Justice Joseph Esposito has dismissed 5 out of 7 lawsuit claims against the historic Forest Hills Stadium in Queens.
Hozier – Forest Hills Stadium, July 2024 – photo by Molly Higgins
Entrenched in Queens’ music scene and culture for just over 100 years now, the Forest Hills Stadium is a cornerstone of New York City’s live music scene. The only outdoor venue of its kind and size in the area, Forest Hills was designed with the ideal audience experience in mind.
With optimized acoustics and no obstructed views, the 13,000 capacity Stadium was originally designed to house the U.S. Open tennis tournament. Forest Hills began booking concerts in the 1960s, and the rest is history.
The venue’s lengthy history isn’t without its bumps along the way, however. The arena has been a topic of long-standing debate for folks living in Forest Hill. The general sentiment shared by people living in close quarters to the venue is a desire to at minimum alter the space’s practices and at most close its doors for continued complaints of noise pollution and littering.
Frequent complaints include excessive trash found strewn about in public for days after each show and volumes so loud that the windows on houses as far as three blocks away from the Stadium shake during performances. These concerns were met with cooperation from Forest Hills Stadium, with rectifying policies ranging from employing cleaners on the street before, during, and after shows to hundreds of thousands of dollars being invested in noise mitigation and controlled amplification.
A lawsuit filed by the Forest Hills Garden Corporation against Forest Hills Stadium and its parent company West Side Tennis Club filed in 2023 nearly spelled the end of the venue. The lawsuit outlined a total of seven individual causes of action, including claims of contract violation between the tennis club and the FHGC, trespassing, zoning violations with unjust profit, and both public and private nuisance claims.
However, on Monday, October 21, Queens County Supreme Court Justice Joseph Esposito issued a motion to dismiss all but two of the motions raised. A major win for those working with the venue and lovers of live music in New York alike, the Stadium’s final few shows of their 2024 concert season will go on. It’s likely that the venue will return with a new calendar of events in the spring given the remaining lawsuits conclude.
While a massive success, Forest Hills Stadium isn’t out of the woods just yet. The final two claims remaining are that of private and public nuisance. Justice Esposito stated that the FHGC had a claim sufficient enough to survive the initial motion to dismiss, which now must be proven with further evidence and testimonial.
Attorney Akiva Shapiro, representing the Stadium, stated that the venue’s legal team is “confident that the remaining claims will also be dismissed.”
On Sunday, September 22, Forest Hills Stadium in Queens was transformed into a musical time capsule, as the Marley Brothers united for the first time in two decades to celebrate the enduring legacy of their father, Bob Marley.
The Marley Brothers Legacy Tour, which kicked off in Vancouver, brought together Damian, Stephen, Julian, Ziggy, and Ky-Mani Marley for an epic 22-date journey across North America, paying tribute to their father’s timeless work. The tour, which ends in early October in Miami, features a nostalgic setlist of nearly 30 of Bob Marley’s most cherished songs, bringing generations of fans together to rejoice in the spirit of reggae music.
A Family United by Music
The significance of this tour cannot be overstated. Though each of the Marley brothers has had successful solo careers, it has been 20 years since the five have shared a stage. Bob Marley’s influence, both on reggae and on global consciousness, is unparalleled, and the brothers’ reunion not only honors their father but also the rich musical heritage he helped to create. Performing together, their synergy is unmistakable, and their collective energy invokes memories of Marley’s original performances while breathing new life into the music.
The Show: A Journey Through Bob Marley’s Greatest Hits
The Forest Hills Stadium show, one of the highlights of the tour, featured an electric atmosphere, with the Marleys delivering a setlist packed with classics. From revolutionary anthems like “Get Up, Stand Up” and “Buffalo Soldier” to love ballads like “Is This Love,” the brothers brought Bob’s music to life, reviving both the message and the passion that defined his career.
The crowd erupted during timeless hits such as “Three Little Birds,” “Iron Lion Zion” and “Positive Vibration” singing along in unison, while more politically charged songs like “War” and “Exodus” reminded the audience of the power of music as a vehicle for social change. Damian, known for his harder-edged, dancehall-inspired sound, added a modern twist to the night with fiery performances while Ziggy’s soulful voice channeled the spirit of his father throughout. The setlist for the tour has been consistent with nearly 30 songs, a true testament to the power and breadth of Bob Marley’s work.
Honoring a Legend: The Life of Bob Marley
Bob Marley was born on February 6, 1945, in Nine Mile, Jamaica. Rising from humble beginnings, Marley became the voice of reggae and a symbol of resistance and hope for millions around the world. He started his musical career in the early 1960s with The Wailers, along with Peter Tosh and Bunny Wailer. The group became known for their unique fusion of ska, rocksteady, and reggae.
Marley’s music was more than entertainment; it was a message. Songs like “Get Up, Stand Up,” “One Love,” and “Redemption Song” became anthems for unity, resistance, and peace. His blend of spirituality, activism, and culture resonated far beyond the Caribbean, elevating reggae to international acclaim. Tragically, Marley passed away from cancer in 1981 at the age of 36, but his legacy has continued through his children, who have carried on his mission and music.
A Night of Unity and Celebration
The Marley Brothers Legacy Tour is more than just a reunion; it’s a celebration of Bob Marley’s profound influence and a reminder of the unifying power of music. At Forest Hills Stadium, the brothers’ performance felt like a historic moment, one that bridged the past and the present. With each song, they brought their father’s message to new ears while giving long-time fans the opportunity to experience Marley’s magic once again.
As the tour continues across the country, fans from all walks of life will have the chance to partake in this once-in-a-generation experience. Bob Marley’s legacy lives on through his music, and through his sons, who have proven that the message of love, peace, and unity is more relevant now than ever.
Whether in Vancouver, New York, or Miami, the Marley Brothers Legacy Tour is a testament to the enduring power of Bob Marley’s music—and to the familial bond that keeps that legacy alive for generations to come.
Setlist: Natural Mystic, Get Up, Stand Up, So Much Trouble in the World, Coming in From the Cold, Positive Vibration, The Heathen, Concrete Jungle, Wake Up and Live, Shalom Salaam, War/No More Trouble, Running Away/Crazy Baldhead, Three Little Birds, Is This Love, Don’t Rock My Boat, Buffalo Soldier, Jammin, Easy Skanking, Boom Draw, New Heights, Medication, Kaya, Iron Lion Zion, Exodus, Could You Be Loved, One Love
On Saturday, September 21, Khruangbin wrapped up the second of two nights at Forest Hills Stadium to a sold out crowd.
Well on their way through a lengthy global tour promoting their new album, A La Sala, Men I Trust warmed up the crowd as they hit the stage at 7pm sharp. With the bar set high and excitement at its peak, the lights went dark as the trio from Houston, Texas hit the stage at 8:15.
Khruangbin, which translates to airplane in thai, takes their audience on a journey playing consecutively through A La Sala. Exploring many themes and motifs with great style and ambiguity, the music, accompanied by choreography, stunning lighting, and set design created a touching spectacle. If it wasn’t already clear that the band is telling a story with A La Sala, the last song of set 1 exemplified this when Mark Steele, Guitar and Vocals, along with Laura Lee, Bass and Vocals, walked down and sat at the very edge of the stage.
With DJ Johnson on Drums and Keys not far behind them, they gently played through “Le Petit Gris”, a soft piano driven melody. Sounds and visuals of thunder and rain trickling down in the windows behind them, a soft breeze that reminded everyone summer is over and fall is here, the band and audience became one.
The second set featured classic material that could make anyone dance. Notable highlights included “The Number 3”, “August 10”, and “Evan Finds The Third Room”. With genre bending sounds of global influence that all seamlessly weave together, their minimalist approach creates soundscapes of deep grooves, catchy hooks, and mesmerizing rhythms. The trios meteoric rise to the top is no coincidence. Playing iconic festivals and venues like Coachella and Bonnaroo, Radio City Music Hall and Red Rocks, they have solidified their position in the music industry.
With Emmanuelle Proulx of Men I Trust joining them for “Dearest Alfred”, they closed out the evening with the funky renditions of “Maria tambien” and “People Everywhere, (Still Alive)”. After the finale, Leezy reemerged from the back, throwing her extra head bands into the crowd, dancing along with the audience to “September” by Earth, Wind, & Fire. Their tour continues for a few select dates in the United States before departing again to resume tour around the world.
Khruangbin – Forest Hills Stadium – September 21st, 2024
Set 1: Fifteen Fifty-Three, May Ninth, Ada Jean, Farolim de Felguerias, Pon Pon, Todavia Viva, Juegos y Nubes, Hold Me Up (Thank You), Caja de la Sala, Three from Two, A Love International, Les Petits Gris Set 2: The Number 3, August 10, Lady and Man, The Infamous Bill, Pelota, Evan Finds the Third Room, Time (You and I) Encore: Dearest Alfred*, Maria tambien, People Everywhere (Still Alive) *with Emma from Men I Trust
On September 19, the West Side Tennis Club welcomed Kings Of Leon to the borough of Queens with open arms on a picturesque Wednesday evening.
The 18th stop on their ”Can We Please Have Fun” summer tour, the indie rock quartet from Mount Juliet, Tennessee are touring in support of their ninth studio album of the same name, released on May 10.
Kings Of Leon | Photo Credit: Michael Dinger Photography
One of New York City’s best concert venues, indoors or out, Forest Hills Stadium is truly a gem with a rich, storied history that is now one year removed from its centennial anniversary. Originally designed in the early-1920s as the original home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. Beginning in the 1960s, the tennis club began booking concerts and quickly attracted some of the most culturally significant artists of our generation, including The Beatles, Jimi Hendrix, The Rolling Stones and Bob Dylan.
In August 2013, after decades of neglect and narrowly escaping demolition, the 14,000-capacity facility re-opened with Mumford & Sons performing the inaugural concert (my wife and I were there!). Not yet satisfied with their face lift, over the next few years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, the installation of a permanent stage and redesigning and expanding the concourse to twice its original size.
Forest Hills Stadium | Photo Credit: Michael Dinger Photography
Providing opening support for Kings Of Leon on this 28-date tour of North America, which launched in Austin, Texas on August 14, was Phantogram. Formed in 2007 and hailing from Saratoga Springs, just a few hours’ drive up the NY State Thruway, the electronic dream pop duo are comprised of multi-instrumentalists and vocalists Sarah Barthel and Josh Carter. Friends since their preschool days, Barthel and Carter were joined by a touring drummer and keyboardist as they mesmerized the steadily growing audience filling up the stadium with their swirling guitars, spacey keyboards and airy vocals.
Over the course of 40 minutes, Phantogram presented a 10–song set spread evenly across their soon-to-be five album discography, including their opening song “Don’t Move” from Nightlife, an EP released in 2011. Their fifth studio album, Memory of a Day, is scheduled to drop on October 18 via Neon Gold. The 12-track LP is preceded by lead singles “All A Mystery” and “Happy Again,” both of which were performed live onstage as if they were already classics in their storied repertoire.
Phantogram | Photo Credit: Michael Dinger Photography
Barthel and her hypnotically engaging lyrics were perfectly complimented by Carter’s atmospheric guitar work (who was sporting another one of his signature baseball hats, this time with “NY” fittingly represented) and mastery of his beat sequencing machinery, for a captivating, dreamy set. Stand-out numbers from Phantogram’s trip hop setlist were “Fall in Love” and “Black Out Days,” released more than a decade ago on their sophomore studio album Voices.
As the night’s festivities continued to move briskly along to comply with the strict 10:00 pm curfew (an effort implemented in April by the State Supreme Court order to appease residents in the surrounding neighborhood), I secured my position back in front of the mixing soundboard and readied my camera. The sun having completely set, Kings Of Leon took the stage at 7:45 pm, led by frontman Caleb Followill. As “Ballerina Radio” got underway, the lead track from Can We Please Have Fun, brothers Nathan (drums) and Jared (bass), along with cousin Matthew (lead guitar), suddenly appeared from the dark shadows. Accompanied by touring musicians Liam O’Neil (keyboards, percussion) – who was also celebrating his birthday – and Timothy Deaux (rhythm guitar, keyboards), it was ‘Game On!’
Kings Of Leon | Photo Credit: Michael Dinger Photography
Formed in 1999, the gritty, garage rock sound that Kings Of Leon embodies has been compared to that of Manhattan’s very own The Strokes, intermixed with blues boogie vibes reminiscent of Lynyrd Skynyrd for good measure. The entirety of Kings of Leon’s impressive catalog, now going on more than two decades, was represented in Queens this hump day by at least one track, with Can We Please Have Fun getting the strongest representation (six numbers in total), an album reminiscent of their innovative, early career recordings.
Having never seen Kings Of Leon perform live, the song I wanted to witness firsthand, above any other, was “Sex on Fire” (Only by the Night, 2008). Well, I did not have to wait very long, because my wish was granted one-third of the way into their set! After that, everything else was gravy.
Kings Of Leon | Photo Credit: Michael Dinger Photography
Since I am not someone who checks out setlist.fm or does extensive research ahead of a band’s gig, because I like the element of surprise, I did not know that on this tour Kings Of Leon have been setting aside ‘one-off’ numbers not performed at other shows on the same tour, affectionately known as “song for the city.”
This is the point of the evening where we play a special song just for you. No one else gets to hear it on the tour. In fact, not many other people have ever heard it. So, uh, we’re gonna give it to you tonight for your song for the city. This song was written in New York, and it’s about New York. This is “The Face” [second ever performance and first since 2014].
Caleb Followill
Being only my fifth show at Forest Hills Stadium . . . in addition to Mumford and Sons in 2013, I saw them again in 2016, along with Beck and Cage the Elephant (2019) and Weezer (2023), like the others, tonight’s show was just about fun, enjoying yourself and/or who you were with, and forgetting about life for at least a little while. Aside from stellar musical offerings from both Phantogram and Kings Of Leon, the stage design was visually stunning and the balloon rainstorm during the encore was the cherry on top to a glorious night.
Watch Kings Of Leon conclude their epic, 26-song set with the anthemic “Use Somebody,” from Only by the Night, here:
With just 10 more shows to go on the tour over the next couple of weeks, what lies next for these Southern gentlemen – outside of a much needed break from the road – is still a mystery. Regardless of future plan announcements or details about their next project, eager anticipation by their legion of fans is sure to ensue.
Phantogram Setlist: Don’t Move > Fall in Love > Pedestal > All a Mystery > Cruel World > Mr Impossible > Happy Again > Answer > Black Out Days > When I’m Small
Kings Of Leon Setlist: Ballerina Radio > The Bucket > The Bandit > On Call > Nowhere to Run > Manhattan > Razz > My Party > Sex on Fire > Revelry > Beautiful War > The Face > Supersoaker > M Television > Back Down South > WALLS > Pyro > Mustang > Molly’s Chambers > Waste a Moment > Find Me > Seen > Closer > Encore: Rainbow Ball > Knocked Up > Use Somebody
UPCOMING TOUR DATES
September 20 – Washington, DC @ The Anthem
September 22 – Washington, DC @ The Anthem
September 23 – Philadelphia, PA @ Mann Center for the Performing Arts
September 25 – Atlanta, GA @ State Farm Arena
September 26 – Nashville, TN @ Bridgestone Arena
September 28 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
October 1 – Toronto, ON @ Budweiser Stage
October 2 – Laval, QC @ Place Bell
October 5 – Bridgeport, CT @ Hartford HealthCare Amphitheater
On Saturday, August 31, Porter Robinson took the stage at Forest Hills Stadium for the New York stop on his worldwide SMILE! 😀 tour.
Hot off the release of his latest album, SMILE! :D, Robinson was joined by an incredible four-piece band consisting of keys, drums, guitar, and a dual bassist and backup vocalist. Regardless of whether the band was propped up on the mini stage behind him, or if they joined him on top of the enormous LED screen center stage, they were a stellar support system for Robinson’s infectious energy.
The seats of Forest Hills Stadium were filled with an endearing and incredibly excited crowd, with many dressed in the pink and black motifs of the album. The rest were adorned in bright, colorful gear resembling his other two albums. Others held signs, fans, or sparklers, occasionally bringing the party out of the pit and into the stands. No matter what album Robinson was playing from, the crowd sang along as they danced and jumped around together in disjointed harmony.
Robinson opened the tour with a full rendition of his latest album, which, unlike his previous work, resembled that of a rock band. The rest of his show went along in his own Eras-Tour-style fashion, dedicating sections of the evening to his albums with special announcements before each one.
When Robinson was wrapped up with SMILE! 😀, the enormous LED screen adorned with colorful graphics and lyrics in bright, sparkly fonts would transform into a billboard, with each album’s title and years stretching across the screen.
After the announcements, Porter Robinson played each of his albums in their entirety. It was endearing to see him look back on all of his work with such passion and admiration but also to see his evolution as an artist. His mixing of music styles from alternative and electronic genres had definitely changed over the years, and it was clear that he intends to continue this steady growth in the future. It was refreshing to see, not only because artists with his acclaim and style tend to be stagnant, but because the passion and thought put into his work is clear.
The show’s energy seemed neverending, with a crowd that wanted to keep the party going long after the concert’s end. During his set, he brought out special guest Frost Children, who collaborated with him on his song “Mona Lisa,” and even invited his bassist to perform vocals on his older tracks, particularly from Nurture and Worlds.
Porter Robinson ended the show with an encore of “Shelter” and “Cheerleader,” two of his biggest hits and the most explosive performances of the night. The crowd welcomed him back on stage with resounding cheers and applause, chanting, “One more time!” as he walked off stage. With the end of “Cheerleader” came flashing pink lights and an explosion of paper confetti, blowing away in the wind and getting in the crowd’s hair as they made their exit.
The rest of Porter Robinson’s tour continues through the end of 2024 and into 2025, spanning across five continents and over 20 countries. Robinson’s next show will take him to Atlanta, Georgia, on September 5. More dates in South America are yet to be announced.
For the full list of tour dates, merchandise, and music, fans can visit here.
Setlist:
(SMILE! :D) Knock Yourself Out XD, Perfect Pinterest Garden, Kitsune Maison Freestyle, Year of the Cup, Easier to Love You, Is There Really No Happiness?, Mona Lisa (with Frost Children), Everything To Me, Russian Rouhttps://www.youtube.com/watch?v=lzMkFIw8ETMlette.
(Nurture) Wind Tempos, Musician, Something Comforting, Everything Goes On, Unfold, Get Your Wish, Trying to Feel Alive / Look at the Sky
(Worlds) Sea of Voices / Sad Machine, Divinity, Fresh Static Snow, Hollowheart, Language, Goodbye to a World, Sad Machine
Australian band King Gizzard & The Lizard Wizard formed in 2010, mashing up a combination of prospective band names into their now iconic name. The name tells you almost everything you need to know about this band of Australian goofs and their ability to turn any concept and sound into a piece of complex and intriguing art. In the past 14 years, they have released 26 studio albums covering many genres, from psychedelic rock to metal to indie and everything in-between. That’s almost one full album every six months for over a decade. King Gizzard gave us a taste of all of it Friday, August 16th at Forest Hills Stadium.
Opening for King Gizzard was Geese, coming off of their well-received second studio album, 3D Country and 4D Country EP. Geese’s sound fits well within Gizzard’s world, with more of an american blues lean meets Pearl Jam feeling to their sound. With these shows, Gizzard took a page out of the Grateful Dead’s book, playing three-hour sets with a changing setlist. Comparing the setlists from their Friday and Saturday shows at Forest Hills Stadium, they didn’t repeat a single song across the two shows. Their discography is so deep that they could repeat that feat across almost a dozen of these three-hour marathon sets without ever repeating a song.
If you are a fan of a more niche Gizzard song, now may be your opportunity to see it live as they trawl through their discography over the coming months. The setlist for this first Forest Hills show was a perfect welcome to fans who may not have had a chance to see the band before. The band played a majority of their most popular tracks, with an overall metal lean and a healthy serving of Gizzard’s home base psychadelic funk/rock to round out the 25 song setlist.
With the lack of breaks and varied repertoire, Gizzard amazingly suffered very few hiccups during their set, playing an almost seamless blend of tracks with some especially unique transitions between songs that made the audience’s ears perk up. All of the band’s members are multi-instrumentalists, adding to the complexity and giving King Gizzard their unique layered sound. They invited a fan named Gabby who was holding a sign in the audience on stage to sing the intro to “Nuclear Fusion.” The intro is probably best described as throat singing with some heavy effects layered ontop and Gabby killed it.
Another notable aspect of King Gizzard’s live performances is the audience, a unique combination of deadheads, metal heads, and monster heads, people dressed in a smattering of medieval clothing and monster costumes harkening to King Gizzard’s ever growing lore. Many of these costumes touch on themes inherent to Gizzard’s visual media and lyricism such as the eponymous awareness around the earths climate and the eponymous King Gizzard and Lizard Wizard. King Gizzard’s media presence is heavily based in fantasy and sci fi and has given way to fans concocting a unique world out of an amalgamation of lyrics and imagery. The looseness of this world is what makes their crowds so unique, as fans craft outfits that fit into a world created of their own creation, serving as a true reflection of the wearer in a way that typical fan regalia can’t.
The show stopped exactly at 10pm due to a hard curfew implemented by Forest Hills Stadium last year in an effort to cut down on noise complaints. Following their shows in Queens, King Gizzard & The Lizard Wizard continue on with their North America tour, which is a marathon itself, with 36 more shows through November of this year. Then in May of 2025 they make their way to Lisbon, Portugal for the European leg, which extends through June.
Setlist: Field of Vision, Daily Blues, Cut Throat Boogie, Gamma Knife, People-Vultures, Mr. Beat, Boogieman Sam, Work This Time, Iâm In Your Mind, Iâm Not In Your Mind, Cellophane, Iâm In Your Mind Fuzz, This Thing, Self-Immolate, Organ Farmer, Venusian 2, Gila Monster, Flamethrower, Straws In The Wind, Pleura, All Is Known, Doom City, Rattlesnake, K.G.L.W. (Outro)
King Gizzard & The Lizard Wizard – Forest Hills Stadium – August 16, 2024
On October 4th, Joni Mitchell will release a new compilation titled Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980). This compilation traces Mitchell’s musical evolution between the releases of Hejira and Mingus.
Included in the four-disc record are three sets of live and studio recordings from New York performances by Joni Mitchell.
Born in Alberta, Canada, Joni Mitchell quickly emerged as one of the brightest lights in the folk genre. By 1969, her sophomore album Clouds cemented Mitchell as a folk icon, buoyed by songs like “Chelsea Morning” and “Both Sides Now.” Throughout the 1970s, Mitchell evolved her sound, further incorporating elements of jazz into her songs.
While albums like Court and Spark dabbled with genre fusion, 1976’s Hejira fully realized this concept. Partnering with legendary jazz bassist Jaco Pastorius, Mitchell crafted songs that sounded leagues away from her prior folk work. Fittingly, this album is where Joni Mitchell Archives, Vol. 4 begins. Following this release was a period of unrivaled innovation by Mitchell. On 1977’s Don Juan’s Reckless Daughter and 1979’s Mingus – a collaboration with jazz great Charles Mingus – Mitchell fully embraced elements jazz fusion.
This album is the 12th release by the Joni Mitchell archives. The Grammy-winning series includes previously unreleased live recordings and studio outtakes. The multi-disc set features recordings hand-picked by Mitchell herself. The compilation’s tracks were salvaged and remastered from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Among the recordings are live recordings from Mitchell’s time with Bob Dylan’s Rolling Thunder Revue in 1975, and Anti-Nuclear Rally. Across the album’s tracks are collaborations with jazz greats like Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.
Joni Mitchell and Jaco Pastorius at the 1979 Berkeley Jazz Festival
The compilation album additionally features three sets recorded in New York. First is a performance from the Nassau Coliseum in Uniondale, NY from February 20, 1976. The album only features one song from this performance. While it came as part of the tour for Hejira, the album features a recording of “For Free” from 1970’s Ladies of the Canyon.
Secondly are alternate versions of tracks from the 1978 Mingus sessions. The sessions were recorded at Greenwich Village’s legendary Electric Lady Studios. Originally commissioned by Jimi Hendrix, the studio was a recording hub throughout the 1970s. On top of Joni Mitchell, Stevie Wonder, Led Zeppelin, and David Bowie all recorded at the studio. The album features alternate versions of “Sweet Sucker Dance”, “A Chair in the Sky,” and “Sweet Sucker Dance” from these sessions.
Joni Mitchell at Forest Hills Stadium 8/25/79
The final New York recording comes as part of Mitchell’s August 25, 1979 performance at Forest Hills Stadium in Queens. The recording features tracks from Hejira and Mingus, which highlight Mitchell’s innovation during the period. Also featured in this recording are selected tracks from prior albums like “Big Yellow Taxi” and “Free Man in Paris.”
Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980) releases on October 4th as a 6 CD set. Also releasing is an abridged 4LP vinyl release, featuring Mitchell’s personal favorite tracks. The compilation includes never-before-seen photos and liner notes by director Cameron Crowe. The liner notes include an exclusive interview with Mitchell with anecdotes from this period of her career.
Following the album’s release, Mitchell will headline the “Joni Jam” on October 19-20th. These performances at the Hollywood Bowl will feature a number of special musical guests.
Rhino Records will release Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980) on October 4th, 2024. For more information on how to preorder the album, visit the link here.
Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980) New York tracks
Live at Nassau Coliseum
Uniondale, NY, February 20, 1976
19. For Free
Mingus Sessions
Electric Lady Studios, New York, NY
Recorded & Mixed by Henry Lewy & Jerry Solomon
3. Sweet Sucker Dance (Vocals & Drums Version – Take 5)
4. A Chair in the Sky (Early Alternate Version – Take 6)
5. Sweet Sucker Dance (Early Alternate Version)
Live at Forest Hills Tennis Stadium
Queens, NY, August 25, 1979
Recorded by Joel Bernstein from PA mix by Ed Wynne
Saturday, July 27 saw Andrew Hozier-Byrne, better known as Hozier, play a sold out show at the historic Bethel Woods Center for the Arts. Hozier is currently touring across North America with opener Allison Russell to celebrate the release of his Unreal Unearth album.
Hozier, photographed by Sarah Hyun
Hozier, born in Ireland but popular worldwide for his songs, “Take Me to Church” and “Too Sweet,” has made many stops in NY while on tour. He recently played four nights at Forest Hills Stadium in June. Hozier is well known for his powerful voice and honest songwriting, touching on themes of heartbreak, abuse, love, and humanity through his deeply personal and self-aware lyrics.
Hozier, photographed by Sarah Hyun
Fans flocked to the concert in the early afternoon, tailgating with friends and family in white skirts, floral tank tops, and Hozier merchandise. While the majority of people sat on the lawn, those who were lucky enough to snag good seats in the 20 minute period before completely selling out the show sat under the pavilion, with a clear view of Hozier and the stage. During the concert, friends, family, and couples danced freely, truly taking in the night. Hardly any phones were present—people were truly living in the moment.
Hozier, photographed by Sarah Hyun
During his song, “Like Real People Do,” Hozier experienced a guitar malfunction and quickly moved on to the next song on his setlist. He stated, “This is how you know I’m playing live,” followed by a few laughs from him and the crowd. He recognized a familiar face and shared a sweet interaction with the fan, stating, “Is that you? Yeah, yeah! Good to see you again… I love you too.”
Hozier, photographed by Sarah Hyun
Finally, he wrapped up the night with a surprisingly long, yet beautiful encore. He left the stage after “Take Me to Church” and snuck off to a separate makeshift area closer to the people in the nosebleeds, and performed a beautiful rendition of his song, “Cherry Wine.” Fans waved their phone flashlights in the air, looking up in awe, crying, and swaying peacefully to the eclectic music as Hozier entranced the crowd with his gentle vocals and intricate guitar playing.
Crowd, photographed by Sarah Hyun
Finally, to finish off the encore, he stopped to talk to the audience about the current social and political issues affecting the world. Hozier has always been vocal about his support of the LGBTQ+ community and in the importance of voting, protesting, and recognizing the violence that is happening in other countries. He stated, “I’d only like to see Palestine free from occupation, free from violence,” before leading into song, “Nina Cried Power.” Although Hozier does not have any more New York dates scheduled for the rest of his tour, he is sure to return in the future.
Hozier – Bethel Woods Center for the Arts – Saturday, July 27, 2024
Setlist: De Selby (Part 1), De Selby (Part 2), Jackie and Wilson, From Eden, Angel of Small Death and the Codeine Scene, Dinner & Diatribes, Francesca, It Will Come Back; I, Carrion (Icarian); Abstract (Psychopomp), Like Real People Do, Wildflower and Barley (with Allison Russell), Would that I, Too Sweet, Almost (Sweet Music), Eat Your Young, Movement, Take Me to Church
Encore: Cherry Wine, Unknown / Nth, Nina Cried Power, Work Song (with Allison Russell)
Queens’ Forest Hills Stadium was a fitting venue for folk-rock singer-songwriter Hozier‘s Unreal Unearth tour, with the artist playing four back-to-back shows beneath picturesque sunsets in the open air stadium.
Photo by Molly Higgins
Hozier’s New York City dates kicked off June 4, and the atmosphere was cozy as hundreds of fans dressed in whimsical, earth-toned outfits to match the artist’s aesthetic packed the venue.
The artist made his first entrance with his 2024 hit “Too Sweet,” which he noted was his first song to hit #1 on the Billboard Hot 100. His soulful vocals and expert instrumental skills were captivating, whether he was belting out “Francesca” with a stronger rock influence, or softly strumming “Cherry Wine” from the B-stage with a single acoustic guitar.
Hozier’s stage presence was humble yet commandingâbetween songs, he addressed the audience like old friends. But when each number started, the crowd was left transfixed by the sheer power of his vocals. Fans swayed, sang along, and then exploded into applause between each song as the sun set over Forest Hills.
Hozier’s ongoing tour in support of his 2023 album Unreal Unearth includes three more shows at Forest Hills Stadium June 5, 7, and 8, and is currently scheduled to continue through late November. Additional New York dates include July 7 in Bethel.
Hozier – Forest Hills Stadium – June 4, 2024
Setlist: Too Sweet, Jackie and Wilson, To Be Alone, Dinner & Diatribes, Wildflower and Barley (with Allison Russell), Francesca, Eat Your Young, Cherry Wine, Unknown/Nth, De Selby (Part 1), De Selby (Part 2), From Eden, Would That I, Almost (Sweet Music), It Will Come Back, Movement, Take Me to Church, Like Real People Do, Nina Cried Power, Happy Birthday to You (sung to the tour’s lighting crew chief Kitty Hoffman), Work Song (with Allison Russell)
Global superstar Pitbull has announced his upcoming “Party After Dark” tour beginning August 21 and wrapping up October 5. The tour sees five stops in New York including, SPAC, Jones Beach, Forest Hills Stadium, Darien Lake, and Syracuse.
The “Party After Dark” tour plans to hit over 25 cities across the U.S. with special guest T-Pain and openers SiriusXM Globalization DJ’S. Lil Jon is also set to make appearances at select markets. Mr. Worldwide is set to deliver another incredibly dynamic tour with an electrifying mix of his biggest career-spanning hits of instantly recognizable smashes and surprises.
The tour sees a stop at Forest Hills Stadium in Queens on August 25. Pitbull makes his way to Darien Lake Amphitheater in Buffalo on September 6. Empower FCU Amphitheater in Syracuse gets a visit on September 7, then SPAC the following night. Lastly, September 12 sees the tour’s last NY stop at Jones Beach Amphitheater in Long Island.
PARTY AFTER DARK TOUR DATES:
Wed Aug 21 – Bristow, VA – Jiffy Lube Live
Fri Aug 23 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Sat Aug 24 – Hershey, PA – Hersheypark Stadium
Sun Aug 25 – Queens, NY – Forest Hills Stadium
Thu Aug 29 – Cuyahoga Falls, OH – Blossom Music Center
Fri Aug 30 – Tinley Park, IL – Credit Union 1 Amphitheatre
Sat Aug 31 – Milwaukee, WI – American Family Insurance Amphitheater
Sun Sep 01 – Noblesville, IN – Ruoff Music Center
Wed Sep 04 – Clarkston, MI – Pine Knob Music Theatre
Fri Sep 06 – Buffalo, NY – Darien Lake Amphitheater
Sat Sep 07 – Syracuse, NY – Empower FCU Amphitheater at Lakeview
Sun Sep 08 – Saratoga Springs, NY – Broadview Stage at SPAC
Thu Sep 12 – Wantagh, NY – Northwell Health At Jones Beach Theater
Fri Sep 13 – Hartford, CT – Xfinity Theatre
Sat Sep 14 – Bangor, ME – Maine Savings Amphitheater
Sun Sep 15 – Mansfield, MA – Xfinity Center
Wed Sep 18 – Burgettstown, PA – The Pavilion at Star Lake
Thu Sep 19 – Cincinnati, OH – Riverbend Music Center
Sat Sep 21 – Ridgedale, MO – Thunder Ridge Nature Arena
Sun Sep 22 – St. Louis, MO – Hollywood Casino Amphitheatre
Wed Sep 25 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Fri Sep 27 – Ridgefield, WA – RV Inn Style Resorts Amphitheater*
Sat Sep 28 – Auburn, WA – White River Amphitheatre
Thu Oct 03 – Chula Vista, CA – North Island Credit Union Amphitheatre*
Fri Oct 04 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Sat Oct 05 – Albuquerque, NM – Isleta Amphitheater
*with Special Guest Lil Jon
Tickets go on sale beginning on Friday, April 26 at 10 AM at LiveNation.com. For more information on Pitbull’s upcoming “Party After Dark” tour click here.
