Category: NYC Metro

  • The Worst Night Of Your Life With hannah bahng

    hannah bahng brought her sold-out debut Abysmal Tour to Mercury Lounge on December 5, promising to deliver “The Worst Night Of Your Life”.

    Self-written, self-composed, and co-produced, hannah bahng is a multitalented artist with the skill and vision to realize every facet of her creative endeavors with evident care and precision. Hailing from Sydney, Australia, 20 year old bahng entered the music sphere with the perfectly nostalgic, sea-salt tinged “perfect blues” and its slightly hazier, dreamy counterpart “OLeander” on July 14, 2023. 

    Since the dual-single release, bahng has seen a meteoric rise in popularity, and certainly for good reason. Releasing her debut The Abysmal EP on May 31 produced in partnership with Andrew Luce, bahng delivered a total of seven tracks that cut deep sonically and lyrically, pulling listeners through each and every emotion with vibrant intensity.

    This same intensity was on full display at the Mercury Lounge on December 5, one of several shows of bahng’s first ever tour which very quickly sold out and saw various venue upgrades due to a widespread hope to experience what was marketed as “the worst night of your life.”

    This sentiment was equally felt in line outside the venue and within its doors, the warm lights of the Mercury Lounge twinkling invitingly as fans meandered their way inside.

    Concert-goers could be found excitedly waiting in line for bahng’s adorably curated merchandise or exchanging homemade goods like bracelets and photocards just outside the entrance (the latter a tradition emerging from the K-Pop scene, which has since evidently bled into tangential spaces and beyond)- all various shades of blue in a lovely nod to her debut single.

    Chatting with other fans proved effortless as everyone shared an intangible undercurrent of knowledge that something special was about to happen- after all, the Mercury Lounge marked the historic third show bahng has ever performed in the professional sphere following two dates in Texas.

    And, as hannah herself would mention later in the evening, it marked her first ever performance in New York after visiting the city as a songwriter and audience member prior.

    As bahng took the stage, the energy was electric. Opening the similar form to her Abysmal EP, she delivered a captivating performance of “OLeander” followed by a gut wrenching rendition of the deeply personal “hannah interlude” which was written while bahng was visiting New York out of a rented studio.

    Similarly, the unreleased “Ribs” features bahng and a piano in a moment so deeply vulnerable it was as if the entire space around her took a moment to pause and listen in.

    hannah bahng

    Between tracks, the intimacy of the venue resulted in an almost conversational rapport between hannah and the audience in which fans showered her in compliments, asked about her Pokémon jacket- custom made by a friend in the audience- and learned that her favorite Pokémon of the franchise is the definitively underrated cubone.

    I’d also be remiss to not mention the vicious Rubiks Cube battle that occurred on stage. A lovely audience member went head to head with bahng in a tense battle of wits, and hannah reigned victorious- but not before passing off her newly signed cube to the audience participant with a hug and cheers from the crowd.

    hannah bahng

    More hard hitting tracks followed, including the bass-heavy “POMEGRANATE” and the unreleased “What Never Lived” that mourns the death of a relationship that never quite happened, which quickly grew to be a personal favorite.

    Tracks of her own weren’t all that hannah had to offer, either. Covers of Chase Atlantic’s “Church” and Bon Jovi’s “Livin’ On A Prayer” came next, the former a favorite of bahng’s that she explained was performed to balm the lack of the track at a Chase Atlantic concert she had attended, and the latter for the parents in the audience- though, as a nearly twenty-something myself, I found myself thanking my father’s influence on my music taste as I belted along.

    hannah bahng

    As bahng bowed out for the evening, the cool blues of the lights faded to a dim gray- but this did nothing to deter the audience, who promptly jumped into cheers asking for just “one more song,” to which hannah delivered. Returning for a vibrant performance of “perfect blues,” the carefree joy felt in the room was tangible. 

    A room full of folks young and old gathered to celebrate the promising start of something beautiful, singing in tandem to the first song of her professional career- the promising creative sway of hannah bahng was in full effect as her first official concert in New York came to an end.

    hannah bahng – Mercury Lounge – The Worst Night Of Your Life Thursday, December 5, 2024

    hannah bahng
  • Avril Lavigne Extends Greatest Hits Tour, Four Shows in New York

    Pop punk icon Avril Lavigne has extended her Greatest Hits Tour into 2025, including four shows across New York State.

    Avril has extended the sold-out run well into 2025, including dates at the Broadview Stage at SPAC in Saratoga Springs, the Empower FCU Amphitheater in Syracuse, Madison Square Garden, and the Bethel Woods Center for the Arts.

    Canadian-born Avril Lavigne is the pop-punk singer-songwriter credited for paving the way for the female-driven pop punk music that became synonymous with the early 2000s. 

    Ushering in the era with her “Pop-Punk Queen” moniker and skater style with her debut studio album Let Go, Lavigne quickly rose to stardom with hits such as “Complicated” and “Sk8er Boi,” charting at the top of the Billboard 200 with her first ever release.

    Since then, Lavigne has released six albums, each to critical acclaim. In addition to her traditional successes, Countless artists from punk to indie rock to emo hip hop have named Lavigne as a major inspiration or influence, creating a legacy extending well beyond herself.

    Avril also earned a Guinness World Record for being the youngest female solo artist to top the UK chart and saw the success of her hit “Girlfriend” emerge as the first music video to reach 100 million views on YouTube just four years after the website’s creation.

    Originally announced at the beginning of the year, Lavigne has spent the majority of 2024 performing her Greatest Hits Tour across the globe.

    Supporting the tour will be special guests Fefe Dobson, Simple Plan, and We The Kings- the latter two of which will perform during all New York Dates.

    Avril Lavigne

    Avril Lavigne will grace the stages of four venues in New York, with shows in Saratoga Springs on May 27, Syracuse on May 28, Manhattan on May 30, and Bethel Woods on June 27. The full list of dates and venues is below.

    For more information on the Greatest Hits Tour and all things Avril Lavigne, be sure to visit her official website here.

    AVRIL LAVIGNE: THE GREATEST HITS 2025 TOUR DATES:

    Sun May 18 – Moncton, NB – Avenir Centre 

    Tue May 20 – Halifax, NS – Scotiabank Centre 

    Sun May 25 – Bangor, ME – Maine Savings Amphitheatre 

    Tue May 27 – Saratoga Springs, NY – Broadview Stage at SPAC 

    Wed May 28 – Syracuse, NY – Empower Federal Credit Union Amphitheater 

    Fri May 30 – New York, NY – Madison Square Garden 

    Tue Jun 03 – London, ON – Canada Life Place 

    Thu Jun 05 – Niagara Falls, ON – Fallsview Casino Resort 

    Sat Jun 07 – Hershey, PA – Hersheypark Stadium 

    Sun Jun 08 – Cincinnati, OH – Riverbend Music Center

    Tue Jun 10 – Noblesville, IN – Ruoff Music Center 

    Thu Jun 12 – St. Louis, MO – Hollywood Casino Amphitheatre – St. Louis 

    Tue Jun 17 – Raleigh, NC – Coastal Credit Union Music Park 

    Wed Jun 18 – Charleston, SC – Credit One Stadium 

    Fri Jun 20 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

    Sat Jun 21 – Hollywood, FL – Hard Rock Live at Seminole Hard Rock Hotel & Casino 

    Mon Jun 23 – Jacksonville, FL – Daily’s Place 

    Thu Jun 26 – Burgettstown, PA – The Pavilion at Star Lake 

    Fri Jun 27 – Bethel, NY – Bethel Woods Center for the Arts 

    Sun Jun 29 – Burls Creek, ON – Burl’s Creek Event Grounds~ (visit AllYourFriendsFestival.com for ticket details)

    Sat Oct 18 – Las Vegas, NV – Las Vegas Festival Grounds~ (visit WhenWeWereYoungFestival.com for more info)

  • Usher’s Past Present Future Tour Returns to New York City

    Fresh off a year that included the 2024 Super Bowl Halftime show and a critically acclaimed Las Vegas Residency, Usher brought Round Two of his Past Present Future tour for a two-night special in Brooklyn.

    The crowd embraced Usher, one of the most influential artists of the early 2000s — eight-time Grammy-winning, multi-platinum influential and is one of the best-selling musicians of all time. The R&B phenom dazzled Brooklyn’s Barclays Center with an all-world, shining spectacle that added to his allure.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    At around 9:30 p.m., the luminary touched the stage, commanding the landscape with a kind of mesmerizing aura and opened with “Coming Home,” the title track from his latest chart-topping outing. He followed that up with “Hey Daddy (Daddy’s Home),” which quickly summoned ecstatic gasps from the audience mid “I just wanna get your attention…” Like that, the sold-out audience went down memory lane singing right along.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    Between the hits (“You Make Me Wanna…,” “U Got it Bad”), (“Yeah!,” “OMG”), and (“There Goes My Baby,” “Throwback”), Usher’s undeniable collection of classics was undeniable.

    With each performance, each song sounded just as fresh as they did in 1997, 2001 or 2004 and is a testament to the singer’s enduring catalog. The show carefully curated these times by traveling through these eras as a way to illustrate the singer’s transformation through the years.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    Above all things, if anything was clear from the two-hour extravaganza other than that an Usher concert is top-tier experience, it’s that one of the world’s greatest entertainers of all time and is still at the top of his game.

  • Grateful Dead Close Out Their Lone Felt Forum Run: December 7, 1971

    For their final East Coast shows of 1971, The Grateful Dead played a four-night run at the Felt Forum in New York City. December 7 marks the fourth and final one of these shows during a still transitional era for the band. Drummer Mickey Hart left the group earlier in the year and the Dead were still in the process of integrating new keyboardist Keith Godchaux who joined them in September.

    Original keys player and founding member Pigpen had also recently rejoined the group after a stint in the hospital. With the band now at full strength, they unleashed a chock full two sets of music on this evening that showcased their full potential, paving the way for their legendary Europe ’72 Tour that would follow a few months later. This show in particular was deemed so good that it would later go on to become an official Dave’s Picks release, serving as Volume #22 in the series. It sees the band at their finest, mixing up a healthy blend of rock, rhythm, and blues along with a little holiday cheer.

    grateful Dead Felt Forum
    Grateful Dead Felt Forum 1971 Dave’s Picks

    The last show of the Felt Forum run of ’71 begins with “Cold Rain and Snow,” a song that had established itself as a common opener in this era of Grateful Dead. Garcia delivers a couple of pristine guitar licks with new keyboardist Keith Godchaux providing timely fills on organ. The newest member of the band then moves over to piano as Bob Weir takes over on vocals for a quick yet feisty “Beat It On Down The Line.” With the band seemingly warmed up on a couple of classic numbers, Pigpen then takes over on lead vocals for the first time with the fairly new “Mister Charlie,” a song that debuted just a few months ago at the Yale Bowl which would be played every night of this run and for good reason. His sultry singing combined with some more vintage Garcia guitar play make for a soulful combination that, alas, doesn’t stray too far.

    The first extended play of the evening is another fairly new song that actually debuted at the same show, “Sugaree.” Garcia and Godchaux exhibit more great chemistry early on with each taking a nominal solo and bassist Phil Lesh locking down the bottom line in style throughout. An even newer song that would remain a staple of live Dead shows for their entire career then follows in “Jack Straw,” another one that made an appearance at all four shows of the run. Godchaux’s work on piano compliments Weir’s vocals perfectly and the band eases through this classic number that seems to pick up speed from start to finish. After a quick introduction from Lesh, Pigpen then returns to center stage for his typical rambunctious take on “Next Time You See Me” that includes a couple of ripping solos on harmonica. The joy that the Grateful Dead get in playing this blues cover is nearly palpable.

    This carries right over into another one of the new batch of songs, “Tennessee Jed,” which has Weir and Garcia harmonizing nicely on the choruses. Another song that would remain on set lists for years, this one is peppered with an extra bluesy guitar solo from Garcia that’s dripping with flavor. After Weir leads the Dead through a lively “El Paso,” things slow down considerably with the “Brokedown Palace” that follows which gets a considerable round of applause from the Felt Forum crowd at the onset. It’s a true group effort with Lesh joining in on some vocal harmonies and another typically tender, yet brief, solo from Garcia.

    With the Dead no strangers to a Chuck Berry cover, afterwards they get in the holiday spirit and bust out a cover of “Run Rudolph Run,” a song they would only play a handful of times ever this month. It’s classic 12-bar blues with Pigpen, naturally, on lead vocals for a quick song that’s melodically similar to Berry’s “Little Queenie.” The band then stays in blues cover mode with a rare take of “You Win Again,” a ballad first sung in 1952 by Hank Williams which made its live debut just last month and would never be played again after 1972. The first set then wraps up with a couple of Grateful Dead classic originals starting with a fiery “Cumberland Blues” that sees Lesh leading the way with spirited bass play and Godchaux delivering a flurry of chords on piano. That troublesome train conductor “Casey Jones” then caps off a jam packed first set that seems to cover all the bases.

    grateful Dead Felt Forum

    With the bar set high from a rollicking first set, the momentum carries right over into the second set with a powerful opening 1-2 combination of “Sugar Magnolia” and “Ramble On Rose” that sees Weir and Garcia passionately belting out the vocals on each, respectively. The torch is then passed back over to Pigpen who leads the band through yet another classic cover, this time it’s Jimmy Reed’s “Big Boss Man.” Another soulful harmonica solo serves as the bridge to some more bluesy guitar licks delivered by Garcia on this one. A lightning quick take on the new “Mexicali Blues,” another song that found its way onto the set list all four nights, then precedes a silky smooth rendition of “Brown Eyed Women.”

    This sets the stage for the last Pigpen-centered song of the evening and the most extended “jam” of the show – a 12-minute enthralling cover of Howlin’ Wolf’s “Smokestack Lightning.” Pigpen’s iconic singing and harp play mesh perfectly with Garcia’s blues-driven guitar stylings and the band takes their time on this one, stretching it out nicely. Sadly, this is the second to last version the Dead would ever play with Pigpen, a founding member of the band. The “I been gone so long” lyrics sang in repetition towards the end of the song hit especially hard knowing that.

    grateful dead felt forum

    This is followed up by a rather mellow take, compared to later standards of “Deal” another fairly new song in the band’s catalog that made its debut at Port Chester’s Capitol Theatre earlier that year. This is succeeded by “Truckin’,” a song the Dead played at every show of that vaunted Capitol Theater run earlier in the year and one that finally sounds like it’s starting to develop an identity and jam capabilities thanks to the addition of Keith Godchaux who shines on the organ on this rendition.

    The second set then comes to a triumphant finish with the classic closing sequence of “Not Fade Away” > “Goin’ Down The Road Feeing Bad” > “Not Fade Away.” Bill Kreutzmann on drums makes his presence felt early and often on “Not Fade Away” which elicits a truly blissful jam of sorts that flows effortlessly into the beginning of “GDTRFB.” For an encore, the band breaks out one last song from the new batch, “One More Saturday Night.” It would only be the second time ever used in this spot, one that it would soon become commonplace for the rest of their storied career, closing out the fourth and final show Dead show at Felt Forum in grand fashion.

    Grateful Dead – Felt Forum, New York, NY – December 7, 1971

    Set 1: Cold Rain and Snow, Beat It On Down The Line, Mister Charlie, Sugaree, Jack Straw, Next Time You See Me, Tennessee Jed, El Paso, Brokedown Palace, Run Rudolph Run, You Win Again, Cumberland Blues, Casey Jones

    Set 2: Sugar Magnolia, Ramble On Rose, Big Boss Man, Mexicali Blues, Brown Eyed Women, Me and My Uncle, Smokestack Lightning, Deal, Truckin’, Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away

    Encore: One More Saturday Night

    View this and more Grateful Dead shows from across the years in New York State with our interactive map below

  • Bad Mary and Mega Infinity Release “Mega Bad Disaster Party”

    Long Island bands Bad Mary and Mega Infinity have teamed up through SPI (Ska Punk International), to release a split 7-inch single, “Mega Bad Disaster Party.” Each band contributed two newly recorded tracks. The single will be released digitally on Dec. 3, with a vinyl release party on Feb. 21 at Industry in Huntington.

    Mega Bad Disaster Party

    “Mega Bad Disaster Party” begins with two songs from Mega Infinity, “Eyelids 2024” and “Let Me Drive My Van Into Your Heart” followed by “Disaster(er) Party” and “Want What I Want” from Bad Mary. The collection of songs sounds like if Scott Pilgrim vs. the World was a Broadway Musical.

    Bad Mary reached out to SPI about doing an EP and adding some ska elements to their songs. SPI suggested collaborating with Mega Infinity, since they’ve been friends with Mega for a decade, the collaboration was a no-brainer. Many of the songs on the single are rerecorded and reimagined versions of songs from previous projects. These new versions are cleaner, more aggressive, and harder-hitting.

    “Eyelids” was written for an EP several years ago, drawing inspiration from ska-punk, riot grrrl, and bands like Catch 22, Veruca Salt, and Big D. Joystick! is featured on the song, enhancing its ska-punk influences. “Disaster(er) Party” was originally titled “Disaster Party” and was written for The Return of Space Girl. For this single, the song has been reimagined with horns added by Kevin Jackson from Title Holder and Crisis Crayons.

    Bad Mary consists of Amanda Mac (vocals), Mike Staub (bass/vocals), Bill Mac (drums), and David Henderson (guitar). They have received airplay on SiriusXM’s Underground Garage, earning the New Music Spotlight. The band has released two albums and six EPs since 2014 including their 2019 album, The Return of Space Girl that inspired an award-winning animated movie. Their latest release, Better(er) Days, arrived in 2024.

    Mega Infinity is comprised of Michi and Mike DiGiulio. The band released their EP Behind Glass Walls in 2017 and their debut album Rainbow Heartache in December 2021. They joined SPI with their 2023 EP Chaos Magick, which was named a favorite by Punk News and On the Upbeat. They are featured in the ska documentary This is New Tone as a part of ska punk’s future.

    Pre-save the new single here.

  • NY Philharmonic Appoints Matías Tarnopolsky President and CEO

    Co-Chairmen of the New York Philharmonic Board, Peter W. May and Oscar L. Tang announced that beginning Jan. 1, 2025, Matías Tarnopolsky will be the New York Philharmonic’s new President and CEO.

    Matías Tarnopolsky
    Photo credit: Jeff Fusco

    Over the last 20 years, Tarnopolsky has held prominent artistic positions at orchestras worldwide. Before being the current the president and CEO of The Philadelphia Orchestra and Ensemble Arts, Tarnopolsky was the executive and artistic director of Cal Performances at the University of California, Berkeley. He has also served as Vice President of Artistic Planning at the New York Philharmonic from 2005 to 2009, and has held that position with the Chicago Symphony Orchestra and the BBC Symphony Orchestra as well.

    During his tenure with the Philadelphia Orchestra from 2018 to 2024, he achieved many significant milestones including the merger of the orchestra with the Kimmel Center in 2021, resulting in the establishment of The Philadelphia Orchestra and Ensemble Arts. He also oversaw the rededication of the orchestra’s home as Marian Anderson Hall, which represented a groundbreaking approach to diverse programming. From 2009 to 2018, he worked at Cal Performances at UC Berkeley, the largest multidisciplinary arts presenter and producer based at a university in the country. During his time there, he launched Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which included a residency featuring Gustavo Dudamel and the Simón Bolívar Orchestra of Venezuela.

    New York Philharmonic Board Co-Chairmen Peter W. May and Oscar L. Tang said: “Matías Tarnopolsky is a singular figure among orchestral leaders. Building on his lifelong love for our art form, he has forged impactful collaborations with orchestral musicians and dynamic artistic leaders. He is also a force for innovation who has created new ways of connecting with communities and tapping into emerging technologies. His extensive executive experience is enhanced by his time on the ground at the Philharmonic, when he oversaw artistic planning, giving him unusual insight into New York City’s vibrant cultural landscape. We know that Matías will be a visionary partner for Gustavo Dudamel as we prepare for his arrival as our next Music and Artistic Director.”

    See upcoming New York Philharmonic events here.

  • Electro Pioneers Kraftwerk Announces “Multimedia Tour 2025” Kicking Off in March

    German electro legends Kraftwerk has announced their return to North America for the “Multimedia Tour 2025.”

    Kraftwerk multimedia tour

    The tour kicks off on March 6 at Franklin Music Hall in Philadelphia and wraps up over a month later on April 24 in Dallas, TX. The tour sees a total of 27 dates and includes two stops in New York. Kraftwerk dazzles audiences at Kings Theatre on March 13 and the legendary Beacon Theatre on March 14. The “Multimedia Tour 2025” commemorates Kraftwerk’s breakthrough album Autobahn and their first U.S. Tour, which took place in 1975.

    Earlier this year Kraftwerk completed an extraordinary nine-night concert series celebrating 50 years of Autobahn–which was composed, produced, and recorded by founders Ralf Hütter and Florian Schneider in 1974–at Walt Disney Concert Hall in Los Angeles. The shows garnered rave reviews in the press, a compass for what’s in store for the “Multimedia Tour.”

    The multi-media project Kraftwerk was started in 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio in Düsseldorf, Germany, where they conceived and produced all Kraftwerk albums. By the mid 1970’s Kraftwerk had achieved international recognition for their revolutionary electronic ‘sound scapes’ and their musical experimentation with robotics and other technical innovations.

    With their visions of the future, Kraftwerk created the soundtrack for the digital age of the 21st century. Their compositions, using innovative techniques, synthetic voices and computerized rhythms, have had a major international influence across an entire range of music genres: from Electro to Hip-Hop, from Techno to SynthPop. In their live performances, Kraftwerk composer, author and producer Ralf Hütter illustrates his belief in the respective contributions of both man and machine.

    KRAFTWERK MULTIMEDIA TOUR 2025 DATES:

    MAR 06 – Philadelphia, PA – Franklin Music Hall

    MAR 07 – Pittsburgh, PA – Stage AE Outdoors

    MAR 08 – Toronto, ON – Massey Hall

    MAR 10 – Montreal, QC – Salle Wilfrid-Pelletier, Place des Arts

    MAR 11 – Boston, MA – Boch Center Wang Theatre

    MAR 13 – Brooklyn, NY – Kings Theatre

    MAR 14 – New York, NY – Beacon Theatre

    MAR 16 – Washington, D.C. – The Anthem

    MAR 17 – Charlotte, NC – Ovens Auditorium

    MAR 19 – Orlando, FL – Steinmetz Hall at the Dr. Phillips Center

    MAR 20 – Miami, FL – Adrienne Arsht Center

    MAR 23 – Atlanta, GA – The Eastern

    MAR 24 – New Orleans, LA – Orpheum Theater

    MAR 25 – Memphis, TN – Overton Park Shell

    MAR 26 – Nashville, TN – The Pinnacle

    MAR 28 – Detroit, MI – Masonic Cathedral Theatre

    MAR 29 – Chicago, IL – The Auditorium

    MAR 30 – Minneapolis, MN – Orpheum Theatre

    MAR 31 – Kansas City, MO – The Midland Theatre

    APR 02 – Denver, CO – Ellie Caulkins Opera House

    APR 06 – Portland, OR – Keller Auditorium

    APR 07 – Vancouver, BC – Queen Elizabeth Theatre

    APR 13 – Indio, CA – Coachella*

    APR 16 – Salt Lake City, UT – The Union

    APR 20 – Indio, CA – Coachella*

    APR 23 – Austin, TX – Bass Concert Hall

    APR 24 – Dallas, TX – Majestic Theatre

    *Festival appearance

    Tickets for “Multimedia Tour 2025 – 50 Years of Autobahn” go on sale to the general public Friday, December 13 at 10AM local. Registration for presale opens today, December 5, and presale begins Wednesday, December 11 at 10AM local. For more information on the tour and to register for presale, click here.

  • LIMEHOF 20th Anniversary Holiday Celebration: DMC, Ernie and the Band, and More Shine at Two-Day Event

    The Long Island Music and Entertainment Hall of Fame (LIMEHOF) marked its 20th anniversary with a special Holiday Celebration over the weekend of November 30th and December 1st. This two-day event brought together an incredible mix of local and legendary talent, creating an unforgettable experience for attendees.

    Day 1: A Rich Tapestry of Sounds

    The festivities kicked off on November 30th, featuring an eclectic mix of performances. Casey Adams opened the night with his soulful energy, followed by Mark Newman’s smooth rock stylings. The Kerry Kearney Band brought their signature blend of blues and rock, while the Stanton Anderson Band closed out the evening with an electrifying set that kept the crowd on their feet.

    Day 2: A Star-Studded Celebration

    The second day, December 1st, was a true celebration of music, featuring a lineup that spanned genres and generations. One of the highlights of the day was the performance by Ernie and the Band, who took the stage with a setlist that included Tangled Up in Blue, No Rest, Summertime, and Dead Man Walking. The band’s dynamic sound was a testament to their organic, genre-blending approach to music, which has earned them a devoted following.

    I had the chance to talk with Ernie and the Band after their performance, where they shared insights into their musical journey. Founders John and Rob, best friends since childhood, were joined by Nick and Brady, who completed the band’s lineup. Their songwriting process is fluid, beginning with a simple melody, lyric, or progression that grows into a full song. The band cited standout performances at the Great South Bay Music Festival and their recent two-night run at Industry in Huntington as major highlights of their career.

    Next up was the legendary DMC (Daryl McDaniels), who took the stage with Johnny Juice and Richard Barone. Before his performance, I had the chance to speak with DMC, where he shared how his passion for storytelling has expanded beyond music. He began by talking about how his college lectures evolved into speaking engagements at high schools, middle schools, and elementary schools, where he adapted his message for younger audiences. His love for storytelling led him to write a children’s book about his childhood experience with bullying, offering kids a relatable narrative that connects with his career in hip-hop.

    DMC also reflected on his early influences, revealing how his love for comic books sparked his creativity before he found music through the diverse sounds of 1970s New York radio. When I asked about today’s hip-hop scene, DMC rejected the notion that hip-hop is only for the young, asserting that veteran artists like himself continue to carry the torch for future generations.

    In a conversation with DJ Johnny Juice, renowned turntablist and producer for Public Enemy, he emphasized the importance of authenticity for aspiring DJs and producers, advising them to “do it for yourself” and trust that the right audience will follow. Juice distinguished between DJ culture and turntablism, praising the technical advancements but cautioning against losing the human touch, urging DJs to “inject your personality into the cut.” Reflecting on his roots as a Latin percussionist, he explained how his rhythmic style of scratching was influenced by playing bongos and congas as a child. His move from the Bronx to Long Island allowed him to blend diverse influences, creating a unique, genre-defying sound that set Long Island hip-hop apart.

    A major highlight of DMC’s set was his tribute to Billy Joel, where he shared his excitement about a collaboration that blends Billy Joel’s You May Be Right with hip-hop. DMC jokingly revealed his dream of getting Billy Joel involved in writing original songs for his Broadway musical, which is based on DMC’s life story. “I think Billy Joel needs to be a part of this. We’re gonna make history, baby!” DMC laughed.

    Following the tribute, DMC performed several Run-D.M.C. classics, including It’s Tricky, Walk This Way, and Christmas in Hollis. The crowd was energized as he seamlessly blended his iconic hip-hop sound with rock influences, paying homage to the roots of both genres. DMC’s son, Dson McDaniels, also performed his new song Pray, showing the next generation of McDaniels talent.

    He also praised the LIMEHOF as a “holy place” where diverse genres come together to create a rich cultural tapestry—a “gumbo” that nourishes the heart, mind, body, and soul. Reflecting on his journey from a fan listening to rock legends on the radio to sharing stages with icons like David Lee Roth, Dave Navarro, and Aerosmith, DMC highlighted the surreal honor of standing among those he once admired. He emphasized the unity of genres—rock, hip-hop, blues, and jazz—and reminded the audience that while disco may have faded, the music and its spirit live on. With heartfelt gratitude, DMC concluded by urging everyone to keep dancing and supporting live music, leaving the audience energized and inspired.

    After DMC’s electrifying performance, comedian Paul Anthony took the stage for a killer stand-up routine that had the audience laughing from start to finish.

    The festivities continued with Firetog & Co, who performed tracks like How a Heart Breaks and Ball and Chain, followed by American Idol’s Christiaan Padavan, who captivated the crowd with his renditions of Vienna by Billy Joel, Just the Two of Us, I Left My Heart in San Francisco, and Please Come Home for Christmas.

    The celebration at the LIMEHOF concluded with a high-energy performance from The Original Gossip Band, who closed out the weekend with their songs Above Water, Front Liners, Megan, and Driving to the End.

  • New York Series: “The Dakota” by Christine Lavin – Remembering John Lennon Through Song

    The date Dec. 8, 1980 will be remembered infamously throughout history as the night John Lennon was shot outside his New York City apartment. The Beatles member and songwriter was returning home from the Record Plant recording studio with his wife Yoko Ono, fresh off their recently released collaborative album, Double Fantasy, when tragedy struck.

    Left: John Lennon, Right: Christine Lavin – photos via CNN and Fleming Artists

    Lennon was shot four times in the back and was pronounced dead on arrival at the hospital. Fans mourned his death afterwards gathering outside The Dakota, the apartment building where he lived and outside of which he was killed.

    Double Fantasy, album by John Lennon and Yoko Ono, released 1980
    Double Fantasy, album by John Lennon and Yoko Ono, released 1980

    Four years later, Lennon’s tragic murder was recalled by Christine Lavin, a long-time folk singer-songwriter and guitarist in her song, aptly titled “The Dakota.” 

    Newspaper headline in Liverpool Photo, Dec. 9th, 1980 via rarenewspapers.com
    Newspaper headline in Liverpool Photo, Dec. 9th, 1980 via rarenewspapers.com

    The song is the final track on her 13 song, self-produced album, Future Fossils, released in 1984. “The Dakota” was actually written a year or two following Lennon’s death, the song inspired by Lavin being stuck in rush hour traffic in NYC as “Imagine” happened to play on the taxi radio. 

    Album art for Fossil Fuels by Christine Lavin, released 1984
    Album art for Fossil Fuels by Christine Lavin, released 1984

    Lavin never actually mentions Lennon by name in the song, alluding to his death primarily through her imagery of the events that unfolded outside of the Dakota. Lavin spent much of her professional career playing venues in New York City and lived only a few blocks away from the Dakota at the time Lennon was killed. 

    To see one of her musical idols, murdered in a city she called home, was shocking she said in an interview with NYS Music. “That night is burned into my memory,” she said. “To this, day I can’t walk near the scene of the crime without thinking about it.”

    In her song, the building serves as an unmoving reminder of that horrific night, a symbol of senseless death that is difficult to escape.

    John Lennon and Yoko Ono outside the Dakota - Photo via Getty Images
    John Lennon and Yoko Ono outside the Dakota – Photo via Getty Images

    The chorus finds herself reflecting on the night of Lennon’s death with soft emotion and heartbreak as Lavin sings:

    “Every time I see the Dakota, I think about that night.
    Shots ringing out, the angry shouts,
    A man losing his life.”

    “The Dakota” – Christine Lavin

    The closest Lavin comes to referencing Lennon himself is by quoting one of his most popular and enduring songs, “Imagine.” In a unique twist however, Lavin takes the familiar, hopeful tune and bitterly exposes the unrealistic idyllic world, Lennon so vividly painted. 

    I don’t believe in coincidence
    So why then on the radio
    Did an old familiar voice
    Echo back from not so long ago?
    “Imagine all the people
    Living life in peace.”
    Well, it’s hard to do
    When you are on this blood-stained street.

    “The Dakota” – Christine Lavin

    Lavin’s grief and anger over the famed singer’s unnecessary death reaches its peak at this point, the bridge and climax of the song. The lyrics play out like a conversation with herself, as a harmony of voices sing Lennon’s famed lines, and Lavin replies with her honest answer.

    Album art for Imagine by John Lennon
    Album art for Imagine by John Lennon

    “It was just the way I felt at the time,” Lavin explained. “Imagine is so optimistic but it’s almost too optimistic in ways when we think of how the world is today. And it is harder to [be optimistic] when your on that street because to think the man that wrote those lines had such a tragic and violent end doesn’t make sense. Its such a contradiction.” 

    Still, Lavin said she tries to use her power as a songwriter to find a glimmer of light in a dark situation.

    “As songwriters anything we can right that can help us to overcome the dark side of our nature I think we owe to the world,” she said. “It’s acknowledging the world we live in, but knowing we can do better and that it is our duty to do better.”

    Lavin said the decision not to mention Lennon’s name in the song was purposeful – she didn’t want to look like she was exploiting the situation. Quite the contrary, Yoko One ended up publishing Lavin’s lyrics in a book she edited about John Lennon.

    Memories of John Lennon by Yoko Ono, the book Lavin's song is featured in
    Memories of John Lennon by Yoko Ono, the book Lavin’s song is featured in

    As the song continues, Lavin reflects further on her anger, asking for peace of mind.

    I wish I had the answer
    To the simple question, ‘Why?’

    I wish I could take these bitter thoughts
    And just shake them from my mind

    “The Dakota” Christine Lavin

    In what would be Lennon’s last interview before his death, he talked with a crew from RKO Radio in his home in the Dakota. Eerily enough, at one point during the conversation, Lennon pondered themes of death and getting older.

    “When we were kids, 30 was death, right?” he said. “I’m 40 now and I feel just … I feel better than before.” He later added, “I consider that my work won’t be finished until I’m dead and buried and I hope that’s a long, long time.”

    The Dakota as seen from Central Park West - Photo via Wikipedia
    The Dakota as seen from Central Park West – Photo via Wikipedia

    Even in 2022, memories of Lennon’s death haunt the state of New York. Although, The Dakota has undergone extensive renovations, it still maintains its signature gothic architecture and remains home to numerous celebrities, thanks to its prime location facing Central Park.

    Lennon’s killer, now 67, also lives, albeit behind bars at the Green Haven Correctional Facility in New York. Just this September, he was denied parole for the 12th time. Yoko Ono, has historically sent a letter to the parole board every two years to request her husband’s murderer remain in prison, CNN reported.

    Despite the painful reminders, Lennon’s legacy and hope for a better world persists long after his death as well.

    An annual tribute concert is held in Lennon’s name in NYC bringing together famous musicians and celebrities in a night of song and remembrance. Proceeds also go to supporting songwriting programs in elementary schools. One selected artist is also awarded with the John Lennon Real Love Award, this year given to Joan Osborne.

    Joan Osborne to receive this years John Lennon Real Love Award
    Joan Osborne to receive this years John Lennon Real Love Award

    Lavin’s final lyrics capture the conflicting emotions around wanting to forget the tragedy but remember Lennon’s greatness as she closes out the chorus singing:

    “Well, it’s something we shouldn’t dwell upon
    But it’s something we shouldn’t ignore
    Too many good men have been cut down
    Let’s pray there won’t be any more.”

    “The Dakota” – Christine Lavin

    John Lennon is memorialized in “Strawberry Fields,” a section of Central Park across the street from the Dakota that Yoko Ono landscaped in honor of her husband.

    Strawberry Fields, Central Park - photo via centralpark.com
    Strawberry Fields, Central Park – photo via centralpark.com

    Watch the music video for “The Dakota” by Christine Lavin on Vimeo below and stream Lavin’s Music on Spotify here.

  • Ciao Malz Releases “Two Feet Tall” Ahead of New EP

    On Nov. 15, Brooklyn-based multi-instrumentalist Ciao Malz (Malia DelaCruz) released her newest single “Two Feet Tall.” The single is the first from her debut EP, Safe Then Sorry, to be released via Audio Antihero on Dec. 6.

    Ciao Malz

    The memorable melodies and infectious chorus sticks in your head long after the song ends while the emotionally rich lyrics leave you with much to think about. In true Bedroom Pop fashion, the cheerful verses are complemented by thoughtful, albeit pessimistic, moments of sheer honesty as the chorus comes back around.

    Each time the tempo slows, the song avoids hitting a resolving note until it returns to the verse. As the song ends, DelaCruz’s repetition of the phrase “I can never tell” hits home in a genuine way that most songs lack. The production on the song is top-tier and makes the track fit comfortably on any college radio rotation, or indie pop playlist you can imagine. All this, combined with the thematically resonant vocal delivery and wobbly guitars, strikes a distinct note, helping “Two Feet Tall” quickly become her most-streamed song since its release.

    Ciao Malz draws inspiration from artists such as Elliott Smith, Jerry Jeff Walker, and Men I Trust, blending witty introspection with a dynamic musical style. While her self-released demos garnered attention from NPR, WFUV, Loud Women, and others, this latest work is her most mature, eclectic, and polished to date.

    Her music first reached the Audio Antihero label when she issued a cover of Frog’s “You Know I’m Down” in 2023, and the label then offered to work with her on this debut. In addition to numerous other collaborations at her Lower East Side studio, Malia DelaCruz has also been played bass for the acclaimed Sister. group (with Hannah Pruzinsky, Ceci Sturman, and James Chrisman).

    Learn more here.