February 26 saw the magic of the 37th annual Tibet House US Benefit Concert at Carnegie Hall in NYC. The show saw an eclectic lineup of hugely talented acts including Laurie Anderson, Joan Baez, Maggie Rogers, Maya Hawke, Bowen Yang, and many more.
Joan Baez & Maggie Rogers Perform Bob Dylan’s “Don’t Think Twice, It’s Alright
Every year, the annual Tibet House Benefit Concert hosts extraordinary and memorable one-night-only performances. The evening had countless standout moments as the artists celebrated the Year of the Dragon.
The Tibetan Monks performed to an entranced audience to start the show. The hypnotizing vocals welcomed Tibet House President Bob Thurman who shared his gratitude for the evening’s co-artistic directorsand the Tibetan people.
Various types of arts were played including quartets of strings which backed a guided meditation session. Acoustic melody, grand ensemble, comedy and poetry. The renowned Philip Glass Ensemble captivated concertgoers. At various points throughout the night, the audience was moved to emotion, and moved to their feet for ovations.
The festivities continued late into the night as the performing artists, VIPs, and Tibet House supporters like Chloë Sevigny, Clairo, Sarah Morris, Jason Weinberg and more enjoyed the elegant post-concert gala at Ziegfeld Ballroom. Proceeds support the work of Tibet House US. Their mission is to protect, preserve, and empower the unique Tibetan culture.
To learn more about the Tibet House and their upcoming events, click here.
Ricky Montgomery‘s electrifying performance at Terminal 5 in Manhattan on February 24th was a testament to his magnetic stage presence and undeniable talent. Returning to New York after his stint accompanying Cavetown on the “Bittersweet Daze” Tour, Ricky shared intimate moments with his adoring fans, weaving together a setlist of old favorites and new tracks from his latest album, Rick.
As the crowd erupted in anticipation, Ricky took the stage with a burst of energy, kicking off the night with his signature anthem “Line Without a Hook.” The surprise appearance of mxmtoon for the alternate version of the song elevated the performance to new heights, with both artists radiating infectious energy as they interacted with fans at the barricade.
Throughout the evening, Ricky’s charm and wit shone through, as he shared anecdotes about his time living in New York and reminisced about his early days as a musician. Songs like “Last Night” and “Ethan’s Song” took on new meaning as Ricky poured his heart out on stage, drawing fans closer with each heartfelt lyric.
The atmosphere crackled with excitement during the debut of “Unknown Phantom,” with Ricky playfully urging the crowd to “go crazy” at the behest of his label. Moments of pure euphoria ensued as fans echoed Ricky’s every word, shouting declarations of love and support into the air.
During the encore, Ricky’s energy remained undiminished as he returned to the stage with opener Noah Floersch for a rousing rendition of “This December,” igniting the crowd with an electrifying finale. From the soul-stirring melodies of “My Heart Is Buried in Venice” to the anthemic chorus of “Don’t Say That,” Ricky Montgomery’s performance was a masterclass in emotion and authenticity, leaving an indelible impression on all who were lucky enough to witness it.
Setlist: Line Without a Hook (featuring mxmtoon), In Your Pocket, Cabo, One Way Mirror, Talk to You, Black Fins, I Don’t Love You Anymore, Type A, Last Night, Truth or Dare, Unknown Phantom (Unreleased), Snow, Ethan’s Song, My Heart Is Buried in Venice (Acoustic), Boy Toy, It’s Ok to Cry, Don’t Say That, Out Like a Light
Encore: Sometimes I Need to Be Alone, This December, Mr Loverman
In honor of Black History Month, we take a dive into the pivotal people, places, and events that have kept lasting impressions on the culture of America. The Harlem Renaissance was one of the monumental events in history that altered the way we as a collective view the world.
A 1930s photograph of Cafe Society’s packed entrance
With the Harlem Renaissance taking musical culture by storm in the 20s and 30s, musicians and music enjoyers alike found refuge from harsh realities in multi-cultural venues of the time period. These venues were beacons of hope and togetherness, where music was the uniting factor, and the outside world could not penetrate that.
Cafe Society – A Refuge in Greenwich Village
Opening their doors on December 18th, 1938, Cafe Society in Greenwich Village, Manhattan was home to a multitude of unique musicians and comics. The mind behind the club, Jewish shoe salesman Barney Josephson, hailed from Trenton, NJ and was a lover of jazz music.
Barney was incensed at the fact that in the Cotton Club, blacks were limited to the back one-third of the club. It infuriated him that even in their own ghetto they had to deal with this treatment. Of course, in any club below Harlem, which had black entertainment, such as the Kit Kat Club, a Black person couldn’t even get in.
A few notable acts from the era that were no stranger to the venue include Art Tatum, Lena Horne, Sarah Vaughn, Mary Lou Williams, Lester Young, Burl Ives, the Golden Gate Quartet, Billie Holiday and Ella Fitzgerald.
An early performance by Billie Holiday at Cafe Society
Racial Harmony in 1938
The Harlem Renaissance saw a monumental explosion of musicianship, racial harmony, and advancements in art. Cafe Society was a perfect example of this. Folks of all races, ethnicities, religions, and art forms attended crowds at Cafe Society. It was a community of tolerance, artistic expression, and racial harmony and prosperity in a time when this was furthest from the norm. The jazz club was a bastion of solitude, a beacon of hope, and mothership of talent.
Barney wanted to create a club so inclusive and so different from the rest and wished to change from the norms that other nearby jazz clubs have set as standard. He wanted to create a place where folks of all races, ethnicities, religions, and orientations could join together and enjoy the music of the city – jazz.
Billie Holiday’s Legendary Start
Billie Holiday, one of the most iconic jazz vocalists of all time, made a significant impact during her early career at Cafe Society. In 1938, she began performing regularly at Cafe Society Downtown, the venue’s location in Greenwich Village. Holiday’s emotionally charged and distinctive voice, coupled with her unique interpretations of jazz standards, quickly garnered admiration.
The intimate layout of Cafe Society allowed her to connect with the audience sharply and meaningfully. Holiday’s performances there contributed significantly to her rise to fame. Billie Holiday performed “Strange Fruit,” a powerful anti-lynching anthem that took the crowd by storm. Billie Holiday’s time at Cafe Society marked a pivotal chapter in her career, showcasing her as a renegade in the jazz world and a courageous voice against social injustice, a common theme of the club.
Far From Typical
Cafe Society’s commitment to left-wing politics was not merely symbolic, it was deeply ingrained in the club’s firmament. Barney Josephson envisioned the club as a space where artists could freely express their political and social views through their performances. The location became a hub for artists and intellectuals sympathetic to leftist causes, such as civil rights, workers’ rights, and anti-fascism. This kind of club was far from the standard and quite eccentric to many. The club hosted acts that addressed these issues in their music and engaged in discussions about social and political matters.
Performers like Billie Holiday, Paul Robeson, and Josh White were known for their activism. These artists found a platform at Cafe Society to use their art as a means of social commentary and political action. The club’s left-wing orientation also extended to its audience, attracting a diverse and politically conscious crowd. In an era marked by racial segregation, Cafe Society stood out as a progressive and inclusive space that challenged norms and ushered in a sense of unity and community among its patrons.
Cafe Society was known as “the right place for the wrong people.” In short, the place was strictly anti-snob, anti-segregation, and anti-standard. The building was draped in eccentric cartoon murals and the club’s doorman was intentionally dressed in raggedy, tarnished clothing to mock the notion that poor folk could not gain entry into the club. Josephson wanted all to know that all were welcome, not just upper-class snobs.
Cafe Society’s Policy
The club had a very unorthodox means of contracting artists. Firstly, Josephson was not a believer of traditional contracts. In fact, there weren’t any. Josephson believed an artist should never be bound to a contract or club, instead he offered long, several-week engagements that would also allow artists to play at other clubs in between.
Along with this, the club was extremely pro-union, something quite rare for the time. Josephson was a committed advocate for workers’ rights and ensured that all the musicians who performed at his club were members of the musicians’ union. This policy helped to guarantee fair wages, reasonable working conditions, and benefits for the artists. In an industry where exploitation of performers was not uncommon, Cafe Society stood out as a venue that prioritized the welfare of its musicians.
Cafe Society’s building today (taken 2024)
The Club’s Closure and Legacy
Cafe Society Jazz Club faced closure due to a combination of financial challenges and changing cultural dynamics. The original Downtown location closed its doors in 1948, primarily attributed to economic struggles and declining attendance. Along with this, the Josephson brothers’ leftist views landed them in hot water with the FBI, specifically his brother Leon. The club struggled to maintain financial viability. New owners eventually took over the club, but it was later closed permanently due to the new owner’s failure to pay back taxes.
The changing cultural landscape, combined with financial difficulties, led to the closure of the Uptown location in 1950. Cafe Society’s legacy, however, endures as a pioneering venue that championed racial integration, left-wing politics, and fair treatment of artists. The club left an indelible mark on the history of jazz and racial integration.
Barney Josephson went on to open The Cookery, also in Greenwich Village. This establishment opened in the early 1960’s as a music-supper club, where many artists would perform while audiences ate dinner. Much like Cafe Society, The Cookery was an all-inclusive, racially integrated, and culturally diverse place where standards were challenged.
The location where Cafe Society jazz club once was is now a historical landmark. The building is part commercial, and part residential. What has stayed the same, is the memory and legacy of Cafe Society. Its indelible mark will never be forgotten.
Carnegie Hall will celebrate an iconic show business duo, Steve Lawrence and Eydie Gormé, this Valentine’s Day. The Hall will host a private reception on Wednesday, February 14 in their Susan W. Rose Archives as The Lawrence Family Foundation honors Steve & Eydie with a generous endowment contribution to the Carnegie Hall Education Endowment Fund.
Steve and Eydie were 1950s hits, where they performed for decades on various shows beginning with Tonight Starring Steve Allen. The duo would perform musically in the big band, swing, and doo-wop styles. Together, the duo became iconic, and their impact lasts to this day. The duo left an indelible impression on popular music.
The celebration will showcase an orchestra conducted by the couple’s son David Lawrence. Alongside David will be Tony Award-winner Debbie Gravitte. Together, they will honor Steve and Eydie by playing and performing their classic hits from back in the day.
“As native New Yorkers, we know that Steve Lawrence & Eydie Gormé’s Carnegie Hall concerts in the 1980s represented a special musical homecoming for both of them, even after they had experienced so many great successes across the music world. Fans absolutely loved their Carnegie Hall performances, now considered a cherished part of the Hall’s history. We’re very grateful to the Lawrence family for honoring their legacy in this meaningful way, providing generous support that will help young musicians as they prepare to take to Carnegie Hall’s stage and beyond.”
Clive Gillinson, Carnegie Hall’s Executive and Artistic Director
For tickets, ranging from $59 – $129, visit CarnegieHall.org or visit the Carnegie Hall Box Office (at West 57th Street and Seventh Ave).
UB40’s summer tour will kick off in NYC on July 2 at Sony Hall on a tour that will feature UB40’s hits as well as songs from their upcoming album, UB45.
The Red Red Wine Tour will also feature other artists on select dates including The English Beat, Inner Circle, Maxi Priest, Third World, and Fastest Land Animal.
This upcoming tour marks the third straight year that the band will rock audiences in the US. UB40 will have two dates in New York on July 2 and Aug. 15. Sony Hall in Manhattan will see UB40 kick off the tour live with their world-renowned hits, and new releases. They are also performing at the Harry Chapin Lakeside Theater in Nassau County on Aug. 15.
“We’re excited to get back to the States again for our third year in a row, as we love coming to America. We can’t wait to play songs from our new album that we’re so very proud of, showcasing Matt Doyle’s vocals on the tracks. He’s brought a new lease of life to our music, as has the addition of our ‘permanent guest’ MC Gilly G and my son on backing vocals, Matt Campbell, carrying on the legacy. When you play songs over so many years, the arrangements and vocals evolve and change. These updated versions of our hits are still close to the originals, but now reflect how we perform them today and they sound better than ever.”
Robin Campbell, UB40 Guitarist
The band’s impactful reggae-pop music will be out in full effect this summer. The talent and influence that UB40 emanates is something to behold live. The band will showcase their abilities in celebration of their 45th anniversary, as well as the release of the UB45 album which commemorates the anniversary as well.
Red Red Wine 2024 Tour Dates:
July 2 Sony Hall – New York, NY
July 3 The Wilbur – Boston, MA
July 5 The Great Cedar Showroom at Foxwoods Resort Casino – Mashantucket, CT
July 6 The Event Center at Hollywood Casino – Charles Town, WV
July 7 Freeman Arts Pavilion – Selbyville, DE
July 10 Bergen Performing Arts Center – Englewood, NJ
July 11 OLG Stage at Fallsview Casino – Niagara Falls, ONT
July 12 FIM Capitol Theatre – Flint, MI
July 13 The Event Center at Rhythm City Casino and Resort – Davenport, IA
July 15 Clowes Memorial Hall – Indianapolis, IN
July 16 Marion Cultural and Civic Center – Marion, IL
July 18 The Lincoln – Cheyenne, WY
July 19 The Amphitheater at Canyon’s Village – Park City, UT
July 20 Shoshone Bannock Casino – Fort Hall, ID
July 21 Emerald Queen Casino – Tacoma, WA
July 23 Oregon Spirit Distillers – Bend, OR
July 25 Mountain Winery – Saratoga, CA
July 26 Morongo Casino — Cabazon, CA
July 27 Star of the Desert Arena at Buffalo Bills – Primm, NV
July 28 Green Music Center Sonoma State University – Rohnert Park, CA
July 30 Ace of Spades – Sacramento, CA
July 31 The Greek Theatre – Los Angeles, CA
August 2 Chumash Casino Resort and Spa – Santa Ynez, CA
August 3 Wildhorse Pass – Chandler, AZ
August 4 Casino Del Sol Resort – Tucson, AZ
August 5 The Bridge at Santa Fe Brewing Company – Santa Fe, NM
August 8 The Sound at Coachman Park – Clearwater, FL
August 9 Pompano Beach Amphitheatre – Pompano, FL
August 10 The Saint Augustine Amphitheatre – St. Augustine, FL
August 11 King Center for the Performing Arts, Melbourne, FL
August 15 Eisenhower Park – Harry Chapin Lakeside Theater – Nassau County, NY
August 16 Seaside Heights Live – Seaside Heights, NJ
August 17 El Patio – Dorado, Puerto Rico
August 18 University of the Virgin Islands, Hermen E. Moore Golf Course – St. Thomas – USVI
Pre-sale is February 7 and 8; and on sale is on February 9 for most shows (unless otherwise listed). Tickets and fan experiences are available for purchase at UB40.GLOBAL.
Meet Me @ The Altar, the vibrant and genre-defying trio, is redefining the punk and pop-punk scene with their electrifying energy and empowering anthems. With lead vocalist Edith Victoria, guitarist Tea Campbell, and drummer Ada Juarez, the band’s dynamic sound reflects their diverse influences and shared passion for breaking barriers in the music industry. Hailing from different corners of the U.S., MMATA found their common ground, and swiftly became a force to be reckoned within the world of punk.
MMATA’s “Say it To My Face Tour” stop at Irving Plaza on January 25 was an exhilarating celebration of punk, diversity, and unapologetic self-expression. The night kicked off with stellar performances by Elliot Lee, John Hardie, and Honey Revenge, setting the stage for a high-octane headlining act.
As MMATA took the stage, the atmosphere crackled with excitement. A fan in the front row held a sign that declared “Ada is my everything,” a testament to the profound connection the band fosters with their supporters. The show became a participatory experience when Edith let the crowd choose between two songs, playfully warning them about the sad backstory of “A Few Tomorrows” before launching into it, resulting in playful banter between the band and their adoring audience.
Edith, Tea, and Ada’s banter with the crowd showcased not only their musical prowess but also their genuine connection with fans. They acknowledged a dedicated fan who had attended 10 shows with applause, reinforcing the reciprocal love between the band and their followers. The concert marked a significant milestone for MMATA, as they headlined at Irving Plaza for the first time, reflecting on their journey from opening for MUNA in 2022 to sharing the stage at Madison Square Garden with 5 Seconds of Summer.
Inflatable beach balls bounced through the crowd, adding to the playful atmosphere, while Edith’s confusion about the continued existence of BeReal revealed a charming, down-to-earth side. The concert took unexpected turns, such as Tea’s witty remarks during the intro to “Hit’s Like a Girl,” celebrating love and adding a personal touch to the night.
A standout segment dubbed “Songs We Wish We Wrote” featured spirited covers, including “Since You’ve Been Gone” and “Burnin’ Up,” showcasing the band’s versatility and sense of humor. The fan project during “Garden,” where paper flowers bloomed in the crowd, was a visually stunning moment, and Edith’s acceptance of a flower from a fan emphasized the symbiotic relationship between the band and their admirers.
Meet Me @ The Altar used their platform for more than music, incorporating activism into the show with the presence of Headcount volunteers promoting voter registration. Crowdsurfing added a final touch of chaos to the night, encapsulating the raw, unfiltered spirit of punk.
In summary, Meet Me @ The Altar’s concert at Irving Plaza wasn’t just a show; it was a riotous celebration of individuality, shared experiences, and the unifying power of music. The trio’s ability to seamlessly blend punk, pop-punk, and heartfelt lyrics created an atmosphere that resonated with the diverse audience, making it a night to remember.
Setlist: Same Language, Now or Never, Try, A Few Tomorrows (Crowd voted for this over May the Odds Be Ever In Your Favor), Hit Like a Girl, It’s Over for Me, Since U Been Gone (Partial Kelly Clarkson cover), Take Me Away (Partial Christina Vidal cover), Burnin’ Up (Partial Jonas Brothers cover), T.M.I, Garden, Feel a Thing, Kool, Say It (to My Face)
The students of Berklee NYC were treated to an intimate and fascinating experience with pop legend Cyndi Lauper in January.
The 2024 Berklee NYC Career Expo was an event held at the Berklee NYC campus on January 22. The event featured several music icons including Cyndi Lauper, who took center stage.
Cyndi Lauper shared valuable knowledge about experiences in the entertainment business. Ms. Lauper was joined by several NYC songwriters, producers, and other accomplished industry leaders to discuss the many aspects of music and entertainment.
The entire event saw many students excited to listen and learn from such greatness. The program included a discussion on how a song is written, produced and marketed, as well as an interactive workshop for theater writers.
Further, students were shown a behind-the-scenes demonstration of the modern music festival setup with first-hand insights from creative designers.
“We were honored to welcome the inimitable Cyndi Lauper to Berklee NYC, an artist who has left an indelible mark on music history just as she did with the audience at the expo. We extend our gratitude to all of the brilliant artists and industry leaders who shared their experiences with our students. Our team places an extremely high value on delivering meaningful and relevant industry insights to the aspiring professionals in our program, and this event reaffirmed that shared passion within our community in every way.”
Betsie Becker – acting executive director
The Berklee NYC Career Expo was a successful means of engaging the student body with a meaningful night of intrigue and networking. Every audience member present on January 22 left with something of value to take away from the experience. For more information on the career expo with Cyndi Lauper, visit Berklee NYC’s Website.
Coachella’s 2024 lineup will include five artists from New York between all three days of both weekends. Among these artists includes Lana Del Rey, who also headlines the festival along with Tyler the Creator and Doja Cat.
Lana Del Rey, born in Manhattan, will be the opening performer on Friday, April 12 and 19. The Bronx native Ice-Spice and Brooklyn-based indie-pop band The Drums will perform at the festival on Saturday, April 13 and 20. Performers on Coachella’s final nights include Brooklyn-born Bebe Rexha and rock band Taking Back Sunday from Long Island.
Cover of Lana Del Rey’s latest album, Did You Know There’s a Tunnel Under Ocean Blvd. Credit: YouTube Music.
Grammy-nominated singer Lana Del Rey was born in Manhattan, and raised in Northern New York State. In 2005, Del Rey moved to New York City to pursue a career in the Music Industry. Her self-titled debut studio album was released in 2010, and her second studio album, Born to Die (2012), put the New York native on the map. Since then, Del Rey has released a total of nine studio albums, most recently 2023’s Did You Know There’s a Tunnel Under Ocean Blvd, and has been nominated for and won several awards. Currently, the singer is up for four Grammy Awards at the 2024 Ceremony, including Album of the Year and Best Alternative Music Album for her latest release.
Ice Spice during an Interview discussing a collaboration with Nicki Minaj. Credit: Billboard.
Born and raised in the Bronx, rapper Ice Spice is a young and emerging artist in the music industry, and this year will be her first time performing at the Coachella festival. Her debut extended play, Like, was released in 2023, and her debut studio album, Y2K, is due for release this year. The rapper also collaborated with English singer and record producer on the song “Boy’s a Liar.”
Jonathan Pierce, founder and last remaining member of The Drums. Credit: Bandcamp
Indie pop band The Drums was initially formed in 2008, by Jonathan Pierce and Jacob Graham as Goat Explosion, and later added Adam Kessler and Connor Hanwick. Graham exited the band in 2016, and since then Pierce has operated The Drums as a solo project. The Drums’ self-titled debut album was released in 2010. Since then, The Drums’ has released six albums, most recently Jonny (2023.)
Cover of Bebe Rexha’s third studio album, Bebe. Credit: beberexha.com
Brooklyn native Bebe Rexha first found success as a songwriter, with credits on Eminem’s single “The Monster” as well as other songs for Shinee, Selena Gomez, and Nick Jonas, among others. Her debut studio album, Expectations, was released in 2018, and was preceded by its lead single “I’m a Mess.” One week before the release of Expectation, Rexha performed live 2018 Summer Jam Music Festival, the same day on which “I’m a Mess” was released. Since then, she has released three albums, most recently 2023’s Bebe, and has been nominated for and won several awards.
The Members of Taking Back Sunday, from left to right: Mark O’Connell, Jesse Lachey, Shaun Cooper, and Adam Lazzara
Taking Back Sunday was formed in November 1999 by guitarists Eddie Reyes and Jesse Lachey in the Long Island town of Amityville. The band is currently made up of four members, John Nolan (lead guitar, keyboards, vocals,) Adam Lazzara (lead vocals,) Mark O’Connell (drums, percussion,) and Shaun Cooper (bass guitar.) Their debut studio album, Tell All Your Friends, was released in 2002, and their eighth and most recent work, 152 (2023,) was their first studio in seven years since 2016’s Tidal Wave.
Visit the Coachella website for tickets. Read the full 2024 Coachella Music and Arts Festival lineup below, which includes five artists from New York.
NYC is hosting an extraordinary festival from February 20 to 24 to pay tribute to legendary guitarist, Paco de Lucia. The festival will take place in various location around NYC including Carnegie Hall, NYU, Instituto Cervantes, Symphony Space and more. The monumental event will feature over 30 artists, all coming together to honor the renowned Paco de Lucia, who passed on February 25, 2014.
Paco de Lucia in Havana in 2013
Paco de Lucia is regarded as the master of flamenco guitar by many of those who took up the art form. This city-wide event, The Paco de Lucia Legacy Festival will demonstrate that flamenco is alive and as influential as ever. The festival will kick off with a medley of music at Carnegie Hall and wrap up five days later with a screening of the movie, “La busqueda” and a concert of honor.
Program + Ticketing Information
UE 2.20 at 7:30 p.m. Paco de Lucía Festival @ Carnegie Hall
Stern Auditorium / Perelman Stage at Carnegie Hall. 57th Street & 7th Avenue, New York CityTickets: $23-$120. Reserve at www.carnegiehall.orgor call Carnegie Charge 212-247-7800. Program: The festival kickstarts with this one-night musical tribute by 32+ artists.Performers: Karime Amaya, Farru and Farruquito(dancers); Al Di Meola, Josemi Carmona, Yerai Cortés, Antonio Rey, Rafael Riqueni, Niño Josele, J.M.Bandera and Pepe Habichuela(guitarists); Rubén Blades, Diego ‘El Cigala’, Duquende, Chonchi Heredia, Salif Keita, Carmen Linares, José Mercé, Sílvia Pérez Cruz and Makarines (vocalists), CarlesBenavent (bass), Alain Pérez (bass), Javier Colina (double bass), Rubem Dantas, Tino Di Geraldo and Israel Suárez ‘Piraña’ (percussion), MadouDiabaté (kora), Chano Domínguez (piano), Jorge Pardo (flute), NesrineBelmokh (voice + cello), harmonica by Antonio Serrano (harmonica), and more.
WED 2.21 at 6:00 p.m. Paco de Lucía Legacy Festival @ Instituto Cervantes
Instituto Cervantes, 211-215 East 49th Street, New York City Tickets: Free Admission.Presentation of César Suárez’s book ‘El enigma Paco de Lucía’and concert:‘Masters vs. Young Promises’.
WED 2.21 at 7:10 p.m. Paco de Lucía Festival @ Symphony Space
Symphony Space, Peter Jay Sharp Theatre, 2537 Broadway, New York CityTickets: $20-$50. To reserve, visit www.symphonyspace.orgor call Box Office at 212-864-5400.Program: Multi-GRAMMY winner Arturo O’Farrill and The Afro-Latin Jazz Orchestra performs an evening of arrangements of Paco’s compositions, under the joint musical direction of Arturo O’Farrill and Valencian pianist and arranger, Alex Conde. Performers: Arturo O’Farrill Afro-Latin Jazz Orchestra, Alex Conde (piano), Antonio Rey (flamenco guitar), Chonchi Heredia (vocals), Karime Amaya (dancer), Antonio Serrano (harmonica), and Rubem Dantas (Brazilian percussion).
WED 2.21 @ 7:00 p.m. Paco de Lucía Festival @ LPR
Le Poisson Rouge, 158 Bleecker Street, New York CityTickets: $35-$65. Reserve at www.lpr.comor visit the LPR Box Office.Program: Le Poisson Rouge hosts some of the most significant flamenco artists from Andalucia, who performed with Paco de Lucía. The first set, ‘De Cerca’, comprises the work of Josemi Carmona, Javier Colina, featuring Israel Saurez‘Piraña’ and guest singer Silvia Perez Cruz. Jorge Pardo and pianist Chano Dominguez lead the second set in their vibrant tribute to the genius of Andalucia. They two have taken on the difficult proposition of reinterpreting “10 of Paco” – the best-known melodies without guitar, featuring ‘Farru’ (dancer), who was part of the Paco de Lucia global tour.Performers: Josemi Carmona, Javier Colina, ‘Piraña’, Sílvia Pérez Cruz, Jorge Pardo, Chano Dominguez, Tino di Geraldo, andguestdancerFarru.
THU 2.22 @ 12:00 p.m. Paco de Lucía Festival: Flamenco Master Class
KJCC-NYU, 53 Washington Square South, New York CityTickets: FREE and open to the public. Reservations strongly encouraged. Register at KJCC.org.Program: On February 22, percussionist ‘Piraña’ and singersand palmasduo Makarines will give a rhythm master class at KJCC-NYU. A Q&A session and reception will follow the master class.
THU 2.22 @ 7:30 p.m. Paco de Lucía Festival @ Town Hall
Town Hall, 123 West 43rd Street, New York CityTickets:https://thetownhall.org/event/paco-de-lucia-legacy-flamenco-summits-meets-new-yorkReserve atwww.pacodelucialegacy.comor call the Box Office at 212-997-6661.Program: A specialgala called Flamenco Meets New York will promote an unprecedented meeting between flamenco artists and leading New York musicians. Performers: Niño Josele, Rubén Blades, Josemi Carmona, Salif Keita, Antonio Rey, Richard Bona, Pepe Habichuela, Farruquito, Farru, Karime Amaya, Alain Pérez, Rafael Riqueni, Antonio Sánchez, and Sílvia Pérez Cruz.
FRI 2.23 @ 6:00p.m. Paco de Lucía Festival @ Instituto Cervantes
Instituto Cervantes, 211-215 East 49th Street, New York CityTickets: FREE and open to the public. First come, first served. Program: Puro Flamenco recital.Performers: Pepe Habichuela, Rafael Riqueni, and Carmen Linares
FRI 2.23 at 7:30 p.m. Paco de Lucía Festival @ Mercado
Mercado, Little Spain Market, 10 Hudson Yards, New York CityTickets: FREE and open to the public. First come, first served.Program: FREE Fiesta Flamenca concert.
SAT 2.24 p.m Paco de Lucía Festival.
Program: A screening of the film ‘La búsqueda’ (‘The Search’) by the guitarist’s son, Curro Sánchez, followed by a concert, will culminate this multi-dimensional tribute.
Juliana Hatfield performed at the intimate City Winery Main Stage on January 28 in NYC. Outside of her solo work, Juliana is known for her involvement in indie rock acts such as Blake Babies and The Lemonheads. Opening for her was Leslie Mendelson. Leslie opened the show with an acoustic set of originals and cover songs. Juliana then took the stage and performed a solo set filled with older deep cuts, songs from her 2021 album Blood, and excerpts from cover albums she’s released in the last few years.
Juliana Hatfield at City Winery NYC
In November, Juliana released an album of Electric Light Orchestra covers. Motifs of loneliness and escapism were apparent. Even in a room filled with people, you could feel these prevailing themes. Substituting parts of ELO’s full orchestra, Juliana made her own adjustments that added a unique personal spin to the songs. On her record, Juliana used vocal keyboards to emulate the string instruments to accompany the lead guitar.
This album followed two other cover collections Juliana has released, including The Police and Olivia Newton-John. The blue twinkling lights that filled City Winery’s ceiling felt like the perfect throwback to the cosmic imagery of ELO’s early stage shows. The crowd was equally entranced by both her performance and witty stage banter.
Setlist: Dancin’ ‘Round and ‘Round (Olivia Newton‐John cover), Candy Wrappers, Hotels, Forever, Everybody Loves Me but You, Necessito (Some Girls song), Wonder Why, Telephone Line (Electric Light Orchestra cover), Please Mr. Please (Olivia Newton‐John cover), Hole in My Life (The Police cover), Tourist, Everything’s for Sale, My Sister (The Juliana Hatfield Three song), There’s Always Another Girl, Ugly, I Got No Idols (The Juliana Hatfield Three song), Had a Dream, Bottles and Flowers, June 6th, Shining On, Nirvana, Spin the Bottle, I Wanna Be Your Disease, Choose Drugs
