Bronx Summer Jam will be back for its third season this June 30. Bronx Summer Jam brings a community of all ages together with local artists and a positive space for music lovers.
Unlike most festivals, the summer jam is free and attendees can easily get tickets on eventbrite. The festival has also started to receive sponsorships from small businesses in the Bronx. With the volume of artists, the festival is split between two stages, the Kings stage and the Sirens stage.
This grassroots festival was created by nightlife and entertainment company Sounds and Sirens Productions and the media agency The Fox and The King who started collaborating in 2019. Sounds and Sirens serves the NYC and Westchester area of New York and offers live sounds for bands, event production and promotion as well as booking services. The Fox and The King is located in the Bronx and focuses on promoting local artists and supporting the DIY music scene.
Last year’s lineup included artists like Bronx native Drew Torres and the NYC based band The Phoenix Within.
The first summer jam in 2022 was created to get music fans together again after the COVID-19 Pandemic. “I’m inspired and humbled by our progress with Bronx Summer Jam over the last few years.,” DJ Mike said, Founder of Sounds & Sirens in a press release. “I’ve always believed that music brings people together in the best ways. Bronx Summer Jam expands on that year after year, fostering community, promoting artists, and providing a free platform for people to come and experience what local music is all about.” The festival will run between 1 p.m. and 7 p.m. To RSVP, you can find the eventbrite page here.
The BMI Jazz Composers Workshop has announced that its 35th annual summer showcase will be held on June 5 this year.
The event, which is free and open to the public, is scheduled for 7:30 pm at The Marjorie S. Deane Little Theater in Manhattan at 10 W 64th St. It aims to showcase the best big band and jazz orchestra compositions that have been produced in the workshop throughout the year.
The performances will feature the BMI/New York Jazz Orchestra, a 17-piece modern repertory ensemble made up of leading New York musicians, performing eight new compositions that have been developed this season. The annual Charlie Parker Jazz Composition Prize and Manny Album Commission will be awarded to one of these new works. Additionally, the BMI Jazz Composers Workshop will also feature a new commission from last year’s prize winner, Joseph Herbst.
The orchestra will be led by Musical Director Andy Farber, who returns for his eighth year, alongside Assistant Musical Director and three-time GRAMMY-nominee Alan Ferber. Farber teaches jazz composition and arranging at The Juilliard School in New York and has written arrangements for legendary artists including Shirley Horn and Jon Hendricks, as well as symphony orchestras including the Boston Pops Orchestra.
Ferber currently teaches composition and arranging at NYU and Montclair State University and directs the NYU Jazz Orchestra. He’s an award-winning trombonist, a multi GRAMMY-nominated composer/arranger and a band leader with nine recordings under his name. As a recording artist, he’s played on over 150 albums, and has collaborated with a broad range of artists that includes Esperanza Spalding, Miguel Zenon, Paul Simon, Sufjan Stevens, and Dr. Dre.
BMI is delighted to announce the return of the Jazz Composers Workshop Summer Showcase, partnering once more with our exceptional directors Andy and Alan. Each year, we eagerly anticipate gathering to enjoy the extraordinary compositions crafted throughout the year and to honor another deserving recipient of the Charlie Parker Prize.
~ Patrick Cook, BMI Senior Director of Jazz & Musical Theatre
The 25th Annual Charlie Parker Jazz Composition Prize will be awarded to the writer of the best new work composed in this year’s BMI Jazz Composers Workshop, determined by three judges: David Berger, Don Braden and John Fedchock. This year’s winning composer will also receive the Manny Albam Commission, named in memory of the Workshop’s co-founder and longtime musical director, to compose a new piece for the 2025 showcase.
Trey treated an appreciative audience to a mix of electric and acoustic music that delivered both high energy and subtle thrills. The setlist was a testament to the band’s versatility and musical prowess, spanning both familiar classics and experimental improvisations. From the infectious groove of “Gotta Jibboo” to the introspective “Water in the Sky,” each song pulled the crowd in and sent them on satisfied.
Wonderland Forest is a newer venue in the Syracuse area and a great place to see a show. It’s ten miles south of the city near Lafayette, sitting on 400 acres of forests and fields. When you initially enter the venue you walk down a gravel path through trees until entering a pristine clearing with a lovely pond. Vendors are clustered around the water, with a small stage for an opening act to use in the back. Walking further into a forest lit by brightly colored lights once the sun sets, you come to a beautiful amphitheater nestled in a grove.
As dusk descended upon this verdant expanse, eager concertgoers gathered under the canopies, their whispers mingling with the rustle of leaves, anticipating a night of transcendental music. They weren’t disappointed. Trey took the stage a little after 8 pm, opening with a driving, pulsating “Sand,” followed by some nice soloing on “Back on the Train.” He continued with “Stealing Time From the Faulty Plan” and then “Steam” before pulling out the acoustic guitar for “Heavy Things.” The crowd was then treated to the debut of a never before played song called “It’s Happening Again,” followed by the first performance of “Windora Bug” in three years.
Set Two featured a few songs off of Phish’s upcoming album Evolve like “Oblivion” and “Pillow Jets” as well as Phish classics like “Ghost” and “Blaze On,” and Trey Anastasio originals. After finishing, the band took the stage for a two-song encore, with Trey pulling out the acoustic guitar for “Water in the Sky” and then finishing with an electric “Prince Caspian.”
As the final notes of the encore faded, the crowd walked away happy – many no doubt on their way to catch the next stop in the tour. It was a high-energy night of music, only marred by a little rain, and a satisfying experience. Trey and Classic TAB’s playing was imbued with a sense of purpose and passion that resonated with every note. They are bringing their A-game on this tour and it is not to be missed.
Trey Anastasio and Classic TAB – Wonderland Forest, Lafayette, NY – Saturday, May 18, 2024
Set 1: Sand, Back on the Train, Stealing Time From the Faulty Plan, Steam, Heavy Things, It’s Happening Again, Windora Bug, I Never Left Home, Gotta Jibboo, I Never Needed You Like This Before
Set 2: Drifting, Oblivion, Ghost, Outside the Lines, Broken Into Pieces, Pillow Jets, Liquidate the Moon, Blaze On, A Wave of Hope, 46 Days
Acclaimed New York City-based electronic musician, producer and activist Moby celebrates the life of Benjamin Zephaniah with the new track “where is your pride?,” out now taken from his 22nd studio album always centered at night, due out June 14th .
Moby, photo credit: Lindsay Hicks
The break-beat-driven track is spoken word with a powerful message delivered in the late dub poet’s characteristically warm burr. “Where is your love? / Where is your faith? / Where is your hope? / Where is your place? / Where is your pride?” Moby is proud to share a track with the late Benjamin Zephaniah to continue celebrating his life and note their aligned ideals: “As a vegan activist, and as a wise and compassionate man, Benjamin inspired me for many years. I hope that ‘where is your pride’ honors his legacy and also draws people’s attention to his life, work, and principles.”
Benjamin Zephaniah was a British writer, dub poet, actor, musician, and poetry and creative writing professor. He was included in The Times list of Britain’s top 50 post-war writers in 2008. He won the BBC Radio 4 Young Playwrights Festival Award in 1998 and received at least sixteen honorary doctorates.
Benjamin Zephaniah | Photo credit: Adrian Pope.
Moby was born Richard Melville Hall, in Harlem, in 1965. His father gave him his nickname, Moby, because of his hereditary relationship with Herman Melville. Moby started playing classical music and studying music theory when he was nine and came of age musically in the punk rock scene in and around New York in the early 80’s. He released his first single, “Go,” in 1991 (listed as one of Rolling Stone magazine’s best records) and has been making albums ever since. He has sold over 20,000,000 albums worldwide.
Even by Moby’s standards, always centered at night is special. The album features 13 collaborations from names many might recognize to others many undoubtedly will come to know. The captivating voices on always centered at night include Sudanese, Netherlands-based chanteuse Gaidaa, London-based, Burundian royal refugee J.P. Bimeni, and Kingston-raised, London-based Aynzli Jones. These are often personal songs, and the personal is the political, as is the border-defying nature of the work.
In his pursuit of new sounds, Moby has become a collector of voices. He’s a connoisseur of the timbre and texture of human vocal chords, whether sampling artists like Bessie Jones, Vera Hall, or Boy Blue, or working with superstars like David Bowie.
Thrilled to bring this dynamic body of work to the world, Moby explains, “For the last 30 years, I’ve worked with amazing singers–everyone from David Bowie to Freddie Mercury, Gregory Porter to Jill Scott. Always centered at night continues my love of collaborating, but has a focus of working with amazing singers who might not be as well known as David Bowie and Gregory Porter.” Though all tracks are collaborations, the music remains unmistakably Moby, dripping with glittery melodies and warm, hypnotic instrumentals.
The Ashokan Center in Olivebridge, NY will hold The Spirit of Aloha ukulele concert on Saturday, May 25 at 7:30 pm, to kick off their 11th annual Uke Revue.
This special concert will feature 6 remarkable ukulele players from all across the country coming together to honor the tradition of playing the instrument. Additionally, the concert previews the weekend-long celebration where musicians come together with enthusiastic learners to teach and play ukulele together.
Musician, Ben Hassenger, known as the “Ukulele Ambassador of Michigan,” will host the festival. Hassenger is a strong advocate for ukulele playing and education. Currently, he uses his passion to spread the teachings of the ukulele in the form of Uke Fest, which he’s been the coordinator of since 2020.
I like to call the ukulele the ‘most folk of folk instruments’ because it brings folks together. Rarely do you see one uke player sitting by themselves; more often it’s a group of two, three, or dozens playing together and singing. It’s a communal music experience and that’s one of the many things that makes it so very special.”
Ben Hassenger
Along with Ben Hassenger, the Uke Revue will include performances from Lil Rev, Kelly Jolly, Victoria “Viggy” Kolasinski, Dani Joy, and Perry Stauffer. All six musicians will be participating in the weekend’s activities as educators.
This lineup consists of ukulele social media influencers, festival organizers, creators of ukulele academies, and sponsored musicians.
Ticket prices are on a sliding scale, ranging from $10 to $30 for all ages.
More information and tickets for Uke Revue 2024 and Uke Fest can be found here. For more events at The Ashokan Center, fans can visit ashokancenter.org
Sports and hip hop have long been synonymous. In a world where athletes and rappers envy one another, the shared racial dissonance of black entertainers likens them. Thus maintaining a symbiotic link between an era’s biggest rappers and its biggest sports stars. Similarly, the shared cultural influence trickles down to fans and listeners alike, shaping the zeitgeist of the era. However, as we’re firmly entrenched in the “okay, boomer” era, pivotal moments in hip hop and sports have become a tolerated happenstance.
Yet, despite the cultural ambivalence towards the past, multimedia recountings maintain a niche audience. It’s in this essence that Saigon and Fredro’s debut collaborative effort, The Jordan Era, came to fruition. After all the veteran MC was initially only writing and recording a few records for two of Starz’s hit tv-shows Raising Kanan and  BMF — which chronicles the rise of the real life Black Mafia Family drug empire.
Saigon and Fredro capture a moment in time on “The Jordan Era.”
Markedly, BMF gained steam during the late 1980’s and became one of the nation’s largest drug-trafficking outfits during the 1990’s, a time of great cultural significance in urban America. Including the influx of street-level drug dealers making loads of money as a result of the crack cocaine epidemic, rendering them either neighborhood heroes or the latest cautionary tale. Nonetheless, the rise of the DIY pharmacist served as inspiration for hip hop’s golden age as rapper’s mimicked the style of the street hustlers and shared their war stories with the world. All of this combined with the peak of the world’s most popular sportsman — in Michael Jordan — resulted in a protracted cultural nirvana which Saigon and Fredro have summed up as, The Jordan Era.
The Jordan Era Album Review
I was making whole songs and they were only using like 10 seconds of it. I told Fredro we should make a whole album. I had all these great records that sound like ’80’s and ’90’s but I didn’t have any features. That’s when I got on the phone with Grand Puba and I called all these guys.
– Saigon
Much like other renowned biopics such as Walk The Line, Straight Outta Compton, or Ray, The Jordan Era is a time capsule into a significant period in American culture. Produced entirely by Swedish producer Fredro, the album features hip-hop pioneers the likes of Grandmaster Caz, Pete Rock, Big Daddy Kane, Grand Puba, Kool G Rap, and more. Moreover, the album showcases Saigon’s raw ability as an MC. Emerging from the gagster rap craze of the early 2000’s the former Entourage actor is no stranger to hard-hitting lyricism. Yet, his versatility and creativity is at full showcase as he offers his own rendition of the greats that preceded him.
Saigon & Fredro hosted a “The Jordan Era” listening party/ Photo by Rob Tellerman
Standout Tracks
Beginning with the first song on The Jordan Era “G Miller” where he impersonates a fly talking rapper over 1980’s club music. “G Miller is my alter ego,” Saigon divulged during an album listening event. “It’s me just going in the booth and having fun just trying to be one of those fly ’80’s rappers that I grew up with.”
Following “G Miller” is “Lyrical Genius” featuring Grandmaster Caz, a quick-witted, upbeat lyrical onslaught where Grandmaster Caz reminds listeners of his songwriting prowess. In the ensuing music video Saigon goes full ensamble, sporting a full ’80’s style puma getup along with a kangol hat and the requisite dance moves. Immediately after comes “Think Twice” featuring Grand Puba, an upbeat, honest record reminding listeners that hip hop began with a “keep it real” mantra as Saigon spits “a rapper rapping about a killer and ya’ll say he’s the man, I see right through that n**** like he suran.”
As the album ages, so do the records, the beat selection and the lyrical subject, mimicking the dark undertones hip hop undertook in the early-to-mid 1990’s. Namely, Saigon recruits one of the pioneers of the mafioso sub-genre in Kool G Rap for “Make Money.” But all in all, the “The Letter P” rapper seemed focused on bringing back the essence of hip hop, showcasing his status as a professional MC with real, impassioned raps that serve as a tutelage for listeners sans any overt profanity.
Album Production
While Saigon’s skills as a songwriter are apparent, Fredro is a testament to hip hop’s global reach. Hailing from Sweden the multi-platinum producer began his career working with a whose who of the pop world from Sinead O’Connor to Christina Millian. However, hip hop was never too far away. “Hip hop was always the foundation,” Fredro shared. “Even if I work with a girl group in Tokyo there’s some kind of element of hip hop in there.”
As soon as the genre made its way to Sweden in the early 1980’s Fredro became a student and what was presumed a fad became a staple of their music culture. “Everything goes in cycles. This kind of sound is coming back. What’s funny is like boom bap never left Europe or Japan, its huge. All your favorite artists tour Europe and they go to Australia and Japan and Korea, they fanbase always stayed and never left.”
As a result Fredro produced every track on the album except one and even did all the scratches on the records. “I always loved scratching, it’s such a great element of hip hop that no one is doing. It’s like a guitar solo in rock & roll, it should be there.”
Ultimately, Saigon and Fredro offer a small glimpse into the world of yesteryear. Nonetheless, fans of classic hip hop and all its internal components (production, scratching, lyricism, songwriting) will be glad to spend a day in The Jordan Era.
Drummer Danny Eberle has always been the epicenter of the madness. Whether it was with his experimental rock band Lip Critic on the SUNY Purchase campus, or his rock band On Pink at venues across upstate New York, his arms were sure to blur with intense motion as he churned out a sweaty set for a basement filled with thrashing college kids baking in the body heat. He stayed wired into his craft as his fast-paced hits and rapid-fire movements clashed against the loud guitars — a perfect background for the kids to mosh to. This was the environment that he called home during the pre-COVID years, roots that he still wears on his sleeve.
Eberle has since graduated out of those sweaty student-run basements. Last year he drummed through the Netherlands, Prague and Italy, as a part of hardcore rapper Lil Darkie’s backing band. He now plays with Lip Critic, as they plan for their first international tour as a band this summer in support of their newest album, “Hex Dealer,” which dropped on May 17. He’s been around the world, but always seems to find a way back to his beloved hometown of Staten Island.
Photos by @Makaylamber
While growing up in the borough, Eberle was multiple things at once, moving around quickly and sporadically — like he does onstage. He started his music career taking guitar and bass lessons as a kid, but it wasn’t clicking for him. From there, he messed around in D.I.Y. bands with his lifelong friend and classmate, Joe Ippolito, while attending Manhattan’s music-oriented LaGuardia High School. The two were inspired by the garage rock duet style of Black Keys, White Stripes, but, most characteristically, 90s indie band Ween. One early project that actually got a name — Strangelands — covered Ween frequently, inspired by their carefree, jokey attitude that rubbed off on their own project.
“We didn’t take ourselves seriously at all, but we took the music seriously,” he said.
The duo started their Strangelands career with daytime shows at dive bars on Staten Island, playing to family members. Eager to break out at city venues — anywhere that would let their young, high school selves shred a couple songs, the band turned to recording studios and low-key venues in Times Square. One of these holes in the wall was Funkadelic Studios, a small building tucked within the Garment District that allowed high school students to rent rooms to play shows without charge, and immerse themselves in a DIY-esque space early on.
“We’re small dudes, so we definitely stuck out like a sore thumb in these places of just kids, like, doing drugs,” said Ippolito. “We were kind of just there to play and see music.”
“That was my first experience being around other music minded people, skaters, all that stuff,” he said. “That was definitely eye-opening. It was great to perform in front of audiences in that sense, because it’s beyond playing drums at a recital.”
photo by @elyzareinhart
At LaGuardia, where everyone dreamed of being like its alumni stars of the past, the energy in the classroom felt too high-stakes and traditional. Eberle equates their austere jazz program to being on a varsity sports team, finding himself much more drawn to the DIY aspects of after-school projects he formed with his classmates. He started at SUNY Purchase in 2018 — after lifelong friend and future Lip Critic bandmate Ilan Natter pushed him to attend, enticing him with the bustling, colorful music scene that awaited.
“I remember telling him that Purchase is really what you want, which is to be able to play loads of music without being a music major,” he said. “I couldn’t speak to other schools, but I was like, ‘If you come here, you will play drums in every band.’”
“It was like LaGuardia 2.0,” Eberle said of Purchase. A majority of the people in his classes were fellow alumni, and the musical connections they shared followed them all the way to Westchester. He was constantly seeing old classmates perform during shows at The Stood, Purchase’s very own on campus venue — a space that constantly brewed the freshest sounds and budding artists.
“Because of that, you’re meeting musicians,” he said. “It sets a foundation for how you can start bands and actively play. It’s super accessible and no one’s gonna judge you. You can test the waters by playing a show and seeing if people show up.”
Lip Critic assembled during Eberle’s freshman year at Purchase, originally an improv act. It spawned from the ashes of previous failed projects started with musicians he was meeting during his first few weeks at the college. When a member of one of their many bands couldn’t attend practice, Eberle and Natter — the other drummer of the band — were left to experiment. After bringing in two other artists that they’d met at house parties, singer Bret Kaser and sampler Connor Kleitz, the band took the stage at The Stood for the very first time for a hectic, live jam session that was “received super weird” by the venue’s typical student crowd. “Everyone was like, ‘what the hell’s going on?’” Eberle laughs. “They thought we were strange.”
Lip Critic’s sound refuses to slow down for those who can’t keep up. Their fast-paced, glitchy take on rock music draws similarities to loud noise acts such as Death Grips — Eberle’s speedy and distorted drumming heightening the beautiful, collective chaos.
photo by @heydoodypantsitsizzy
The band started picking up speed very quickly, releasing their first EP, “Lip Critic II,” in 2020. They supported the release with a long-awaited slew of upstate New York and NYC shows once COVID restrictions were lifted in 2021. The band shipped their first project around to every record company they could think of, waiting on any sort of reply. They spent the next couple years riding the rise to local scene notoriety, gaining more than 20k monthly Spotify listeners and playing for sold out crowds at established New York City venues such as Elsewhere Hall.
In early 2023, Eberle woke up to a text one day from Alex Wacksman — a.k.a. Wendigo — a producer he met through mutual friends that works with Lil Darkie. The rapper just put out his newest album, and needed a drummer to join him on tour. “Do you have any plans for May?” it read. “Do you want to come to Europe?”
Not even a month later, Eberle was on a flight to Switzerland to rehearse drums with the rapper. They had never played together — or even met — and it was his first time going to Europe in general. Eberle reflects on the experience breezily, gushing about how easy it was to make friends through the backing band — similar to how quickly he connected with musicians from Purchase. After all, they all spoke the same language.
“He assimilated pretty quickly into making it seem like he’s never not been a part of this band,” said Ippolito, who watched him tour from the States. “Even though he’s not necessarily a guitar player or a bass player, he’s got ideas on that front that he can pretty easily communicate to people who do play those instruments.”
The chemistry between Eberle and Darkie’s band made being in unfamiliar territory, getting chauffeured around by personal drivers from the Czech Republic and meeting all of the “crazy motherfuckers” that Europe had to offer almost like living in a dream. In a mere matter of weeks, Eberle jumped from playing for the Stood’s few dozen stragglers to selling out buzzing venues filled with hundreds of people — such as the legendary Academy in Dublin, a rite of passage for indie bands of the past.
“Every show was mayhem,” he said. “The fans were so fucking young, so they were there to go crazy. I could feed off of that so easily because I’m looking at these kids right in the eyes and I’m like, ‘Keep going!’”
Photos by @Makaylamber
On stage, Eberle thrives off of mutual energy. Lil Darkie’s fans were remiscent of the Times Square teens that filled the crowds during his Strangelands days, eager and jumping at the sounds of his rapid, pulsating beats. Once Lip Critic started to score opening slots for bigger acts such as post-punk giants IDLES and Viagra Boys, he found it harder to connect with standstill crowds that weren’t sure what to expect from him. Still, he develops his own ways to force the audience to engage with him — and they seem to be working.
“If there’s some dude crossing his arms, just looking pissed off, I’m gonna look him dead in the eyes, on some scary shit. I’m not about to kill you, but I’m gonna look at you like I’m about to kill you.”
Eberle ends up back in Staten Island — the home he loves unapologetically. For a borough that gets so much — in his opinion — unnecessary slack, he reps it shamelessly everywhere he goes. It’s where many of his early bands started up, where he’s met some of his closest musical comrades and where he still plays gigs at hidden-gem dives, like the north shore’s Mother Pugs and beloved Flagship Brewery — opportunities he’ll never take for granted.
“Growing up in a suburb like this, you learn to appreciate what’s around you. I think there’s always been a good scene here, even when I was starting. When I was a kid playing the drums, I was able to practice in my basement. With Lip Critic, it feels right to rep Staten Island because our first practice was here.”
As the band currently tours through England, they plan to come back to Staten Island for a hometown show at MakerParkRadio’s studio — the borough’s independent radio station — this July.
As an artist, Eberle has many places he can call home — Purchase, the NYC D.I.Y. scene, Staten Island and now, the world. He’s unsure of what awaits Lip Critic, and his personal career. Still, he’s not worried. “I like having these multiple identities,” he said. “I’m meeting all of these dudes that are playing drums and writing songs that aren’t just pop songs. These people listen to the same bands or came from the same scenes that I did. It’s cool to see that all these communities exist.”
The annual Memorial Meltdown music festival will take place May 25-26 in Lake George. The weekend-spanning festival will feature touring acts from across the country to ring in the summer concert season. With the festival featuring four sets each day, concert-goers will have a variety of genres and artists to enjoy.
Memorial Meltdown is held by the same organizers as the Adirondack Independence Music Festival, which will be held in late August in Lake George. In addition to performances, the festival will feature DJ sets and a variety of food and craft vendors. With the concert’s location at the Charles R. Wood Festival Commons, concert-goers will have access to Lake George’s restaurants, shopping, campgrounds and other amenities.
This yearâs festival will be headlined by The Revivalists on Saturday and Dispatch on Sunday. Americana groups Ryan Montbleau Band, The Mallett Brothers Band, and Rob Beaulieu Band will join the Revivalists on stage on Saturday. On Sunday, Dispatch will be supported by the reggae and funk rock influenced stylings of Mihali, The Samples, and Annie in the Water.
The Revivalists are a world-renowned rock ‘n’ roll octet, who have racked up critical and commercial success with their alt-rock anthems. They rose to fame with their signature blending of American music styles, ranging from funk and jazz to roots rock. With smash hits, like the double-platinum “Wish I Knew You,” they have garnered over 800 million streams. Known for their live shows, the Revivalists have previously headlined everywhere from Lollapalooza to the New Orleans Jazz Fest. The Revivalists champion many philanthropic causes with portions of their ticket sales donated to Rev Causes. Rev Causes supports a host of charitable organizations, ranging from gun safety to arts endowments.
Vermont-based roots rock band Dispatch are legends of the live music circuit. For over 25 years, the band has garnered success in both studio and live environments. Throughout their career, they have released eight acclaimed studio albums, starting with 1996’s Silent Steeples. Throughout their career, Dispatch has not been afraid to completely overhaul their sound between albums. Their latest album Break Our Fall illustrates the band’s eclectic mixing of genre. Reggae, folk, and blues supplement the band’s signature roots rock, working as a vehicle for their most pointed political lyrics to date. They speak to finding hope for the future in a time of such political and social chaos.
Dispatch is also a mainstay of the live circuit, having performed at countless festivals and concerts. They made history selling out Madison Square Garden three nights in a row, and drawing crowds of over 100,000 to a live concert in Boston in 2004. What makes this all the more impressive is the band’s relative freedom within the music industry, drawing these audiences with no major label support.
On top of this, Dispatch has remained dedicated to philanthropy, using their fame to aid a number of charitable causes. The band has formed charitable organizations to fight issues like poverty and mass incarceration. They have even traveled as far as Nicaragua and Zimbabwe to help those in need. This show comes before the band’s fall AMPlifying Democracy Tour, meant to promote civic engagement before the presidential elections. The tour will promote Dispatch’s AMPlifying Democracy Campaign to inspire voting in national and local elections regardless of political affiliation.
Gates for Memorial Meltdown open both days at 2:30 PM, with performances lasting from 3:30 past 9:00 PM. Tickets are on sale now, with a variety of single and multi-day passes. VIP passes include a meal, snacks, discounted beverages and access to a private viewing area. Children 12 and under get free admission. For more information on ticketing, visit the link here.
A new exhibition at Fenimore Art Museum in Cooperstown celebrates another impressive aspect of music legend Bob Dylan’s creativity: his talents in visual art.
Bob Dylan Remastered: Drawings from the Road features ninety-two unique, original signed works. The exhibition is on view from May 25–Sept. 15, 2024.
A selection of portraits from the exhibition Bob Dylan Remastered: Drawings from the Road, on view at Fenimore Art Museum in Cooperstown starting May 25. (Photo courtesy of PAN Art Connections).
A dedicated performer, Bob Dylan started what is known as his “Never Ending Tour” in 1988; between 1989 and 1992, as he traveled through North America, Europe, and Asia, he began sketching glimpses of his life on the road. The pencil and charcoal drawings were a way to “refocus a restless mind,” as Dylan claimed, providing him a new outlet to celebrate the comings and goings of everyday life.
“This exhibition allows everyone, including Dylan’s fans, to experience another aspect of the range of talents possessed by this music legend,” said Chris Rossi, Director of Exhibitions at Fenimore Art Museum. “We all recognize him as an accomplished singer/songwriter and visitors will be equally amazed when discovering his work as a visual artist.”
Dylan made three different collections out of the original drawings by “remastering” these works, adding vivid watercolor and gouache to digital enlargements of the drawings to create a new, special edition set entitled The Drawn Blank Series, which is the focus of Fenimore’s exhibition.
All three series were first seen during an exhibition at the prestigious Kunstsammlungen Chemnitz Museum in Germany in 2007. After one additional show in Helsinki, the works returned to Dylan. Today, The Drawn Blank Series is owned by a private collector while the other two sets were sold to a private gallery. His skills as a draughtsman, in keeping with his talents as a songwriter, lie in his ability to tell a tale through the simplest and most evocative means.
Enrose took a break from touring to record and release their new single, “My Happiness”. Led by Gabi Rose, the New York based band explored life’s challenges and how we face them. Sonically, the single is reminiscent of late ’90s early 2000s alt-rock, with a sax chorus, upbeat rhythm, and synth solo.
The lyrics delve into life’s darkest moments, and the power we have to overcome them. Rose describes the desperation on continuing to survive while at rock bottom, singing, “Been surviving this long on dangerously low gasoline… How dumb, you only come and call when you’re needing me?”. Rose questions why she only takes care of herself when it’s too late, reminding herself, “that girl I’m talking to/ my happiness depends on you”.
Erose originated in basement parties and house shows, and paid homage to their roots in the “My Happiness” music video. The video features Rose talking to herself in the mirror, representing the song’s internal monologue perspective. The video also features a high energy performance by the band, surrounded by friends.
Enrose “My Happiness” represents a nostalgia that has become increasingly popular, a return to pop-rock of the late ’90s. The infectious chorus, along with the emotional lyrics, draw listeners in and do not disappoint. The optimistic message is refreshing, and delivered in an honest and sincere way. The high energy performance in the music video solidifies Enrose’s reputation as dynamic performers, in addition to skilled artists.
Enrose is performing at the Great South Bay Music Festival on July 19th. Tickets can be found at the following link, and a 10% discount is available with code “ROSE”.
