Sydney Irving is one of Central New York’s fastest rising up-and-coming musicians. With mature lyricism and a natural knack for music, she has worked her way up in the state’s rock and country scenes. After years of recordings and live performances across New York under her belt, she is poised to be the next big thing.
Photo by Daniel Bocchino
Irving’s musical journey began in Syracuse, in the heart of New York State. A steady musical diet of Tom Petty and Taylor Swift inspired her to take up songwriting at a young age. Her musical career truly began at age 13. After receiving a Breedlove acoustic guitar as a gift, she quickly took to penning tunes.
At only age 14, Irving recorded her debut album Hello Stranger. The album exudes youthful energy, with surprisingly complex lyrics for such a young songwriter. The title track is an upbeat ukulele-driven indie pop number, discussing an enigmatic and lost person.
Irving followed up her debut with 2018’s The Halfmoon Sessions. This sophomore effort reflects a rapid musical maturation. The record featured much more lush, acoustic instrumentation compared to her debut. The track “Where Do I Stand” reflects this musical evolution. A driving drum beat supports Irving’s acoustic guitar. Her lyricism also evolved, with the track discussing someone trying to change their fate regardless of the uncertainty it might bring.
She wrapped up the 2010s with a pair of EPs titled Greene and Ronan. Irving recorded these EPs with her band The Mojo in a rural log cabin. This change in scenery reflected a change in sound. These EPs saw Irving experiment with rock elements, such as on the track “Look What You Do to Me.” Songs like this marked a pivotal change in Irving’s career that would launch her to fame in the 2020s.
Photo by Daniel Bocchino
Sydney Irving kicked off the 2020s with a bang, releasing the singles “You Can’t Forget About Me” and “Seasons Change.” These songs quickly soared to the top of Music Mafia Radio Top 30 Countdown, propelling Irving into the spotlight. The track “Seasons Change” is the culmination of all Irving’s previous work. It has a driving country-inspired rock groove that feels straight out of the 1970s. The lyrics about how fast life can change are supported by a catchy chorus that sticks with the listener. Alongside success on the charts, Irving received growing critical acclaim for these songs. In 2020, the International Singer Songwriters Association named Sydney Irving the Young Adult Artist of the Year. Two years later, these accolades continued with Irving winning Best New Artist at the 2022 SAMMYS.
2023 proved to be an especially important year for Irving, seeing the release of her 6th record, live shows, and countless awards. At the center of this year was her release Unfashioned Creatures. The album featured some existing tracks, like the aforementioned “Seasons Change,” with a host of new songs. This album takes all of Irving’s influences and hones them down into a solid pop record. Tracks like “You Can’t Forget About Me” and “Rain” continue her explorations into Tom Petty-inspired heartland rock. The song “Find Me” is a highlight of the album, sounding straight off of a folksy Taylor Swift album. Unfashioned Creatures illustrates Irving at the top of her songwriting game, and has likewise only increased her notoriety.
In addition to her new release, Irving toured nonstop throughout 2023. Of special note was her performance at Binghamton’s Spiedie Fest. She took the stage on the final day of the festival in support of headliner Gavin Degraw. During her set, Irving had the audience captivated in no time. Across her original songs and covers of Ramones and Taylor Swift, Irving kept the audience clapping and singing along. Shows like this illustrate that Irving, while just getting started, already has the stage presence and charisma as a veteran touring musician.
Her newest album and touring have helped make a name for Irving among music critics. In 2023, she was recognized as the Best Pop Artist at the Mississippi Music Awards, showing just how far her music has reached. Back home in Syracuse, Unfashionable Creatures also won Best Pop Album at the 2024 SAMMYS.
This year, Sydney Irving has continued to release music, with a cover of Dolly Parton’s “Jolene.” Parton’s music has been a major inspiration on Irving’s songwriting. In many ways, the choice to cover this song reflects Irving’s aspirations in the music industry. She said “I could only hope to someday be able to write as many extraordinary songs that strike a chord in a listener the way Dolly has done. She is a lyric goddess!” Shannon Steele of Kickin’ Kountry 101 radio called Sydney Irving’s cover “the real deal.”
This massive success has only increased Irving’s hard work. Throughout July and August 2024, Sydney Irving will be performing near daily concerts across Central New York. With shows hitting the big cities of Syracuse and Binghamton, and small towns in the Finger Lakes and Adirondacks, fans across the state can witness her songs in person. These shows also illustrate Irving’s ability to conquer the stage, no matter the size. She will be performing everywhere from local breweries to large outdoor festivals, even doing a set at the Utica Zoo.
With so many albums and concerts already under her belt, Sydney Irving has nowhere to go but up. She already illustrates a mastery of pop melodies and emotional songwriting, matched by a glowing stage presence. Keep Sydney Irving on your radar, as she is one of the fastest up-and-coming musicians in all of New York State.
For more information on upcoming shows and releases, visit Sydney Irving’s website here.
This summer, The Homer Center for the Arts on 72 S, Main Street, in Homer is teaming up with So Good! Ice Cream to present a diverse line-up of music for the late summer.
With incredible ice cream, homemade cotton candy, unique sundaes, killer sunsets, and home of the So Good Music Series, each summer the ice cream site hosts the series. Plus, So Good! features “Adult Only” specialty ice cream for those 21+, with shows beginning at 7:00 pm.
On August 8th Colleen Kattau and Kyle Michio will be taking the stage, showcasing their talents and enhancing each other’s performance. Colleen Kattau is an award-winning blingual singer-songwriter, known for her blend of folk and latin music, her soulful voice brings the lyrics to life. As a beloved figure in the folk world, Kattau connects with the audience through her composition full of nature, social movements, and Latin American nueva canción.
Micho is a multi-instrumentalist and songwriter from Syracuse with a large span of genres from folk, jazz, to classical music. His blend of sounds are both innovative and contains traditional music.
On August 22nd, Second Spring and Mr Gâs Homie Discount will be performing. Second Spring is a local Ithaca indie rock band that brings contemporary music to life. The band currently consists of members Isabella Gold, Erin Wagner, Isaiah Berger, Carys Banford and Aron Kaplan-Hall. With energetic an heartfelt performances, Second Spring has a loyal following.
Mr G’s Homie Discount blends funk, soul, and hip-hop. With a groovy and magnetic stage presence, the band has an infectious energy, making the crowd dance.
New York City’s own Scotia Rose have made their debut with two singles, “Run” and “Queens and Kings.” Beginning with an intensely suspenseful drumline, “Run” offers a unique blend of hard rock and country pop. “Queens and Kings” is a heartwarming ode from Scotia Rose’s front man to his bandmates, admiring their work ethic and dedication.
Comprised of musicians from NYC’s cover band circuit, Scotia Rose was formed after the COVID-19 Pandemic. Led by Jeff Weiss, the band includes musicians from different genres, with Jason Laney on keyboards and backup vocals, blues/rocker Marcela de Campos on guitar, Antoinette Ady on violin, and Andrew Koss on bass.
Frontman Jeff Weiss wrote “Run” as his previous band, U.S. Americans, were getting ready to play their final show. He said of the experience, “I wasn’t quite ready to throw in the towel…The only answer I could find was to keep pushing, keep fighting, keep running. Run away from that ending toward a new beginning.”
Weiss credits “Run” for giving him the courage to start over. “Once I finished it, I knew it was time to close one door and open another.” The bittersweet feeling of moving on shines through in the accompanying music video, with footage that evokes feelings of hope and loss. The director of the music video, Kevin Banker, made the video with full creative liberty. Weiss said, “I didn’t tell [Banker] what the song was about. I prefer not to and let the listener find their own meaning. Kevin said he felt feelings of loss and he wasn’t wrong.”
The second single, “Queens and Kings”, offers a release of optimism, with a melodic chorus and bright piano. Scotia Rose took the music video as an opportunity to showcase their stage presence and dynamic. The video features footage of the band hanging out in Carl Schurz Park and playing at The Cutting Room, shot by Hugo Salazar.
Scotia Rose marked the beginning of a promising career with their debut. The band is set to play more shows in New York and Connecticut. Tickets are available at the following link, and the music video for “Queens and Kings” is available below.
On August 1, The Black Ties delivered a blast from the past performance at the Fort Wadsworth Outlook in Staten Island, entertaining an audience with their dynamic blend of rock, soul, folk, and even a few Black Ties original songs while the sun sets right in front of the Manhattan skyline.
The evening was getting underway with breathtaking views of the Manhattan HighLine, leaving the crowd in a serene setting. The Black Ties opened their act with a medley of classic rock hits that got them up and dancing right off the bat. With seamless transitions between rock to soul anthems like “Band On The Run” by Paul McCartney to “My Girl” by The Temptations, the energy never dipped from its top.
The Black Ties kept the audience guessing all through the night with their freeform style. With no setlist, it was a breeze from song to song, well-loved classics blended with their own material. Among the highlights were timeless hits done and some from their own catalog. The enthusiasm of the crowd was in the air with cheers and applause that went ringing across the Outlook.
The energy peaked as the show came to a close with a spontaneous “one more song” chant from the audience. The Black Ties responded in kind, driven by a strong and sincere performance of the “Star-Spangled Banner,” effectively closing the evening patriotically and emotionally. The audience joined in to create one of those really special moments of unity and shared experience.
Alice Cooper launched his “Too Close for Comfort” North American headlining tour at the OLG Stage in Niagara Falls, Canada on Tuesday July 30.
It was an unforgettable night that left fans buzzing with excitement. Despite a slight delay in the show’s start, the rock legend wasted no time in proving why he remains a vital force in the world of rock and roll. This was the first time Cooper played this venue in Niagara Falls. The last time he played the area was the fall of 2022 at Sheas in Buffalo.
The moment the lights dimmed, a wave of anticipation swept through the crowd. As the clock ticked past the scheduled start time, murmurs of impatience began to ripple through the audience. However, all was forgiven the instant Alice Cooper stormed the stage and launched into the electrifying opener, “Lock Me Up.” The high-energy performance immediately set the tone for the evening. Cooper’s signature raspy vocals and theatrical stage presence, captivated the audience.
Following the explosive opener, Cooper seamlessly transitioned into “Welcome to the Show,” a fitting anthem for a night that promised rock spectacle at its finest. The band’s tight musicianship and Cooper’s commanding presence turned the venue into a carnival of rock, complete with his trademark macabre flair. The song’s lyrics seemed to invite the audience into Cooper’s world, a blend of horror and rock ‘n’ roll that fans have cherished for decades.
The true highlight of the evening came with the third song, “No More Mr. Nice Guy.” The classic hit had the entire audience singing along, a testament to Cooper’s enduring appeal and the timelessness of his music. As he belted out the chorus, it was clear that Cooper’s voice has lost none of its edge over the years. The performance was infused with a raw energy that transported the audience back to the 1970s, when the song first made its mark on the rock scene.
Throughout the concert, Cooper’s band provided a rock-solid foundation, with blistering guitar solos, pounding drums, and thundering bass lines that kept the energy levels high. The stage production was equally impressive, featuring the elaborate props and dark, theatrical elements that have become synonymous with an Alice Cooper show. The setlist, a mix of classic hits and newer material, was carefully curated to keep fans of all ages engaged and entertained.
The setlist was a thrilling journey through Cooper’s extensive catalog, featuring fan favorites and deep cuts alike. “I’m Eighteen” and “Under My Wheels” kept the momentum going, while “Bed of Nails” and “Billion Dollar Babies” showcased the bandâs prowess. “Hey Stoopid” and “Be My Lover” were delivered with infectious enthusiasm. “Snakebite” and “Feed My Frankenstein” brought a touch of theatrical horror that fans loved.
“Lost in America” and “He’s Back (The Man Behind the Mask)” added to the night’s nostalgia, and the crowd roared during “Poison,” which was followed by a powerful drum solo. “Welcome to My Nightmare” and “Cold Ethyl” maintained the eerie atmosphere, while “The Black Widow” and “Ballad of Dwight Fry” were masterfully performed.
Alice Cooper demonstrated why he remains an iconic figure in the music world. Fans left the OLG Stage in Niagara Falls not just satisfied, but exhilarated, having witnessed a true legend in action. If this show is any indication, the rest of the tour promises to be a wild, unforgettable ride.
Once this headline tour ends later this month, Alice Cooper with join up with Rob Zombie for more shows this summer for the ‘Freaks on Parade’ tour. Alice Cooper’s band consists of Chuck Garric on bass, backing vocals, Ryan Roxie an Nita Strauss on guitars, Tommy Henriksen on guitars, backing vocals, and Glen Sobel on drums. Alice Cooper will be back in New York on September4 in Syracuse.
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!
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.
Tag’s Summer Stage, located in Big Flats, NY, is set for three more concerts in their summer series.
The large Southern Tier venue has hosted an impressive line-up featuring Billy Currington, Rip Moore, Larry Fleet, Brantley Gilbert and more. The rest of the season will feature Primus, Coheed & Cambria, The Australian Pink Floyd Show, and Flo Rida, bringing in a diverse genre of music from country to hip-hop, something for everyone to dance to.
August 10th, 7:00PM – Primus, Coheed and Cambria with Puddles Pity Party
The Mich Ultra Summer Stage at Tag’s welcomes cutting-edge rock superstars, PRIMUS with special guests’ progressive rock, & science fiction comic band Coheed and Cambria & America Got Talent Puddles Pity Party. Joining together for a night of unforgettable entertainment
September 8th, 7:30PM – Australian Pink Floyd Show
Selling over 4 million tickets worldwide and described by The Times as “The Gold Standard” and The Daily Mirror as “The Kings of the Genre”, The Australian Pink Floyd Show Performing the music of Pink Floyd with a note for note perfection, this critically acclaimed show has been astonishing audiences worldwide for more than three decades.
Always striving to reproduce the complete Pink Floyd experience and bring the music to new audiences, the show continues to include a stunning light and laser show, video animations, state-of-the-art, high-resolution LED screen technology, and other special effects. In addition, and in true Pink Floyd fashion, there are several huge inflatables including a giant pig and their own unique Pink Kangaroo.
September 14th, 8:00PM – Flo Rida
Grammy-nominated hip-hop superstar known for his party anthems, Flo Rida, brings his high-energy party to Tag’s Summer Stage Series for one electric night on, Saturday, September 14th. Joining Flo Rida is the #1 US Billboard Hot 100 chart-topper, with over 100 million records sold worldwide, is MIMS. To get the party started off right a world-class DJ will spin the tunes to keep you dancing the night away. It promises to be one unforgettable evening. We can’t wait to see you all party at “My House”, as we all have a “Good Feeling”, it’s going to be one of the “Wild Ones.”
In what would have originally seemed as an odd tour grouping, Counting Crows and Santana have embarked on a summer tour across North America playing a total of 29 shows.
For long time fans of both bands, this will of course not come as a shock as back in 2002 both bands toured together for the first time.
The tour kicked off in Florida and made its way to Long Island this past weekend, with a sold out show at Northwell Health at Jones Beach Theater in Wantagh. Counting Crows opening the night with a 13 song, 70 min set and Santana and his massive band ripping through 19 songs during their 105 min set.
Counting Crows Setlist: Hard Candy, Richard Manuel Is Dead, Mr. Jones, Colorblind, Omaha, Anna Begins, Miami, Big Yellow Taxi (Joni Mitchell cover), Round Here, Rain King, the 1 (Taylor Swift cover), A Long December, Hanginaround, Holiday in Spain
Santana Setlist: Soul Sacrifice, Jin-go-lo-ba (Babatunde Olatunji cover), Evil Ways (Willie Bobo cover), Black Magic Woman / Gypsy Queen, Oye cómo va (Tito Puente cover), Everybody’s Everything, Europa (Earth’s Cry, Heaven’s Smile), The Game of Love, She’s Not There / Spill the Wine / Papa Was a Rolling Stone / In-A-Gadda-Da-Vida, Sacalo, Hope You’re Feeling Better, (Da le) Yaleo, Put Your Lights On, Corazón espinado, Maria Maria, Foo Foo Encore: Are You Ready (The Chambers Brothers cover), Drum Solo, Smooth
NYC based artist Joe Geni released his single “City Where The Sky Subsides” on July 23 as a preview to his third album Cities Built Upon Cities.
The single is an electronic rock song with operatic vocals and an orchestral background. As inferred in the title, the song describes the story of a date being rained out and the disappointment that came with it. Geni is known for his speed and pitch manipulations. With a 3.5 octave range he has a unique talent.
Geni is originally from Illinois but moved to the NYC area for various jobs with the United Nations and eventually, his music career. Working between Manhattan and Long Island City, the ever-changing environment inspired his writing and upcoming album.
His career started in 2019 with his album After Wandering Empire and then Doggerland in 2021. Geni released another single, “City of Energy” earlier this year which will also appear on the Cities Built Upon Cities album coming out on Oct. 4.
Producer Charlie Nieland mixed his past and upcoming album giving it a new wave feel. Nieland previously worked with popular 80’s rock artists like Debbie Harry and Rufus Wainwright.
You can listen to Joe Geni’s music on any streaming service.
