The Brooklyn-based alternative rock band The Upstart Crows have returned with their newest single “House Fire” on the frustrations of the creative process ahead of their upcoming EP.
Rooted in Brooklyn, The Upstart Crows have brought their unique combination of folk, punk, and Americana sounds throughout New York City and beyond in live shows spanning haunting acoustic solo performances to the full effect of a rock unit.
Debuting in 2018 with a 12 track self-titled album, The Upstart Crows have been performing live shows and honing their sound among a small set of single releases since they formally emerged on the scene.
Now back and better than ever, the band has returned with new music in the form of the single “House Fire”.
Penned during the Covid-19 Pandemic, “House Fire” captures a unique frustration felt by creatives when it seems as though no part of the act of creation is going your way.
With fast-paced and hard hitting drums, insistent guitar lines, and vocals that compliment the oscillating bass line, “House Fire” is a stellar example of how indulging in the negative can not only relieve personal stress but result in a work exploding with emotion.
“The song is about the self-doubt doom spirals we all face when we are working on something… Where you start to question your own taste and ability to make something good.”
One of many parts of the Crows’ upcoming EP slated for the spring, “House Fire” marks a promising start to the next era of The Upstart Crows.
For more information on this release, the band’s upcoming endeavors, and all things The Upstart Crows, be sure to check out their official website here.
Dopapod brought it’s Best Friends Tour to Essex in Rochester on Tuesday, December 3.
About a month away from their last shows before an indefinite hiatus, guitarist Rob Compa brought the band to his hometown for a throwdown at the newish venue, Essex. Before the show, Rob asked the crowd if they wanted one long set or two, and of course the crowd voted for the usual jamband two set format. The band warmed the crowd from the frigid cold with a heater of a first set before bringing out their ex-employee, Goose’s Peter Anspach. Anspach first shredded guitar on “Nuggy Jawson” before jumping on keys for the set closer, “Indian Grits.”
Dopapod leaned heavy on the classics for set two, including versions of “8 Years Ended,” “Bubble Brain” and a Zappa cover in the middle of a song, “FABA” > “I Am The Slime” > “FABA.” They brought up Anspach again for the encore, and he helped them with “Best Friends” and “Runny” for the encore.
Dopapod next head west to Colorado, before wrapping up the year in the Midwest. They are playing their final shows on New Year’s Eve in Columbus, Ohio, so catch them if you can.
Dopapod – Essex, Rochester, NY – Tuesday, December 3, 2024
Set 1: Welcome to Paradise, Draculas Monk> Nerds> Two Somebodies> Nerds, Wizzy, Turn By Turn*, Metal Nuggy Jawson^, Indian Grits$ Set 2: Cloud World, 8 Years Ended, Brand New Home, Test of Time, Bubblebrain, FABA> I Am The Slime> FABA Encore: Best Friends#, Runny^
* MGMT Kids tease ^ Peter Anspach on Guitar $ Peter Anspach on Keys # Peter Anspach on Vocals and Guitar
Long Island native Roger Street Friedman has released his newest americana single, “Banks of the Brazos.” The track is a powerful ode to the “Sugarland 95,” a group of Black convict laborers sentenced to brutal work in Texas sugarcane fields in the post-reconstruction era.
“Banks of the Brazos” is the third single from his upcoming album Long Shadows, due out January 24, the song is a powerful and evocative story that looks into the hidden history of the “Sugarland 95,” a group of African American men who were often victims of unjust laws designed to control the lives of newly freed people.
When the bodies of the Sugarland 95 were unearthed along the banks of the Brazos River, Roger Street Freidman was inspired to write a song from the perspective of one of these laborers. The song aligns with a viral TikTok that Roger posted last year, garnering nearly a million views, resonating with audiences for his honest storytelling.
The song holds a strong outlaw americana feel. The western country flare paired with the dark nature of the song’s backstory sets the listener up to feel it in their heart. Each strum of the guitar shows Roger Street Friedman’s passion and grit for music and exposing history’s many injustices. The track is dynamic, with many changing musical tides throughout the track, but with a meaningfully brawn backbone allowing for wide arrays of sound.
Even the opening sounds from the electric and acoustic guitars simultaneously made me feel something. Followed by the consistent, strong kick and snare, this track immerses the listener from the very start. Both Friedman’s hearty solo vocals and the powerful harmonizing vocals truly touch the heart and soul of whomever may be listening, especially when you factor in how Roger is soulfully expressing his outlook on the horrible enslavement of the Sugarland 95. The track sees a phenomenal climax with soaring vocals followed by a spirit-touching finish that brilliantly yet softly wraps up the hearty ode.
For more information on Roger Street Friedman and his latest single, “Banks of the Brazos,” click here.
Marky Ramone’s Blitzkrieg will be playing a few select holiday dates on the East Coast including Gramercy Theatre tomorrow, December 12. See below for all dates and links to purchase tickets.
Dec. 12 New York, NY – Gramercy Theatre Buy Tickets
Dec. 13 Woodstock, NY – Bearsville Theater Buy Tickets
Dec. 14 Atlantic City, NJ – Tropicana Showroom Buy Tickets
Dec. 15 Mechanicsburg, PA – Lovedraft’s Brewing Co Buy Tickets
There are certain years in Phish lore that are held in higher esteem than some others. 1997 would certainly be one of these. The Fall Tour this year, aka “Phish Destroys America,” produced some of the greatest moments in the band’s storied history. 23 years ago today, the legendary tour stopped in Rochester, NY and delivered a few monumental jams as well as the debut of a soon-to-be Phish regular.
Phish runs right out of the gates tonight in Rochester and sets the tone early with a massive three-song opening sequence. A raucous War Memorial crowd is greeted with a quick trip to Gamehendge first via “Punch You In The Eye.” The popular opener choice revs the crowd up even more with its signature lyrics, fun calypso rhythms and, of course, the customary Mike and Trey salsa dance.
While “Punch” may not have been a surprise, the absolutely monstrous “Down With Disease” that immediately follows surely must have been. Phish’s second song in Rochester was played like a second set with an electric Anastasio-driven jam that starts around the five-minute mark. From there on out, it’s a masterclass in controlled chaos with the band firing on all cylinders. This eventually devolves into an ambient-type jam replete with digital delay loop effects, giving it that vintage late 90s sound.
20 minutes and one funky start-and-stop jam later, the “Disease” slowly crawls to an end. At this point, anything is possible. But then the familiar high-hat drum pattern of “Maze” arises from the mist. The dark organ tones produced by Page on keys combined with Trey’s relentless guitar rhythms shine on this one. This marks the end of a mesmerizing, and certainly exhausting, opening 1-2-3 on the lineup card tonight in Rochester.
Things understandably cool down a tad afterwards, starting with the “Dirt” that follows. Trey leads the band on a quick trip beneath the surface with this new tune that debuted earlier in the year. Afterwards, another new tune makes an appearance in “Limb By Limb.” This one is supplied with a quick, blissful jam on the back end. “Limb” would later be featured on Phish’s TheStory Of The Ghost album released the following year.
These two up and coming songs are then followed by two cover selections to close out the opening stanza. McConnell and his baby grand piano take charge and lead the way on a take of The Rolling Stones’ “Loving Cup.” And a rip-roaring “Rocky Top” then closes the book on a first set that’s certainly going to be most remembered for its impeccable start.
Phish goes deep once again to start the second set with a thorough take on yet another cover, The Who’s “Drowned.” Trey wastes no time before unleashing a plethora of notes with the rest of the band close behind in another frenetic early set jam in Rochester. This yields a pleasant, improv-heavy jam that once again devolves into a loop-heavy ambient segment, stretching to the 20-minute mark once again.
Suddenly, Trey begins strumming a distinct melody as they segue a bit awkwardly into the next number. But it’s one they’ve clearly been practicing (Mike especially), as memorialized in this clip from the movie Bittersweet Motel seen below.
A cover that few saw coming, Phish takes on Ween’s “Roses Are Free” for the first time ever. They get through it ably enough and some more inspired guitar play from Trey drives it home nicely. Quite suddenly, it then shifts from a debut to bust out of sorts as “Big Black Furry Creatures From Mars” rears its head for the first time in 118 shows. The old school, nonsensical rocker shows no real signs of dust as the usual mayhem it produces ensues.
Out of the feedback-heavy ending arises “Ghost,” the title track of the aforementioned 1998 album. This lays the groundwork for one last notable Rochester jam. Mike’s thunderous bass play and Page’s work on the electric keys lead the way early on. A beautifully patient and slowly progressing sequence then takes shape as Trey and Fishman begin to get more prominently involved.
At the end of yet another monstrous jam, a distinct “Down With Disease” section is played, as if in a nod towards its first set brethren. An incredibly random but blistering take on Chuck Berry’s “Johnny B. Goode” then closes out the second set in grandiose fashion. This would be the second to last time it’s ever been played at a Phish show, to date. And as a complete juxtaposition, the delicate ballad “Waste” wraps things up as the encore selection on this chilly Rochester evening.
Phish Rochester War Memorial – Rochester, NY 12/11/97
Set 1: Punch You In The Eye > Down With Disease -> Maze, Dirt, Limb By Limb, Loving Cup > Rocky Top
Set 2: Drowned -> Roses Are Free -> Big Black Furry Creature From Mars > Ghost -> Down With Disease -> Johnny B. Goode
On Friday, December 6, Smokey Robinson graced the stage at Newark’s New Jersey Performing Arts Center (NJPAC) as part of his ongoing Legacy tour. The evening was filled with musical nostalgia, heartfelt storytelling, and timeless artistry that captivated the audience throughout.
A Legacy in Motion
The evening began with Smokey delivering an impeccable rendition of Being With You. The opening chords set the tone for a night filled with love, soul, and connection. Midway through the second song, the legendary singer melted hearts by bringing his infant great-nephew onstage. As he crooned Second That Emotion and You’ve Really Got a Hold on Me to the baby, the audience erupted in applause, charmed by the intimate family moment.
Highlights of the Evening
Smokey’s performances of Quiet Storm and the iconic Ooo Baby Baby stood out as unforgettable moments. The emotional delivery of Ooo Baby Baby brought the audience to their feet for a five-minute standing ovation. Clearly touched, Smokey expressed his gratitude, his voice trembling with emotion. The moment showcased his remarkable ability to forge a deep and personal connection with his fans, even after decades in the spotlight.
Introducing Gasms
Smokey took a moment to discuss his latest album, Gasms, expressing surprise at its success. “I was only supposed to release one single,” he shared with a grin, “but there are already four!” He performed two tracks from the album, I Wanna Know Your Body and How You Make Me Feel, which showcased his ability to blend sensuality with sophistication, proving that his creativity remains as vibrant as ever.
Closing the Night
For the encore, Smokey pulled out all the stops. He sang Just to See Her and Tracks of My Tears, prompting a wave of nostalgia that swept through the theater. The evening ended with an interactive performance of Cruisin’. Smokey invited two women from the audience on stage, assigning them each a section of the crowd to see who could sing the loudest. The playful competition filled the hall with energy and joy, capping off an unforgettable night.
Looking Ahead
Smokey Robinson’s Legacy tour continues to enchant audiences, with upcoming dates spanning the United States, Canada, and even the United Kingdom. Highlights include performances at The Paramount in Huntington (March 6, 2025), and The Capitol Theatre in Port Chester (May 31, 2025), before concluding at the Love Supreme Festival in the UK in July.
At NJPAC, Smokey Robinson reminded everyone why his legacy endures. It wasn’t just the hits or the new material but the warmth and humanity he brought to the stage. This concert wasn’t just a trip down memory lane—it was a celebration of a living legend still at the height of his powers.
For fans who have yet to experience this extraordinary tour, Smokey Robinson’s Legacy is not to be missed.
Setlist: Being With You, I Second That Emotion, Really Got A Hold On Me, Quiet Storm, Temptations Melody, Gasms, OOO Baby Baby, Fly Me To The Moon, I Love Your Face, How You Make Me Feel, I Wanna Know Your Body, Just To See Her, Tracks Of My Tears, Cruisin’
The Rooftop at Pier 17, one of New York City’s most scenic venues, has announced the addition of a one-of-a-kind glass structure to the space, enabling winter shows upon its installation in late 2025.
artist rendition of the indoor structure atop Pier 17
With Manhattan’s skyline, the Statue of Liberty, and the Brooklyn Bridge as its backdrop, The Rooftop at Pier 17 has quickly become one of the city’s most iconic new venues.
Opening in 2018 alongside the complete reinvention of Pier 17 in the wake of Hurricane Sandy’s destruction, The Rooftop has hosted some of New York City and the world at large’s biggest names as a part of its annual concert series.
In its nature as an outdoor venue, The Rooftop has been limited in its ability to host concerts when the weather becomes too cold to bear- however, in a revolutionary new announcement, this constraint will soon be no more.
Starting in late 2025, The Rooftop is set to become a year-round live performance venue with the introduction of a custom-designed glass structure that will completely transform the space’s capabilities.
Jordana at The Rooftop at Pier 17
This innovative enclosure will take the once warm-weather exclusive venue into a climate-controlled, indoor setting without compromising the stellar views it’s become synonymous with.
“We look forward to The Rooftop at Pier 17 transforming into a year-round concert venue. Our state-of-the-art space will deliver an unparalleled experience for both artists and guests, providing the quintessential New York City live music venue no matter the season.”
– Anton Nikodemus, CEO of Seaport Entertainment Group
Accommodations for fans will shift slightly, limiting The Rooftop’s regular capacity of 3,500 down to 3,000, however the introduction of the enclosing structure will also provide ample opportunity for a brand new VIP balcony level.
In addition to its standard season of 60+ shows a year, The Rooftop’s new glass structure will enable an additional estimated 25 performances throughout the late fall and into the winter months.
Each spring, the structure will be removed and The Rooftop will return to its original state as an open-air venue with a capacity of 3,500, maintaining the space’s signature charm while elevating the audience experience entirely.
This development marks an exciting expansion of what was thought of as possible for fans of the venue and New York’s music scene at large- attendees and artists alike.
For more information on this revolutionary expansion, upcoming shows, and other announcements about The Rooftop at Pier 17, be sure to check out their official website here.
Jerusalem-native Avinoam Ettun, currently based out of Brooklyn, has announced the release of his latest EP Looking Into Your Soul, released on December 6.
Avinoam Ettun is a contemporary music performer-composer and improviser based in New York City. With a focus on creating compositions for large ensembles and his own string quartet, Avinoam combines the sounds of electric guitar and chamber music. Ettun actively collaborates with animators, painters, filmmakers, and dancers and explores the intersections of different art forms. Ettun holds a Bachelor of Music in Composition from The Jerusalem Music Academy and a Masters from the New School.
The EP features three instrumental tracks inspired by portrait imagery, recorded in collaboration with pianist Itamar Dahan, with Avinoam on guitar. The project combines jazz, contemporary sounds, and visual art. The first song on the EP, “East West” features a powerful piano riff, coupled with somber guitar tones. The track grows and morphs, hits highs and lows, before coming to a blissfully peace-laden ending.
Similarly, the title track, “Looking Into Your Soul” presents a hearty and emotional piano with an accenting guitar that adds little nuances to each section of the song. Each song sounds familiar, like it has a classic, vintage sound of talent that existed in the past. Avinoam Ettun takes this sound and makes it his own with a blend of notes of eastern instrumentation, and golden era classical music.
Finally, the last track of the EP, “The Dreaming Kid in the Sand” tells a story without using words, as Ettun’s other songs on the album do. The title perfectly encapsulates the theme and vibe of the song. The song truly feels like a child daydreaming in a peaceful yet whimsical place. Avinoam’s music is dynamic, powerful, unique, and inspiring. This kind of music is what today’s soundscape lacks in my opinion. True compositions about true, heartfelt, spiritual themes.
For more information on Avinoam Ettun and to check out his newest EP, “Looking Into Your Soul,” click here.
On December 7, Lespecial brought their genre-defying prog-rock energy to Albany’s Lark Hall for a night of unforgettable music.
The evening kicked off with a lively performance from Timbre Coup, the Capital Region-based jam/prog-rock foursome. With plenty of local supporters in the crowd, the band’s energetic set got the audience primed for Lespecial to take the stage. Their engaging performance left an impression, and fans should keep an eye on their Facebook page for future shows.
Timbre Coup setlist: Firestorm, August, 55, Arnold Schwartzeneggar, HTRAB, Machine Head (Bush cover), January
Lespecial, a prog-tronic power trio took the stage with their signature sound that defies expectations. With each member contributing vocals and synths in addition to guitar, drums, and bass, their music filled the room with a robust energy that was hard to believe came from just three people. Seamlessly blending genres, the band moved effortlessly from smooth, swaying jams to heavier riffs that had the crowd headbanging in unison.
The band made several references to an incident after the previous night’s show in Syracuse, where their van was broken into, and bass guitars, along with Luke and Rory’s luggage, were stolen. Despite the setback, bassist Luke Bemand powered through with help from his trusty Ibanez Soundgear bass, which he hadn’t used in years, while both musicians rocked Lespecial merch as an improvised wardrobe solution.
As the set approached its finale, drummer Rory (check out his Primus audition reel) delivered a jaw-dropping solo while the other band members took a short break to prepare for the final songs. The crowd was left in awe of his stellar performance, capping off an unforgettable night of progressive rock brilliance. Exiting the warmth of Lark Hall, concertgoers were greeted by a steady snowstorm blanketing the streets—a fitting end to a night that will be remembered for its electrifying energy and unique challenges, both on and off the stage.
lespecial – Lark Hall, Albany – Saturday, December 7, 2024
Setlist: Repeater, Machine Elf, Snell’s Fleet, First Light, Rays, Divider, Bitch Don’t Kill My Dub (Kendrick Lamar cover), Disassociate, Fruit Wolf Dance, Orb, Vessel, GDH3, Unearthed, Drums, Thela Hun Ginjeet (King Crimson cover), Lungs of the Planet
At the start of the twentieth century, many Black Americans, facing racism and discrimination across the country, moved to a neighborhood in Upper Manhattan: Harlem. This neighborhood became a cultural center in the early 1900’s, fully blossoming during the 1920’s and 30’s. This period of time, the Harlem Renaissance, is seen as a watershed for the country, but especially within the arts.
The Harlem Renaissance established itself as a period of great innovation within jazz. There was a development with the piano making it more accessible for Black musicians. Innovations like this eventually because characteristic of the artists, and the music, of this period.
There were many prevalent themes in the works coming from the Renaissance. These included ideas of a “New Negro,” a person who could fight racism and stereotypes through literature, art, and music. These themes relied on the influence of slavery and the effect it had on the Black identity.
This period saw an increase in musicians, specifically Black jazz musicians. Artists like Duke Ellington, Cab Calloway, Fats Waller, Billie Holiday, and many others were able to jumpstart their careers because of the popularity of the movement.
Due to the immense popularity of many Harlem Renaissance musicians, jazz clubs began to open across Harlem. The most famous is the Cotton Club, but other venues such as the Alhambra Ballroom and Apollo Theater also became staples of the Renaissance.
When talking about the Harlem Renaissance, it is important to recognize the contributions made to literature as well as music. W.E.B. Du Bois, a prominent civil rights activist and author, published many books describing the Black experience. Others such as Langston Hughes and Zora Neale Hurston were also able to describe the experiences of Black Americans in the United States.
The widely accepted theory about the Harlem Renaissance is that it occurred because of the newly-found freedoms granted to African-Americans.
Over the next few years, NYS Music will take a look at the Harlem Renaissance, including notable musicians who brought to light the explosion of arts and music in Upper Manhattan, one century ago. Stay tuned for weekly articles taking a look at the history of the Harlem Renaissance and how the impact of the cultural awakening is still felt today.
