Classical Pianist, Lara Downes has curated a free concert, Rhapsody for This Land: The American Odyssey in Music at the Brooklyn Bridge Park on July 27 at 6 p.m.
Rhapsody for This Land is an innovative new take on George Gershwin’s Rhapsody In Blue. The new piece was composed by a young Puerto Rican artist, Edmar Colón. The concert will celebrate the 100th anniversary of Gershwin’s most famous piece.
Listeners don’t need to leave their home to experience the concert as WNYC, New York’s public radio, will broadcast the concert as part of their own 100th anniversary celebration. The event brings many different artists and organizations together to provide free entertainment to the city.
Headcount is a nonpartisan organization that will be at the concert, getting New Yorkers registered to vote. Rhapsody for This Land is only possible with The Robert W. Wilson Charitable Trust, a foundation that supports the arts. Brooklyn Bridge Park, WNYC and St. Ann’s Warehouse are all collaboratively hosting the event. St. Ann’s Warehouse is an avant-garde Brooklyn venue that presents plays, dance and music performances and visual arts.
The celebration involves many decorated musicians including Downes who is not only a pianist, but is the host of NPR’s Amplify with Lara Downes as well as another nationally syndicated radio program, Classical Americana. Her 2023 album, Love at Last, reached #1 on the Billboard Classical Chart.
Grammy award winning artists like Rosanne Cash, Christian McBride, Arturo O’Farrill and string trio, Time for Three, will perform the compositions. Aram Demirjian will conduct the ensemble of young NYC musicians, Orchestra Elena.
The concert will also feature music from other legendary artists like Leonard Bernstein, Duke Ellington, Nina Simone.
To listen to the concert, you can visit the WNYC website here.
I Don’t Want To Go Home, The Oral History of the Stone Pony, was released in early June. New Jersey native Nick Corasaniti explores the history of the venue and the surrounding community. Complete with a foreword from Bruce Springsteen, Oral History of the Stone Pony documents the community’s resilience in the face of ruin.
In 1974, Asbury Park’s future was uncertain. Recovering from a riot and facing ruin, the Stone Pony offered the gleam of hope the town needed. Bouncers Jack Roig and Butch Pielka, underprepared and minimally funded, were determined to own their own venue. Soon, Bruce Springsteen called the Stone Pony Home. Despite success in attracting notable artists like Stevie Van Zandt, “Southside” Johnny Lyon, and Springsteen, the Stone Pony struggled to get by.
The history of the Stone Pony is emblematic of American life: dogged resistance and big reams, all in the face of decline and neglect. Corasaniti’s insight as a lifelong New Jersian is boosted by his experience as the New York Times’ Jersey correspondent. Bruce Springsteen, Steve Van Zandt, Southside Johnny, members of the E Street Band and Asbury Jukes, the Ramones, the Jonas Brothers, Pearl Jam, the Kinks, Tom Morello, Kenny Chesney, Jack Antonoff, The Gaslight Anthem, the Bouncing Souls, the Lumineers, Russell Crowe and other legendary musicians have featured interviews. Non-musicians associated with the history of the Stone Pony, including bouncers, bartenders, local bon vivants and politicos, including Govs. Chris Christie and Phil Murphy, are also featured.
The book has already received critical praise: Kirkus Reviews described it as a work with, “charming bits of Springsteen-iana… [with the] theme of a community stubbornly determined to survive amid adversity.” Booklist says the book promises a, “stirring tale of rock ‘n’ roll survival.”
Umphrey’s McGee at The Stone Pony, 2018 – photo by Capacity Images, Chris Capaci
It is difficult to overstate The Stone Pony’s role in rock ‘n’ roll history. During the 70s, Ocean Grove resident Johnny Lyon and Middletown’s Steve Van Zandt named their band for the Pony. With soulful, classic, and horn driven R&B music, Southside Johnny and the Asbury Jukes played the Stone Pony three nights a week. Van Zandt would leave the group to play with Bruce Springsteen and the new version of the E Street Band. Salty Dog, Stir Crazy, Winfield, Holme, Salvation, Mad Dog and the Shakes (featuring local legend and former E Street drummer Vini Lopez), The Shots, Cold Blast & Steel, Cahoots and Acme Boogie Company all played the Stone Pony during the 70s.
The 80s brought a new wave of rock and dance music to the Pony. Legendary performances included stars on the way up such as Stevie Ray Vaughn, Elvis Costello, The Ramones, Cheap Trick, Skid Row, Blondie, The Stray Cats and Winger. Other artists who took to the Pony stage included Meatloaf, Todd Rundgren, Jimmy Cliff, Joan Jett, Blue Oyster Cult, Gregg Allman, Dickie Betts, Ace Frehley of Kiss, Levon Helm, Robert Gordon, Johnny Winter, Vanilla Fudge, David Johansen (a.k.a. Buster Poindexter), Mink DeVille, Dion, Ronnie Spector and Mountain. Van Morrison used the club for the shooting of a music video because of its “cool atmosphere.”
The Stone Pony hit a slump in the late 80s and early 90s. With insurance prices and other expenses rising, the Stone Pony came close to ruin. Steven Nasar bought the venue in bankruptcy court, and planned to make it into a dance club. In 2000, Jersey City restaurant owner Domenic Santana promised the Pony would be open by Memorial Day in a press conference.
Credit: Michael Dinger; The Pretenders playing at the Stone Pony
Santana renovated the Stone Pony, adding a permanent exhibition of art and artifacts from the history of the city and the venue itself. With a new state of the art lighting and sound equipment, redesign of the outside Stone Pony Landing area, tenting and a small food facility, the venue was ready to retake its rightful place in popular culture.
Artists did not abandon the Stone Pony: The Pretenders, The Strokes, Interpol, Joan Jett and the Blackhearts, Patti Smith, Jason Mraz, Third Eye Blind, Sean Ono Lennon, Clarence Clemons, The Wailers, The Backseat Lovers, Indigo Girls, and Ziggy Marley among many others have continued to play at the Stone Pony. New Jersey native musicians continue to play the Stone Pony, and pay tribute to their roots, including Grateful Dead Tribute Band JRAD. The community’s resilience in the face of difficulty is remarkable, and a testament to the strength of music.
In celebration of their 50th anniversary, The Stone Pony is hosting a summer series, more information is available here.
The book is available for purchase here, and a CNN report on a the Stone Pony’s history is below.
Music Haven announced the return of their beloved summer series of international music. From July 7 to September 6, Music Haven will host diverse performances for Schenectady residents.
Each concert will feature artists from different parts of the world, from Brazilian Jazz to Zimbabwean Afro Fusion. Schenectady’s Central Park will host the series in their award winning outdoor venue. Music Haven has transported viewers on a musical trip around the world for over 30 years.
In addition to the returning festival, Music Haven is excited to introduce their new Blues BBQ, and a three-part film and event series.
The Agnes MacDonald Music Haven is a family-friendly, accessible venue that has been voted “Best Outdoor Concert Venue” in the Capital Region. In addition to an excellent venue, the series will boast a collection of local craft beverages from Frog Alley and Wolf Hollow Brewing Companies and Nine Pin Cider. Ben and Jerry’s ice cream will also be available at each show, along with Yanni’s 2-go and Flacos Tacos.
Music Haven will welcome special guests as exciting as their headliners.
The series will open with Mokoomba, a Zimbabwean Afro Fusion group with infectiously danceable music. Special guest Jordan Taylor Hill will join Mokoomba with West African drums and dance.
The next performance will feature Buckwheat Zydeco Jr. & The Legendary Ils Sont Partis Band for an evening of Louisiana Zydeco, a unique blend of jazz, blues, and Indigenous Creole influences. Special guest The Brass Machine will bring New Orleans style jazz .
Afterwards, the next performance will feature Balkan Brass, Roma (gypsy) accordion, and Slavic Soul Party jazz. Special guest Niva will perform Izverna, Macedonian roots music. The musical globetrotting trip will visit Ireland with Goitse, Live Ireland’s “Traditional Group of the Year”. The Capital region’s own Hair of the Dog will join Goitse.
More jazz will follow with Brazilian artist Anat Cohen, Jazz Journalists Association’s “Clarinetist of the Year”. Additionally, the jazz quartet Art D’echo Trio will be joined by percussionist Brian Melick.
Cuban musician Eliades Ochoa will perform classic Cuban Son. Cuban sextet Bolero Blues, led by Walter Ramos, will join Ochoa.
Music Haven will also feature food from around the world.
A full list of Music Haven’s summer events is available below, along with a news interview regarding the 2023 season.
Esteemed singer, songwriter and multi-talented artist Jon Batiste, will perform at the Tanglewood concert series on June 28.
After earning both a B.A and a M.F.A from Juilliard school, Batiste got his start on The Late Show With Stephen Colbert as a bandleader and musical director. His extensive discography ranges from his 2004 jazz album, Times in New Orleans, to his 2023 concept album, World Music Now. Jazz legends such as John Coltrane and Miles Davis are a heavy influence on Batiste’s music, as well as the soul and funk of Stevie Wonder and James Brown.
Notably, Batiste produced the music for Disney Pixar’s film Soul which won an academy award for Best Original Score and a Golden Globe for Best Original Score. The We Are album won five Grammys including Album of The Year in 2021. In 2022, Times Magazine named him top 100 most influential people.
The 2023 Netflix film, American Symphony, explores Batiste’s career. It follows his personal life, his involvement in activism and organizing and of course, his musical successes.
He’ll perform his wide discography in Koussevitzky Music Shed, a venue that will host other iconic artists all summer. Tanglewood is a concert series located in the Berkshire hills of Western Massachusetts. Throughout the summer will also feature many performances from its summer resident, the Boston Symphony Orchestra.
For more information or to purchase tickets to Jon Batiste, visit the Tanglewood website here.
Bonnaroo 2024 was my first time attending a music festival of this size as well as camping there. Going into it, I had no idea what to expect or how vast the grounds and crowds would be. The sheer scale of the festival was awe-inspiring, and was a humbling experience to be part of.
The festival drew over 70,000 Bonnaroovians to the festival in Manchester, TN over four days, June 13-16 with the festival completely sold out. Throughout the festival, the temperature soared to a high of 94 degrees, but that didn’t dampen the spirits of Bonnaroovians from partying all day and night.
Bonnaroo Day 1: June 13
I arrived at the media camping grounds at 8 am to claim my spot and swiftly set up camp before the gates for Centeroo opened at noon. At noon, I made my way to Centeroo for the first time and walked the grounds. Right away, there was a contagious energy of excitement on the ground from veteran Bonnaroovians returning home to first-timers like myself in awe of all of it.
While exploring Centeroo, I made my way to the House of Matroomony. I heard about this house performing weddings at Bonnaroo and thought the idea was cute; little did I know when I walked in there, I would witness and photograph the first wedding of Bonnaroo. The couple was Savannah and Nathan Ingle, who were officiated by Virginia Slim Jim. What a way to kick off my Bonnaroo.
Savannah and Nathan Ingle center left and right, Virginia Slim Jim in the center
My first show of the day was later in the evening Durand Bernarr at the This Tent. His set was high energy, and he had a fantastic stage presence and the crowd was eating up his performance from the moment he walked out in his all-denim look. Throughout his performance, he sang songs from his EP En Route released May 31 this year. I stayed at This Tent for the next show Nation of Language. This was my first time hearing and seeing them perform, and it was a thrilling experience. The band has an 80s synth pop melodic sound to them that really works and kept the crowd grooving. They started their set off with ‘A New Goodbye’ from their new studio album Strange Disciple. From the This Tent, I quickly had to make my way to the What Stage to catch headliner Pretty Lights.
Durand Bernarr
Pretty Lights had such an imaginative backdrop behind the DJ booth, a wall of circuit panels with wires that was part of his setup. With a band accompanying him, Derek Vincent Smith started his set by hyping up the crowd and giving them a performance of “Swirl Song/Sun Machine,” the lighting that followed keeping the crowd hyped and flowing to the tunes.
Towards the end of the song, hearing the crowd sing lyrics from David Bowie‘s “Memory of a Free Festival” – ‘Sun Machine is coming down and we’re gonna have a party’ – was such a magical moment. Hearing the crowd of that magnitude for my first time at the festival was just a small taste of what would come the next couple of days. To finish off my first day of Bonnaroo, I made my way to That Tent to see Geese. Another first-timer seeing and hearing of this band, who brought their punk-rock fusion and had the crowd in their grasp from the moment they got on the stage.
Pretty Lights Crowd
Bonnaroo Day 2: June 14
Friday was a jam-packed day for music. Starting my afternoon off at the That Tent for MIKE who brought his profound sound that showcased his lyrics and wisdom within the music. Throughout his set, he got great crowd participation whenever he interacted with them. He performed songs from his new record ‘Burning Desire’ and a couple of songs that were untitled and were still a work in progress. The crowd loved each song he did.
After MIKE’s set, I headed towards This Tent for Bonny Light Horseman. The band brought a calm demeanor with their folk sound and strong lyrics behind each song. It was a nice change of pace, from all the hustle and bustle that a festival can bring. After the calm, I made it to Which Stage for The Japanese House who continues the same level of calm in her performance. A blue sky and cloud backdrop set the tone perfectly for it. She performed an unreleased song called ‘Smiley Face’. In her words, it’s “about my big gay love,” and the crowd went absolutely crazy for it.
MIKE
Drivers Era at the What Stage had tremendous energy throughout their whole set. There was amazing chemistry between the band and the crowd that carried the performance. ‘Turn Up the Music’, ‘Get Off My Phone’ and ‘Feel You Now’ started the set, and all around you couldn’t have walked away after their set without having a smile on your face. I then raced over to This Tent to catch Grouplove, my second time seeing them perform, and I knew the moment that they took to the stage they were going to take everyone on a ride with them. The atmosphere was so electric and contagious. I had such a fun time photographing them.
The Drivers Era, Ross Lynch
I got a little break before heading back to Which Stage for Lizzy McAlpine. Her stage setup was quite unique, it was giving off living room vibes, with a band set up straight across the stage with her being right in the middle and having stage light stands as her backlight across them all. Her performance felt very intimate, no matter where you were in the crowd. She started her set with ‘doomsday’ that got everyone in their feelings from the start. In the middle of her set, she did a mashup of Rascal Flatts “Bless the Broken Road” and John Denver’s “Leaving on a Jet Plane” that the crowd loved.
After getting in my feels with Lizzy, Maggie Rogers took the Which Stage next. Maggie had by far one of my favorite artist’s entrances of the festival. Her band started playing the intro to ‘It Was Coming All Along’, and she rose from a lift on top of her stage stairs case, and when she popped up, the crowd went crazy for her. She went on to perform ‘Drunk’ and ‘That’s Where I Am’ but by the end of her third song, I had scurried off to the What Stage for headliner Post Malone.
Maggie Rogers
Post Malone’s intro was the most exciting thus far this weekend, starting with a string quartet walking out and beginning to play softly, then getting louder, followed by a female guitarist who gave a killer guitar solo that led into the band’s intro to ‘Better Now’ and his entrance to the stage was accompanied with pyrotechnic fireworks. The crowd was beyond ready for Posty, and from the moment he took to the stage, the crowd sang every song along with him. He had such a smooth transition into ‘Wow’ and a mashup of ‘Zack And Codeine’ and ‘Psycho.’
Post Malone
To wrap up my night, I headed back to the Which stage for my most anticipated show of the night T-Pain. I don’t think people really realized how many hits this man has. His set was packed with almost all of them, he started his set with ‘Take Your Shirt Off’ and then went into ‘Up Down’ then ‘Bag of Money’. After the third song I quickly went to put my camera away to go join the crowd for the rest of his set.
To be part of this crowd was truly insane, everyone was having such an amazing time singing, and two stepping the night away. He had such tremendous stage presence throughout the whole set. My favorite songs he performed were ‘Good Life’, ‘Black and Yellow’, ‘Kiss Kiss’, and his cover of Sam Smith’s ‘Stay With Me’ blew me away! Crowd favorites were ‘2 Step’, ‘Low’, cover of Journey’s ‘Don’t Stop Believin’ and of course ‘Buy U a Drank’. He wrapped up his set by doing ‘All I Do Is Win’ and ‘I’m on a Boat’.
Bonnaroo Day 3: June 15
I managed to get some sleep after T-Pain’s late set, which went into the early morning. By noon, it had reached the festival’s hottest temperature at 94 degrees. I made my way to Outteroo and headed towards Plaza 3 House of Yes Pride Parade. This was the fourth year that the House of Yes has hosted the Pride Parade.
When I arrived and entered the House of Yes was a truly heartwarming moment, to be surrounded by the queer community and feel love in the air instantly. Knowing everyone in that room was in a safe space to be their authentic self and no judgment by anyone. Just before the pride parade kicked off, a little dance party broke out in the House of Yes. Everyone was enjoying themselves, and soon enough, the parade kicked off, and the party continued outside. From the House of Yes, the parade took everyone to Where in The Wood for the after-party, where the dance party continued with a DJ set.
I made my way back into Centeroo to catch my first show of the day, The Maine at the What Stage. The rock band brought high energy that had the crowd dancing from their opening song ‘Blame’ and they performed ‘Sticky’ and ‘Slip The Noose’. I finally had a nice break from the sun before going to the Which Stage for Brittany Howard. I’ve been a big Brittany Howard fan for quite some time now, and to finally have gotten to photograph her and see her perform was such a dream. Her vocals are so unique and powerful, the energy she gave off the stage was amazing. ‘Earth Sign’ started her set, with her soulful vocal chops that set the tone for her set. Her soulful voice continued into ‘Georgia’ and the song ‘Stay High’ gave the crowd an insight into the wide range of her vocal ability and sound she has developed.
From one soulful performance to another one. I made my way back to What Stage for Jon Batiste. As with Brittany, I was excited for Jon’s set. His vocals and lyrics are so powerful, and on top of that, there aren’t that many people who can pull off a sequin suit, but he did. There are no words to describe the sheer radiant energy he was giving to the crowd. My favorite song he performed was ‘Freedom’, an energetic song and mood booster that had the crowd on their feet dancing.
Jon Batiste
I boogied my way back to Which Stage for my favorite artist at the festival, Renee Rapp. I’ve been lucky enough to have seen her perform before, but this was my first time photographing her, and she did not disappoint. Her fans were among the loudest at the festival at that time. I love how Renee is able to do such smooth transitions from her upbeat songs ‘Talk Too Much ‘and ‘Poison Poison’ right into her softer song ‘Bruises.’ I enjoyed the rest of her set once I was done, my personal favorites were ‘Not My Fault’, ‘Pretty Girls’, ‘Tummy Hurts’ and the song she hates ‘Too Well’. After her set, I walked away from it with one of the biggest smiles on my face.
Renee Rapp
To end my night, This Tent had the Dashboard Confessional Emo Superjam. Bonnaroo is known for doing Superjams where a mix of artists perform a set based on the theme and it’s always a festival highlight. When I got there, I saw Dashboard Confessional and Andrew McMahan doing Something Corporate’s “I Woke Up In a Car.” By this point, I was running on about 5 hours of sleep, and it was finally catching up to me. I left the Superjam early and called it a night.
Dashboard Confessional and Andrew McMahon, Emo SuperJam
Bonnaroo Day 4: June 16
I couldn’t believe it was the final day of the festival, and I had so much in store for myself that day. I couldn’t miss seeing Chappell Roan on the Which Stage. This artist is right up there with T-Pain, Renee Rapp, Brittany Howard, and Jon Batiste for my must-see performances while here. She’s been having one hell of a year, and had by far the biggest crowd for any artist at the festival. She and her band are dressed in all latex doctor/nurses outfits. The sheer volume of the crowd could be heard throughout the festival grounds and camping grounds. ‘Femininomenon’ got the party going with a song ‘with a fucking beat.’
With every song, the crowd was singing right along with Chappell. She then went into ‘Naked in Manhattan’ and ‘Super Graphic Ultra Modern Girl’. Hands down the most anticipated song of hers I was looking forward to and also a crowd favorite is ‘HOT TO GO’. To see the sea of people in the crowd doing the dance was so magical and definitely a core memory for me from the festival. She debuted a new song called ‘The Subway,’ another show that left a smile on my face afterward.
Chappell Roan, photographed from the crowd
With a little break, I headed to the What Stage for Carly Rae Jepsen. Right from the start, she brought out high energy, and there was a strong crowd connection from the beginning when she sang ‘Now That I Found You’. Unfortunately, due to thunder and lightning, her set was cut short, but after the weather cleared up, she was able to get back on stage and finish her set. Due to the weather, the schedule changed a little, but that’s just festival life for you.
Which Stage had Goth Babe, and they were another artist that I hadn’t heard of before, and I really didn’t know what to expect. When he came out to start his set, I was pleasantly surprised. He had an indie vibe to him with a hint of pop. I definitely jammed to his music while in the pit and instantly became a fan. For as much as I wanted to stay for his set, I had to head out to catch Megan Thee Stallion on What Stage.
Goth Babe
Megan knows how to put on a show! She started her set with ‘HISS’ accompanied with pyrotechnics. The crowd roared when she came out and kept the energy going with ‘Ungrateful’ and ‘Thot Shit’. For the last time of the festival, I made my way back to Which Stage for Jason Isbell and the 400 Unit. With his Americana sound, he slowed down the pace and had everyone bobbing and singing to ‘King of Oklahoma’ and ‘Stockholm.’
Here is where I made an executive decision to stay for two songs of his instead of the three in order to make it to my last show of Bonnaroo at the This Tent for Taking Back Sunday. I made it just in time as the band was starting to play ‘S’Old.’ The crowd was electric for the pop-punk group, and honestly, it was such a perfect way for me to end my Bonnaroo experience.
Megan Thee Stallion
Reflection
I am forever thankful to have had this opportunity to have come and cover Bonnaroo 2024. Before I got to Bonnaroo, I heard and read about The Bonnaroovian Code and didn’t really think too much about it. As I sit here reflecting on my time on the farm I understand now when everyone says ‘The Bonnaroovian code isn’t just for four days a year in Tennessee – it’s for all Bonnaroovians, everywhere and all the time. Bringing the spirit of Bonnaroo with you out into the world.’ I can’t wait to go back for round two in 2025.
It takes hours of tireless work to become an overnight success. Word to the wise: it takes 10 years for anyone to truly begin to see results. Nobody exemplifies this more than Buffalo’s first poet laureate, Jillian Hanesworth. Recently, she won an Emmy for her poetic efforts in conjunction with the Buffalo Bills.
Augustus Clarke and Jillian Hanesworth pose with their 2024 Sports Emmy received at Frederick P. Rose Hall in New York City [Marc Bryan-Brown Photography]
Before she began working with the Bills, Hanesworth poured in countless hours to conquer the struggle and pursue her truth. Born and raised in Buffalo – Hanesworth grew up within an artistic community where all walks of life embodied their roles to preserve art for generations to come.
The way that Hanesworth approaches art provides a refreshingly humble perspective. In the grand scheme of things, she views herself as a voice not the voice. Her voice is important, insofar, as it amplifies the voices of those around her, as well.
“You don’t have to be a known artist to be an artist.”
-Jillian Hanesworth
Perhaps, this humility and sacrifice toward her craft is the reason why more people are starting to hear about this phenomenal woman. Her firm dedication to uplifting those in need of knowledge without feeling any sense of entitlement strikes the perfect balance for this creative artist.
Purpose Plus Passion
Hanesworth’s multilayered approach to art, activism and advocacy make her an incredible social change agent. She reimagines justice with poetry and timely demonstrations – she does not wear a crown or sit on a high horse – she sees these actions as the service she owes to her community.
Hanesworth proves that the art of traditional storytelling is so important. Hanesworth shares her story so well as an artist. Buffalo’s first poet laureate and a familiar face for those suffering from Buffalo tragedies – Hanesworth set out to make a difference in her community.
As the founder of Literary Freedom she hosted pop-up bookstores in conjunction with her Buffalo Books program. Initially, she set out on a mission in Buffalo to increase the literacy rate for young scholars within her community.
She put a plan in place and aimed to raise $10K to reinvigorate 10 libraries. Shortly after she launched a GoFundMe, KeyBank in Buffalo met her fundraising goal to revamp selected libraries in Buffalo by putting local artwork on the walls and local authors on the shelves.
Grind Don’t Stop
As she put her nose to the grindstone and continued to do the Lord’s work – people began to notice her efforts. Shortly after the racially motivated shooting at Tops in Buffalo, the Bills asked Hanesworth if she could create something to help the people heal.
As life goes on, Hanesworth continues to find herself in situations to infuse lasting change. Those who set out to achieve something greater than themselves will ultimately find reward. From the jump, this woman set her sights on community literacy improvement and from there she has worked with several notable organizations who have given her a vehicle to move her message.
Hanesworth stepped into the artistic space with the right mentality and made moves according to her mission. Once people start to gravitate toward your art, it is not just about you anymore. Once your art and story arc take on a life of its own, you must ensure that you continue to double down on the reasons why you started.
Mr. Jive has cooked up a 12 song showcase worthy of a glance from a wider audience, titled, Hurry Up Please It’s Time”
Opening with “Monsters Write Pretty Songs,” Buggy immediately announces “Good luck,” with a thickly stacked vocal on top of the meandering rhythm guitar that jolts and grabs attention. The crispy blend of gospel and Doobie-esque backing vocals weave a soft takeoff before eventually punching the opening notes of “Scheherazade of Schenectady.” The first single off the record is appropriately verbose, as it touches on principles of fiction writing and brings up the heat after the smooth opener.
Relaxedly defiant, “Don’t Quit Your Day Job,” hints of the prog influence to come later in both “The Music is Beside the Point,” and “The Calendar is a Liar.” Distorted and stanky, the song that garnered the NPR shoutout from Bob Boilen and Bobby Carter somehow still gives front porch rocking chair vibes while hiding a middle finger attitude behind a content and fulfilled smile.
In “Another Song I Ain’t Allowed to Sing,” Buggy Jive offers reminders of his emotional range and musical intent while slowing down the pace, but featuring right-up-front lead vocals and an ocean of harmonies that keep the energy flowing. This range and intent returns in spades on “Autumn Is Burning.” The mid-album walking groove breaks out major key on a bridge change that feels like a full breath after the intentionally dark verse progression. While “Old Man Screams at Sky,” hits more like a barnhouse dance party than gospel groove, those dynamic controls and natural chord voicings remain steady and present.
“Ignore Them Fools,” and “Alpha the Beta,” both ooze confidence, with the former feeling like a class in session and the latter like a player on the field in action. “Alien Robot Love Song About Love,” and “Hurry Up Please It’s Time,” the final two tracks of the album, lay heavy wet grooves that drag the listener deep into the songwriters’ pocket lyrically and musically.
The entire work displays an adventurous attitude as a musician and a deep sensibility surrounding vocals that act as an homage to his influences, both perceived and expressed. Buggy Jive took a big swing on this record, and his dedication and emotion are both easily seen and felt throughout.
Only You Know and I Know is not only the name of one of his biggest hits, but it is also now the title of Dave Mason’s forthcoming autobiography. It’s a freewheeling testament proving that Dave was one of the most Zelig of rockers. He’s a “quiet giant” who had his fingerprints all over the work of not only the famous group he co-founded, Traffic, but defining tracks by pals like Jimi Hendrix, George Harrison, Derek and the Dominoes, The Rolling Stones, Paul McCartney, Delaney & Bonnie, Joe Cocker, Graham Nash, Fleetwood Mac and many more.
Raised on a farm and saddled with a hip condition that kept him bedridden for a year as a child, Dave discovered music at 12, when he plucked a ukulele out of a trash can while visiting his sister in San Diego. His first axe didn’t last long; his mother summarily used it to fix a stopped-up toilet! The would-be songwriter’s love of melody and harmony came from listening to The Platters while his still-underrated guitar chops were seeded by coping the solos of Hank Marvin and The Shadows and the Ventures, ones which he played in his early band, The Jaguars. He would see The Beatles, Stones and Dylan in concert and even meet Little Richard before he struck out on a professional career.
But it was the all-nighters at clubs in Birmingham where he would make his big connection, first with drummer Jim Capaldi in The Hellions then teenage Steve Winwood, when he was the star attraction in the Spencer Davis Group. Mason would contribute to the group’s latter-day hits, “Gimme Some Lovin’” and “I’m A Man,” before joining forces with Winwood, Capaldi and flautist Chris Wood in Traffic.
Dave Mason – photo by Chris Jensen
Mason’s star-crossed, on-again/off-again history with Traffic is a thread that runs through the entire book. After “getting it together” at their little country cottage in Berkshire, just like Dylan and The Band at Big Pink, they would record Mr. Fantasy, their hit debut disc. But it’s Dave’s song that the rest of the band hated, “Hole In My Shoe,” which was the biggest hit (#2). The tension within the band would lead Dave to quit on the eve of their first U.S. tour. But because the trio was lacking in original songs, Mason and his songs are welcomed back for the second album, 1968’s Traffic. He contributes “All Join In,” a tune penned on a caffeine jag in an Athens café and “Feelin’ Alright,” written on the Greek island of Hydra that would achieve classic status in its cover by Joe Cocker. Before the album was released, Dave would be fired from Traffic. He would be back for a couple of gigs captured on the album, Welcome to the Canteen, before a final split. At their 2006 induction into the Rock-n-Roll Hall of Fame, Dave was not invited to play with the band.
Dave’s move to the U.S. in 1971 puts him in the circle of Cass Elliot and the CS&N crew, along with Delaney & Bonnie. He becomes a part of the L.A. music scene bringing in A-list stars and session legends to record his truly great debut disc, Alone Together, closely followed by a duet album with Cass Elliot. He also becomes a part of the LaLa social whirl: partying with Sharon Tate and Abigail Folger shortly before the Manson murders, romancing actress Leigh Taylor Young and establishing close friendships with Dan Haggerty (TV’s Grizzly Adams) and Patrick Swayze.
Dave Mason must be a really great hang because many of the true icons of rock are pals who call upon his talents in the recording studio. He is featured on Jimi Hendrix’s “All Along the Watch Tower,” The Rolling Stones’ “Street Fighting Man,” Paul McCartney & Wings’ “Listen to What the Man Said” and George Harrison’s “All Things Must Pass.” It is Harrison who gives him a sitar which Mason plays on early Traffic tunes. It’s also Mason who purportedly shows George how to play slide during a break in a Delaney & Bonnie tour date. Through Delaney & Bonnie and the Harrison sessions, Dave is enlisted into an early version of Derek and The Dominoes. He leaves after a little recording and one live performance when the drug use in the band proves too much even for him. Though it’s seldom discussed, Dave was also a member of a post-Rumors Fleetwood Mac, touring from 1994-1995 and recording the album, Time.
While charmed in many places, Only You Know and I Know demonstrates Dave’s life has not been a complete bed of roses. He is honest here about his battles with addiction (mostly cocaine), his broken romances, the loss of his son and shortcomings as a father and his faulty business acumen (bankruptcies, bad management and recording contracts). There’s also talk of aborted music projects with Ginger Baker, Bob Dylan during his Desire album sessions and his trio with Leon Russell and Gary Wright. There is also his decision to move to St. Thomas in the Virgin Islands… a few days before Hurricane Hugo decimates it.
Mason is priming his fans for the release of his new memoir with 40-concert running through mid-October. The book and this latest tour prove that Dave is one of the true rock-n-roll survivors, someone for whom music is a salve and salvation which has helped him and his generations of fans cope with life’s inevitable hurdles.
Dave Mason tour Info can be found here, pre-order Only You Know and I Know, co-authored by Chris Epting, here
The Peach At The Beach music festival in Atlantic City, NJ has announced its artist schedule. The festival will feature eight artists and DJs. Concert-goers can enjoy shows playing dance, funk, rock, and reggae music.
Peach At The Beach music festival will take place at Atlantic City’s Island Waterpark on Saturday, July 13.
An Aerial View of the 2023 Peach Music Festival
Peach At The Beach spawned from the annual Peach Music Festival in Scranton, PA. The Allman Brothers Band started the festival in 2012. Each Summer, the festival has brought jam bands from around the world to the Montage Mountain Resort for concert-goers to enjoy. Since its beginning, artists such as Santana, the Black Crowes, and Ween have played the festival. This year marks a shift in venue, with the festival relocating to Atlantic City’s Island Waterpark for the Summer. The festival will feature shows for all ticket-holders on the main Peach Stage. Additionally, General Admission+, VIP and Super VIP ticket holders can access early waterpark DJ and artist sets.
The festival will kick off for premium ticket-holders at 11:00am with special waterpark DJ sets. The waterpark concerts will feature sets by DJ King Mega, DJ Logic, and Uncle Jesse. The waterpark set will also include a show by Asbury Park’s Dogs In a Pile. Jersey native guitarist Jimmy Law and drummer Joe Babick founded the band in 2019 with help from a host of Berklee-trained musicians. They combine jazz, rock, and funk to create psychedelic journeys for their audiences.
Doors open for the festival’s Peach Stage at 2:00pm. The Peach Stage is located outside the waterpark, and will host 5 performances throughout the afternoon and evening.
Mykal Rose, from legendary reggae band Black Uhuru, and a staple of the genre since the early 1970s will kick off the festival with a 3:00pm set. In 1984, Rose and Black Uhuru won the first Grammy for Best Reggae Album for their record Anthem. Since the 1990s, Rose has toured the world, spreading his iconic roots reggae stylings.
Rose’s set will be followed by a performance by Karina Rykman. Rykman’s journey into indie and jam rock stardom began in her youth in New York City. By the time of her graduation from NYU, Rykman was playing alongside Vulfpeck, Les Claypool, and Sean Ono Lennon. Rykman is known for her combination of indie pop with scorching distorted rock. Since beginning her career, Rykman has headlined festivals like Bonnarroo, and played on shows like Late Night with Seth Meyers. This performance comes after the release of Rykman’s 2023 album Joyride produced by Phish’s Trey Anastasio. She will perform a 4:00pm set.
The highlight of the Festival is a performance by Trouble No More recreating the Allman Brothers’ iconic 1972 album Eat a Peach. The band includes all-star musicians who are dedicated to recreating the Allman Brothers’ early catalog. Their guitarist Brandon Niederauer has shared the stage with everyone from Buddy Guy to Lady Gaga. The band additionally features vocalist Lamar Williams Jr., son of the Allman Brothers band’s bassist, and 5x Grammy-nominated keyboardist Peter Levin. During their recreation of Eat a Peach, the band will play Allman Brothers hits, including “Melissa,” and “Blue Sky.” The band will begin their set at 5:30pm.
Trouble No More will be followed by a second 7:15pm set by Dogs In a Pile. Joe Russo’s Almost Dead will then close out the festival with 2 sets beginning at 9:00pm. Joe Russo formed Almost Dead in Brooklyn in 2013 to perform classic tracks from the Grateful Dead. Since their start, the band has played with legends like John Mayer, Ween, and Grateful Dead bassist Phil Lesh. Almost Dead has previously sold out shows at venues including Red Rocks, the Brooklyn Bowl, and the Peach Music Festival. Rolling Stone even named their 2018 Peach Music Festival performance as “Best Scene-Stealer,” saying Almost Dead takes “improvisational jam rock to the nth degree.”
Festivities are not limited to July 13th, with special pre and post festival parties. On July 12th, Philadelphia-based jam band the Disco Biscuits will perform at the Showboat Resort’s Bourbon Ballroom. Saturday, July 13th will also feature a special “Peach After Dark” set at the Bourbon Ballroom. This set will include Woodstock-based experimental rocker Marco Benevento, and South Carolina-based synth wave band Doom Flamingo.
Waterpark Schedule
11:00am – Doors Open
11:00am – DJ King Mega
12:00pm – DJ Logic
2:00pm – Dogs In a Pile
3:15pm – Uncle Jesse
Peach Stage Schedule
2:00pm – Doors Open
3:00pm – Mykal Rose of Black Uhuru
4:00pm – Karina Rykman
5:30pm – Trouble No More
7:15pm – Dogs In a Pile
9:00pm – Joe Russo’s Almost Dead
For more information on location, ticketing, and regulations, visit the Peach Festival website here.
This fall, guitar icon Yngwie Malmsteen will kick off his 40th Anniversary Tour, taking him nationwide, with four shows in New York.
His first trip brings him to Plattsburgh at the Strand Centre on October 4th, followed by Colony Woodstock in Woodstock on the 10th. Two days later, Malmsteen will visit Buffalo’s Electric City Music Hall, with the tour concluding on November 18 at New York Cityâs Gramercy Theater.
Originally from Sweden, Yngwie Malmsteen was born into a musical family full of opera singers and classical musicians. By the age of 10, he had formed his first rock band with his childhood friend. Eventually, he began experimenting with different genres, musical styles, and techniques. Growing up, he was inspired by the unique playing styles of classical composers like Niccolo Paganini and Antonio Vivaldi, as well as the bluesy ones of Deep Purple founder and guitarist Ritchie Blackmore. Throughout his teen years, he combined the two genres and founded what is known as Neo-Classical Hard Rock.
In 1982, Yngwie Malmsteen came to the United States to kickstart his career. He appeared on multiple albums and performed in the hard rock band Alcatrazz. In 1984, he earned a solo deal and released his debut solo album. Rising Force. Since then, he has recorded over 22 studio albums and earned himself a reputation as one of the greatest electric guitarists of all time.
“I’m very excited to play this tour with all you guys and commemorate the launch of my solo career. It’s been an amazing journey and it still feels like it’s only beginning. I couldn’t have done it without all of you and your support throughout all these years. Looking forward to creating some magic with all of you! More is more!”
Yngwie Malmsteen
The full tour dates are listed below. For more information and tickets, fans can visit here.
Yngwie Malmsteen on Tour:
Sep. 26 – Fort Myers, FL – The Ranch Concert Hall Sep. 27 – Clearwater, FL – Capital Theater Sep. 28 – Mt Dora, FL – Mt Dora Music Hall Sep. 29 – Tallahassee, FL – The Moon Oct. 02 – Charlottesville, VA – Jefferson Theater Oct. 04 – Plattsburgh, NY – Strand Center Oct. 05 – Pawtucket, RI – The Met Oct. 06 – New Haven, CT – Toads Place Oct. 07 – Boston, MA – The Wilbur Oct. 09 – York, PA – Double Barrel Roadhouse Oct. 10 – Woodstock, NY – Colony Woodstock Oct. 11 – Millville, NJ – Levoy Theater Oct. 12 – Buffalo, NY – Electric City Music Hall Oct. 13 – St. Charles, IL – Arcada Theater Oct. 16 – Denver, CO – Oriental Theater Oct. 18 – Tacoma, WA – Temple Theater Oct. 19 – Dalles, OR – Granada Theater Oct. 20 – Portland, OR – Hawthorne Theater Oct. 22 – Roseville, CA – Goldfields Oct. 24 – Los Angeles, CA – Saban Theater Oct. 25 – Anaheim, CA – Grove Oct. 26 – Agoura Hills, CA – Canyon Club Oct. 27 – San Diego, CA – House of Blues Oct. 30 – Oklahoma City, OK – Diamond Ballroom Nov. 01 – Tulsa, OK – Tulsa Theater Nov. 02 – San Antonio, TX – Vibes Event Center Nov. 03 – Austin, TX – Come & Take It Live Nov. 04 – Houston, TX – Warehouse Live Nov. 05 – Dallas, TX – Trees Nov. 07 – Covington, KY – Madison Theater Nov. 08 – Lorain, OH – Lorain Place Nov. 09 – Columbus, OH – King of Clubs Nov. 10 – Leesburg, VA – Tallyho Theater Nov. 14 – Ashland, KY – Paramount Arts Center Nov. 15 – Oakmont, PA – Oaks Theater Nov. 16 – Newton, NJ – Newton Theater Nov. 18 – New York City, NY – Gramercy
