Saranac Lake-based band nubble is set to tour around the North Country this summer, bringing their Adirondack-themed folk music with them. Their imagery and subject matter are all distinct to the Adirondacks, featuring local references and atmospheric sound.
nubble was formed about a year ago by Gene Baritot (vocals, guitar, keyboard), Edek Falkowski (fiddle, banjo, vocals), Christian Eggleston (bass, vocals), and Chris Radey (drums, vocals). nubble’s tour will offer an excellent opportunity to support local musicians while enjoying their unique sound.
Their experiences living in the Adirondacks come through in their songwriting. nubble expressed the excitement about sharing their love if the region with others, saying “we have the chance to share our songs which have been entirely inspired by the beauty of the area that we live.”
One of the band’s tracks, “Ghosts,” is about the haunted cure cottage one band member lived in. The tuberculosis cottage in Saranac Lake was featured on Animal Planet’s “The Haunted,” while another track, “Buzz Away, Black Fly”, is about the bug of certain local renown.
nubble expressed their gratitude for the ability to “express [themselves] in [their] small mountain communities”. nubble’s goal is to “share what feels good”, and they hope the ADK feels the same way. Their album, Live at Riverside Park, is available on Bandcamp, and tour dates are available below.
Wednesday, July 3 @ Riverside Park in Saranac Lake, NY – 7 pm
Thursday, July 4 @ Mids Park in Lake Placid, NY – 1 pm
Tuesday, August 30 @ Hotel Saranac in Saranac Lake, NY – 8 pm
Thursday, September 12 @ South Acres Park in Plattsburgh, NY- 4:30 pm
Saturday, September 21 @ Ausable Brewing in Keeseville, NY – 12:30 pm
Renowned conductor Maestro Daniel Hege has renewed his contract as Music Director of The Binghamton Philharmonic Orchestra.
Hege first took the position in 2018 and with this renewal he will continue his role for another five years. He is a seasoned director as he was the music director of the Syracuse Symphony for 11 years and in 2009 he became the director of Wichita Symphony. Right before his current position he was named Principal Guest Conductor of the Tulsa Symphony of the 2015/16 season.
Hege comes from a line of musical talent as his grandfather, Boyd Eagle Piatote was a Jazz Musician and composer. Although he currently works in New York, he is a Nez Perce Colorado Native and a member of the Colville Confederated Tribes. He is also one of the only Indigenous orchestra directors in America.
In 1978, he graduated from Bethel College, Kansas where he studied music and history. He then received a Master of Music degree in orchestral conducting from the University of Utah. During his time in Utah, he founded the University Chamber Orchestra, and served as both the Assistant Conductor of the University Orchestra and Music Director of the Utah Singers.
Notably, in 2015, Daniel Hege conducted Bartok’s Bluebeard’s Castle, with operatic bass, Samuel Ramey.
In this upcoming season he plans to do more community outreach by participating in the Kilmer Lectures and adding a series of public chats at the Broome County Arts Council.
Bard College announced the return of its Bard Music Festival, “Berlioz and His World,” a two-weekend concert event in the Fisher Center for the Performing Arts Aug 9-18.
The festival has been presented since 1990 and this summer will be its 34th season. Co-artistic director and founder of the festival, Leon Botstein will conduct The Orchestra Now (TŌN) on weekend one and the American Symphony Orchestra on weekend two. The Bard Festival Chorale is also featured in all vocal repertoire under the direction of James Bagwell.
As referenced in the title, the theme of this year’s festival is French composer, Hector Berlioz. He was a guitarist and flutist who toured all over Europe but surprisingly was not very popular in his home country. His most famous work is Symphonie fantastique, an orchestra piece inspired by an opium dream. Aside from larger orchestral pieces, Berlioz also wrote songs for guitar and voice.
Weekend one is titled “Revolutionary Spectacle and Romantic Passion.”The first of these five concerts will be Symphonie fantastique performed by the TŌN. The last concert will pay homage to “Women Musicians in Berlioz’s Time,” with music from composers like Clara Schumann and Louise Bertin.
The final weekend explores “Music and the Literary Imagination.”The first concert of the weekend will move to Rhinebeck, NY in Episcopal Church of the Messiah for the sound of its renovated organ.
For the final concert, “Faust and the Spirit of the 19th Century,” on Aug 18, New York City residents have the opportunity to take a bus to and from the venue. The roundtrip can be ordered online. Tickets for mainstage events are $25 per person and the live streams are $20. Patrons can purchase these tickets on the Fisher Center website.
Program details of Bard Music Festival, “Berlioz and His World”
WEEKEND ONE: Revolutionary Spectacle and Romantic Passion
PROGRAM ONE: Staging the Musical Imagination
Friday, August 9
Sosnoff Theater
7pm performance with commentary by Leon Botstein, with Joshua Blue, tenor; Alfred Walker, baritone; Bard Festival Chorale and James Bagwell, choral director; and The Orchestra Now, conducted by Leon Botstein, music director (plus livestream)
Hector BERLIOZ (1803–69)
Symphonie fantastique: Episode de la vie d’un artiste, Op. 14 (1830)
Lélio, ou Le retour à la vie, monodrame lyrique, Op. 14b (1831–32, rev. 1855)
PANEL ONE: A Revolutionary Life in a Revolutionary Era
Saturday, August 10
Olin Hall
10am–12 noon
Leon Botstein, moderator; Anna Celenza; Esther da Costa Meyer; Michael P. Steinberg
Free and open to the public
PROGRAM TWO: Anxieties of Influence: Models and Teachers
Saturday, August 10
Olin Hall
1pm preconcert talk: Jonathan Kregor
1:30pm performance: Jana McIntyre, soprano; Rebecca Ringle Kamarei, mezzo-soprano; Tyler Duncan, baritone; Noël Wan, harp; Michael Stephen Brown and Erika Switzer, piano; Balourdet Quartet; and others
Hector BERLIOZ (1803–69)
Le montagnard exilé (1822–23)
Songs
Luigi CHERUBINI (1760–1842)
Etude No. 2 (1804)
Anton REICHA (1770–1836)
String Quartet in C minor, Op. 49, No. 1 (1803)
Carl Maria von WEBER (1786–1826)
Invitation to the Dance, Op. 65 (1819)
Elias PARISH ALVARS (1808–49)
Introduction and Variations on Themes from Bellini’s Norma, Op. 36 (n.d.)
Arias by Jean-François LE SUEUR (1760–1837), Gaspare SPONTINI (1774–1851), and Ambroise THOMAS (1811–96)
PROGRAM THREE: The Sounds of a Nation: Patriotism and Antiquity
Saturday, August 10
Sosnoff Theater
6pm preconcert talk: Sarah Hibberd
7 pm performance: with Jana McIntyre, soprano; Megan Moore, mezzo-soprano; Joshua Blue, tenor; Bard Festival Chorale and James Bagwell, choral director; and The Orchestra Now, conducted by Leon Botstein, music director (plus livestream)
Hector BERLIOZ (1803–69)
Hymne des Marseillaise (arr. 1830)
“Trojan March,” “Nuit d’ivresse et d’extase infinie,” and “Royal Hunt and Storm” from Les Troyens (1856–58)
Te Deum Op. 22/H.118 (1849)
Christoph Willibald GLUCK (1714–87)
Overture to Iphigenia in Aulis (1774; arr. R. Wagner 1847)
Daniel-François-Esprit AUBER (1782–1871)
Overture to Fra Diavolo (1830)
PROGRAM FOUR: Chansons, romances, et mélodies: Vocal Music from Cosmopolitan Paris
Sunday, August 11
Olin Hall
11 am performance with commentary by Byron Adams; with Jana McIntyre, soprano; Rebecca Ringle Kamarei, mezzo-soprano; Maximillian Jansen, tenor; Tyler Duncan, baritone; and Kayo Iwama and Erika Switzer, piano
Hector BERLIOZ (1803–69)
From Irlande, Op. 2 (1830); songs
Songs and arias by Giacomo MEYERBEER (1791–1864); Gioachino ROSSINI (1792–1868); Franz LISZT (1811–86); Richard WAGNER (1813–83); Pauline VIARDOT (1821–1910); Ernest REYER (1823–1909); Camille SAINT-SAËNS (1835–1921); Georges BIZET (1838–75); Pyotr Ilyich TCHAIKOVSKY (1840–93); and Gabriel FAURÉ (1845–1924)
PROGRAM FIVE: Women Musicians in Berlioz’s Time
Sunday, August 11
Sosnoff Theater
2:30pm preconcert talk: Hilary Porris
3pm performance: Laquita Mitchell, Monica Yunus, and Camille Zamora, sopranos; Rebecca Ringle Kamarei and Adriana Zabala, mezzo-sopranos; Noah Stewart, tenor; Babatunde Akinboboye, baritone; Anna Polonsky and Lucy Tucker Yates, piano; Sharyn Pirtle, director of Le dernier sorcier; and others (plus livestream)
Hector BERLIOZ (1803–69)
Le mort d’Ophélie, Op. 18, No. 2 (1842)
La captive, Op. 12 (1831–32)
Pauline VIARDOT (1821–1910)
Le dernier sorcier (1869)
Works by Gioachino ROSSINI (1792–1868); Louise BERTIN (1805–77); Clara SCHUMANN (1819–96); and others
WEEKEND TWO: Music and the Literary Imagination
PROGRAM SIX: Sacred Music in France
Thursday, August 15 at 7pm
Friday, August 16 at 3pm
Episcopal Church of the Messiah, Rhinebeck
With Renée Anne Louprette, organ, and members of the Bard Festival Chorale and members of The Orchestra Now, conducted by James Bagwell
Hector BERLIOZ (1803-1869)
Veni Creator Spiritus (c. 1860-68)
La fuite en Égypte: Mystère en style ancien (1850)
Choral and organ works by Dmitry BORTNIANSKY (1751-1825), Luigi CHERUBINI (1760–1842), Giacomo MEYERBEER (1791–1864), Gioachino ROSSINI (1792–1868), Pierre-Louis DIETSCH (1808–65), Alfred LEFÉBURE-WÉLY (1817–69), César FRANCK (1822–90), Camille SAINT-SAËNS (1835–1921), Gabriel FAURÉ (1845–1924), and Olivier MESSIAEN (1908–92)
PROGRAM SEVEN: Berlioz: The Composer as Writer
Friday, August 16
Sosnoff Theater
6:30pm preconcert talk: Peter Bloom
7pm performance: Jana McIntyre, soprano; Noah Stewart, tenor; Alfred Walker, bass-baritone; Luosha Fang, viola; Piers Lane and Orion Weiss, piano; and others (plus livestream)
Hector BERLIOZ (1803–69)
Harold en Italie, Op. 16 (1834; arr. Liszt)
Niccolò PAGANINI (1782–1840)
Cantabile (1823)
Felix MENDELSSOHN (1809–47)
Andante and Rondo Capriccioso, Op. 14 (1830)
Piano works and arias by Louis SPOHR (1784–1859), Fromental HALÉVY (1799–1862), Adolphe ADAM (1803–56), Mikhail GLINKA (1804–57), Michael BALFE (1808–70), Charles-Valentin ALKAN (1813–88)
PANEL TWO: Musical Romanticism and Literature
Saturday, August 17
Olin Hall
10am–12 noon
Eric Trudel, moderator; Francesca Brittan; Mark Pottinger; and others
Free and open to the public
PROGRAM EIGHT: Literary Romantics
Saturday, August 17
Olin Hall
1pm preconcert talk: Dana Gooley
1:30pm performance: Jana McIntyre, soprano; Rebecca Ringle Kamarei, mezzo-soprano; Noah Stewart, tenor; Tyler Duncan, baritone; Piers Lane, Anna Polonsky, and Orion Weiss, piano; Balourdet Quartet; and others
Hector BERLIOZ (1803–69)
Les nuits d’été, Op. 7 (1841)
Fanny MENDELSSOHN (1805–47)
From Sechs Lieder, Op. 1 (1846)
Felix MENDELSSOHN (1809–47)
String Quintet No. 2, Op. 87 (1845)
Robert SCHUMANN (1810–56)
Andante and Variations, Op. 46 (1843)
Piano works by Ferdinand HILLER (1811–85), Stephen HELLER (1813–88); and Louis Moreau GOTTSCHALK (1829–69)
SUMMER SOIRÉE
Saturday, August 17
Blithewood
3:30pm
PROGRAM NINE: An Evening with the Orchestra
Saturday, August 17
Sosnoff Theater
6 pm preconcert talk: Christopher H. Gibbs
7 pm performance: American Symphony Orchestra, conducted by Leon Botstein, music director (plus livestream)
Hector BERLIOZ (1803–69)
Waverley Overture, Op. 1 (1827)
Gioachino ROSSINI (1792–1868)
Overture to William Tell (1829)
Louise FARRENC (1804–75)
Symphony No. 3 in G minor, Op. 36 (1847)
Joachim RAFF (1822–82)
Symphony No. 10 in F minor, “In Autumn,” Op. 213 (1879)
PROGRAM TEN: Berlioz’s Transformation of the World of Sound
Sunday, August 18
Olin Hall
11 am preconcert talk: Richard Wilson
11:30am performance: Anna Polonsky, piano; New Hudson Saxophone Quartet; Bard Festival Wind Ensemble; and others
Hector BERLIOZ (1803–69)
Chant sacré (arr. 1844)
Jean-Baptiste ARBAN (1825–89)
Fantaisie and Variations on The Carnival of Venice (1861)
Richard STRAUSS (1864–1949)
Andante, op. posth. (1888)
Edward ELGAR (1857–1934)
Romance, Op. 62 (1910)
Eugène BOZZA (1905–91)
Andante et Scherzo (1938)
Edgard VARÈSE (1883–1965)
Density 21.5 (1936, rev. 1946)
Olivier MESSIAEN (1908–92)
Le merle noir (1952)
Steve REICH (b. 1936)
Clapping Music (1972)
Luciano BERIO (1925–2003)
Sequenza V (1966)
György LIGETI (1923–2006)
Six Bagatelles (1953)
PROGRAM ELEVEN: Faust and the Spirit of the 19th Century
Sunday, August 18
Sosnoff Theater
2pm preconcert talk: Francesca Brittan
3pm performance: with Sasha Cooke, mezzo-soprano; Joshua Blue, tenor; Alfred Walker, bass-baritone; Stefan Egerstrom, bass; Bard Festival Chorale and James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director (plus livestream)
The Bearsville Theatre complex lit up with excitement and good vibes on Friday, June 28 for a double-headlined show from Ratboys and Water From Your Eyes. The event brought together fans of a multi-genre spectrum and vibrant performances to Woodstock.Â
Ratboys
Chicago indie-rock band Ratboys, are on a break from their tour opening for The Decemberists, which picks back up in July. After which the band, comprised of Julia Steiner, Dave Sagan, Marcus Nuccio, and Sean Neumann, will embark on a fall headline tour. For now, theyâre playing a few headline shows including Friday nightâs juncture with Water From Your Eyes, who then go to Europe and return to the States for a lineup of festivals.
The show served as a standalone experience with both bands, who are currently on their respective tour schedules, coming together for one special show. Fans got to witness the first time the two bands played a show together since 2016. Fans of both bands in the audience blended in with each other seamlessly in this union of rock music.
Water From Your Eyes
As the crowd shuffled into the venue, the first band of the night, alt-rock group Water From Your Eyes took the stage. Singer, Rachel Brown, began by declaring they had lost their voice, however, they along with bandmate, Nate Amos, proceeded to put on an electrifying performance. Each band member brought their own style to the set, making it an enjoyable watch.
Ratboyâs set presented music from old and new albums filling Bearsville Theater with their repertoire of musical approaches. Frontwoman, Steiner, rocked a flying V guitar throughout the show adding flare to their rhythmic indie music. Each tune sonically transitioned into another, with the occasional introduction, making the exhibition of their music look so natural.
Because the room fostered such intimacy between the audience and the bands, the connection was radiant. Attendees were able to interact easily with the band, whether it was while they were on stage or walking around when they weren’t performing. Overall, the casual and welcoming nature of the concert left everyone in high spirits.
Julia SteinerSean NeumannJulia SteinerRachel BrownJulia SteinerRatboysWater From Your EyesRachel BrownRachel BrownSean NeumannRachel BrownDave SaganRachel BrownJulia SteinerRachel Brown
On Tuesday, July 2, jazz piano visionary Max Redko will offer a master class on new developments in jazz theory. Attendees will learn and discuss new techniques and theories from an incredibly gifted and highly acclaimed professional. For all those who wish to attend, the master class is located in Manhattan’s own Kaufman Center at 7 pm.
The basis of Max Redko’s master class is the art of improvisation. Redko believes that the musical structures, especially for jazz, are incredibly antiquated. For decades, musicians learned that jazz is composed according to a specific standard. Rules about chord progressions, rhythm, and meter created a “norm” for the genre. Deviation from this standard was actively discouraged.
While musicians obviously hold these practices in high regard, these old-fashioned techniques prevented them from being able to create newer, fresher music. Musicians have stuck to what is reliable, instead of taking the risks essential to the art of jazz. Reliance on the “correct” theory forced jazz musicians to play pre-composed music learned by heart, which steered away from the core meaning of the genreâimprovisation.
Redko’s master class plans on changing these ideas entirely. As the author of the Theory of Harmony of Music, Max Redko made a name for himself through his revolutionary theories in the world of jazz. Redko was the first who explain how to harmonize any note using all existing methods. His theory challenges ideas of the past and offers musicians an opportunity to embrace the spontaneity of jazz while giving the player complete autonomy.
Every time you listen to a pianist, you hear music that characterizes past times, mainly retro style, while art must reflect modernity. The world needs new quality!
Max Redko
For more information on Max Redko, his classes, and private lesson information, visit his website here. Sign up for the master class using this link.
Upstate meets the boroughs in this latest track between New York mainstays. 38 Spesh and Grafh team-up with Talib Kweli and Halie Supreme on “Right Now.” The first single from the duo’s upcoming collaborative album, God’s Timing.
Grafh and Talib Kweli go back-and-forth on “Right Now.”
“Right Now” is an ode to hip hop‘s backpack era with the drums as laidback and soothing as the lyrics are ferocious. Grafh and Kweli take turns attacking the track as their verses sees them have a career full-circle moment and acknowledge their place in hip hop while giving haters and doubters a piece of their mind. Additionally, Halie Supreme’s bridge and background vocals aide in the record’s ambience and add to the record’s intellect, providing a soothing backdrop to the hard-hitting lyrics and flow.
Set for release on July 26, God’s Timing features production in its entirety by 38 Spesh. With the Rochester native also providing several verses. The project also includes appearances from Jim Jones, Talib Kweli, Method Man, Vado, Freeway, Memphis Bleek and Peedi Crakk.
Moreover, “Right Now” showcases 38 Spesh’s versatility as a producer. After all on this latest track his slower, sample-heavy production gives way to a more upbeat, minimalist style. With Spesh curating his sound to mesh with Kweli, the possibilities are endless with the remaining features.
Hugely popular country-rock band, Hootie & The Blowfish touched down in Bethel on Thursday, June 27 during their “Summer Camp With Trucks” tour.
Bethel Woods Center For The Arts is a stone’s throw from the original site of the Woodstock music festival, and joining Hootie & The Blowfish is Collective Soul and Edwin McCain. Collective Soul is celebrating their 30th anniversary and did so by releasing their newest record, Here To Eternity.
As fans were still finding their seats, buying merchandise and beverages, McCain graced the stage. Joining McCain was Larry Chaney on lead guitar with Craig Shields on saxophone and keyboards. The trio had a short set yet prepped the crowd for the rock and roll later in the show. Throughout McCain’s set, he shared stories about his family and laughed with the audience in between songs. Some of his most popular songs like “I’ll Be” and “I Could Not Ask For More,” were received well by the fans. The trio’s chemistry on stage was extremely noticeable while they were on stage.
All the bands were on a tight schedule so Collective Soul hopped quickly on stage. The band blasted into their first song, “Mother’s Love” off their brand new record. The crowd rose to their feet at the start of the set and did not sit until the end of the last song, “Run.” Collective Soul’s style of rock is different than Hootie & The Blowfish’s yet at the same time, complimented each other. It was great to see so many people have equal interest in Collective Soul and Hootie & The Blowfish. The band’s nine-song set was packed with some of their biggest hits. The crowd sang along to every one of the group’s songs.
Collective Soul is fronted by Ed Roland on lead vocals and acoustic guitar. Joining Ed is his brother Dean Roland and Jesse Triplett on guitars. Will Turpin was on bass and Johnny Rabb on drums.
Collective Soul has always been a great band and their stage presence is unmatched. All of their songs are catchy and their legion of fans brought their singing voice with them. As the band started a cover of AC/DC’s Dirty Deeds Done Dirt Cheap, McCain ran on stage to help sing. This brought a loud cheer from the audience. “December,” off the band’s self-titled record was the second to last song played but was the fan favorite. The fans that sat down immediately stood up and took out their phones to record the tune.
With the sun now dipping behind the general admission lawn, the stage quickly was turned over. Hootie & The Blowfish’s road crew did a swift and efficient job at getting the gear all set and ready to go. Before anyone could get a new beer, 001: A SpaceOdyssey’s theme song was blasted into the set and the house lights dimmed.
Hootie & The Blowfish jumped into a cover of 54-40’s “I Go Blind” as the first song. Like Collective Soul, fans in the lower section remained on their feet for the entire 23-song set. The energy from the crowd was soaked up by the band as they had smiles on their face from the first note till the last.
The band is led by singer and guitarist Darius Rucker. Joining Rucker is Mark Bryan on lead guitar, Dean Felber on bass and Jim Sonefeld on drums. In addition to the quartet are touring musicians Gary Greene, Garry Murray and Lee Turner.
With the temperature dropping below the 60s, the cooler weather didn’t deter the band or fans. The rock-infused country style made fans feel right at home at the site of “peace and love.” Throughout the band’s set, they sprinkled in a ton of covers including “For What It’s Worth” by Buffalo Springfield, “Hey, Hey What Can I Do” by Led Zeppelin and “Solitude” by McCain. The latter even saw McCain, yet again, grace the stage to perform the song. The cheers for McCain were louder than the other two times. The band did a great job at adding their own twists to some of those classic covers and made some of the songs the memorable tunes of the evening.
The team that was mixing the band’s sound was at the top of their game. The band overall sounded great. No member was louder than the other, they were just perfect. Behind the band was a spectacular video screen with top-notch graphics of live video and different animations. It was amazing to see different animations of campfires and big trees displaying different color lights to the audience.
It’s difficult to not play the famous tune “Wagon Wheel” for Rucker and fans got their money’s worth when that song was played towards the back half of the set. Fans screamed at the top of their lungs and embraced their friends and partners. This tune has become a favorite among music lovers and it was a great song to hear live, it sent chills down the spines of fans across the amphitheater.
With the band in full command of the stage – and one shoeless Bryan – the band weaved in and out of covers and original material before the end of the set. The final song before the set was over was “Hold My Hand,” off of 1994’s Cracked Rear View and, like “Wagon Wheel,” people embraced each other as the band waved goodbye.
It wasn’t until the three-song encore started that more thunderous cheers were heard. “Go and Tell Him (Soup Song)” was the first song up to bat before a cover of Stone Temple Pilots’ “Interstate Love Song” was played. The STP song was one of the best songs and covers played that evening. Rucker’s vocals were on course with original singer, Scott Weiland and the rest of the band followed his lead.
Of course, “Only Wanna Be With You” was the very last song of the evening and while fans were slowly filing out of the crowd and into the cold night, there was not one negative word said. The crowd loved the entire show and it was all they could talk about as they left the amphitheater.
Hootie & The Blowfish’s “Summer Camp With Trucks” tour has two more dates left. On September 5, they will be in Long Island and on September 6 they will be in Syracuse. This is truly a show you do not want to miss, it’s spectacular in every sense of the word.
Edwin McCain setlist: Darwin’s Children, I Could Not Ask For More, Promise of You, I’ll Be
Collective Soul setlist: Mother’s Love, Bluer Than So Blue, Heavy, Shine, The World I Know, Dirty Deeds Done Dirt Cheap (AC/DC cover), Where the River Flows, December, Run
Hootie & The Blowfish setlist: I Go Blind (54-40 cover), Wishing, I Will Wait, Time, Running From an Angel, For What It’s Worth (Buffalo Springfield cover), Hannah Jane, Not Even the Trees, Will the Circle Be Unbroken? (William MacEwan cover), Desert Mountian Showdown, I Hope I Don’t Fall in Love With You (Tom Waits cover), Wagon Wheel (Old Crow Medicine Shop cover), Miss California, Hey, Hey What Can I Do (Led Zeppelin cover,) Solitude (Edwin McCain cover), Old Man & Me / Mo Money Mo Problems / Big Poppa, Let Her Cry, Losing My Religion (R.E.M cover), Alright, Hold My Hand, Go and Tell Him (Soup Song), Interstate Love Song (Stone Temple Pilots cover), Only Wanna Be With You
Saratoga Performing Arts Center (SPAC) is approaching its 58th season bringing music and performing arts to the Capital Region, and the beloved arts non-profit has many exciting performances in store for the 2024 season.
SPAC opened in 1966 in Saratoga Springs, and is set within a 2,400 acre park preserve just 35 miles north of New York’s capital. The non-profit hosts concerts across all genres, and boasts arts education programs across culinary, visual, and literary fields. Notable past performers include 25 concerts by Phish, 44 from Dave Matthews Band, and a legendary performance by The Grateful Dead in 1985.
Chamber Music Society of Lincoln Center
SPAC will welcome the Chamber Music Society of Lincoln Center for two unique performances in 2024 as part of its summer residency program.
Instrumental Array, a celebration of unusual pairings in classical music, will feature three duos performing selections from Beethoven, Rossini, Britten, Duruflé, and Hummel. The groups will grace the stage at SPAC’s Spa Little Theatre on March 9.
SPAC will welcome Chamber Music Society of Lincoln Center Artistic Directors Wu Han and David Finckel, alongside guest violinist Chad Hoopes on May 11 to close their season. The trio will perform works by Mozart, Mendelssohn, and more, as they share their artistic expertise with the Capital Region.
Chad Hoopes, guest violinist
BalletX
Saratoga will host BalletX, a Philadelphia-based ballet company heralded as a refreshing, expert take on a classic style. The group is deeply involved in the Philadelphia community, aiding in dance education in local public schools, facilitating community pop-up events, as well as offering open rehearsals for audiences to watch dancers perfect their skills. The company will perform works choreographed by Jorma Elo, Jamar Roberts, and Jennifer Archibald. BalletX will visit SPAC’s Spa Little Theater on March 16 and 17.
TISRA: Zakir Hussain
Zakir Hussain, alongside Sabir Khan and Debopriya Chatterjee, will visit SPAC’s Spa Little Theater on March 23. Hussain, a renowned Indian percussionist and composer, will lead the group featuring a unique combination of tabla, sarangi, and bansuri (bamboo flute) music.
Summer Concerts
Saratoga Performing Arts Center’s beautiful Amphitheater, featuring Broadview Stage, is an unbeatable summer concert experience. SPAC will host an exciting lineup of musicians on the big stage this summer.
Irish superstar Hozier will play at SPAC on May 19 as part of The Unreal Unearth Tour across North America. Hozier’s third studio album of the same name released on August 18 to massive success, and he continues to tour supporting the new release.
Parker McCollum will make a stop at SPAC on his Burn It Down Tour on May 24. Alongside special guest Corey Kent, the country star will be promoting his newest album, Never Enough, and recent single release, “Burn It Down.”
May 25 – The Beach Boys
May 26 – Khruangbin
May 31 – Summer SPACtacular
Jun 2 – The Adirondack Trust Company Festival of Young Artists
Jun 7 – HARDY
Jun 12 – John Fogerty
Jun 15 Hootie & The Blowfish
Jun 16 – Romantic Masterpieces
Lainey Wilson will visit Saratoga on June 20 as part of her Country’s Cool Again Tour, with special guests Ian Munsick and Zach Top. The Nashville-based country artist titled her style “bell bottom country,” which also served as the title of her newest album in 2022.
Former One Direction member and Irish pop star Niall Horan will play SPAC on June 21. The Show, his newest album release, drives his biggest tour since 2018, dedicating the summer months to the North American leg.
Tyler Childers will bring the Mule Pull ‘24 Tour to the SPAC stage on July 3 alongside special guests S. G. Goodman and Wayne Graham. Known for his unique combination of folk, country, and bluegrass alongside his distinct vocals, Childers will tour his brand new album Rustin’ In The Rain.
SPAC will host a Beatles tribute concert featuring Rain, a tribute group famous for their similarity and dedication to the iconic rock four-piece. Rain will play on July 17, featuring greatest hits, deep picks, and more from the Beatles’ iconic songbook.
Earth, Wind & Fire and Chicago will co-headline SPAC on July 24 on their Heart & Soul Tour 2024. With a collaborative encore featuring both bands, the show will be a special night showcasing some of the country’s legendary music.
Foreigner and Styx will play the Broadview Stage at SPAC on July 30 along their Renegades & Juke Box Heroes Tour this summer. Joined by special guest John Waite, the tour will mark the bands’ last tour together with a show for the history books.
New Kids on the Block will make a stop at SPAC on their Magic of Summer 2024 Tour, reviving their 1990 tour of the same name. With special guests Paula Abdul and DJ Jazzy Jeff, the group will revive old favorites, greatest hits, and more on August 11.
More information and tickets for all shows are available at here. More shows will be announced as the 2024 season approaches, so check back for more performing arts concerts and events at SPAC.
2024 Season of Concerts at Saratoga Performing Arts Center
March 9 – Instrumental Array – Chamber Music Society of Lincoln Center
March 16-17 – BalletX
March 23 – TISRA: Zakir Hussain, with Debopriya Chatterjee and Sabir Khn
May 11 – Wu Han, David Finckel, and Chad Hoopes – Chamber Music Society of Lincoln Center
May 24 – Parker McCollum – Burn It Down Tour
June 20 – Lainey Wilson – Country’s Cool Again Tour
June 21 – Niall Horan – The Show Live On Tour
July 3 – Tyler Childers – Mule Pull ‘24 Tour
July 24 – Earth, Wind & Fire, and Chicago – Heart & Soul Tour 2024
August 11 – New Kids on the Block – Magic Summer 2024 Tour
On Sunday, June 30 at 3:52am, flames consumed the Lake George Village Bandstand in Shepard Park. The bandstand – located at the heart of the village hosts numerous summer concerts. Due to the fire, the future of Lake George’s summer concerts is now uncertain.
For years, Shepard Park has been a Summer staple in Lake George. Located in the heart of the village, the park offers beach access to the lake. On top of aquatic fun, the park has attracted countless visitors with its picnicking, and playground spaces.
At the center of the park stood the Lake George Village Bandstand. The bandstand takes the form of a stone amphitheater facing a newly renovated wooden concert stage. The amphitheater provided Lake George residents with a premier outdoor concert venue with great views of the lake.
Since its 2017 renovation, the bandstand has hosted Lake George’s free summer concerts. Starting in June 2024, a host of weekly performances were slated for the Summer. The venue planned to host performances from local bands as part of its Concert Series Wednesdays, Tribute Tuesdays, and Fridays at the Lake. In addition to this, the bandstand planned to host multiple rock, jazz, and pop music festivals.
These plans were thrown into disarray on Sunday morning when the Village Bandstand went up in flames. At 3:42am the Lake George fire department received a call regarding the fire and quickly responded with aid from North Queensbury Fire. Authorities say there were no injuries in the fire, but the bandstand structure suffered severe damage. The Post Star newspaper was among the first to report on the fire, posting this video of the aftermath to their website.
Reportedly, the fire began in a locked utility room adjacent to the stage, with an electrical cause confirmed by multiple inspectors and agencies involved. “All indication says that’s where it started. Nobody could have gotten in there because a padlock was still on the charred remains of the locked door,” said Ray Perry, Mayor of the Lake George Village, to the Post Star.
The fire has led to an outpouring of support from performing artists. Glens Falls band Seize Atlantis wrote on Instagram “Our hearts go out to everyone impacted by this from the music community to the entire 518 community at large.” Guitarist James Mullen spoke to NYS Music regarding a benefit concert for the lost venue, “Hopefully we can put together something special and help heal and rebuild for the LG community. We can’t just let this space go.”
A photo of the bandstand remnants from Seize Atlantis’ instagram post
Since the fire, the future of Lake George’s Summer concerts has been unclear. Mayor Ray Perry remains dedicated to keeping the venue’s concert plans on track, telling the Chronicle “ I’m just trying to save the summer.” Deputy Mayor Joseph Mastrodomenico Jr added “we will do what we can as soon as we can To somehow make our summer activities continue.”
Jim Anderson, Fridays at the Lake promoter, told NYS Music “We have an immediate plan that will let us play this Friday (July 5) and we are working on the longer term solution which will allow us to play all shows on the schedule.”
The Black Soprano Family continues to build its name in hip hop’s underground scene. This time around the two newest signees to Benny the Butcher’s imprint come together as OT The Real and Fuego Base release Moving Base OT.
Executive produced by Benny The Butcher, Moving Base OT features appearances from Benny & Fellow Black Soprano Family member Rick Hyde & Sule. The 10-track project serves as a sophomore effort for street rhymers Fuego The Base and OT The Real, with the duo releasing the music video for “Battle Scars” featuring Benny The Butcher in promotion of the project.
The lead single keeps it raw and gritty as the BSF trio present themselves on a corner block, a basketball court and a local fur/leather shop. Moreover they exchange war stories as the production maintains the street corner to plug aura that Benny has established with BSF.
Thus with Benny’s aide Philadelphia-bred OT The Real and Hartford native Fuego Base look to build on their fanbase outside and generate buzz outside of the hardcore underground hip hop types. Following the release of their respective BSF-debuts (Zombie and Biggest Since Camby) they’ve each done solo work with OT The Real releasing two full-length projects on his own label. Now they look to capitalize on their momentum.
