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.
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.
On Thursday. December 19, the Jazz at Lincoln Center Orchestra did what they do best – they tossed common musical conventions to the wind while elevating songs to a new level.
Photo Credit: Aidan Lukomnik
The Jazz at Lincoln Center Orchestra, just back from a two-week tour around the U.S., was welcomed to their Big Band Holidays performance with a rousing round of applause. Standing on their home stage of Rose Theater, the Orchestra played ten songs from a catalog of more than thirty holiday standards ranging from religious to anti-holiday. But these weren’t your normal holiday songs.
“You might have heard Frosty the Snowman before, but you’ve never heard it like this,” Musical Director and Trombone player Christopher Crenshaw said. That was the theme that prevailed throughout the show: you ain’t heard it this way before. Across an hour and a half of music, standard holiday compositions were eschewed for new ways to play, throwing each song into a new context and making the audience consider their perception of just what a holiday song sounds like.
Christopher Crenshaw at Rose Hall, Photo Credit: Aidan Lukomnik
Starting with two classics, the band played a sped-up and swung version of “Here Comes Santa Claus” and then transitioned into an extremely melancholic version of “Dreidel, Dreidel, Dreidel.” The first act was spiced up by Robbie Lee singing the anti-holiday song “Blue Xmas (To Whom it May Concern)” and “Merry Christmas Baby.” Lee’s vocal intonation was incredible – moving from a gravelly embodiment of the Grinch in “Blue Xmas” to clear and pure desire in “Merry Christmas Baby.”
However, the pinnacle of the first set was Sherman Irby’s solo in the “Merry Christmas Baby.” His saxophone transported audience members and, it seemed, members of the orchestra from a 1,200+ person venue to a dark and smoky jazz club inches from the stage. For the length of the solo, no one took a breath, and for a moment, all there was in the world was his music. It was a Blues solo at its finest.
Sherman Irby, Photo Credit: Aidan Lukomnik
The second set was punctuated by the dulcet vocals of Ekep Nkwelle, who sang a spiritual version of “Mary Had a Baby” and then upended all religious expectations with a downright sexy version of “Santa Claus, Santa Claus.” Nkwelle’s vocals during “Santa Claus, Santa Claus” felt straight out of film noir with desire, danger, and pain clear as day, while Chris Lewis’ solo put an exclamation point on the number.
As the night came to an end, the hometown crowd responded to the orchestra’s take on holiday classics with their you ain’t heard it this way before swagger, with a standing ovation.
Setlist:
Set 1: Here Comes Santa Claus> Dreidel, Dreidel, Dreidel>Blue Xmas (to Whom it May Concern) > Merry Christmas Baby > (I’m gettin’) Nuttin’ for Christmas
Set 2: Up on the House Top > Mary Had a Baby > Santa Claus, Santa Claus >Blue Christmas > Frosty the Snowman
The Big Band Holidays show has two more performances at Rose Theater on Saturday the 21st and Sunday the 22nd.
Radio City Music Hall has unveiled their newest addition to the iconic venue, a completely renovated sensory room.
Engaging with the vibrancy and volume of theater may be exciting, but it can also be exceedingly overwhelming- especially for those with particular sensory needs. A passion for attending live performance may be hindered or completely prevented by uncontrollable and overwhelming experiences- which is exactly what Radio City and donors Christopher and Veronica Jackson seek to remediate.
A GRAMMY and Emmy-award winning songwriter, composer, and actor, Christopher and his wife Veronica understand just how overwhelming such experiences can be, as their son CJ is one of many individuals to be diagnosed with autism. Since the diagnosis in 2007, the couple have become staunch supporters of KultureCity, the world’s leading nonprofit on the acceptance and accommodation of invisible disabilities and sensory needs.
“This sensory room reflects our shared dedication to creating an inclusive environment for everyone – ensuring that the magic of Radio City is accessible to all. Our son CJ has been an inspiration to so many and we are honored for him to represent our family at Radio City Music Hall!”
– Chris and Veronica Jackson
Donated and created in honor of CJ, the Radio City Music Hall’s completely renovated sensory room features adjustable lighting, comfortable seating, calming visuals including a piece created inspired by Radio City’s architecture by an artist with autism, and a wide range of sensory tools such as bubble walls, Yogibo bean bags, and a vast range of tactile objects.
Designed to be fully accessible for folks of all abilities and ages including wheelchair users, the Chris and Veronica Jackson Sensory Room joins several other sensory rooms under the MSG Family of Companies in partnership with KultureCity.
Thus far, Radio City, Madison Square Garden, and Sphere feature sensory rooms, have been certified by KultureCity, and feature guest-facing staff that have all completed KultureCity training.
This renovation marks a major step towards a universally enjoyable live performance experience, not just within Radio City’s walls but across the entertainment industry in New York City and beyond.
For more information on Radio City Music Hall’s full range of accessibility resources and services, visit their official website here.
The Rooftop at Pier 17, one of New York City’s most scenic venues, has announced the addition of a one-of-a-kind glass structure to the space, enabling winter shows upon its installation in late 2025.
artist rendition of the indoor structure atop Pier 17
With Manhattan’s skyline, the Statue of Liberty, and the Brooklyn Bridge as its backdrop, The Rooftop at Pier 17 has quickly become one of the city’s most iconic new venues.
Opening in 2018 alongside the complete reinvention of Pier 17 in the wake of Hurricane Sandy’s destruction, The Rooftop has hosted some of New York City and the world at large’s biggest names as a part of its annual concert series.
In its nature as an outdoor venue, The Rooftop has been limited in its ability to host concerts when the weather becomes too cold to bear- however, in a revolutionary new announcement, this constraint will soon be no more.
Starting in late 2025, The Rooftop is set to become a year-round live performance venue with the introduction of a custom-designed glass structure that will completely transform the space’s capabilities.
Jordana at The Rooftop at Pier 17
This innovative enclosure will take the once warm-weather exclusive venue into a climate-controlled, indoor setting without compromising the stellar views it’s become synonymous with.
“We look forward to The Rooftop at Pier 17 transforming into a year-round concert venue. Our state-of-the-art space will deliver an unparalleled experience for both artists and guests, providing the quintessential New York City live music venue no matter the season.”
– Anton Nikodemus, CEO of Seaport Entertainment Group
Accommodations for fans will shift slightly, limiting The Rooftop’s regular capacity of 3,500 down to 3,000, however the introduction of the enclosing structure will also provide ample opportunity for a brand new VIP balcony level.
In addition to its standard season of 60+ shows a year, The Rooftop’s new glass structure will enable an additional estimated 25 performances throughout the late fall and into the winter months.
Each spring, the structure will be removed and The Rooftop will return to its original state as an open-air venue with a capacity of 3,500, maintaining the space’s signature charm while elevating the audience experience entirely.
This development marks an exciting expansion of what was thought of as possible for fans of the venue and New York’s music scene at large- attendees and artists alike.
For more information on this revolutionary expansion, upcoming shows, and other announcements about The Rooftop at Pier 17, be sure to check out their official website here.
The whimsical singer-songwriter AURORA graced the stage of the Beacon Theatre for two nights amid her sold out What Happened to the Heart? world tour.
If you’re in search of an act straight from a storybook, look no further than AURORA. With a signature sound akin to a woodland fairytale, a voice that positively twinkles, and whimsical yet cutting lyricism, AURORA revels in the magical and channels the mystical in every sense of the words.
Born and raised in Norway, Aurora Aksnes exists within an ethereal sonic sphere entirely of her own. Beginning her songwriting and dance journeys at the age of six, creation is in her blood.
A self described “forest person,” AURORA has compared her home place of Drange to Narnia, spending her time in her home when not spent adventuring through the woods.
Releasing her fifth album What Happened to the Heart? in June of this year, AURORA’s most recent release and its subsequent headlining tour stems from a letter co-written by indigenous activists titled “We Are The Earth” which described the earth as “the heart that pulsates within us,” creating the inspiration for the album’s core concept.
Announced alongside the album was the What Happened to the Heart? world tour, which has and will continue to take AURORA throughout Europe, the United States, and South America- including a date at Manhattan’s own Beacon Theatre, which was soon expanded into a two-show run for its impressive demand.
Before the show even began, the Beacon Theatre was positively teeming with excitement. Folks were dressed in everything from band tees to ball gowns, couples were wandering the packed foyer excitedly pointing towards the merchandise table, and children were gasping in awe of the theater’s grandeur atop parents’ shoulders.
With opening support by neo-soul and hip hop artist Biig Piig, the evening’s festivities were off to a wonderfully mesmerizing start as she encouraged audience members to stand up and dance if they so wished in between tracks like the wonderfully smooth “Roses and Gold” and the hard hitting “Decimal” that had light production for days.
Prior to AURORA’s exciting step on stage, the lights dimmed to allow a nostalgically hazy projection begin to play. The excitement was palpable, but fans kept sound to an absolute hush to experience the visual to its fullest extent before she twirled her way on stage to an explosion of cheers.
Delivering a hauntingly magical performance of “Church Yard” and “Soulless Creatures,” AURORA’s main support was a small set of other vocalists that turned the theatre into an echo chamber.
With a full set list of 21 tracks, AURORA’s musicality and vibrancy both vocally and in her stage presence was on full display paired with the Theatre’s groundbreaking new Sphere Immersive Sound system.
Dazzling fans for the second night in a row with her shimmering voice, dazzling spins and leaps, and effortless sense of musical presence, AURORA made the New York dates of her What Happened to the Heart? tour ones to remember.
AURORA – Beacon Theatre – Friday, December 6, 2024
Bluegrass legend Alison Krauss and her band Union Station have announced their first tour in 10 years, the Arcadia 2025 Tour, alongside special guest Willie Watson with an extensive list of dates that include two stops in New York State.
A multi-instrumentalist, producer, and singer, Alison Krauss is a modern bluegrass legend. With 27 Grammy Awards of 42 nominations, the title of International Bluegrass Music Hall of Fame inductee, and a whopping 14 albums under her belt, itâs no wonder as to why.
Krauss partnered up with the band Union Station tangentially with the release of her first solo works, reworking themselves to Alison Krauss & Union Station soon after and quickly becoming a cornerstone unit of the bluegrass and country scenes.
Known for their boundary-transcending sound, Alison Krauss & Union Station went quiet after the release of their 2011 album Paper Airplane that saw major critical success. Over the years, the unit brought their talents to stages across the globe, but similarly took a pause on performances as a unit in 2015. However, both of these hiatuses are about to change.
In an exciting announcement, the unit has made impressive progress on their newest album release slated for 2025 in addition to an impressive tour titled Arcadia that will take Alison Krauss & Union Station across the United States and Canada over the course of 73 shows, including two nights in Manhattan and Lewiston.
Having recently joined the ranks of the band and soon to be traveling North America alongside them is the vocalist and guitarist Russell Moore, best known for his work as the frontman of IIIrd Tyme Out. Being the most awarded male vocalist in the history of the International Bluegrass Music Association, Mooreâs skills will make for a stellar addition to each nightâs performance.
If all of that wasnât exciting enough, Alison Krauss & Union Station have announced that support for the tour will come in the form of special guest Willie Watson. Fans can look forward to hearing tracks brand new and time-honored all the same as the band kicks off their performances in the spring.
âIâm so grateful to get to make music again with my comrades of 40 years. Theyâve always accomplished incredible work individually and have been constantly traveling because of it. Weâre very inspired to experience this new exciting chapter in the bandâs history.â
– Alison Krauss
Tickets for Alison Krauss & Union Stationâs exciting Arcadia tour are available now. The band will be making two stops in New York, first at the historic Beacon Theatre in Manhattan on September 12 and then at the Artpark Mainstage Theater in Lewiston on September 21.
For more information on dates, to-be-announced special guests, and ticket purchasing opportunities, be sure to check out Alison Kraussâ official website here.
The expansive full list of Arcadia 2025 Tour dates are below.
TOUR DATES
Thursday, April 17, 2025 | The Louisville Palace | Louisville, KY
Friday, April 18, 2025 | The Louisville Palace | Louisville, KY
Saturday, April 19, 2025 | Mershon Auditorium | Columbus, OH
Friday, April 25, 2025 | Cadence Bank Amphitheatre at Chastain Park | Atlanta, GA
Saturday, April 26, 2025 | Live Oak Bank Pavilion | Wilmington, NC
Sunday, April 27, 2025 | Koka Booth Amphitheatre | Cary, NC
Tuesday, April 29, 2025 | Bell Auditorium | Augusta, GA
Wednesday, April 30, 2025 | The Adderley Amphitheater | Tallahassee, FL
Friday, May 2, 2025 | The Wharf Amphitheater | Orange Beach, AL
Saturday, May 3, 2025 | Brandon Amphitheater | Brandon, MS
Sunday, May 4, 2025 | BJCC Concert Hall | Birmingham, AL
Tuesday, May 6, 2025 | Orpheum Theatre | Memphis, TN
Monday, May 12, 2025 | First Security Amphitheater | Little Rock, AR
Tuesday, May 13, 2025 | The Criterion | Oklahoma City, OK
Thursday, May 15, 2025 | Saint Louis Music Park | Maryland Heights, MO
Friday, May 16, 2025 | Walmart AMP | Rogers, AR
Saturday, May 17, 2025 | Starlight Theatre | Kansas City, MO
Thursday, May 29, 2025 | Smart Financial Centre | Sugar Land, TX
Friday, May 30, 2025 | Whitewater Amphitheater | New Braunfels, TX
Saturday, May 31, 2025 | The Pavilion at Toyota Music Factory | Irving, TX
Tuesday, June 3, 2025 | PNC Pavilion | Cincinnati, OH
Wednesday, June 4, 2025 | Devon Lakeshore Amphitheater | Decatur, IL
Friday, June 6, 2025 | BMO Pavilion | Milwaukee, WI
Saturday, June 7, 2025 | The Chicago Theatre | Chicago, IL
Sunday, June 8, 2025 | The Ledge | Waite Park, MN
Tuesday, June 10, 2025 | Vetter Stone Amphitheater | Mankato, MN
Wednesday, June 11, 2025 | Bayfront Festival Park | Duluth, MN
Friday, June 13, 2025 | McGrath Amphitheatre | Cedar Rapids, IA
Saturday, June 14, 2025 | Denny Sanford Premier Center | Sioux Falls, SD
Sunday, June 15, 2025 | The Astro Amphitheater | Omaha, NE
Monday, June 16, 2025 | Hartman Arena | Park City, KS
Wednesday, June 18, 2025 | Red Rocks Amphitheatre | Morrison, CO
Friday, June 20, 2025 | Dillon Amphitheater | Dillon, CO
Saturday, June 21, 2025 | Kit Carson Park | Taos, NM
Friday, July 11, 2025 | Arizona Financial Theatre | Phoenix, AZ
Saturday, July 12, 2025 | The Rady Shell at Jacobs Park | San Diego, CA
Sunday, July 13, 2025 | Greek Theatre | Los Angeles, CA
Tuesday, July 15, 2025 | Santa Barbara Bowl | Santa Barbara, CA
Wednesday, July 16, 2025 | The Mountain Winery | Saratoga, CA
Friday, July 18, 2025 | Grand Theatre | Reno, NV
Saturday, July 19, 2025 | Redding Civic Auditorium | Redding, CA
Sunday, July 20, 2025 | Edgefield Amphitheater | Troutdale, OR
Tuesday, July 22, 2025 | Wine Country Amphitheater | Walla Walla, WA
Wednesday, July 23, 2025 | Outlaw Field at the Idaho Botanical Garden | Boise, ID
Saturday, July 26, 2025 | Theatre at the Brick | Bozeman, MT
Sunday, July 27, 2025 | BECU Live at Northern Quest | Airway Heights, WA
Tuesday, July 29, 2025 | Grey Eagle Resort & Casino | Calgary, AB
Thursday, July 31, 2025 | TCU Place | Saskatoon, SK
Friday, August 1, 2025 | Centennial Concert Hall | Winnipeg, MB
Tuesday, August 19, 2025 | Massey Hall | Toronto, ON
Thursday, August 21, 2025 | Everwise Amphitheater at White River State Park | Indianapolis, IN
Friday, August 22, 2025 | Ascend Amphitheater | Nashville, TN
Saturday, August 23, 2025 | The Tennessee Theatre | Knoxville, TN
Sunday, August 24, 2025 | The Tennessee Theatre | Knoxville, TN
Tuesday, August 26, 2025 | Soldiers and Sailors Memorial Auditorium | Chattanooga, TN
Thursday, August 28, 2025 | The Dome | Virginia Beach, VA
Friday, August 29, 2025 | Allianz Amphitheater at Riverfront | Richmond, VA
Saturday, August 30, 2025 | Earl Scruggs Music Festival | Mill Spring, NC
Saturday, September 6, 2025 | Michigan Lottery Amphitheatre | Sterling Heights, MI
Sunday, September 7, 2025 | Jacobs Pavilion | Cleveland, OH
Tuesday, September 9, 2025 | Wolf Trap | Vienna, VA
Wednesday, September 10, 2025 | The Met Philadelphia presented by Highmark | Philadelphia, PA
Friday, September 12, 2025 | Beacon Theatre | New York, NY
Tuesday, September 16, 2025 | Veterans Memorial Auditorium | Providence, RI
Wednesday, September 17, 2025 | Leader Bank Pavilion | Boston, MA
Friday, September 19, 2025 | BankNH Pavilion | Gilford, NH
Saturday, September 20, 2025 | The Green at Shelburne Museum | Shelburne, VT
Sunday, September 21, 2025 | Artpark Mainstage Theater | Lewiston, NY
Tuesday, September 23, 2025 | Salem Civic Center | Salem, VA
Wednesday, September 24, 2025 | Credit One Stadium | Charleston, SC
Friday, September 26, 2025 | The Saint Augustine Amphitheatre | St. Augustine, FL
Saturday, September 27, 2025 | The BayCare Sound | Clearwater, FL
Sunday, September 28, 2025 | Hard Rock Live | Hollywood, FL
Co-Chairmen of the New York Philharmonic Board, Peter W. May and Oscar L. Tang announced that beginning Jan. 1, 2025, Matías Tarnopolsky will be the New York Philharmonic’s new President and CEO.
Photo credit: Jeff Fusco
Over the last 20 years, Tarnopolsky has held prominent artistic positions at orchestras worldwide. Before being the current the president and CEO of The Philadelphia Orchestra and Ensemble Arts, Tarnopolsky was the executive and artistic director of Cal Performances at the University of California, Berkeley. He has also served as Vice President of Artistic Planning at the New York Philharmonic from 2005 to 2009, and has held that position with the Chicago Symphony Orchestra and the BBC Symphony Orchestra as well.
During his tenure with the Philadelphia Orchestra from 2018 to 2024, he achieved many significant milestones including the merger of the orchestra with the Kimmel Center in 2021, resulting in the establishment of The Philadelphia Orchestra and Ensemble Arts. He also oversaw the rededication of the orchestra’s home as Marian Anderson Hall, which represented a groundbreaking approach to diverse programming. From 2009 to 2018, he worked at Cal Performances at UC Berkeley, the largest multidisciplinary arts presenter and producer based at a university in the country. During his time there, he launched Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which included a residency featuring Gustavo Dudamel and the Simón Bolívar Orchestra of Venezuela.
New York Philharmonic Board Co-Chairmen Peter W. May and Oscar L. Tang said: “Matías Tarnopolsky is a singular figure among orchestral leaders. Building on his lifelong love for our art form, he has forged impactful collaborations with orchestral musicians and dynamic artistic leaders. He is also a force for innovation who has created new ways of connecting with communities and tapping into emerging technologies. His extensive executive experience is enhanced by his time on the ground at the Philharmonic, when he oversaw artistic planning, giving him unusual insight into New York City’s vibrant cultural landscape. We know that Matías will be a visionary partner for Gustavo Dudamel as we prepare for his arrival as our next Music and Artistic Director.”
The Orchestra Now (TŌN), conducted by Leon Botstein, performed a set of works by modernist American composer Charles Ives at Manhattan’s Carnegie Hall, on Thursday, November 21st.
The evening concluded a Bard College Ives festival, one of four Ives festivals supported this season by the National Endowment for the Humanities.
The Orchestra Now, conducted by Leon Botstein (Credit: David DeNee)
The concert highlighted pieces in which Ives used themes from famous American tunes, each work being preceded by a mini-lecture by J. Peter Burkholder. Snippets of the original pieces were also played on piano by Donald Perlman and sung by William Sharp.
The opening piece, The Fourth of July from A Symphony: New England Holidays, begins with a whispering and sighing of strings, a kiss of cymbals. Just when the audience has been tricked into thinking it can relax into this performance, Botstein is suddenly waving his arms and driving the orchestra into crashing crescendo.
Like the other pieces played in the first half of the concert, The Fourth of July falls into the ‘modernist’ classical genre associated with musical innovation away from rigid classical principles. (Jazz can be considered a modernist art form.)
In practical terms, Ives modernist work eschews such stuffy principles as ‘playing in time’ and ‘playing notes that sound good together’, in favor of less conventional means of constructing themes and musical ideas. Towards the end of the piece one feels that some part of the orchestra or another has lost the beat – the percussion is ahead, or no, the strings are behind, or, oh no it’s all falling apart! – until all of a sudden Botstein slams on the brakes. An exhausted sigh seems to emanate from the stage and all is – briefly – silent.
Then tolls, from somewhere in the back, an impish bell – just once. The audience is reminded that Botstein and his players, recreating the kind of wild and competitive soundscape of a parade, were in control the whole time. Just how is hard to say.
This is followed by Central Park in the Dark, a 7-minute tone poem about what one might hear during a steamy summer’s night in Central Park at the start of the 20th Century. We are invited to consider the mixture of sounds Ives might have heard before, according to the composer himself, “the combustion engine and radio monopolized the earth and air.”
The piece begins with a slow, painful lament by the string section, described in the program notes by Haley Maurer Gillia, TŌN violinist, as representing “the omnipresent heat and the surrounding nature” that Ives might have felt.
After the strings comes, from somewhere uptown maybe, a piano. But this pianist must not have been listening because now – vying with the sad, dissonant strings – we have ragtime?! And if that’s not enough, in chimes a trumpeter, warming up in a different key in the parlor of a nearby apartment.
Balancing these different instruments, allowing them to pierce into our attention so suddenly and violently at times, must be somewhat novel for an orchestral conductor. Botstein’s day job presumably involves balancing the parts of an orchestra, letting soloist augment, without overwhelming, the accompanying musicians. Here, it feels as if the very point of the work is to accentuate this competition between sounds, all the more redolent for its clashing nature.
The music cannot readily be described as beautiful, but it is so much more rewarding for its being challenging. Ives was not widely recognized in his time (other than for being a successful proto-finance bro), but there is a freedom, a playfulness to the performance which is hard to find elsewhere in classical music.
But where were we? – the whole thing seems to have veered off course again: what Ives has put down on the page just can’t be, the whole thing is just becoming too literal, too wonderfully overwhelming. Once again Botstein has to wrest back control, exhorting his percussionists to beat some order into the rest of the orchestra. Back we find ourselves in the original theme, those sweet, hot, sticky violins on a warm night.
The final performance before the interval is of Orchestral Set No. 2, which features themes from popular American hymns such as Bringing in the Sheaves by Knowles Shaw and George Minor (a ‘sheaf’, if for some reason you didn’t know, is a bunch of cereal crop tied together after a harvest).
Snippets of the original pieces were also played on piano by Donald Perlman and sung by William Sharp. (Credit: David DeNee)
The piece is opened by double bass and timpani – an ominous pairing. Listening to Ives’ work requires you to open your ear in a different way. In this kind of music, no use looking out for the violins or the oboes; better not try to contrast the clarinets and French horn with one another. The dissonance and, at times, lack of discernable rhythm invite you to listen to the thing as a whole, as a monolith.
The work therefore seems challenging to play, the musicians needing to shed their desire to play notes from conventional chords and at the same time. How one actually plays this, let alone conducts it; how the whole thing falls together just right – these are questions I am not qualified to answer.
Today there is a reasonable acknowledgement of the legitimacy of ‘borrowing’ ideas in music: from sampling to vernacular folk musics to – well, just about any ‘genre’ you care to name. Yet it is though hard to tell what Ives means through his musical borrowing.
Most of the songs he borrows from are innocent, patriotic, simplistic pieces of music: Fourth of July parades, Protestant harvest hymns etc. Yet Ives’ work feels as much written with the hammer at the anvil than with the pencil at the bureau. Simplistic, balanced phrases are melted down and violently annealed into dissonant, chaotic ideas. Is there something irreverent about Ives’ use of old-school Americana? What drove Ives to work like this?
After the interval, the final set of works is Ives’ Symphony No. 2. This is a return to more ‘conventional’ musical forms and, refreshments in hand, the audience can relax a little – no more errant drum rolls or angry trumpet notes flying overhead. I suspect that some members of the orchestra feel a little more relaxed now too.
The symphony is honey-sweet, Ives passing the silken memories of his New England youth through the loom into perhaps the most indulgent art form around, the orchestral symphony. As with the rest of the performance, TŌN’s musicians handle the work with love and care and Carnegie Hall is, of course, a wonderful place to hear this. (At one point I was certain that the harp was being plucked not on stage but somewhere over my head. It is a magical experience.)
Whether Charles Ives was an iconoclast or a proud patriot; whether he achieved his goal of writing the first Great American Symphony – these questions are not really relevant. Even though Ives was an innovator, his contemporaries chose not to enjoy his music in the way TŌN and Botstein treated us to in 2024. Their loss.
New York City based synth-rock band The FMs have released their junior album 51122, a commemorative project for their late member Frankie Rex.
Photo: Dylan Mars Greenberg
Originally a musical partnership between high school friends Matte Namer and Frankie Rex, The FMs have curated a tight-knit community over the years with their synth-infused sound, unapologetically queer narratives, and underground shows held atop a ferry boat in the industrial canals of Bushwick.
Not only did the ferry shows introduce many to the sound of The FMs, the boat provided the duo a space to record and self-produce three full-length LPs. Debuting in 2017 with Machinacene Epoch, The FMs quickly established their ethos of a rather traditional album creation process in which each release exists with its own personality and sonic statement.
PINK + BLACK, the duo’s sophomore double-LP began taking shape quickly after Machinacene Epoch’s release in 2017 and saw promising progress into 2020, amassing 2,000 hours of recording, producing, and tinkering. However, PINK + BLACK was delayed after the news of a devastating loss. Frankie Rex passed away from an overdose in 2022, understandably putting the project on pause as the loss was processed.
This was not the end for The FMs, however. Matte Namer was determined to continue Rex’s legacy and prove that not even death could stop Frankie’s voice from being heard- a sentiment that came to fruition with the posthumous release of PINK + BLACK in 2024, which was met with acclaim from critics and LGBTQ+ advocacy organizations like GLAAD.
In preparation for this new chapter of The FMs, Namer gathered Ithaca-based trans musicians Bubba Crumrine on guitars, Basim Hussain on synths and keys, and Nick Scollard on drums. Now reformed, The FMs have returned for their newest album, 51122.
The title coincides with the date of Rex’s passing, and in many ways is a simultaneous goodbye and thank you to Rex’s incredible contributions to the band and the world as an artist throughout their life and musical career. 51122 contains the last recordings of Frankie’s voice to be published ever, including in a pre-release single that came in the form of a Joy Division cover– a tribute to one of the original duo’s favorite bands and Frankie’s favorite track of theirs.
“It’s also a bit somber being the last music that I think will ever be released with Frankie’s incredible, powerful, unique voice. I think there’s something about that that makes me remember they are really gone, like an orchid blooming from a coffin nail. 51122 is the date Frankie passed away, but is also a type of symbol in a way, or perhaps a word. I’m not sure what that meaning is yet, perhaps the orchid needs to grow.”
– Matte Namer
With influences ranging from lo-fi all the way to disco, 51122 is a dreamy, gritty, synth-y collection that stands as an undeniable testament to how far the band has come while simultaneously honoring where and with whom it all began.
Tracks like “You Feel Like God” and “A Means To An End” take listeners on a guitar-infused synth adventure through space and complex interpersonal relationships, while songs like the rock-ballad “Deviant” reflect upon and reject concepts of deviance and societal other-ing over acoustic guitar and floating piano.
Photo: Dylan Mars Greenberg
“Domino” cuts to the bone with unforgettable vocals, gritty guitars, and a sharp bass line, putting what The FMs can do when they lean full-on into the punk sound on full display- and the impact is undeniably felt.
Throughout 51122, the skills of Namer, Rex, Crumrine, Hussain, and Scollard are on full display- not a moment goes by where there’s a lack of sonic interest. Whether it be a dystopic cyber-future like in “Future Pope” or the wistful nostalgia of “Record Store”, each track off of the album paints a vivid picture effortlessly. 51122 is above all a triumph- a sign that The FMs will go on, and so will Frankie Rex and their unrelenting musical spirit.
In celebration of 51122’s release, The FMs have announced a set of album release parties on November 22 and 23. On Friday the 22, the band will pay a visit to Angry Mom Records in Ithaca, and on the 23 they’ll grace the stage of Berlin in Manhattan for a joint album release party and queer rock showcase. To learn more about these shows and how to attend, check out The FMs’ tour page here.
To learn more about The FMs, listen to their past releases, and keep up to date with all of their future ventures, be sure to explore their official website here.
Award-winning comedian Jimmy Carr has announced his âLaughs Funnyâ 2025 tour throughout the United States, including two stops in New York.
A household name in the UK for his various television hosting roles and regular appearances on panel shows, and countless specials, Jimmy Carr has been a best-selling comedian before streaming services were viable.
With twelve specials to his name, eight of which earned Carr the title of one of the bestselling acts in comedy DVD and the remaining four being the first works from a UK comedian to stream on Netflix, Carr has bridged the physical and digital comedy spheres.
In addition, all of his specials that were taped pre-streaming are now housed on his official Youtube account that has accrued over 1.1 million subscribers and a massive 436 million views in total.
Following the success of his last tour, Terribly Funny, that brought him to 1.2 million ticket holders across 45 countries total, Carr has decided to hit the road once more and visit over 40 venues across the United States- including The Paramount in Huntington and the iconic Beacon Theater in Manhattan.
The Laughs Funny tour will bring Jimmy Carr to Long Island on Wednesday, June 25 and Manhattan on Friday, June 27. Tickets for Laughs Funny will go live on Friday, November 22 at 10:00 AM.
To learn more about the tour, how to attend, and purchase tickets, be sure to visit Carrâs official website here.
