The Sembrich, Bolton Landing’s historical museum and music venue, announced their mid-August event schedule. Featuring violin guitar duo ArcoStrum, a James Joyce inspired opera, and an acclaimed Polish violinist, the Sembrich has an exciting month ahead.
The Sembrich boasts a variety of musical events, a museum with a rich history, and indescribable natural beauty. Whether it’s a new museum exhibition or their annual music festival, The Sembrich always offers something to look forward to.
On August 17, acclaimed Polish violinist Kinga Augustyn will perform at The Sembrich. Augustyn will perform a program of Polish masterworks, including Saint-Saëns’ “Introduction and Rondo Capriccioso,” Op. 28, Kreisler’s “Three Old Viennese Dances” and Polish masterworks by Henryk Wieniawski and Grażyna Bacewicz, accompanied by Alla Milchtein.
Richard Wargo, The Sembrich’s artistic director, said, “Kinga was a part of our 2021 festival ‘Nature and Music,’ when she delighted listeners with nature-inspired violin melodies… This year’s performance promises an elegant evening with the celebrated musician and renderings of several rarely performed violin masterworks here in the Adirondacks.” Tickets are available at the following link.
Award winning instrumental duo ArcoStrum will bring their exhilarating mix of music from around the world to The Sembrich on August 21. Guitarist TY Zhang and Violinist Strauss Shi met at Julliard, and discovered a personal and musical chemistry that would enhance their charismatic stage performances and immense technical proficiency. Committed to pushing boundaries, ArcoStrum creates a one of a kind performance by combining personal compositions with traditional Chinese instrumental music and 21st Century rock. Tickets are available here.
Karina Rodriguez
The James Joyce inspired musical At That Hour, Act One will be performed on August 24. Composed by Richard Wargo, the opera draws inspiration from Joyce’s poetry and prose. Wargo is an experienced composer who has drawn from literature before, namely when composed an opera inspired by classic Anton Chekov. Wargo has also served as the Sembrich’s Artistic Director and Composer-In-Residence since 1991, and write the opera as part of The Sembrich’s centennial anniversary. Tickets are available here.
A video about The Sembrich’s centennial celebration is available below.
On a picture-perfect summer evening in Schenectady, the vibrant atmosphere of Frog Alley Brewing was electrified by a magnificent performance from Andrew Bird. An artist whose unique blend of folk, indie rock, and classical music has earned him a devoted following over the years, this stop marked his first time playing in the Electric City. Packing the place from the ground on up to the balcony, it was a testament to Bird’s enduring artistry and widespread appeal. Playing a diverse setlist that spanned his rich discography and showcased his eclectic musical talents, his dynamic and colorful debut was nothing short of delightful.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening for Andrew Bird was the legendary Malian duo Amadou & Mariam. The Grammy nominated couple, both of whom are legally blind, have been making music together since the 1970s, blending traditional Malian sounds with rock, blues, and pop influences. Their music is joyful and rhythmic, often addressing social and political themes with a fun touch. Amadou & Mariam’s performance was a perfect complement to Bird’s, offering a lively, soulful, and fun introduction to the evening. Despite obvious cultural barriers, the Frog Alley crowd was fully engaged from the start, and by the end of the hour long set, the entire audience was up on their feet and dancing like they were having the time of their lives, further proof that music truly is a universal language. After a brief intermission, it was finally time to take flight with Andrew Bird.
Amadou & Mariam, known as “the blind couple from Mali,” opened for Andrew Bird at Frog Alley Brewing on 8/13/24.
Andrew Bird’s musical journey has been nothing short of fascinating. A classically trained violinist, Bird has released 16 studio albums, with his music evolving from swing jazz and traditional folk to more intricate and experimental sounds. What sets Bird apart is not just his prolific output but also his innovative approach to music-making. His violin often serves as a multifaceted instrument—strummed like a guitar, plucked like a mandolin, and bowed in traditional and unorthodox ways. Bird’s performances are also characterized by his whistling, which is as nuanced and expressive as any instrument. Fans are also quick to notice his specially-designed spinning speaker known as the Janus Horn that sits center stage during every show. Featuring a two-mouthed horn that spins at various speeds during operation, it gives music played through it a whirling Doppler effect that is truly original and unquestionably psychedelic.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening the show with a pair of songs from his brand new album Sunday Morning Put-On, the easy lounge swing of “Softly, as in a Morning Sunrise” set the mood, while Bird’s buttery smooth voice had the crowd hanging on every delicate word in “I Fall in Love Too Easily.” Performing one of his oldest Bowl of Fire-era numbers next, Bird’s spoken word delivery and theatrical gestures during “Why?” simultaneously had the crowd amused and impressed, just as it has since being released in 2001.
It’s not a spell or a curse you put on me Or the way you make me smile so tenderly But how I wish it was your temper you were throwing Damn you for being so easygoing
Lyrics from “Why?”
A longtime fan of Andrew Bird’s music, I’ve seen him perform many times over the years. A unique thing about him though, is every single time has been with a different cast of supporting players. Opting to play this summer tour as a trio, Bird aligned himself with a pair of ultra-talented and distinguished musicians in New York-born drummer Ted Pool, and playing both standup bass, electric bass and acoustic guitars, was Alan Hampton. Each member bringing their unique flair, creating a dynamic interplay that amplified Bird’s intricate compositions, the chemistry between them was magnetic and hearing all three voices sing harmonies together was simply beautiful.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Bird’s lyrics have always been one of the most compelling aspects of his music. They are poetic, often cryptic, and rich with metaphor, exploring themes of existential dread, love, and the complexities of modern life. “Bloodless,” a personal favorite from 2019’s My Finest Work Yet always stands out for its layered momentum, deep groove and even deeper lyrical content that critiques the current political climate with a subtlety that leaves space for the listener to interpret the meaning. This song becomes more and more relevant every time I hear it.
“I’m keeping mine with the altruists I’m putting my weight behind the dancer I know it’s hard to be an optimist When you trust least the ones who claim to have the answers
It’s an uncivil war, bloodless for now”
-Lyrics from “Bloodless”
Another new song, “You’d be So Nice to Come Home To” felt perfect, as if were written for this exact kind of night, with Bird crooning out “Under an August moon burning above, you’d be so nice, you’d be paradise to come home to and love.” Following his hit single “Sisyphus,” we would enter the Inside Problems portion of the show. Written and recorded during the pandemic, “Atomized,” and “Underlands” further transported the Electric City to a surreal state, before Bird would pause to banter with the crowd for a bit. Switching over from violin to his vintage Gibson electric guitar, he would claim the next song was written for a friend that happens to have a birthday tomorrow. Then launching into one of loudest and most rocking songs of the evening, the vibe during “The Night Before Your Birthday” felt more like a celebration than a concert.
“You’d be So Nice to Come Home To” had all the feels on 8/13/24.
Bird’s use of language is masterful; his lyrics often juxtapose archaic phrases with contemporary issues, creating a timeless quality. This linguistic dexterity is part of what draws a diverse crowd to his shows—fans who appreciate music that challenges as much as it entertains. Setlist staple, “A Nervous Tic Motion of the Head to the Left” was a perfect example of this, while the lush and layered textures of “3 White Horses” delves into themes of mortality, using vivid imagery to create an atmosphere of eerie calm. “Give It Away” and “Orpheo Looks Back,” a pair of songs from 2012’s Break It Yourself, would feature Alan Hampton switching from bass to acoustic guitar and sharing vocal duties on the main microphone with Bird. The two of them clearly having a blast together, singing with smiles and passion. Bird would then tell the crowd he’s been working on some old classical jazz tunes with these fellas, and they’d like to try one for us called “Caravan,” by the legendary Duke Ellington. Finally, bringing the main portion of the show to a close was another personal favorite, “Tables and Chairs.” Offering a glimpse into a post-apocalyptic world, the song still manages to find hope in the idea of human connection, and if you’re asking, yes, there will be snacks!
Andrew Bird and Alan Hampton performing together on 8/13/2024.
Returning to the stage to a prolonged standing ovation, Andrew Bird would humbly thank the crowd at Frog Alley Brewing. Saying it was his first time playing in Schenectady and he didn’t really know what to expect, he seemed genuinely appreciative that people showed up and packed out the place. Rewarding them with perhaps his biggest song to date, Bird would paint a picture of “Pulaski at Night,” before the punchy, bittersweet Are You Serious anthem “Capsized” would send them home feeling inspired, fulfilled and maybe a little froggy, too.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Andrew Bird’s concert at Schenectady’s Frog Alley Brewing Summer Stage was a showcase of his exceptional talents as a musician and lyricist. A journey through his extensive catalog, the setlist was carefully curated, blending newer tracks with fan favorites. Supported by a stellar band and with an unforgettable opening act in Amadou & Mariam, the evening was a celebration of diverse musical traditions and innovative artistry. Bird’s ability to captivate an audience with his intricate melodies and thought-provoking lyrics is a rare gift, making this concert a highlight of the summer music season and further cements Bird’s growing reputation as one of the most important songwriters of our time.
Andrew Bird | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
Setlist: Softly as in a Morning Sunrise, I Fall in Love Too Easily, Why?, Bloodless, You’d Be So Nice to Come Home To, Atomized, Sisyphus, Underlands, The Night Before Your Birthday, A Nervous Tic Motion of the Head to the Left,3 White Horses, Give It Away, Orpheo, Manifest, Caravan*, Tables and Chairs.
Encore: Pulaski at Night, Capsized.
*Duke Ellington and His Orchestra cover
Amadou & Mariam | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
At the start of August 2024, Buffalo announced the enforcement of an “Amusement fee” on all ticketed events. This announcement was met with immediate backlash from venue owners, local politicians, and musicians across the city. Now, the city has placed a pause on fee collections, seeking other methods of raising revenue. This whole saga still raises some questions: Why did Buffalo implement such an unpopular policy and what is the best way forward?
Letters sent to venue owners alerting them of the amusement fee. Source: Investigative Post
The first question is: Why did Buffalo decide to enforce this unpopular amusement fee? The simple answer is that the city is in desperate need of money. Buffalo currently has a $40 million budget gap that it needs to fill. The city’s current budget adopted on July 1st, depends heavily on a 4.2 percent hike in property taxes and an increase in garbage collection fees. An additional $32 million in federal pandemic relief money, and nearly $15 million from the city’s reserves supplement these taxes. Past attempts to raise revenue, like a 9% tax hike in 2023, have all failed to fix this issue. Despite attempts to raise money, the city’s Control Board still identified over $131 million in potential shortfalls within the next four years. Due to this, Buffalo has attempted to raise money anywhere possible.
The city decided that the best way to tackle these fiscal issues was to enforce an archaic law. The law was the obscure Chapter §75-1. Amusements Classifications of City code, also known as the “Amusement fee.” The law allows the city to charge fees for amusement licenses on all ticketed events. This not only includes music, but also “lectures, exhibitions, theater, sports, comedy…and other shows that charge a fee for entry.” In correspondence to venue owners, the city included a schedule of fees based on show size. For example, an event with tickets below $25 would have an additional $55 fee. Larger events, with tickets over $100, would likewise have higher fees, upwards of $350.
Critics of the law have pointed out its outdated nature. As Assemblymember Jon D. Rivera and Senator Sean Ryan noticed the law includes language referring to “minstrel shows,” and “kinetoscope” exhibitions. As this language implies, the city has not enforced the law in living memory. Many venue owners felt blindsided by its enforcement, never having to pay the amusement fee previously.
State Senator Sean Ryan (center) is one of the amusement fee’s major opponents
While the city has only newly enforced this law, increased event fees are not uncommon in the city. In 2019, the city proposed a surcharge on all events held at city-owned venues. This proposal would have taxed tickets on a sliding scale, ranging from $.50 to $3.50.
Following the enforcement of the amusement fee, musicians and venue owners immediately fired back. Many pointed out that this new fee would cost venues tens of thousands of dollars each year. Not only would these fees put venues at financial risk, but they would waste owners’ time. As Babeville’s operator Scott Fisher pointed out “The burden [is] not only the money, but the time that our staff would have to spend making sure we’re compliant.” If venues fail to comply with event licensing, they could face fines from the city.
Musicians have likewise pointed out the harm on music fans. Buffalo-based musician Dave Thurman speaking to WIVB said “We are talking about asking somebody to pay a $30 ticket instead of a $20 ticket.” These amusement fees threaten to put Buffalo’s music scene at risk, dissuading people from attending concerts due to the elevated prices. As Thurman continues, he noted how this also hurts local business, “Well, that’s probably going to cut into the bar owners’ receipts at the end of the night too, because that person isn’t going to spend that much more.”
Some have also criticized the law as misguided. Riverworks CEO Bill Casale said that money is better off “being reinvested into our facilities and investing into our communities, into our staff and our people.” Instead the city is using “taxes that they want to summon us with that we are unaware of with no notice.” The financial data backs up these points. In 2023, only .01% of the city budget came from event fees. Additionally, in the past 15 years, the city has raised less than $27,000 annually from these fees.
Buffalo Riverworks – one of many venues impacted by the amusement fee
Alongside musicians’ criticisms have been those from Buffalo’s elected officials. At the forefront of the anti-amusement fee push are Assemblyman Jonathan D. Rivera and State Senator Sean Ryan. Ryan has stated that the city’s budget shortall “isn’t a problem that can be solved with quick fixes, and Buffalo can’t afford to keep kicking this can down the road.” He additionally points out that “Reviving an obscure amusement fee to plug budget gaps is the same type of short-term thinking that got the City into this mess in the first place.” Ryan believes that fees like this distract city officials from dealing with serious problems. “Buffalo’s leaders need to permanently scrap this fee and stop trying to put this burden on the backs of small business owners when they should be working on solving the root issues that got us here.”
Assemblyman Rivera likewise pointed out the fee’s threat towards Buffalo’s unique character. Rivera stated that Buffalo needs to “Find a suitable way to improve the City’s finances without sacrificing the vibrant cultural and economic landscape that makes Buffalo unique.” This sentiment was echoed by Scott Fisher of Buffalo’s Asbury Hall. At a local press conference, he said “I have an idea of how to help Buffalo – find a way to raise the city’s population from 280,000 to 380,000 people by making it a friendlier place to live and enjoy the culture, instead of simply nickel-and-diming that culture toward the brink of extinction.”
Asbury Hall’s Scott Fisher has been critical of the amusement fee
The response to the amusement fee goes past criticism, with some local politicians seeking solutions. Buffalo Common Councilman Joe Golombek told Buffalo Rising that he “look[s] forward to working with [his] colleagues in the Common Council and the City administration to find a solution that is both equitable and consistent.”
As a result of the backlash against the amusement fee, actions have already been taken to solve the issue. As of August 7th, the city of Buffalo has placed a temporary pause on amusement fee collections. This move has already gained praise from local venue owners. Jason Hall of Sportsmens Black Rock said to ABC7, “I’m very happy that the city came together really quickly to solve what would have been a real problem to businesses like mine.” Additionally, Venu’s Tim Walton added “It shows they are listening to businesses, shows they’re willing to work with small businesses.”
While a pause has been implemented, the fight is not over according to local politicians. Both Rivera and Ryan have called for a permanent termination of amusement fee collections. WNY music journalist Jeff Miers reports “They vowed to fight side by side with our community of music venues to make this cessation permanent.” For now, this fight will have to wait, as the Common Council is on recess for the remainder of August. As Councilman Golombek pointed out “We can’t change anything until September…but we are very open to doing that.”
This saga begs new questions for the future, specifically regarding how the city will deal with its budget shortfalls. As shown by the swift and unanimous backlash against the amusement fee, any new taxes on live events seem unlikely for the near future. As Common Council President Christopher P. Scanlon stated, any future moves would have to “ensure these vital venues and our arts and cultural scene continue to thrive and remain assets to our city and region.”
On August 16, Albany-based singer-songwriter, Josh Breden released his long-awaited quintessential passion project, Unfinished Business. The new body of work represents what Breden’s career has led up to, as well as who he is as a musician.
About Josh Breden
Josh Breden has been making music since he was a child. After experimenting with different methods of bringing his music to life, Breden took it to the next step with bands, collaborations, becoming a recording artist, and performing anywhere at any time. As a live musician since 2005, he took every opportunity to strengthen his craft and expand his knowledge and abilities, thus learning more about himself in the process.
Through the journey of completely indulging in the art of making music, Breden learned that he never wants to be confined to a genre, as his artistry flourishes with creative freedom. Because of this, he faced the grapple of being an authentic musician in an industry of patterns, labels, streaming, and money.
Unfinished Business came about when Breden entered the streaming service sphere with a few old tracks. Effectively, it put into perspective the necessary new-age demands of being a living artist. It confirmed two things for Breden. Firstly, if he was going to put an album out into the world he wanted each song to be its own unique entity. Secondly, he knew if he was going to successfully be a streaming artist, he needed a method to the madness which came in the form of producer Dan Gerken.
The two clicked and the vision pursued into what is now a 10-track album and possibly Breden’s most genuine piece of music. Every song has its own character with elements of rock, folk, country, tropical, and whatever Breden was feeling at the moment. Appropriately, Breden created a rock album that is never just rock.
The name unfinished business has a lot of significance here; It’s a little bit of closing the book on parts of life, a little bit of going back to my old self to see if it’s still me, its a little revenge, and a little understanding that theres more to do.
Josh Breden
Standout Tracks
Though it’s hard to single out specific tracks as they’re all unique and contribute to the final product in their own right, certain songs are more different from the others. In particular “Islands of Calleja” stands out as a tropical escape through its instrumentation and lyrics. Another track, “No Bueno” has that cosmic jam band sound with elements across a multiple-genre spectrum. Lastly, “Just Wasn’t Made for These Times” provides a commentary about adjusting to the evolving world. A true musician through and through, Breden lets the messages guide the music without conforming to anybody’s control but his.
A new venue in Westport, NY known as The Mill provides a place for live music, visual arts and all-around creative endeavors for the Adirondack community.
The Mill, as suggested by the name, was originally built in 1952 as a grain mill for the Champlain Valley Seed Cooperative. In 2021, the abandoned building was repurchased and in a collaborative effort between creative director Taylor Haskins and local contractors, they rebuilt the building up as a new cultural hub.
The listening gallery is described as a cathedral-like room. With its high ceilings and wood paneled walls, the space has great acoustic sounds, but has an intimate feel. Haskins conducts the music programming for The Mill’s listening gallery. He is an accomplished musician himself and has released 11 albums under his name. In 2005, he won a Grammy award for playing lead trumpet on Dave Holland’s jazz album Overtime.
The Mill also has a place for visual artists to showcase their work at one of the seven galleries that make up Process Art Space curated by Catherine Ross Haskins.
For visitors looking for a drink and a bite to eat, The Knock is a speakeasy inside the venue that has a sultry 1920’s prohibition aesthetic. The menu of small plates made in house are all created from locally sourced ingredients.
The Mill has a diverse lineup of musicians for the rest of the summer and into their fall season.
Coming up on Aug. 16, singer and songwriter Camila Meza will perform her lyrical, latin jazz fusion repertoire. On Aug 23. Haskins will play alongside another accomplished jazz artist, Ben Monder.
To purchase tickets or to find out more about all The Mill has to offer, you can visit the website here.
It’s clear that Jay Skeese intends to follow the Griselda model of flooding the market. The first signee to Conway The Machine‘s Drumwork Music imprint, Jae Skeese, is set to release his 2nd project of the year, Ground Level, on August 16. The new album comes on the heels of his first project of the year, Testament of The Times, released in March. In light of the new album, the Buffalo native, has gone on to release several singles with a list of exclusive features as part of this underground effort,.
About Ground Level
With this in mind, Jae Skeese teased the upcoming album with the calculated release of a single roughly every2 weeks. Beginning with the project’s lead single and video, “Situated” featuring Big K.R.I.T. and Sauce Walka, to set the tone for Ground Level. He later retuned with the projects second single, the star-studded “Sara Lee.” Featuring Dave East, Jay Worthy and a sultry chorus from r&b singer Lloyd, the record offers an alternative side to Jae Skeese. “Sara Lee” is a vibe that I don’t think you haven’t got from me yet. I wanted to show another side of who I am as an artist and give the ladies something to think about,” Jae Skeese comments.“
The lastest single, “Brick After Brick (Ground Level),” also doubles as the intro track for Ground Level. Featuring thunderous, tone-setting horns, Jae Skeese hopes to set the tone with this into record. Moreover, Skeese takes the next step in his career with Ground Level. After all, he has spent the last three years laying the foundation for his breakthrough — which includes Skeese’s Drumwork debut, Abolished Uncertainties, and his collaborative album with Conway The Machine Pain Provided Profit. Thus, Ground Level‘s release this Friday is a testament to Jae Skeese’s evolution as an artist, as he continues to stack up high-profile collaborations
Horn-rock New Paltz band What? has been part of the DIY scene for more than five years and they continue to rock the Hudson Valley today.
Who are What?
With new bands forming every year in New Paltz, What? is a fan favorite in the small college town. Its band members are Dan Steen on guitar, Ryan Perrone on vocals and trombone, Jeremiah Mahoney on bass Alex Endres on drums, Owen Moore on tenor & baritone saxophone, and Jared Nelson on guitar and percussion, They all met at the local university SUNY-New Paltz through the music program. Previously, most members were part of musical groups in their high schools but What? is the first band they’ve been a member of.
The band has been operating under the name, What?, since 2016. They released their first album Lavender Lounge in 2020 including some fan favorite songs like “Napkin Party” and “The Cloud.” They confirmed that a sophomore album is in the making which will likely come out early this upcoming year.
The entire band contributes to their original music, but Perrone does most of the writing. “When I write a song, I really have this band in mind. It’s structured, but it’s always loose because I want everyone to kind of give their voice into the piece,” he told NYS Music.
Tours
Although they frequently travel outside of the state, they stay true to their New Paltz beginnings. They got their start playing at bars in New Paltz like Snug Harbor and Bacchus. Whenever they return to these venues, they always pull a packed audience with them. On Aug 23 they will be back in their hometown at a newer bar and restaurant, The Lemon Squeeze.
Touring to Portland, Maine and Burlington, Vermont, the band spends a lot of time on the road but sharing their music beyond the bars of New Paltz is something they aspire to continue. Last year What? performed at the iconic Mercury Lounge in NYC and this past March they played at another historic venue, Colony in Woodstock. “That fulfills something in my heart and soul just to be able to go to some random spot in upstate New York with five other fellas,” Steen said.
Next month, they will be back for more shows in the Hudson Valley like Kingston, NY on Aug 8 as well as Wakefield, RI on Aug 11. You can watch all of their performances on their YouTube channel and keep up with What? through their Instagram here.
This Sunday at The Brooklyn Monarch, MC’s better act like they know, as KRS-One headlines the annual Tour For Life concert this Sunday, August 18. Uniquely, Tour For Life is essentially a rap concert that also advocates for mental health awareness within the hip-hop community. At each stop, on-site therapists offer free sessions, live art, giveaways, community mending art projects, and performances. Presented by Full Blast Booking, a Connecticut-based booking company that specializes in booking tours, Tour For Life has raised over $60,000 for mental health non-profits over the past three years. Hence, this year’s tour will be raising money for organizations such as Mental Health Connecticut.
KRS will headline Tour for Life this Sunday August, 18.
Tour For Life’s Final Weekend
Yet, Brooklyn will be the final stop for Tour for Life. This weekend’s performances, from August 15 – 17, will see Tour For Life make stops in various neighboring east coast states including Rhode Island, Connecticut and New Hampshire. Meanwhile, performances will feature hip-hop headliners Sage Francis, Billy Danze of M.O.P., and Rome Streetz. Supporting this stop on the tour will be artists such as, Duece Bug, Konflik, Sosoon + Tony Dimes, DTaylz, Neema MC, Mickey Bourbon, Mic Hoffa, and more.
With this intention, Tour for Life also works to provide a platform for legendary headliners, as well a the many talented and independent artists from all over the nation. Thus, with the tour’s final stop will see hip hop pioneer/legend KRS-One replace initial headliner Redman. However, with one of the most comprehensive discographies in hip hop as well as a bevy of thought-provoking lyrics, KR-One is no stranger to nuance nor the healing properties of rap music.
Tour for Life Dates and Lineups
8/15 Manchester, NH- The Shaskeen feat. Sage Francis + Akrobatik
8/16 Providence, RI- Alchemy feat. Billy Danze of M.O.P.
8/17 Hamden, CT- Cellar on Treadwell feat. Rome Streetz
8/18 Brooklyn, NY – The Monarch feat. KRS-One (+ surprise guests)
Set to begin at 6:00 p.m. at 23 Meadow St, tickets for Tour for Life’s closing weekend can be found on Full Blast Booking’s official website.
Country and folk rock band Cowboy Junkies has announced a new tour for the fall of 2024 that will begin with two stops in New York, one in Buffalo and the other in Geneva. The tour is in support of their most recent album, Such Ferocious Beauty, which is the band’s first release of new material in five years.
Formed just over the border in Toronto, Cowboy Junkies have been actively making and performing music for almost 40 years. Comprised of bassist Alan Anton, songwriter/guitarist Michael Timmins, drummer Peter Timmins and vocalist Margo Timmins, the quartet has recorded a total of 16 live albums and five live albums. Moreover, with Michael, Peter and Margo all being siblings, the band’s many years of unwavering togetherness only makes sense.
Cowboy Junkies’ first album, Whites Off Earth Now!!, in 1986, kicked off their careers and was then followed up in 1988 by the now-Platinum The Trinity Season. In a world where many bands chase whatever sounds are trending, the Junkies have stayed their course, maintaining the low-impact excavation of melody and evocative language that gave them so many fans in the first place.
About Cowboy Junkies
The band’s newest outing, Such Ferocious Beauty, is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. As a result the album is a tangle of sonic textures, ruminating on aging, losing parents, facing mortality and creating space for one’s life in the midst of the ruin that comes from merely living. “Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition,” Margo Timmins explained of the band’s singular focus, “nor has he shied from its beauty. Thankfully, with one comes the other.”
Michael Timmins, the oldest, is the chief architect, songwriter and guitarist, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band that defies categories. Alternative? Rock? Americana? Roots? Perhaps the answer is a simple “yes.” Hence, the churning beauty builds on all those things, evoking the best of a group that’s evolved over three and a half decades. Michael adds, “This record is connected to All That Reckoning. I see our recent work in a cycle: Reckoning, Ghosts and Such Ferocious Beauty. They were all done in very violent and tumultuous times. The violent side is so much a part of our society now—not just the physical, but the way we relate to each other. It’s hard to escape.”
Photo Credit: Heather Pollock
Inside The Band
Whether drawing on a pop culture reference like a quote culled from Mike Tyson or mining Greek mythology, there’s an ease and fluidity to how Michael draws songs together. For the sinewy “Mike Tyson (Here It Comes),” he employs a high-plains spaghetti Western tension that marries a nervy acoustic strum and tympani rolls to a creeping bassline, while “Circe & Penelope” deploys a wheezy fiddle and an acoustic guitar with its strings more flicked than strummed.
“I love the blunt reality of this song,” Margo offers. “I love the two women’s strength and realistic view of the situation. They have a great love for their men, but also this discontent. The image of these two women waiting for their men to return but getting on with the work that needs to be done and living their lives as strong women is truly empowering and reflects upon many of the women I know today.”
“The expectations and responsibilities of what we all do—it’s a big part of this. We’re still amazed that we’re doing this, but the longer [we have], the more fun it’s become. We don’t take it for granted,” said Michael. “We do what we do,” Margo agrees, “and it feels right for all of us. After 30-plus years of playing together, the band and its music are more important to us than ever. The music we make brings each of us a great sense of contentment, a knowing of place and a sense of doing what we were meant to do.”
To catch Cowboy Junkies on tour and watch them perform Such Ferocious Beauty, visit their website for tickets and information. Additionally, see below for a written list of the tour dates and locations.
On Saturday, September 14, the Red, White, and Brew festival will go on outside Albany’s MVP Arena, honoring veterans with lots of music. The block party will take place on South Pearl Street, featuring a slate of local and nationally recognized country artists. Headlining the festival is country musician and veteran Craig Morgan.
The festival is pulling out all the stops for its first year with help from Albany County, MVP Health Care, and their Innovation Partnership. The day starts at 2 PM with a set from Amsterdam, NY’s beloved country band, Skeeter Creek. The following performance is by country singer, Darryl Worley, known for songs like “Have You Forgotten.” The final set of the day is renowned soldier-turned-country artist, Craig Morgan with hits such as, “That’s What I Love About Sunday” and “Redneck Yacht Club.”
Each artist intertwines respect and honor for anyone who has served, with country music, that is both serious and lighthearted. Whether attendees know their music or not, this lineup of performers will undoubtedly provide the perfect soundtrack to the day.
It is important to show our gratitude to those who have served this country. Serving comes with great sacrifice and great risk, and hosting events to celebrate our Veterans is a small way to show appreciation for their courage and dedication. The Red White and Brew Festival is an opportunity for Veterans and families to enjoy good company, food, and music.
Daniel P. McCoy, Albany County Exectutive
The festival at MVP Arena is open to the public, with many things to do besides the music. Offerings include vendor booths, a variety of food options, and of course, craft beers.
For more information about the Red White, and Brew Festival in Albany at MVP Arena, visit mvparena.com.
