Atmosphere have announced “Tour De Friends: Part Deux” featuring spring dates that take the group through the East and Midwest of the country, with a stop at Webster Hall on April 21.
Credit: Dan Monick
Atmospher is an American hip-hop duo from Minneapolis, Minnesota, consisting of rapper Slug (Sean Daley) and DJ/producer Ant (Anthony Davis). In December 2023, Atmosphere released the Talk Talk EP, whose title track originally appeared on their latest album, So Many Other Realities Exist Simultaneously. The duo also made their cult, early 2000’s mixtape Sad Clown Bad Dub 2 available for the first time ever.
For over two decades, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP’s and collaborative side projects in as many years. In that time, the venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots.
Slug shows masterful storytelling and writes compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that helped shape him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop’s pioneering DJ’s and producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life.
The Atmosphere presale will begin Wednesday, January 24 at 10AM local time with the general on sale starting Friday, January 26 at 10AM local time. Tickets and information are available on atmospheresucks.com.
Atmosphere TOUR DE FRIENDS: PART DEUX DATES
4/10 – St. Louis, MO @ The Pageant
4/11 – Louisville, KY @ The Mercury Ballroom
4/13 – Pensacola, FL @ Vinyl Music Hall
4/14 – Orlando, FL @ Florida Groves Festival * ^
4/16 – Silver Spring, MD @ The Fillmore Silver Spring
4/18 – Philadelphia, PA @ Brooklyn Bowl Philadelphia
Canadian Alt-rock group Mother Mother and multi-platinum singer/songwriter Cavetown come together for a huge co-headlining tour across North America this summer. The tour will see two dates at NYC’s The Rooftop at Pier 17 on July 9 and 10.
Mother Mother, known for being Canada’s number one alt-rock export, and Cavetown, indie/bedroom-pop artist who’s amassed over a billion global streams. Together, the two headliners are certain to make noise across the country this summer. The tour will be promoting new music from both acts. Mother Mother has released their latest single, “Nobody Escapes,” and Cavetown has announced the release of new music to come sometime in early 2024.
Mother Mother in 2021
Mother Mother Cavetown 2024 North American Tour Dates
June 7 Phoenix, AZ Arizona Financial Theatre
June 8 Los Angeles, CA The Torch
June 9 San Diego, CA Gallagher Square at Petco Park
June 11 Berkeley, CA The Greek
June 14 Troutdale, OR Edgefield
June 15 Vancouver, BC Rogers Arena
June 16 Seattle, WA Seattle Zoo
June 18 Salt Lake City, UT Granary Live
June 20 Morrison, CO Red Rocks Amphitheatre
June 22 Dallas, TX South Side Ballroom
June 23 Austin, TX Moody Amphitheatre at Waterloo Park
June 25 Houston, TX 713 Music Hall
June 28 Miami, FL FPL Solar Amphitheater
June 29 Orlando, FL Orlando Amphitheater
June 30 Atlanta, GA Coca-Cola Roxy
July 2 Washington, DC The Anthem
July 3 Philadelphia, PA Skyline Stage at The Mann
July 5 Toronto, ON Budweiser Stage
July 7 Boston, MA MGM Music Hall at Fenway
July 9 New York, NY The Rooftop at Pier 17
July 10 New York, NY The Rooftop at Pier 17
July 12 Sterling Heights, MI Michigan Lottery Amphitheatre
July 13 Chicago, IL Huntington Bank Pavilion at Northerly Island
Artist pre-sales go live on January 22 at 11 am, with general on-sale beginning on January 26 at 10 am. Click HERE for ticket information. To hear Mother Mother’s latest single, see below.
After more than 18 months of introducing the songs to their loyal fans, the Disco Biscuits have released a seven-minute animated film, Revolution in Motion, Part 1, giving the first glimpse at their highly anticipated space rock opera.
Due for release on March 29, Revolution in Motion is the ninth album from the trancefusion pioneers and will feature newer Biscuits songs “Freeze,” “Buy the Time,” “The Deal,” and “Times Square,” in addition to tracks that were released in conjunction with the video, “Shocked,” “The Wormhole,” “Twisted in the Road” and “Another Plan of Attack.”
The animation tells the story of four aliens who embark on an interstellar journey, only to be thrown off course, into a wormhole, eventually ending up hovering above Times Square in mid-town Manhattan. With animation by Blunt Action, the video and audio combine to piece together the puzzle that has been created over a year and a half of song rollouts, many becoming fan-favorites and/or jam vehicles, while introducing viewers to Polyfuzia, Fuzzies, Space Trains and much more to come.
Jambands.com notes that the initial concept came from guitarist Jon “The Barber” Gutwillig, who worked with friend and collaborator Joey Friedman in August 2021, and bringing in keyboardist Aron Magner to write “music aliens would love.”
Part 2 of Revolution in Motion will be released on February 16. The Disco Biscuits embark on a Winter Tour this week in Nevada, and will be in New York in March. Full tour dates can be found below.
Disco Biscuits ‘Why We Dance’ 2024 Tour Dates
1/25 – Crystal Bay, NV – Crystal Bay Casino Ballroom 1/26 – Crystal Bay, NV – Crystal Bay Casino Ballroom 1/27 – San Francisco, CA – The Fillmore 1/28 – Santa Cruz, CA – The Catalyst 2/1 – Los Angeles, CA – The Fonda Theatre 2/2 – San Diego, CA – Observatory North Park 2/3 – Tucson, AZ – Gem & Jam Festival 2/5 – Aspen, CO – Belly Up 2/6 – Aspen, CO – Belly Up 2/7 – Aspen, CO – Belly Up 2/9 – Boulder, CO – Boulder Theater * (SOLD OUT) 2/10 – Boulder, CO – Boulder Theater * (SOLD OUT) 2/11 – Boulder, CO – Fox Theatre ^ (SOLD OUT) 3/7 – Silver Spring, MD – The Fillmore 3/8 – Silver Spring, MD – The Fillmore 3/9 – Pittsburgh, PA – Stage AE 3/10 – Charlottesville, VA – Jefferson Theater 3/13 – Albany, NY – Empire Live 3/14 – New Haven, CT – College Street Music Hall 3/15 – Portland, ME – State Theatre 3/16 – Boston, MA – House of Blues 3/28 – Wilkes-Barre, PA – F.M. Kirby Center 3/29 – TBA 3/30 – Buffalo, NY – Town Ballroom 3/31 – Buffalo, NY – Town Ballroom 4/2 – Louisville, KY – Mercury Ballroom 4/4 – New Orleans, LA – House of Blues 4/5 – Houston, TX – The Heights Theater 4/6 – Dallas, TX – Longhorn Ballroom 4/7 – Burnet, TX – Texas Eclipse Festival 4/11 – Asheville, NC – The Orange Peel 4/12 – Nashville, TN – Brooklyn Bowl 4/13 – Atlanta, GA – Tabernacle 4/14 – Raleigh, NC – Lincoln Theatre 6/20-23 – Rothbury, MI – Electric Forest Festival
Nestled in Manhattan’s West Side since 1968, the cathedral of rock and roll, Madison Square Garden, opened its doors at 6:00 pm Friday night (January 12), welcoming into its friendly confines loyal card-carrying members of The Tool Army.
The last time Tool visited the hallowed grounds of Madison Square Garden (MSG) – more than 20 years ago – the city, and The Garden itself, were quite different. But one thing has endured the test of time, and that is Tool remains a thinking person’s band. One that is an amalgamation of analytical, primeval, uncompromising, bellicose, and melodic forces.
Madison Square Garden and the Empire State Building | Photo Credit: Michael Dinger
Following an autumn trek of North America and a subsequent two month hiatus, Tool’s Winter Tour 2024 features the latest support from psychedelic metal warriors Elder. Formed in the mid-aughts and hailing from a small seaside town in Massachusetts, frontman and guitarist Nick DiSalvo, bassist Jack Donovan, guitarist Michael Risberg and drummer Georg Edert currently call Berlin, Germany home.
Undoubtedly a momentous occasion to open for Tool, no less while gracing The World’s Most Famous Arena’s hallowed stage, Elder performed like the seasoned veterans they are, delivering on all fronts. Appearing onstage shortly after 7:30 pm, the foursome offered a 30-minute set that showcased exceptional musical craftmanship, taking the steadily growing audience on an evocative, sonic journey.
Known for long-scale compositions, DiSalvo and company presented a trio of stoner rock, mind-altering numbers collected from three of the six studio albums in their discography, including “Sanctuary” (Reflections of a Floating World, 2017), “Merged in Dreams – Ne Plus Ultra” (Innate Passage,2022), and “Halycon” (Omens, 2020).
Elder | Photo Credit: Michael Dinger
Promptly at 8:30 pm, as the heartbeat introduction to “Third Eye” (Ænima, 1996) began to play on tape over the house PA system, the 20,000-capacity venue went dark, and the crowd erupted with a collective, loud roar. One by one, members of the beloved Los Angeles outfit took to the stage, beginning with drummer Danny Carey, who as usual, was rocking NBA hoops gear. His jersey of choice Friday night was Quentin Grimes’ #6 of the hometown Knicks.
Following close behind Carey were bassist Justin Chancellor and guitarist Adam Jones, each of whom have already left an indelible mark in the annals of rock history with their individual technique and instrumental experimentation. As the title track from 2019’s Fear Inoculum got underway, vocalist Maynard James Keenan emerged from the dark shadows and came into view stage left. Wearing a white button down dress shirt and a dapper black suit vest, he clutched the microphone with both hands, revealing black fingerless gloves. Donning a blonde mohawk, Keenan prowled from side to side, high atop two risers constructed at opposite ends of the stage, and on which he would reside for the show’s duration.
Maynard James Keenan of Tool | Photo Credit: Michael Dinger
Before “The Pot” (10,000 Days, 2006) commenced, Keenan addressed us all regarding Tool’s well-known policy regarding cell phones:
So, here’s the deal. We’re gonna go for a little ride. We’re gonna connect. Take a little journey, together. Stay present. Stay in your body. Join us. Stay connected. Put your fucking phone away. [At the] end of the show, last song, you can pull your stupid phone out. Until then, stay with us. Are you ready?
Yes, we were all ready! With Tool’s seven pointed heptagram symbol dangling high above the stage, ‘open’ to signify an invitation into the collective unconscious, Tool’s entire set design was a remarkable sight to behold. Stunning visuals projected on the massive LED backdrop, which ranged from the depiction of skeletal zombie bodies with beaming alien eyes to a man trapped inside his own body, were supplemented by a spectacular laser light show that cut through the MSG atmosphere.
Danny Carey of Tool | Photo Credit: Michael Dinger
Following a 12-minute intermission and a goliath smack of the gong with his mallet, the second portion of the show embarked with Carey seated once again behind his massive kit. Another track from Fear Inoculum ensued, the futuristic interlude known as “Chocolate Chip Trip,” an electronic drum solo that saw the wizard Carey masterfully execute his Toolbox’s modular synthesizer.
Justin Chancellor of Tool | Photo Credit: Michael Dinger
Chancellor, bathed in a white spotlight, beastly strumming during a distortion and reverb filled bass exhibition, was rejoined by Jones, and eventually Keenan, for the night’s first big surprise – a live performance of “Flood” (Undertow, 1993), unearthed after 13 years! And if that were not enough for the diehard fan, following the evening’s fifth and final offering from Fear Inoculum, “Invincible,” Tool played an extended version of “Schism” (Lateralus, 2001) for the first time as a show closer.
Adam Jones of Tool | Photo Credit: Michael Dinger
Following their two gigs in Gotham, Tool will spend the better part of the next two months bringing their Winter Tour to the masses, culminating in Las Vegas on February 18. Tool, who at present are unsigned to a record label, are reportedly flirting with the idea of releasing an EP rather than a sixth studio album, which would mark their first new material since 2019. Nonetheless, it looks promising that The Tool Army will finally get to hear new music from their art rock heroes later in 2024.
Elder Setlist: Sanctuary, Merged in Dreams – Ne Plus Ultra, Halcyon
Tool Setlist: Fear Inoculum, The Pot, Rosetta Stoned (with “Lost Keys” intro), Pneuma, Intolerance, Descending, The Grudge (intermission), Chocolate Chip Trip, Flood, Invincible, Schism
UPCOMING TOUR DATES
January 18 – Hollywood, FL @ Hard Rock Live January 19 – Hollywood, FL @ Hard Rock Live January 21 – Charlotte, NC @ Spectrum Center January 23 – Nashville, TN @ Bridgestone Arena January 24 – Atlanta, GA @ State Farm Arena January 26 – Birmingham, AL @ Legacy Arena January 27 – Biloxi, MS @ Mississippi Coast Coliseum January 31 – Austin, TX @ Moody Center February 2 – Dallas, TX @ American Airlines Center February 3 – Oklahoma City, OK @ Paycom Center February 5 – Denver, CO @ Ball Arena February 9 – Phoenix, AZ @ Footprint Center February 12 – Fresno, CA @ Save Mart Center February 14 – Los Angeles, CA @ Crypto.com Arena February 15 – Los Angeles, CA @ Crypto.com Arena February 17 – Ontario, CA @ Toyota Arena February 18 – Las Vegas, NV @ T-Mobile Arena
The team at Jazz Lives recently shared a throwback that caught our eye – Jazz at Charley O’s? The legendary Penn Station libation station for in between trains or before games at The Garden?
Well, close – this is the Charley O’s that was once located at 713 8th Avenue, and was not only a sports bar and grill but also a Jazz Bar and Comedy Club in the evening, as well as a popular spot to go before a night out on the town.
Jazz Lives shares the following recollection of one night at Charley O’s. Once upon a time, I lived in Great Neck, New York, a suburb forty minutes from midtown Manhattan. When in 2005 I found out that my hero Marty Grosz was appearing in the city, probably for a Saturday afternoon session, I checked the Long Island Railroad schedule, packed my cassette recorder, and went there. ”There” was not a jazz club but a hamburger / steak restaurant catering to tourists, where, wonderfully and atypically, hot jazz was on the menu. That place was Charley O’s.
MARTY GROSZ, guitar, vocal; JOHN BUCHER, cornet; JOHN BEAL, double bass, were the band, for the cavernous room. I had met Marty in September 2004 Jazz at Chautauqua, so I may have said a brief hello. I would come to know John Bucher from his appearances at the Cajun. I knew Beal only from recordings, but he was gracious. I asked for a table near the music but none were offered for a single mortal, so I went to the balcony, where I could see the band as well as hear them, admittedly from above and from a distance. (Now, I would know better and would have told the waiter that my three friends were arriving soon, thus earning a table closer to the music. I hope to be forgiven my falsehoods.)
I ordered food — something banal — then set up my recorder to capture the sounds, which were wonderful. I saved the cassette. (A year later, I would have purchased a video camera and a digital recorder, but in 2005 I was still living in a technological past. However,, it DID work.)
You’ll hear I DON’T WANT TO SET THE WORLD ON FIRE / WRAP YOUR TROUBLES IN DREAMS / THREE LITTLE WORDS / A HUNDRED YEARS FROM TODAY / Marty half-heartedly hawking CDs / SUNDAY (incomplete) //
I’ve left in the long intervals between songs because you can hear Marty providing the chordal roadmap for his two colleagues. Impatient listeners can scroll forward; imaginative listeners imagine themselves on the scene.
The room got much more noisy; perhaps my waiter, seeing my empty plate, hovered and said, “Will there be anything else?” and I took the check. On the way out, I thanked the trio and lamented the noise level.
There ends my saga of Charley O’s, sometime in 2005. But the music! Better than the hamburger deluxe and much fresher, even eighteen or so years later.
Photograph by Lynn Redmile
Charley O’s closed some time ago. John Bucher, that gentle man, has left us. Messrs. Beal and Grosz are still laying it down, although slightly less frequently.
“It’s time you knew the real story of Gamehendge!”
These nine words from actress Annie Golden, playing Jimmy’s Grandma during Phish’s New Year’s Eve concert, released a swell of emotions from Phish fans gathered at Madison Square Garden, witnessing for the first time in nearly 30 years, the first full performance of “Gamehendge.”
Photo by Brian Ferguson
Written by guitarist Trey Anastasio as his senior thesis at Godard College, titled The Man Who Stepped Into Yesterday, the rock opera tells the tale of retired colonel from Long Island who enters a mythical land where the lizards live under the rule of the evil king Wilson.
Gamehendge shirt c. 1999, via PhanArt
To the lay person, this is the plot to a children’s book, but to Phish fans, this is the holy grail of shows, only performed five times prior and not even this century, until December 31, 2023.
With a cast of Annie Golden (Grandma), Mitchell Sink (Jimmy), Jo Equality Lampert (The Wolf), Jeff Williams (Colonel Forbin), Daniel Gaymon (Rutherford) and Rebecca Magazine (Tela), the performance spanned a total of 17 songs, with costumed dancers, a flying mockingbird and slow-moving assassin sloth among them, over two sets, stretching past midnight into the first hour of 2024.
The full show remastered video of the entire performance was released on Tuesday. Watch below and relive Phish’s 83rd show at Madison Square Garden.
Set 1: Everything’s Right, Tube, Ether Edge > Reba, Taste, Ruby Waves, A Life Beyond The Dream, Character Zero
Set 2: Down with Disease, Harpua > The Man Who Stepped Into Yesterday > The Lizards > Punch You in the Eye > AC/DC Bag > Tela > Llama > Wilson > The Sloth > Divided Sky
Set 3: McGrupp and the Watchful Hosemasters > Colonel Forbin’s Ascent > Fly Famous Mockingbird > Auld Lang Syne > Split Open and Melt, You Enjoy Myself > Loving Cup > Possum
Encore: Cavern > First Tube > Tweezer Reprise
Additionally – Phish quietly announced a new box set would be available for sale in March. The Spectrum ’97 will celebrate the December 2 and 3 shows during the famed “Phish Destroys America” Fall 1997 tour. More info to come.
The producers of the newly reimagined Broadway production of The Who’s TOMMY have announced full principal casting for the upcoming run at the Nederlander Theatre, with previews beginning March 8 and opening night slated for March 28.
Producers Stephen Gabriel and Ira Pittelman have selected a handful of actors who will reprise their roles from the Goodman Theatre production in Chicago. Among them are Alison Luff as Mrs. Walker, Adam Jacobs as Captain Walker, John Ambrosino as Uncle Ernie, Bobby Conte as Cousin Kevin, and Christina Sajous as The Acid Queen. The actors join previously announced Ali Louis Bourzgui starring as Tommy Walker, who is reprising his Jeff Award-winning role from the Goodman. Additional casting for The Who’s TOMMY on Broadway will be announced soon.
Completing the cast areHaley Gustafson, Jeremiah Alsop, Ronnie S. Bowman Jr., Mike Cannon, Tyler James Eisenreich, Sheldon Henry, Afra Hines, Aliah James, David Paul Kidder, Tassy Kirbas, Lily Kren, Quinten Kusheba, Reese Levine, Brett Michael Lockley, Nathan Lucrezio, Alexandra Matteo, Mark Mitrano, Reagan Pender, Cecilia Ann Popp, Daniel Quadrino, Olive Ross-Kline, Jenna Nicole Shoen, Dee Tomasetta, and Andrew Tufano.
The new production of The Who’s TOMMY premiered this past Summer at the Goodman Theatre in Chicago where Chris Jones of the Chicago Tribune named TOMMY as #1 in the Best of Chicago Theater list for 2023, saying, “Tommy explodes with life – it’s a truly ready-for prime-time stunner. Broadway has nothing else like this wizardry going on.”
The Chicago production of The Who’s TOMMY won 9 Joseph Jefferson “Jeff” Awards, the most for any show this season, including Best Director for Des McAnuff and Best Production.
Three decades after the epic pop-culture musical theatre sensation first bowed on Broadway, original Tony Award®-winning creators Pete Townshend (music, lyrics, book) and Des McAnuff (book, direction) have reunited to bring the story of Tommy Walker to today’s audiences.
Myth and spectacle combine in The Who’s exhilarating 1969 rock opera, TOMMY—including the unforgettable anthems “I’m Free,” “See Me, Feel Me,” “Sensation” and “Pinball Wizard.” After witnessing his father shoot his rival, the young Tommy Walker is lost in the universe, endlessly and obsessively staring into the mirror. An innate knack for pinball catapults him from reticent adolescent to celebrity savior.
The Who’s TOMMY creative team includes choreographer Lorin Latarro (Into the Woods, Mrs. Doubtfire and Waitress); music supervision and additional arrangements by Ron Melrose (Jersey Boys on Broadway, London and National Tour); musical direction and additional orchestrations by Rick Fox (Rent, Jesus Christ Superstar); set design by David Korins (Hamilton, Beetlejuice, Here Lies Love ); projection design by Peter Nigrini (Here Lies Love,MJ and Dear Evan Hansen); costume design by Sarafina Bush (for colored girls…, Pass Over on Broadway); lighting design by Amanda Zieve (Broadway associate on Escape to Margaritaville and Allegiance); sound design by Gareth Owen (Back to the Future, & Juliet and MJ); and wig and hair design by Charles LaPointe (Hamilton, Beautiful). Casting is by Tara Rubin Casting/Merri Sugarman, CSA. Additional Chicago Casting by Lauren Port, CSA and Rachael Jimenez, CSA. Tripp Phillips is the Production Stage Manager and Bespoke Theatricals is General Manager.
Pete Townshend’s prior awards for The Who’s TOMMY include a Grammy Award (1993) for the Original Broadway Cast Recording, Tony Award for Best Score (1993), Toronto’s Dora Mavor Moore Award (1995) and the UK’s Olivier Award (1997). For directing The Who’s TOMMY, Des McAnuff received previously, the Tony and Drama Desk Awards (1993), Toronto’s Dora Mavor Moore Award (1995) and the UK’s Olivier Award (1997).
Tickets to The Who’s TOMMY at the Nederlander Theatre are now on sale at TommyTheMusical.com.
Lincoln Center for the Performing Arts occupies a three-block area of the Upper West Side of Manhattan, bordered by Amsterdam and Columbus Avenues to its sides, and 62nd and 65th Streets at its top and bottom. 80 years ago, this area had a different name: San Juan Hill.
Phipps Houses, 235-247 West 63rd Street. Wurts Bros, 1944 – Museum of the City of New York
San Juan Hill was a vibrant, predominantly Black community in Manhattan, inhabited by over 7,000 families and 800 business who were later displaced by “urban renewal” efforts. These efforts, led by the infamous Robert Moses, targeted San Juan Hill as a slum to be cleared, citing loosely hidden racial prejudices angled to improve the city’s appeal to middle-class white Americans.
Up until its destruction, San Juan Hill was a thriving Black neighborhood with great pride. The neighborhood is cited as the birthplace of Bebop music and The Charleston. Notable residents included pianists Thelonius Monk and James P. Johnson, as well as Arctic explorer Barbara Hillary, the first Black woman to reach the North and South Poles.
Robert Moses spearheaded numerous programs similar to slum clearance. He served as the Secretary of State of New York from 1927-1929, and despite never being elected to an office, he is regarded as one of the most influential figures in the history of New York City. When FDR’s New Deal freed up millions of dollars for infrastructure projects, Moses planned out systems of parks, swimming pools, expressways, and bridges across New York City, many of which still stand today.
In addition to these efforts to expand New York’s community spaces, Moses began the slum clearance projects, based on the idea of eradicating what he viewed as “blight.” He served as Chairman of the Committee on Slum Clearance in New York City, and used the precedent of eminent domain to seize San Juan Hill and declare it an unlivable slum. The neighborhood was flattened, and the City of New York broke ground on May 14, 1959 to begin the construction of Lincoln Center for the Performing Arts.
President Eisenhower Breaking Ground at Lincoln Center Bob Serating, 05-14-1959
When Lincoln Center was built, the poignant Opera House that faces Columbus Avenue was built with its back to the Amsterdam Houses, a public housing development on a neighboring block to its west. Musician Etienne Charles, in conversation with NPR, pointed this out. “You can make huge statements with architecture. It’s body language with bricks.”
As it stands today, Lincoln Center hosts the country’s highest caliber of performing arts, including the New York Ballet, New York Philharmonic, and the Metropolitan Opera. Nevertheless, as it continues to celebrate that excellence, the development stands as a reminder of the thriving neighborhood that once existed on those blocks.
Today, on West 65th Street, a 150-foot mural spans the side of David Geffen Hall, commemorating San Juan Hill, the artistry that was born there, and the people who were ultimately displaced by the construction of Lincoln Center. Created by Nina Chanel Abney, the mural was commissioned by Lincoln Center alongside The Studio Museum in Harlem and Public Art Fund.
Photo Credit: Nicholas Knight
The abstract, colorful work centers words such as “homage,” “honor,” and “culture,” a commemoration of San Juan Hill that reminds passersby of the rich history that stood on the ground now occupied by Lincoln Center. The title of the work – San Juan Heal.
In addition to installations like San Juan Heal, Lincoln Center is taking initiative to create an inclusive and relaxed atmosphere for the community. Henry Timms was appointed as President and CEO of Lincoln Center in 2019. Under his leadership, the organization began summer programs like Summer For The City, and expanded the repertoire and diversity of music and art performed at the Lincoln Center venues.
Timms began the Summer For The City festival in 2022, aiming to help “loosen up” the performing arts center. For much of the summer during the inaugural celebration, its regal campus was covered in turf carpeting, eclectic seating options, and in 2023, a sea of pink plastic flamingos.
After years of exclusivity, it is safe to say that Lincoln Center is beginning to loosen up and turn away from the stuffy elitism that infused the highest-brow of American performing arts.
Photo Credit: Chris Lee
The original Lincoln Center festival was discontinued before Timms arrived on scene, citing quality over quantity of programming. This also came with the scrapping of a diverse selection of performances coming from all around the world, showcased each summer at Lincoln Center.
In the years after, the team decided to focus on the Mostly Mozart Festival, an annual summer selection of performances by orchestras from across the country. In 2023, the festival was led by Jonathon Heyward, the first Black music director of the Baltimore Symphony Orchestra and the youngest music director of any major orchestra in the United States.
Lincoln Center began in direct opposition to the Black communities it flattened in order to be built. For years, it stood for the elite, the exclusive, and predominantly, the white. To casual passersby, the mural remembering San Juan Hill by the organization that facilitating the neighborhood’s demise gives due pause to the integrity of the installation. However, as the organization begins to reflect on this troubled history and implement changes and programming to address it, reconciliations are slowly making way.
Journeying back to San Juan Hill evokes a rich history somewhat forgotten by the upscale neighborhood of Lincoln Square. Looking back once again, the native Lenape people of the region also have claim to the area. In realizing a community once neglected, another is regrettably pushed to the side, but as Lincoln Center begins to grapple with the colonizing history it stands for, the native people of Manahattastill await.
On Sunday, December 31, 2023, Phish took the stage at Madison Square Garden for the 83rd time, and gave fans an ultimate performance for the conclusion of their annual New Years Eve run celebration. In true Phish fashion, the event bid farewell to 2023 with a spectacular Broadway-style production, immersing the audience in the mythical realm of “Gamehendge,” performing the band’s rock opera for the first time in its entirety in nearly 30 years.
This series of shows not only added another feather to the band’s cap, but etched a historic moment in their 40+ year journey. The night kicked off with a powerful performance of “Everything’s Right”, setting the tone for an evening filled with seismic energy. The ground was shaking, sections of audiences were engaged in friendly competition to see who could be loudest. Confetti, glow sticks, and bubbles danced through the air, creating a sensory feast for the devoted crowd.
A hallmark of Phish’s New Year extravaganza is the visual surprise ushering in the new year. From scores of clones to airborne hot dogs, the band’s creativity over four decades knows no bounds. This year was no exception, as Phish embarked on a captivating odyssey into the magical world of Gamehendge, a story about the battle to save a once-thriving land. The tale unfolded through the wonderful narration by Broadway actress Annie Golden, renowned for her role in the popular Netflix hit, Orange is The New Black. As the opening notes of “Harpua” resonated, the audience exploded in euphoric bliss.
The second and third sets unfolded as a vivid retelling of Phish’s legendary folklore in Broadway fashion. Colonel Forbin stumbled upon the mythical universe, Gamehendge, a realm inhabited by The Lizards, now under the oppressive rule of the evil King Wilson. The first to discover this universe, Wilson steals away from the too-trusting species their beloved helping friendly book – a guide to eternal joy and never ending splendor. The stage transformed into a mesmerizing display, featuring a colossal rhombus rising from the ground, enchanting puppets, soaring mockingbirds, and the powerhouse band from Vermont performing each song with more meaning than ever, as die-hard fans were engulfed in waves of joy, laughter, and tears.
As the clock struck past 1AM, fans spilled onto the New York streets, clutching their commemorative cups filled with memories. Phish’s journey continues, with upcoming performances in Mexico for their annual Riviera Maya shows and an eagerly anticipated four night residency at The Sphere in Las Vegas.
Phish – Madison Square Garden, NYC – Sunday, December 31, 2023
Set 1: Everything’s Right, Tube, Ether Edge > Reba, Taste, Ruby Waves, A Life Beyond The Dream, Character Zero
Set 2: Down with Disease, Harpua > The Man Who Stepped Into Yesterday > The Lizards > Punch You in the Eye > AC/DC Bag > Tela > Llama > Wilson > The Sloth > Divided Sky
Set 3: McGrupp and the Watchful Hosemasters > Colonel Forbin’s Ascent > Fly Famous Mockingbird > Auld Lang Syne > Split Open and Melt, You Enjoy Myself > Loving Cup > Possum
