NYS Music 2024

Tag: Bowery Ballroom

  • Philly Invasion: City Wide and Wax Jaw take on NYC’s Bowery Ballroom

    It’s only right for 2024 to end with a slew of high-energy concerts. On Friday, December 20, two Philadelphia based bands, City Wide and Wax Jaw, journeyed to Bowery Ballroom. The two shared similar goals: charm local New Yorkers and supportive listeners through dynamic and compelling music. 

    A view of City Wide and their audience, from the back of Bowery Ballroom

    Before these two Philadelphia based bands hit the stage, the night started off with The DTs. This modern pop duo, consisting of David Cacciatore and Tom Losito, channeled a variety of sounds. Melding into rock, punk and blues, The DTs sought to bring their hometown of Jersey to the forefront. They experimented with harmonies, catchy lyrics and rockin’ guitar riffs. The DTs also performed their new single, “Cherry,” an uplifting track, with roots in adolescent memories.

    Slowly as the DT’s set came to a close, more people started to trickle into the venue. Just after 9pm, Wax Jaw took center stage, ready to bring the energy. This past year, Wax Jaw has rapidly made its mark in the Philly music scene, drawing inspiration from punk and new wave genres. Evoking a sense of nostalgia while highlighting trans voices, the band is made of the singer Shane Morgan, drummer Ian DiBruno, bassist Greg Blanc, and guitarists Sean Vannata and George Fenton. Throughout this leg of the tour, Ben Manning replaced DiBruno’s spot on the drums.

    Right off the bat, Fenton took over the microphone, calling out to the audience to gather close and get ready to dance. Upon hearing his words, fans pressed close to the edge of the stage, tilting their heads back and forth in tune to the music.  Known for their album, Between the Teeth (2023), the band played hits such as “Be the Man,” “Mirror” and “Attitude.”  Morgan kept the crowd entranced, each song more powerful than the last. With a focus on lyricism and balanced instrumentals, the driving drum beats grounded the audience.  Halfway through the set, Fenton urged everyone to gather close to the ground. Reaching crescendo, band members and fans jumped up in the air, clapping hands and singing along.

    Wax Jaw’s high-octane performance set the mood for the rest of the night. Fans split into groups, chattering in anticipation about the previous bands until 10:30 rolled around. At this point, the front of Bowery Ballroom was packed. City Wide entered only a few moments later, earning a roar from the crowd. Vocalist Emily Goldenberg immediately made her presence well known, her strong and captivating vocals pairing perfectly Simon Sheintoch, Evan Brink and Patrick Crosgrave. Ben Manning joined once again on the drums, sticks flying as he pounded the bass and snare.  

    Placed into the alternative genre, City Wide draws inspiration from classic rock and upbeat melodies seen in tracks by The Lumineers and Mt. Joy. They honed a charismatic stage presence and their hit, “Countdown” seemed to resonate with frequenters of the Ballroom. Goldenberg declared this song was meant to pay homage to the upcoming New Year, counting down from10 in the midst of the chorus. City Wide also made sure to balance out the night with some songs on the slower side, including “Higher & Higher.”

    The evening concluded with City Wide returning for an encore. Each member donned Christmas themed sunglasses to cover Chuck Berry’s “Run Rudolph Run.”  A whirlwind of energy overtook the room, bodies swaying in time to the rocking, fast paced rhythm. Ending 2024 right at Bowery Ballroom, both Wax Jaw and City Wide hope to play NYC once again in the coming year.

  • In Focus: Katie Gavin Offers Soulful Simplicity at The Bowery Ballroom

    Singer-songwriter Katie Gavin, who rose to fame as lead singer of indie pop trio MUNA, gave a heartfelt performance at The Bowery Ballroom December 10—the first New York show of her solo What a Relief tour.

    Photo by Molly Higgins

    After an opening set from Liam Benzvi, Gavin strutted on stage to Frank Sinatra’s “(Theme From) New York, New York,” and poured herself a cup of tea before she sat down to tune her guitar. Immediately, the atmosphere in the 575-capacity venue was cozy and personal, as if Gavin was inviting her fans into her living room for a private acoustic show.

    Candles flickered and the stage lights warmed as Gavin began her set with “Today,” a soft track that set the tone perfectly for an evening of showcasing her folk-leaning solo record What a Relief.

    Katie Gavin and Nana Adjoa

    In contrast to the upbeat pop sound of much of MUNA’s discography, Gavin’s solo project is stripped-down, with an acoustic sound and deeply personal lyrics that highlight her artistic versatility. Throughout the live show, Gavin delivered warm vocals, chatted with the audience like friends, and seamlessly cycled through instruments, trading in her acoustic guitar for everything from the keyboard to the violin to a shruti box.

    After playing an additional Bowery Ballroom show December 11 (which featured an appearance by surprise guest Emily Saliers of The Indigo Girls), Gavin will continue on the What A Relief tour through December 18.

    Liam Benzvi and Katie Gavin

    Katie Gavin – Bowery Ballroom, Manhattan – December 10, 2024

    Setlist: Today, Sparrow, As Good As It Gets (with Liam Benzvi), Casual Drug Use, Inconsolable, Sanitized, Sweet Abby Girl, I Want It All, She Gives Me Feeling, The Baton, Keep Walking, Sketches, Aftertaste

  • Moon Hooch Brings Relentless Energy to Bowery Ballroom

    If you want to rave to a collection of saxophones and woodwinds, then Moon Hooch is the band for you. Yes it’s weird, yes it’s wild, and yes it’s a fun show to dance to. 

    Moon Hooch at Bowery Ballroom 12.7, Photo Credit: Aidan Lukomnik

    On Saturday, December 7, Moon Hooch brought their energetic mix of Jazz and Electronic music to Bowery Ballroom in downtown Manhattan.

    A truly New York sound, Moon Hooch was born when Michael Wilbur (Horns, woodwind, vocals), Wenzl Mcgowen (Horns, woodwind, synth), and James Muschler (original drummer) met at The New School. The band, now with Cyzon Griffin on drums, started playing together as buskers across the city. Often playing in the subway, Moon Hooch was banned from the Bedford Ave L station for bringing in crowds that were dangerously large. 

    Audience Member; Photo Credit: Aidan Lukomnik

    That history of busking can be heard in their music, as the trio at times evokes the guttural sounds of an oncoming train paired with high-pitched notes reminiscent of a closing subway door. They even use found objects, like a traffic cone, on stage as a mute to alter their sound. 

    Photo Credit: Aidan Lukomnik

    On December 7, COFRESI opened for Moon Hooch. The drummer and beatmaker brought together modern techniques (looping, drops, Trap and Dancehall melodies) with samples from hits like, “Ain’t No Sunshine,” “Stand By Me,” “Mr Sandman,” and “It’s Tricky” to create a sound all his own.

    COFRESI Photo Credit: Aidan Lukomik

    As Moon Hooch took the stage, audience members head banged, grinded, and jumped up and down – emphasizing how many different musical sub-cultures came out to see the band. 

    The band’s physicality is impressive, as Michael Wilbur and Wenzl Mcgowen dance throughout a set that’s over an hour while Cyzon Griffin’s rapid drumming holds down the beat. Throughout the set there wasn’t an idle monument with high energy songs one after another, only rarely bringing in classical music phrases to give the audience a breather before the beat drop.

    Photo Credit: Aidan Lukomnik

    At the same time, that lack of idleness has its own drawbacks. After a while, songs in the set started to run together with limited ability to determine where one song stops and the other begins. This run-on of songs was exacerbated by similar musical motifs and almost identical lighting cues that could cause a listener Deja Vu. While the band sometimes threw their hands up to engage the audience, they never stopped to talk to the crowd. Better performance pacing, verbal engagement with the crowd, and breaks between songs would do the band well. 

    Photo Credit: Aidan Lukomnik

    On this tour the band isn’t just bringing their relentless energy, they’re also trying to do good. At each city, the band is auctioning off a (small) tree and giving away all of the proceeds to replant trees across the country. In NYC they also worked with Support and Feed – a food equity organization that works to address challenges in food desserts and provide information on plant-based food.

    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik

  • Good Neighbours Bring Us Home at Bowery Ballroom

    Alternative UK Duo Good Neighbours performed at Bowery Ballroom on Wednesday, September 4 as part of their headlining North American Tour.

    Perri Sage Photography

    Who Are Good Neighbours?

    Good Neighbours is a band born out of a small town in East London. The duo is made up of Oli Fox and Scott Verrill and first began making music together out of the desire to create something positive from their love for music. The UK duo had an urge to rekindle the excitement of the early 2000s music scene, and apply the ideas of friendship, life and optimism to a cinematic approach to music.

    After releasing their breakout debut single Home, it became the most streamed debut single globally from a new artist in 2024. The first viral success of the year amassing over 350 million streams led to their first ever North American Tour. Following the upcoming release for their debut album EP Good Neighbours.

    Perri Sage Photography

    Good Neighbours apply Nostalgia and connection to their emotive indie influences, creating a euphoric dreamscape of sound and vision. During this past Wednesday’s show, the band created an inclusive atmosphere. Fans were jumping back-and-forth as the band and audience serenaded each other. The familial feel left fans “homesick”, thinking of loved ones and enjoying the positive side of life.

    Since their ascension, Good Neighbours have wasted no time capturing our attention and refreshing us with a new outlook on alternative indie rock, as their debut single charted throughout Europe. Thus, most left the show looking forward to what was next for the innovative British duo as they continue their North American Tour.

    Perri Sage Photography

    NORTH AMERICAAN TOUR DATES

    09/11 – Troubadour – Los Angeles, CA

    09/12 – Rickshaw Stop – San Francisco, CA

    09/14 – Marquis – Denver, CO

    09/15 – Marquee – Tempe, AZ

    Perri Sage Photography
    Perri Sage Photography
    Perri Sage Photography

  • Hearing Aide: GIFT ‘Illuminator’

    New York City indie rock band Gift released their record label debut, Illuminator, on August 23, following the announcement of their first world tour. The 11-track LP sees the band blending electronic elements with widescreen pop production techniques to create their most fully-comprehensive body of work to date. 

    GIFT, formed in 2020, is made up of vocalist/guitarist TJ Frida, multi-instrumentalist Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell. The four originally came together when Freda cherry-picked members of some of his favorite other bands, forming somewhat of an indie supergroup. With roots all over the world—Salt Lake City, San Francisco, Boston and Brazil, to be exact—it only makes sense that GIFT’s musical style would be diverse as well. The musicians have often leaned on their collective deep experiences and have set a bold new sound—a dizzying blend of early shoegaze, classic ‘90s alternative rock and even modern pop.

    GIFT emerged somewhat fully formed on their 2022 debut album, Momentary Presence. The LP was a testament to the untapped creative potential lying deep within, and it wasn’t long before the band was pricking up the ears of adventurous listeners both at home and across the Atlantic Ocean. Ahead of their newest album, GIFT have shared the singles “Wish Me Away” and “Going In Circles,” which have drawn critical acclaim from the likes of, among many others, Pitchfork, Billboard, Paste, Uproxx, Consequence, Paper, Flood Magazine, Brooklyn Vegan, and Stereogum, which recently labeled GIFT as a band to watch.

    Illuminator is the long-awaited payoff of GIFT’s ever-growing musical and human chemistry, blending a dynamic fusion of electronic and pop production techniques. One of the album’s singles, “Later,” perfectly exemplifies the new sound. “While writing Illuminator, I found myself clinging to intense emotions, reluctant to release them. ‘Later’ stands out as one of the darkest songs I’ve made,” Freda said. “Making it was cathartic, diving into darker themes. The song explores surrendering to the overwhelming sensation of life slipping away before my eyes.”

    Freda was an integral part of the record, but Illuminator was a collaborative effort through and through. Gurewitz, a relative newcomer to making music herself, contributed a host of lyrics and vocal melodies, and Camarano’s drumming provided the crucial rhythmic underpinning to the album’s 11 tracks. Hrabovsky, who previously engineered at Asheville, N.C. studios Drop of Sun and Echo Mountain Recording, shared production duties with Freda for the first time as well.

    Lyrically, the record covers many of those oh-so-common issues that everybody faces but nobody really knows how to deal with, like falling in love, heartbreak, watching events and moments go by like cars on the highway and grieving the loss of different phases of life. Somehow, GIFT is able to do this, while simultaneously packaging the songs inside sleek and danceable instrumentals. As a result, Illuminator is the perfect album to soundtrack your life to, since it has the perfect answer in song form to almost any situation life can throw at you.

    Key Tracks: Light Runner, Later, Milestones

    In support of Illuminator, GIFT will embark on an international tour, including a hometown album release party at New York City’s Bowery Ballroom on September 20. Visit here to purchase tickets. See below for a full written list of GIFT’s tour dates.

    Gift Tour Dates

    Sept 13 – Troy, NY – No Fun (w. Fantasy Of A Broken Heart)

    Sept 14 – Boston, MA – Rockwell (w. Fantasy Of A Broken Heart)

    Sept 15 – Portland, ME – Oxbow Brewing (w. Fantasy Of A Broken Heart)

    Sept 17 – Burlington, VT – Higher Ground Showcase (w. Fantasy Of A Broken Heart)

    Sept 20 – New York, NY – Bowery Ballroom (w. Catcher, Public Circuit) Record Release Show

    Sept 21 – Philadelphia, PA – Milkboy(w. Catcher)

    Sept 22 – Washington, DC – DC9 (w. Catcher)

    Sept 25 – Chicago, IL – Schubas (w. Catcher)

    Oct 10 – Brighton, UK – The Hope & Ruin

    Oct 11 – London, UK – Moth Club

    Oct 12 – Manchester, UK – YES (Basement)

    Oct 14 – Birmingham, UK – Hare & Hounds

    Oct 15 – Nottingham, UK – Rescue Rooms (w. BODEGA)

    Oct 16 – Leeds, UK – Brudenell Social Club (w. BODEGA)

    Oct 17 – Glasgow, UK – Room 2 (w. BODEGA)

    Oct 18 – Newcastle upon Tyne, UK – The Cluny (w. BODEGA)

    Oct 19 – Cardiff, UK – SWN FEST

    Oct 21 – Cambridge, UK – Junction 2 (w. BODEGA)

    Oct 22 – Sheffield, UK – Crookes Social Club (w. BODEGA)

    Oct 23 – Bristol, UK – Lantern Hall (w. BODEGA)

    Oct 24 – London, UK – Earth Hall (w. BODEGA)

    Oct 26 – Amsterdam, NL – London Calling @ Paradiso (w. Chanel Beads, STRKFR, English Teacher)

    Oct 27 – Appeldorn, NL – De Gigant

    Nov 1 – Utrecht, NL – DB’s

    Nov 4 – Paris, FR – SuperSonic

    Nov 5 – Dijon, FR – Club La Vapeur

    Nov 6 – Nantes, FR – La Lune Froide

    Nov 7 – Lorient, FR – Les Indisciplinées (L’Hydrophone) (w. Corridor & Cucamaras)

    Nov 8 – Saint, Lô, FR – Les RDV Soniques Festival (Ateliers Arts Plumes)

  • Interview: Felice Brothers Embrace Imperfection in “Valley of Abandoned Songs”

    Do you ever wonder what happens to all the art that is castaway or disavowed by an artist? Where does it go and what stories do we miss in the process? Once in a while this unsettling question dawns upon me, and I get innately queasy in my bones thinking about all the ideas I will never know and understand. 

    It is rare for these art pieces to ever likely be perceived by the world, yet even rarer for a band to make a whole album out these pieces, let alone so exquisite it warrants the creation of a whole new label for special release.

    Photo by Alisha Goel

    Comprising of 13 euphonious and whimsical tracks, often featuring bizarre and enigmatic other-worldly characters, Catskills-based folk and rock quartet The Felice Brothers impressively accomplished this feat with the release of their latest album Valley of Abandoned Songs. Recorded live in an 1870’s church, this collection incorporates unreleased songs from their previous releases 2019’s Undress and 2023’s Asylum on the Hill.

    Photo by Alisha Goel

    Instrumentalist James Felice described this collection as “little snapshots of places that we were at and ideas we had over the years,” and we talked more about Valley of Abandoned Songs before their show at Bowery Ballroom on July 11.

    The interview has been edited for clarity and length.

    Photo by Alisha Goel

    Alisha Goel: People often categorize your music as folk and Americana. What are your thoughts on it? How do you describe your band style? 

    James Felice: When we first started, the label Americana or folk was so annoying to us. We didn’t want to be pigeonholed, or we thought that we were too cool for it. But honestly, we are. All of our music, the way we play and the music we grew up with is folk music. It’s the music that we are most connected to. So yeah, I’m okay with that. I think we’ve been doing this long enough to have our sort of thing.

    Ian Felice fixing his broken guitar string on stage. (Photo by Alisha Goel)

    AG: Describe the Valley of Abandoned Songs in three words.

    JF: It’s abandoned songs. These are songs that we recorded over the course of the last few years. Most of them did not fit any records, but they were songs or demos that we’ve loved or felt connected to. We didn’t have high hopes for it and we didn’t know if it was worth putting out in the world. It’s surprising that it exists and that people are listening to it. Sometimes you’re not the best judge of your own work.

    Photo by Alisha Goel

    AG: There is a lot of vivid imagery and distinctive characters in this album. How do these characters come alive? Are there any particular literature or media sources that acted as your inspiration for this album?

    Ian Felice: The characters come alive through the act of songwriting, which is an esoteric process that I don’t fully understand. They grow in my mind. Sometimes they are versions of myself or people that I know. Sometimes they are ghosts that appear and vanish at will. The songs span over a six-year period of writing so I cannot say there was a particular writer that inspired the album as a whole. I recall having certain writers in mind for specific songs, Elizabeth Bishop for example, when I was writing “Raccoon, Rooster and Crow.”  

    Photo by Alisha Goel

    AG: Since we are in NYC, we have to talk about “New York By Moonlight.” You have a rich history with the city itself, from starting your journey as subway buskers to now playing at the Bowery. How do your personal experiences in this city tie into this song?

    IF: Yes, when we first started our band we lived in the city and busked a lot in the subways. The song brings to mind some imagery and feelings from those days. It’s a dreamy rainy song about loneliness in the midst of so many people, but the gloom is pierced by moments of beauty, hopefully. It’s like daisies blooming in a prison yard. The character is a lost old man who walks with a cane and scares the pigeons.

    Photo by Alisha Goel

    AG: I know your writing process and creation process mutates a lot for every project you work on. Can you walk me through how the writing and production process was for a project that was so unique? 

    IF: A lot of the songs were intended to be demos and were never meant to be heard by anyone outside the band so the production process was extremely loose. We recorded them by ourselves with usually only one or two takes. 

    JF: We had these sweat sessions, which was like five or six songs recorded in one session. It was so hot, even higher than it is now, and we were just dripping sweat. A couple of the songs on the album are from the sweat sessions. Musically, this record is very simple. It’s very raw, live and just trying stuff to see how it feels. Sometimes when I hear it, I wish I played something differently or better, but if people are enjoying it, it’s fine. 

    Photo by Alisha Goel

    AG: I imagine there were a lot of abandoned songs. How did you thematically decide which ones are going to make the cut for this album?

    IF: They were all castaways that lived in a remote valley. They grew to love each other and their stories were made more rich by their interrelation. Obviously, this wasn’t a conscious decision but it’s how it worked out somehow. It’s a record about reincarnation and imperfection.

    Photo by Alisha Goel

    AG: What are you working on next and do you have any plans of ever stopping?

    IF: We are touring a bit this year. I’m also working on a painting show for Half Gallery in NYC this November. 

    JF: I don’t ever want to stop. I get more joy every year. I really do. I find that playing music is the best part of my life. Maybe the music will change as we get older. Maybe we will stop hopping around so much on stage. Maybe we will get quieter or weirder, hopefully. I have nothing else I would like to do. Just this music and playing it with the band.

    Photo by Alisha Goel

    Listen to Valley of Abandoned Songs below.

  • Paris Paloma Explores Mystical Femininity at Bowery Ballroom

    If there was a music style I had to describe as ethereally tender and mystical, yet perfectly encapsulates the feeling of standing in the middle of a swarm of men while eternally wanting to scream your guts out – I would instantly push you towards Paris Paloma’s music.

    Infused with Greek and biblical references, the 24-year-old UK artist somehow manages to incorporate serene vivid storytelling in her music while simultaneously arousing the most primal and aggressive feminine urges in her audience. Folk-music with a bit of a dark gothic twist, Paris Paloma dominated the stage on Jun. 26 at Bowery Ballroom and left the crowd screaming in utter awe at her evocative stage presence.

    Paris Paloma
    Photo by Alisha Goel

    The concert started with a uniquely soothing and harmonic performance by The Army, The Navy. The American duo, consisting of Maia Ciambriello and Sasha Goldberg, serenaded the crowd with some fan favorites like “Alexandra,” and prepared the audience for a hypnotic evening at Bowery. Much like Paris’ music, the duo’s lyrics are jam-packed with intimate and poignant stories, and their music comes across as earnestly confessional. Their calming and intricate harmonies were done on their acoustic guitar, and their chord progressions felt fresh and extremely delicate.

    Paris Paloma
    Photo by Alisha Goel

    When 24-year-old Giorgia Merolli was asked to describe her connection to Paloma’s music, she said: “I discovered Paris when Labor went viral, and I think one reason why that song went viral is because it’s the most descriptive universal way that we women can relate to us being women. I’ve never heard an artist depict so simply, yet impactfully, the female experience of oppression and shielding our real emotions just to conform to some sort of societal norm.”

    Opening her set with the first song in her upcoming debut album “Cacophony,” Paloma desperately repeated the line “What did I do wrong /Will you tell me what I did wrong, what did I,” heartbreakingly resonating with her audience on the pains of feverously scrambling to figure out and reason the abhorrent behavior of past loves in aching toxic relationships. 

    Paris Paloma
    Photo by Alisha Goel

    With her vulnerability and absolute openness in songwriting, Paloma transported everyone from the vast hall at Bowery to what felt like an intimate private gathering. Candidly expressing her grief and struggles surviving in a patriarchal society, Paloma gathered something so uniquely personal to her and used it to forge an iron-clad bond of fury and understanding between every woman present in the room attentively listening to her potent voice.  

    Paloma also sang “as good a reason,” a lyrical concoction providing a refreshing perspective on ageism and self-love in a society that thrives on manufacturing insecurities. One of the most personally impactful songs for me from the night was titled “the fruits,” a discomforting but visceral exploration of uneven power dynamics and submissiveness.

    Paris Paloma
    Photo by Alisha Goel

    Paloma surprised the crowd with some of her unreleased songs from her new upcoming debut album. My personal favorite was “the warmth,” which started with what felt like the most beautifully disassociating siren call, and continued with incredulously haunting symphonies and drum beats, making it remarkably distinctive from anything I’ve heard from her before.

    Paris Paloma
    Photo by Alisha Goel

    Paloma ended the night with her viral TikTok song “labour,” the song which rapidly made her way to the Top 30 on the UK singles chart, and became an anthem for womanhood and the queer community. Screaming “labour” breathlessly on the top of my lungs was an utterly transcending religious experience. It was like we were all bound by one beautiful string – a string harboring chaos and feminine rage and fostering a phenomenon I can only describe as pure and raw human connection. All our collective tears and frustrations binded together, and I found solace and comfort in our universal aches. It was cathartic. I felt liberated.

    Paris Paloma
    Photo by Alisha Goel

    Paris Paloma – Bowery Ballroom – June 26, 2024

    Setlist: my mind (now), drywall, boys, bugs & men, notre dame, as good a reason, knitting song (unreleased), the warmth (unreleased), the last woman on earth (unreleased), bones on the beach (unreleased), the fruits, yeti

    Encore: labour

    Paris Paloma’s debut album “Cacophony” will be released on August 30.

    Photo by Alisha Goel
    Photo by Alisha Goel
    Photo by Alisha Goel
    Photo by Alisha Goel
    Paris Paloma
    Photo by Alisha Goel

  • Daniel Donato Brings the Sunshine During A Sold Out Snowstorm Show at Bowery Ballroom

    Tuesday, February 13, was a sleet-streaked Tuesday, as the Big Apple got its first snowfall in two years, but within a few notes of Daniel Donato’s standout playing, New York City’s iconic Bowery Ballroom melted away into sun-drenched paradise as the sold out crowd packed in.

    23 shows deep into his 2024 winter/spring tour, Donato is a regular visitor to New York State recently selling out Brooklyn Bowl just late last year, so it is a treat getting to see him in such an intimate venue. It’s clear Donato and his band are destined for greater things. Whether he’s strumming out phaser-soaked melodies or channeling his southern drawl through machine gun-like rapid-fire guitar riffs, Donato’s virtuosity, honed through hard practice, is simply breathtaking. His guitar becomes an extension of his soul, delivering lyrics like “..the country boy lived within the sky blue telecaster” with a palpable authenticity. 

    Donato’s synergy with his road warrior bandmates creates a groove that feels like a well-worn freight train. Will McGee on electric and standup bass, Nathan “Sugar” Aronowitz on keys, organ and guitar, and Will Clark on drums. Donato and his crew exude an aura of rock and roll royalty, with a crew whose uniform of black cowboy hats and boots evokes the “Memphis Mafia.”

    From the onset, drummer Will Clark’s metronomic beat set the stage for a musical journey that refused to relent. Clark’s percussive prowess seamlessly navigated through various styles and tempos, providing the perfect foundation for Donato’s cosmic country odyssey. A standout of the night was Aronowitz’s multi-instrumental talents, stepping up from the keys to deliver exceptional guitar work during “Dancin In The Desert” and organ playing that is seemingly otherworldly. 

    The crowd’s unofficial uniform of tie dyes, western wear, and psychedelia underscores Donatos ability to tap into a psychedelic Americana renaissance. While his style may draw comparisons to jam aficionados, Donato’s signature sound remains firmly rooted, with an unwavering dedication to his craft shines through. From humble beginnings being introduced to Grateful Dead through a high school history teacher to honing his chops with over 400 sets with Nashville’s famous Don Kelly Band, Donatos’ rise in the music industry has been the product of his own dedication, and the hard work of those around him. 

    daniel donato bowery

    As Donato and his team bid farewell, the audience barely budged, eagerly anticipating an encore. Returning to the stage, they delivered a jumping cover of the Dead’s “Quinn The Eskimo,” echoing sentiments of endless possibilities and boundless horizons. With his new album, Reflector, now out, Donato has proved himself not just as a musician but as a captivating live performer. Fans can look forward to experiencing Donato in NYC again this summer when he joins moe. to play Pier 17. 

    daniel donato bowery

    Daniel Donato’s Cosmic Country – Bowery Ballroom, NYC – February 13, 2024

    Set 1: Hi Country, Haldway (In Between), Lose Your Mind> Waymore’s Blues> Mystery Train, Rose in a Garden, Darlin’ Cory [1] , Dance in the Dessert 
    Set 2: Fee Wheelin’> Everybody’s Talkin’, Weathervane> Blue Skies> Weathervane, Cosmic Doo Doo, Better Deal Blues, Chore, Sugar Shack [2], Luck of the Draw, Sugar Leg Rag. 
    Encore: Quinn the Eskimo [3]
    [1] The Weavers cover
    [2]  Nathan “Sugar” Aronowitz  on vocal
    [3] Grateful Dead Cover

    daniel donato bowery
    daniel donato bowery
    daniel donato bowery
    daniel donato bowery
    daniel donato bowery
    daniel donato bowery
    daniel donato bowery

  • Daniel Donato to Play Shows in NYC and Syracuse in February

    Acclaimed singer/songwriter Daniel Donato has announced he will be playing two shows in NY in support of his latest album Reflector.

    The “Cosmic Country” artist plans on stopping at Syracuse’s Westcott Theater on Saturday, February 10 and NYC’s Bowery Ballroom on Tuesday, February 13, showcasing Donato’s growing appeal and sound.

    Daniel Donato shows

    Donato’s genre “cosmic country” is a meshing of southern rock, bluegrass, classic country, and honky-tonk. It encapsulates the sounds of Southern California folk and Northern California musical exploration. His show marks the release of his recent 15 track album Reflector, in which he will be performing at his shows in Syracuse on February 10 and NYC on February 13.

    Daniel Donato has a unique sound that he wants to show the world, and he’s been doing exactly that. His blended soundscape is full of energy, soul, and vibrations. His creative processes, next-level guitar skills, and dedication to his craft propel him to satisfy his goals, and then some.

    “I fell in love with the song “Jessica” on Guitar Hero, the Allman Brothers song. I remember thinking, ‘God, if I can just play this song and feel like I’m flying…’ And then here we are fifteen years later, it’s March 25th and we’re at the Beacon Theatre, it’s a sold-out night, and after we get done singing ‘Blue Sky’ in my solo, before I even think about it, I’m playing ‘Jessica’.

    As I’m playing that and the theater erupts with joy, I’m realizing, like, ‘Man, good job. That 12-year-old is alive. The part of you, that Self, that was you before the world told you what you were or what you could be or what you should be.’”

    Daniel Donato on staying true to oneself

    For more information on Daniel Donato visit his website at DanielDonato.com. To find tickets to his show at Westcott Theater in Syracuse or Bowery Ballroom in NYC, click here.

    Daniel Donato – Upcoming Shows

    February 2 – Winston-Salem, NC – The Ramkat

    February 3 – Charlotteville, VA – Jefferson Theater

    February 4 – Morristown, NJ – The Homestead

    February 6 – Portsmouth, NH – 3S Artspace

    February 7 – Portland, ME – Portland House of Music and Events

    February 8 – Amherst, MA – The Drake

    February 9 – Hartford, CT – Infinity Hall Hartford

    February 10 – Syracuse, NY – Westcott Theater

    February 13 – New York, NY – Bowery Ballroom

    February 14 – Tysons, VA – Capitol One Hall

    February 15 – Raleigh, NC – Lincoln Theatre

    February 16 – Charlotte, NC – Stage Door Theatre

    February 17 – Atlanta, GA – Sweetwater’s 27th Anniversary Party

    February 18 – Asheville, NC – Salvage Station

    March 1-3 – Steamboat Springs, CO – Winter Wondergrass Festival 2024

    March 6 – Columbus, OH – KEMBA Live!

    March 7 – Old Forester’s Paristown Hall – Louisville, KY

    March 8-9 – Nashville, TN – Ryman Auditorium

    March 21 – Peoria, IL – Revival Music Hall

    March 22 – Hobart, IN – The Hobart Art Theater

    March 23 – New Berlin, IN – Danenberger Family Vineyards

    March 28 – Athens, GA – Georgia Theater

    March 29 – Tuscaloosa, AL – Druid City Music Hall

    March 30 – Huntsville, AL – Mars Music Hall

    April 5 – Memphis, TN – Grind City Music Festival 2024

    April 6 – New Orleans, LA – Hogs for the Cause 2024

    April 13 – Augusta, GA – Major Rager

    April 14-18 – Maya Riviera, Mexico – Panic en la Playa 2024

    April 20 – Pelham, TN – Daniel Donato’s Cosmic Country in The Caverns

    April 26 – New Orleans, LA – Republic New Orleans

    May 11 – Isle of Palms, SC – Windjammer

    May 23-26 – Axton, VA – Rooster Walk Reunion Music & Arts Festival

    May 24-26 – Thornville, OH – Dark Star Jubilee

    June 20-23 – Bend, OR – 4 Peaks Music Festival

    June 27-29 – Eau Claire, WI – Blue Ox Music Festival 

  • John Vincent III Live In New York City at Bowery Ballroom

    On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.

    Photograph by Shauna Hilferty

    Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.

    Photograph by Shauna Hilferty

    In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.

    When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.

    Photograph by Shauna Hilferty

    John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold. 

    Photograph by Shauna Hilferty

    “I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.

    John Vincent III bowery ballroom
    Photograph by Shauna Hilferty

    The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric. 

    The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.

    John Vincent III bowery ballroom
    Photograph by Shauna Hilferty

    After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.

    Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.

    John Vincent III bowery ballroom
    Photograph by Shauna Hilferty

    The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.

    He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed. 

    After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.

    “Maybe somewhere like New York, love.”

    Photograph by Shauna Hilferty