Hip hop’s golden age comes together as Saigon recruits the legendary Pete Rock for his new single “Get Loose.” Coupled with Swedish, multi-platinum producer Fredro, “Get Loose” is the second single release from Saigon and Fredro’s forthcoming album, The Jordan Era. “I’ve always thought Pete was a dope rapper since “The Creator,” reveals Saigon. “I took the opportunity to get him to step away from behind the boards; where he is most comfortable, and ‘Get Loose’ with me,” he resonates. “With all of the negativity in Hip-Hop, and the world, I just wanted to create something fun with Pete.”
Saigon & Fredro team-up with Pete Rock
After announcing their new album and releasing the first single and video, “Lyrical Genius,” featuring Grandmaster Caz, Saigon continues to pay homage to hip hop’s golden era with this latest release with The Jordan Era‘s production entirely by Fredro. After all, on “Get Loose” the Brooklyn native channels the frenzied, experimental sound of hip hop from the early 90’s, while Pete Rock is at his introspective best. Moreover, the project features guest appearances from the aforementioned Grandmaster Caz and Pete Rock. Along with Big Daddy Kane, Kool G Rap, Grand Puba, Sadat X, Rockness Monsta, Craig G, Ill Skratch and possibly more.
Saigon and Fredro’s The Jordan Era album is set for release on May 3 via the iconic Payday Records.
Pink Sweat$ delivered a soulful and electrifying performance at the Gramercy Theatre on February 16, 2024, leaving the audience mesmerized by his unique blend of R&B and pop.
The intimate venue provided the perfect setting for the artist to connect with his fans on a personal level, as he effortlessly transitioned between heartfelt ballads and upbeat tracks. Pink Sweat$ showcased his vocal prowess, hitting every note with precision and emotion, creating a captivating atmosphere that resonated throughout the venue.
Pink Sweat$’s presence was equally impressive, as he engaged the audience with genuine charisma and charm. The intimate nature of the performance allowed him to share anecdotes and stories behind some of his songs, creating a sense of intimacy that enhanced the overall experience.
The energy in the Gramercy Theatre was palpable, with fans singing along and swaying to the rhythm, creating a night that will undoubtedly be etched in their memories. Pink Sweat$’s ability to create a genuine connection with his audience, combined with his musical talent, made for an unforgettable and enjoyable concert experience.
Acclaimed NYC singer/songwriter and guitarist Steve Conte has announced the release of his new album The Concrete Jangle this Spring. The album will feature 10 tracks and will be a display of renowned songwriting from Conte, along with Andy Partridge.
Conte is best known for his work with proto-punk band New York Dolls as the guitarist from 2004-2010. Prior to this, Conte had several gigs as a guitarist throughout NYC for much of his beginning. In 1988, Conte was a part of The Hudson River Rats, a blues band based in the west-village of Manhattan.
Conte has collaborated with a range of notable artists, including Peter Wolf, Eric Burdon of The Animals, Willy DeVille, Billy Squier, Maceo Parker, Willie Nile, Jim Jones, Hubert Sumlin, and even Paul Simon.
Steve’s mother Rosemary Conte is also a renowned New York artist, as she was a vibrant jazz singer in the 50s and 60s.
Steve Conte’s upcoming album is set to release on April 20, which is also Record Store Day. The 10-track album will contain a variety of rock tunes ranging from soft to heavy. The album will be released on all platforms and music services.
To learn more about Steve Conte and his latest album, click here. To catch the vinyl release of The Concrete Jangle, visit recordstoreday.com.
Dave Solazzo & The Bridge, a trailblazing trio within the Westchester jazz community, has been raising eyebrows and stirring up controversy.
The “jazz police” have turned their attention toward pianist Dave Solazzo, bassist Matthew Vacanti, and drummer Bill D’Agostino due to their daring distaste for typical harmonies. The trio are set to perform on March 22 in Downtown Mount Kisco, NY at 37 S. Moger Ave.
Additionally, the musical outlaw Solazzo enjoys pushing boundaries, making him accustomed to breaking the law. He has studied the greats, exploring the piano trios of legends such as Bill Evans, Oscar Peterson, and Ahmad Jamal. However, the nature of his musical ideas has landed him in hot water with purists of jazz.
According to co-conspirator Matthew Vacanti, the trio’s Locrian Skye album explores the unusual Locrian mode, which is uncommon in jazz. Despite the controversy, their interpretation of the piano trio is nothing short of intriguing.
“I think we went for it in the studio, stretching, and taking chances. We wanted to put some of those elements into the music — the elasticity of time, the unconventional harmonies, the group interplay.”
-Dave Solazzo
Performers like Giacomo Gates, Martha Reeves, and Kevin Mahogany are offended by Vacanti’s styles, which has exposed minors to questionable jazz methods.
Drummer and rhythm renegade from Auburn, New York, Bill D’Agostino gained notoriety by copying licks from legendary drummers like Tony Williams and Steve Gadd. He is practically banned from most venues for his politically incorrect use of forbidden rhythms and funky grooves.
Together, Solazzo, Vacanti, and D’Agostino—each recognized for their partnerships with notable jazz artists—have produced the free-form and improvised debut album “Locrian Skye.” Their music is sure to thrill, challenge, and make lasting impressions on jazz fans, defying the conventions of Post Bop.
This corrupt yet intriguing piano trio, called “The Bridge,” is scheduled to perform at Jazz on Main despite their antics. On March 22 at 7 PM and 9 PM, the venue—37 S. Moger Ave. in Downtown Mount Kisco, NY—will host two shows. $32 tickets give you the opportunity to see three first-call sidemen collaborate in real time, unfiltered.
Tickets for Dave Solazzo Trio’s March 22 performance are now available at Jazzonmain.com.
Today marks a somewhat somber anniversary in Grateful Dead history as the band’s second show at their final residency at The Capitol Theater this day in 1971 would be the first of many without drummer Mickey Hart. Racked by depression and guilt from his father stealing money from the band, Hart would take a self-imposed hiatus for several years before rejoining in 1974.
stub via Ed Perlstein
As the Dead prepared for some of their last shows ever at The Cap, they were still treating this a short-term absence. They continued to deliver a string of new songs and material, many of which made their debuts at the memorable show from the night before. The music does not seem to suffer at all and takes on a sleeker, more focused sound with only one drum kit now being used. This show was even selected as one for live release by soundman Dan Healy back in the early 90s but never got officially unveiled until 2007 as Three From The Vault.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Unsurprisingly, the recording of tonight’s show begins with some on-stage tuning from the Dead. This actually elicits two distinct warm-up/time wasting songs with quick takes on “The Merry Go-Round Broke Down” and “Spring Song.” The end of the latter paves the way for the band to launch right into a show-opening “Truckin’.” It’s a tight and concise jam to start things off that certainly has a little less “thunder” to it thanks the subtraction of one drum kit. The always emotional “Loser” follows with Jerry Garcia taking the lead on vocals and delivering its powerfully somber guitar solo with ease.
“Cumberland Blues” swings the emotion right back the other way with a fun, spirited take fueled by some peppy Phil Lesh-produced bass lines before Pigpen gets his first say of the evening with his signature take on the Elmore James blues classic “It Hurts Me Too.” This rounds out a very similar opening to the show from the night before with the three of the four numbers being repeats.
These kept on coming with the brand new “Bertha” that follows, only the fourth one ever performed after its East Coast debut the night before. Some issues with the early vocals occur on the recording, but they soon get resolved on this fast-paced and energetic take with Pigpen on organ making notable contributions. The second-ever “Playin’ In The Band,” which also debuted last night, comes next although no jam of any merit is produced with the band very much still learning how to tackle this one. The string of repeats gets broken up with an electric take on a song more often associated with acoustic Dead, “Dark Hollow.”
The music does finally stretch out a bit with a 15-minute take on another blues classic “Smokestack Lightning,” with Pigpen once again manning the lead vocals and playing the part of Howlin’ Wolf as only he can. His improvised lyrics and harmonica play in conjunction with some stirring guitar licks courtesy of Garcia provide all the fuel that this first set highlight needs.
The Dead then round out the first set at The Cap this evening with a breakneck “China Cat Sunflower” and “I Know You Rider” that features its traditional seamless segue between the two. The new songs then kept on coming in the second set, beginning with the Bob Weir-led tunes “Greatest Story Ever Told” and then only the third ever known performance of “Johnny B. Goode,” a Chuck Berry cover that would continue to be seen on Grateful Dead setlists throughout the band’s touring career.
After some intricate tuning, a fresh song finally emerges, the brand new “Bird Song,” with Garcia reassuming lead vocals and leading the group through an especially rhythmic early rendition that seems to peter out fairly suddenly instead of being stretched out like it would be in the years to come. This sets the stage for Pigpen to shine once more as then leads the group through the blues-laden and Robert Hunter-penned “Easy Wind.” There would be only two more performances of this vintage Pigpen tune ever played after this one.
Another Dead classic then makes its live debut at the Capitol Theater as the first ever “Deal” is played with Jerry grabbing the reigns once more and leading the band through a rapid take on another soon-to-be live show regular. The second set “Drums” section may be missing one drummer this evening but Bill Kreutzmann handles this, and the rest of the show, with ease and finesse, paving the way nicely into the percussive-heavy opening of “The Other One.” This offers some of the real exploratory playing of the show as Garcia, Lesh and Kreutzmann all seem to lock in, eliciting tribal-like rhythms and patterns in a jam that slowly crescendos.
It comes to a pretty abrupt ending, however, as the Dead seem to want to fit in the second ever “Wharf Rat” before things come to a close. This slows the tempo down significantly as Garcia belts out the emotional lyrics on a another future live show staple. After one last extensive tuning session, which serves as an unofficial encore break of sorts, the band launches into one last cover for the night, a rousing, stretched out take of “Good Lovin’” with Pigpen once more adding his signature style to the proceedings.
The show then wraps up with a standard run through of an “oldie,” in “Casey Jones” as night two of the Dead’s final residency at the Cap comes to a close and the short-lived Mickey Hart-less era of the band begins.
Grateful Dead – Capitol Theater, Port Chester, NY February 19, 1971
Set 1: Truckin’ , Loser, Cumberland Blues, It Hurts Me Too, Bertha, Playing In The Band, Dark Hollow, Smokestack Lightnin’, China Cat Sunflower > I Know You Rider
Set 2: Greatest Story Ever Told > Johnny B. Goode, Bird Song, Easy Wind, Deal, Cryptical Envelopment > Drums > The Other One > Wharf Rat, , Good Lovin’ , Casey Jones
Satellite Collective will present Satellite Tribeca, at Satellite Gallery, over May 9-21 for two weekends of premieres and events from artists across all disciplines, plus new prints, projections, film and photography from featured artists Kevin Draper and Lora Robertson.
Formed in 2010, Satellite Collective features members of the New York City Ballet, visual artists, writers, and composers from across the country. Since then, Satellite has produced 14 seasons of multi-disciplinary work in New York City with an imposing cross section of the city’s young talent. Satellite has evolved since its inception, spinning off several dance and arts nonprofits, and incubates artists collaborating as equals. The company designs performances, arts exchanges, and publications that bring talented artists from all disciplines to work together.
Satellite is working in a new kind of venue for the collective. We are bringing the athletic performance and production values of our performing arts work into a gallery space. Here, we have the opportunity to engage in longer conversations with our audience and more prominently feature the compelling visual artists driving Satellite’s collaborations.
the Satellite Collective team
Satellite Tribeca is designed to foster intimate moments in a classic New York gallery space. In addition to new prints and projections from featured artist Kevin Draper and new film and photography by featured artist Lora Robertson, the Tribeca Show will consist of two busy weekends of new music, dance, discussion, and visual art, and film presented by Satellite Collective. Satellite Tribeca will include direct art experience with panels, performances, visual art, screenings, and a view into how creativity informs collaboration.
KEVIN DRAPER
Satellite Tribeca will also reveal the New York premiere of Sad Blimp Twins, a pair of forty foot long blimps coming to New York for the first time as Satellite’s official mascots. Sad Blimp Twins are a pair of aerostats designed to fly from tall masts and act as cinema screens for public performances. They first flew on the lawn of the Gerald R. Ford Presidential Museum and will premiere in New York inside the gallery at 101 Reade Street. At full inflation, the blimps are fourteen feet in diameter and nearly forty feet long. Designed by Kevin Draper, they act as reminders of distant technologies of observation.
To purchase a “Festival” ticket, giving access to multiple events go here. For more information, go here.
Satellite Tribeca Program
Thursday, May 9, 7:00 – 8:00 pm
SITE SPECIFIC DANCE
NYC Premiere of BODYSONNET’S “please come alone”
From creator-performers Moscelyne ParkeHarrison and Mio Ishikawa of BODYSONNET, “please come
alone” is a series of solo dance performances exploring what it means to be alone, and to come together. In the piece, performers participate in exercises to explore their artistic and narrative values as they devise movement solos. Each performer’s process will culminate in a twenty-minute movement score that shares the same music score and includes movement references to the other solo. The soloists rehearse apart from each other, thus experiencing each other’s work for the first time in performance.
The work was originally performed in The Berkshires, MA in June 2021, and workshopped further with
MFA drama students at Yale University in winter 2021 with Dramaturg Hannah Gellman.
Friday, May 10, 6:00 – 8:00 pm
GIANT PRINTS ON CANVAS, PHOTOGRAPHS ON METAL, and BLIMP MASCOTS
Reception for visual artists Kevin Draper and Lora Robertson and New York premiere of “Sad Blimp Twins”
Kevin Draper’s show “The Cartoon Before The Movie” features large scale prints on paper and canvas created with aerospace 3D software and innovative hand printing techniques. Beginning with nostalgic imagery of an older New York, the imagery looks out toward space, along the avenues of Central Park and the sidewalks of Park Avenue, and sees a future of artificial intelligence and buildings seeking autonomy. Images feature bold industrial colors and a unique, expressionistic use of the architectural drafting language.
Lora Robertson’s show “Agony In The Scrub Pines” features large, complex photographic compositions reproduced on smooth sheet metal. Robertson works with digital cameras produced as part of the Hubble telescope program, and the intense focus on color and light is almost pre-Raphaelite in complexity. With her digital tools Robertson translates the naturalistic settings and historical lighting techniques into photographs that are easily mistaken for paintings until a closer view shows how these have been brought into the present with a wily eye for metaphor and visual easter eggs.
“Sad Blimp Twins” are a pair of forty foot long blimps coming to New York for the first time as Satellite’s official mascots. They first flew on the lawn of the Gerald R. Ford Presidential Museum and will premiere in New York inside the gallery at 101 Reade Street. At full inflation, the blimps are fourteen feet in diameter and nearly forty feet long. Designed by Kevin Draper, they act as reminders of distant technologies of observation. Satellite intends to continue development of Sad Blimp Twins and their use as mobile cinema screens.
LORA ROBERTSON
Friday, May 10, 7:30 – 9:00 pm
SPOKEN WORD, SOLO PIANO AND ACCORDION, AND VIOLIN-PIANO DUO
NYC Premiere of Stelth Ulvang’s “The Heartbeats of Stars, In Which Aliens Love Louis Armstrong,” a spoken word and music collaboration with Satellite Collective, and violin-piano duo Upstream debuts with co-compositions for piano and violin. Refreshments served.
Stelth Ulvang premieres “The Heartbeats of Stars” inspired by Carl Sagan and Ann Druyan’s data capture of love that left our galaxy on Voyager’s gold record. This solo performance for piano and accordion is a meditation on the many orbits in two lives, and the many points of intersection between them.
And Upstream, with 2023 Leonard Bernstein Award Winner Will Healy, debuts violin-piano duo Upstream with George Meyer, performing a live program of co-compositions for piano, cello, viola, violin by these Juilliard-trained composers, reaching into hip-hop, bluegrass, and jazz.
Between and among world tours, Stelth Ulvang of the Lumineers has crafted spoken word and developed scores and theme songs for Satellite Collective films. He first appeared with Satellite on the stage of BAM Fisher.
LORA ROBERTSON
Thursday, May 16, 7:00 – 8:30 pm
BALLET SCORE FOR STRINGS AND NEW INDIE CLASSICAL
NY Premiere of “Liar Lear King” ballet score for strings by Ellis Ludwig-Leone. Performed live, with a performance of his “Past Life” for violin, cello, and piano. And three compositions by Will Healy, 2023 Leonard Bernstein Award Winner and Founder, SHOUTHOUSE. “Root Position”, “Chimes”, “Mariners” performed live with violin, viola, cello, and piano; and reception for visual artists Kevin Draper and Lora Robertson
“Liar Lear King” premiered in 2022, co-produced by Grand Rapids Ballet with choreography by San Francisco Ballet Alum and Oregon Ballet Theater Artistic Director Danielle Rowe, score by Brooklyn-based composer and indie classical phenom Ellis Ludwig-Leone, and film and scenery by Kevin Draper and Lora Robertson. In the runup to the New York premiere of the full ballet, the full thirty minute score will be performed live at Satellite Gallery, 101 Reade Street, with Ludwig-Leone conducting. “Liar Lear King” explores themes of narcissism and bullying, and their impact on our families.
Juilliard-trained composer and bandleader Will Healey will present solo piano work inspired by his Opus in development, Orbit – a piece that lays out a musical galaxy in which heavenly bodies interact, evolve, and eventually reach consciousness. Healy served as Music Director for the premiere of Aaron Severini’s score for “Echo & Narcissus” with Satellite Collective at BAM Fisher in 2018. This new work draws from Healy’s compositional experiments with hip-hop, jazz, and classical music.
Filmmaker’s Symposium: The toughest, wildest, and least talked-about challenge of independent filmmaking is finding the money. Join a group of award-winning filmmakers as they share the horrors and triumphs of getting their films green-lit. Hosted by Nikhil Melnechuk, and featuring directors working across the indie film landscape, Abby Kollek, Sylvia Ray, Manon Gage, DJ Daughtry, BODYSONNET, and more! Followed up by a sneak preview and discussion of the inventive animated short Shakespeare adaptation “Liar Lear King” by Lora Robertson and Kevin Draper. Drinks will be served.
KEVIN DRAPER
Saturday, May 18, 7:00 – 8:30 pm
ARTS PANEL w/FILM AND LIVE BALLET
“The New York of Gordon Matta-Clark: Alive in the City Today”
Feature Performance: “Central Park, Earlier In Time”, inspired by Satellite Collective’s “Echo & Narcissus”
Panel moderator Paulina Ascencio Fuentes lives and works between Guadalajara and New York City. She has worked with the Gordon Matta-Clark archives and the Estate on several research projects and exhibitions. Her research outlines transdisciplinary modes of knowledge production and transmission.
This intimate panel discussion will focus on creative collaborations between the Estate of Gordon Matta-Clark and Satellite Collective, Site:Lab, and other arts organizations in the US and UK. Panelists will explore how Gordon Matta-Clark’s vision and work in the 1970s can inform 21st Century multimedia performance, dance, and contemporary art. Following the panel, Satellite presents the New York premiere of Central Park, Earlier In Time, a dance work with projection incorporating the drawings of Gordon Matta-Clark. This work is in development for stage presentation.
In his short but prolific career, Gordon Matta-Clark centered collaboration at the core of his artistic practice. Ensconced in the downtown art scene of the 1970s, he not only incorporated film, dance, performance and food into his own work but also regularly participated in other artists’ projects such as performing in Joan Jonas’s film Song Delay, designing set ideas for Mabou Mines, or dancing with the Trisha Brown Dance Company.
Collaboration being central to Gordon Matta-Clark’s legacy, the Estate of Gordon Matta-Clark works with contemporary artists in the generation of new pieces in dialogue with his ideas. Satellite Collective is inspired by similar collaborative methods brought forward into a digital age. Although the art economy has radically changed since the 70s and 80s, the city remains a powerful source of raw material for commentary and transformation. How can engaging in a dialogue with an artist of the past inspire new work that addresses our present moment?
The evening will include a screening of a Gordon Matta-Clark short film with introduction by Co-Director of his Estate, Jessamyn Fiore and a feature performance of live ballet and projection. Using Gordon Matta-Clark’s drawings as source material, Satellite artist Kevin Draper has translated them into three-dimensional space bringing Matta-Clark’s images into a futuristic New York.
Panelists include: Jessamyn Fiore, Co-Director, Estate of Gordon Matta-Clark; Artists of SITE:LAB, and Kevin Draper and Lora Robertson, Satellite Collective.
Feature Performance : “Central Park, Earlier In Time”
One Vibe Media has announced the cherished Madaraka Festival, headlined by Sauti Sol in 2023, will make a return to America in 2024, with shows in 13 cities, including a stop at Irving Plaza on June 1.
The concert line up will include internationally acclaimed musicians such as Nyashinski, Eddy Kenzo, Naomi Achu, Dynamq, and Simon Javan Okelo and many surprise special guests.
The event’s headliner Nyashinski, is one of the most celebrated artists in East Africa and a co-founding member of the hip-hop trio Kleptomaniax before successfully launching his solo career during the 2010s. Eddy Kenzo, is a GRAMMY-nominated Ugandan singer and music executive whose touching albums like Sitya Loss and performances helped lead him to a 2023 GRAMMY Award Nomination for Global Music Performance. Naomi Achu is a Cameroonian singer, rapper, and songwriter. She is best known for “Alhadji, ” which was played in the eighth season of Big Brother Africa. Savara Delvin Mudigi, commonly known as Savara, is a Kenyan singer, drummer, and co-founder, vocalist, and producer of the Sauti Sol band.
The Madaraka Festival started in Washington State in 2014. Over the past decade it has become one of the state’s largest African music festivals. In 2023, the festival exceeded expectations by reaching over 25,000 people physically and 30 million virtually across six metropolitan cities in the US.
Come dressed to impress with your bright colorful African attire and the flag of the Country you represent. Expect upscale Afro-Pop, Reggae, Afrobeat, Afrohouse party vibes; good people; our award winning DJ DYNAMQ will be taking you on a musical journey across Africa.
Simon Javan Okelo, event producer
Representatives say the goal for this year’s show is to reach 150,000 people in person across the states and 50 million digitally.
In addition to a spectacular list of performances, One Vibe Media is dedicated to giving part of the proceeds from the Madaraka Festival 2024 to One Vibe Africa who through their work are supporting community-led change and impacting over 3.5 million people in the United States and Africa.
Tickets for Madaraka Festival 2024 are available at Ticketmaster.com now.
Madaraka Festival Tour Dates
Sat 5/25/2024 Dallas House of Blues
Sun 5/26/2024 Houston House of Blues
Thu 5/30/2024 Boston Big Night Live
Sat 6/1/2024 New York Irving Plaza
Sun 6/2/2024 Philadelphia The Fillmore
Mon 6/3/2024 Washington DC The Fillmore Silver Spring
Elliot Moss is a multi-instrumental singer and producer from NYC. His latest LP How I Fell is an emotional novel of his ups and downs as not only a musician but simply as a human. The 11-track LP boasts a variety of vibrant sounds coming together to form a meaningful, colorful, mix of musical talent.
The alt-pop album How I Fell begins with the floaty, intimate song “Altitude.” The track has ethereal vocals by Elliot, a punchy, powerful drumbeat, sprinkled saxophone pieces, layered guitars, and harmonies as well. The song reaches a powerful climax and then begins its soft descent before its ending.
“Lazy” and “Hearts Lose” keep a solid, chill, relaxed vibe in the musical journey that is this album. Autotuned vocals and low-vibration backing instrumentals keep the atmosphere melancholy but hopeful sounding.
“Magic” begins the same as the last two, down and relaxing. The tune later turns into a very alt-pop or pop-rock sound, showcasing Elliot Moss’s creative range. The remaining songs reflect this as well.
Elliot chose to add a variety of sounds to this album; the alternative heavy pop sound, the ethereal, floaty sound, the soft melodic down style, and other variety of sounds can be heard throughout.
How I Fell by Elliot Moss gives vibes of Sam Smith, with his vocal style, instrumentation, and the genre alone, as well as Tame Impala, The Score, and perhaps Green Day.
This album is a clear reflection of Elliot’s up and down moments as a musician and just as a person.
To learn more about Elliot Moss and to get your ears on How I Fell, click here.
Legendary guitarist Santana and GRAMMY-nominated band Counting Crows have announced they will be touring together this summer. The Oneness Tour will stop by Bethel Woods on July 18, Jones Beach on July 21, and Empower Federal Credit Union Amphitheater at Lakeview on July 24.
Santana and Counting Crows will deliver tons of high-energy, passionate, and classic hits from their catalogs. Carlos Santana will provide his legendary guitar playing, while the Counting Crows get everyone jiving and singing along.
These artists are visionaries, and a tour combining the minds of these talents will surely prove to be a spectacle. The musicianship of these artists allows for a plethora of hits to be unleashed this summer.
The tour will also offer different VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, commemorative tickets, exclusive merchandise items, and a collectible laminate.
Counting Crows Live
Tickets will be available starting with a Citi presale beginning on Wednesday, February 14. Additional presales will run throughout the week ahead of the general on-sale beginning on Friday, February 16 at 10 a.m. at Santana.com and CountingCrows.com.
Oneness TourNorth American Dates:
Fri Jun 14 – Hollywood, FL – Hard Rock Live
Sun Jun 16 – Tampa, FL – Amalie Arena
Tue Jun 18 – Duluth, GA – Gas South Arena
Thu Jun 20 – Bristow, VA – Jiffy Lube Live
Fri Jun 21 – Camden, NJ – Freedom Mortgage Pavilion
Sun Jun 23 – Noblesville, IN – Ruoff Music Center
Tue Jun 25 – Clarkston, MI – Pine Knob Music Theatre
Wed Jun 26 – Toronto, ON – Budweiser Stage
Fri Jun 28 – Cincinnati, OH – Riverbend Music Center
Sat Jun 29 – Tinley Park, IL – Credit Union 1 Amphitheatre
Thu Jul 18 – Bethel, NY – Bethel Woods Center for the Arts
Fri Jul 19 – Holmdel, NJ – PNC Bank Arts Center
Sun Jul 21 – Wantagh, NY – Northwell Health at Jones Beach Theater
Tue Jul 23 – Mansfield, MA – Xfinity Center
Wed Jul 24 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview
Fri Jul 26 – Milwaukee, WI – American Family Insurance Amphitheater – Summerfest Grounds
Sat Jul 27 – Maryland Heights, MO – Hollywood Casino Amphitheater – St. Louis, MO
Mon Jul 29 – Morrison, CO – Red Rocks Amphitheatre
Tue Jul 30 – Morrison, CO – Red Rocks Amphitheatre
Thu Aug 15 – Fort Worth, TX – Dickies Arena
Sat Aug 17 – Houston, TX – Toyota Center
Sun Aug 18 – Austin, TX – Moody Center
Wed Aug 21 – West Valley City, UT – Utah First Credit Union Amphitheatre
Sat Aug 24 – Auburn, WA – White River Amphitheatre
Sun Aug 25 – Ridgefield, WA – RV Inn Style Resorts Amphitheater
Tue Aug 27 – Mountain View, CA – Shoreline Amphitheatre
Wed Aug 28 – Inglewood, CA – Kia Forum
Fri Aug 30 – Chula Vista, CA – North Island Credit Union Amphitheatre
Hardcore band Spaced has released their new single “Rat Race” ahead of their North American tour which will make a stop at the Bowery Ballroom on February 15
Spaced consists of five members blending and combining stunning vocals, remarkable instrumentals, and distinctive songwriting. The band includes Lexi Reyngoudt on vocals, Joe Morganti and Donny Arthur on guitar, John Vaughan on bass, and Dan McCormick on drums.
The Buffalo-based band live up to their name by blending hardcore with unique sounds to create an explosive and hallucinogenic landscape. Originally formed in 2019, Spaced would burst onto the scene in 2021 with their four-song demo, followed by their 2022 compilation, Spaced Jams and a dual single in 2023, both on New Morality Zine. The band has a vitality and unique take on the genre that quickly caught the attention of long-standing home to hardcore Revelation Records, who announced the band’s signing in 2023.
“Rat Race” features catchy themes and eccentric guitars with continuous drumming that give it a sentimental and hardcore vibe. With the groove-driven riffs moving into trippy whirls, the song features pulsating drums that plead for side-to-side mosh. The band’s vocalist Lexi Reyngoudt can be heard as she sings “us against you” with distinct enunciation that makes the song stand out.
A track about not fitting into everyday life while simultaneously not caring about it. There will always be someone who tries to dictate how you live your life and will tell you what you’re doing ‘wrong.’ The best way to go about that? Tell them you don’t care and continue to be yourself.
Lexi Reyngoudt.
With the release of a new track, the band has also announced the release of their new album, This Is All We Ever Get, set to premiere on March 22. Working with Jay Zubricky (Mindforce, Terror) at GCR Audio in Buffalo, Spaced recorded their new album over a few days in May 2023 and sent the album off for mastering with Will Killingsworth (Orchid) at Dead Air Studios. On the record, the band pulls from a wide range of influences, while still staying centered around individuality. Fans can preorder the album here.
Spaced will also join Militarie Gun, Spiritual Cramp, and Pool Kids on a North American tour which will make a stop at the Bowery Ballroom, on February 15. For tickets and more information about the band fans can visit here.
