After a successful tour opening in Brooklyn, Clutch and Rival Sons brought their duel headlining tour dubbed “The Two-Headed Beast” tour to the College Street Music Hall in New Haven, Connecticut.
Joining the two bands was the Orange County California band, Fu Manchu. The night was summed up perfectly by Rival Sons lead singer Jay Buchanan when he said “What a rock and roll evening it’s been.” Clutch closed the evening playing the entirety ofBlast Tyrant. It’s always cool to see when artists play their records all the way through.
The rock and roll festivities started when the doors opened at 6:30 and fans began to file into the theater. When Fu Manchu jumped on stage, fans had parked themselves in front or upstairs to witness the headbanging set. Despite Fu Manchu only playing for half an hour, they left their mark on the audience. Their heavy set featured new songs off their new record The Return Of Tomorrowas well as classics.
The powerful quartet featured the duo of Scott Hill on vocals and guitar along with Bob Balch on guitar. Also, Scott Reeder was behind the drums kits with Brad Davis at stage right on the bass. The band created such a heavy sound that fans in the audience could feel the power through their speakers. They were so heavy that they could feel the thumping in their chests during the 30-minute set.
As is tradition with co-headlining tours, it was Rival Sons’ night to play as the middle band. With the lights dimmed, the five-piece band slithered on stage and jumped right “Mirrors.” For the entire time that they were on stage, they blew away the audience with amazing guitar chords and excellent songwriting.
It’s amazing that during the show, Buchanan didn’t lose his voice. His powerful screaming left the entire crowd in awe. While Buchanan pranced around the stage in his bright red, Scott Holiday was dressed and looking as cool as ever. Holiday was suited up with a beautiful teal jacket, hat, sunglasses and scarf. It made him look like the perfect rock and roll outlaw. Throughout the night, his guitar tech would continue to bring out colorful guitars that would sound just as they looked, amazing.
Rival Sons played a total of 13 songs that spanned their discography. They showed their versatility when they jammed during “Open My Eyes” and played a ballad off their 2014 record. Fans got their money’s worth at this point as it was easy to tell that Rival Sons is a tightly rehearsed band. They didn’t miss a beat and had a stage chemistry that was apparent to the audience with each passing song.
Joining Buchanan and Holiday on stage was Dave Beste on bass, Jesse Nason on keyboards and Mike Miley on drums. Miley was drumming so hard that you could see how sweaty he was while on stage.
As the night slowly got later, fans refused to go anywhere until Clutch played their entire record. It wasn’t till after 9:30 hit until they hit the stage but, like Rival Sons, the minute they started their first song, there was no turning back. Their set felt like a train that would not stop. The constant rhythm of their music and their high level of energy made for a great night of music.
Like with any hard rock band and a general admission audience, mosh pits are bound to happen. During Clutch’s set, one did appear. But, in one moment between songs, lead singer Neil Fallon announced to the crowd that there were “young people against the barricade.” He that they were able to continue to mosh but to be respectful of the people around them. What Fallon said is what a true lead singer should do. It was a very respectful move on his behalf. The moment certainly won over a few fans who might have stayed after the Rival Sons set.
During the set, Fallon was the only member of the band to come within three inches of the edge of the stage. Throughout the entire night, he was running back and forth from one side to the other giving it his all. Bassist Dan Maines and guitarist Tim Sult flanked drummer Jean-Paul Gaster on both sides and didn’t move for the entire show. Sult shredded the entire time and stared down at his guitar barely looking up once as if he was possessed by his guitar.
Their set was amazingly heavy, a perfect blend of rock music. With each song coming to a close, the entire place erupted with joy and filled the theater. Their style of hard rock was the perfect way to end the night. People excited the College Street Music Hall with smiles on their faces. It’s not very often that acts will play an album of theirs front to back and straight through. So when they do, it’s an extra special night.
Clutch & Rival Sons “The Two-Headed Beast” tour is not to be missed. Between Rival Sons’ classic 1970s rock and roll style and Clutch’s hard rock, despite their styles being different, they make for a spectacular night. Despite the tour not swinging back into New York, fans need to try and catch them on one of their other upcoming dates. This late summer/fall tour is one to be remembered for both styles of rock meeting in the middle for a night of thrilling music between multiple bands.
Fu Manchu Setlist: Eatin’ Dust, Evil Eye, Hands of the Zodiac, Hell on Wheels, King of the Road, Loch Ness Wrecking Machine, Saturn III
Rival Sons Setlist: Mirrors, Nobody Wants to Die, Tied Up, Sleepwalker, Too Bad, Get What’s Coming, Open My Eyes, Pressure and Time, Feral Roots, Where I’ve Been, Do Your Worst, Electric Man, Secret
Clutch Setlist: Mercury, Profits of Doom, The Mob Goes Wild, Cypress Grove, Promoter (of Earthbound Causes), The Regulator, Worm Drink, Army of Bono, Spleen Merchant, (In the Wake of) The Sollen Goat, Subtle Hustle, Ghost, (Notes From the Trial of) LACurandera, Burning Beard, Slaughter Beach, Nosferatu Madre, D.C. Sound Attack!
Thirty years ago, one of hip-hop’s biggest stars prepared to release his debut album. Biggie Smalls, The Notorious B.I.G, or Biggie, whichever nomenclature most suits you, had recorded one of the most important and influential albums of not only his era, but in hip hop and music history. As rap music began to take its place as part of mainstream culture, there was no telling what would follow with the release of Ready to Die on September 13, 1994.
Now, a full three decades later, it’s impossible to ignore the impact of Biggie’s only non-posthumous release. For a Brooklyn native, Biggie’s music is ever-present; blasting through the speakers of passing cars, in stores, and especially at parties (even now, no party is complete without a splash of “Warning” or “Mo Money Mo Problems”).
In Brooklyn, Biggie’s impact is found everywhere. You won’t get too far without seeing a mural dedicated to him. From East New York to Bay Ridge to Caroll Gardens, his face is plastered on walls, t-shirts, and merchandise in almost every store, and one of his most iconic (and laughably ironic) quotes from “Juicy” is spray painted everywhere: “Spread love, it’s the Brooklyn way.” Bed-Stuy revels in his impact on hip hop and the borough, as Biggie repped Brooklyn hard. Hence, now the city immortalizes him within the city’s infrastructure, with the city even naming the street he was born on after him. Rappers copied everything he had to offer; his flow, his style, his music subjects. They even would gather an entourage that was similar to Junior M.A.F.I.A., and of course, would copy his “beef” with Tupac.
Biggie’s Legacy
However, his legacy doesn’t stop at street signs and t-shirts or even music itself. The impact of his death (and Tupac Shakur’s) rewrote the rules to which an artist gains mainstream momentum.In the years following his and Tupac’s deaths, listeners were itching for another great conflict, missing the frequent drama and excitement and excellent music it brought. The entertainment of the Bigge-Tupac beef was what plunged rap into the mainstream, and it was only a matter of time before it became a regular aspect of the culture.
Amidst the influx of West Coast success (The Chronic, Doggystyle), Biggie, Nas & Wu Tang helped turn the tide, bringing a certain grit that over produced West Coast beats could not match. After all, Ready to Die was a testament to Biggie’s days as a young hustler just trying to make it big, as he details the life in the streets and the drug game. The album featured artists that would later be leading figures in hip hop, including Diddy, Method Man, and Lil’ Kim. The three singles released in anticipation of the album, “Juicy,” “Big Poppa,” and “One More Chance,” charted on the Billboard Hot 200 and were certified Gold (“Juicy”) and Platinum (“Big Poppa” and “One More Chance”) by the RIAA.
The Aftermath of Ready to Die
The surmounting success of Biggie’s debut implemented a drastic change in the culture’s perception of hip-hop. Rap was now a serious contender in the music industry, developing its own subculture with a discernable music and fashion style. Rappers from both coasts became more present in media, each competing for the top spot in the game; Biggie, Diddy, and Wu-Tang Clan from the East, and Dr. Dre, N.W.A, and Tupac from the West.
But with this emergence, a dark side followed. West Coast rappers were still gaining traction in the scene, battling with East Coast rappers for the top spots on the charts and within the zeitgeist. Biggie’s Ready to Die caused an almost cult-like following to develop in New York, forming the group Junior M.A.F.I.A. soonafter. In November of 1994, just two months after Ready to Die was released, California-based rapper Tupac was shot and robbed at Quad Studios in New York. By the time news of the shooting broke, most people speculated that Junior M.A.F.I.A was behind it, even if the shooters were completely unrelated. But this didn’t stop Pac from publicly pointing the finger at Biggie
Every Man For Himself
The music industry competitive, and there was simply not enough room for every rapper to become mainstream. Thus began an incredibly competitive culture within the genre, constantly pushing each newest member to “pick a side,” both for protection and the advancement of their career.
Within this competitiveness, the culture of “rap beef” became part of the norm for the genre. Rappers were never ones to shy away from expressing their disdain towards their peers.
It was during these three years that rap listeners were taking sides, proving their loyalty to the coasts, and in turn, their leaders. The Biggie vs. Tupac battle was dominating the hip-hop industry, with rappers that weren’t even affiliated with the main rivals picking sides and taking shots at one another.
All of the media attention and perceived beef would eventually lead to the tragically early deaths of both Biggie and Tupac. In September of 1996, Tupac was shot and killed in Las Vegas, when he was only 25. Six months later, in March of 1997, Biggie was shot and killed in Los Angeles at the age of 24.
Biggie’s Legacy and The Development of Rap Beef
Despite its tragic ending, Biggie and Tupac’s battles were just the beginning of this development in rap culture. Rap music may have lost two of its biggest stars, but that didn’t mean that the competitiveness of the genre was ever going to end. Rap beef was now implemented into the culture and a proven method to generate album sales.
The 2000s saw several incredibly entertaining and fundamental beefs between rappers that really elevated the genre to where it is today; Jay-Z and Nas, 50 Cent and Ja Rule, LL Cool J and Canibus, Nicki Minaj and Lil’ Kim, and so many more went through periods of time throwing shade at, or outright dissing one another on their tracks. For many rappers, their best chance at catapulting their careers was through conflict. 50 Cent became a household name through his feud with Ja Rule. While Nas’ feud with Jay-Z brought out the best out of him.
After the tragic ending of the Biggie and Tupac feud, rap beef became less of a genuine feud and more of a corporate tool to keep hip-hop in the mainstream. There was also this sense that a rap beef would make or break someone’s career. If a rapper admitted to losing their beef, their career was on standby or disappeared completely. Some credit 50 Cent’s endless dissing of Ja Rule led to his demise, while Canibus suffered perceived losses to LL Cool J and Eminem, helping kill his flame.
Hip Hop Bo Longer Jumping
During the last few years, rap has grown stale. The lyrical charm was wearing off, and the idea that rap was “so different” from other kinds of music, what originally made it stand out against pop, rock, and other existing trends, was no longer true. Rap, even though it dominated radio and Billboard charts and popular culture, was no longer something unique and special; rather, it was a pre-packaged, commercialized version of what listeners were getting pre-hip hop.
The genre has been performing poorly on the charts since 2020 after it started to turn to social media platforms like TikTok to advertise. Even if this did help more people reach the genre, it paved the way for thousands of artists to overload the app with their own music, so much so that it all began to blend together, devoid of originality or effort, and more concerned with “blowing up on TikTok” than saying or doing anything truly meaningful or different.
A New Age
The way we listen to music now has also played a major role; before streaming, purchasing physical copies of music meant that you could only choose a few albums at a time, or pick one and stick to it until the next album comes out. Now, we have the largest access to all of the world’s music on streaming services, whether it be Spotify, Apple Music, Soundcloud, or YouTube. Even if a rapper isn’t selling a physical copy of their music, or hasn’t been signed to an actual record label, you can access their music at any point. It’s a double-edged sword: you’re able to gain knowledge of incredible underground talent, but you’re also able to find someone that outshines them in less than ten seconds.
Rap “beef” also took a major turn. Instead of violent threats or disses, the “beef” became more about revealing a rapper’s secrets. We see this especially with the beef between Pusha T and Drake, when Pusha revealed Drake’s secret son in “The Story of Adidon” before Drake had the chance to do the Adidas advertisement with him. There was now a fundamental shift in what rap beef was about; it was no longer a race to the top based on merit or skill, but about character.
Drake v. Kendrick
This brings us to the one and only Drake. Over the course of Drake’s almost two-decade-long career, he has amassed rivals spanning across multiple genres, from The Weeknd, to Pusha T, Kanye West, Meek Mill, to even his own mentor Lil’ Wayne. After all, the rumor mills say that he took music from The Weeknd for his GRAMMY-winning album Take Care and he has ghostwriters. All of these were accusations that would hurt any other rapper’s career, yet Drake was able to stay at the top of the rap game for years afterward. He continued to dominate the charts, and every album he released quickly rose to the top. Rendering impermissible to decline.
That is until Kendrick Lamar reemerged onto the scene. With “Euphoria,” where Kendrick makes scathing accusations over a six-minute track accusing Drake of being a gambler, drug addict, and neglectful father. While also reminding the world of Drake’s not-so-spotless record with women and underage girls.
What Now?
But in an era where hip-hop has become so stale, even the reactions and consequences of a rivalry this intense are stale. The biggest and most impactful consequence of Kendrick’s diss tracks was a crowd of over 20,000 shouting, “Tryna strike a chord and it’s probably A-minor,” at The Pop Out in Inglewood on Juneteenth.
However, there is something different about this rivalry that encompasses what rap beef has become about in the last three decades. It’s no longer a physical game, it’s a mental one. Kendrick did not set out to physically harm Drake in any capacity.
Kendrick’s accusations against Drake, combined with people bumping “Not Like Us” all summer, reveal something to the audience more sinister than violence. This was not a rap beef that was essentially a petty argument about who was “better” Kendrick set out to start and finish this beef by ending Drake’s credibility within hip hop culture. He wants Drake’s impact on rap reversed. In the end, he doesn’t want Drake dead, he just wants Drake gone.
It’s hard to tell whether or not Drake is going to be able to bounce back from the blow of “Not Like Us.” Having crowds of people, including some of the biggest stars and Drake’s own personal idols, singing “You not a colleague, you a f—kin colonizer” will not be easy to retaliate against. Perhaps Drake should listen to “What’s Beef” and take this one on the chin.
From the birthplace of punk, to hard rock on the streets of London, this fall readers can anticipate two captivating tales about two historic venues on October 15.
About CBGB
The star of the first book is CBGB, which served as the birthplace of punk and new wave in America in the 1970s. The Ramones, Blondie, Television, Talking Heads and many other groundbreaking bands got their start in the rock club on New York’s Bowery. Originally issued in 1988, and out of print for decades, This Ain’t No Disco: The Story of CBGB by Roman Kozak outlines a detailed history of the glorious venue and features gritty anecdotes and interviews from multiple inside sources like CBGB founder Hilly Kristal, Joey Ramone and Dee Dee Ramone (the Ramones), Clem Burke and Chris Stein (Blondie), David Byrne (Talking Heads), Jim Carroll, Willy DeVille (Mink DeVille, Handsome Dick Manitoba (Dictators) and others.
This reprinted edition also includes a foreword by Chris Frantz of Talking Heads, 12 pages of photographs by Ebet Roberts and two pieces of historical reporting about the club’s closing in 2006.
Marquee Feature for Historic Jazz Club
The second book takes place with the backdrop of London. Marquee, originally a a jazz club on London’s Oxford Street, but later mutated into an R&B and hard rock club on Soho’s Wardour Street. Showcasing icons like Alexis Korner, the Rolling Stones, the Yardbirds the Who, Cream, Jimi Hendrix and Led Zeppelin, the Marquee became home to the new wave and reached international fame status. The club also hosted AC/DC, Bryan Adams, Faith No More, Guns n’ Roses, INXS, Metallica, R.E.M. and ZZ Top, and Marquee: The Story of the World’s Greatest Music Venue by Robert Sellers and Nick Pendelton walks you through this wild journey and all the behind-the-scenes drama contained in the 30-year old club walls.
Both books will be available for pre-orders soon here.
It’s been just over two weeks since Phish’s Mondegreen music festival in Delaware, the band’s 11th in their more than 40 year career, and a reunion of fans as the band’s 2024 summer tour wound down.
Phish Mondegreen photo by Filip Zalewski
Spread out widely across the grounds of The Woodlands and Dover Motor Speedway, fans found themselves walking miles at a time to make it into the festival. And that’s before you’re dancing and driving your step count up and up. If you walked around 30 miles in those four days, you seem to fall in the median of the 40,000 attendees, based on anecdotal data.
Amid the huge jams and festival Phish that was heard over eight sets, there were plenty of non-musical highlights as well, particularly the art installations that peppered the festival area.
Over four days time, you’d have had the opportunity to see Luke Jerramâs Museum Of The Moon, where a 21-foot recreation of the Moon was suspended in mid-air, shining brightly through the trees at night. Just past the security checkpoint, you could see Lars Fiskâs Dodge Ball (a dodge caravan reimagined in the shape of a ball) and on the far side of the concert field, Henk Hofstraâs Eggcident installation.
The Cerealist Bowl photo by Taylor Weinberg
There was the parallel reality of Nova Heat, Olivier Grossetête’s Cardboard City Hall (which had to be dismantled a day early on Saturday, due to expected high winds) and Leigh Fordham Hall, which doubled as a game show stage before and after Phish each day.
Standing out as the most memorable and unique was The Cerealist Bowl, which was a speakeasy that required a password, featuring costumed servers and strange performance art, uniquely, a man who sat in front of a cotton candy machine, slowly covered in stringy pink sugar fibers.
Heliosphere photo by Brian Ferguson
Centered in the festival field was The Heliosphere, a beacon of light that bumped late-night music post-Phish, and served as a way to find yourself in these expansive grounds, making the immense festival feel much smaller, manageable even.
There were of course some downsides, including fan complaints during and after the festival citing ADA shuttle issues and accommodations. Add in communication issues between production team and staff in the campgrounds (also with shuttles) and there were some things that could have been done better. But nothing on the music or art end was lacking at any point of the weekend.
Museum Of The Moon photo by Derek Java
Even though the threat of severe weather on the final day led to a single afternoon set of Phish instead of two evening sets, fans took this in stride, rejoiced at the idea of afternoon Phish at a festival (something scrapped for Mondegreen, but a staple of all 3.0 fests, Magnaball, Superball and Fest 8.
While some who lived proximate to Delaware and were home Sunday night, others had time to rest before they ventured home, as planned, on Monday. For a four day run, the idea of music ending a little earlier was welcome to some older fans, allowing time to soak in these few days of Phish before heading back to civilization.
While the severe weather never materialized, the band made a smart call to plan for safety, to ensure the music was not impacted, and informed fans with plenty of advance notice, a notification going out on the Mondegreen app around 5pm on Saturday evening.
Overall, the festival was a huge success by all standards, with fans left wondering how long until they return to Dover for Phish Festival #12.
Below, view photos from Phish’s Mondegreen via four NYS Music photographers, each with a different style and eye for the band over the four day music festival.
Nigerian star Asake roared into New York Friday night for his debut at Madison Square Garden with a show in support of third and latest album, “Lungu Boy.” Asake is promoting his third album, titled Lungu Boy which is out now via EMPIRE/YBNL Nation and features appearances from Central Cee, Ludmilla, Stormzy, Travis Scott, and Wizkid.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualize his stunning rise and his stage design and presence did just that. The evening started with a narrating explaining the experience that the crowd was going to set on with none other than Asake himself. The show opened in spectacular fashion as Asake ascended from beneath the depths of Madison Square Garden. The performance had everything from pyrotechnics to choreographed dances and visual effects.
His set Friday night at New York’s Mecca, Madison Square Garden — his debut MSG performance— saw him backed by a full band, street dancers, DJ and MC, including horns, to bring his jazz-influenced sound into a live setting. Clad in between two outfits show off his unique wardrobe style, he performed cuts from the entire album such as “Active” featuring Travis Scott, “Wave” featuring Central Cee, “Skating” which saw an elaborate display of skating and BMX biking tricks and more from the album.
In addition to performing songs from his new album on the Lungu Boy tour, Asake also performs tracks from his 2022 studio debut, Mr. Money With The Vibe(“Terminator,” “Peace Be Unto You,” “Muse,” “Joha,” “Sungba”), and its 2023 follow-up Work Of Art (“Amapiano,” “Basquiat,” “Lonely At The Top,” “Remember” and “2:30”).
In the end, it was hard for the crowd to fathom the electric show ending and even harder for Asake himself.
In true Asake fashion, he left the New York crowd with a night that they will never forget, the Lungu Boy from Lagos Island.
Wallows, the Los Angeles-based indie rock trio, has been captivating audiences since their formation in 2017. Made of Braeden Lemasters, Dylan Minnette, and Cole Preston, Wallows boasts a signature blend of nostalgic 90s alt-rock and modern indie-pop. Over time, they’ve consistently delivered infectious hits that have earned them both critical acclaim and a dedicated fanbase.
Their live performances are where Wallows truly shine. Known for their electric energy and dynamic stage presence, each member of the band brings something unique to the table. Their individual contributions combine to create a show that is both sonically and visually captivating. Their shows are more than just concerts—they are experiences that leave fans with lasting memories.
The Show
Wallows’ show at The Mann in Philadelphia was spectacular, showcasing the band’s growth and their connection with their audience. They created memorable moments throughout the evening, making it a night that Philly fans won’t forget.
As the show kicked off, Wallows took to the main stage with “Do Not Wait,” immediately drawing the crowd in. Braeden kept the crowd engaged throughout the night, seamlessly transitioning from talking about Philly’s national treasures to introducing “Quarterback” by joking, “If Benjamin Franklin was alive right now, I think he’d be into football. Speaking of football…” Cole then took over on vocals, and the crowd was loving every minute.
The Mann, with its expansive and almost boat-like feel (as noted by Cole), provided the perfect backdrop for Wallows’ dynamic setlist. From fan favorites like “Scrawny” and “These Days” to deeper cuts like “Drunk on Halloween,” the band delivered a performance that had the audience singing along and dancing throughout the night. One of the standout moments of the night was when Dylan made his way through the crowd during “She’s an Actress,” holding hands with fans and bringing an extra layer of intimacy to the show.
The guys surprised the crowd on the B-Stage by performing “Ground,” a song they hadn’t played on the Model Tour until now. They followed this with a haunting rendition of “Drunk on Halloween,” which further cemented the band’s ability to captivate their audience with both their sound and their presence.
As the band transitioned back to the main stage, they brought the night to a close with a powerful sequence of songs, including “Worlds Apart,” during which Braeden made his way back through the crowd, and the crowd-favorite “Are You Bored Yet?” The energy in the venue was palpable, with fans singing every word and savoring every moment.
Looking Forward
If you missed Wallows on this tour , don’t worry—you can catch them when they’re in New York. Their live shows are an unforgettable experience, and this band is only getting better with time. Catch them live, and be prepared for a night full of incredible music, memorable interactions, and an atmosphere that will stay with you long after the last note has been played.
Setlist:
Main Stage Do Not Wait, Your Apartment, [Anytime, Always], Scrawny, Don’t You Think It’s Strange, Quarterback, Bad Dream, These Days, You (Show Me Where My Days Went), At the End of the Day, Just Like a Movie, A Warning, Uncomfortable, She’s an Actress
B Stage Pictures of Girls, Ground (Tour debut), Drunk on Halloween Main Stage Worlds Apart, Pleaser, Calling After Me, Remember When, I Don’t Want to Talk, Are You Bored Yet?
Article photos by Emma Wannie, Gallery photos by Chloe Dugord
Phish has kicked off their eleventh festival, Mondegreen, at The Woodlands in Dover, Delaware, welcoming 40,000 fans for a 4-day musical and visual odyssey. The modern day music festival landscape has evolved from Phish being the progenitor of the 90s festival resurgence, the one with the most success despite only a single band on the lineup, to a landscape where festivals are failing, canceling, being too big, or underattended, and generally going the away after two decades of success. Yet here we are with Phish keeping their success with fests going even as bigger and “better” ones continue to fall by the wayside.
In a concert bowl full of art installations with surprises around each corner and tucked into the woods surrounding the fans, Phish fans find themselves in a real life choose your own adventure book, where every turn and decision leads to even more action and escapades.
Likewise, Phish onstage rose to the occasion, opening the festival with a mondegreen of a song, ‘The Moma Dance’ (the moment ends), dropping a first set that was highlighted by a 19-minute “Wolfman’s Brother” and a 30-minute combined 1-2 punch of a closer with “A Wave of Hope” and “Sand.”
Set 2 opened with the true Phish debut (sans Billy Strings on vocals) of “What’s Going Through Your Mind” that clocked in at a surprising 25 minutes. Energetic versions of “Chalkdust Torture” and “Light” followed, with both jams eclipsed by a mid-set highlight in “Prince Caspian” that featured healthy teases of “Sneakin’ Sally Through the Alley” from Mike Gordon with Talking Heads’ “Crosseyed and Painless” later providing a continued burst of energy. A brief “Lonely Trip” was the only respite this set, as a 15-minute “Everything’s Right” closed the set.
A triple encore of the all too infrequent “Saw It Again” had added lyrics referencing the festival, with “Possum” and “Slave to the Traffic Light” closing night 1 on a high note.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/15/24
Set 1: The Moma Dance, Back on the Train, Wolfman’s Brother, Funky Bitch, Roggae, NICU, A Wave of Hope, Sand
Set 2: What’s Going Through Your Mind -> Chalk Dust Torture -> Light > Prince Caspian, Crosseyed and Painless, Lonely Trip, Everything’s Right
Encore: Saw It Again > Possum, Slave to the Traffic Light
Night two of Phish’s Mondegreen Festival is now in the books with the band delivering two sets of nearly seamless originals and a brilliant “not-so-secret” third set of musical improvisation that ran the gamut from ambient to explosive psychedelia.
photo by Derek Java
The show began almost promptly at 7 pm this evening with an old school opener in the harmony-laden “Bouncing Around The Room.” This was followed by a “Kill Devil Falls” that set the tone for the rest of the night with an exploratory, groove-intensive jam that technically left the song unfinished. Instead of rounding it back into form, Phish threw out their signature take on Frank Zappa’s “Peaches En Regalia,” the only cover song played all night. “Free” then built on the momentum with an ebullient, free flowing jam before a perfectly placed “Divided Sky” with the sun slowly beginning to set helped create a brilliant aural landscape. The “Tube” that followed elicited another thick jam that had some certifiable meat to it before “Mountains In The Mist” served as a suitable first set “breather” song. “Reba” brought with it all the feels and emotion with a super blissed out jam that further cemented the already immaculate first set vibes. Bypassing the traditional “whistling” ending, Phish instead rounded off the first set with a fun “Twist” > “Character Zero” closing musical salvo.
photo by Derek Java
The second set kicked off with another monstrous “My Friend, My Friend,” a song the band has really stretched out and added some extensive jams to as of late. The traditional “Myfe” ending was skipped over on this one as well with the music instead flowing right into “No Men In No Men’s Land,” a song that typically features some heavy exploratory improvisation on the band end and tonight’s performance was no exception. From here, it was a non-stop runaway train of high end musical improvisation as the band shuffled seamlessly through segues into “Ruby Waves” and “Pillow Jets.” Keyboardist Page McConnell then dove in the sample bin for “Your Pet Cat,” spicing up another intense jam with sounds of cats screeching and screaming, giving a real back alley brawl feel to this rarely played instrumental number. WIthout ever fully stopping, Phish then circled back with ease to revisit both “Ruby Waves” and “No Men” while throwing a hearty “Story Of the Ghost “ right in between them. A flawless “Fluffhead” then closed out the set in grandiose fashion, featuring some amazing drumming and light hearted singing from Jon Fishman.
photo by Derek Java
Prior to the encore, Trey Anastasio facetiously mentioned to “one guy in a white shirt” that there may be a secret set tonight and it may not be wise to head right back to the campground after the show. First, however, was an appearance from “Harry Hood” and its typical powerful, blissful jam before a thunderous and feedback-heavy “First Tube” with Anastasio going full guitar god mode ended things….for now. With many taking heed to Trey’s suggestion and sticking around, a sheer screen descended in front of the stage, turning it into a veritable movie screen. Phish then proceeded to pull a “reverse Sphere,” with the band playing behind the screen as it proceeded to show a series of brilliant images that seemed to grow more intense and vivid as the 50-minute set went on. It was a legitimate question to wonder if the music was dictating the images or the other way around. Either way, it made for one of the more legendary secret sets in the band’s rich festival history as Phish touched on everything from the ambient to thrash metal and seemingly everything in between, dazzling the audience and capping off a special second night at Mondegreen.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/16/24
Set 1: Bouncing Around the Room, Kill Devil Falls > Peaches en Regalia, Free, Divided Sky, Tube, Mountains in the Mist, Reba, Twist > Character Zero
Set 2: My Friend, My Friend > No Men In No Man’s Land > Ruby Waves > Pillow Jets -> Your Pet Cat -> Ruby Waves > Ghost -> No Men In No Man’s Land > Fluffhead
Encore: Harry Hood > First Tube
Set 3: Woodlands Jam
photo by Filip Zalewski
The third day of Mondegreen was as hot as any of the previous two, with little in terms of shade or escape from the heat. Phish fans pushed through – we do train for this – and rallied to be inside and take in the art installations, food offerings and stand up comedy that took place in the hours before the music began.
Opening the afternoon with “Mike’s Song” gave Lemonwheel vibes, but the classic combo of “Mike’s > I Am Hydrogen > Weekapaug Groove” was the fuel and fans needed to get down. A lofty “Theme From the Bottom” followed, along with a Mondegreen of a song, “Blaze On” (Nice Shades/Night Shades) to follow. Perhaps compelled by a sign featuring Paulie Walnuts saying “Gaba Jibbool,” “Gotta Jibboo” ended up being a top jam of the set, stretching for more than 12 minutes. All that followed was setting the table for the second set – the funk rock of “46 Days,” the title track off Phish’s latest album, “Evolve,” Phish fest classic “Meatstick” and “David Bowie” to round it out.
photo by Filip Zalewski
By the time second set rolled around, fans were dialed in and preparing themselves mentally and physically for the unexpected news of Sunday’s show being held earlier in the day, with the field opening at 11am for a 1pm set. While the weather never was a factor on Sunday, the preparation by fans was not just on the day of the show, but also the night before.
An errant beat preceded the opening notes of “2001” which beckoned the crowd for a heavy night to come. And while “Oblivion” has been a road tested song since 2023, the lack of segue here stood out, and could have easily been “Tweezer” or “Life Saving Gun,” but the jam still delivered, working towards “Down with Disease,” which, like the “Tweezer” that did follow, clocked in at over 19 minutes each. “Scents and Subtle Sounds” appeared in full form (not the shortened Magnaball version) for more than 16 minutes, a mid-set-ridge that was an abject success on the collective dance floor. When “Boogie On Reggae Woman” began (one of the limited covers of the weekend by this point) the timing couldn’t have been more perfect, nor could it have been for the “Carini” that followed. With an exclamation point, Day 3 of Mondegreen featured the top set of the weekend, by a wide margin of conventional wisdom.
A trio in the encore began with “Backwards Down the Number Line” and then an always huge “You Enjoy Myself” that closed with “Tweezer Reprise,” putting a bow on Saturday and leaving fans wondering what was in store for Sunday’s weather-rescheduled set(s).
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/17/24
Set 1: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Theme From the Bottom > Blaze On, Gotta Jibboo, 46 Days, Evolve, Meatstick > David Bowie
Set 2: Also Sprach Zarathustra > Oblivion, Down with Disease[1] > Tweezer > Scents and Subtle Sounds > Boogie On Reggae Woman, Carini
Encore: Backwards Down the Number Line, You Enjoy Myself, Tweezer Reprise
[1] Unfinished.
This was the third show of the Mondegreen festival. Mike teased Passing Through in David Bowie. DWD was unfinished. Trey teased La Grange and Eleanor Rigby in DWD and Eleanor Rigby in Tweezer.
photo by Filip Zalewski
Phish closed out the final night, or rather day, of Mondegreen with some more explosive jamming that took place a little earlier due to a change in schedule. An announcement was released on Saturday night that music would be starting at 1:00 pm instead of the usual 6:30 pm due to inclement weather that was expected in the local area. Although it never really opened up or downpoured on Sunday, Phish clearly erred on the side of caution instead of letting festival attendees, vendors and workers potentially get stuck in a storm that had the potential for strong winds and lightning.
Both the band and crowd made the most of the situation, and the near two-hour single set started off in joyous fashion with “Party Time” and the sun still shining bright. “Axilla” followed and kept the energy levels high, even after plodding through a “Part 2” ending, before “Maze” kicked things back into high gear with its typical ferocious solos from Page McConnell on organ and Trey Anastasio on guitar. A mid-set “AC/DC Bag” didn’t quite reach the heights of the one featured at Bethel Woods last weekend, but still featured some significant improvisation on its back end. “Sigma Oasis,” another new number from the band’s recent Evolve album followed very much in suit before segueing into the classic Phish tune “Rift.”
photo by Filip Zalewski
“Stash” found the Mondegreen crowd still very much engaged and elicited another probing and expansive jam and the “Ya Mar” that followed served as a perfect daytime set selection. As some cloud coverage slowly began to make an appearance, Phish closed out the jumbo-sized set with one last progression of songs that flowed seamlessly into one another, starting with a “Bathtub GIn” that, like its brethren from this summer tour, produced yet another deep and exploratory jam. At its conclusion, Anastasio started frantically vamping for the intro to the still-rare cover of Jimi Hendrix’s “Isabella.” The set could have ended here and few would take issue with that, but instead Phish launched into “Simple” before a rousing cover of TV On The Radio’s “Golden Age” properly closed out the set, as the band definitely seems to be in the midst of one of these.
One last high octane jam that had the whole festival grounds moving took place in “Fuego,” another proper song in both placement and name due to the quality and intensity of music displayed all week long. A brief DJ set afterwards gave those sticking around one last chance to dance and enjoy the venue grounds before skies darkened even further and announcement was made for everyone to return to their campsites, a dour ending to an otherwise memorable and festive Mondegreen.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/18/24
Set: Party Time, Axilla->Maze, Steam. Martian Monster, AC/DC Bag, Sigma Oasis->Rift, Stash, Ya Mar, Timber (Jerry the Mule), Bathtub GIn > Izabella > Simple > Golden Age
Country and folk rock band Cowboy Junkies has announced a new tour for the fall of 2024 that will begin with two stops in New York, one in Buffalo and the other in Geneva. The tour is in support of their most recent album, Such Ferocious Beauty, which is the band’s first release of new material in five years.
Formed just over the border in Toronto, Cowboy Junkies have been actively making and performing music for almost 40 years. Comprised of bassist Alan Anton, songwriter/guitarist Michael Timmins, drummer Peter Timmins and vocalist Margo Timmins, the quartet has recorded a total of 16 live albums and five live albums. Moreover, with Michael, Peter and Margo all being siblings, the band’s many years of unwavering togetherness only makes sense.
Cowboy Junkies’ first album, Whites Off Earth Now!!, in 1986, kicked off their careers and was then followed up in 1988 by the now-Platinum The Trinity Season. In a world where many bands chase whatever sounds are trending, the Junkies have stayed their course, maintaining the low-impact excavation of melody and evocative language that gave them so many fans in the first place.
About Cowboy Junkies
The band’s newest outing, Such Ferocious Beauty, is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. As a result the album is a tangle of sonic textures, ruminating on aging, losing parents, facing mortality and creating space for one’s life in the midst of the ruin that comes from merely living. “Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition,” Margo Timmins explained of the band’s singular focus, “nor has he shied from its beauty. Thankfully, with one comes the other.”
Michael Timmins, the oldest, is the chief architect, songwriter and guitarist, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band that defies categories. Alternative? Rock? Americana? Roots? Perhaps the answer is a simple “yes.” Hence, the churning beauty builds on all those things, evoking the best of a group that’s evolved over three and a half decades. Michael adds, “This record is connected to All That Reckoning. I see our recent work in a cycle: Reckoning, Ghosts and Such Ferocious Beauty. They were all done in very violent and tumultuous times. The violent side is so much a part of our society now—not just the physical, but the way we relate to each other. It’s hard to escape.”
Photo Credit: Heather Pollock
Inside The Band
Whether drawing on a pop culture reference like a quote culled from Mike Tyson or mining Greek mythology, there’s an ease and fluidity to how Michael draws songs together. For the sinewy “Mike Tyson (Here It Comes),” he employs a high-plains spaghetti Western tension that marries a nervy acoustic strum and tympani rolls to a creeping bassline, while “Circe & Penelope” deploys a wheezy fiddle and an acoustic guitar with its strings more flicked than strummed.
“I love the blunt reality of this song,” Margo offers. “I love the two women’s strength and realistic view of the situation. They have a great love for their men, but also this discontent. The image of these two women waiting for their men to return but getting on with the work that needs to be done and living their lives as strong women is truly empowering and reflects upon many of the women I know today.”
“The expectations and responsibilities of what we all do—it’s a big part of this. We’re still amazed that we’re doing this, but the longer [we have], the more fun it’s become. We don’t take it for granted,” said Michael. “We do what we do,” Margo agrees, “and it feels right for all of us. After 30-plus years of playing together, the band and its music are more important to us than ever. The music we make brings each of us a great sense of contentment, a knowing of place and a sense of doing what we were meant to do.”
To catch Cowboy Junkies on tour and watch them perform Such Ferocious Beauty, visit their website for tickets and information. Additionally, see below for a written list of the tour dates and locations.
After a thrilling performance at Madison Square Garden in New York City days before, the Rock and Roll Hall of Fame band, The Doobie Brothers traveled north to Bridgeport, Connecticut. The band, which is on their “The 2024 Tour,” packed in fans who braved the rain and played a thrilling 15-song set. Before the show began, fans had to arrive early as the show was moved up a half hour with the storms approaching.
Official music video for The Doobie Brothers – “Black Water” from ‘What Were Once Vices Are Now Habits’ (1974)
As fans were finding their seats, the legendary Steve Winwood and his spectacular band warmed up the humid audience. Winwood – who has been in famous bands like Traffic and Blind Faith – played a small, yet powerful seven-song set. Winwoods set featured music from his old bands. With the intro of “Can’t Find My Way Home,” fans roared to their feet and stood there the entire song. After each song ended the audience would repeatedly rise to their feet to pay respect to the living legend.
Winwood’s band featured five stellar musicians. The band featured Edwin Sanz on percussion, Tristan Banks on drums, Paul Booth on saxophone and piano and Nate Williams playing keyboards. Lastly, Winwood’s very own daughter, Lilly Winwood was featured on background vocals. The entire band had smiles on their faces, bringing an amazing atmosphere to the audience.
Just as quickly as Winwood jumped on stage, the stage was reset for The Doobie Brothers. The band did not have any flashy intro or spectacular entrances. Classically, the house lights dimmed and the band walked on and kicked into “Rockin’ Down the Highway” off of 1972’s Toulouse Street. Almost immediately, the rain – which stopped for Winwood – picked up again yet did not deter the band. They met the weather with great tunes and excellent showmanship.
In between songs, guitarist Patrick Simmons would whip out some of the brightest colored guitars in all of rock. One after the other, the spotlights would bounce off the shiny colored red and blue guitars. Flanking Simmons on his right was John Cowan who appeared to barely move all night. Despite the minimal movement, fans could tell that he was chugging away at his bass guitar throughout the entire set.
Some fans might have wondered what The Doobie Brothers sounded like during their “Golden Age.” Well, they didn’t need to think hard or long at all. Singer and guitarist, Tom Johnston along with keyboardist and singer, Michael McDonald, sound just like the records. Not every band can say that their singer’s voice has stood the test of time, but The Doobie Brothers can. Whether the song was “What a Fool Believes” or “Long Train Runnin’” Johnston and McDonald’s vocals were top-notch. The Hartford Healthcare Amphitheater is open to the outdoors on either side and sometimes vocals can get mushy. That didn’t happen for either vocalist. The vocals were one of the highlights of the show.
Joining Johnston, McDonald, Simmons and Cowan were four other stellar musicians. On drums were Ed Toth, John McFee on guitar, Marc Russo on saxophone and Marc Quiñones on percussion. Despite the crowded stage, each musician perfectly played their part in The Doobie Brothers’ rock and roll machine.
Throughout the show, the video screen would show moments in the band’s career and fade into the band on stage. The band’s crew did an amazing job enhancing the audience’s experience and giving them a little insight into the band in their heyday.
By the time the band reached the middle backend of the set, the smell of weed was distinct in the air, in typical Doobie Brothers fashion. By that point, the band was on another level as they were cranking out hit, after hit, after hit. Some fans took to the aisles to dance with their spouses. Others even tried to run up to the front to record their favorite songs. The amphitheater was in a Doobie Brothers frenzy.
In an attempt to save time, the band very quickly jumped back on stage for the four-song encore. The encore, highlighted by a Paul Simon cover of “Still Crazy After All These Years” was an instrumental duet between McDonald and Russo. Russo would take center stage when he belted out an amazing solo. It combined jazz, blues and classic rock into one solo reimagined by The Doobie Brothers.
As the summer winds down, The Doobie Brothers brought nothing but great vibes to the Bridgeport Audience. “The 2024 Tour” will take both bands to Saratoga Springs, New York to play at the Saratoga Performing Arts Center. This tour is not to be missed, each band compliments each other perfectly and will make for a great night to “Listen to the Music.”
Steve Winwood Setlist: Glad, Can’t Find My Way Home, Why Can’t We Live Together (Timmy Thomas cover), Roll With It, Back in the High Life Again, Higher Love, Gimme Some Lovin’ The Doobie Brothers Setlist: Rockin’ Down the Highway, Take Me in Your Arms (Rock Me a Little While), Here to Love You, Depending on You, Minute by Minute, It Keeps You Runnin’, Without You, Jesus is Just Alright (The Art Reynolds Singers cover), What a Fool Believes (Kenny Loggins cover), Long Train Runnin’, China Grove, Black Water, Still Crazy After All These Years (Paul Simon cover), Takin’ It to the Streets, Listen to the Music
Grammy-nominated singer-songwriter Five for Fighting is going on a show-stopping String Quartet tour this upcoming September and October. Joining him on tour is a quartet of renowned stings players with heavy experience on Broadway and as touring musicians, showcasing decades of Five for Fighting’s beloved music.
The mastermind behind Five for Fighting, John Ondrasik will bring his music to life on a whole new level with the extravagant ensemble accompanying him on his forthcoming tour. On violin is Katie Kresek, a Tony winner and co-orchestrator of Moulin Rouge! The Musical. Melissa Tong, who toured with Post Malone will also join Ondrasik’s show on violin.
The rest of the quartet includes Chris Cardona playing viola. Cardona has been a part of countless Broadway orchestras. Lastly, cellist, Peter Sachon contributes to music all over New York City. Having not only played on Broadway and on Broadway artists’ records but also in classical, jazz, and rock ensembles, Sachon continuously proves that he can flourish in any genre.
Even without the quartet, Ondrasik’s band is monumental. Made up of drummer Randy Cooke (Mick Jagger, Ringo Starr, Dave Stewart), guitarist Peter Thorn (Chris Cornell, Melissa Etheridge, Don Henley), and bassist Whynot Jansveld (Matchbox Twenty, The Wallflowers, Sara Bareilles), audiences are undeniably in for a show.
To share the stage with such incredible musicians every night is a gift that keeps giving. Such an intimate format allows me to share the stories behind the songs, and the adventures along the way.
John Ondrasik
Attendees will get to indulge in six albums, and many hits such as “100 Years” and “Superman (It’s Not Easy),” which are now considered classics. By bringing new light to these songs, Ondrasik can present them more profoundly than ever before.
