NYS Music 2024

Category: NYC Metro

  • In Focus: Phish Return to Madison Square Garden

    Phish kicked off their annual New Years Run at Madison Square Garden, the band’s 16th overall at the ‘World’s Most Famous Venue’ and a feather in the cap of a band who have had a remarkable 2024. 

    With shows at Sphere in Las Vegas and a stellar summer tour culminating at Mondegreen festival in Delaware (plus 4-night Mexico and Dicks runs) the foursome from Vermont have much to live up to at MSG, where the most recent performance by the band last New Year’s Eve featured a two-set stage production of the band’s Gamehendge rock opera, the holiest of Phish grails. 

    So while the bar is set high – let’s face it, Phish fans eternally set the bar high for the band – and the band doesn’t always reach that bar. It would be impossible to do so, but they gave it the ol’ college try on Saturday, December 28. 

    The show opening “Simple” would end up being the longest jam of the night, clocking in at 13 minutes, and when that’s the case, there’s a lack of flow that follows. “Free” followed and had some meat to it, but gave way to a sedate “Farmhouse”. Throw in “Poor Heart” and “Tube” plus a rare “Driver,” and the crowd was content to fall into a well placed first set “Reba,” with a beauty of a bliss jam within. A late first set “Oblivion” thankfully did not jam out for a change, and instead gave way to “Antelope” to close, as it so often has at the Garden.

    Set two looked to get things started with “Back on the Train,” and while things were headed in the right direction, “Axilla (Part 2)” limped out of the gate, with Anastasio being a bit ahead of the band. The song struggled until the outro, which worked its way nicely into “A Wave of Hope,” a jam to enjoyably get lost in. “Round Room” – which let’s be honest, needed a little more practice – was performed for only the seventh time ever, and first since 2016, yet an apropos song for Madison Square Garden. 

    Just as the excitement over “Round Room” died down, “I Always Wanted it This Way” (aka, Page EDM) took over mid-set, and after that, the rest of the set played out with a standard “Twist,” a pleasant “Mango Song”, “Blaze On”, “Cavern” and to close things out, “David Bowie.” 

    For the encore, “Mountains in the Mist” to start meant a multiple song encore was in the works, but the bar was set high when you’ve seen “Mountains” at Sphere. “Fuck Your Face” followed and random, but possibly influenced by a recent tech CEO tweet. “46 Days” to close was on par with much of the show – fun and energetic, but nothing incredible to write home about. 

    Phish fans have three more nights left in 2024, including the 25th anniversary of Big Cypress to celebrate. What does Phish have in store to close out 2024? Stay tuned!

    Setlist via Phish.net

    Set 1: Simple, Free, Farmhouse, Poor Heart, Tube, Kill Devil Falls, Driver, Reba[1], Oblivion > Run Like an Antelope

    Set 2: Back on the Train, Axilla (Part II) > A Wave of Hope > Round Room, I Always Wanted It This Way > Twist > The Mango Song > Blaze On > Cavern > David Bowie

    Encore: Mountains in the Mist, Fuck Your Face > 46 Days

    [1] No whistling.

    Reba did not contain the whistling ending. 

    Round Room was played for the first time since June 22, 2016 (322 shows)

    Photos by Taylor Weinberg

  • The Phish Before The Storm: December 30, 1995 at MSG

    Nineteen ninety-five was as formative and important a year for Phish as they come. So, it should come as no surprise that it ended at Madison Square Garden, a venue the band today calls “home.” However, the New Year’s run for 1995 would mark only the second and third times Phish ever played MSG. Even though New Year’s Eve ’95 may get all the “glory,” it’s lead-in from the night before has a lot to offer as well.

    The show began with the relatively new “Prince Caspian,” from then yet to be Billy Breathes album. It’s a relatively quick and nondescript version. But immediately at its conclusion, some familiar feedback ensues, the signature drum beat kicks in and Phish is off and running with a rare first set, “Also Sprach Zarathustra,” or simply “2001” as it’s commonly referred to today. Phish packs a decent punch in this arena rocker that certainly is a short version when compared to contemporary ones. Yet again, the next song begins before “2001” can even finish. This time it’s “Suzy Greenberg” with Page McConnell leading the way on piano, completing a unique opening trifecta.

    Phish MSG

    Another quick, familiar-sounding feedback jam slows things down a bit before Phish takes off again. This time it’s fueled by Jon Fishman’s signature drum intro to “David Bowie.” This gives the band their first real opportunity to explore the New Year’s space at MSG, and they do just that. A patiently crafted jam is accentuated with some brilliant Anastasio-provided guitar licks, which grow slowly in ferocity. This yields a hearty response of approval from the crowd as the first real jam of the night.

    The first set also features a “Kung” sandwich, with the opening and closing sections of “It’s Ice,” ably serving as the bread. There’s even a nod to Gamehendge, courtesy of the ensuing “The Man Who Stepped Into Yesterday” sequence, with the Mike Gordon-led “Avenu Malkenu,” placed right in the middle per usual. Emotions then come to a peak in the first set with an absolutely rousing “Divided Sky” that features a noticeably long “pause.” A quick romp through “Sample In A Jar” brings a first set that seemed to pull a little bit of everything from the band’s mid-90s repertoire.

    Phish MSG

    Native New Yorker, Mike Stone, got to make the chess move, on behalf of the audience prior to the start of the second set. This was the second of two chess matches between the band and their fans in 1995. These wound up being split. And for those unaware, the rematch looms.

    While the second set doesn’t offer up as much in the way of rarities as the first, it more than makes up for it in execution. “Ya Mar” opens the second stanza and includes a perfectly placed “Auld Lang Syne” tease from Trey. Another fairly new song still finding its legs in “Free” follows this. But the highlight of the set, and possibly the show, is the triumphant “Harry Hood” that comes next and builds to an incredibly emotional peak. When this is paired with a thunderous “AC/DC Bag,” it creates one of the earlier special Phish moments at MSG.

    “Lifeboy” serves as the well deserved ‘breather’ song after this impressive sequence of music. But that’s the last of its kind for this show. “Scent Of A Mule” sees a particularly drawn out “Mule Duel” between Trey and Page before its maniacal klezmer-esque finish. And the set ends in fine fashion with a double closer of sorts. A standard take on the Picture of Nectar classic “Cavern” begets an absolute whirlwind of a “Run Like An Antelope” and the typical musical chaos that comes with it.

    For an encore, Phish trotted out “A Day In The Life,” a Beatles cover that was also new to 1995. This would be the only non-instrumental cover of the evening. An impressive performance of nearly all originals, both new and old, defined the second ever Phish show at MSG. And it certainly laid the groundwork for what would be the third time’s “charm” the following evening.

    Phish MSG New York, NY 12/30/95

    Set 1: Prince Caspian > Also Sprach Zarathustra > Suzy Greenberg > David Bowie, Simple > It’s Ice -> Kung -> It’s Ice > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Divided Sky, Sample In A Jar

    Set 2: Ya Mar, Free > Harry Hood > AC/DC Bag > Lifeboy, Scent Of A Mule > Cavern > Run Like An Antelope

    E: A Day In The Life

  • On Air Fest Announces New Wave of Speakers For Feb 2025

    In February 2025 over three days, four nights and held in six locations (with 80+ Sessions & 200+ speakers) On Air Fest’s Annual Sound and Storytelling Festival will take place, where podcasts are elevated into an art form and expanded through voice, visuals and multi-sensory experiences.

    On Air Fest

    Over February 19-21, 2025, these 80+ live performances and podcast tapings, exhibitions and multi-sensory experiences, intimate talks and interactive workshops are designed to help those in the music industry level up skills and more. Thousands of creators and creative professionals working in audio, visual and new media will all come together as part of the annual event’s most dramatically expanded line up to date, and today, On Air Fest announces its next wave of featured talent.

    From artists to industry leaders to the influential voices defining the medium, each session will be focused on the ways in which audio is being used to shift culture, build brands, and shape the future of storytelling, social media and self-expression.

    Taking over multiple floors at its returning headquarters of the Wythe Hotel, as well as first-time locations like the 15,000 square-foot Creator Hall at XXV, iHeartPodcasts’ Official Party at 74 Wythe, music and arts venue National Sawdust, and Dolby88’s VIP theater for film screenings, 

    On Air Fest’s 2025 newest additions to the lineup include:

    Dan Taberski on the making of his breakout hit, Hysterical (Wondery & Audacy’s Pineapple Street Studios), named Apple Podcasts’ Show of The Year and TIME’s #1 Podcast of 2024.

    A keynote conversation from tech and culture journalist Taylor Lorenz, about media’s new mainstream, the creator economy, and power. 

    on air fest

    A creator session with Kareem Rahma, of SubwayTakes and Keep The Meter Running. 

    Acclaimed musician, mystic and new age legend Laraaji, leading the audience in a guided laughter meditation. 

    Live podcasts of Wondery’s Lemme Say This with Peyton Dix and Hunter Harris, Slate’s Death, Sex & Money with Anna Sale, SiriusXM’s Vibe Check with Sam Sanders, Saeed Jones, and Zach Stafford, NPR’s It’s Been a Minute with Brittany Luse, TED’s How to Be a Better Human with Chris Duffy, Pushkin’s Broken Record with Justin Richmond and a musical guest, and WaitWhat’s Pioneers of AI, where Dr. Rana el Kaliouby will demonstrate the making of an AI clone, and consider the applications and philosophical implications of “digital twins” in the real world.

    on air fest

    NPR’s Throughline will present cinematic soundscapes, Twenty Thousand Hertz’s Dallas Taylor will deliver a workflow workshop, The Atlantic’s Hanna Rosin and Lauren Ober will conduct an “Anatomy of a Scene,” Craig Finn and Jody Avirgan will debut their brand new Talkhouse Network podcast in an exclusive first-look, and Elliot Krimsky and Benjamin Louis Brody will perform and discuss Shared Spaces, a musical exploration of collective loss and memory.

      Previously revealed programming ranges from SNL’s James Austin Johnson and Jokermen to The Kid Mero’s Victory Light Podcast, Alex Goldman of Hyperfixed and Reply All, Design Matters’ Debbie Millman, Modern Love’s Anna Martin, Radiolab creator Jad Abumrad, The New York Times’ Jenna Wortham, Snap Judgment’s Anna Sussman and many more, as well as KCRW and On Air Fest’s inaugural KCRWWW – a pop up radio lounge that will live-stream music, talks and sonic experiments, free and open to the public through a dedicated microsite. 

      Exact schedule details will be announced in the coming weeks – as well as more lineup additions from media and programming partners at NASA, WNYC, WBUR, Talkhouse and Radiotopia/PRX, and presenting sponsors such as iHeartPodcasts, Patreon, Dolby, ESPN 30 for 30, PAVE Studios, Shure and Bumper. But it all begins on February 19th, with the On Air Fest Podcast Business Summit. Co-presented by Bloomberg and reporter Ashley Carman, the invite-only gathering of business, tech, advertising and publishing executives will explore and forecast the latest trends, challenges, and opportunities.

      Learn more and purchase tickets here.

    • West Village Performance Space The Kitchen Announces Winter/Spring 2025 Season

      The Kitchen, a performance space located in the West Village neighborhood of Manhattan, has announced two new projects for the upcoming 2025 season.

      Lisa Alvarado and Gordon Hall will bring their performance installations to the space, while The Kitchen’s first traveling exhibition continues to distribute the organization’s work outside of New York and expand its approach to being “without walls.”

      The Kitchen

      The Kitchen‘s 2025 season will be transformed by these two monumental installation works that become new platforms and frameworks for explorative performance, while simultaneously continue to work within new modes of distribution in its first-ever traveling exhibition. 

      The latter represents a momentous step forward in the organization’s “Without Walls” programming, which harnesses the potentials of locational and institutional porousness and has presented work in dynamic sites ranging from a gas station and a park to radio and web broadcasts, often in bold cross-institutional collaborations.

      The Kitchen Winter/Spring 2025 Season Schedule

      Lisa Alvarado: Shape of Artifact Time 

      The Kitchen at Westbeth | Feb. 27–Apr. 12, 2025 | Wednesday–Saturday, 12–6pm,
      Performances: Feb. 28 and Mar. 1, 2025, 5pm
      Opening Reception: Feb. 28, 2025, immediately following the performance 
      Tickets: $10-30 sliding scale

      Lisa Alvarado’s interdisciplinary practice is rooted in cultural tradition and social history. Born and raised in San Antonio, Texas and based in Chicago, Alvarado works as a visual artist and musician with the ensemble Natural Information Society. Alvarado is inspired by the “timing and processes of slow transformation within the ground — transforming minerals, elements, and landscapes.” She calls this pace geologic time and understands these changes as “a metaphor for our internal shifts, such as in how we carry memory, loss, and inherited struggle.” 

      Code Switch: Distributing Blackness, Reprogramming Internet Art at MOCAD

      Museum of Contemporary Art Detroit | May 2–Aug. 10, 2025 | Wednesday–Sunday, 11am–5pm (Thursdays and Fridays 11am–8pm)

      The first of its kind internationally, Code Switch: Distributing Blackness, Reprogramming Internet Art is a multi-sited exhibition exploring and redefining the history of “Black data,” centering and celebrating contributions by artists of African descent to the rapidly advancing field of new media art and digital practice. Drawing its title from André L. Brock’s groundbreaking text Distributed Blackness: African American Cybercultures (2020), the exhibition explores the relationship between Black cultural production and the legacy of computation as a mode of machinic engagement and creative inspiration. This exhibition will take on two components—the first part, a historic archival timeline as presented by The Kitchen in collaboration with The Schomburg Center for Research in Black Culture in Fall 2024 (October 15–December 19, 2024); the second part, a contemporary group show, to take place Spring 2025 (April 25–September 7, 2025) in partnership with the Museum of Contemporary Art Detroit (MOCAD). 

      Gordon Hall: Hands and Knees

      The Kitchen at Westbeth | May 1–31, 2025 | Wednesday–Saturday, 12–6pm

      Opening Reception: Saturday, May 10, 2025, 4–6pm

      Performances: May 9, 10, 17, 24, and 31

      Tickets: Free

      For this newly commissioned body of work, Gordon Hall continues their practice in sculpture and performance with an installation of functional furniture-like sculptures that support reclining bodies in unexpected ways. Animated by a transgender politics that question the norms that govern embodied life, Hands and Knees extends Hall’s investigation into the politics of vulnerability and corporeal support. Performers demonstrate possible uses of the sculptures in weekly performances that emerge from Hall’s inquiry into the paradoxical interplay of vulnerability and liberation in moments of waiting.

    • Knockdown Center Announces Two Outline Festival Dates for 2025

      March 30 and April 12, 2025 have been announced as the first two dates of the Outline Festival in 2025. Featuring artists such as Thurston Moore, Michael Rother, Eiko Ishibashi, Explosions In The Sky, and more, they’ll perform during the Knockdown Center‘s flagship series, which continues to further a commitment to celebrating international expressions of independent music.

      Outline Festival

      Germany’s Michael Rother is set to headline the Main Hall on Sunday, March 30th, showcasing the pivotal works of Neu! and Harmonia. The evening will also feature performances by post-punk pioneer Thurston Moore, the Australian post-punk duo HTRK, and Japanese singer-songwriter and composer Eiko Ishibashi.

      On Saturday, April 12th at Knockdown Center, Outline Festival will expand its offerings to include a diverse showcase of avant-garde and alternative music, as well as instrumental, IDM, pop, and psychedelic genres. Across two stages, the festival will feature performances from Austin’s renowned post-rock quartet Explosions In The Sky, the Icelandic band múm, Guatemalan-born, Mexico City-based cellist and vocalist Mabe Fratti, Philadelphia shoegazers They Are Gutting a Body of Water, Dutch producer and innovator upsammy, and Mexico City’s no wave and krautrock-inspired group Diles Que No Me Maten.

      Throughout 2024, Outline will spotlight various genres and regions, continually evolving with each edition. The festival will present a range of performances, from the seismic sounds of Godspeed You! Black Emperor, Alan Sparhawk, Marina Herlop, and Maria BC, to hard rock and metal acts like The Armed, King Woman, Chat Pile, Cloakroom, Ragana, and Couch Slut.

      The event will culminate in a rapturous finale featuring Yaeji, Sofia Kourtesis, Ela Minus, Nourished by Time, and Malibu. Each new edition will be uniquely curated to highlight the best in both artists and audiences, pushing the boundaries of creativity and redefining what a venue and festival can be as it moves into 2025.

      Tickets are available now. Learn more about Knockdown Center and purchase tickets for March 30 fest here and for April 12 here.

    • Cab Calloway: The Hi De Ho Man

      Cabell “Cab” Calloway III was born on Christmas Day, 1907 in Rochester, living on Sycamore Street. His mother was a teacher and church organist and his father was a lawyer. When Calloway was 11, they moved to Baltimore. After he was caught playing dice on the church steps, his mother sent him to a reform school in Pennsylvania.

      When he returned to Baltimore, Calloway began private voice lessons and continued his study of music throughout school. He soon began performing at nightclubs in Baltimore and was mentored by Chick Webb and Johnny Jones.

      cab calloway

      In 1927, Calloway joined his older sister, Blanche, in a tour of Plantation Days. She achieved success first, he often credited her as an inspiration to enter show business. His parents wanted him to follow in his father’s footsteps and become a lawyer. Therefore, he enrolled to college in Chicago, but spent his nights at the Dreamland Ballroom, Sunset Cafe, and the Club Berlin. At the Sunset Cafe, he was an understudy for Adelaide Hall. He also met and performed with Louis Armstrong.

      Harlem

      In 1929, Calloway moved to Harlem, performing with the Alabamians band. They opened at the Savoy Ballroom and broke up soon after. With help from Armstrong, Calloway established himself as a vocalist by singing “Ain’t Misbehavin’” by Fats Waller. Soon after, The Missourians asked Calloway to join and front them.

      The following year, the band name shifted to Cab Calloway and His Orchestra. In 1931, the band replaced the Duke Ellington Orchestra at the Cotton Club while they were on tour. Due to the increased popularity, they were offered a permanent position there.

      cab calloway

      The band also performed regularly on radio broadcasts on NBC. Calloway also appeared on radio programs with Walter Winchell and Bing Crosby became the first African-American to have a nationally syndicated radio show. During the heights of the Great Depression, Calloway was earning $50,000 per year at the age of 23.

      The 30’s and 40’s

      In 1931, Calloway recorded his most famous song, “Minnie the Moocher.” This is the first single song by an African-American to sell one million records. Three of his songs, “The Old Man of the Mountain,” “St. James Infirmary Blues” and “Minnie the Moocher”, were performed in Betty Boop cartoons.

      Calloway soon received the nickname “The Hi De Ho Man.” He performed in the 1930s in short films for Paramount. In these, Calloway performs a gliding backstep dance move, a possible precursor to Michael Jackson’s moonwalk.

      Calloway’s band in the 1930s and 1940s included many notable musicians, such as Ben Webster, Ed Swayze, Cozy Cole, and Dizzy Gillespie. In 1940, Strike Up the Band, starring Mickey Rooney and Judy Garland, has a line of “You are not Cab Calloway” after playing poorly.

      In 1941, Calloway fired Gillespie from his orchestra after an onstage fracas erupted when Calloway was hit with spitballs. He wrongly accused Gillespie, who stabbed Calloway in the leg with a small knife.

      cab calloway

      In 1956, Clarence Robinson, who produced revues at the original Cotton Club and the Apollo Theater, and choreographed the movie Stormy Weather, cast Calloway as the main attraction for his project in Miami. The Cotton Club of Miami featured a troupe of 48 people, including singer Sallie Blair, George Kirby, Abbey Lincoln, and the dance troupe of Norma Miller. The success of the shows led to the Cotton Club Revue of 1957 which had stops at the Royal Nevada Hotel in Las Vegas, the Theatre Under The Sky in Central Park, Town Casino in Buffalo.

      Later Years

      The Cotton Club Revue of 1959 traveled to South America for engagements in Rio de Janeiro and Sao Paulo. They also stopped in Uruguay and Argentina before returning to North America which included a run on Broadway. Directed by Mervyn Nelson and choreographed by Joel Nobel, this edition featured Ketty Lester, The Three Chocolateers. The revue toured Europe in 1959 and 1960, bringing their act to Madrid, Paris, and London.

      Calloway remained a household name due to TV appearances and occasional concerts in the US and Europe. In 1961 and 1962, he toured with the Harlem Globetrotters, providing halftime entertainment during games.

      cab calloway

      In 1985, Calloway and his Orchestra appeared at The Ritz London Hotel where he was filmed for a 60-minute BBC TV show called The Cotton Club Comes to the Ritz. Adelaide Hall, Doc Cheatham, Max Roach, and the Nicholas Brothers also appeared on the bill. A performance with the Cincinnati Pops Orchestra directed by Erich Kunzel in August 1988 was recorded on video and features a classic presentation of “Minnie the Moocher”, 57 years after he first recorded it.

      On June 12, 1994, Calloway suffered a stroke at his home in Westchester County. He died five months later from pneumonia on November 18, 1994, at age 86, at a nursing home in Hockessin, Delaware.

      Awards and Accomplishments

      In 1990, Calloway was presented with the Beacons in Jazz Award from The New School. The NYC mayor at the time, David Dinkins, proclaimed the day “Cab Calloway Day.”

      The Cab Calloway School of the Arts was founded in Wilmington, Delaware in 1992.

      The New York Racing Association (NYRA) annually honors the jazz legend, a native of Rochester, with a stakes races restricted to NY-bred three-year-olds, as part of their New York Stallion Series. First run in 2003, The Calloway has since undergone various distance and surface changes. The race is currently run at Saratoga Racecourse, one of America’s most popular, premier racetracks. The Cab Calloway Stakes celebrated its 13th renewal on July 24, 2019.

      He is also a recipient of an Outer Critics Circle Award (1967), member of the Big Band and Jazz Hall of Fame (1987), Beacons in Jazz Award (1990), National Medal of Arts (1993), International Jazz Hall of Fame (1995), Grammy Hall of Fame for “Minnie the Moocher” (1999), and a Grammy Lifetime Achievement Award (2008). “Minnie the Moocher” was added to the Library of Congress National Registry in 2019.

    • The Black Crowes Close Tour with Spectacular Show at The Capitol Theatre

      Days before the holidays, The Black Crowes brought their Happiness Bastards (The Reprise) tour to the legendary Capitol Theatre in Port Chester. The band held the second North American leg of the tour in support of their newest record, Happiness Bastards after Aerosmith canceled their own farewell tour.

      While the band was out on the road, it was also announced that their previously mentioned record was nominated for a Grammy award. After a thrilling first night of music at The Capitol Theatre, the Black Crowes rode a massive high into night two.

      Just like night one (Saturday, December 21! the low temperature kept most famous from camping outside and waiting for the doors to open. By the time the 6:30 p.m. door time did arrive, there were only about 15-20 people in line. Before the opening act, George Porter Jr. & Runnin’ Pardners, “the cap” filled up in the blink of an eye. Fans quickly flocked inside from their cars once the doors opened. If you walked in, you might have thought The Black Crowes were immediately going on stage. That’s how many people were packed inside.

      By 8 p.m. the legendary George Porter Jr. walked on stage to begin his 45-minute set. Joining Porter Jr. was Michael Lemmler on keyboards and vocals, Chris Adkins on guitar and vocals and Terrence Houston on drums. The band played at most five or six songs that were infused with funk and jam.

      In comparison to last night’s setlist, there was more of a jump in their songs. These tunes got the crowd dancing more. At one point in between songs, Porter Jr. dedicated a tune to a friend of his that recently passed. Halfway through the band’s set, The Black Crowes guitarist, Nico Bereciartua watched from the side to witness the legend.

      Throughout the night, the band’s anchor, Houston was spectacular on the drums. It’s special when fans witness a drummer in a groove. No one could stop Houston, he brought his A-game with him. It’s easy to see why he calls himself the “groove guardian.” He has a great feel for the drums and for each song.

      The stagehands were also at the top of their game. They quickly swapped out George Porter Jr. & Runnin’ Pardners’ gear and got prepared for The Black Crowes. It wasn’t long until AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” blasted at top volume across the PA system. In an instant, the house light flashed on and The Black Crowes started their 19-song set. The first tune played was the trilling “Bedside Manners” off Happiness Bastards.

      The Capitol Theatre is a legendary venue and massive names have played there. It’s only fitting that the band close out their tour by playing a setlist perfectly balanced with deep cuts and fan favorites. In between favorites and rarities, the group sprinkled in a few new tunes for the Port Chester audience. It’s great when a band acknowledges their newest record instead of completely ignoring it. It didn’t take long for the band to jump into deep cuts as they played into “Exit.” This rarity only appears on their 2010 live record, Wiser For The Time.

      The band features the two Robinson brothers, lead singer Chris Robinson and guitarist Rich Robinson. Joining them are Bereciartua on guitar, Sven Pipien on bass, Cully Symington on drums, and Erik Deutsch on keyboards. Rounding out the band were the amazingly talented Lesley Grant and Mackenzie Adams on background vocals. The dazzling singers’ dresses were made to look like Christmas trees. The dresses played great with Chris Robinson’s red suit, which put everyone in the holiday mood.

      Throughout the night, Chris Robinson ran around the entire stage and did not leave one corner unlooked. On the other hand, his brother stuck to his side of the stage and offered a warm yet shy smile. It wasn’t until one of the last songs of the night that Rich Robinson crossed the invisible line to the middle of the stage to sing with Chris Robinson.

      As the group crisscrossed through their discography, during “My Morning Song,” Chris Robinson showcased just how spectacular his voice is. He belted out bone-chilling lyrics that also included beautiful live harmonizations from Grant and Adams. “My Morning Song” was one of, if not the best song performed all night.

      During each solo, Bereciartua looked calm and collected on his side of the stage. Each solo was played with emotion and each note was played with a purpose. Bereciartua and Rich Robinson have a strong bond that goes way back to Rich Robinson’s solo group post-Black Crowes split up. It was great to see Rich Robinson look over to Bereciartua and offer a smile or a nod.

      With such a diverse discography, The Black Crowes covered a ton of eras in the two-hour span. At one point they got to “Thorn in My Pride” which appears off their Southern Harmony And Musical Companion record. The song was extended as Rich Robinson and Chris Robinson were going back and forth with each other to create a musical powerhouse. Chris Robinson would babble something into the mic which Rich Robinson would then inmate through a guitar riff. The Robinsons continued to play musical follow the leader. Only this time Chris Robinson swapped to a harmonia to carry the tune over the finish line.

      Despite this being the last show of the tour, the band remained in high spirits throughout. During their rendition of “Jealous Again,” Chris Robinson blew a kiss to his wife, Camille Robinson, who was sitting in the upper balcony. During the chorus, you could feel the fans in the general admission section jumping in unison to the beat. Their singing was even more deafening than the amp setups behind the band.

      As a little surprise, The Black Crowes gave a two-song encore instead of their usual one-song encore. But before they played a note, Chris Robinson publicly thanked all the members of the crew and the behind-the-scenes folks who make their rock and roll train run. It was an extremely classy move by “The Crowes” frontman. The band closed out their tour by playing the festive “Run Run Rudolph” before taking their final bows of the night.

      The next time that The Black Crowes run through New York, you have to go see them. Their drive to put on good shows is palpable and they feed off the energy from their loyal fans. The Robinson brothers have done an excellent job at keeping the rock and roll fire going in their historic career. Do yourself a favor and see one of the best rock bands still touring, they’ll leave you with unforgettable memories.

      George Porter Jr. & Runnin’ Pardners setlist: Out The Box, Stretch Your Rubberband, All We Wanna Do (Porter Batiste Stolz cover), Cabbage Alley, No More Okey Doke, They Love Each Other (Jerry Garcia cover), Ain’t No Use

      The Black Crowes’ setlist: Bedside Manners, Rats and Clowns, Think n’ Thin, Go Tell The Congregation, Exit, Rocks Off (The Rolling Stones cover), My Morning Song, Seeing Things, Hard to Handle (Otis Redding cover), Soul Singing, Oh! Sweet Nuthin’ (The Velvet Underground cover), Thorn in My Pride, Flesh Wound, Papa Was a Rollin’ Stone (The Undisputed Truth cover), Wilted Rose, Jealous Again, Remedy, Torn and Frayed (The Rolling Stones cover), Run Run Rudolph (Chuck Berry cover)

    • Your Guide to Pre and Post-Shows during Phish’s MSG New Years Eve Shows

      From Dec. 28-31, the annual Phish at Madison Square Garden four-night run will return to ring in the new year.

      Phish After Shows

      With this, Creative Entertainment Group (CEG) has announced the initial lineup of pre and post-shows for each date with more announcements to come.

      CEG has also shared that $1 of each ticket will be donated to Phish’s WaterWheel Foundation.

      Phish After Party

      Dec. 28 – Steely Dead, Neighbor

      Steely Dead will be playing both a pre-party at 4 pm and an after-party at 11:55 pm at the Hill Country. The price is $25 per person and pre-party and after-party tickets are sold separately. The Steely Dan and Grateful Dead cover band began in Denver, Colorado and is now a national touring band. Learn more and purchase tickets here.

      Phish After Shows

      Neighbor will be playing a live after-party at the Cutting Room from 11:55 on through the night. The band has a diverse catalog of hundreds of songs that brings elements of Americana, Funk, Rock, Jazz, Soul, and more. Tickets are $25 per person and the event is 21+. Learn more and purchase tickets here.

      Phish After Shows

      Dec. 29 – Space Bacon, Near Dead Experience

      The Near Dead Experience is a Brooklyn-based Grateful Dead cover band, fronted by a group of musicians who connected on Reddit. They will play a Phish pre-party hosted at the Hill Country Live. Doors open at 3 pm, and the show starts at 4 pm. Tickets are $24.90 and the event is open to all ages. Learn more and purchase tickets here.

      Phish After Shows

      The Brooklyn-based future jam quartet Space Bacon will play live at the Hill Country from 11:55 pm through the night. Tickets are $20 for tier 1 which includes general admission and $25 for tier 2 which includes DOS. This event is 21+. Learn more and purchase tickets here.

      Dec. 29 & 30 – Medeski, Martin, Metzger & Cline

      For two nights the supergroup of Medeski, Martin, Metzger & Cline, will play the after-party at the Sony Hall starting at 11:59 pm. John Medeski and Billy Martin of Medeski Martin & Wood will be joined by Joe Russo’s Almost Dead guitarist Scott Metzger and Wilco’s guitarist Nels Cline. The group first performed together in 2019 on Dec. 28 then again in 2023 on Dec. 30 and now for the first time, they will play two nights.

      The price is $45 a ticket for standing room and $65 for VIP reserved seating. Purchase tickets for Dec. 29 here and Dec. 30 here.

      Dec. 31 – Funk Sauce Dance Party, Tad Cautious, Shakedown Citi

      Grateful Dead cover band, Shakedown Citi, channels the spirit and energy of the Dead without trying to copy them. They will perform a pre-show for the NYE Phish concert at Hill Country Live, beginning at 4 pm. Tickets are $24.90 and the event is open to all ages. Learn more and purchase tickets here.

      Host on Sirius XM’s Phish Radio, Tad Cautious, will be joined by friends Ari Fink, DJ Blender and DJ Cooley, to perform at the NYE post-party. Doors open at 11:30 and the show will go until 4 am on Dec. 31 at the Hill Country Live. Tickets start at $28 and the event is open to all ages. Purchase tickets here.

      Closing out the four nights of Phish after-parties is the Funk Sauce Dance Party hosted by dj AF (Ari Fink) & Tad Cautious with DJ Cooley and the mysterious DJ Blender. From 1 am to 4 am, the Senior Director of music programming at SiriusXM, and host of The Bunny on SiriusXM, will make you party into the new year. Learn more and purchase tickets here.

    • Flashback: Marky Ramone Brings Holiday Blitzkrieg To Gramercy Theatre

      On December 20, 2019, Marky Ramone brought his Holiday Blitzkrieg show to Gramercy Theatre in New York City.  Marky was the drummer for The Ramones for 15 years after replacing Tommy Ramone in 1978. He played on nine of the band’s 15 albums and was inducted into the Rock & Roll Hall of Fame in 2002.

      The group (Marky on drums, Pela on lead vocals, Martin Blitz on bass and Marcelo Gallo on guitar) played more than 30 Ramones hits including “Do you Wanna Dance,” “53rd and 3rd,” “Beat on the Brat” and of course “Blitzkrieg Bop.” They also played covers that The Ramones made popular to punk culture including Creedence Clearwater Revival’s “Have you Ever Seen the Rain” and Louis Armstrong’s “What a Wonderful World.”

      Punk Rock started in New York City in the 1970s, and it remains very clear that these songs are timeless judging by the crowd getting revved up. Bodies were slamming into each other relentlessly from the start of the first song until the very end of the show. Although the songs are over 40 years old, the music is still very much alive and continues to attract new fans from the younger generation.

      Unfortunately this years show could’t happen due to COVID-19 but hopefully it will return in 2021

      Marky Ramone’s Holiday Blitzkrieg, Gramercy Theatre, NY, NY 12/20/19

      Setlist: Do You Wanna Dance, Teenage Lobotomy, Rockaway Beach, I Don’t Care, Sheena Is A Punk Rocker, Havana Affair, Commando, I Wanna Be Your Boyfriend, Beat On The Brat, 53rd and 3rd, Now I Wanna Sniff Some Glue, Gimme Gimme Shock Treatment, Rock N Roll High School, Oh Oh I Love Her So, Let’s Dance, Surfin Bird, Judy Is A Punk, I Believe In Miracles, The KKK Took My Baby Away, Pet Sematary, Chinese Rocks, I Wanna Be Sedated, Do You Remember Rock N Roll Radio?, I Just Want To Have Something To Do, Needles And Pins, Loudmouth, Pinhead, Happy Birthday To You, Palisades Park, Glad To See You, Cretin Hop, Have You Ever Seen The Rain, Don’t Come Close, I Can’t Make It On Time, Life’s A Gas, She’s The One, Spider Man, Anxiety

      Encore: R.A.M.O.N.E.S., What A Wonderful World, Merry Christmas (I Don’t Want To Fight Tonight), Blitzkrieg Bop

      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone
      Marky Ramone

    • Hearing Aide: Joy Buzzer’s “Pleased to Meet You”

      New York City’s own Joy Buzzer released their debut album, Pleased to Meet You for Wicked Cool Records on October 25th. Recorded in the heart of New York City, the LP boasts 10 tracks that clock in at just over 30 minutes. Pleased to Meet You is defined by the power-pop songwriting of Jed Becker, sending the listener on a blast to the past through a fresh lens.

      Formed in 2021, Joy Buzzer is a collaborative project merging the minds of The Lord Calverts and The Doppel Gang. The band consists of Jed Becker and KG Noble on guitars, Nick DeMatteo on bass, Mark Brotter on drums, and Kevin Lydon on lead vocals. This release welcomes the return of Lydon, and features guitarist Askold Buk, who helped produce the record alongside Becker. Half of the record was mixed by Grammy and Emmy award winning mixer, engineer and producer Carl Glanville. The remaining tracks were produced by Eber Pineiro. 

      Photo by Nancy Adler

      Pleased to Meet You is front to back catchy hooks and tasteful lead guitar lines. The band references artists like Fountains of Wayne, XTC, and Todd Rundgren as their source of songwriting inspiration. Tackling themes of introspection and relationships, Joy Buzzer’s arrangements and harmonies showcase their unique voice and individualized perspective, all while staying true to the genre. The musical chemistry between each member is on full display for this release.

      Well-crafted synthesizer and guitar solos, alongside memorable choruses fuse rock and pop influence to create the undeniable sound that is Joy Buzzer. When commenting on the album, the band says it’s a “bold, declarative statement of [their] intention to deliver super high-energy songs, with witty lyrics and huge hooks.” 

      Pleased to Meet You is currently available on all streaming services here. Find out more about Joy Buzzer and support them directly at joybuzzerband.com