The Songwriters Hall of Fame has announced the list of 2024 inductees, with a special awards ceremony taking place on Thursday, June 13 at the Marriott Marquis Hotel in New York City.
Timothy Mosley p/k/a Timbaland will be inducted this year.
Musical icons Hillary Lindsey, Timothy Mosley p/k/a Timbaland, Dean Pitchford, Bill Berry, Peter Buck, Mike Mills and Michael Stipe p/k/a R.E.M., and Donald Fagen and Walter Becker, who was born in Queens and will posthumously be inducted, p/k/a Steely Dan will become the latest inductees of the Songwriters Hall of Fame at the organization’s 2024 Induction and Awards Gala. These legendary songwriters are credited with mega-hits such as “Jesus Take The Wheel,” “Big Pimpin’,” “Footloose,” “Losing My Religion,” and “Reelin’ in the Years.”
Established in 1969, the Songwriters Hall of Fame (SHOF) serves as a vital bridge between music’s past and future. Musical pioneers are enshrined and celebrated in the Hall, while the organization’s outreach to the music community finds the next generation. To qualify for induction, a songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.
Out of the tens of thousands of songwriters of our era, there are approximately 400 inductees who make up the impressive roster enshrined in the Hall of Fame. Some past inductees include Smokey Robinson, Bob Dylan, Carole King, Paul Simon, Billy Joel, Jon Bon Jovi & Richie Sambora, Elton John & Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, and Phil Collins, among many others.
I’ve said it before, but the music industry does not exist without songwriters delivering great songs first. Without them there is no recorded music, no concert business, no merch . . . nothing, it all starts with the song and the songwriter. We are therefore very proud that we are continually recognizing some of the culturally most important songwriters of all time and that the 2024 slate represents not just iconic songs but also diversity and unity across genres, ethnicity and gender, songwriters who have enriched our lives and literally enriched music and the lives of billions of listeners all over the world.
SHOF Chairman Nile Rodgers.
Other key songs from the inductees include “Million Reasons,” “SexyBack,” “Let’s Hear It For The Boy,” “It’s The End Of The World As We Know It (And I Feel Fine),” and “Black Friday,” among others.
For more information about the Songwriters Hall of Fame, visit here.
The Allman Betts Band has announced their spring tour and they will kick things off in May with shows in Westhampton Beach and Tarrytown.
After making their debut in 2019, The Allman Betts will kick off their first US tour since 2021 which will make a stop at Westhampton Beach PAC on May 22 and Music Hall in Tarrytown on June 6. The band’s upcoming tour will also feature the southern soul-rock artist JJ Grey and the singer-songwriter JD Simo.
Devon Allman and Duane Betts first met as children, when their fathers — keyboardist Gregg Allman and guitarist Dickey Betts, both co-founders of The Allman Brothers Band — brought their boys on tour for the group’s 20th-anniversary tour. The duo Devon Allman and Duane Betts went to be the leaders of The Allman Betts Band, a supergroup anchored by sharp songwriting, fiery fretwork, and a historic legacy.
Inspired by the classic sounds of the group’s family tree, The Allman Betts Band makes timeless rock & roll for the modern world, blurring the boundaries between blues, Americana, and southern soul. Over the course of two critically acclaimed studio albums, hundreds of live shows, and annual performances of the Allman Betts Family Revival, The Allman Betts Band has established its own legacy of music and brotherhood.
Tickets and up-to–date information are available here.
The Allman Betts Band On Tour
May 16 – Charleston Music Hall | Charleston, SC
May 17 – Walhalla Performing Arts Center | Walhalla, SC^
May 18 – Helena Amphitheater Park | Helena, AL
May 19 – Buckhead Theatre | Atlanta, GA^
May 22 – Westhampton Beach PAC | Westhampton, NY^
May 23 – Scottish Rite Auditorium | Collingswood, NJ^
May 24 – Count Basie CFA | Red Bank, NJ^
May 25 – Roanoke Festival in the Park | Roanoke, VA
May 26 – St. Augustine Amphitheater | St. Augustine, FL*
Long Island’s comedy enthusiasts are in for a treat as legendary comedian Jackie Martling is set to make a memorable appearance at the LIMEHOF later this month. The event will feature Martling’s new documentary titled “Joke Man.”
Scheduled to take place at the prestigious LIMEHOF on January 27th, this event promises an evening filled with laughter, insights into Martling’s comedic journey, and a unique opportunity to engage with the comedian himself. The highlight of the evening will undoubtedly be the screening of “Joke Man,” a documentary that delves into Martling’s life, career, and the art of making people laugh.
The documentary offers fans an intimate look into the mind of the man behind the jokes, exploring his early days in comedy, the challenges he faced, and the triumphs that shaped his remarkable career. From his time on the Howard Stern Show to his stand-up performances, “Joke Man” provides a comprehensive view of Martling’s contribution to the world of comedy.
Tom Needham, the esteemed Host of the Sounds of Film, will take the reins during the Q&A session. This dynamic setup ensures a thought-provoking and engaging dialogue as Needham delves into the intricacies of Jackie Martling’s comedic journey and the making of the “Joke Man” documentary.
To add an extra layer of excitement to the event, there will also be a meet and greet session, giving attendees the chance to meet Jackie Martling face-to-face, get autographs, and capture memories with the legendary comedian. This exclusive opportunity allows fans to express their appreciation for Martling’s work and share their favorite comedic moments.
The LIMEHOF serves as a fitting venue for this special occasion, blending music and comedy in a celebration of Long Island’s rich cultural heritage. Martling’s contribution to the world of comedy has undoubtedly earned him a place among Long Island’s esteemed artists.
For more information on this event and to stay updated on all upcoming happenings at the Long Island Music Hall of Fame, visit this link. Explore a calendar of exciting events featuring the best in music, comedy, and more, ensuring that there’s always something extraordinary on the horizon for entertainment enthusiasts.
Tony Trischka, one of the most influential figures in roots music, is celebrating his 75th birthday at City Winery in NYC on Jan. 19. He has also announced the release of his new album Earl Jam: A Tribute To Earl Scruggs, out this spring.
Tony Trischka was born in Syracuse in 1949. Raised in a home full of music, he fell in love with the banjo through the Kingston Trio’s 1959 recording of “M.T.A.” In the early ’70s, he moved to New York City, releasing his landmark solo debut Bluegrass Light, mixing bluegrass, country, psychedelic pop, free jazz, and more. Many other milestone albums followed, including 1983’s A Robot Plane Flies Over Arkansas, and 1993’s World Turning, a global history of the banjo that ignited Marc Fields’ comprehensive 2011 documentary, Give Me the Banjo. As a banjoist he set new standards for genre-bending virtuosity, inspiring legions of younger players, among them Béla Fleck.
Trischka’s GRAMMY-nominated album Double Banjo Bluegrass Spectacular, released in 2007, and Great Big World, from 2014, features a mix of veterans and up-and-comers. In addition to his GRAMMY nominations, he’s earned numerous honors, including the International Bluegrass Music Award for Banjo Player of the Year, as well as being named a United States Artists Friends Fellow.
One day during the COVID lockdown, he was checking his mail and was astonished to find a thumb drive full of rare recordings of his late friend Earl Scruggs jamming with John Hartford, mostly taken from private gatherings at Earl’s house during the 80s and 90s. Trischka began pouring over the more than 200 songs, transcribing the all-new solos, tones, and tricks from the man he’d been studying for over half a century, featuring a number of these pieces at Joe’s Pub. After that show, he decided there should be an album created of this unique material. “Whether or not you’re a banjo player, if you play bluegrass, you’re influenced by Earl. So it was easy to get world-class players on board,” says Trischka.
Names like Stuart Duncan, Ronnie McCoury, and Darol Anger are featured in the album notes, next to those of Molly Tuttle, Brittany Haas, Dominick Leslie, and Bronwyn Keith-Hynes. Trischka just shared “Brown’s Ferry Blues,” the opening track of Earl Jam, and the only tune on the album to feature another banjo player: Bela Fleck. This song, produced by Fleck at Parlor Studios in Nashville, not only gets two banjo breaks, but the steady bass thump of Mark Schatz, Sam Bush’s legendary mandolin chop, show-stopper Michael Cleveland on fiddle, and Billy Strings, on lead vocals and guitar.
This song was written by Alton and Rabon Delmore and recorded by them in 1933. I heard Earl play it backstage at a show in Missouri in 2010. He had his banjo tuned to double C— that’s g, C, D, C, D—and as far as I know, he’d never used this tuning on a studio or live recording. In the various jams with John Hartford that inspired this album, however, he always played it in standard G tuning, which is the setting you’ll hear here.
Tony Trischka.
Trischka’s 75th birthday will be celebrated in the company of an all-star list of friends, including Michael Cleveland, Michael Daves, Jared Engel, Jacob Jolliff, Kenny Kosek, Steve Martin, Bruce Molsky, Joyce Carol Oates, Noam Pikelny, Sean Trischka, Abigail Washburn, Danny Weiss, and more at City Winery in New York City. While the show is sold out, a link to sign up for the waiting list and more information can be found here.
For more information about Tony Trischka, visit here.
The Thing will kick off their North American Tour with a stop at TV Eye, The Ballroom on February 2, and close out the tour back in New York State at Buffalo Iron Works on April 13.
The Thing is a four-piece band from New York City, that originated when Michael Carter, Jack Bradley, and Zane Acord bonded over a shared love for rock & roll in high school. Over the years, they honed their craft self-recording and writing songs influenced by 60s pioneers such as The Kinks, Grand Funk Railroad, and artists of the Nuggets compilation. As they progressed in skill and knowledge, the band started to envision a career inspired by the likes of Brian Jonestown Massacre, King Gizzard, and The Black Keys.
The band then started playing shows and generating a buzz around New York City in the winter of 2022. Shortly after, the band began touring up and down the East Coast. Their energetic live performances quickly earned the grassroots attention of honest music lovers.
In April 2023, the band released their debut record Here’s The Thing which was a compilation of nine songs written throughout the early years of the band. With the album out in the wild and the addition of Lucas Ebeling on the kit, The Thing is relentlessly touring, recording new music, and breaching the modern world of rock & roll as they work toward their second album The Thing Is set to be released on Feb. 2.
Also kicking off on Feb. 2, The Thing will be back on the road as their North American tour kicks off with a hometown show in Ridgewood at one of the band’s favorite venues, TV EYE, and later at Buffalo Iron Works on April 13.
The tour will kick off on Feb. 2 and tickets can be purchased here.
UPCOMING TOUR DATES
February 2 – New York, NY – TV EYE
February 8 – Philadelphia, PA – Johnny Brenda’s
February 9 – Richmond, VA – The Camel
February 10 – Charleston, SC – Charleston Pour House
February 14 – Atlanta, GA – The Earl
February 15 – Auburn, AL – 1716
February 16 – Birmingham, AL – Saturn
February 17 – New Orleans, LA – Santos
February 22 – Austin, TX – Mohawk
February 24 – Oklahoma City, OK – Resonant Head
February 28 – Phoenix, AZ – Valley Bar
February 29 – San Diego, CA – WINSTONS
March 1 – Los Angeles, CA – Gold Diggers
March 2 – Costa Mesa, CA – The Wayfarer
March 6 – Morro Bay, CA – The Siren
March 7 – Santa Cruz, CA – The Catalyst Atrium
March 8 – San Francisco, CA – Bottom of the Hill
March 12 – Bend, OR – Volcanic Theatre Pub
March 13 – Portland, OR – White Eagle
March 14 – Seattle, WA – The Sunset Tavern
March 17 – Sun Valley, ID – Sun Valley Resort (free show)
March 20 – Boise, ID – Treefort Music Fest
March 21 – Salt Lake City, UT – The DLC
March 22 – Crested Butte, CO – Public House
March 23 – Buena Vista, CO – The Lariat
March 24 – Telluride, CO – The Alibi
March 28 – Fort Collins, CO – Surfside 7
March 29 – Steamboat Springs, CO – Schmiggity’s Live Music Dance Bar
March 30 – Denver, CO – Ogden Theatre*
April 3 – Minneapolis, MN – 7th Street Entry
April 4 – Milwaukee, WI – The Cooperage
April 5 – Appleton, WI – Gibson Music Hall
April 6 – Chicago, IL – The Hideout
April 10 – Cleveland, OH – Beachland Ballroom & Tavern
April 11 – Detroit, MI – Lager House
April 12 – Toronto, ON – The Baby G
April 13 – Buffalo, NY – Iron Works
May 26 – Boston, MA – Boston Calling
* supporting Mo Lowda & The Humble + Bright Light Social Hour
The Governors Ball returns in 2024 for their 14th year, settling into its home at Flushing Meadows Corona Park for an exciting weekend filled with music and festivities.
The upcoming festival promises a stellar lineup, with headline performances from some of the biggest names in the industry, including Post Malone, The Killers, and SZA.
From June 7-9, This iconic NYC music festival will have music enthusiasts gather in one of the city’s most iconic spaces to witness equally iconic performances.
2024 Gov Ball Lineup
The 2024 lineup for Governors Ball showcases a diverse range of musical genres, also featuring an expanded presence of Latin music, with artists like Peso Pluma, Rauw Alejandro, and Farruko, among others. The weekend kicks off and concludes with powerhouse performances by Post Malone and Rauw Alejandro.
Friday and Sunday also feature special performances by the School of Rock Queens and Brooklyn, highlighting the talent of these performance-based music schools that cater to individuals of all ages. The house bands of these schools will deliver two exceptional performances during the festival. Among the lineup, New York natives such as Arcy Drive, Beach Fossils, and Quarters of Change add a local flair to the event.
Lizzo, Governors Ball, 6/9/2023. Photo by Joseph Buscarello
For eager fans looking to secure their spots, can sign up for a presale passcode now for the SMS Presale happening THIS Thursday, 1/18 from 11am – 1pm ET.
All ticket prices will increase on Thursday at 1pm ET when the Public On-Sale begins. Ticket prices are all-inclusive with no fees on top.
For 2024, Gov Ball is pleased to announce two new ticket types – 2-Day bundles and Ultimate Tickets. The 2-Day bundle allows fans to customize their festival experience over the weekend and attend any two days of their choosing at any ticket type.
Stay tuned to NYS Music for the latest updates on Governors Ball 2024, including lineup updates, and the eagerly awaited general sale dates, yet to be announced.
In the meantime, relive the excitement of the 2023 edition by checking out our recaps for Friday, Saturday, and Sunday.
Kendrick Lamar at Gov Ball 2023 – photo by Lucas Kurzweil
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.
The five-piece rock band KILLCODE has released a new single ‘RIDE’ accompanied by an intense music video directed by David Swajeski.
KILLCODE is a band that plays aggressive, exciting live shows and are known for their pleasant blend of alternative and punk-rock. They are constantly refining their sound and making new waves in the rock music scene. The band has also supported other artists like Brett Scallions on the Re Fueled East Coast tour.
Formed by their vocalist/frontman Tom Morrisey, and guitarist Chas, the NYC-based rock band has enjoyed their ever-growing fan base both nationally and internationally. The band has continued to headline and sell out at prominent venues like Gramercy Theater and Bowery Ballroom.
The music video features a man haunted by the opportunities he lost, facing one shot of redemption as he looks back to the scenes of his happier times. Still, he must continue to spin the roulette wheel because quitting is never an option. The intense music video completes the imposing raw, and vibrant song that explores the wild fixation and attachment of life’s twists and turns in a city that never sleeps.
The new single is off KILLCODE’s latest album “Life, Death, Rock N’ Roll” produced by Joey Zampella (Life of Agony, Stereo Mud, Carnivore).
‘RIDE’ music video is available to stream on all major digital retailers. The band will also release another song on Jan. 20 called ‘Life, Death, Rock-N-Roll” produced by Joey Z.
Brooklyn-based indie rock band kicked off 2024 with two great early garage-style singles ‘Fantasize’ and ‘Uno’ released on January 12.
Hipsy Gap is a five piece Brooklyn-based indie rock band. Their songs often combine all the catchiness of pop and also the energy of a rock band. The five of them come together from vastly different backgrounds and music inspirations and they draw from a wide range of artists like The Cranberries and Slowdive.
The band’s first single ‘Fantasize’ is a gloomy indie-rock track that features powerful vocals with perceptible synthesizers and strong guitar skills. The song demonstrates excellent teamwork and chemistry, which are crucial skills needed for a band.
The song borrows sounds from disparate genres, the song features ambient guitars with a reggae-inspired drumbeat and ethereal synthesizers that suggest a comatose dream state where memories flood with the vision at light speed.
In ‘Uno’ you can hear the Hipsy Gap leaning into their indie rock roots, creating a dreamlike track that pairs a slow pace with a soft, gleaming guitar. The band’s drummer describes the drum beat as “balls-to-the-wall” with an amped-up instrumental mood that mimics the song’s story of lust, death, and revenge.
I entirely agree with their appraisal as the final verse fully shows their intent, and it also contributes to the track’s upbeat and amped-up vibe. The song evokes some type of nostalgic feeling that will make the listeners question if they might have heard them before but can’t quite pinpoint where.
To cerebrate the release of the two songs, Hipsy Gap will headline their first set at an up-and-coming FirstLive BK on January 12 with support from Petruziello’s band Little Slicer and My Friends. Tickets can be purchased here.
Be sure to check out Hipsy Gap’s newest singles ‘‘Fantasize’ and ‘Uno’ and keep up with their social media @hipsygap.
