Four-piece alt-rock and shoegaze band, Shower Curtain, has released “wish u well,” the lead single of their upcoming debut album, words from a wishing well, set to release on October 18.
Photo credit: Nicole Miller @neptunne
Shower Curtain, a band made up of Brazilian-American vocalist Victoria Winter, Cody Hudgins (Crate) on bass, Ethan Williams (Punchlove) on guitar and Sean Terrell (Fasting) on drums, has been making waves in the NYC alt-rock and shoegaze scenes. Initially debuting in 2020 with a self-titled EP, the band has been building up to a full-length debut, out in October. In the time since their debut EP, Shower Curtain has kept busy, releasing Something Instead, a follow-up EP in 2021, and “meus passos” and “edgar,” two singles last year. Last year’s singles represented a significant milestone in the band’s journey, signaling an artistic evolution from bedroom pop to sludgy rock after a two-year hiatus. As a result, the band has now come into their own. Moreover, Shower Curtain has found a home within Brooklyn’s emerging slowcore and shoegaze scene.
words from a wishing well album cover
About The Single
Their newest offering and first taste off of the upcoming debut record, “wish u well,” offers a connecting thread into words from a wishing well, combining the pop tendencies of early Shower Curtain music with heavier production. One of the last songs written for words from a wishing well, Winter and Williams crafted “wish u well” across a pair of whirlwind sessions in the final days of tracking. “‘wish u well’ is about the feeling of having the rug swept from underneath you,” said Winter.
In a lot of ways, I think this song is a lot of what my teenage self wished the project could create. That vision has long changed, and I am definitely aware of this song not having the more shoegaze and heavier grunge elements that represent the project’s new phase and is more similar to the old phase of Shower Curtain. Yet, I still think its production is unmatched and next level between Ethan and I.
– Victoria Winter
Additionally, a music video, directed by Trevor Scholl and starring Brenna Gonzalez, has been released and features Gonzalez picking up emotional baggage to the point of exhaustion. “It’s an ode to the mentally healing aspect of going for a walk and how stepping out invites the unexplainable. I wanted to capture the sense of exploration found in fantasy films while capturing places we frequent and not relying on overtly “magical” props. ‘wish u well’ is a wistful and bittersweet song. I ultimately wanted to extend these emotions with a daydream in a video,” said Scholl about the making of the video.
Keep up with Shower Curtain on their Instagram and stream “wish u well” on all platforms. See below for some upcoming shows from the band.
The largest outdoor jazz festival in Western New York returns to Center Street in Lewiston, NY on Friday, August 23, and Saturday, August 24 with the 2024 Northwest Jazz Festival. Get ready for an unprecedented celebration of the Great American Songbook on the Main Stage during the two days of the festival.
The Northwest Jazz Festival begins at 5pm on Friday, August 23rd through 10:30pm, and again on Saturday, August 24th from 12:00pm – 10:30pm. The historic village will come alive with live music, food/beverage vendors, jewelry tent and more with five stages throughout the festival grounds. The festival is free to attend (no coolers or carry-ins) with a limited number of tickets available for preferred seating at the Main Stage, for up-close viewing, beginning at 6pm.
In addition to the Main Stage, the festival highlights musicians from Western New York and throughout the country. Swing Buffalo will present Friday Night Dance with the Anderson Big Band at the Center Street Friday night. Local vocal group, Harmonia Vocal Ensemble will perform Saturday as well as local favorite Janice Mitchell and Jim Beishline Trio.
The Main Stage will feature hometown favorite, Pete Malinverni. Since leaving his hometown of Lewiston, NY, Pete has become a prominent figure in New York City’s jazz community since the early 1980s. He has consistently honed his craft, exploring the rich repertoire of the Great American Songbook, including compositions by Cole Porter, Duke Ellington, and Leonard Bernstein, alongside his original works. Alongside selections from the Great American Songbook, Malinverni also draws inspiration from a variety of sources, offering a sincere reflection of his identity as both an artist and an advocate of spreading joy through music. Join us for an evening of welcoming home Pete Malinverni and enjoying Pete’s incredibly entertaining jazz.
Saturday evening will continue with a creative program by the Jazz at the Ballroom organization, which has presented special programs on the Great American Songbook. The ensemble will also feature bassist Dylan Shamat, vocalist Olivia Chindamo, vocalist Vanessa Perea, vocalist Wyatt Michael, trombonist Rob Edwards, saxophonist Adrian Cunningham, and more.
The festival’s Great American Songbook Celebration will end with a Grand Finale presented by the Jazz at the Ballroom all-star ensemble on Saturday, August 24th at 8:30 pm. Look for the silver lining, walk on the sunny side of the street, and dance cheek to cheek with a swinging lineup Inspired by Bing Crosby’s 1944 hit “Accentuate the Positive.” The Grand Finale will be a night of memorable music that kept people company through the ups and downs of the 1920s to 1940s. These timeless classics will live on forever.
Friday, August 23, 2024 5:30 pm – 7:00 pm | Comienzos – Frontier House Stage 6:00 pm – 7:15 pm | Pete Malinverni Trio – Main Stage 6:00 pm – 7:30 pm | Matt’s Music Vocal Performance Team – Center Street Stage 6:45 pm – 7:45 pm | Rick Strauss – DiCamillo Courtyard 7:00 pm – 8:00 pm | Simon Fletcher Duo – Peace Garden 7:45 pm – 9:15 pm | Will Holton – Frontier House Stage 8:15 pm – 9:45 pm | Swing Buffalo presents Friday Night Dance ft. Anderson Big Band – Center Street Stage 8:30 pm – 10:15 pm | Anaïs Reno with the Pete Malinverni Trio & Special Guest Peter Bernstein – Main Stage
Saturday, August 24, 2024 1:00 pm – 1:45 pm | UB Zodiaque Dance Company – Main Stage 1:00 pm – 2:30 pm |Jonathan Hughes Quartet – Frontier House Stage 1:30 pm – 3:00 pm | Harmonia Vocal Ensemble – Center Street Stage 2:00 pm – 3:30 pm | Wazmopolitan Duo – Peace Garden 2:15 pm – 3:15 pm | Elliot Sneider Duo: Gershwin Songbook – Main Stage 3:00 pm – 4:00 pm | Stu Weissman – DiCamillo Courtyard 3:15 pm – 4:45 pm | Donny Frauenhofer Trio – Frontier House Stage 3: 45 pm – 5:15 pm | DeeAnn DiMeo Quintet – Center Street Stage 4:00 pm – 5:30 pm | Jazz at the Ballroom Presents “Get out of Town” – Main Stage 4:45 pm – 5:45 pm | Stephen Guerra Duo – Peace Garden 5:15 pm – 6:15 pm | Walt Sopicki – DiCamillo Courtyard 5:30 pm – 7:00 pm | Wes Lewis Group – Frontier House Stage 6:00 pm – 7:30 pm | Wendell Rivera Latin Jazz Ensemble – Center Street Stage 6:15 pm – 7:45 pm | Jazz at the Ballroom Presents “Flying High” – Main Stage 7:15 pm – 8:15 pm | Ann Mitchell Trio – Peace Garden 7:30 pm – 8:30 pm | Dave Hill – DiCamillo Courtyard 7:45 pm – 9:15 pm | John Bacon Quintet – Frontier House Stage 8:15 pm – 9:45 pm | Janice Mitchell and Jim Beishline Trio – Center Street Stage 8:45 pm – 10:15 pm | Jazz at the Ballroom Presents “Accentuate the Positive” – Main Stage
For the third time in their career, Phish performed at Bethel Woods Center for the Arts, opening up a three-night run on Friday, August 9. With the remnants of Tropical Storm Debbie making its way through the Mid-Atlantic region and drenching much of New York State over Thursday and Friday, Phish fans planned for the worst and were rewarded for their efforts, with only lingering sprinkles during the show.
Nearing the end of their Summer Tour with only Bethel, their Mondegreen festival and four nights in Colorado left on their schedule, Phish has been rolling from the Northeast to the Midwest, dropping lengthy jams in unexpected spots, bringing new material to fans off Evolve, and inviting Billy Strings to the stage in Grand Rapids, MI. Now in Bethel, the band has their sites set on building towards their 11th festival, an event always ripe with surprises and leveled up improvisation.
With a pair of ASL interpreters just off stage right, Set 1 began with instrumental (and GRAMMY-nominated) “First Tube,” a rare opener normally found in a late-second set slot, but nevertheless an energetic way to start the show. A lengthy “No Man in No Man’s Land” followed, always a great sign that the band is dialed in and wants to get down to business right away.
https://www.youtube.com/watch?v=2QnFL5wdFFg
A spacey and wandering “My Friend, My Friend” was a first set highlight, clocking in at more than 18 minutes and another example of Phish taking more of their catalog down the improv route than in past years. A late first set “2001” was a treat, dipping into an always welcome “Taste” before closing the set with “Character Zero.”
Opening the second set with “The Wedge” could have launched the Rift track to new heights, but it served as a buffer song before the big jam of the night, “Tweezer.” A vehicle for jams in the second set since the 90s, “Tweezer” found a few separate jams (including “There is a Mountain” by Donovan) over the course of 24 minutes, coming full circle before dipping into the Evolve track “Pillow Jets,” which took a dark psychedelic turn mid-way through before returning to “Tweezer,” as one does mid-second set.
Finding its way into “Piper,” this brief “Tweezer” return birthed a top notch “Piper,” found itself turning back into “Tweezer” briefly before the Rolling Stones’ “Shine a Light” provided an exultant breather with the set wrapping up with a thorough “Chalk Dust Torture.” A triple encore featuring songs from across the band’s history was a delightful surprise to the evening, starting with Junta track “Big Black Furry Creature From Mars,” Farmhouse’s “Gotta Jibboo” and Big Boat’s “More.” With two more nights to go, the bar is set for Phish to exceed over this weekend and next.
https://www.youtube.com/watch?v=_ORBkMm_9lY
Phish – Bethel Woods Center for the Arts, Bethel, NY – Friday, August 9, 2024
Soundcheck: My Soul, Dinner and a Movie, Waves, Tequila x2, Jam Set 1: First Tube, No Men In No Man’s Land, Cavern, My Friend, My Friend[1], Bug, Julius, Also Sprach Zarathustra > Taste, Character Zero Set 2: The Wedge, Tweezer, Pillow Jets -> Tweezer -> Piper -> Tweezer > Shine a Light, Chalk Dust Torture Encore: Big Black Furry Creature from Mars, Gotta Jibboo > More [1] No “Myfe” ending.
Saturday, August 10, 2024
Set 1: Back on the Train, Sample in a Jar, Hey Stranger, Dinner and a Movie, Halley’s Comet > Sand, Gumbo > Maze, Weigh, Cities > Run Like an Antelope
Set 2: Wilson > Down with Disease[1] -> Waves > Twist > Kill Devil Falls > Beneath a Sea of Stars Part 1 -> Backwards Down the Number Line > Ghost > Tweezer Reprise
Encore: Wading in the Velvet Sea > Runaway Jim
[1] Unfinished.
Trey teased Call to the Post at the end of Weigh and The Line during Antelope. DWD was unfinished.
Sunday, August 11, 2024
Set 1: I Never Needed You Like This Before, 46 Days, Bathtub Gin, Fikus, Theme From the Bottom > Timber (Jerry the Mule), Human Nature, Limb By Limb, Axilla > Sigma Oasis
Set 2: Buried Alive > AC/DC Bag > Fuego > Golden Age -> Simple, Life Saving Gun, Harry Hood
Encore: A Life Beyond The Dream, Say It To Me S.A.N.T.O.S.
Fikus was performed for the first time since November 7, 1998 (801 show gap). Mike teased Fikus in AC/DC Bag.
After a thrilling performance at Madison Square Garden in New York City days before, the Rock and Roll Hall of Fame band, The Doobie Brothers traveled north to Bridgeport, Connecticut. The band, which is on their “The 2024 Tour,” packed in fans who braved the rain and played a thrilling 15-song set. Before the show began, fans had to arrive early as the show was moved up a half hour with the storms approaching.
Official music video for The Doobie Brothers – “Black Water” from ‘What Were Once Vices Are Now Habits’ (1974)
As fans were finding their seats, the legendary Steve Winwood and his spectacular band warmed up the humid audience. Winwood – who has been in famous bands like Traffic and Blind Faith – played a small, yet powerful seven-song set. Winwoods set featured music from his old bands. With the intro of “Can’t Find My Way Home,” fans roared to their feet and stood there the entire song. After each song ended the audience would repeatedly rise to their feet to pay respect to the living legend.
Winwood’s band featured five stellar musicians. The band featured Edwin Sanz on percussion, Tristan Banks on drums, Paul Booth on saxophone and piano and Nate Williams playing keyboards. Lastly, Winwood’s very own daughter, Lilly Winwood was featured on background vocals. The entire band had smiles on their faces, bringing an amazing atmosphere to the audience.
Just as quickly as Winwood jumped on stage, the stage was reset for The Doobie Brothers. The band did not have any flashy intro or spectacular entrances. Classically, the house lights dimmed and the band walked on and kicked into “Rockin’ Down the Highway” off of 1972’s Toulouse Street. Almost immediately, the rain – which stopped for Winwood – picked up again yet did not deter the band. They met the weather with great tunes and excellent showmanship.
In between songs, guitarist Patrick Simmons would whip out some of the brightest colored guitars in all of rock. One after the other, the spotlights would bounce off the shiny colored red and blue guitars. Flanking Simmons on his right was John Cowan who appeared to barely move all night. Despite the minimal movement, fans could tell that he was chugging away at his bass guitar throughout the entire set.
Some fans might have wondered what The Doobie Brothers sounded like during their “Golden Age.” Well, they didn’t need to think hard or long at all. Singer and guitarist, Tom Johnston along with keyboardist and singer, Michael McDonald, sound just like the records. Not every band can say that their singer’s voice has stood the test of time, but The Doobie Brothers can. Whether the song was “What a Fool Believes” or “Long Train Runnin’” Johnston and McDonald’s vocals were top-notch. The Hartford Healthcare Amphitheater is open to the outdoors on either side and sometimes vocals can get mushy. That didn’t happen for either vocalist. The vocals were one of the highlights of the show.
Joining Johnston, McDonald, Simmons and Cowan were four other stellar musicians. On drums were Ed Toth, John McFee on guitar, Marc Russo on saxophone and Marc Quiñones on percussion. Despite the crowded stage, each musician perfectly played their part in The Doobie Brothers’ rock and roll machine.
Throughout the show, the video screen would show moments in the band’s career and fade into the band on stage. The band’s crew did an amazing job enhancing the audience’s experience and giving them a little insight into the band in their heyday.
By the time the band reached the middle backend of the set, the smell of weed was distinct in the air, in typical Doobie Brothers fashion. By that point, the band was on another level as they were cranking out hit, after hit, after hit. Some fans took to the aisles to dance with their spouses. Others even tried to run up to the front to record their favorite songs. The amphitheater was in a Doobie Brothers frenzy.
In an attempt to save time, the band very quickly jumped back on stage for the four-song encore. The encore, highlighted by a Paul Simon cover of “Still Crazy After All These Years” was an instrumental duet between McDonald and Russo. Russo would take center stage when he belted out an amazing solo. It combined jazz, blues and classic rock into one solo reimagined by The Doobie Brothers.
As the summer winds down, The Doobie Brothers brought nothing but great vibes to the Bridgeport Audience. “The 2024 Tour” will take both bands to Saratoga Springs, New York to play at the Saratoga Performing Arts Center. This tour is not to be missed, each band compliments each other perfectly and will make for a great night to “Listen to the Music.”
Steve Winwood Setlist: Glad, Can’t Find My Way Home, Why Can’t We Live Together (Timmy Thomas cover), Roll With It, Back in the High Life Again, Higher Love, Gimme Some Lovin’ The Doobie Brothers Setlist: Rockin’ Down the Highway, Take Me in Your Arms (Rock Me a Little While), Here to Love You, Depending on You, Minute by Minute, It Keeps You Runnin’, Without You, Jesus is Just Alright (The Art Reynolds Singers cover), What a Fool Believes (Kenny Loggins cover), Long Train Runnin’, China Grove, Black Water, Still Crazy After All These Years (Paul Simon cover), Takin’ It to the Streets, Listen to the Music
When people hear the word Birdland, they often think of the world famous Manhattan Jazz Club. However, during the 60s and 70s Utica had its very own Birdland. While not as famous as its NYC counterpart, Utica’s Birdland stood at the center of the city’s African American music scene. In an era of immense racial prejudice, Birdland and its founder Dickie Frank broke barriers in Utica, paving the way for musical and social advancement in the decades to come.
Birdland’s behind-bar mural, Photo from Paula Frank Workman
The history of Utica’s Birdland starts with its founder Dickie Frank. Frank was born in Utica on August 12th, 1931. As a young man, Frank lost his mother Marion Moorehand-Frank, and went into the custody of his grandmother. These humble beginnings hardly reflect his future as Utica’s first African American celebrity.
Frank’s career began at the Utica Free Academy, where he rose to prominence as a star athlete. Alongside his brothers, Frank was a standout on the school’s basketball, football, and baseball teams. His fame only continued following his graduation from the academy. On January 5th, 1953, the Utica Police Department hired Frank as an officer. This move made history, with Frank being only the second African American officer in the city’s history.
Dickie Frank, Photo from Paula Frank Workman
Frank’s career with the UPD continued for the next nine years before his retirement in 1962. Shortly after ending his police career, Frank began his new venture: a jazz club. This club, named Birdland, soon became an important stop for touring African American musicians. On top of hosting national musicians, it helped foster Utica’s own music scene.
Birdland sat at the center of an already established African American tour route, known as the “Chitlin Circuit.” Extreme racial prejudices plagued the United States, especially the South for much of the early 20th century. Jim Crow laws segregated public facilities by race, lynchings were commonplace, and KKK membership had reached record highs. These factors made much of the US extremely dangerous for African American performers.
The earliest attempts to organize African American artists came in 1909. That year, vaudeville star Sherman Dudley founded an organization of safe venues for African American performers across the South. By 1914, it expanded to twenty theaters owned or operated by African Americans. This organization formed the basis for the Theatre Owners Booking Association (TOBA), founded in 1920. This organization had an integrated structure with ⅓ of its theaters being owned by African Americans.
For the next decade, TOBA booked Black jazz, soul, and vaudeville performers across the Eastern US – the only organization to do this. During its existence, TOBA was the only organization catering towards African American audiences in the South. This came to an abrupt halt in 1930 as TOBA, much like many other businesses, crumbled during the Great Depression.
In its place, Denver and Sea Ferguson rose to prominence. The brothers sold their printing business to open clubs in their hometown of Indianapolis. By 1940, they expanded their business, founding the Ferguson Brothers Booking Company. This company soon grew into the largest black owned entertainment company, launching cross country tours. These tours spawned the Chitlin Circuit.
Stretching from Boston to Texas, the Chitlin Circuit encompassed hundreds of venues friendly to African American performers. Among these venues were massive theaters, like Harlem’s Apollo, and small bars like Club Ebony in Indianola, Mississippi. This circuit helped fill a much needed desire for entertainment in African American communities across the US.
On top of this, the circuit launched the careers of legendary jazz, soul, and rock artists. Billie Holiday, James Brown, Fats Domino, Aretha Franklin, and Otis Redding all regularly toured the circuit. One regular was a young Jimi Hendrix who remembered, “You really had to play, ’cause those people were really hard to please.…That’s where I learned to play.” Many times, performers were compensated with only meals, spawning the Chitlin Circuit’s name – deriving from a popular soul food.
Dickie Frank’s Birdland sat at the Northeastern corner of the Chitlin Circuit. Located in Baggs Square, the club was just outside Utica’s downtown. From its start, the club grew comparisons to its New York namesake. A February 23rd, 1962 edition of the Utica College Tangerine reported, “The jazz gallery in New York City is more lavish, but Utica’s Birdland, well decorated, is less expensive.”
At its founding, Birdland was the only African American club in all of Utica, making it a clear choice for performers traveling through the city. Like many Chitlin Circuit venues, Birdland’s welcoming atmosphere drew crowds. Birdland was a place where everyone in the community could get together to enjoy music, regardless of their race, age or sexuality. As Utican Corky Logan remembers, “It was magnetic; an attraction. It was really friendly.”
“Musicians sense the friendly attitude, and consequently relax and play better. Believe me, word spreads about the conductive atmosphere”
Lawrence Jacksina, Utica College Tangerine, November 2nd, 1962
While Birdland welcomed all, it grew especially popular among the youth of Utica. Of special note were students at Utica College, who frequently featured Birdland’s programming in their school newspaper, The Tangerine. Throughout the 1960s, reviews of jazz performances were common features of the paper, frequently being front-page stories.
For years, Birdland sat at the center of Utica’s live music scene. Alongside venues like Thompson’s and Club George, Birdland attracted touring jazz performers from around the Northeast. Of the many fondly remembered acts are saxophonists Eddie Harris and Tina Brooks. While attracting crowds, these shows often highlighted boundary-pressing jazz performances. For example, the Utica College Tangerine reported on Eddie Harris’ December 13th, 1963 performance, saying, “Harris plays some things the average jazz fan would consider way out.”
On top of these national artists, Birdland was also a haven for local Utican musicians. Many artists, like keyboardist Rick Montalbano, got their start playing at the club. Montalbano fondly remembers the club’s keyboard. He noted, “The house Hammond B-3 was tweaked over the years by some killer organists and sounded like none I’ve played since.”
Photo from Paula Frank Workman
For many, going to Birdland was a special occasion. Guests would don their nicest clothes and go to the club to hear the newest in jazz. In this way, Birdland acted as a melting pot for Utica’s music scene. Hearing influences from jazz musicians across the country, local artists were inspired in their own music. As Utica music legend Lynn Mishalanie recalls, “I went for the music; if it hadn’t been for Birdland and listening to the music, the live jazz and the famous people who came through, I wouldn’t be who I am today.”
Birdland remained a staple of Utica’s live music scene for eight fruitful years. Despite its growing popularity, Frank closed the club in 1970. With the closure of the club, Frank went on to pursue a career in public service.
As the inclusive environment of Birdland showed, Dickie Frank was always dedicated to social progress. While operating Birdland, Frank remained a deeply political man. A photo of Frank from 1969 shows him leading a march in memory of Martin Luther King, Jr. Frank stands at the forefront of the march, even preceding then-mayor Louis LaPolla. For the next few decades, Frank was a mainstay of Utica politics, regularly consulting with local politicians. He even sought office in the Municipal Housing Authority and District Council. While this career change seems drastic, Frank saw a clear connection to his work at Birdland. “Of course my background will help…I ran a nightclub and still have many personal contacts,” he said in 1971.
Frank leading a commemorative march for Dr. Martin Luther King Jr., December 1969
Even after reaching his sixties, Frank continued to break barriers. In the 1990s, he was appointed Dean of Students for Utica College, becoming the schools first black administrator. As dean, he spoke at a 2008 racial justice forum, saying, “To sit back and hate, or to feel like you don’t want to sit down with somebody and talk about their lifestyle, it’s not right.” He continued in his dedication to the community until his retirement to Florida in 2007.
On November 9th, 2022, Dickie Frank died at age 91. Frank left behind an unshakable legacy as a boundary breaker and community icon. Even though it closed long ago, Dickie Frank’s Birdland is still fondly remembered by members of Utica’s music scene. It, much like Frank himself, stood at the forefront of social progress, all while fostering community ties that still hold Utican musicians together.
It was an evening of shock and awe in Saratoga Springs on Tuesday, August 6th, when extreme metal made it’s return to SPACfor the opening night of the “Kiss of Death Part 2” tour. Featuring co-headliners In This Moment and Ice Nine Kills, along with Avatar and TX2, the heaviest bill of the summer was an unrelenting assault of the senses and a spectacle unlike any other. Pummeling the audience with dark themes, blood curdling riffs, demonic costumes and otherworldly images, the show made you feel like you were at the center of a crime scene. Surrounded by thousands of witnesses, only here there was no such thing as survivors’ guilt.
Kiss of Death: Avatar performing in Saratoga Springs, NY on 8/6/2024.
Setting the tone early with a brief set was TX2. Spearheaded by Even Thomas, the emo-leaning punk screamers largely focused on songs about mental health issues and using heavy music to work through them. Genuinely appreciative of the early bird fans who came to hear them, it was the perfect appetizer for what was to come. Next up was the melodic death metal band from Sweden called Avatar. Known for their over-the-top theatrical presentation, frontman Johannes Eckerström emerged on stage by popping out of a “gift” that was unwrapped by a leather-clad gimp! Wearing a top-hat with his face painted in sinister clown makeup like The Crow-era Sting, Eckerström’s charisma and powerful screams commanded your attention from the start.
Joined by dreadlocked guitarists Jonas “Kungen” Jarlsby and Tim Öhrström, Henrik Sandelin (bass), and John Alfredsson (drums), Avatar may not have been a headliner, but they sure played like it. Working their way through songs like “Dance Devil Dance,” “The Eagle Has Landed,” “The Dirt I’m Buried In, and “Smells Like a Freakshow,” if you’ve never seen this band, think Alice Cooper meets Marilyn Manson, but with a futuristic twist. Combining death metal riffs with menacing grooves for dramatic flair, fans of classic shock rock were not disappointed. Urging the crowd to stand up and headbang along to their final song, “Hail the Apocalypse,” Eckerström told them they “came all the way from Sweden to watch you die.”
Avatar’s Johannes Eckerström performing at SPAC on 8/6/2024.
After a quick intermission that included songs by White Zombie, Deftones and Rage Against the Machine, suddenly the sound of Nick Cave and the Bad Seeds “Red Right Hand” signified the horror juggernaut known as Ice Nine Kills was lying in wait. With intro narration by none other than the Crypt Keeper (Tales from the Crypt), the curtain dropped and the metal-core band from Boston came out slashing. Despite the rainy forecast, the audience’s spirits were undampened as INK kicked into high gear with a fitting combo of “Rainy Day” and “Meat & Greet.” With their clothes covered in blood and celebrating pop-culture’s darkest edges, the stage was full of elaborate props, including skulls, chainsaws, zombies, various monster masks and the ever-present knife-wielding hooded figure looming high above all.
Kiss of Death: Ice Nine Kills performing in Saratoga Springs on 8/6/2024.
Consisting of frontman Spencer Charnas, Ricky Armellino and Dan Sugarman on guitars, Joe Occhiuti on bass and Patrick Galante on drums, each song took on themes and soundbites from different iconic horror films. One of the early highlights was “Ex-Mørtis,” which depicted elements of the Evil Dead franchise. Complete with Spencer clutching his own Necronomicon and wielding a chainsaw, Charnas had no choice but to take down a wayward zombie that ventured on stage in the middle of it.
Klaatu, Barada, Nikto: Ice Nine Kills fought off the Evil Dead in Saratoga Springs on 8/6/2024.
Later, during “Wurst Vacation,” the body count continued to pile up as Charnas mimicked Eli Roth’s Hostile by throwing on a butcher’s apron before dismembering another victim, pulling the pseudo-intestines out above his head to great applause of the blood-thirsty audience. After killer versions of the American Pycho-inspired “Walking on Sunshine” and “Hip to be Scared,” Ice Nine Kills would bust out “The Nature of the Beast” for the first time since 2019. Following “Funeral Derangements” and a reenactment of IT, INK would bust out another one for the old school fans in attendance, playing “The Greatest Story Ever Told” for the first time since 2017. After the Freddy Krueger inspired “American Nightmare” and a memorable stab at cinemas most famous “Shower Scene” via Alfred Hitchcock, by this point the band had everyone up on their feet and dying for more. With time for just one more song, INK closed their set with the title track to their breakthrough album Welcome to Horrorwood. Creative, fun, and definitely disturbing, it’s no surprise this type of band comes with a warning label. Hell, they’ve been outright banned by Disney for being too evil! Steadily killing the scene with their decadent, devious and fiercely insane live shows, Ice Nine Kills have also launched their own hugely successful horror convention known as the Silver Scream Con.
I’ve Got to Return Some Videotapes: INK frontman Spencer Chamas channeled his inner Patrick Bateman at SPAC on 8/6/2024.
During the final intermission of the show, music by metal god Maynard James Keenan permeated through the pavilion as songs by Tool and A Perfect Circle piped in over the PA system. Oddly transitioning into Journey’s “Don’t Stop Belivin” as heavy fog began billowing out from behind the stage, a giant spider covered curtain suddenly dropped to reveal In This Moment. Met with hero’s welcome and a massive applause, it was a special performance for band’s charismatic frontwoman and lead vocalist, Maria Brink. An Albany native and the scream queen of modern metal, it was the type of homecoming usually reserved for a king. Growing up about 30 minutes away and now playing the area’s biggest stage, on this night, Brink gracefully conquered all.
Kiss of Death: In This Moment headlined the tour kick off in Saratoga Springs on 8/6/2024.
Wearing an ornate headdress and taking to her throne atop the SPAC stage, In This Moment was truly a spectacle to behold. Clad in costumes that were both beautiful and frightening, much like their music, the band has a certain aura that’s intoxicating. Opening with “The Purge” and their Grammy nominated single “The In-Between,” the visually stunning theatrical presentation the band is known for was on full display right out of the gate. Under the watch of “mother” figure Maria Brink, the band is far from a one woman show. Also consisting of co-founder Chris Howorth and Randy Weitzel on guitars, Travis Johnson on bass and Kent Diimmelis, ITM sent shivers up your spine with a rendition of 2012’s “Blood” from the album of the same name. Followed up by a pairing of “Sacrifice” and “Sanctify Me,” the evening would spotlight many of the songs from the band’s 2023 Kane Churko produced album Godmode.
Hometown Throwdown: Albany native Maria Brink holding court with In This Moment at SPAC on 8/6/2024.
Flanked by a pair of masked acolytes and singing from an elaborate alter for most of the show, Brinks’ amazing voice control mesmerized fans. Reaching intense emotional depth, powerful and pretty and with plenty of edge, it’s easy to see why she’s become such a role model for ‘against the grain’ teens and goth-girls everywhere. Frequently changing outfits and telling a story within each song, even if you couldn’t get into the music, you had to appreciate the artistry, creativity and overall effort of everyone on stage. Pushing boundaries with themes of witchcraft and mysticism, it’s no surprise In This Moment’s ritualistic approach has its share of detractors, mostly parents and people over 50. Still, as the band worked their way through signature staples like “Sex Metal Barbie” and the Black Sabbath-inspired “Big Bad Wolf,” over1.3 billion cumulative streams tell you it’s clear there’s still an audience hungry for heavy music. Towering over the Broadview Stage at SPAC, In This Moment sent fans home happy with their biggest song to date, closing the epic homecoming performance with “Whore.” Cathartic and surreal, the level of pageantry and attention to detail made for an unforgettable set of music from one of today’s most influential metal attractions.
Sex Metal Barbie: Maria Brink performing with In This Moment at SPAC on 8/6/2024.
A resounding triumph for shock rock and horror metal, the Kiss of Death Part 2 tour in Saratoga Springs was some of the most fun I’ve had all summer. After playing to Buffalo’s Outer Harbor the following night, the electrifying tour heads west for the next month and promises to deliver musical carnage and visual splendor at every stop along the way. Ice Nine Kills third annual horror convention, The Silver Scream Con, is set to take place in Worcester, MA from September 13-15.
In This Moment | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Salvation Intro, The Purge, The In-Between, Blood, Sacrifice, Sanctify Me, Sex Metal Barbie, The Fighter, Big Bad Wolf
Encore: Whore
Ice Nine Kills | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Red Right Hand Intro, Rainy Day, Meat & Greet, Ex-Mortis, Thank God It’s Friday, Walking on Sunshine*, The Nature of the Beast**, Wurst Vacation, Funeral Derangements, IT Is the End, Hip to Be Scared, The Greatest Story Ever Told***, The American Nightmare, The Shower Scene, Welcome to Horrorwood. ,
Avatar | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Beware of the Clown Intro, Dance Devil Dance, The Eagle Has Landed, Valley of Disease, Bloody Angel, The Dirt I’m Buried In, Smells Like a Freakshow, Hail the Apocalypse.
Woodstock co-creator Michael Lang’s Mount Tremper house is now on the market. His 17-acre property is currently listed for $2.43 million. This sale comes one week before the Woodstock Festival’s 55th anniversary.
Image from Brown Harris Stevens
Michael Lang was one of the most legendary concert promoters in history due to his work organizing Woodstock 1969. Born in Brooklyn in 1944, Lang moved to Southern Florida in 1967 where he began setting up shows. His first claim to fame was the 1968 Miami Pop Festival, drawing Jimi Hendrix, Frank Zappa, and more.
Following this success, Lang returned to his home state of New York to set up an even larger festival. Billed as “The Woodstock Music and Art Fair, An Aquarian Exposition,” the festival would take place over three days in Bethel, NY. Across its “three days of peace and music,” Woodstock drew nearly half a million attendees. On top of this, legendary performances by Jimi Hendrix, Crosby Stills Nash & Young, and Joan Baez quickly placed Woodstock in the history books.
After the success of Woodstock ‘69, Lang continued to promote concerts for decades. Among his other shows were the Woodstock ‘94 and ‘99 festivals. On top of these events, Lang had planned Woodstock ‘19 to celebrate the festival’s 50th anniversary. However, logistical issues forced the event’s cancellation. Besides for festival planning, Lang worked to book countless legendary artists on their own. Madonna, Bruce Springsteen, and Outkast are just some of the acts that Lang booked over the years.
Michael Lang at Woodstock ’69, Photo by Henry Diltz
While Lang’s legendary Woodstock festival took place 40 miles from its namesake town, Lang’s property was much closer. The estate, known as Happy Brooks, is located in Mount Tremper, only a 20 minute drive from Woodstock. Lang called this 17-acre estate home for 45 years, before his death from lymphoma in 2022.
From its construction, Happy Brooks always had a connection to the arts. Built in 1929 for artist G. Adolph Anderson, the estate has consistently housed visual artists and writers. When Lang purchased the house, he vowed to keep its original structure intact. The main house retains its original layout, with four bedrooms, a library, office, kitchen, and dining room. The house’s rooms look out onto the same Catskill Mountains that acted as the backdrop for the Woodstock ‘69 Festival. In addition to the main house, Lang’s property houses two separate guest cottages. On top of the manmade structures, the property features a pond, meadows, and natural mountain scenery.
Now, 45 years after Lang’s purchase, this piece of music history is back up on the market. With Woodstock’s 55th anniversary approaching on August 15th, it is important to highlight the life and work of Michael Lang, who made it all possible. While the asking price for Happy Brooks is a whopping $2.43 million, some lucky person could soon call this legendary property home.
In the large oasis that is New York State’s music scene, it may seem difficult to stand out. Of course, there must be real talent; catchy melodies and hooks, a great ensemble-band that plays live flawlessly, but there’s always that “something” more. Perhaps its the person behind the music, a personality so undeniable that one simply must come and see it and hear it for themselves.
About BlackJeans
All of this and more sums up BlackJeans, a Musician and Producer based in Ridgewood, Queens who will be presenting “The End of The World, Part 2” at Purgatory on Friday, August 10. A torchbearer representing a lost art; the art of seduction through music. All in all, BlackJeans has an impressive resume thats bound to make anyones head turn. The event will look to live up to last year’s event by being bigger and better. A tough statement to back up based on last year’s turnout.
A Musician and Producer in NYC for the last ten years, BlackJeans has packed out shows like Sofar Sounds and venues such as Sultan Room, Brooklyn Bowl and more. Moreover, BlackJeans now finds himself at his biggest moment yet. His latest single “Belladonna” is joined with other certified bops such as “Cellphone“, “Painkiller.” Additionally, songs like “All Too Much” and “Lovin Again” have accompanying music videos which premiered on Vimeo. We sat down with BlackJeans about what goes into making his music. We also discussed his highly-anticipated show on August 10 at Purgatory.
TDW: What would you say your biggest influences are?
BlackJeans: Ooh baby, these days anything that gets me hot and bothered and ready to dance. Rhythm, tempo, and anything that feels like a party. Disco, electronic, house, salsa, big band swing. Put a little dirt on it and i’ll eat it right up and howl probably.
TDW: How would you best describe your sound?
BlackJeans: Thats a great question. Typically, I would do everything I can not to describe it…I’d say it sounds like seedy basement dance music that was tucked away in a forgotten section of an old denim factory in Ridgewood, Queens. Drum and bass-groove heavy music that you’d find in a damp speak easy with neon lights. Paired well with cocktails and a late night afterparty.
TDW: What is The End Of The World?
BlackJeans: The End Of The World is an event series im continuing to throw in NY for all the sexy late bloomers, weirdos, misfits, queers, and people who know how to turn it the fuck out. Its equal parts dance party, live show, and carnival with variety performers, a live set of music and always a special guest DJ. Chock full of free prizes, drinks, and some other stuff I cant get into here. Oh, and theres always a dress code.
TDW: What plays into your songwriting?
BlackJeans: I love love. Cant get away from it. Love is a mixed bag. Covers an overwhelmingly wide range, yea? It can make you feel alive, it can mess you up, make you wanna dance, make you wanna cry…sometimes all of these things at the SAME TIME! I think that juxtaposition and duality is beautiful and were all probably feeling it effects on any given day. I don’t really believe in genre, I like too many of them and I probably haven’t even heard them all! So Im going to keep playing in as many that feel right, its 2024, best be genre bending. For now, I’m wrapped up in dance music like someone who’s been tumbling in a washing machine for 7 months straight. With no AC or lights…
TDW: What can people expect from The End Of The World Part 2
BlackJeans: Im going to be clear with you. You can expect an EP’s worth of new music, a gorilla in lingere giving a lap dance to a horse, burlesque hoola hoopers, me growing 8 feet tall, a free round of drinks, and a DJ set by Souldrippp. Shes amazing and I’m shocked we got her to agree to come here all the way from France. Thats like 27% of what you can expect. Okay?
All this to say, momentum is on BlackJeans side. While August 10 will be an evening to capitalize on. Epic tunes, costumes and gorillias galore, who know what antics him and his band well be up to this time, very limited tickets remain for The End Of The World Part 2 at Purgatory.
Starting on August 15, George W. Johnson Park in Endicott, NY, will be the latest location for local Shakespeare in the Park. The Endicott Performing Arts Center (EPAC) Youth Troupe will showcase their abridged productions of Shakespeare’s classic A Midsummer Night’s Dream at the Stage in Little Italy.
Following the three-day run of Shakespeare’s most iconic comedy, the park hosts the annual Shakespearean Arts Festival. Featuring dozens of local vendors and artists showcasing their goods, live music, and entertainment from the EPAC Youth Troupe and more, the Shakespearean Arts Festival offers free fun the entire family can enjoy.
During the festival, EPAC will give their debut performance of Matilda JR: The Musical and their final performance of A Midsummer Night’s Dream. The abridged version of the play was adapted by Dr. Carolyn Harper, and directed by EPAC directors Dustin Hirthler and Scott Newman.
Also featured are selections from the EPAC TEEN intensive Firebringer, and the Rep. Co. production of Legally Blonde. Dozens of local musicians are set to perform throughout the week in between productions.
Below are the dates and times for EPAC’s rendition of A Midsummer Night’s Dream. The EPAC Arts Festival is on Sunday, August 18th, from 12pm-5pm. George W. Johnson Park is located at 201 Oak Hill Ave, Endicott, NY. Information about performances, artists, and more is available on the Endicott Performing Arts Center’s website, linked here.
In June 2024, Troy’s sixth annual Nighthawks Block Party was abruptly canceled. The event, which had become a yearly staple of music and charity, cited growing disagreements with the city’s mayor Carmella Mantello. This begs the question of what exactly happened to the event?
For six years, Troy-based restaurant Nighthawks has hosted an annual block party fundraiser. This event plays into the restaurant’s mission to “feed our friends and community with the best quality ingredients and love.” On top of food and drinks, the block parties featured special performances from local bands and artists. Most importantly, however, was Nighthawks’ dedication to serving the community.
Each year’s block party raised funds for a different local charity, tackling different issues facing Troy. In 2021, Nighthawks partnered with Unity House to fight growing gun violence throughout the Capital Region. The event featured performances from Coal Palace Kings, Brule County Bad Boys, the Wand-ers, and DJ Mercy, and anti-gun violence speakers.
With the overturning of Roe v. Wade in 2022, Nighthawks turned its focus towards reproductive rights. They partnered with Upper Hudson Planned Parenthood to raise awareness of their services. On top of informational sessions and refreshments, the event featured performances from the Brule County Bad Boys and The Men Who Loved Music.
Brule County Bad Boys
2024 was supposed to mark Nighthawks’ sixth year serving the Troy community. For the block party, Nighthawks had partnered with Joseph’s House. The Joseph’s House nonprofit seeks to provide non-judgmental services to unhoused people across the Capital Region, with outreach, shelter, and emergency support services. The event also planned to feature performances from Brule County Bad Boys and The Men Who Loved Music, with guests, Barbie Barker, Slik Nik, and Big Unity Band.
However, just before the event was supposed to be held on June 22nd, Nighthawks’ owners announced its cancellation. Nighthawks’ co-owner Josh Coletto cited policy from the mayor’s office as the sole reason for the event’s cancellation. At the center of the dispute is Troy’s newly-elected Republican mayor Carmella Mantello. Coletto cites greatly increased fees from the mayor’s office as the prime cause for the event’s closure.
Whereas for past block parties total permit fees amounted to $45, the new administration charged the restaurant nearly $1,500 for 2024. Alongside the increased fees, the mayor’s office also required an additional police presence for the event, amounting to an additional $750. This had not been an issue in the past, with community volunteers helping to control crowds each year. The city has defended its decision to charge what they deem reasonable for events like this.
These new costs come alongside increased rhetoric against live music events from Mayor Mantello’s office.
During her 2023 campaign, Mantello ran on quality of life issues for Troy. However, these issues have included an assault against the city’s live music venues. During the mayoral debates, Mantello cited outdoor music at Slidin’ Dirty’s as problematic for the city’s residents, insinuating noise complaints from live music were driving residents from the area. As mayor, she has implemented increased restrictions on live music.
The October 2023 mayoral debate between Republican Carmella Mantello and Democrat Nina Nicholas
For instance, the mayor’s office has altered zoning ordinances, changing the endtime for live music from 11 to 9pm. This stark change not only starves Troy’s residents of local arts, but also threatens small businesses that depend on earnings from live music events. Locals have begun to speak out against this new policy, with a July 22nd Downtown Troy Neighborhood Group meeting discussing the issue. The discussion came to the conclusion that the current policy is deeply flawed, with a more equitable process needed to ensure both neighborly respect and economic growth. No representatives from Mantello’s office attended the meeting.
In reference to the Nighthawk’s block party, Mayor Mantello has cited this ordinance as the reason for the dispute. She said “What we have said is it’s 9:00pm. It’s a good time to start wrapping it up. And the permit is obviously at the discretion of the city.” This issue of noise ordinances seems to be what the mayor’s office is sticking to, ignoring concerns of increased permit fees. Mantello said, “We can’t pull Nighthawks out and say ‘We will waive these fees. We’ll not have our police officers at the event’ because it is across-the-board.”
Referring to this cancellation, Mantello stated to News10, “We are trying to create a thriving energetic city of Troy.”
This begs the question: how does canceling one of the most anticipated music and charity events help energize the city?
Troy residents have taken to online forums to express their anger with this decision. On the r/Troy subreddit, user Dadvito3hunna wrote “I’m legitimately bummed about this one. My girlfriend and I love going to this event and supporting its cause.” User kettleofhawks added “This is absolutely absurd – this event is what makes Troy special, brings everyone together and supports a good cause. Adding a $750 fee for police protection that no one wants or needs is extortion, especially for a charity event.”
The 2024 Nighthawks block party expected crowds of over 500. However, as a charity fundraising event, they cannot shoulder the new permit fees.
Now, with the party’s cancellation, Joseph’s House will not receive any of the expected donations from the fundraising event. Despite this, Nighthawks is still looking into other future fundraising options alongside Joseph’s House. This event’s cancellation raises concerns for the future of live music events in Troy, and whether they will be able to shoulder the burden of Mantello’s new restrictions.
