For the second episode of Saturday Night Live in 2024, Studio 8H welcomed back Madame Web actress Dakota Johnson, along with musical guest and SNL Five-Timer Club member, Justin Timberlake.
The opening sketch this evening through was a bit more of a cold and dry open, making light of the NFL season coming to an end this weekend (short of the Super Bowl), and draining the last comedic bits of Taylor Swift’s influence, out of the football and SNL seasons.
During Johnson’s monologue where she reminisced about her last stint as host, and brought up The Social Network co-star Justin Timberlake, who showed up to casually remind Johnson that he’s available for sketches, given his Five-Timer Club status.
During the “Waiters” sketch, Sarah Sherman displayed equal parts Gilda Radner and Kristin Wiig with her unique quirk worked in.
“The Barry Gibb Talkshow” returned for the first time since 2013, taking a look at the 2024 election, with Jimmy Fallon making a special appearance as Barry Gibb and Timberlake as Robin Gibb. Bringing this back was a no-brainer with Timberlake on the show this week, even if Fallon has gotten a little tiring as of late.
“Home Videos” would be the highlight of the episode, with Andrew Dismukes as a son who learns his parents were on a Maury Povich-style talk show, where his father (Mikey Day) learned he was the father.
An always a welcome short from Please Don’t Destroy kept their hot streak going, even if Dakota Johnson did knock the trio down a peg, referring to Ben Marshall, John Higgins, and Martin Herlihy as ‘The Lonelier Island’ in a roast-filled segment.
Timberlake performed “Sanctified” for his first song, the second single from his upcoming sixth solo album, Everything I Thought It Was, due out on March 15. JT was joined by Houston rapper Tobe Nwigwe for the rock/rap/R&B number, walking in from stage left, flanked by dancers clad in flowing white dresses, an appearance that was teased last week on Nwigwe’s Instagram.
https://www.youtube.com/watch?v=zLC8XiBxV1k
Timberlake’s second song was the first single from Everything I Thought It Was, “Selfish,” the same title as a 2011 release from his ex, Britney Spears. Surrounded by white neon lines along cascading walls, stripped down with just a drummer and keyboardist, Timberlake sang softly in contrast to “Sanctified,” a more passionate and smooth pop hit in “Selfish.”
SNL returns on Saturday, February 3 with host Ayo Edebiri and musical guest Jennifer Lopez.
Indie-folk artist Alec Duckart, known professionally as Searows, played a sold-out show January 25 at New York City’s Mercury Lounge as part of his first headline tour.
Alec Duckart – Photo by Molly Higgins
The show was the last of the tour’s U.S. leg and his second in the NYC area, having played Brooklyn venue Baby’s All Right the day before. The intimate, 250-capacity Mercury Lounge proved to be a cozy home for Duckart’s serene sound.
The crowd of fans, mostly in their teens and twenties, cheered and shouted “I love you”s while Duckart tuned his guitar, before opening with his 2023 single “Older.” The room was hushed as Duckart captivated his audience—the crowd swayed and sang along quietly, but many were silently transfixed by Duckart’s blissful acoustic guitar and poetic lyrics.
Duckart wrote, recorded, and produced his own debut album Guard Dog, which was released in September 2022. In 2023, Duckart released the single “House Song,” which has amassed nearly 20 million streams on Spotify. By the end of that year, Duckart signed to Matt Maltese’s record label, Last Recordings on Earth, and released his six-track EP End Of The World, which his ongoing tour is promoting.
Now that the U.S. leg of the tour is complete, Duckart will make stops in London and Paris. Duckart previously toured as a supporting act for artists including Maltese, Gracie Abrams, and Leith Ross.
Searows Setlist: Older, End of the World, Coming Clean, Collector, Keep the Rain, Roadkill, Used to be Friends, I Have More Than Enough, I Can and I Will, House Song
The music and art scenes in Brooklyn hold a rich and diverse history that plays a fundamental role in shaping American music culture. Music and art cohesively work together to display emotion, purpose and influence one medium on the other, with the ability to connect communities of people from different backgrounds and cultures through audio and visual languages. Brooklyn’s music and art scenes bring unify the borough with diversity, a melting pot and continually at the forefront of American culture.
The West Indie Day Parade
Now, and in decades prior, music and art have become a way of life to the rhythm of Brooklyn, one that is kept alive and running by successive generations of immigrants and transplants from across the world and nation. The power of creativity is not just about entertainment, but about sparking a community to create change, awareness, freedom and unity, becoming a culture that exists as a city’s heartbeat.
The culture of art exploded in the early 1980s from street art, which put the spotlight on local talent, including TAKI 183 who entangled the graffiti movement, highlighting the power of making a statement and pushing extensive boundaries. In the 2000’s, the Brooklyn art scene got hotter with the digital age and the use of technology as a tool to present digital born art, increasing our understanding of unique characteristic features. Artists began collaborating and the rise of art hubs allowed for universal creativity. Today, art in Brooklyn is accessible and continually celebrated.
Music records the collective and diverse history of Brooklyn, spanning across genres and generations. In the 1920‘s, jazz became the central sound, evolving and influencing numerous genres to this day. By the 1960s and 70s, the borough became a hub for soul, funk and R&B, and by the 1990’s, the growth of hip hop culture continues national influence today. By the 21st century, the rise of music festivals including BRIC, Afropunk, Brooklyn Folk and Brooklyn Hip-Hop festivals – as well as dozens of cultural and smaller music festivals, parades and events – continuing to bring the borough together through all walks of life.
The West Indie Day Parade
The West Indian Day parade has become one of New York’s major cultural celebrations and takes place on Labor Day to parade down the eastern parkway. West Indian culture trace their ancestors back to the Caribbean, where the island takes pride in multifaceted colorful dances, parties, and annual carnival celebrations.
With vibrant sequins and feathers, the parade highlights an extraordinary range of people and places that show all walks of life and the importance of unity. Caribbean art has become a diverse reflection of culture, seen in their costumes and elaborate face masks in a wide variety of styles inspired by natural and spiritual cohesive elements. The colorful traditions of Carnival and rich presentation of cultural identity has a boundless impact on the art that emerges through the historical parade that showcases pride, heritage, culture and the importance of identity.
Cultural identity has served as a catalyst for artistic expression, defined by music and art, allowing artists to explore their roots and traditions that serve as an intertwined visual language, creating a narrative that speaks to people of all ethnicities, religions and backgrounds. Not only does the West Indian Day parade attract a community for the annual celebration, it celebrates a bigger purpose of honor, respect, and support from the borough.
The Brooklyn Record and Arts Fair
The Brooklyn Flea Record and Art Fair – held on Saturday, September 30, 2023 at the Marsha P. Johnson State Park – celebrated 12 years of vinyl treasures with over 40 labels, record stores and collectors. The impact and resurgence of vinyl records on the music industry has revolutionized the creation of music, distribution, consumption, and ultimately helped acknowledge the value of the music community. Vinyl allowed music to become more accessible, enabling a visually captivating and engaging representation that highlights a deeper appreciation for the overall experience of music.
The record fair celebrates the unity of both mediums, a way for people of all ages to come together to see vendors that also value the evolution of music over the ages. Including alternative, indie, rock, metal, jazz, classical, pop, blues and much more. Artists and music enthusiasts come together to appreciate the tangible experience of holding a physical record that connects them to the roots of music, enhancing the auditory experience that keeps the love for music alive.
Art and music go hand in hand, sharing a relationship that evokes an emotional response and involves elements of rhythm, harmony and texture that coexist with one another. Music and art are tools for communication, ingrained into the fabric of our society, our relationships and can be understood universally beyond culture and language.
The harmony between the two share narrative moments, they inspire and influence one another, that create a unique dynamic that allows music and art to become part of the culture. Art and music share an intertwining relationship that cohesively evokes emotions, community and promote creativity. Building a culture as seen in Brooklyn permits an exploration of identity, communication and reflects symbiosis between the two art forms.
10-time GRAMMY-winning and Emmy-winning Justin Timberlake is set for the “Forget Tomorrow” tour spanning the nation this summer, with the pop artist notably stopping at Madison Square Garden (MSG) on June 25 and 26, the Barclays Center on Oct. 7, and Keybank Center on Oct. 21.
Coming off a hiatus, Timberlake has announced his sixth studio album Everything I Thought It Was to be released on March 15, accompanied by the “Forget Tomorrow” world tour which will be the singer’s first tour in five years and fans can expect yet another remarkable music tour.
Timberlake is known for his successful albums like Man of the Woods, The 20/20 Experience, and his debut solo album, Justified released in 2002 which earned him three American Music Award nominations. In addition to music, the singer has made numerous film and TV appearances throughout his career. The singer lent his voice to DreamWorks’ animated film TROLLS, which recently has a third installment, TROLLS BAND TOGETHER. Considered one of Pop icons by fans, the singer’s work has influenced numerous artists including Justin Bieber and even Shawn Mendes.
The Justin Timberlake “Forget Tomorrow” World tour fan club presale begins on January 29, while the general on-sale for all shows, including MSG, begins on February 2 at the singer’s official website.
Justin Timberlake – “Forget Tomorrow” World Tour – North America 2024 Dates
Mon Apr 29 – Vancouver, BC – Rogers Arena
Thu May 02 – Seattle, WA – Climate Pledge Arena — SOLD OUT
Fri May 03 – Seattle, WA – Climate Pledge Arena
Mon May 06 – San Jose, CA – SAP Center at San Jose — SOLD OUT
Tue May 07 – San Jose, CA – SAP Center at San Jose – JUST ADDED
Fri May 10 – Las Vegas, NV – T-Mobile Arena* — SOLD OUT
Sat May 11 – Las Vegas, NV – T-Mobile Arena* – JUST ADDED
Tue May 14 – San Diego, CA – Pechanga Arena San Diego — SOLD OUT
Fri May 17 – Inglewood, CA – Kia Forum — SOLD OUT
Sat May 18 – Inglewood, CA – Kia Forum — SOLD OUT
Tue May 21 – Phoenix, AZ – Footprint Center — SOLD OUT
Wed May 29 – San Antonio, TX – Frost Bank Center
Fri May 31 – Austin, TX – Moody Center
Sat Jun 01 – Austin, TX – Moody Center
Tue Jun 04 – Fort Worth, TX – Dickies Arena — SOLD OUT
Thu Jun 06 – Tulsa, OK – BOK Center — SOLD OUT
Mon Jun 10 – Atlanta, GA – State Farm Arena — SOLD OUT
Wed Jun 12 – Raleigh, NC – PNC Arena — SOLD OUT
Fri Jun 14 – Tampa, FL – Amalie Arena — SOLD OUT
Sat Jun 15 – Miami, FL – Kaseya Center
Fri Jun 21 – Chicago, IL – United Center — SOLD OUT
Sat Jun 22 – Chicago, IL – United Center — SOLD OUT
Tue Jun 25 – New York, NY – Madison Square Garden — SOLD OUT
Wed Jun 26 – New York, NY – Madison Square Garden — SOLD OUT
Sat Jun 29 – Boston, MA – TD Garden — SOLD OUT
Sun Jun 30 – Boston, MA – TD Garden — SOLD OUT
Wed Jul 03 – Baltimore, MD – CFG Bank Arena — SOLD OUT
Thu Jul 04 – Hershey, PA – Hersheypark Stadium
Sun Jul 07 – Cleveland, OH – Rocket Mortgage FieldHouse — SOLD OUT
Tue Jul 09 – Lexington, KY – Rupp Arena — SOLD OUT
Mon Oct 07 – Brooklyn, NY – Barclays Center – JUST ADDED
Tue Oct 08 – Newark, NJ – Prudential Center – JUST ADDED
Sun Oct 13 – Washington, DC – Capital One Arena – JUST ADDED
Thu Oct 17 – Toronto, ON – Scotiabank Arena – JUST ADDED
Mon Oct 21 – Buffalo, NY – KeyBank Center – JUST ADDED
Wed Oct 23 – Columbus, OH – Nationwide Arena – JUST ADDED
Sun Oct 27 – Chicago, IL – United Center – JUST ADDED
Sat Nov 16 – Atlanta, GA – State Farm Arena – JUST ADDED
Between gamblers playing slot machines and Black Jack, fans crowded into the sold-out Great Cedar Showroom at Foxwoods Casino for the veteran rock band Extreme. The band is on the Thicker Than Blood Tour, supporting their new record, Six. This is the second show for the band after the tour kicked off at the Bergan Performing Arts Center in Englewood, New Jersey.
Extreme was founded in 1985 in Malden, Massachusetts and is made up of Gary Cherone on lead vocals, Nuno Bettencourt on guitar, Pat Badger on the bass guitar and Kevin Figueiredo on the drums.
Prior to Extreme taking the stage, the New York City native band, Living Colour warmed up the crowd for a 45-minute set. Like Extreme, Living Colour was founded in the mid-1980s and has produced classic hits like “Cult of Personality,” and “Glamour Boys.”
Living Colour is comprised of guitarist Vernon Reid, Doug Wimbish on the bass guitar, and Will Calhoun from the Bronx, on drums with fellow New Yorker, Corey Glover on lead vocals.
For the entire 45 minutes, Living Colour produced a powerful and memorable set that included eight songs. During the last song of the band’s performance, as they blasted into the aforementioned “Cult of Personality,” Glover hopped off the stage and walked into the crowd while belting out the lyrics to the song. The crowd erupted as Glover walked up and down each section of the theater, stopping for photos with fans and high-fiving concertgoers. Living Colour did a phenomenal job getting the crowd ready for Extreme.
As the clock ticked to 9 p.m., the houselights dimmed as the Extreme banner raised behind Figueiredo’s drum kit. With the blue spotlights on them, the band jumped right into “It (‘s a Monster)” off of the band’s most successful record, 1990’s Extreme II: Pornograffitti.
Throughout the entirety of the band’s set, they incorporated music from their entire discography starting with their self-titled debut record up until their most recent record. While storming through each song, Figueiredo was a man possessed on the drums. His kit didn’t stand a chance as he belted away throughout each song providing chest-thumping beats.
Fans who came to the show on the chilly Friday night were certainly in for a treat as Extreme played for two whole hours. At one point of the set, Figueiredo brought out a mini drum kit as the band embarked on a mini, two-song acoustic set that featured the beautiful ballads “Other Side of the Rainbow,” and “Hole Hearted.”
Even during the band’s acoustic set, there was still so much energy. Throughout the night Cherone slithered and stretched his way around the stage as Badger plucked at his bass guitar during Bettencourt’s shredding solos. It’s widely known that one of Bettencourt’s heroes was the late Eddie Van Halen and Bettencourt paid homage by playing the intro to Van Halen’s “Women In Love…” while saying “Happy Birthday Eddie.”
It was extremely impressive how each band member was able to work off one another and how they each complimented the other. The band’s stage presence and their comradery were visible from the stage and the smiles they had and the laughs they shared were heartwarming.
Each song that Extreme played was magical in its own way and it felt like the band was taking you on a career-spanning journey throughout the show. In between songs the band interacted with fans, joked around and overall gave the fans their money’s worth.
As the doors flew up at the end of the show and the sound of chips hitting poker tables and slot machines rang in the halls, fans left happy and smiles were shared all around as one of the most hard-working bands in rock and roll right now performed another mind-blowing show.
Living Colour Setlist: Middle Man, Leave It Alone, Ignorance Is Bliss, Open Letter (to a Landlord), White Lines (Don’t Do It)/Apache/The Message, Glamour Boys, Love Rears Its Ugly Head, Cult of Personality
ExtremeSetlist: It (‘s a Monster), Decadence Dance, #Rebel, Rest In Peace, Hip Today, Teacher’s Pet/Flesh ‘n’ Blood/Wind Me Up/Kid Ego, Play With Me, Other Side of the Rainbow, Hole Hearted, Drum Solo/Money Maker, Cupid’s Dead, Am I Ever Gonna Change, Thicker Than Blood, Midnight Express, Hurrican, More Than Words, Banshee, Take Us Alive/That’s All Right, Flight of the Bumblebee, Women In Love… (intro) Get The Funk Out, Small Town Beautiful/Song for Love, Rise
Irish reels and jigs vibrated throughout Symphony Space as WFUV’s Irish music program, Ceol na nGael, celebrated its 50th anniversary. For half a century, Ceol na nGael has provided over 40,000 listeners nationwide with the best in Irish music every Sunday from 12-4pm on 90.7 FM. To celebrate the milestone, the Rogue Diplomats, Celtic Cross, Cillian Vallely and Kevin Crawford of the band Lúnasa, Patrick Mangan, Alan Murray, Séamus Egan of Solas, and Jenna Moynihan performed at Symphony Space located in the Upper West Side on Saturday, January 26.
Also present at the anniversary concert was Ceol na nGael’s co-founder Mary Maguire. Maguire was a student at Fordham University in January of 1974 when she and fellow student Gerry Murphy suggested a traditional Irish music segment during one of WFUV’s fundraisers. Murphy and Maguire believed they would have an audience with New York’s expansive Irish community. The two convinced WFUV (Fordham University’s radio station) to give them one hour of airtime. Little did they know that one singular hour on a winter afternoon would turn into a four hour weekly show.
“We were totally unprepared for how the phones exploded during the first program,” founder Maguire recalled. The one hour of airtime quickly turned into four hours. Eventually, Maguire had to leave the station, or she’d be late to work. Maguire recalled mentioning her workplace on air. She said, “When I got to my waitressing job, the owners came up to me frantically asking ‘What’s going on?! People have been calling and asking why Mary Maguire had to leave some radio station!’”
Due to the high demand of listeners across the tristate area for Irish music, Maguire and Murphy were asked to return next week to the station with more Irish tunes. With that, Ceol na nGael, which is Irish Gaelic for “the music of the Irish,” became a staple of WFUV, airing every Sunday from 12-4pm.
From left: Ceol na nGael hosts Deirdre McGuinness (01-04) with producer Jen Croke (99-02). Also pictured is Joanie Madden, leader of the group Cherish the Ladies, and host Frank McCaughey (00-01).
Not only was the show a staple of WFUV, but it quickly cemented itself as a staple within the Irish community. It could be heard from every corner of the house. Former co-host Dierdre Hogan, FCRH ‘98, said, “As I brought laundry in or out, my father was listening from a small radio in the garage. My mom would have it on again upstairs in the kitchen as she tidied and cooked.”
Ceol na nGael became a household name in the tristate area due to its human touch. “Anyone can go to YouTube or Spotify and search for a good mix of Irish music,” former host Kevin Quinn, FCRH ‘09, said. “But Ceol na nGael has that very, very important human element that makes it endure for as long as it has.”
This human element is seen in the numerous dedications the show takes each and every week. Hosts interact with the listeners on a weekly basis, reading out dedications wishing loved ones happy birthdays or sending out a song in their memory.
Former host Elizabeth Flanagan, FCRH ‘05, noted just how important these dedications are, especially when she hosted in the days that followed 9/11. Her co-host Deirdre McGuiness, FCRH ‘04, recalled playing Irish ballads along with the dedications going out to lost loved ones to provide “hope and healing” to all those affected. Flanagan said, “It goes to show how profound our music is, and how it’s there for us on the happiest and the saddest days of our lives.”
The music bonded together the tristate’s Irish community, which soon became much more than just a community. It was a family. Family is an essential aspect of Ceol na nGael as the music acts as a gateway for one to connect with their roots. Former host Maggie Dolan, FCRH ‘07, said, “Both my grandparents on my father’s side came from Ireland, Cavan and Mayo. I unfortunately did not get to meet my grandparents. However, through music, and its connection with Irish history, I felt that listening to Ceol nGael brought me a bit closer to my grandparents.”
From left: Ceol na nGael producer Liz Noonan with former hosts Colleen Taylor (09-12) and Tara Cuzzi (11-14).
The music continues to connect listeners to their families, their homeland, and their culture. The music’s lyrics depict various political figures and historic events that shaped Ireland’s cultural and political landscape. Ballads like “The Foggy Dew” depict Ireland’s 1916 Easter Rising; while “The Town I Loved So Well” depicts songwriter Phil Coulter’s experience during the Troubles.
This history doesn’t just stay in the past. Listeners can stay up to date with Ireland’s current news every Sunday at 2:00 pm during the show. Reporting straight from Ireland, Louise Williams and Brendan Tier give a seven minute report each on Ireland’s latest news and sports. Every hour, there’s also weekly community bulletin boards to keep listeners informed of local Irish events.
Since Ceol na nGael’s start in January of 1974, it has pushed the boundaries to be an active part of the Irish community. The show never just stayed in the studio. It was alive and breathing on the streets of New York and across the nation as the show is now available to stream on wfuv.org. Ceol na nGael has been broadcasted live from Mary O’Dowd’s in Manhattan. Former hosts have introduced bands at concerts, such as Cherish the Ladies at their annual Tarrytown Christmas concert and to multiple bands on the main stage at the Guinness Fleadh at Randall’s Island. Former hosts have also been guest judges for New York’s Rose of Tralee concert, and just this past week on January 20, Ceol na nGael was at the Symphony Space, celebrating its 50th anniversary.
Former Ceol na nGael host Eileen Byrne (89-94) conducting interviews on site.
Ceol na Gael’s 50th anniversary concert started off with a set by the Rogue Diplomats. The Pennsylvania-based band kicked off the show with their rendition of “South Australia” followed by “Step It Out Mary.” The Rogue Diplomats allowed the audience to ease into the show during these first two songs, but by their third song, they decided to grab hold of the audience and up the craic. Bodhrán player Matthew Cullen Breiner sang a witty introduction to “The Star of the County Down,” mentioning all the intricacies of the New York Irish community and even taking a jab at the New York Giants, all of which caused the crowd to erupt in laughter.
The Rogue Diplomats continued to add bits of dry humor throughout their performance, as heard in their next song, “The Galway Hooker.” Not even half-way through the first verse of the song, guitarist Patrick Marran laughed and said, “Don’t worry, it’s about a boat! Not what you think it is.” Laughter echoed throughout the crowd. Smiles were etched upon the audience’s faces as they were captivated by the Rogue Diplomats’ comedic and musical talent.
The fun of the night carried over into the next act, New York based band Celtic Cross. The band honored Ceol na nGael’s mission to “keep the tradition alive” with their song, “Who I Am.” The song’s lyrics – “I’ll not forget from where we came as I carry on their name” – speaks to remembering one’s roots and honoring one’s history. The song encapsulates what Ceol na nGael stands for and explains why it’s continued for half a century.
Celtic Cross continued to honor Ceol na nGael, dedicating their song “Those Were The Days” to all who helped make Ceol na nGael what it is today. It was a perfect song to dedicate as the song gives a direct shoutout to the show. “Ceol na nGael on FUV taught the words to you and me.” The crowd sang along to a song that captures at least one part, if not more, that they can relate to of growing up in New York’s Irish community. Celtic Cross rode the audience’s high-energy and continued with a fast-paced reel, titled “Mason’s Apron,” before concluding the concert’s first act.
From left: Former hosts Ryan Slattery (17-20), Allie Small (23-present), Maggie Peknic (20-23), and Patrick Breen (19-22).
There was a short intermission before the second half. The second act started with welcoming past hosts from 1974 to 2024 onto the stage. Out of the 40 past hosts, over 30 were able to make the concert. Seeing all the hosts on stage was truly like taking a screenshot of history. They represented 50 years of dedication to the preservation of traditional Irish music. It’s a feat not easily accomplished, especially when considering all of Ceol na nGael’s hosts were former Fordham students, and let’s just say, getting up early on a Sunday morning in college isn’t as easy as it seems.
The music then resumed with lovely tunes from Cillian Vallely and Kevin Crawford of Lúnasa, Patrick Mangan, and Alan Murray. Their melodic tunes created an otherworldly escape. A highlight was a tune titled “Sinead Maire’s,” which Vallely wrote for his daughter. The tune’s tin whistle starts off leisurely, slowly picking up pace before being joined by the uilleann pipes and fiddle.
Before the last act performed, short videos by Joanie Madden of Cherish the Ladies and Brian Warfield of the Wolfe Tones were played. Both musicians expressed their regrets of not being able to make the concert but wanted to make sure Ceol na nGael and its listeners knew just how vital the station was to their lives and their music. A live version of the Wolfe Tones’ “Streets of New York” was then played. Not a week goes by on Ceol na nGael without this song being played. It’s a fan favorite, and the audience confirmed that fact. They sang along to the song, waltzing up and down the aisles as if the Wolfe Tones were truly there in-person performing live.
The night then concluded with a beautiful set by Seamus Egan of Solas, who was accompanied by Alan Murray and Jenna Moynihan. Throughout the set, Egan told stories of his journeys before playing tunes from his 2020 album Early Bright.
At the end of his set, Egan was joined on stage by all of the acts. The stage became packed with various instruments as the opening notes to “Dirty Old Town” were played. The audience got up, sang, danced, and clapped along. And like all good Irish sessions, the concert ended with a fast-paced reel.
But the celebrations didn’t end with the last note. They continued into the next day in the studio. Previous hosts were invited back to the Fordham campus in WFUV’s studio to help host the show. Each host got to play one of their favorite Irish songs or tunes and share stories of their time on air. To listen to Ceol na nGael’s special 50th anniversary show that aired on January 21, head to WFUV’s archives by clicking here.
The celebrations then concluded with a big cheers, or as one would say in Irish Gaelic, a big sláinte to Ceol na nGael’s 50 anniversary with wishes for it to continue for 50 more years! Over the next 50 years, new hosts will take over the show. They’ll bring their own musical tastes and stories. They’ll teach the next generation and continue to keep the tradition alive, just as current hosts Allie Small and Matt Cuzzi do. To listen to Ceol na nGael, tune into 90.7 FM or WFUV.org every Sunday from 12-4pm for the best in Irish music.
If there’s one thing musicians should have in order to appeal to a large audience, it is musical diversity. Elephant Back maintains their own unique sounds whilst having dynamic, ranging styles. The two latest albums by the duo showcase exactly that. The Black Album and The White Album have their own categories of sound, and one is not like the other.
Dave and Sarah of Elephant Back in 2023
Starting with The White Album, the initial track “Home,” is reminiscent of an Appalachian Folk song, mixed with Lumineers-esque soaring indie vocals. The opening track sets the tone and vibe of this album, preparing the listener for folky, indie, emotional odes to love and life-changes. The song “W.T.F.I.C.??” has a spunky indie-pop feel, but simultaneously shows clear Beatles influence in the chords and bass licks.
A great way to describe some of the songs on The White Album would be campfire-song. Songs you can gather around with your friends. Songs where you can pull out a guitar and sing, sitting on some grass just vibing together. The album’s closing track, “Move Me” is quite touching and did, in fact, move me to tears. With the album consisting of six main tracks and one hidden track, the record comes out to less than a half hour of music, yet in these 25 minutes, the band achieves great range and emotional depth.
Continuing onto Elephant Back’s The Black Album, it is a blatantly stark contrast from The White Album. This album’s opening track, “A Lot To Do” immediately grasps the listener with its 60s-style surf rock. The next song, “Bad Love” rings with clear indie-rock/alternative sound, reminiscent of bands like The White Stripes or Arctic Monkeys.
Each track on the album has its own distinct sound, while still tying in a common style. With elements of grunge, indie-rock, surf-rock, and pop-punk, this album is dynamic in its sound and its influences. Upon listening, you can really hear specific influences in each song. For some, Nirvana or Soundgarden can be heard, for others you can hear The Smashing Pumpkins or Blink-182.
The New York Youth Symphony (NYYS) has announced they will be appointing John Kilkenny as the new executive director, effective this March. NYYS has been extensively searching for an executive director after their last director of 12 years, Shauna Quill stepped down. Now with a promising future in the hands of John Kilkenny, NYYS is thrilled at what lies ahead.
John Kilkenny has served both the Chattanooga Symphony and Opera and the Sewanee Music Festival, where he was Executive Director. His experience in leading orchestra and chamber music is extraordinary. Mr. Kilkelly has also led programs in composition and has supported music education for aspiring young artists for years.
“We are thrilled to have John at the helm of our organization. John’s experience and impressive knowledge of music education will surely help to propel NYYS to the next level. We are excited to see what John can do as he helps to shape our future and make our mark on young musicians even stronger and more impactful.”
Bill Kappel, President of New York Youth Symphony’s Board of Trustees
As Executive Director, John Kilkenny will be overseeing community outreach, fundraising, artistic programming and marketing. He will also be in charge of all programs throughout the organization from writing and composition to musical theatre, conducting, and the newest orchestra – crescendo.
NYYS at Carnegie Hall
“NYYS is an incredible organization and a fantastic match for my passion and skillset – I cannot wait to get started and write the next chapter! They are one of the premiere arts education programs in the nation – leading the way in the training of young musicians. This is a dream opportunity for me!”
John Kilkenny’s enthusiastic response to his thoughts on being appointed Executive Director of NYYS
For more information on the New York Youth Symphony and its upcoming plans, visit NYYS.org.
On January 19th, Anastazja touched down in Manhattan to perform, as she calls it, “her favorite mix” at SOB’s. Having been a firsthand witness to this event, the crowd’s energy was expected. As their favorite tunes resonated, it motivated some individuals to leap onto the stage and break into dance.
DJ Anastazja 1.19 at SOBS – photographed Jordyn Britt
I had the privilege of securing a brief interview with this talented young artist, who currently resides in LA. She attends the University of Southern California where she will be earning with a Bachelors in Media Arts and Practice
Anastazja was born and raised in the Northwest Suburbs of Chicago, her father is from Los Angeles and her mother is a Polish immigrant. Her initial inspiration to pursue a career as a DJ stemmed from an underground EDM event. It was a go-to spot for college students and was known for being grimey. Anastazjarecalls one of those wild nights:
I witnessed a guy climb onto the DJ table, surrounded by a group of men. The men and everyone within the crowd became so excited. In that surreal moment, I felt a strong desire to experience the joy of sharing music, especially as one of the few women in the music industry. I vividly recall a distinct high school memory, driving through the school parking lot, thinking of the idea of being a DJ despite my limited knowledge. The universe and timing aligned, leading me to USC which completely altered my course.
Anastazja
DJ Anastazja 1.19 at SOBS – photographed by Jordyn Britt
DJ Anastazja 1.19 at SOBS – photographed by Jordyn Britt
Anastazja continues to gain her inspiration from all around her and within. From other DJs, Pinterest, her friends that send her music, simply walking in a grocery store and hearing a classic. Grandparents playing music from their own memories, and the resonance it carries, adds a unique and distinct touch to the experience.
One thing that Anastazja hopes to gain from being a DJ is the experience. “I look forward to being able to travel the world and explore music from different backgrounds. While DJing may appear mostly social to many, for me, it’s about chasing this specific feeling in my stomach when I witness the profound impact music has on people. Experiencing music from various parts of the world has the potential to change the way I perceive sound and life. In a sense, that would be my “gain” – the wealth of diverse musical experience.”
The highlights that make up these experiences start in those first few minutes of Anastazja’s sets, when she can get a sense of the crowd catching the groove. “When I play that one song everyone wants to sing along to, it becomes a moment of pure joy and peace – dancing and singing with a group of strangers. It’s truly incredible to witness how music can move and bond people, bringing emotions that are visible in this type of setting, ultimately bringing everyone together.”
As for her favorite mix to date, that honor goes to a recent NYC show at SOB’s on January 19. “While my boiler room experience was great, there was still a small sense of catering to the space. At SOB’s I had true creative freedom to explore anything I wanted – literally ANYTHING. I took my sound in various directions, and it resonated the best. The addition of live saxophone made the performance even more incredible, shout out to Kobie Dozier!”
Check out Anastazja Soundcloud below, and discover more here.
On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.
Photograph by Shauna Hilferty
Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.
Photograph by Shauna Hilferty
In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.
When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.
Photograph by Shauna Hilferty
John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold.
Photograph by Shauna Hilferty
“I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.
Photograph by Shauna Hilferty
The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric.
The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.
Photograph by Shauna Hilferty
After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.
Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.
Photograph by Shauna Hilferty
The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.
He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed.
After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.
