Meet Little Stranger: an eclectic musical duo hailing from Charleston, South Carolina, originally rooted in the vibrant city of Philadelphia. The band is known for their unique blend of indie rap pop, infusing funky distorted guitar riffs with soulful trumpet and saxophone melodies. Their dynamic sound and playful stage presence have captivated audiences across the country, establishing them as a notable act in the contemporary music scene.
When it comes to genre-blending and innovative soundscapes, Little Stranger stands out as a trailblazer in the indie music world. The Charleston-based duo, originally from Philadelphia, has carved a niche for themselves with their eclectic mix of indie rap pop, a fusion that combines the raw energy of hip-hop with the melodic charm of indie pop and the vibrancy of live instruments.
Roots and Formation
Little Stranger is the brainchild of John and Kevin Shields (no relation), two musicians whose artistic synergy has led to the creation of a distinctive sound that defies conventional genre boundaries. Their journey began in Philadelphia, where they honed their craft and developed a unique musical identity before moving to Charleston. The relocation infused their music with a fresh perspective, adding layers of Southern charm to their already dynamic style.
The hallmark of Little Stranger’s music is its infectious energy and playful spirit. Their songs often feature funky distorted guitar riffs, complemented by trumpet and saxophone backups that add a soulful touch to their sound. Tracks like “Coffee & a Joint” resonate deeply with their audience, offering relatable themes wrapped in catchy melodies. Their music is not only aural but also visual, with their live performances characterized by vibrant, playful antics and an engaging stage presence.
New Single and Upcoming Album
The duo recently released their new single “Sofia” off their upcoming album Sat Around Trippin, set to be released on June 28. “Sofia” is a groovy track that deals with a breakup in typical Little Stranger fashion, featuring quick-witted lyrics that poke fun at both their ex and themselves. The song’s playful yet introspective tone perfectly encapsulates the band’s unique approach to songwriting.
Little Stranger’s live shows are a testament to their reputation as performers who know how to entertain and connect with their audience. At events like the Governors Ball, they have wowed crowds with their high-energy sets and whimsical stage antics. Kevin’s humorous quips, such as “everything’s legal so you can do whatever you want today” and playful banter about the attractiveness of the crowd, create an atmosphere of inclusivity and fun.
Headline Tour
Adding to their excitement, Little Stranger is embarking on a headline tour that includes stops at Brooklyn Bowl in Williamsburg and Buffalo Iron Works in Buffalo. This tour promises to bring their energetic performances and distinctive sound to a wider audience, further solidifying their presence in the music scene.
Looking to the Future
With a growing fanbase and a string of successful performances, including their recent set at Governors Bal 2024, Little Stranger is poised to continue their ascent in the music world. Their commitment to innovation and their ability to blend genres seamlessly ensures that they remain at the forefront of the indie music scene.
In a musical landscape often dominated by mainstream sounds, Little Stranger brings a refreshing change with their indie rap pop fusion, proving that creativity and originality still have a significant place in the industry. As they continue to evolve and push the boundaries of their sound, fans can look forward to more exciting music and unforgettable live performances from this dynamic duo.
It was a hometown throwdown with an added twist for Spafford Saturday night. Playing the third show of their summer tour at The Colony in Woodstock on June 15, it notably featured Mike Gantzer of Aqueous filling in for Spafford guitarist Brian Moss as he continues dealing with the effects of a brutal crash the band was involved in earlier this spring. More than the sum of its parts, the show must go on and it did, yielding a most memorable and unique night of improvisational jams.
Mike Gantzer of Aqueous filled in for Spafford guitarist Brian Moss during the Woodstock performance on 6/15/24.
The quaint counterculture community of Woodstock was bustling with activity in the hours leading up to the show. Colorful, vibrant and welcoming, the main drag was covered in pride flags and business was booming at the numerous mom-and-pop gift shops, galleries, and gastropubs around town. The energy in the air felt like a throwback in time, reminding me of the neighborhood block parties when I was young and everything felt safe. Prior to showtime, early attendees at The Colony were treated to the delightful Americana sounds of The Jack Grace Band on the back patio stage. It was inside on the Ballroom stage, however, where the real magic was about to take place.
Spafford performing at The Colony in Woodstock, NY 6/15/24.
Fresh off their first gigs together in Rochester and the Northlands Music Festival, this incarnation of Spafford hit the ground running hard. With a schedule that includes 10 shows in 11 days, don’t let anyone tell you touring life is easy. Consisting of bassist Jordan Fairless, drummer Nick Tkachyk and keyboardist Cory Schechtman, the Spafford members humbly welcomed and thanked guitarist Mike Gantzer for joining them on this run of shows. Easing into things with an opening improvisational groove, it was around 17 minutes in when the band landed on the first actual Spafford song of the night, the explosive fan favorite “It’s a Bunch.”
Performing with man down, Spafford looked to Mike Ganzter to man up on 6/15/24.
Playing with a man down, it was here when Gantzer really stepped up and cut loose first the time, announcing his presence with swagger and authority, showcasing his undeniable ability as a player. Emoting with passion and simultaneously shredding his sparkling blue Gibson axe with the best of them, let’s be clear, no one can “replace” Brian Moss, but it was around this part of the show when you realized this was an unprecedented kind of Spafford experience. That we were witnessing something special and not only were things going to be just fine, they were going to be absolute fire.
Leaning heavily on bassist Jordan Fairless to handle the majority of vocal duties on this run, Saturday night at The Colony took on extra special significance for him. After celebrating his wedding anniversary two days prior, it was not only a homecoming for Jordan, but a full-on family reunion as well. With his beautiful wife and daughter in attendance, every time the local Woodstock resident stepped up to the mic you could see the sparkle in his eyes as he sang out to them. Touching and beautiful, the first time we’d hear it was on “Lonely,” a song written years ago and has emerged as one of the bands biggest jam vehicles.
It was a hometown throwdown for Spafford’s bassist Jordan Fairless who lives in Woodstock.
Clocking in just shy of the 20-minute mark, it was the clear standout of the first set and just seemed to hit a little harder given the circumstances of this particular night. Jordan’s soothing vocals carried over into the bluesy come down of “Shake You Loose” from 2022’s Simple Mysteries and would send the audience burning straight through intermission.
Met a man in New York and he had no time for me.
His New York minutes, they were ticking away.
But I’m not gonna give up, no I’ll just keep on standing here.
Waiting for that day…when we all say.
You don’t have to be lonely. Look no further, you can hold me.
And I will hold you till you’re not lonely.
We’ve got each other, and I’ll be on your side till the morning comes.
-Lyrics from “Lonely”
Prior to the start of the second set, the unofficial fifth member and band namesake, Chuck “Spafford” Johnson who would treat the audience to a reading of his poem “Would Etal.” A privilege to hear one of “Chuck’s Dreams” in person, his purpose with the band cannot be overstated. Aside from being a published poet, Johnson has also penned the lyrics for several of the bands most beloved songs, including “My Road, My Road,” “The Postman,” and “Slip and Squander.” He’s also the man primarily responsible for running the free Spafford live streams on YouTube and doing what some might call “God’s work.” Fans can’t thank him enough.
Chuck’s Dream: Lyricist Chuck “Spafford” Johnson read his poem “Would Etal” during set break on 6/15/2024.
Returning to the stage for round two, Spafford wasted no time putting the pedal to the metal by opening with “Diesel Driver,” a song that many fans have now come to associate with the aforementioned crash in March that still lingers over the band. It’s exploratory jam would segue nicely into the new and highly danceable Corey Schectman space-funk instrumental “Machine Elves” that had the entire room moving and grooving. Another sentimental moment came next as Fairless sang the blues based “Home (One Place I’ll Never Be). Dedicating the song to his wife two days prior, here he was able to sing it to her in person and just down the street from where they now live.
Spafford performing at The Colony in Woodstock, NY 6/15/24.
Playing up the novelty of Jordan’s homecoming, the undisputed jam of the night evolved next in the form of a near 30 minute version of “Leave the Light On,” a song first played by the band in 2012. This time, however, it seemed to take on a whole new level of maturity. Listening intently to each other and exchanging glances, the creativity flowed between the four musicians on stage. Largely anchored by the handiwork of drummer Nick Tkachyk, you would never know this lineup has only played a few shows together.
Mike Gantzer performing with Spafford at The Colony on 6/15/24.
Finding some limits and pushing through them, the playing was relentless and the improv was intense. With Gantzer pouring every ounce his of passion and spirit into the performance, you know somewhere out there Brian Moss is smiling knowing he made the right call. Feeling more comfortable with each passing show, you can see the healthy respect these guys have for each other and the budding friendship that’s blooming.
It’s so cold at night, and I pretend that it’s all right.
But I keep your candle burning in the window.
Leave the light on for me lady.
So in the darkness I can find my way home.
Leave the light on for me lady.
Let me know that I’m not alone
-Lyrics from “Leave the Light On”
Holding court near the merch stand with a small group of people listening intently, Gantzer opened up about the challenges of learning such intricate material in such a short time. While comparisons to Moss are inevitable and both players are among the scene’s elite, it’s not quite as turn-key when it comes to the type of improvisation Spafford is known for. Making it clear that he was honored to get the call and that he’s feeling a bit of pressure to deliver the goods, he humbly noted he “can’t play the songs like Brian does, that he can only play like himself.” Feeding off the crowd’s energy and hoping to send it all the way back to his friend, it’s fair to say Uncle Mike met all expectations and exceeded them in Woodstock.
Mike Gantzer performing with Spafford at The Colony on 6/15/24.
Returning to the stage for a brief encore, Jordan would address the crowd once again, thanking them for coming out to the show and thanking Gantzer for his incredible job filling in. After planting the homecoming seeds all night long, Spafford would finally spit them out with the lone cover and final song of the evening, a tasty take on Herbe Hancock’s “Watermelon Man.”
Mike Gantzer will remain with the Spafford through the remainder of the month before the band reevaluates. Following a scheduled run through Colorado and an appearance at the 4848 Festival in July, East Coast fans won’t need to wait long to see Spafford again. They’ve just announced a number of new tour dates in August that includes a stop at Lincoln Hill Farms in Canandaigua, linking up with red-hot New York jammers Annie in the Water. As for the future of guitarist Brian Moss, no one seems quite sure when he’ll return to the fold. Requesting privacy at this time, we here at NYS Music wish him all the best and hope the healing power of music starts working its magic soon.
Spafford | June 15, 2024 | The Colony | Woodstock, NY
Set1: Jam > It’s a Bunch > Lonely, Shake You Loose.
Set 2: Diesel Driver > Machine Elves, Home (One Place I’ll Never Be) < Leave the Light On.
If you’re a music connoisseur searching for an entertaining kid-friendly activity this summer, Live Nation Entertainment and Empower Federal Credit Union just announced five exciting new shows in their “Kids in Free” concerts series, spanning across multiple genres—an absolute treat for everyone. The shows will take place in Empower Federal Credit Union Amphitheater at Lakeview in Syracuse.
The series includes music giants like Santana with Counting Crows; Dan + Shay; Train and REO Speedwagon; Hootie & The Blowfish; and Xscape and SWV – promising an amalgamation of nostalgic and sensational beats to immerse yourself in this summer.
Chris Keller, Chief Marketing Officer at Empower Federal Credit Union, commented, “This program is an example of one of the many reasons why we love being in partnership with the Amphitheater. It gives our community a wonderful place to gather, including our younger audiences. Parents, this is a great time to show your kids the music you love, and kids, this is a great chance to see just how cool your parents really are!”
The concert series permits entry of one child, 12 and under, for free to the lawn with each paid adult ticket. Tickets are limited and are available for purchase here. Child lawn tickets will be available for pickup near the main entrance at the amphitheater.
Kids In Free Shows at Empower Federal Credit Union Amphitheater:
The Carol Theater in Chestertown, NY is kicking off their summer season with a double feature show from, The Lazy Suns and The Bluebillies on June 22.
The Carol Theatre has been entertaining the small Adirondack town of Chestertown since 1931. It has been used as a movie theater in addition to live performances while supporting local businesses in the area.
New York State bands will perform the first show of the summer on The Carol’s historic stage. Americana band, The Lazy Suns formed in 2010 and have received two Capital District Eddie Award nominations for best Americana Country Rock group.The Lazy Sun’s 2016 original album, Bar Hotel Music, has a western, cowpoke feel, but also uses elements of easy listening 70’s rock.
Another country band, The Bluebillies, are genre blenders with their country-gospel album, Train To Paradise. The Bluebillies started in 1984 with husband and wife, Mark and Melody Guarino. Frank Orsini on fiddle and guitarist Greg Bucking complete the band, now performing all over New York State.
This summer, The Carol will also welcome a Beatles Tribute band, Across The Pond, on July 6 followed by High Peaks Bluegrass on July 20. Another tribute band, The Wheel: The Grateful Dead Experience, will perform on July 27.
For more information on future shows and to buy tickets, you can visit their website here.
In June 2004, the “end” was nigh for Phish as a band. The thought-to-be career-ending Coventry festival was slated for mid-August and all indications at this time was that there was no turning back and to savor every last performance. Before Phish would hang it up though, they graced SPAC with a two-day run over Father’s Day Weekend that featured moments of sheer brilliance, musical flubs that were all too common to this era and a surprise dad of their own that evoked memories of a happier time in the band’s history.
This particular SPAC run, only the fourth and fifth times that the band has ever played here, starts off with a bit of a surprise in the form of a “Reba” opener. Phish breezes through the composed sections of this intricate arrangement with ease before a relatively brief but euphoric improvised jam that follows. Alas, there would be no whistle-led ending to this one. Instead the band immediately pivots to a much more traditional show opener in “Runaway Jim.” Trey Anastasio leads the way on this one with some driving guitar fills which continually increase the tempo and depth of the ensuing jam until it comes to a head.
Tonight’s show maintains a relatively old school feel to it early on with the “NICU” that comes next with the “looked back on those days when my life was a haze” and the “Play it, Leo” lines both getting a hearty round of applause from the SPAC faithful. Phish then finally dives into their newer material with “Scents and Subtle Sounds” from their Undermind album which was just officially released last week. There would be no slow introduction for this one though as heard on the album. Instead Phish immediately jumps into the lyrical portion of the song, the first time they would ever do this. “Scents” yields another brief but truly uplifting outro jam with keyboardist Page McConnell pounding away on the piano while he and bassist Mike Gordon bookend it with harmonized lyrics.
Phish 2004 SPAC poster by Louis Arzonico
There’s a noticeable break between songs afterwards, perhaps with Phish trying decide how to end this first set at SPAC. It begins with a very slow, almost plodding “Wolfman’s Brother” that the band really takes their time with and certainly doesn’t suffer from a lack of funk. The “Walls of the Cave” that follows provides some of the best moments of the first set. After its typical thunderous outro jam, Phish takes it around the block and then some, going into a full Type II ambient/melodic jam that includes guitar riffs from Anastasio that would reappear in tomorrow night’s second set. As the jam slowly peters out, drummer Jon Fishman starts up the signature high-hat intro to “David Bowie” which closes out the first set in grand fashion.
Phish jumps right back into the deep end to begin the second set with the second ever performance of “A Song I Heard The Ocean Sing,” another new selection from Undermind which debuted days earlier in Brooklyn. It showcases the band’s true colors with a rollicking early jam that stays true to the song’s original structure before veering off into another exploratory Type II vehicle that elicits authentic aquatic vibes in its early stages before a slow and gradual reshape back to form.
poster by Jason Lees
This sets for the stage for “Piper,” a legendary version that phish.net properly describes as “a multi-section improvisational super heavyweight.” There’s no slow build in this 30-minute plus rendition that some argue is the best one of all time. Phish gets right down to business immediately, ripping through the brief lyrical section before leaping into a ferocious jam that starts off at an incredible pace and doesn’t let up for a while. At one point, the jam starts to ascend in a true “Tweezer Reprise”-like fashion without the song ever actually being played, with Anastasio going full rock god mode and vamping maniacally. It’s all adds up to a “Piper” that rivals the one played at Camp Oswego in 1999 and one that certainly belongs in any “Best Of” discussion.
The groove that develops on the back end of “Piper” eventually rounds cleanly into the beginning of “Gotta Jibboo.” Anastasio has the digital delay loop ready to go and this yields another joyous albeit brief jam that never rounds back into the end of “Jibboo.” Phish instead pivots to “Limb By Limb” with a standout version that features a series of patiently crafted, blissful peaks. “Cavern” then brings the second set to a close, marred a little bit by Anastasio completely spacing on some of the lyrics. Phish ends the first show at SPAC this weekend with a tame and relatively nondescript “Wading In the Velvet Sea.” Unfortunately, the same couldn’t be said about their “last” one of these at Coventry later this summer.
June 19 review by Tim O’Shea
Phish – Saratoga Performing Arts Center (SPAC) – Saratoga Springs, NY – Saturday, June 19, 2004
Set 1: Reba, Runaway Jim>NICU>Scents and Subtle Sounds, Wolfman’s Brother, Walls of the Cave->David Bowie
Set 2: A Song I Heard The Ocean Sing>Piper->Gotta Jibboo>Limb by Limb, Cavern
E: Wading in the Velvet Sea
https://www.youtube.com/watch?v=_UIBFR2eVVs
In 2009, fans returned to SPAC for what would be a five-years and two month gap between Phish shows in Saratoga Springs, but no one at the time knew this, let alone the band. Having only played SPAC five times between 1994 and 2004, the band found new affinity for the (originally) summer home of the New York City Ballet and Philadelphia Orchestra. With Anastasio spending time from 2007-08 living in Saratoga Springs while serving probation, return trips to SPAC have been frequent, almost annual events, marking 19 shows since 2009 alone.
But this 2.0 era show stands out (as does the night before) with jam highlights throughout, erasing even if briefly the specter of the band’s ‘final’ shows coming up less than two months later. Never has the phrase “never miss a Sunday show” been more ominous, as for some, this would be the last time they would see the band perform live for many years.
Phish SPAC 2004 poster by Ryan Kerrigan
Opening up the first set with an energetic “Rift” that lit the audience up, segueing into “Julius” during which Trey broke a guitar string. Following the repair, the band was joined by Dr. Jack McConnell, the father of Page “Chairman of the Boards” McConnell, who performed “Bill Bailey, Won’t You Please Come Home” for the first time since 1999, even donning his tap shoes to soft shoe on this Father’s Day. This sit-in followed Jay-Z joining Phish just two days later in Coney Island on “99 Problems” and “Big Pimpin’.’
Shirt design by Tripp
The “Waves” that followed had a heavier flow to it, pushing past the composed section and keeping the song upbeat and lively until the end. A funky ‘Gumbo” gave way to a trio of shorter songs – “Water in the Sky,” “Horn” and “Poor Heart,” which offered a break in the action, before delivering a 22+ minute version of The Who’s “Drowned.” You could lump “Drowned” in with the second set jamming that followed, and rightly so – this version of “Drowned” is often overlooked because of the lore that has followed the second set of 6/20/2004, but should not be. Anastasio is in the zone throughout, shredding and leading the way, even working in a tease of Deep Purple’s “Lazy.”
Set two began with RoundRoom track “Seven Below” that showed early promise on December 31, 2002, and delivered in each appearance until that point. Starting out dark and working the tempo up, “-7” found its way into a rocking version of “Ghost.” This pairing would be found that November in Albany as another substantial “Seven Below” > “Ghost.’
An all-time great jam followed, with the rocking funk of “Twist” getting the balcony bouncing. At 21 minutes long, this deserves a few listens. By 7:00, the first Type II jam has lifted off, and as you listen, every two minutes, there is a fresh section of improv dissimilar from the previous two minutes. The jam from 7:00-17:00 just keeps evolving and developing, with Anastasio once again leading the way, while Fishman and Gordon lay down the rhythm to keep the pace. Locked in, after 17:00, “Twist” shreds until Anastasio pulls out the ‘hose’ and winds the song towards conclusion.
shirt design by Dylan Levene
“You Enjoy Myself” would follow and close the set, offering thunderous approval from fans and giving SPAC the ever rare, and coveted, four song set. An encore of “Good Times Bad Times” was bittersweet and is served as a mantra for that summer’s fateful tour, one that would put the band on hold for four and a half years, but bring them back stronger than ever in 2009.
Phish – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY – Sunday, June 20, 2004
Set 1: Rift > Julius, Bill Bailey, Won’t You Please Come Home?[1], Waves, Gumbo, Water in the Sky, Horn, Poor Heart > Drowned Set 2: Seven Below > Ghost -> Twist, You Enjoy Myself Encore: Good Times Bad Times [1] Dr. Jack McConnell on vocals and tap shoes
Kool & The Gang and En Vogue are coming to Tanglewood on June 23, performing at Koussevitzky Music Shed at 2:30 p.m.
Kool & The Gang is an R&B, funk group known for their hits from the 70’s and 80’s. They officially formed in 1969 signing to De-Lit Records and released their first album, Kool & The Gang. “Jungle Boogie” “Get Down On It” and “Ladies Night” are just a few of their many hits from their decades of discography.
The band formed in Jersey City as a Jazz ensemble. This included Robert “Kool” Bell on Bass, Ronald Bell on Keyboards, Robert “Spike” Mickens on Trumpet, Dennis “Dee Tee” Thomas on saxophone, Ricky West on keyboards, George Brown on drums, and Charles Smith and Woody Sparrow on guitar. Now, Robert Bell, trumpet player, Michael Ray and Keyboardist, Curtis “Fitz” Williams make up the Grammy Award winning group.
Soul trio, En Vogue are joining Kool & The Gang on stage performing their hits from the 90’s. They have sold 20 million records worldwide and have won seven MTV Music Video Awards along with three Soul Train Awards. In 1988 Dawn Robinson, Cindy Herron, and Maxine Jones and Terry Ellis made the final cut for the girl group and they were signed to Atlantic Records. Now the group is a trio consisting of Ellis, Rhona Bennett and Cindy Herron. They’ve released seven studio albums, most recently Electric Cafe in 2018.
Last Year, En Vogue performed at the Fourth of July Tanglewood celebration. This summer music festival is located in the Berkshire hills in Western Massachusetts.
For More Information and to purchase tickets you can visit the Tanglewood website.
From June 14th to June 16th, the Tribeca Film Festival hosted an extraordinary event, Deniro Con, celebrating the illustrious career and 80th birthday of New York icon and Tribeca co-founder, Robert De Niro.
This special tribute brought together a remarkable lineup of De Niro’s collaborators, including Chazz Palminteri, Quentin Tarantino, Billy Crystal, Whoopi Goldberg, Christopher Walken, Martin Scorsese, and Nas, among others.
A Star-Studded Celebration
Deniro Con was an extraordinary gathering that honored De Niro’s extensive career and contributions to cinema. The event featured a multitude of panels, discussions, and screenings, highlighting the legendary actor’s collaborations and iconic roles. The presence of industry giants and close associates underscored De Niro’s significant impact on film and his enduring legacy.
Opening Day: “Jackie Brown” Screening and Tarantino Conversation
The festivities kicked off on June 14th with a screening of “Jackie Brown” at the SVA Theater. Presented in its original 35mm format, the screening was followed by an engaging 45-minute conversation between Quentin Tarantino and Robert De Niro. The discussion delved into De Niro’s portrayal of Louis, a character marked by his minimal dialogue but profound physicality and nuanced expressions.
Tarantino admitted to a slight regret for not giving De Niro more lines, recognizing the actor’s exceptional talent with dialogue. However, he praised De Niro’s ability to convey depth through subtle gestures and expressions, capturing the complexity of a man dulled by prison but not devoid of intelligence. They also reflected on broader filmmaking aspects, such as the importance of authentic period settings and the dynamic relationships between actors and directors. Tarantino lauded De Niro’s versatility, acknowledging how he captivates audiences across diverse roles.
Day Two: “Mean Streets” and a Dialogue with Scorsese and Nas
On June 15th, the Beacon Theatre hosted a screening of “Mean Streets,” followed by a riveting conversation featuring Martin Scorsese, Robert De Niro, and moderated by rapper Nas. The dialogue, introduced by Tribeca co-founder Jane Rosenthal, provided a retrospective on the prolific 50-year collaboration between Scorsese and De Niro, which began with “Mean Streets” and spanned ten films, including their latest, “Killers of the Flower Moon.”
Scorsese discussed the enduring relevance of “Mean Streets,” highlighting its authentic depiction of New York City’s essence, loyalty, and immigrant experiences. He shared anecdotes about the film’s production challenges, including navigating local organized crime and funding obstacles. De Niro and Scorsese emphasized the authenticity and lasting impact of their work, comparing their cinematic influence to that of top-tier musicians in their fields.
De Niro Is an Icon: An Exhibit & Immersive Film
A central feature of Deniro Con was the exhibit “DE NIRO IS AN ICON: AN EXHIBIT & IMMERSIVE FILM,” held at Spring Studios in Tribeca. This career-spanning exhibit celebrated De Niro’s 80 years with over 300 items primarily sourced from his personal archive. The collection included rare images and videos, annotated scripts, costumes, research materials, and storyboards, offering fans a comprehensive look at his monumental career.
A standout element of the exhibit was the short film “De Niro, New York,” produced by Little Cinema and showcased within the Hexadome. This cutting-edge structure, crafted by Berlin’s Institute for Sound and Music, provided an immersive viewing experience, further highlighting De Niro’s deep connection to New York City.
Screenings Around the City
In addition to the central exhibits at Spring Studios, Deniro Con screenings took place across various theaters in New York City, including the iconic Beacon Theatre. These screenings allowed fans to revisit De Niro’s seminal works in classic cinematic settings, enhancing the celebratory atmosphere of the event.
Conclusion
Deniro Con was a fitting tribute to Robert De Niro’s monumental contributions to film and his indelible mark on the industry. Through insightful conversations, rare exhibits, and nostalgic screenings, the event encapsulated the essence of De Niro’s career, celebrating the man who has become a true icon of cinema and a beloved figure in New York City. As De Niro continues to inspire future generations, Deniro Con stands as a testament to his enduring legacy and unparalleled talent.
of Montreal played The Water Street Music Hall in Rochester on June 7. Touring in support of their newest album, Lady on the Cusp, Kevin Barnes brought his psychedelic fever dream of a show to an enthusiastic and sometimes costumed crowd.
Part of legendary Atlanta psych collective Elephant 6, the band has been around since the 90’s so they have a vast catalogue of experimental pop to pull from.
of Montreal shows include a circus like cast of costumed, eccentric, gender bending characters, who take over the stage and mess and tease both the crowd and Kevin Barnes. It feels like the drama club found some good acid and decided to crash the stage.
You have no idea what’s coming next and their playful presence adds some intrigue and often times hilarity to the show. They played several new tracks from their new album, while cherry-picking some crowd favorites and an old rarity or two.
Beetlejuice The Musical The Musical The Musical opened at Proctors Theatre in Schenectady on Tuesday, June 18, bringing in a packed audience who laughed and sang along to the beloved film, now in musical form.
Photo by Matthew Murphy
Telling the story of Lydia Deetz with greater empathy and backstory – she is at her mother’s burial at the onset of Act 1 – gives cause for Lydia to seek out the help of Beetlejuice, performed masterfully by Justin Collette.
With a recently diseased deceased couple, Adam (Will Burton) and Barbara (Megan McGinnis) Maitland, taking up residence in their former house – now the Deetz’ – they become visible to Lydia, leading to haunting hilarity and foot-tapping musical numbers amid a visually stunning series of sets that utilize the slant framed doors, windows and hallways of the Tim Burton film.
Photo by Matthew Murphy
Pulling from the source material effectively, but introducing Beetlejuice by the end of the first number, the focus in Act 1 on the demon in the striped suit was on par with that of Lydia (Isabella Esler, making her professional debut), a shift from the 1988 film. The 2018 debut on Broadway garnered Tony Award nominations for Best Musical, and well deserved given the production of songs “Dead Mom,” “That Beautiful Sound,” “Say My Name,” “Barbara 2.0” and of course, “Day-O (The Banana Boat Song).”
The first act was Beetlejuice’s time to shine, taking centerstage until he finally joins the world of the living by the end of the act. But Act 2 is greatly focused on Lydia, a time for actress Isabella Esler to be front and center, belting out number after number – “Home” being a show-stopping highlight. In Act 1, Lydia gives the story heart, a tease of what a treat audiences were in store for, both in Act 2 of Beetlejuice and Esler’s career potential as well.
Beetlejuice The Musical The Musical The Musical contains strong language, mature references, and a lot of the crazy, inappropriate stuff you would expect from a deranged demon, but great family fun nonetheless.
Photo by Matthew Murphy
Beetlejuice The Musical The Musical The Musical at Proctors runs through Sunday, June 23. Tickets are available here.
What a wonderful world it is for Queens’ Louis Armstrong House Museum after winning the IMLS National Medal for Museums, the nation’s highest honor given to museums and libraries that demonstrate significant impact in their communities. The beloved monument was among the 10 Museum and Library Awards recipients, while the Louis Armstrong House Museum is the only honor recipient in New York State. Executive Director Regina Bain will accept the award at a ceremony in Washington, D.C. in July.
Executive Director Regina Bain will accept the award on behalf of the Louis Armstrong House Museum
In her role Brooklyn-based educator and artistRegina Bain look to preserve and further the legacy of America’s first Black popular music icon. Sharing, “This signifies recognition of our dedication to preserving the legacy of Louis Armstrong, a cultural icon whose impact transcends generations and borders. It also serves as a validation of our mission to preserve and interpret Armstrong’s house and grounds, collect and share archival materials that document Armstrong’s life and legacy, develop programs for the public that educate and inspire, and engage with contemporary artists to create performances and new works.” Moreover, in her role Bainfurther connects the LAHM’s family-friendly blend of arts and education with its surrounding community.
About the Louis Armstrong House Museum
Following Louis Armstrong’s passing in 1971. His wife, Lucille, continued to live in their home — on 107th Street in Corona, Queens — working to ensure that it became a National and New York Historic Landmark. After Lucille’s passing in 1983, she willed the home and its contents to the city of New York which designated the City University of New York, Queens College to shepherd the process. Despite a slow churn, the archives became public in the ’90’s, while the historic home opened for tours in 2003. In the time since the LAHM has become its own entity with official non-profit status.
