On a gorgeous late-summer evening in the heart of downtown Brooklyn, Anne Erin Clark (better known as St. Vincent) performed a second consecutive sold-out show at Brooklyn Paramount this past Wednesday, September 11.
Touring in support of her seventh studio album dubbed All Born Screaming, released on April 26, Clark not only self-produced the LP featuring a bevy of special guest artists, but also released it on her own Total Pleasure Records label.
St. Vincent | Photo Credit: Michael Dinger
Originally opened in 1928 and having hosted seminal artists the likes of Miles Davis, Buddy Holly, Frank Sinatra and Ella Fitzgerald, the 2,700-capacity Brooklyn Paramount reopened its famed doors this past March after years of restoration, and since doing so, has been a destination spot for industry veterans and rising stars alike.
Brooklyn Paramount Marquee | Photo Credit: Michael Dinger
With a constant stream of genre-spanning musical talent gracing its stage for the last six months, tonight was no different. Providing opening support for St. Vincent on this 12-date tour of North America, which launched in Boston, Massachusetts on September 5, was experimental electronic musician Yves Tumor (born Sean Lee Bowie). Taking the stage at exactly 8:00 pm, the 34-year old musician who was born in Miami, Florida and raised in Knoxville, Tennessee immediately launched into an eleven-song set with a heavy dose of tracks taken from their fifth and most recent studio album titled Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds).
Yves Tumor | Photo Credit: Michael Dinger
A self-taught multi-instrumentalist, Yves Tumor’s atmospheric stage lighting was the perfect accompaniment to their tonal palette – ranging from the sonically atmospheric to vibes of hypnotic trance – interspersed with glam cockiness resembling that of Prince. Exuding a kinetic stage presence and energy rarely seen, Yves Tumor was backed by a trio of extremely talented musicians who delivered the rock neo-psychedelia goods, complete with jangly guitar, looping basslines and a 4/4 drum beat signature.
St. Vincent | Photo Credit: Michael Dinger
Born screaming in Tulsa, Oklahoma, but a New Yorker at her core, I was introduced to St. Vincent a decade ago when she released her self-titled fourth studio album to critical acclaim. Like many of her fans, I was drawn to her melodic, distortion-rich guitar playing. Certainly not underrated, she is often cited as being among the best guitarists of all time, including a nod from Rolling Stone last year. Armed with her Ernie Ball Music Man signature guitar, St. Vincent brought the packed house to its knees on multiple occasions, often with humor:
I have to tell you about the first night that I ever met this woman [touring bassist Charlotte Kemp Muhl]. I went over to her house, and she put an albino snake around my neck. And she said ‘Hey, I’m Charlotte.’ On that same night, I had taken mushrooms for the first time. And then, we walked home at 4:00 in the morning and we were walking by construction, you know, ConEd doing stuff down below. And we were like ‘Hey, can we go down there?’ And the dude was like ‘yeah.’ So, we crawled through the bowels of this city, and I can tell you that the bowels of this city are as beautiful as its face. And let that be said at all of our funerals. I love you so much New York.
St. Vincent
The 100-minute long show featured twenty songs spread across fifteen years of St. Vincent’s discography, with “Birth in Reverse” and “Surgeon” substituted for “Krokodil” and “Year of the Tiger” the night before. The only album not represented in tonight’s setlist was her 2007 debut studio offering Marry Me.
After interacting with lucky fans in the first several rows center stage, falling backwards into their arms, the emotionally charged show culminated soon after with St. Vincent alone onstage for the encore, “Somebody Like Me” (Daddy’s Home, 2021). After the thunderous applause finally subsided, St. Vincent thanked Yves Tumor for opening the night and commenced the final number. Not a minute in, she exclaimed “Oh, I fucked this song, I fucked it so bad. I’m so sorry.” Erupting in a roar of laughter, the fans could not care less about the false start, but St. Vincent did – a testament to her professionalism as a musician. Retreating to her original position beneath the arch-framed stage design, St. Vincent came forth again to the edge of the stage apron and finished the show with style and grace, as if it could have ended any differently.
St. Vincent | Photo Credit: Michael Dinger
Following an appearance at Riot Fest in Chicago, Illinois on September 21, the next leg of St. Vincent’s tour resumes in Dublin, Ireland on October 13, concluding in Southbank, Australia on November 28.
Yves Tumor Setlist: God Is a Circle > Echolalia > In Spite of War > Gospel for a New Century > Jackie > Meteora Blues > Parody / Heaven Surrounds Us Like a Hood > M~~S B~~~~~E > Operator > Secrecy Is Incredibly Important to the Both of Them > Ebony Eye
St. Vincent Setlist: Reckless > Fear the Future > Los Ageless > Big Time Nothing > Marrow > Dilettante > Pay Your Way in Pain > Digital Witness > Sweetest Fruit > Flea > Cheerleader > Broken Man > Birth in Reverse > Surgeon > Hell Is Near > Candy Darling > New York > Sugarboy > All Born Screaming > Encore: Somebody Like Me
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.
Just ahead of Saturday Night Live’s 50th season premiere, SNL hosting duo and comedians Colin Jost and Michael Che will be premiering their never-before-seen live comedy special, New York After Dark, on September 12 at The Bell House in Brooklyn.
Photo: Peacock
Hosts of SNL’s “Weekend Update” segment since 2014, Colin Jost and Michael Che have built a notable comedic rapport beloved by the show’s fans over the years in addition to their own individual accomplishments as comedians.
Now, after years behind the camera, the duo will be shining the spotlight on some of their favorite comics from New York City’s comedy scene- and possibly beyond- in a one night only live show in Brooklyn.
After ten years of comedy behind the screen, Jost and Che are moving to the stage for a brand new live comedy event at the historic Bell House. Recorded in front of an in-person audience, the hour-long special will feature “drop ins only”- meaning the exact guest list is unknown. However, audience members can expect some of the duo’s favorite acts, fresh faces to the industry, and possibly even a few household names.
In addition to the mystery lineup, Grammy-nominated musical ensemble 1500 or Nothin’ will be providing the evening’s soundtrack as well as accompanying performances throughout the night as the show’s house band.
Grateful Dead tribute and LGBTQ+ benefit band BERTHA has announced her first ever tour across the United States, “BERTHA DOES AMERICA”. The tour will begin on September 12 at the Brooklyn Bowl.
The world’s first all-drag Grateful Dead tribute band, BERTHA is a powerhouse of a performance. Founded in Nashville after their state legislature passed bans on public drag and trans youth healthcare, every show BERTHA plays is a benefit for LGBTQ+ causes, creating community and solidarity between the local drag and live music scenes.
An absolute love letter to both their namesake and the queer community, BERTHA is a conglomerate of drag artists with a core set of performers but no concrete lineup. There is a rotating lineup with special guest Berthas, seasoned Berthas, and every Bertha inbetween. Founding members include singer for bluegrass band Front Country Melody Walker, former member of the duo Smooth Hound Smith Doyle, Jacob Groopman, Lindsay Lou, Alex Bice, Thomas Bryan Eaton, Kyle Tuttle, and Milly Racoon.
Regardless of how long a particular artist has been a Bertha, the band is a collective with two things in mind- the Grateful Dead and raising money for LGBTQ+ causes. This unique set of priorities has led to a growth in the overlap between Grateful Dead fans and members of the queer community, fostering a rather unique and enthusiastic audience attitude towards both the performances themselves and the larger causes they support.
This exciting tour will open on September 12 at the Brooklyn Bowl, followed by nine other dates across the country. For tickets and further information on the Brooklyn date, please visit here.
The full list of dates on the BERTHA DOES AMERICA tour are listed below. For more information on BERTHA and other shows, please visit here.
The Mutual Mentorship for Musicians, or M³, mentorship initiative has announced its third annual two-day cumulative festival on October 25 and 26 in Brooklyn.
About M³
Founded in March of 2020 in the midst of lockdowns being put in place, co-founders Jen Shyu and Sara Sherpa created Mutual Mentorship for Musicians out of a shared recognition that music and performing arts as a whole are shaped within the context of male power, creating unequal environments and increased challenges for musicians of underrepresented groups- the exact issue M³ seeks to rectify. Through commissioning women, nonbinary, and BIPOC musicians for new music/video compositions, M³ creates the space for marginalized artists to flourish and share both their works and their stories with the world.
Additionally, dedicated to display a variety of composer-performers from a range of backgrounds and genres, the M³ Festival is a celebration of the founding principal of the program, the traditions and histories of the members, and the skills honed in each individual performing.
Program Layout
Over the course of two days, the program will feature headlining duo Linda May Han Oh with Fabian Alzaman and solo headliner Craig Taborn. Composers and musicians who have collaborated remotely, mostly those of M³’s fifth cohort, will meet in person for the first time to celebrate and share their work as well.
The first day will feature projects “Selat Segara” (“separated by the ocean”) by Sattvitri and CC Sunchild, a project interpreting the majesty of the ocean, “All Roads Lead to Home” by The Kativa Shah Quintet, a vignette of works from their upcoming album of the same name, an improvisational exploration meshed with song-form that reflects the innermost questions of creators Tara Kannangara and Krissy Bergmark, the compositions of Jessica Jones and her fellow tenor saxist husband Tony Jones, and Craig Taborn’s working piece “Shadow Plays Solo”, a performance tailored to the concert space and audience for a once-in-a-lifetime experience.
On day two, Dafna Naphtali and Gwen Laster will open with their newly reimagined M³ commissioned piece “Wake Me When It’s Green.” Now tailored to the live experience alongside musicians Ras Moshe and Alex Waterman, followed by a soundscape of Rani Jambak’s on her cultural identity journey as Minangkabau, a solo concert of Aline Franzão’s own compositions largely in portuguese with a blend of African, Brazilian, and Jazz influences, and the final performance of the evening- the ever-respected musical duo Linda May Han Oh and Fabian Almazan who will perform original works alongside improvisation, soundscapes, and both acoustic and electric elements.
Tickets are on sale now for the M³ Festival at $25 per day on October 25 and 26 at the Roulette Intermedium in Brooklyn. For further information and ticket sales, please visit here.
29-year-old rap star Chief Keef announces 14 rescheduled dates for his upcoming cross-country tour titled “A Lil Tour,” which includes a stop at the Brooklyn Paramount in Brooklyn, NY on November 23, 2024.
Chief Keep will be performing at Brooklyn Paramount of November 23
“A Lil Tour” follows the release of Keef’s self-produced album Almighty So 2, which made debuted at number3 on the Billboard’s Independent Albums chart, number 9 in the top Top Rap Albums chart, number 10 Top R&B/Hip-Hop Albums, while also ranking at number 26 on Top Streaming Albums and number 30 on the Billboard 200. The album features appearances from Chief Keef aficionado Sexyy Red, Quavo, G Herbo, Tierra Whack and 43B signee Lil Gnar, who will also be joining Chief Keef on this upcoming tour alongside his Glo Boyz group.
About Chief Keep
Chief Keef — aka Sosa– began his journey as a 16-year-old in Chicago as a pioneer of the drill scene. Since then he has gone on to create his own record label, 43B, and released five studio albums. In his early career, Keef rose to popularity because of his catchy and genre-bending mixtapes, and Almighty So 2 serves as a 16-track nostalgic sequel to his cult classic 2013 mixtape Almighty So.
Earlier this year, Keef collaborated with Sexyy Red on two singles from her Hood Hottest Princess (Deluxe)–”Ghetto Princess,” and “Bow Bow Bow (F My Baby Mama).” He also linked up with Lil Yachty for “Say Ya Grace,” a highlight from All Is Yellow. The song’s Cole Bennett-directed video went viral, reaching the top 5 on YouTube’s Trending chart and garnering over three million views in its first week of release.
Previously bought tickets will be honored on the new dates. Tickets are also on sale now and are available at ChiefKeef.com. Full lists of dates are down below.
A Lil Tour 2024 Dates:
10/30/24 – San Francisco, CA – The Midway
11/2/24 – Los Angeles, CA – Hollywood Palladium
11/3/24 – Phoenix, AZ – Arizona Financial Theatre
11/6/24 – Denver, CO – Fillmore Auditorium
11/8/24 – Dallas, TX – South Side Ballroom
11/9/24 – Houston, TX – 713 Music Hall
11/11/24 – Charlotte, NC – The Fillmore Charlotte
11/13/24 – Atlanta, GA – Coca-Cola Roxy
11/16/24 – Minneapolis, MN – The Armory
11/17/24 – Detroit, MI – The Fillmore Detroit
11/19/24 – Philadelphia, PA – The Fillmore Philadelphia
This fall, Brooklyn is set to experience a kaleidoscope of psychedelic marvels as New York rising stars Boojum take over Brooklyn Art Haus for a four-show run of “Electric Wonderland.” The residency will feature the band’s distinctive fusion of improvisational jam-band rock and immersive theatrical performances, redefining the live music experience.
Every other Friday from September 13th through October 25th, Boojum will turn Brooklyn Art Haus into a playground of psychedelic fantasy, taking participants on a journey into the fantastical realms of Alice in Wonderland and other Lewis Carroll classics. Meant to be more than a series of concerts, “Electric Wonderland” is planned as an evolving spectacle, with every performance a new adventure featuring surprise guests and a dynamic setlist that guarantees no two nights are ever the same.
“Electric Wonderland goes beyond music. We are creating a one-of-a-kind visually and sonically stunning theatrical experience,” said Sarah Elaz, bassist of Boojum. “By making every night of this residency different with no repeats and plenty of unexpected twists, we are embracing and evolving what it means to be a part of the modern jam band scene.”
The residency marks a pivotal moment for Boojum as they build on their debut performance of “Electric Wonderland” at Brooklyn Bowl to establish a new home for their ambitious, immersive production. Boojum’s debut EP, Electric Wonderland Vol. 1: Down the Rabbit Hole, released in April, set the stage for what’s to expect, offering a tantalizing glimpse into the group’s ability to blend jam, EDM, funk, pop, and progressive influences into a captivating theatrical experience for fans seeking a feast for their eyes and ears.
Expect elaborate costumes, intricate choreography, and spellbinding projections that complement Boojum’s eclectic and improvisational soundtrack. For those ready to dive into the rabbit hole where psychedelic rock meets theatrical spectacle, “Electric Wonderland” promises an unforgettable journey.
In the vibrant land of New York City, each borough offers its unique culture, style, and history. In music, the historic jazz clubs of Harlem, projecting unforgettable stars like Duke Ellington, to the indie rock bands in Brooklyn, Manhattan’s Broadway avenues, Queen’s melting pot of cultural musicians, the Bronx’s hip-hop roots, and Staten Island’s hidden diamonds, the city offers something for everyone.
The Rockwood Music Hall is a small live music venue on NYCâs Lower East Side, with world-class sound and a storied history. Anchored by a 9âx9â stage and a Welte & Sons baby grand piano, Rockwood hosts artists of all genres and musical styles, 7 days a week.
The club is filled with vibrant jazz-loving people from all over the world. The musicians are all top-rate and playing their hearts out for an adoring and sympathetic crowd.
Irving Plaza is a ballroom-style music venue located within the Union Square neighborhood of Manhattan in New York City. It was featured on the Complex City Guide list of “50 Best Concert Venues of America” in 2013.
Webster Hall is one of New York’s most significant large 19th-century assembly halls, and it became famous for its Bohemian masquerade balls in the 1910s and 1920s.
Known for its mix of local talent and acoustic acts, the funky venue has an intimate stage for all performances. As a local staple of the East Village, locals and visitors love then venue.
The Bitter End is a 230-person capacity nightclub, coffeehouse, and folk music venue in New York City’s Greenwich Village. It opened in 1961 at 147 Bleeker Street under the auspices of owner Fred Weintraub. The club changed its name to The Other End in June 1975. However, after a few years, the owners changed the club’s name back to the more recognizable The Bitter End.
The Mercury Lounge is celebrated as an iconic indie venue due to its acoustics, its fostering and even launching of upcoming artists, and its no-frills, rock n’ roll presentation. It has made numerous top-ten lists over the years including that of Billboard Magazine. It has a capacity of 250 people.
LPR is a music venue and multimedia art cabaret in New York City founded in 2008. The performance space was designed and engineered by John Storyk/WSDG. It has become known for its focus on artistry, bringing contemporary classical music into the club setting, offering a variety of setups so that a seated classical performance can be followed by a standing set by a rock band or a DJ.
Sounds of Brazil, known as S.O.B.âs, is a legendary live music venue in the lower Manhattan neighborhood of SoHo. It was opened by owner and director Larry Gold in June 1982. Gold opened the venue to expose the musical wealth and heritage of the Afro-Latino Diaspora to as many people as possible.
Nublu is a unique club and record label from the cultural epicenter of New York City, the East Village. There are three entities of the Nublu universe, a live music venue, a record label, and a recently launched Nublu Jazz Festival which has premiered in NYC, Sao Paul and Istanbul.
Being a staple in the East Village, the venue is owned and operated by rock and roll lifers. Known for the raw and gritty charm, the establishment hosts rising stars.
The Gramercy Theatre is a music venue in New York City. It is located in the Gramercy neighborhood of Manhattan, on 127 East 23rd Street. Built in 1937 as the Gramercy Park Theatre, it is owned and operated by Live Nation as one of their two concert halls in New York City, the other being the nearby Irving Plaza.
The Red Lion is a living, breathing Rock-n-Roll juke box. This is the place where bands get their start, making their bones, paying the rent and barely paying their tab. Just like the Rolling Stones did with their first three albums: Interpreting the songs they loved the best.
The Rooftop at Pier 17is New York Cityâs most scenic concert stage. A dynamic open-air entertainment venue, set five stories above the East River, concert goers annually see their favorite artists within an intimate atmosphere (3,500 capacity), all from a one-of-a-kind rooftop location with direct views of such iconic skyline landmarks as the Brooklyn Bridge, Empire State Building, Statue of Liberty, and One World Trade Center.
Groove is a venue that remains, honoring the rich musical tradition of Greenwich Village. Groove has seen many changes since opening in 1998, but the mission to uplift local musicians and fans and to preserve the soul of American music continues to this day.
Dueling Pianos is an all-request, rock-and-roll party where you pick the playlist. Two top piano entertainers, mixing music, comedy and audience interaction in a singalong, laugh-along, dance-along show! Itâs everything from Billy Joel to Bon Jovi, Britney Spears to Bruno Mars. Nothing is off-limits from pop, rock, country, hip-hop, hairbands, disco, punk rock, standards, showtunes.
The Beacon Theatre was developed by Samuel “Roxy” Rothafel and built as a movie palace with 2,894 seas across three levels. The theater is designated as a New York City interior landmark and is listed on the National Register of Historic Places.
Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural ecology of New York, supporting unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall and an array of exuberant period rooms, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.
The National Sawdust commissions, produces, and presents cultural programming rooted in sound, supporting artists in various disciplines who are passionate about experimentation and innovation. In its intimate venue equipped with a state-of-the-art spatial sound system, National Sawdust connects audiences to the performing arts’ powers to inspire deep thinking, joy, and uphold human dignity.
Elsewhere is a multi-room music venue, nightclub, and arts space in Bushwick, Brooklyn. Our focus is underground and unbound music, presented with love. Since 2017, Elsewhereâs three stories of dance floors and stages have been home to expansive sonic offerings for all New Yorkers to explore. We are and will forever remain fiercely independent.
Located next door to The Brooklyn Monarch, The Meadows is quickly becoming a late night hotspot. This 500 capacity venue is an oasis, complete with a full bar, food, and trippy picturesque backyard with a seasonal outdoor stage.
Skinny Dennis is located in the heart of Williamsburg, Brooklyn. The bar features 18 beers on draft, our signature cocktails, a vintage jukebox and our INfamous Willie’s Frozen Coffee. Since February 2013, Skinny Dennis has been home to the some of the best live country & roots music in New York City. Offering high quality musical entertainment 7 nights a week.
Quirky Brooklyn bar prized for ‘divey’ vibes, eclectic decor & live performances in the back room. The eclectic decor within the bar adds and build unique character and is a local favorite.
Opened in September of 2008, the warehouse venue hosts big-name acts & up-and-comers. Before opening, the space was used for recording the NPR program “Ask Me Another.”
On November 24, 1928, Brooklyn Paramount introduced the most immersive entertainment experience the world had ever seen. Crowds stretched around the block to leave the world behind for a baroque palace of overwhelming spectacle and groundbreaking performances. Emboldened as âAmericaâs first movie theater built for sound,â Brooklyn Paramount set the stage for a storied saga of beginnings.
Located within the former horse stable of the ASPCA HQ, The Atrium is a cocktail bar and plant based restaurant that transforms into a late night music space. The room is crowned by a historic skylight and imposing 20â² columns that frame a monolithic travertine bar. The Atrium hosts a diverse range of record selectors over dinner service and internationally touring DJâs later in the evening.
With 15,000+ square feet of space on each of two floors featuring high ceilings and ample open space. 3,000 person capacity uniquely positioned to take advantage of the burgeoning Hollywood movie and TV rental business in Brooklyn. The Hangar also has a pre-approved NY State-certified Soundstage/New York State Qualified Production Facility (QPF) for usage rights.
Opened in 1999, Pete’s Candy Store continues as Williamsburg’s original live music venue. Featuring acts such as Will Oldham, Beth Orton, Devendra Barnhart and Norah Jones, this small venue and neighborhood tavern developed an early reputation for special shows and rare treats. While the list of noteworthy performers is quite lengthy, Pete’s Candy Store has always been a free venue and has booked mostly unknown and unsigned bands, many of which have gone on to greater recognition.
The Kings Theatre, formerly Loew’s Kings Theatre, is a live performance venue in the Flatbush neighborhood of Brooklyn, New York City. Opened by Loew’s Theatres as a movie palace in 1929 and closed in 1977, the theater sat empty for decades until a complete renovation was initiated in 2010.
The Ford Amphitheater at Coney Island is an outdoor live entertainment venue within the Childs Restaurants building on the Riegelmann Boardwalk in Coney Island, Brooklyn, New York City. The venue opened in June 2016.
Founded in 2014, Câmon was born out of a desire to amplify the underserved creative voices of LGBTQ/QTPOC people (and allies) and to serve as a safe space for the queer community.
Brooklyn Music Kitchen is Brooklynâs newest music infusion giving local and global artists the opportunity to perform, record and stream their live performances from a fully loaded sound and video stage.
TV Eye is a new kind of night club on a geographical and cultural frontier, proudly occupying both a space on the edge of the Bushwick/Ridgewoodborder and in the vanguard of contemporary nightlife.
Industrial-chic venue of rehearsal space, art studios & rooftop bar with live music, films & snacks. From indie to R&B offers a great offering of rising artists.
Established in 2013, Babyâs All Right is an independently funded & operated music venue in the heart of Williamsburg. Its intimate, 250-capacity show room has hosted past perfomers including SZA, Cypress Hill, Lil Yachty, Blood Orange, Charli XCX, Mac DeMarco, James Murphy, David Byrne, Hot Chip, Courtney Barnett, Willow Smith, Jack White, Billie Eilish & many more.
This spot is a favorite hangout and go-to spot for live music and draft beers. Regularly hosting live performances, the venue has the perfect atmosphere for a casual night outing.
The Music Hall of Williamsburg us operated by the Bowery Presents, a group stemming from Bowery Ballroom that was brought by AEG in 2017. The Music Hall of Williamsburg has a capacity of 650 people and has shows on most nights of the week.
Imagine retreating back in time to enjoy live jazz in an intimate, restored 19th-century Victorian brownstone in the historical district of Brooklynâs Bedford-Stuyvesant neighborhood. Brownstone Jazz presents jazz concerts complete with a piano, bass, drum set and other acoustic instruments as well. A Southern fish-fry buffet and open mic sessions add to the experience.
Gemini & Scorpio, two funky Brooklyn gals, have been running the second-largest non-commercial New York City events list since 2002, spreading the word on underground happenings you’d otherwise never hear about. They are also the makers of themed costume parties with live entertainment: legendary happenings from wild circus throw downs to dazzling vintage dance socials to one-of-a-kind Russian baths bashes.
Address: 267 Douglass St 3rd floor, Brooklyn, NY 11217
Issue Project Room A pioneering Brooklyn-based performance nonprofit founded in 2003, ISSUE presents projects by interdisciplinary artists that expand the boundaries of artistic practice and stimulate critical dialogue in the broader community. ISSUE serves as a leading cultural incubator, facilitating the commission and premiere of innovative new works spanning genres of music, dance, literature and film.
Formerly Queens Theatre in the Park and before that Queens Playhouse, is an American professional theatre, located in Flushing MeadowsâCorona Park, Queens, New York City, New York.
Address : Flushing Meadows Corona Park, 14 United Nations Ave S, Queens, NY 11368
Terraza 7 is a live music venue and community center; the perfect hub for local art, political expressions, and your favorite coffee or mixed drink. Located in the heart of Queens, New York, between Elmhurst and Jackson Heights, two locations containing the most diverse population of immigrants on the planet, is committed to a progressive model of business that grows within its community base on local values.
The Wolfhound is a contemporary Irish pub in Astoria Queens NYC. We serve lots of Guinness as well as craft beer + domestic favorites along with a seasonal cocktail list We pack the calendar with weekend events – live music, DJ parties, and more. Trivia on Tuesdays. Rocking since August 2016.
Forest Hills Stadium is a historic outdoor music venue that has welcomed fans to the picturesque New York City neighborhood of Forest Hills, Queens for over 100 years. Designed to optimize acoustics and with no obstructed views, the 13,000 capacity stadium is the only outdoor venue of its kind and size in the city.
Flushing Town Hall is a performing arts center and historic town hall at 137-35 Northern Boulevard in the Flushing neighborhood of Queens in New York City. It served as the seat of government of the village of Flushing until the village became part of City of Greater New York in 1898.
Featuring programming of diverse formats and media, Knockdown Center aims to create a radically cross-disciplinary environment. The particularity of our architectural environment and history leads us to gravitate toward projects that demonstrate a sensitive reactivity to site and environment.
Gantry Plaza State Park is a 12-acre state park on the East River in the Hunters Point section of Long Island City, in the New York City borough of Queens. The park is located in a former dockyard and manufacturing district, and includes remnants of facilities from the area’s past.
The Paradise Theater, formerly Loew’s Paradise Theatre, is a movie palace-type theater located at 2417 Grand Concourse in the Bronx. Constructed in 1929 at the height of grand movie theaters, in the later 20th century the building was used also for live entertainment.
The Women’s Housing and Economic Development Corporation (WHEDco) developed the Bronx Music Hall (BMH) as a performance venue and community cultural center dedicated to honoring, showcasing and cultivating music, dance, theater, and interdisciplinary arts in the Bronx.
The Bronx Brewery The Brewery is committed to using what we create and where we create it to bring people together, while celebrating the rich and diverse creative scene in our home borough and across New York City and Manhattan.
Pregones was founded in 1979 when a group of artists led by Rosalba Rolón set out to create new works in the style of Caribbean and Latin American âcolectivosâ or performing ensembles.
THE POINT Community Development Corporation is dedicated to youth development and the cultural and economic revitalization of the Hunts Point section of the South Bronx. Its programming falls within three main headings all aimed at the comprehensive revitalization of the Hunts Point community: Youth Development, Arts and Culture, and Community Development.
An Beal Bocht Cafe, in operation since 1991, began as a small cafe. Serving only non-alcoholic beverages, it centered as a spot for artist to gather and performs, and quickly cemented itself as a neighborhood favorite.
Orchard Beach is the only public beach in the New York City borough of the Bronx. The 115-acre, 1.1-mile-long beach is part of Pelham Bay Park and is situated on the western end of Long Island Sound. Orchard Beach indeed has music, with Salsa Sundays held every Sunday from Memorial Day weekend to Labor Day weekend, from noon to 5 pm, as well as Pride in the Bronx in June, Camping, Pelham Bay Park canoeing and much more!
The St. George Theatre is a performing arts venue, picture palace, and office complex at 35 Hyatt Street in St. George, on the North Shore of Staten Island, New York City. The 2,800-seat St. George Theatre was built for Staten Island theater operator Solomon Brill and opened on December 4, 1929.
Harbor Lights is Staten Islands own professional Theater Company presenting Broadway actors in beautifully designed productions at an affordable price.
Located at the heart of the 204-acre campus of the College of Staten Island (CSI), a four-year senior college of The City University of New York (CUNY), the Center for the Arts (CFA) is one of the leading, state-of-the-art, performing arts centers in Staten Island.
Address: 2800 Victory Blvd #1P-116, Staten Island, NY 10314
On Thursday, August 29, Brooklyn fans of the psychedelic rock genre were treated to a priceless exhibition. The heat was strong, but so was the enthusiasm of the evenings attendees. Two trio bands from different corners of the world – Balthvs and Free Whenever – were paired together so remarkably that it made one think to compliment whomever was responsible for the matter.
Free Whenever, a Brooklyn based psychedelic rock band, took the stage at 8pm sharp to a size-able crowd, nothing to sneeze at for an opening act on a Wednesday evening. The band consists of Neil Guleria on Guitar, Trevor LaVecchia on Bass, and Brendan Steuart on drums. This is not the first time the trio finds themselves opening for a big name in Brooklyn, having opened for Karina Rykman at Babies All Right late last year.
The chemistry between the gentleman is palpable both in the auditory and visual sense, and it pays off in a huge way. Playing through their entire new self-titled album, they ventured into both old and new songs that demonstrate the essence of their signature sound of psychedelic groove music. Notable highlights were “Camino“, “Sicily“, and “Jonas the Shaman” a song whom they claimed was based off the very man running their merch table in the back. With the unreleased track, “Horizons”, they went out with a thunderous hurrah, the palate was cleansed, and the stage was set.
Balthvs, a psychedelic funk triad from Columbia, graced the stage just after 9pm. Their stop on this leg of their tour not only marks their first performance in New York, but the first time the group has been on the east coast entirely. Touring to promote their new album, “Harvest“, the band consists of Johanna Mercuriana on Bass/Vocals, Santiago Lizano on Drums/Vocals, and Balthazar Aguirre on Guitar/Vocals. Balthvs, with the v pronounced like a u, made their New York debut quite memorable, guiding the evening through a lens the likes of which are quite rare.
The band boasts an impressive catalog of music for just having officially formed less than 5 years ago. 3 full length albums under their belt and 40 singles, many of which have millions of streams. The crowd was fully behind the headliners as dancing was the assignment. Balthazar mentioned in between songs that they were dining at the venues restaurant before showtime, and he saw a “Joe Russos Almost Dead Burger”. Laughs emerged amongst the audience. “I dont know if we have any heads here..hope we dont screw this up!” which was followed by a truly wonderful rendition of Grateful Dead‘s, “Bird Song”, a first for them on this tour.
One could say that their set was a masterclass in defining the root definition of what modern psychedelic music is. A myriad of global influences and style, a kaleidoscope of sound. Funk, Disco, Middle Eastern, Cumbia, Rock and Roll and so much more. The evening concluded with a final encore, long lines at the merch stand could be found for both acts. Free Whenever continues to build momentum locally. Balthvs will go on to play Austin City Limits, and then abroad to Europe and The Middle East continuing support of their new album, Harvest.
George Steel, a new NYC based project released his debut hyper-pop single, “Not A Cowboy” on August 23.
The project is a collaborative effort of Michael Quint of Font and Ernesto Grey of Farmer’s wife. The first single off the Steel album is accompanied by a music video directed by Blake Nelson of Font. The video features a washed-up Steel walking around the city in reference to the ending of Claire Denis’s 1999 film, Beau Travail.
In his upcoming album, Desires On The Range, Steel uses political and religious titles like “The Next Great American President” and “Sunday Service” to play into his aesthetic of a patriotic cowboy club rat. His music is described as Avante-Garde ketamine-pop. His songs mix traditional country instruments with repetitive loops and absurdist lyrics to embody his character. He uses distorted vocals and synths and samples to create his hyper, theatrical album.
Not A Cowboy has more of an 80’s new wave sound. The single starts out intense with harsh vocals but softens with an upbeat chorus and production.
Quint’s staccato voice embody Steel. He has taken the character to live performances around Brooklyn. So far, he’s performed with bands such as the Night Traders and The Melancholy Party.
To keep up with new music and Steel’s performances, you can follow Steel on Instagram @georgesteelusa
