phenomenon and to see that happen, another great little, you know, side feature that I witnessed in my time in the band.

SM: Very cool. Yeah. When you were out on stage, it just seemed like yourself and the whole band was having just such a genuinely fun, high energy time. What drives you to have that energy and, you know, just that stage presence every single night?

LG: Great, great question. wish I had a pat answer for that. There’s something… There’s something about this band, the chemistry of this grouping of people. It just seems to embrace the moment, and that moment being the moment we get on stage, something happens where we really just kind of bond in a very entertaining way. Because I’m as entertained as the audience is when I look across the stage and see how everyone performs. I’d say it’s just one of those rare things. If you see it happen, you can’t really distill what the ingredients are. All I can say is that everybody wants to do it and wants it to be great every single day. Even if one or two, even if a member of the band is under the weather or something, I’ve seen them pull it together and somehow get through the show and still manage to put a smile on everyone’s face. So it’s a unique grouping of individuals that’s able to pull that off. I mean, even Todd, our drummer, has commented to this point, we’ve really never had a bad show. We can have things go wrong, but it still comes across as very good show. We’re genuinely as enthused about doing it as the audience seeing it.

SM: And you’ve been with Styx for… do the math quick here… 25 years, pretty much.

LG: I’m into year 26 now.

SM: How’s that experience been? And how’s the experience been recently with your brother joining the band on tour?

LG: Well, this is a phenomenal thing. Terry [brother] played with me in my solo band, solo career in Canada that is ongoing. We just did three more shows a couple weeks ago, Vancouver, Calgary, Edmonds. I was on the break from the Styx tour. So I played with him, you know, since 1985. So this, the other cool thing is, see, Todd took him and came and played my solo shows from 2010 to 2020. So they had played together over 100 times on stage, you know, Terry and Todd. So they already were an established rhythm section. They’d already kind of worked out all kinds of, you know, things in the past. And it seemed very… it seems very natural to see him on stage, quite honestly. It’s not that big a surprise to me that I’m just thinking, wow, I wish my mom and dad had seen this. That’s the only disappointment I really feel. But, you know, it’s just one of those things that worked out just kind of right. And everyone in the band really embraced him right off the bat. And that’s all. That’s all worked out very seamlessly.

SM: Yeah. And you actually just answered a question I had about still having some time to work on solo work. But going back into your solo career a little bit before, you know, joining Styx and having that new phase of your music career, what were some memorable moments or collaborations you’ve had? I think I saw that you collaborated with Alex Lifeson [of Rush] once before.

LG: Yeah, my fourth album was called Lost Brotherhood, and Alex Lifeson is the guitarist on that album. I was managed by the same manager that managed Rush for 14 years. So I would frequently see those guys and go to their concerts, etcetera. And we used to play hockey together. When it came to my fourth album, it was the last one of the ’80s, I think it was released early 1990, but we recorded in 1989…I don’t think Rush were touring at all that year. So, I just asked Alex if he would play on the album. And he did, and we did the video together for the title track. That’s actually where my spinning keyboard comes from. We cobbled it together as a prop. But if you ever looked at that video, Alex plays the smokin’ guitar solo in the middle of the song. And that’s the first time I used my spinning keyboard was there. You know, Tony Levin is the bassist on really all my albums, actually. Tony from Peter Gabriel and Paul Simon and John Lennon, I think you know who he is. And Jerry Marotta, the drummer from Peter Gabriel, Hall & Oates [and Orleans]. He’s been on a good number of my records, actually produced one of them in the nineties. Other great collaborations would be Jon Anderson of Yes; he was on my third album, but we did a song, actually, my most successful song ever called “Moonlight Desires.” That was the number one song in Canada and double platinum. I’ve been very fortunate.

SM: I know that’s quite a list of people to work with. I’m a little jealous!

LG: Yeah. Yeah. It’s pretty astounding, actually, when I start saying them all in a row like that. It is quite amazing. And that’s all prior to me joining Styx and so getting to play with these guys, that’s kind of like the cherry on top of all of that.

SM: Nice. Briefly, I just want to go back to Crash of the Crown, which was a pandemic era recording, if you want to call it that. I’ve spoken to a number. I’ve spoken to a number of musicians that recorded or did some creative thing during the pandemic, and everybody’s got a different story. Was recording a difficult experience for you, and were there any songs you were particularly fond of?

LG: It was almost like a predestined thing in a weird way, as far as the album goes, because we actually had all but two of the songs written in 2019, and we’d already begun recording at the time. We had most live on half of the bed tracks already done. So when everybody had to go home in March of 2020, we didn’t think about the record. Actually, for the first three months because we thought, oh, no, we’ll pick it up…because we’ll, you know… this will all be over… this will all be over in four weeks. You know, everyone did. You know, it’ll be like it never happened. And then it went to two months and it went to three months. We were doing these biweekly Zoom calls, which none of us knew what they were before March of 2020, and we’re discussing… the discussion was about how the dates got postponed and what new date they were going to be on – a lot of that discussion, which ended up being worthless. But then Tommy said, listening to the songs we’ve been recording, it’s amazing how lyrically they tie into what we’re going through right now. And we were all kind of shocked by that.

So we started listening again and realizing, you know, these songs seem to be about a sense of renewal after a cataclysmic event without ever stating what that event is. But somehow a lot of the songs are about this sense of renewal and coming through something that was a difficult ordeal. And that suddenly got our attention back. And we said, okay. And then Todd mentioned or, no, no, sorry. I was an engineer. I was working in Toronto, said, you guys ever tried Audio Movers, which is where you can hook up studios in various parts of the world in real time, you know, like a Zoom call, but in real time, you could hook up various studios to where you’re listening in the monitors in your studio simultaneously, because I’m listening in Nashville simultaneously with Todd listing in Austin, Texas. And we decided, let’s try. We had a couple of newer songs that come up. Let’s try recording those this way and see how it goes. Well, as you’ll probably remember, Steve, technology very quickly becomes second nature. You know, like, when I even say to you that I didn’t know what a Zoom call was before March of 2020, it’s amazing how quickly a Zoom call became part of our lives, you know, de facto kind of accepted part of our lives. And this is what happened with us in the studio where we had each other on the screens, we play in real time together and be able to listen back and criticize, etcetera.

And the next thing you know, we’re really carving at the album and getting well down the path and realized we can. We can get to the finish line here, which we did, you know, like a studio I have in Toronto, it’s got all the analog stuff, you know, like the old Studer 24-track tape, the two-track Studer tape machines, and all my best vintage keyboards, you know, an old Steinway and B3 and Mellotron, believe it or not, Minimoog and my old Oberheim OB-X8. So I had all my vintage stuff, which is like, oh, I normally don’t get to record with this for Styx because we’re, you know, they’re Nashville or, you know, we’re usually renting vintage stuff, you know, but my own stuff has got onto that record. So when we finished it. We were really proud of it. Universal said, so here’s the plan. We’re going to hold it until you guys start playing again, which was a brilliant strategy because, you know, so much was coming out on the internet during the lockdowns that things could get lost if you weren’t actively promoting them. So it was a good move because the moment we went back out, in June of 2021, they released the album, and two weeks later Billboard had it at number one on their rock album chart. There’s a rock album chart? I had divided everything into genres and subgenres, but when we saw that, we thought, oh, this is really, really worthwhile and really great for the faithful who followed the band for all these years, to see us at the top of a chart like that.

SM: Yeah, definitely the silver lining for a tough couple of years there.

LG: Yeah. Yes, it was. It was an emotional release as well. And I don’t mean just the album, but I mean, for the audiences in that first year in particular, you could see this heightened sense of gratitude. “Grateful emotion” is basically the best way I can put it, seeing it on the faces of the audience. And when they had those songs to those newer songs to kind of celebrate the reopening of the doors, so to speak, you could see that it was connected with them in a great way.

SM: So, to wrap things up here in a bit… With the Renegades and Jukebox Heroes Tour, what can fans look forward to at that show?

LG: Four nonstop hours of classic rock, where, you know, just about every single piece of music. You know, our opener, special guest, John Waite, he starts it off. Fantastic band. He sounds tremendous. You know, he sets the bar so high, vocally speaking, for everyone else to follow on the night. And then you have Foreigner and Styx, where again, the Foreigner said, you know, every single note and you just deliver so. So in such an entertaining fashion. And then for us, I think, you know, we. We are still at the top of our game as far as trying to exceed what we’ve done the night before. And that seems to, even if it’s only by 1%, we continue to push forward with the quality of what a stick show can be. And the kind of. I call it the pompous, the epic and pompous nature of what we do, which is really ties in so well with what classic rock is. It’s a larger than life kind of breath of be, so to speak. It goes into a great rock show, and I think we’ve got that.

SM: Excellent. Okay, well, thanks for your time. I really appreciate it. And good luck there on the tour and try to stay cool there in Georgia today.

LG: That’s the one. That’s the biggest challenge of the tour so far, believe me. Charleston, South Carolina, the other night, that was. I mean, I took a shower after the show. The shower was actually drier than we were on stage!

July 30, 2024
North Country Hardship Fund To Host 17th Wayne Stock Festival

The North Country Hardship Fund’s 17th Wayne Stock Festival will take place in North Creek, NY on Friday, Aug. 2, and Saturday, Aug. 3. The NCHF is a non-profit organization that fundraises through the festival to provide resources for those who have suffered recent tragedies.

Kicking off on Aug. 2, Wayne Stock XVII will be full of live music, food, auctions, and raffles, among many other festivities until 11 PM. The next day, Aug. 3 will provide an additional eleven hours of fun, starting at 12 PM. The free event will take place in North Creek‘s Ski Bowl Park, allowing attendees to enjoy a relaxing, yet fun and social outdoor environment, rain or shine.

Local bands will serve as entertainment throughout the two festival days, presenting various types of music and backgrounds to add to an exciting and unique experience. Guests are encouraged to bring their own drinks and food will also be available at the festival. Though the event is free, NCHF will offer plenty of ways to donate money through raffles, as well as auctions for the chance to win amazing prizes. Specifically, prizes at this year’s Wayne Stock Festival include a UTV, a dual-fuel generator, and $250 cash.

NCHF asks that attendees leave pets at home and don’t bring glass products to ensure general safety. Wayne Stock’s purpose is to bring the community together for a good time while contributing to very important causes. With the help of many local sponsors, NCHF, as well as the North Country community are able to raise funds to supply sources to families in need.

Wayne “Wayno” Bukovinsky created Wayne Stock in 2008 to raise money for a recent accident he had been in. Using proceeds from the festival he and his wife Tammy, started the North Country Hardship Fund. The non-profit continues raising money for those without the resources to recover financially from personal tragedies. Since Wayno’s death in 2023, Tammy and the NCHF community have continued his mission of helping others through his festival.

For more information about Wayne Stock XVII visit northcountryhardshipfund.org.

July 30, 2024