On May 31, Brooklyn-based indie rock band Hipsy Gap released their new single, “Nothing’s Good Enough.” Emerging on the indie rock scene last fall, the newfound group stuns audiences with its odes to indie and alternative legends like Paramore, The Cranberries, and The Smiths.
A journey of self-discovery and identity can be one of the hardest that a person has to make in their life. Feelings of isolation, loneliness, and estrangement can creep up at any moment, especially in the wake of the COVID-19 pandemic and nationwide lockdowns. With constant stimulation and ostracization, it can be difficult to find something that relates to life’s toughest battles. Yet, Hipsy Gap is able to do just that in their soothing, easygoing latest track.
“Nothing’s Good Enough” handles a complex, deeply personal issue that would still be relatable for listeners: the idea of home. Part of life is learning how to make your own home, even if it is in an unfamiliar environment. But what if there was never a model for a person while they were growing up? The idea of “home” has different definitions for different people, of course. But there is no denying how difficult it can be to form and maintain those ideas.
“Nothing’s Good Enough” captures a unique perspective; searching for a “home” in the eyes of a person who has never known one before. The easygoing and flowing melodies showcase their dream of a life with no bounds, a feeling of true freedom. The increase in tempo and volume of the bridge, when the characters realize home is within, is just gut-wrenching enough to hit home for listeners struggling to find their home.
With their latest single bringing a feeling of comfort, angst, and discovery all in one, Hipsy Gap encapsulates the meaning of home from within. Their fascinating combination of genres makes them an exciting up-and-coming band to keep your eye on.
For more information, fans can listen below as well as all streaming platforms, or visit here.
Since the summer of 2008, legendary hip-hop group and Philadelphia’s hometown legend The Roots have put on the Roots Picnic, a music festival created and curated by the band that has evolved into one of the city’s most anticipated cultural experiences of the year.
The 2024 Roots Picnic opened its doors on Saturday, June 1, to the masses who filled the grounds of Fairmount Park in the City of Brotherly Love. Several brand activations had treats for guests, including French liqueur brand Grand Marnier, Charmin’, Chase Sapphire and more. Beyond the music, the festival has become a platform for social commentary and community engagement. This year, Roots Picnic Con featured panelists discussing music education, real estate and beauty careers, as well as a keynote conversation with renowned Roots drummer Questlove.
Jill Scott, Nas, Sexyy Red and more set the bar high on the first day of the 2024 Roots Picnic. Early acts such as BLK ODYSSY, Chioke, and more graced the festival stages before the crowds were treated to an afternoon of electrifying performances. Acclaimed DJ J.PERIOD brought his beloved THE LIVE MIXTAPE series to The Roots Picnic with Black Thought, Method Man, Redman, Common, Freeway, Ferg, and more.
Following that performance, The-Dream hit his trademark vocals and succulent R&B aura. The-Dream wasted no time letting people know he is a true R&B hitmaker with smooth renditions of “Fancy,” “Falsetto,” “Purple Kisses,” and more. Fans were enamored with the quick trip down memory lane and were left wanting more.
Nas then took over the main stage to perform his legendary catalog, even bringing out Ghostface Killah as a special surprise guest. He ripped through some of his classic hits such as “N.Y. State of Mind,” “The Message,” “Spicy,” “Get Down.”
The biggest part of Day 1 was the arrival of Sexyy Red with her dancers and secret service team. The St. Louis native brought her brand of rowdy and raunchy hip-hop to The Roots Picnic and turned it upside down, with fans screaming and twerking the night away.
Jill Scott closed out Day 1 with her headlining set, which featured a floral stage design. For her set, Scott performed “Hate on Me,” “Whatever,” “The Way,” “You Got Me” with Black Thought, a new track titled “Norf Philly” alongside Tierra Wack, and more.
The artists performing on Day 2 kept the momentum going from the previous day. On the bill were acts such as Robert Glasper, Shaboozey, Wale, BabyFace, Cam’Ron, André 3000, Gunna, Lil Wayne, and the hometown heroes, The Roots.
Rising country music star Shaboozey had the early afternoon crowd rocking at the Fairmount Stage with tracks off his newly released album, Where I’ve Been, Isn’t Where I’m Going, blasting through the speakers.
Babyface, the legendary singer/songwriter let the crowd know why he’s been at the top of his game for over five decades. In addition to his own records, such as “Everytime I Close My Eyes” and “For the Cool in You,” Face dipped into his immense bag and performed incredible renditions of tracks he’s written over the years for artists such as Bobby Brown, After 7, Boyz II Men, Whitney Houston, TLC, Toni Braxton and more.
Following up after Babyface , but Gunna picked up the mantle and deliver his swagger injected brand of hip-hop. The Atlanta native took the stage and wasted no time getting into his set with electrifying renditions of “back at it,” “whatsapp (wassam),” “P power,” and “fukumean.” Unfortunately, fans were vibing for a limited time as Wunna’s set was cut short for undisclosed reasons.
With all the amazing performances spread out across two days, The Roots had to send the massive crowd home truly entertained with their headlining set. The hometown natives used their closing set to honor New Orleans, Louisiana, and its rich music history by having the city’s most talented artists, such as Trombone Shorty, Lloyd, and PJ Morton, join them onstage.
While fans were enjoying the New Orleans sounds, it was obvious they were anticipating the arrival of the man of the hour, Lil Wayne. Tunechi glided effortlessly through his set with fans screaming at the top of their lungs to hits like “Mr. Carter,” “John,” “I’m Goin In,” and more. It was a marvelous ending to a rather eventful weekend in the city of Brotherly Love. The Roots Picnic 2024 surely did it again.
Lounge Studios in New York City, located on 39th Street and owned by Walt Randall, has been operating for over 20 years and remains one of the most popular recording studios among upcoming and established artists. In an interview with New York State Music, Randall opened up a little about his journey to becoming the owner of one of the most successful recording studios in Manhattan.
Owner and CEO Walt Randall mixing in the Solaris Room at Lounge Studios. Credit: Hummingbird Media
We previously featured Lounge over the summer, on our list of recording studios in New York City, one in a series of articles.
The interview took place in the Brown Sugar Lounge, the first room Randall built for the studio after graduating from Northern Iowa State University in 2001 and moving to New York City with $50 to his name.
The first room Owner and CEO Walt Randall ever built for Lounge Studios, titled Brown Sugar. Credit: Lounge Studios.
Established in 2003, Lounge Studios is an 11-room professional multimedia studio that houses some of the finest equipment in the music industry. Each of the eleven lounges has been meticulously designed and built by Randall himself to create the most comfortable atmosphere and highest quality. From 2013 – 2016, Lounge Studios served as the East Coast Recording Studio Headquarters for Atlantic Records and Warner Chappelle.
Of the various reasons an up-and-coming artist should aspire to record at Lounge, the number one selling point would be, Randall says, “The engineers and the environment.”
Randall continues, “Those things sort of go hand and hand because the engineers help create the environment. Like I said we’ve worked with a lot of big people, but we’re made to do independent artists. That’s where the bread and butter comes from and I’ve always kept our prices low to do that.”
Randall finishes, “That being said, we get a lot of first-time people in the studio. They’ve never been, they’re a little nervous, and you need to create a good environment for them. So our engineers are some of the best and fastest but, outside of being the best and the fastest, they’re very personable. They know how to make you relax, they can read the room, for a first-timer.”
In all his over 20 years of operating Lounge, Randall says his favorite artist to work with throughout his career is Solange Knowles.
“A Seat at the Table, the first time I ever heard the album front to back, I was like ‘Oh, this is a cultural shift album,” Randall said.
Randall continued, “At the time I was with Atlantic Records, and I used to always tell them ‘This album is going to be the album.’ Not only was it critically acclaimed, it got Album of the Decade with Noisy Magazine, she got a Grammy, that album was at the top of the Obama’s playlist. It was just a cultural thing.”
Solange Knowles worked on her groundbreaking third studio album, A Seat at the Table, at the Live Lounge in Brown Sugar at Lounge Studios.
“To me it was spiritual, we’ve had a lot of artists here but I have yet to hear an album that moved me like that immediately,” Randall finished.
Randall says he isn’t surprised by Lounge’s success, but, “Believing it’s coming, and then living the reality of not being able to pay rent sometimes, not knowing if you’re even going to be in business next year, just the struggle to make it and survive in the landscape that we were in, and trying to build a name for myself as a studio. I always had a belief that this was going to be big, and I took joy, I was in shock and awe every time there was a big artist here, but it never made me feel like I was ‘above it.”
Before opening Lounge in the early 2000s, Randall was headed towards a career as an athlete, although his passion for music was always there. After suffering injuries that prevented him from continuing to play Football, Randall leaned in fully towards this passion, a turn of events that worked out for the better in his view.
“I think music was my destination from the beginning,” Randall said.
Randall feels, that while football was a craft he was skilled at, it was never the end goal. “I was an athlete, and I was always competitive, but I never loved football.”
Despite suffering intense physical injuries in his athletic career, nothing compares to the struggles he overcame during his journey to opening Lounge.
“I’ve had three ACL tears, I’ve had all types of injuries in football, all types of adversity. None of that was even a fraction of what I’ve been through building this studio, this business, this enterprise. Not even close,” Randall said.
In a way, Randall’s injuries were an unexpected twist of fate.
“I think I got injured on purpose,” Randall said.
Randall continued, “I’m not the type of person that ever looks back and regrets anything, but specifically in this situation, I can look back and say, ‘That ended for this to start.’”
Randall concluded his interview with NYS Music by offering words of advice to anyone trying to make their dreams a reality, in the face of the curveballs life can throw at you.
“I needed to understand, personally, that there was something bigger than me,” Randall said.
“It gets so hard on this journey, that I’m not strong enough to do it on my own. There have been so many days where I’ve stepped on this floor while I was building it, and just cried, and said ‘I want to go home,” Randall said.
“It was taking forever, I didn’t have any money, I was falling behind on rent, and stuff was falling on my head in the middle of me trying to put it up. I wasn’t strong enough by myself,” Randall continued.
Randall finished, “When those insurmountable things happen, those insurmountable obstacles happen, the thing that has gotten me through is understanding that it’s not just me. I can lean on something else, I can lean on something bigger than me, that is pushing me through this when I’m tired when I don’t feel like it will ever end, I feel like a lot of times, I’ve done the work but I’ve been partially carried through those times. I get to the other side and I’m like, ‘I have no idea how I just did that.’ and I understand it wasn’t just because of me. It was because I had faith that there was something bigger than me that I could depend on.â
Spanning just over a mile long, the park is home to activities for all ages. These include biking trails, skating rinks, basketball and handball courts, playgrounds, and fields. In addition to the array of activities, Brooklyn Bridge Park offers a scenic view of the Lower Manhattan skyline, admired by tourists and locals alike.
Other than its views and activities, the park is an important location for the DUMBO community. For decades, the space has served as the host of many neighborhood-wide events. These events include art shows, game nights, athletic events, and live concerts.
This summer, Brooklyn Bridge Park will be hosting a variety of events. Starting May 31st, the sixth annual DUMBO Drop marked the beginning of the season.
The Dumbo Drop is a neighborhood-wide block party signifying the beginning of the summer season in Brooklyn. According to tradition, thousands of Dumbo-shaped balloons and toys are tied to parachutes made by local artists and lifted into the air. Immediately after the viewing follows a block party. Activities are available for adults and children alike. Visitors can visit stands dedicated to hundreds of local restaurants and shops.
Live at the Archway – Weekly on Thursdays starting June 20th
Following the Dumbo Drop, the Live at the Archway event will begin on Thursday, June 20th. Live at the Archway is an annual series of free concerts and interactive visual arts programming located in the DUMBO Archway. Each year, the event seeks to promote local artists and musicians. Founded in 2015, the series reflects the neighborhood’s diversity and commitment to the arts. Here, you can find several arts showcases, including a broad variety of music, dance, and visual art styles.
Each event, which is held weekly on Thursdays, will feature a live concert followed by an art display. Live at the Archway begins on June 20 and will last until August 15th. Tickets are free and available to the public.
Lineup for Live at the Archway
June 20 Fogo Azul | La Banda Chuska / Art Wall by Sam Ticknor
Fogo Azul is a New York City-based all-women, trans, and non-binary Brazilian Samba Reggae drum line. Launched in 2016 with Marcus Santos’ Grooversity education project, Fogo Azul is a diverse community that showcases drummers from all walks of life.
La Banda Chuska is re-imagining the vintage sounds of Peruvian cumbia and surf through the lens of their New York City home and diverse musical and cultural backgrounds. Taking inspiration from the twangy 1960s surf bands of Lima, as well as the psychedelic flavors of 1970s chicha, the band has been playing their musically expansive and dancey tunes. They have performed around New York City for the past three years, building up a loyal local following.
June 27 Paisley Fields / Art Wall by Billie Elise
Paisley Fields is an up-and-coming country singer-songwriter. His recently released duet with Mya Byrne featured on Democracy Now, in Rolling Stone, NPR, and more. Join Fields for their live performance in Live at the Archway on June 27.
July 11 Brasil Summerfest / Art Wall by Noah Lyon
Brasil Summerfest is a list of festival events hosted around several venues throughout New York City. On July 11, they come to Live at the Archway for a showcase of traditional Brazilian funk, samba, and bossa nova.
July 18 La Sonora Nuyorkina / Art Wall by Joan LeMay
La Sonora Nuyorkina is a contemporary salsa band comprised of young, talented musicians who bring a fresh sound to the Latin genres. The band covers a variety of songs, from salsa classics to original compositions. Join them on July 28th at Live at the Archway.
July 25 Jerron Paxton / Art Wall by Emily Nam
Multi-instrumentalist Jerron Paxton revives the once-buried sounds of classical American music. Drawing inspiration from the 1920s, Paxton’s many talents allow him to revive old-fashioned blues, jazz, and country music in the twenty-first century.
August 1 Gentleman Brawlers / Art Wall by Annick Martin
Drawing inspiration from Afrofunk and indie dance genres, Brooklyn collective Gentleman Brawlers will stun the audience with an electrifying performance at Live at the Archway on August 1st.
August 8 Tracy Bonham / Art Wall by Joshua Reynolds
Two-time GRAMMY nominee Tracy Bonham celebrates with a night of alternative and indie throwbacks at Live at the Archway on August 8th.
August 15 Queerchella / Art Wall by Melanie Hope Greenberg
Join Queerchella for their second year of festivities with a lineup of over 70 different LGBTQ+ artists from all over the country. The festival features live concerts, dance, and other visual arts performance showcasing the diversity of New York City’s music and arts scene.
Drink and Draw – Weekly on Wednesdays starting on June 19th
Presented by the DUMBO Improvement District with Creatively Wild Art Studio, Drink and Draw workshops provide the opportunity to work with some of DUMBO’s best artists. Although the event specifically caters to adults, there is no artistic requirement to join. All artistic levels are welcome at the workshop. Tables, easels, and art supplies are provided.
For the first workshop of the summer, DUMBO artist Craig Anthony Miller (CAM) will lead participants in a project incorporating the symbolism of the elephant. As a representation of strength, wisdom, and overcoming obstacles, the elephant serves as a model for the workshop to capture the essence of Brooklyn’s rich history. DJ Zemotion will provide a soundtrack for the night.
Cyndi Lauper has announced her ‘Girls Just Wanna Have Fun’ farewell tour, which will last from October through December. The tour is Lauper’s first major run in over a decade, including 23 headlining shows. As part of the tour, Lauper will make an October 30th stop at Madison Square Garden.
Cyndi Lauper is a Grammy and Tony award-winning songwriter and performer, who has captivated audiences since the 1980s. Growing up in Queens’ Ozone Park neighborhood, Lauper took in influences from punk, and glam that formed her unique brand of pop music. Lauper broke out into the mainstream with her 1983 debut She’s So Unusual, which won her a Grammy for best new artist. The album spawned four top-5 singles, including “Girls Just Wanna Have Fun,” and “Time After Time.” Since her debut, Lauper has sold over 50 million records, and been inducted into the Songwriters Hall of Fame.
On top of music, Lauper has led successful careers in theater and writing. In 2013 Lauper won the Tony for best original score for Kinky Boots – becoming the first woman to do so. In 2012, she released a New York Times best-selling memoir, detailing her childhood struggles. Lauper has used her fame to fight for a number of marginalized groups, including women, LGBT people, and people with HIV/AIDS.
Lauper’s farewell tour will begin October 18th in Montreal, Canada, before moving its way westward across the US. On October 30th, Lauper will return to her hometown of New York City, to play a show at Manhattan’s Madison Square Garden. This show, along with others across the tour, will feature a special guest who will be revealed at a later date.
Lauper will release a documentary Let the Canary Sing to accompany her farewell tour. The documentary, directed by Emmy-winner Alison Ellwood, will tackle Lauper’s rise to stardom and ever-evolving identity. The film will place a special focus on Lauper’s influence on younger generations, and dedication to social advocacy. There will be a world premiere and Hollywood Walk of Fame print ceremony at Los Angeles’s TCL Chinese Theater on June 4th. In addition, Lauper will make a special guest appearance on Jimmy Kimmel Live on June 5th, 11:35pm ET. Lauper will talk about the release of her documentary, and her farewell tour.
GIRLS JUST WANNA HAVE FUN FAREWELL TOUR DATES:
Fri Oct 18 | Montreal, QC | Bell Centre
Sun Oct 20 | Toronto, ON | Scotiabank Arena
Thu Oct 24 | Detroit, MI | Fox Theatre
Sat Oct 26 | Boston, MA | MGM Music Hall at Fenway
Sun Oct 27 | Washington, DC | Capital One Arena
Wed Oct 30 | New York, NY | Madison Square Garden
Fri Nov 01 | Nashville, TN | Bridgestone Arena
Sun Nov 03 | Columbus, OH | Schottenstein Center
Wed Nov 06 | Tampa, FL | Amalie Arena
Fri Nov 08 | Hollywood, FL | Hard Rock Hollywood
Sun Nov 10 | Atlanta, GA | State Farm Arena
Tue Nov 12 | Dallas, TX | American Airlines Center
Thu Nov 14 | Austin, TX | Moody Center
Sat Nov 16 | Houston, TX | Toyota Center
Tue Nov 19 | Phoenix, AZ | Footprint Center
Wed Nov 20 | San Diego, CA | Viejas Arena
Sat Nov 23 | Los Angeles, CA | Intuit Dome
Sun Nov 24 | Palm Desert, CA | Acrisure Arena
Tue Nov 26 | San Francisco, CA | Chase Center
Sat Nov 30 | Portland, OR | Moda Center
Sun Dec 01 | Seattle, WA | Climate Pledge Arena
Wed Dec 04 | Minneapolis, MN | Target Center
Thu Dec 05 | Chicago, IL | United Center
Tickets will be available starting with an artist presale beginning on Tuesday, June 4. Additional pre-sales will run throughout the week ahead of the general on-sale beginning on Friday, June 7 at 10am. For more information regarding Cyndi Lauper’s Girls Just Wanna Have Fun tour, visit her website here.
Hot 97’s annual Summer Jam concert event came and went this past weekend. The annual hip hop showcase held at Elmont’s UBS arena where artists like Cash Cobain, Lola Brooke, 41, French Montana, Davido, Doja Cat, Sexyy Red and legacy acts such as Method Man & Redman all performed. While the concert celebrated hip hop old and new, Method Man made it clear that this might be his last time performing at the annual hip hop festival.
As Hot 97 took to Instagram to share highlights from the event, Method Man shared in the comments that the audience’s reaction was not to his liking. With the legendary rhymer stating that the audience was “not our crowd at all.” However, the “Tical” rapper held no qualms towards Hot 97 pillars and hosts Ebro and Peter Rosenbengerg, but simply stated that “at this point the generation gap is just too wide for me.”
With the historic radio station celebrating their 30th annual Summer Jam event, Method Man, Redman and the likes of Rakim and Big Daddy Kane were brought out to commemorate three decades of hip hop at the radio station. Moreover, Big Daddy Kane shared a heartfelt moment with the crowd, bringing out the late Mister Cee’s brother and sister to commemorate the legendary, late DJ’s tribute with a moment of silence, instructing the crowd to throw up C’s.
However, despite this, Summer Jam has routinely curated its setlist to cater to hip hop’s newer acts. With focuses on Cash Cobain — who has taken airwaves by storm with his hit-record “Fisherrr”– drill rappers 41 and Sexxy Red, with A Boogie serving as a celebrity host. From afar the lack of crowd reaction seems to be the result of hip hop being quick to discard its legends, rather than learn and study their work, which is a stark contrast to country much and rock & roll acts. As Meth and Red performed their hits includng their 1999 collaborative single “Da Rockwilder,” hip hop showed why it may not always be the best idea to cling to the youth for relevance, as it may result in legends not getting their just due.
A week before the official release of her new album, The Healing, Sarah De Vallière hosted a listening/release party at Tones Studios in Rochester, for fans who booked a spot, which turned out to be close to 60.
In collaboration with Tones Studios, where De Vallière recorded vocals, fans were able to listen to the new album, chat with the talented artist, as well as tour the three floor studio.
Born in Rhode Island and living in Rochester, Sarah has been passionate about music for most of her life, starting with piano at age 3, and eventually graduating from Berklee College of Music. Like many artists, she uses personal experience in her song writing and as well as topics she is passionate about.
Between listening sessions, I had a chance to sit with Sarah for a few questions.
Jamie Mohr: The first time I discovered you, you were portraying Pat Benatar. There is a big difference in music between that and this album, which is very good by the way. Do you have any aspirations or ambitions to do more of that kind of music?
Sarah De Vallière: Not at the moment, though I wouldn’t totally rule it out for the future. I used to be in a relatively popular local 80’s band called the M80s (as the keyboardist) and would sing a bunch of female-led songs, and I did enjoy it. But I’m very passionate about telling stories, particularly through music. As a kid, I originally had an interest in being a filmmaker because I enjoyed storytelling, so I eventually studied film scoring as a way to tie that to my musical skill set. Then, after graduating from music school, I found myself getting right to the heart of what I love, which is telling stories through songs, and performing those songs. Long story short, I have a passion for telling stories, both my story, as well as the story of others, particularly stories that aren’t typically told. I have a deep respect for people who do tributes, and obviously, I have a deep respect for Pat Benatar, but I want to first work on telling my story before emulating someone else’s story.
SarahDe Vallière: No at the moment, that doesn’t mean I would totally rule it out. I was in relatively popular local band 80s called the M-80s (as the keyboardist) but would do a bunch of female songs and I enjoy it, I do enjoy it. I’m very passionate about telling stories and for me music is a way that I do that. I originally had an interest in being a filmmaker, as I’m writing and being an author. And actually, I really like writing music, and studied film scoring, and now I’m back to song writing. Long story short, I really have a passion for telling stories and telling my own story, as well as telling the story of others. Telling stories, that are not told as often. I have deep respect for people who do tributes and that kind of thing. I have deep respect for Pat Benatar, obviously. I want to first work on telling my own story, before I try to emulate a story of someone else.
JM: You mentioned that this is the first music/album that is truly you.
SD: Yes, out of all my previous work, “The Healing” is the fullest expression of me.
JM: The new music seems to have some deep meanings. Is this spiritual or religious based?
SD: Maybe spiritual? I am not religious, although I did grow up in a very religious home, so those themes do end up making their way into my music. Probably what you are referring to in terms of a “religious feeling” comes from one song on the album, “Saint Anne”, which is actually about Leonardo DaVinci. It’s really about his art, and most of his art was religious-themed. But yes, I do have an interest in religious figures. I find them, from a historical and storytelling perspective, very interesting. But when you really look into what I write in my lyrics, it’s likely contrary to what most religious people would want me to think.
JM: First track, “Goddess of The River”…is there a story behind or more a life lesson?
SD: It’s actually a true story of the extinction of the Chinese River Dolphin which went extinct roughly around 2016. I had an interest in writing stories to honor these lost species, and I felt very connected to the idea that the species is lost but we can still learn something from it. Yes, it’s too late for this species to ever come back, but perhaps in remembering its story and thinking of what it meant to the area where it is from, we can resolve to do something about it and save what still remains. “It’s never too late to fail, it’s never too late to mend” means, in a way we failed that species, but we can take its story and feel empowered to do something about it.
JM: One last question. You sat there for 45 minutes or so, what is it like to sit there and listen to your own album in its entirety?
SD: It’s not as difficult as I thought it would be. I thought it would be gut-wrenchingly terrible. This is the first thing I’ve put out that I feel is truly me and because of that, it is a little weird, but I feel good! I liken it to looking in the mirror. When you look in the mirror, you notice all the flaws, and you think “I wish that or that were different”. But at the end of the day, you know, I like my music. And when you have a healthy sense of positive self-image, you look in the mirror and regardless of the flaws, think “You look good”, “You look nice today”, or “You look beautiful”. I’m just happy and appreciative that I can share my true self in this form with people.
JM: Like a gentleman said in there, be proud of this. It’s a great album, super mellow and chill but has very powerful meanings behind each song, which people will talk about.
In an intimate setting of 100 people, Grammy-winning soul singer Bilal delivers a cathartic performance of “All For Love” featuring musical backing from Questlove, Robert Glasper and Burniss Travis. Notably, “All For Love” is the latest single and a small preview into Bilal’s forthcoming live studio albumLive at Glasshaus.
A mid-career retrospective, the project recorded, filmed, and livestreamed from Glasshaus in Brooklyn, NY., is part of the Glasshaus Presents concert series. For his part, Bilal’s eclectic performance features a supergroup of Questlove, Common, Robert Glasper, and Burniss Travis as backing. Keeping in theme, the live rendition of “All For Love” is one of many standout tracks from the Philadelphia native’s discography, with fresh interpretations of the records on Live at Glasshaus.
Bilal’s latest album features reinvented renditions of prior classics.
After all the soul-bearing track was one of many anticipated records from Bilal’s shelved 2006 album, Love for Sale. However, despite its artistic brilliance, the album never saw an official release due to a premature leak and subsequent disputes with his former label, Interscope Records. Even so, as a testament to Bilal’s talent and strong fanbase, the project achieved legendary cult-status among fans and critics alike, while remaining a significant part of Bilal’s musical legacy, and a point of inspiration for this latest star-studded venture.
Bilal’s Live at Glasshaus features Questlove (top left), Common (top right), Robert Glasper (bottom left), and Burniss Travis (bottom right).
Bilal Presents: Live at Glasshaus
Thus after two decades of high profile contributions with the likes of Kendrick Lamar, Jay Z, Beyonce, and Erykah Badu, Bilal’s musical legacy is receiving its just due with this latest 11-track project. After all the man who Questlove heralds as “one of the most pure, honest performance artists of this generation,” and a “true singer’s singer” is a 3-time Grammy winner famous for his musical dexterity. With high profile contributions with the likes of Kendrick Lamar, Jay Z, Beyonce, and Erykah Badu, Common –who performs one of the project’s two inteludes– even makes the claim that Bilal is “somebody that will go down as one of the greatest.“
Bilal’s Live at Glasshaus will release on June 14 duringBlackMusic Month. However, On June 9, fans around the world will have the opportunity to witness the epic one-night-only concert via broadcast livestream. Tickets for Live at Glasshauss are for sale here.
As we approach the bicentennial of the Erie Canal in 2025, let’s look back at this marvel of modern engineering. Not only did the Canal transform much of Upstate New York, but it also transformed folk music. While known by many names since its composition, “The Erie Canal Song” has become a staple of the American folk songbook. With lyrics reflecting life on the canal, and the changes it brought to the state, it proves a useful tool for exploring New York’s history.
Before the Days of Rapid Transit, Edward Lamson Henry (1841-1919) c.1900 Pencil and watercolor, ht.13 3/4′ x w.34 3/4″ Albany Institute of History & Art Purchase, 1976.7.2
The year is 1807, and the United States is slowly expanding into The Northwest Territories (or what is now the Midwest). This region was rich in the grain and metals needed to supply populations on the East Coast. The only issue was that transporting these resources to the East Coast commercial hubs was difficult to say the least. The Appalachian mountains provided a massive barrier for mule trains, with the journey from New York City to Detroit taking four weeks.
New York was specifically poised to tackle this transportation issue. The Hudson River was the main artery of trade for New York, connecting commercial Manhattan to the capital in Albany. Of the Hudson’s many tributaries, the Mohawk River proved to be the most important. Flowing eastward from Oneida County, it cut a low valley through the Appalachians, the only valley of its kind in the Northeast. Because of this, Governor DeWitt Clinton authorized the construction of a canal along this route in 1817.
Map showing Present and Proposed Canal System, to accompany report of Edward A. Bond, State Engineer and Surveyor of N.Y. (from:Annual report of the State Engineer and Surveyor of the State of New York, for the fiscal year ending September 30, 1903 (Oliver A. Quayle, Albany, 1904) — facing p. 60)
Following eight years of disease, construction accidents, and hard manual labor, the Canal was opened in 1825. The canal was 4 feet deep, 40 feet wide, and spanned 363 miles from Albany to Buffalo. With the construction of the canal, boats could travel from the Hudson River to Lake Erie in less than five days. While many were originally skeptical of the canal, it soon proved its worth. Completed ahead of schedule, and under-budget, the canal paid itself off with tolls in under ten years.
The Erie Canal was one of the first great highways of the United States, bringing goods, ideas, and most importantly people across New York. The Canal revolutionized the economy of Upstate New York, practically creating the cities we know today. In 1817, Buffalo was a village of 2,000 people recently destroyed by the British. Canal commerce turned Buffalo into the world’s premier grain hub, with the city growing into the 9th largest metropolis in the US. Cities sprang up all along the canal route. Hamlets like Rochester, Syracuse, and Schenectady grew into cities with hundreds of thousands of residents, and national centers of industry.
“The most fertile and extensive regions of America will avail themselves of its facilities for a market … [and New York City] will, in the course of time, become the granary of the world, the emporium of commerce, the seat of manufactures, the focus of great moneyed operations.”
– DeWitt Clinton, Governor of New York
Thomas S. Allen
On top of having such economic importance, the canal quickly became a cultural symbol of New York. To many, the canal symbolized their identity as Upstaters, and hope for a prosperous future. One person enamored by the legendary canal was Natick, Massachusetts’s Thomas S. Allen. Allen recalled, “When a boy in school, a picture of the Erie Canal in a Geography attracted my attention and I exclaimed: ‘If I ever see the Eric Canal, I’ll think I’ve seen something worth seeing.’” Sometime around 1910, when traveling to Rochester, Allen finally saw the canal, and immediately knew he had to write a song about it.
It turns out Allen was somewhat of a 1900s musical renaissance man. He was foremost a violinist, playing everywhere from professional orchestras to burlesque shows. On top of this, he directed Vaudeville shows, composing songs for them in the Tin Pan Alley tradition. Throughout his career, he published nine songs under his name, including “The Erie Canal Song.” Originally published in 1913 by Manhattan’s F.B. Haviland Publishing Co, the song was titled “Low Bridge, Everybody Down.” The song looked back to the work of mule barges along the canal.
At the time of its publishing, New York was constructing the Barge Canal System, a mechanized successor to the Erie Canal. Newer diesel and steam powered barges carried much of the cargo down these new canals. Allen’s writing harkened back to a simpler time of mule-drawn ships on the Erie Canal. “We’ve hauled some barges in our day, filled with lumber, coal and hay. And every inch of the way I know, From Albany to Buffalo.” These lines also highlight some of the major midwestern resources that would have flowed Eastward through the canal. Grain and ore were the two specifically that allowed cities like Buffalo to become breadbaskets, and industrial hubs of the East.
The lyrics while romanticizing life on the canal, also speak to the hardships it brought. The repeated chorus “low bridge everybody down,” reflects just one of these difficulties. Nearing the fledgling cities along the canal, extremely low bridges were common obstacles for barges. The cover for the song’s original sheet music depicts this, with the narrator ducking down on his mule to pass under one such bridge. In reality, however, these bridges were bigger dangers for barge passengers. Passengers on barges would commonly ride on top when conditions allowed, having to quickly get down to safely pass under these bridges.
Lift Bridge and Canal St., Canastota, N.Y. — Postcard ; not postmarked ; another slightly variant copy is postmarked Sep. 19, 1907. [CSNYS 1096.1.0890]
The song’s lyrics also play into the themes of hardiness that would fit perfectly in a Spaghetti Western. The lyrics repeatedly mention Sal the Mule’s fighting spirit. Throughout the song Sal brawls her way across the state, sending Mike McGinty to the bottom of the canal, and kicking a man all the way to Buffalo. All of this fighting occurs during the narrator’s 15 years of hard work along the canal. This story of hardy enterprise and masculine bravado call to mind the Wild West. One could easily imagine these stories of barging and brawling taking place in a classic Eastwood or Wayne movie. This makes sense remembering that at the canal’s completion, Upstate New York very much was the “Wild West.”
Since its original composition in 1913, “Low Bridge” has become a folk standard, being performed by countless artists. The first known recording we have of the song is by Billy Murray (not to be confused with actor Bill Murray) from 1912. Murray was a star Tenor of the early 1900s, recording many vaudeville and Tin Pan Alley tracks. This recording is now featured in the Library of Congress’s National Jukebox and Recorded Sound Section.
Aiding in the Canal’s place in American mythology was a recording by folk legend Pete Seeger. Seeger included “The Erie Canal” as track #10 on his 1954 album Frontier Ballads. This album celebrated the stories of workers, and settlers who traveled westward through the new territories of the United States. This album places the Erie Canal alongside stories of Cowboys and railroad workers, placing it firmly within the canon of Americana, and further cementing its Western connection.
Perhaps the latest great recording of “The Erie Canal Song” came from rock legend Bruce Springsteen, as part of his 2006 album We Shall Overcome: The Seeger Sessions. This album included Springsteen’s interpretations of 13 folk and Americana classics popularized by Pete Seeger. Because of this, this version is moreso a Springsteen cover of Seeger’s version, rather than a direct reimagining of the original. The album, including “Erie Canal” shot to number 3 on the billboard top 100, also earning Springsteen a Grammy for best folk album.
Since its publishing 111 years ago, “The Erie Canal Song” has become an icon of American folk music. Not only have massive stars covered it over the years, but it has also really lived up to the definition of folk music, and spread to the masses. Reading comments on the YouTube video of Seeger’s version you see nothing but fond memories. Whether it’s people who learned it as kids in school, or sang it with their grandparents, the song holds an important place in the collective American cultural memory.
On top of all of this, the song speaks to the role the Erie Canal plays in American imagination. It singlehandedly built upstate New York, and connected the country more than it had ever been before. More than just this, it represents a time long gone, where the Wild West wasn’t so far west. Its no wonder why when many people think of New York, they think of the Erie Canal.
“The Erie Canal Song” Lyrics:
I’ve got an old mule, and her name is Sal, Fifteen years on the Erie Canal
She’s a good old worker and a good old pal, Fifteen years on the Erie Canal
We’ve hauled some barges in our day, filled with lumber, coal and hay.
And every inch of the way I know, From Albany to Buffalo
Low bridge, everybody down, Low bridge, we must be getting near a town.
You can always tell your neighbor; you can always tell your pal.
If he’s ever navigated on the Erie Canal
We’d better look ’round for a job old gal, Fifteen years on the Erie Canal
You bet your life I wouldn’t part with Sal, Fifteen years on the Erie Canal
Giddyap there gal we’ve passed that lock, we’ll make Rome ‘fore six o-clock
So one more trip and then we’ll go, Right straight back to Buffalo
Low bridge, everybody down, Low bridge, I’ve got the finest mule in town
Once a man named Mike McGinty tried to put it over Sal
Now he’s way down at the bottom of the Erie Canal
Oh, where would I be if I lost my pal? Fifteen years on the Erie Canal
Oh, I’d like to see a mule as good as Sal, Fifteen years on the Erie Canal
A friend of mine once got her sore, Now, he’s got a broken jaw.
Cause she let fly with her iron toe and kicked him into Buffalo.
Low bridge, everybody down, Low bridge, I’ve got the finest mule in town.
If you’re looking ’round for trouble, better stay away from Sal.
She’s the only fighting donkey on the Erie Canal
I don’t have to call when I want my Sal, Fifteen years on the Erie Canal
She trots from her stall like a good old gal, Fifteen years on the Erie Canal
I eat my meals with Sal each day, I eat beef and she eat hay.
She isn’t so slow if you want to know, she put the “Buff” in Buffalo
Low bridge, everybody down, Low bridge, I’ve got the finest mule in town
Eats a bale of hay for dinner, and on top of that, my Sal.
Tries to drink up all the water in the Erie Canal
You’ll soon hear them sing everything about my gal, Fifteen years on the Erie Canal
It’s a darned fool ditty ’bout my darned fool Sal, Fifteen years on the Erie Canal
Oh, every band will play it soon, Darned fool words and darned fool tune!
You’ll hear it sung everywhere you go, from Mexico to Buffalo
Low bridge, everybody down, Low bridge, I’ve got the finest mule in town.
She’s a perfect, perfect lady, and she blushes like a gal.
If she hears you sing about her and the Erie Canal
Buffalo’s Larkin Square has announced the return of its beloved Live at Larkin and Food Truck Tuesday weekly events this summer. The KeyBank Live at Larkin Summer music series will begin June 5th.
The summer series will include 13 weeks of live shows, ending on August 28th. Larkin’s annual Food Truck Tuesdays season will also begin June 4th, offering a host of curated food trucks and live music until August 27th.
This year marks the 12th season of Live at Larkin, which has become a staple of Buffalo’s Larkinville neighborhood. The site was home to the former Larkin Soap Factory, which supplied the second largest catalog sales business in the country. Since the factory’s closure in the 1940s, there have been many attempts to revitalize the neighborhood. These came to a head in 2012, with the opening of Larkin Square. Since its establishment, the venue has become a community gathering place, offering a host of family-friendly events.
One of the most popular events hosted by Larkin Square is Food Truck Tuesdays. This weekly event begins June 4th, offering around 25 food trucks each Tuesday. Truck offerings range from Italian to Thai to Halal, with each truck offering nutritionist-certified options. The event draws trucks from Buffalo, Rochester, and beyond for visitors to enjoy. Guests can bring their own chairs, but coolers and outside alcohol are prohibited.
In addition to food trucks, the weekly event offers the chance to enjoy live music from local bands. The Walter Kemp 3 will kick off the summer season with their award winning jazz. When not playing with legends like Sun Ra’s Arkestra and Sabu Adeloya, kemp teaches at Buffalo’s Villa Maria College. The event series offers a diverse spectrum of genres, ranging from McCarthyizm‘s garage rock to Dee Adams’ country. With this vast array of music, event-goers are sure to enjoy the performances while enjoying food truck fare.
June 5th also marks the return of the KeyBank Live at Larkin summer concert series. This weekly concert series will feature performances from local groups, as well as other amenities. Concert-goers will be able to purchase bites from a curated array of on-site food trucks each week. In addition, Larkin Square will offer beer, wine, and cocktails for purchase. Larkin Square’s Bratts Hill Restaurant will be open to serve authentic Jamaican cuisine for dinner services during Live at Larkin.
The concert series kicks off at 5pm on June 4th with a performance from John & Mary & the Valkyries. The folk-rock duo is comprised of 10,000 Maniacs members John Lombardo and Mary Ramsey. The series will continue for 13 weeks, until a closing performance by hard rockers Grosh on August 28th. Over the course of the summer series, concert-goers can enjoy tributes to classic groups like Steely Dan, Creedence Clearwater Revival, and Fleetwood Mac.
Food Truck Tuesdays Band Lineup
6/4 – Walter Kemp 3 Quartet
6/11 – McCarthyizm
6/18 – Diyené
6/25 – The Fever Pitch String Quartet
7/2 – Stress Dolls
7/9 – Whitford-Klyma Band
7/23 – Sabu Adeyola & Oasis
7/30 – The Britt Band
8/6 – Zak Ward
8/13 – Dueling Pianos Band
8/20 – Dee Adams’ Grand Isle Opry
8/27 – Jony James Band
Live at Larkin Summer Season Lineup
6/5 – John & Mary & the Valkyries
6/12 – Will Holton & Daniel Powell’s Mid-Week Vibe
6/19 – Juneteenth ft. Farrow & Project Access to A-Free-Kas
6/26 – Dirty Work: A Tribute to Steely Dan
7/3 – Blues 4 Vets w/Miller & the Other Sinners & more
7/10 – Songbirds: A Tribute to Fleetwood Mac
7/17 – Talking Dead Heads
7/24 – Ticketed Event, TBA
7/31 – Big Easy in Buffalo presents: Terrence Simien and the Zydeco Experience with El Batey’s Agua de Liberté”
8/7 – Buffalo’s Last Waltz Band Does Dylan & The Band
8/14 – Handsome Jack Does CCR
8/21 – Stoneflower/ Hollyfeld Does Springsteen
8/28 – Grosh Prime ft. Alex McArthur, Harry Graser & Michael DeLano
Thanks to sponsorship from KeyBank and Independent Health, both Food Truck Tuesdays and Live at Larkin are free events. There will be free parking in lots along Exchange Street and Hydraulic Street.
Larkin Square will continue to announce live events for the summer. For more information and updates, visit the Larkin Square website here.
