Boston Calling Music Festival had a successful debut back in May, when bands and fans gathered within the city’s historic City Hall Plaza for two days filled with music and great vibes.

On September 7th and 8th, the festival will bring its second edition back to Beantown.  The event, which is produced by Crash Line Productions in partnership with Bowery Presents, will feature Vampire Weekend and Passion Pit as the big headliners.  Vampire Weekend is currently topping the charts following the release of their recent album Modern Vampires of the City, which drummed up anticipation and excitement from the band’s indie-ska-pop-rock following.  Passion Pit is set to be draw big crowds, as well, bringing their electric dance music to a town full of college students.

The first day of the festival is sure to draw fans of indie, folk, and alternative music, as those genres seem to be Saturday’s theme.  Among the artists set to perform are Local Natives, The Gaslight Anthem, The Airborne Toxic Event, and Bat for Lashes.  Also performing are Providence’s Deer Tick as well as Okkervil River, Lucius, and You Won’t.

Day two of the festival focuses more on the hip-hop, R&B, and electric dance side of music.  Following Passion Pit’s highly anticipated opener, fans can expect to enjoy performances by two of the country’s leading hip-hop and R&B artists, Kendrick Lamar and Solange.  Also performing is Major Lazer, Wolfgang Gartner, Flosstradamus, Flume, Big Black Delta, and Boston’s own Bearstronaut.

The festival will take place on a hill in Downtown Boston, surrounded by the city’s skyscrapers and historic architecture.  Just like the May 2013 festival, September’s edition will also feature two performance stages, two beer gardens, and a food pavilion with some of Boston’s favorite food trucks and vendors.  World-class lighting and design for the event will be provided by locally based Party by Design.

Are you a VIP ticketholder for the event?  VIP’s will have access to the City Hall Courtyard – a 25,000 square foot, second-floor Mezzanine that is sure to leave fans in awe with the prime views of the main stage and special food and amenities.

A portion of the festival’s proceeds will go to the Msuic Therapy Program and Boston Children’s Hospital, which helps patients cope during their hospitalization through the excitement and joy of music.

Crash Line Co-Founder Mike Snow describes the festival’s September lineup as “one big, post-summer Boston party” which will feature “diversity, energy, and innovation.”  Whether you’re a tourist, a college student, a Boston native, or an out-of-towner, you can be sure to find something at this festival perfect for you.  Boston Calling’s September 2013 edition is set to be one of music, fun, and great vibes.

Boston’s very own Boston Calling Music Festival proved to be an overwhelming success in its second round.  The skies were clear, the air crisp, and the breeze from the harbor was endlessly refreshing.  Once inside the event, attendees were greeted with not only the music coming from the stage but also with the smell of funnel cake, hamburgers, and french fries.  If that’s not enough to get your taste buds’ attention, the event also featured gourmet food stands such as a local flatbread company and a chicken-and-rice-themed vendor.  The festival had two stages – Red and Blue – and festival-goers were strategic in bouncing between the two so they could get up close for their favorite acts.

Saturday’s festival had a diverse crowd, including the many college students from Boston’s colleges and universities, older adults, and even some families with their children.  The earlier part of the day featured some lesser-known yet wonderfully talented indie and rock bands such as Okkervil River, Bat for Lashes, The Airborne Toxic Event, and Providence’s own Deer Tick.  As the day turned into the night and the clock wound ahead, the crowd grew.  Anticipation was in the air for two of the bigger events: Local Natives and headliner Vampire Weekend.  Local Natives performance was entrancing, filled with songs from their new album “Hummingbird” that appeal to all different people due to the wide variety of instrumentals and tempos. 

At last it was time for Vampire Weekend, perhaps the most anticipated performance of the day.  After having recently released their newest album, there was a great deal of excitement in the air for this quirky group.  The band played their greatest hits – “Diane Young,” “Giving Up The Gun,” “Holiday,” to name a few – and didn’t shy away from playing some slower songs from their most recent album, including “Hannah Hunt” and “Obvious Bicycle.”  After leaving the stage after almost an hour and a half of performance, Vampire Weekend was summoned back for an encore, giving the crowd two more songs to add to their night.

Sunday’s crowd and line-up was entirely different from Saturday’s.  The theme shifted from indie/hipster vibes to electronic dance music, hip-hop, and R&B.  Even the crowd was different, filled with excited college students and nearly no families or small children to speak of.  Sunday’s artists included Flume, Flosstradamus, and Solange.  Towards the end of the night, the crowd was ready to dance and sing along with Major Lazer, whose performance was energetic and interactive.  He crowd-surfed while standing in a giant ball, bringing out endless excitement from the young crowd.  One of the most highly-anticipated performances of the night was next.  Kendrick Lamar shifted away from electronic dance music to rap and hip-hop, impressing the crowd with his rhymes and rhythm.  Headliner Passion Pit followed Kendrick Lamar with a much different vibe that combined synth-pop and electronic dance.

No matter who your favorite artist, Boston Calling was sure to have something for you.  The line-up had such a wide range of genres and performers, each of which put on a show to make the crowd smile, dance, and maybe even discover a new favorite band.  Just after the festival’s close, it was announced that a third Boston Calling will be taking place Memorial Day Weekend 2013.  So here’s to another round of phenomenal music, entertainment, and fun.

Bostonians and music fans from all over the New England area have been anxiously awaiting the arrival of this September’s Boston Calling music festival.  The biannual event will put on a three-day show from September 25^th-27th, 2015, in the city’s historic City Hall Plaza [One City Hall Square, Boston, Massachusetts].

The September line-up will include 23 live performances to take place on the venue’s two stages, with no overlapping sets.  The festival will be headlined in part by The Avett Brothers, the beloved alt-country folk-rock band who has seen increasing popularity since the release of their last album, Magpie and the Dandelion, on October 15, 2013.  With intricate lyrics and complex instrumentals intertwined throughout their music, The Avett Brothers are bound to put on a show that offers something to all.

alt-J will be headlining as well, bringing their complexly layered music, along with The Alabama Shakes, who will be bringing their 70’s jazz-soul revival from their most recent album Sound & Color.  Joining these performers are other beloved bands, including Hozier, Of Monsters and Men, Chvrches, and Ben Howard.  Long-time Boston residents can also look forward to seeing performances from local bands Dirty Bangs and Grey Season.  The packed line up for this September’s show was co-curated by The National’s Aaron Dessner.

Boston Calling’s September 2015 line-up, brought to you by Crash Line Productions, is as follows:

The Avett Brothers

alt-J

Alabama Shakes

Hozier

Of Monsters and Men

Chvrches

Ben Howard

Chromeo

Walk The Moon

Nate Ruess

Father John Misty

Sturgill Simpson

Misterwives

Daughter

Twin Shadow

Stephen Malkmus and The Jicks

Doomtree

FIDLAR

The Staves

Grizfolk

Bully

Dirty Bangs

Grey Season

Boston Calling, the bi-annual Boston, MA, music festival, closed out its three-day September line-up with a lunar eclipse to top off a fantastic weekend of music.  Each day featured clear skies, abundant sunshine, and crisp fall weather.  Crowds were vast and the energy seemed to grow with each act, producing a crowd so thick it became hard to move between the two stages.   Committed music fans waited for hours in the same spot in the crowd just to get an up-close view of their favorite bands. 

The festival featured local vendors offering snacks and samples, which festival-goers welcomed with open-arms.  Attendants could take a break from the hot sun and concrete of City Hall to enjoy a few games of ping pong and corn hole on a turf lawn in the shade, where they could even tune into a football game being screened on two televisions.  When they were finished with their break, fans could head back out to the main concert area and watch their favorite bands perform on one of two stages without having to worry about overlapping acts.

The festival opened on Friday evening with a three-band line-up starting with Gregory Alan Isakov, who opened with his mellow sound and thoughtful lyrics.  He was followed by Of Monsters and Men, who brought energy to the crowd with some of their well-known hits such as “Little Talks”.  The Avett Brothers closed the night with a set that lasted nearly two hours and featured 22 songs plus an encore begged for by an enthusiastic crowd.  With a set list that included upbeat performances such as “Talk on Indolence” and “Slight Figure of Speech” along with slower songs such as “Murder in the City,” The Avett Brothers gave fans a show that never faltered in its energy.

In keeping with the local spirit of Boston Calling, Saturday opened with a local band.  Grey Seasons started their set with a parody of The Clash’s “London Calling,” replacing “London” with “Boston,” which drew great laughs and enthusiasm from the crowd.  As the crowd continued to grow, bands such as  Doomtree and Stephen Malkmus and The Jinks took the stage.  The crowd was packed for Walk the Moon, a popular favorite with with their hit song “Shut Up and Dance.”.  Following Walk the Moon was Chromeo and CHVURCHES, leading up to Alt-j as the headliner for the night.  Alt-j’s highly lyrical and vocal-focused songs were complemented by lighting effects that were almost entrancing, giving the crowds a show as they sang along to hits such as “Fitzpleasure,” “Left Hand Free,” and “Breezeblocks.”

By the time Sunday came, festival-goers knew they were in for a good show.  Local bands opened once again, with songs that could be classified as garage-band grunge. Daughter provided a contrast with her performance, with soft vocals and melodic tunes.  Following her was Misterwives, which gave an upbeat performance with their hit “Reflections.”

Nate Ruess followed, performing his own songs as well as songs he once played with the band “fun.”  Ben Howard was next, performing his first song while sitting down, bringing the festival tone back to a more mellow one with his coffeeshop sounds.  Next was Hozier, who drew screams of excitement and anticipation from the crowd.  With a cup of tea perched on his microphone, Hozier performed hit songs such as “Take Me to Church” and “Someone New” and even did a cover of “Blackbird” by the Beatles.  Alabama Shakes closed the show with powerful vocals in songs such as “Don’t Wanna Fight” and “Dunes”.  Lead singer Brittany Howard’s strong vocals created an energetic performance.  At one point she dedicated a song to a couple in the crowd, leading people to believe a proposal was taking place when she mentioned someone had “an important question to ask.”  The act was made complete by the lunar eclipse and blood moon happening above the City Hall Plaza, marking a magical ending to a spectacular weekend of music.

Check out more photos from Boston Calling 2015.

The Avett Brothers have been making their way across the nation on tour for their ninth studio album, True Sadness, and will soon be stopping at Sonoma State University to perform under the stars.  The band will take the stage at the University’s Weill Hall + Lawn at the Green Music Center on Thursday September 15^th at 7:30pm, as part of the Summer 2016 MasterCard Performance Series. Set in the Northern San Francisco Bay Area, the Weill Hall + Lawn is the perfect place to see a summertime concert set in the heart of wine country.

The band, known for their lively performances and their ability to make even the largest venues feel intimate, is sure to bring a high-energy show to Weill Hall + Lawn.  Their unique blend of folk, bluegrass and southern rock instrumentals provides the perfect complement to their thoughtful lyrics, which always seem to call upon honest, real-life experiences. Brothers Scott and Seth Avett lead the vocals, accompanied by Bob Crawford (double bass), Joe Kwon (cello), Mike Marsh (drums), and Tania Elizabeth (violin).

True Sadness, The Avett Brothers’ most recent album, is their most diverse yet. The hit single “Ain’t No Man” features rhythmic beats and high energy, while other songs on the album like “May It Last” are defined by slower, symphonic melodies. The variety of this album, combined with well-known songs from the band’s previous eight albums, is sure to make for an energetic, crowd-pleasing performance.

This past Thursday, The Avett Brothers won over the crowd at the Green Music Center of Sonoma State University, where they took the stage to perform over two hours of music. The band showcased songs from their newest album, True Sadness, as well as fan-favorites from earlier albums like The Gleam and I and Love and You.

The Green Music Center’s intimate venue allowed for a performance that felt personal and private, as if the band was singing directly to each member of its audience. Even the crowd on the lawn seats towards the back of the venue could be heard singing along with the band throughout the concert.

The show featured songs from the band’s newest album True Sadness, with hits such as “Ain’t No Man” and “Satan Pulls the Strings.”  Long-time crowd favorites sprung up as well, with the upbeat tempo of “Kick Drum Heart” inducing the crowd to clap along, and slower melodies like “Murder in the City” causing the crowd to become quiet and rapt.

When the band was done, the crowd clapped and stomped in appreciation, beckoning the band to come back on stage for an encore performance. When they did, the Avett Brothers brought out hits including Bob Wills’ “Stay All Night (Stay A Little Longer)” and Bob Dylan’s “Forever Young.” Covers such as these showcase the band’s appreciation for the music legends that came before them and which inspire the music that the band creates.

To the delight of the audience, both Scott and Seth Avett, the lead singers and namesakes of the band, ventured into the crowd during the show. Seth Avett made his way into the crowd to perform a guitar solo while surrounded by fans, while Scott Avett ventured out to hold the hands of audience members around the room. It’s this level of engagement that makes an Avett Brothers show engaging and exciting, showing how truly connected the audience is with the band, and the band with the audience.

On Sunday December 11^th, Guitar Mash Jam will be taking over City Winery in New York City for a day of musical collaboration and celebration.

Guitar Mash Jam began in 2012 as a small gathering of New York City inhabitants and music-lovers who wanted to come together to share their musical talents and appreciation. Since then, it has emerged as a way for all members of the city to participate in events that celebrate music and its power to bring people together.

This year’s Guitar Mash Jam will celebrate the event’s fifth anniversary, from noon to 3:30pm on December 11^th. The audience is expected to bring over 350 guitarists and music-lovers, who will participate in singing- and playing-along with the performers on stage.

The event will feature performers such as Jon Herington of Steely Dan, Jo Lawry of 20 Feet to Stardom, Blues artist Bill Sims Jr and singer/songwriter Dar Williams. The performances are meant to celebrate how Guitar mash sees music as a unifier for America, a concept which will be underscored by a crowd sing-a-long to “Purple Rain” and “Lean on Me” led by the Guitar Mash Teens.

The event boasts its inclusion of all ages and encourages the audience to fully participate in the event, regardless of one’s musical background. Audience members are encouraged to bring acoustic guitars in order to play along, and lyrics to songs will be shared ahead of time on the organization’s website as well as projected on screens during the event, so the audience can feel free to become performers themselves.

All proceeds from the event will benefit Guitar Mash’s instruction and outreach to student musicians in programs across the five boroughs of New York City.

Tickets to the event can be purchased at bit.ly/GuitarMash5th and start at $50 for students, $90 for adults. Tickets will include an all-you-can-eat-and-drink gourmet brunch, including special treats and dishes from the organizatoin’s local and national sponsers, such as A Casa Fox, Acme Smoked Fish, Brooklyn Roasting Company, FreshDirect, Hubert's Lemonade, Ilegal Mezcal, Lagunitas Brewing Company, Magnolia Bakery, Stinky Bklyn, Tito's Homemade Vodka, Vosges Chocolate and Zucker's Bagels.

In addition to the live music and gourmet food, the event will include a Silent Auction featuring select instruments, tickets to Broadway shows and a handful of intimate experiences, such as meet-and-greets with artists from the cast of Hamilton and School of Rock.

For those unable to attend the event, be sure to tune into the live-stream at guitarmash.org/mash-live on 12/11 at 12:30pm EST.

Louisiana natives Sweet Crude brought their up-beat, drum-heavy pop sound to a quiet corner of Soho on Monday night. The band took the stage at the Ludlow House, a members-only club that the lead singer of the band, Sam Croft, referred to as “a weird freaky place with no signage” – calling out its nondescript exterior and the enticing mystery of the venue.

The band, self-described “Drum Pop Louisianais,” hails from New Orleans, Louisiana, and embraces their home’s French-speaking history.  Sweet Crude’s six members create almost tribal-sounding beats with a hint of Cajun, foot-tapping music, all while combining both French and English lyrics. By incorporating their Louisiana roots into their music, the band aspires to keep the traditional language alive through their art.

Lead singer Sam Croft engaged the audience in laughter and sing-alongs, while co-lead singer Alexis Marceaux stunned the audience with her powerful voice and a smile on her face that showed just how much fun the band has together while performing.

Sweet Crude performed many songs which will be featured on their upcoming debut album, Créatures, set to be released on April 21^st. You can pre-order the album today, or stream their single “Isle Dans La Mer” on Spotify today.

The 8^th Annual New York City Independent Film Festival (NYCIndieFF) is just around the corner, set to take place May 1-7, 2017, in the heart of bustling New York City. The festival includes screenings of over 250 films and includes additional events such as panels on crowdfunding for filmmakers and networking events.

In its 8^th year, the festival will be adding unique experiences such as the Virtual Reality Experience, which will take place on Saturday , May 6^th. This experience, curated through a partnership with REVIRE ImmersiveWorks and Pretend Labs, will showcase various interactive cinematic works, using technology such ad 3D scans and 360 Video to give attendees a unique, immersive experience.

Going beyond the many films and features that the event will highlight, NYCIndieFF seeks to nurture a creative, open experience for everyone in attendance. This year the event will feature the NYCIndieFF Voices Exhibit Project, an endeavor meant to allow participants to share their voices and thoughts on our world today. Those interested are welcomed to send short videos with their thought pieces, which will be used by NYCIndieFF Executive Director Dennis Cieri to create a cohesive piece for the festival. Those interested can contact [email protected] to learn more.

The festival is known for bringing together short-films, music videos, animated works and more into one localized event. Whether you’re a filmmaker yourself, a writer, and actor, or just a fan, you can find what you’re looking for throughout this weeklong festival.

Josh Ritter returned to City Winery this week, performing to an eager audience that had been awaiting his performance since he had to cancel the original show back in February due to illness.

The set list for the night included songs from a variety of Ritter’s albums, including Sermon on the Rocks (2015), To The Yet Unknowing World (2011), So Runs the World Away (2010), and more. Ritter treated the audience to a taste of some new songs, as well, joking that “playing a new song is like going on a first date – you want the lights to be low.”

Ritter’s enthusiasm for performing shone throughout during the set, and he frequently remarked on how he was always his happiest while playing for an audience. This passion was especially apparent in the upbeat tunes of songs like “Getting Ready to Get Down” and “Sir Galahad.” During one song, Ritter paused to tell the audience, “I want wild horses to run by you at this part in the song,” which only intensified the country Americana inspiration that could be heard in Ritter’s music.

Throughout the show, Ritter also sprinkled in softer songs like “Silver Blade,” “Dreams,” and “Henrietta, Indiana,” which brought out an almost palpable sense of focus in the crowd as fans seemed to be hanging on to Ritter’s words.

At the end of the show, Ritter gifted the audience a three-song encore, which was greeted with sing-alongs and a standing ovation to end his much-anticipated appearance at City Winery.

Just days after the release of their new album, Sweet Crude stopped by the Mercury Lounge in the Lower East Side of Manhattan to play songs both old and new for an energetic crowd.

Hailing from New Orleans, Louisiana, Sweet Crude’s style includes both French and English lyrics, laid on a foundation of Cajun-inspired instrumentals. The band’s debut album, Créatures, was released on April 21, 2017, and showcases the band’s “Drum Pop Louisianais” style. By combining music with their Louisiana roots, the band hopes to keep the traditional language of the region alive through their art.

Songs off their new album, such as “One in the Hand” and “On Est Paré,” feature lead singers Sam Croft and Alexis Marceaux belting out powerful lyrics that inspire listeners to sing along – even if they don’t speak the language. During the show, the band’s upbeat, enthusiastic energy seemed to inspire the crowd to feel the same, as audience members sang and clapped along.

Sweet Crude will be continuing their tour, with show dates across the country announced through July.

Over the course of the last week, filmmakers, writers, and fans gathered in Midtown Manhattan for the city’s 8^th Annual NYC Independent Film Festival (NYCIndieFF). The festival hosted screenings of over 250 films, spanning the range of documentaries and comedies to short films and animations. Dispersed throughout the film screenings were networking events, panels and seminars that festival-goers could attend to learn about topics such as crowdfunding and music licensing.

New to the festival this year was a Virtual Reality Experience, presented by Pretend Labs, ReVRie Immersive Works and Lucky Uncle Productions, which gave audience members the unique experience of being immersed in several 360 films using the Samsung Gear VR, and an additional film on the HTC Vive. In addition to these offerings, the festival featured a Mixed Reality recording station, which recorded users playing Google Tiltbrush on the HTS Vice, all while being superimposed into their VR environment. To add to the unique immersive experiences, the team also offered Microsoft HoloLens demos, as well as unique VR Cardboard viewers being distributed to festival attendees. This unique experience combined the art of film with the new and cutting-edge art of virtual reality.

The festival also featured NYCIndieFF Voices Exhibit Project, which welcomed voices from the NYC community and beyond to submit videos expressing their thoughts on their place in their homes, their country, and their world. Each video was then curated into an installation piece, created by NYCIndieFF Executive Director Dennis Cieri.

Held primarily in the cozy rooms of Producers’ Club Theaters and Bar, NYCIndieFF created an intimate and thought-provoking environment for artists, writers, filmmakers, actors, and fans. The crowds at each screening were composed not only of fellow indie filmmakers, but also included friends and family of the artist behind the showing, demonstrating the uniquely nurturing environment of NYCIndieFF.

Boston Calling returned to Boston, MA, this past weekend in an entirely new form – a venue that featured grass. Previously held in Boston’s City Hall Plaza, this year’s festival was held at the Harvard Athletic Complex, trading the concrete ground of downtown Boston for the open-space fields of Cambridge’s most elite school.

The festival sprawled across the University’s fields, both turf and grass, and featured wide-open spaces for festival-goers to sprawl out and enjoy the music. With three stages and an additional venue for various comedy acts, Boston Calling had something for everyone.

Friday’s opening night featured headliner Chance the Rapper, who gave an hour-and-a-half performance to fans who waited through unexpected rain showers and stood in muddy festival grounds to see the show. Preceding Chance’s performance were artists such as Bon Iver, Sigur Ros, Migos, who replaced Solange when it was announced she was unable to attend at the last minute.

Saturday saw sunnier weather as fans poured into the festival for a day of music that spanned genres from blues-rock and soul to indie and folk. The festival hosted food vendors from some of Boston’s favorite spots, and had lawn games set up throughout the festival. During sets, fans could catch the show from the festival’s ferris wheel, a new addition to this year thanks to the festival’s larger side. When the sunshine became too much, fans could head inside to the festival’s comedy tent to see sets from comedians such as Hannibal Buress and Phoebe Robinson.

The range of genres during Saturday’s show exhibited how Boston Calling aims to cater to every audience. From local artists such as Cousin Stizz to blues-rock soul artists like Nathaniel Rateliff & the Night Sweats, there was something for everyone. The night came to a climax when The xx preceded Mumford and Sons, who gave a two hour performance that had the crowd singing and clapping along. The festival was brought to a heart-warming close when the band pulled earlier-performers Brandi Carlie and Nathaniel Rateliff on stage to perform their own rendition of The Beatles’ “With A Little Help From My Friends.”

To close out the festival, Sunday’s lineup included artists that were geared more towards the metal and electronic, with ‘90s rock band Tool headlining the last day of the festival.  Other artists included Frightened Rabbit, Cage the Elephant, and Weezer. Major Lazer also gave an energetic performance with DJ Diplo, where he rolled across the crowd in a blow-up ball and was met by an energetic and responsive crowd.

Boston Calling’s first festival on these new grounds was a music success, though it met some feedback for the next festival, as festival-goers had some grumblings regarding lines, cellular service, and the muddy fields. Boston Calling has assured its fans that next year will be smoother and even more special, and they’ve got the track record to prove it.

Check out more photos from Boston Calling 2017.

Just over a month after the release of his new album The Gathering, Josh Ritter & The Royal City Band took the stage at Brooklyn Steel in Brooklyn, New York for a Sunday evening filled with songs both old and new.

Opening for Ritter was Philadelphia-based Indie-folk band Good Old War. The band energized the crowd with upbeat songs like “Amazing Eyes” and “Better Weather,” inviting the crowd to sing along.

Following Good Old War, the opening song from Josh Ritter’s newest album announced the beginning of Ritter’s set. Accompanied by The Royal City Band, Josh Ritter took the stage with upbeat energy and a smile on his face. That smile seemed to last through each song, from the energetic “Getting Ready to Get Down” off his older album Sermon on the Rocks, to slower, lyrical songs such as “Dreams” from The Gathering.

Ritter played crowd-favorites from older albums, such as “Kathleen” and “Me & Jiggs.” His performance of “Hopeful,” featured on The Beast in its Tracks, inspired a church-like singalong between him and the audience, making the warehouse-style music hall feel like an intimate show.

In addition to old favorites, Ritter performed most songs from his latest release. Songs like “Cry Softly” and “Friendamine” had the crowd singing and laughing along with Ritter and the band. Other songs such as “Thunderbolt’s Goodnight” and “When Will I Be Changed” showed the wide range of styles and performances that Ritter is capable of. His ability to inspire the audience to adapt to each song – dancing to some, listening thoughtfully to others – make his unique, fun, and inspiring.

British musician Nick Mulvey took the stage at the Bowery Ballroom in New York City on Wednesday night to perform songs off his new album, Wake Up Now.

The album, released in October of this year, features eleven tracks that combine traditional African styles with modern folk and indie sounds. Mulvey performed the album’s first track “Unconditional” to a crowd of fans who welcomed its melodic sound, joking with the artist between songs about his UK heritage.

Other songs such as “Remembering” call upon the tribal sounds that flow through the album and inspire an audience to dance along. Mulvey provided commentary for some of his songs as well, such as “We Are Never Apart” which he describes as a partial tribute to Standing Rock.

Also joining Mulvey’s performance was William Wild, who opened the stage for Mulvey. Wild, originally from Knoxville, Tennessee, played an acoustic set to a quiet and attentive crowd, bringing out an intimate feeling within the group that set the stage for Mulvey’s band.

This past Sunday, Ireland’s multi-platinum-selling band The Coronas stopped by the Bowery Ballroom in New York City to play their largest show to-date in the United States. The show was a part of the band’s North America tour for Trust the Wire, their fifth album since they released their first album in 2007. Almost immediately upon its release in June of 2017, Trust the Wire topped the Irish music charts, becoming the band’s first #1 album.

The band’s strong following was apparent during the sold out show in NYC, which drew a large crowd of Irish-and American-natives alike. Lead singer and guitarist Danny O’Reilly opened the show by walking into the crowd and inviting fans to sing along to “Heroes or Ghosts,” the title track off their 2007 album of the same name. O’Reilly’s soothing yet powerful voice was met with the harmonies of seemingly every member of the audience, instantly creating an intimacy that would persist throughout the remainder of the show.

Heading back to the stage, O’Reilly and fellow band-members Dave McPhillips (lead guitar), Graham Knox (bass), and Conor Egan) went on to play tracks off their most recent album. Songs like “We Couldn’t Fake That” pair persistent drum beats that build to a more powerful chorus, while songs like “Real Feel” feature upbeat dance rhythms throughout the entire song. The combination of these upbeat songs with slower melodies off the album made for a show that was consistently energetic engaging.

The band will continue their North American tour to Oregon and Seattle before heading back to Europe and eventually on to Australia. The full album can be heard on SoundCloud or downloaded on streaming services such as Spotify.

The Bailsmen brought their vintage swing to The Belfry on Wednesday evening, adding upbeat jazz tempo to the already-lively bar. Drawing on the sounds of Louis Armstrong, Duke Ellington, and Billie Holiday, the band combines a Louisiana-style big-band sound with soft, raspy-voiced jazz. The result is an ambiance that makes the audience feel like they’ve been transported to an intimate New Orleans show.

The quartet just recorded their second album, “Le Mensch” and will be taking their music on tour, predominantly across the south to places such as North Carolina, Virginia, and New Orleans.

Since its inception in 2011, the band has gained quite the following throughout the New York area. The quartet appears at The Belfry every Wednesday evening, and also frequents Dante’s every Friday afternoon.

Tour Dates:

The NYC Independent Film Festival (NYC Indie FF) returned for its 8th year last week, revisiting Manhattan once again to showcase independent artists’ work in the film industry. Featured work included full-length films, shorts, animated pictures, and web series.

The NYC Indie FF is a non-profit which showcases independent cinema from around the world. The event, which ran from May 7th through May 13th, is intended to give emerging filmmakers the chance to showcase their creativity to a wider audience, despite lower operating budgets.  

Headquartered at the Producers Club in the Theater District of New York, this year’s Festival featured over 250 films from over 30 countries. In addition to hosting screenings of the 2018 submissions, the week also included networking events and educational panels. These additional events provide a way for artists and cinema-lovers alike to come together to share perspectives on the industry. This year’s events emphasized education for young, independent filmmakers, who could attend panels and presentations such as Film Distribution, Music Licensing, Film Finance, and Women in Film.

The festival also held its second annual Virtual Reality showcase, which featured videos such as “Blue Rise Before Demise” and “Reading Room.” The sessions, which are open to the public for free, were produced in conjunction with REVRIE Immersive Works, and show the growing interest in virtual reality works that are now a growing part of the film industry.

The NYC Indie FF features a broad range of genres in the work it showcases. “#TAKEMEANYWHERE”, a forty-three-minute production directed by Shia Labeouf, Luke Turner, and Nastja Rönkkö, follows the group as they embark on a month-long project to “hitchhike through the internet”, posting their coordinates online in the hopes of being offered a ride. Reality-like films such as this can be juxtaposed against works such as “A Table For All,” (directed by Thea Piltzeker and Liz Scherffius) which depicts refugees to the United States as they find their place in a new country, and a new city.

Many full-length film showings were preceded or followed by short works of just a few minutes in length. Pieces such as “Amended Shards,” directed by Orlando Torres, pack hard-hitting messages into a short amount of time, demonstrating the ability of the medium to convey meaningful messages.  

The festival is already taking submissions for 2019, an event which is sure to have the same wide array of talent and creative art that the 2018 festival offered.

This past Monday evening, Brooklyn-native Cory Henry began his one-month residency at the Blue Note jazz club located in the heart of Manhattan. The residency is a part of his fall tour promoting his most recent EP, Art of Love, which is available now and features his band The Funk Apostles.

The Blue Note welcomed an excited audience to a sold-out show on Monday. Nestled in the busy streets of the New York’s Greenwich Village, the venue features a floor of closely-packed tables, where audience members squeeze in next to strangers to catch the evening show.

Henry’s debut show at the Blue Note was a solo-act and allowed the audience a more intimate experience with the artist as he tested new songs, played covers of artists such as Stevie Wonder, and even tried out a new instrument for the first time.

It’s clear that Henry is passionate about his work, and he channels that passion into his music when he plays. Mixing synthesized sounds and a Hammond B3 theater organ, Henry creates layered music that would lead a listener to believe he had a full band behind him.

Starting off his performance with instrumentals-only songs, Henry drew in a crowd that seemed curious of what was to come. Once he added in his vocals, the crowd grew livelier, clapping and snapping along throughout the night.

Henry delivered more than just music– he told jokes and wore an ever-changing expression on his face that delighted and engaged the audience. Between the dynamic music, the famous venue, and the passion that comes from a New York-native playing in his hometown, the night set the tone for what is sure to be a great residency for Henry.

New York got a taste of Alabama soul music this week when eight-piece band St. Paul and the Broken Bones took the stage at New York’s Brooklyn Steel. After selling out two shows at one of New York’s most well-known music venues, this band did not disappoint.

Opening up for St. Paul and the Broken bones was Atlanta-based vintage-rock band, Mattiel. Lead singer and band-namesake Mattiel Brown led off the night with powerful vocals and a performance that set the tone for the rest of the night.

After an anticipatory lull between Mattiel’s and St. Paul’s performances, Lead Singer Paul Janeway finally led the band onto the stage with a vivaciousness that would continue throughout the night. Donning a reflective, shimmering robe, Janeway greeted the crowd with excitement and, of course, powerful vocals.

Following the release of their latest album, Young Sick Camellia, St. Paul and the Broken Bones came to the stage with a full portfolio of songs ready to be performed. You could feel the excited, expectant energy from the audience when the band played familiar songs such as “Call Me,” from their first album Half the City, and “All I Ever Wonder” from Sea of Noise.

The combination of lead Singer Paul Janeway’s powerful voice and exuberant stage presence - along with the old-school funk of the band behind him - kept the audience captivated and energetic.

The band’s played songs from albums both old and new, including mellower, smoother sounds from their new album. The night was one that was layered with dynamic instrumentals, grand vocals, and a stage presence that is certainly unique to St. Paul and the Broken Bones – and part of what makes their shows so exciting.

Rayland Baxter took the stage in Brooklyn on Friday, playing to a largely flannel-clad audience at the borough’s Brooklyn Steel.

Opening the show was Margaret Glaspy, a friend of Rayland Baxter and a New York local herself, who played a full opening set featuring songs such as “Before We Were Together” and “Pins and Needles.” Her performance, which combined a sort of grunge-rock with a singer-songwriter influence, brought a sense of intimacy to the crowd, setting the foundation for Baxter’s performance.

Following Glaspy’s set, Rayland Baxter and his band took the stage in a formation not often seen among performers: a semi-circle, with Baxter fixed in the back-center of the stage. The formation, simple as it seems, suggests a lot about Baxter: he lets his fellow musicians stay at the forefront of the performance, prioritizing all members and making sure he isn’t the main focus of the show.

Baxter’s set included songs both old and new, from crowd favorites such as “Olivia,” off of his original album “Feathers and Fishhooks” to newer songs from his 2018 release of “Wide Awake,” including “Strange American Dream” and “Amelia Baker.”

A performance from Baxter makes a large venue like Brooklyn Steel seem intimate and personal. The lyrics to his songs feel like a conversation, a musing on life experiences that everyone in the audience can relate to on some level or another. With a mix of soft melodies like “Yellow Eyes” and rock-inspired songs such as “Bad Things,” Baxter put on a show that was multi-faceted and dynamic.

When it came time for his encore performance, Baxter played a few songs of his own, but also covered a handful of songs that seemed to have inspired some of his work. He paid homage to the late Mac Miller with a cover of his “Come Back to Earth,” commenting that, when he first heard the song, it “blew [his] mind.” He then went on to cover Neil Young’s “Vampire Blues” and ended his encore performance with a cover of The Ramones’ “I Wanna Be Sedated.”

Throughout Baxter’s performance, he inspired a combination of energy and thoughtfulness amongst the crowd, a testament to his diverse portfolio of songs and his engaging performance.

Josh Ritter and the Royal City Band returned to New York City this weekend, taking the stage at the Upper West Side’s historic Beacon Theater. New Yorkers and out-of-towners alike gathered under the ornate ceilings of the theater, buzzing with anticipation for Ritter and his longtime band to take the stage nearly five months after the release of his latest album, Fever Breaks.

With ten albums in his discography, Ritter brings a robust set of material to his shows, which seems only to amplify the audience’s anticipation for his performance as they wait to hear the first few chords of their favorite songs.

Despite the Beacon Theater being a sit-down venue, Ritter time and again brought the crowd to its feet with some of his fans’ long-time favorite songs such as “Homecoming” and “Getting Ready to Get Down” from his 2015 album Sermon on the Rocks.

The Royal City Band joined Ritter in bringing songs from Fever Breaks alive on stage, showcasing their energy and irrefutable skill when taking solos in songs such as “Losing Battles” and “Old Black Magic.”

Other songs, like “All Some Kind of Dream,” were performed acoustic by Ritter, who prefaced the song’s performance by speaking to the crowd about the importance of being kind to one another. The rambunctious crowd then became thoughtfully silent during Ritter’s performance, undeniably absorbed in the meaning behind its lyrics and Ritter’s passion for its message. It’s times like these that truly showcase not only Ritter’s exceptional skill for songwriting, but also his ability to connect with an audience, evoking emotions that are deeply rooted in his songs.

Closing out the night was an encore-inspired performance of “Kathleen” from Ritter’s 2003 album Hello Starling, a continual fan-favorite that Ritter sings along with his audience, and which seemed the perfect ending to a special evening at the Beacon.

Deer Tick performed at the Music Hall of Williamsburg on Tuesday night to an audience eagerly awaiting their performance, with the show having been rescheduled due to illness from the original date in July.

The twangy rock-folk band, hailing from Providence, Rhode Island, has developed a large and dedicated following since their first album "War on Elephant" was released in 2007. The band has since released eight additional albums, including the most recent "Live from Fort Adams" in 2021.

The reasons behind the crowd's frenetic anticipation was clear the moment Deer Tick came out on stage. The four band members are engaging and energetic on stage, meshing performance and improvisation together seamlessly and dialoguing with a crowd who frequently shouts words of encouragement, enthusiasm, and, last night, a desire for "more guitar" - seemingly a nod to the animated performance style of guitarist Ian O'Neil.

The set list included featured fan-favorites such as "The Dream's in the Ditch"  from the album "Negativity" and "Me and My Man" off of "Deer Tick Vol. 1," as well as newer songs, including one not-yet released song announced by lead singer John McCauley.

Songs like "Hope is Big" prompted a crowd sing-a-long, the lyrics and the collection of voices a welcome display of unity for a crowd that no doubt missed those moments dearly during the depths of the concert-less COVID-19 pandemic.

Deer Tick's performance was one complete with metaphor-filled lyrics, crooning rock-and-roll, and a delighted crowd on a breezy summer night in Brooklyn - a recipe for a perfect concert evening.

This Friday, October 14th, Seth Avett is set to release the second and final preview track from his upcoming solo album, Seth Avett Sings Greg Brown.

The new track, “Laughing River,” is Seth Avett’s crooning take on a poignant story-telling song originally sung by songwriting legend Greg Brown. The lyrics tell the tale of a retiring baseball player who’s decided to move to the country in search of a simpler and more grounded life. Seth Avett pairs Brown’s original lyrics with his own signature ability to simultaneously evoke feelings of both melancholy and hope, resulting in a tune that puts the listener in the shoes of the narrator.

“Laughing River” and the previously-released “Good Morning Coffee” are previews of more to come from Avett’s newest album, which is set to be released on November 4th.

The album, which was recorded in hotels across the country while on tour with The Avett Brothers, pays tribute to Greg Brown as one of Seth Avett’s songwriting heroes.  Through each of the songs on the album, Avett captures his own take on the characters and stories that Brown has created, bringing his familiar twang to the beloved classics of a songwriting legend.

Seth Avett Sings Greg Brown Tracklist:

    The Poet Game
    Good Morning Coffee
    Just a Bum
    You Drive Me Crazy
    I Slept All Night by My Lover
    My New Book
    Laughing River
    Telling Stories
    The Iowa Waltz
    Tenderhearted Child

The week between Christmas and New Year's Eve is always a quiet one in New York City, when tourists stay home and residents venture elsewhere to visit friends and family. But the typical seasonal slow-down was nonexistent inside the walls of Williamsburg's Brooklyn Bowl on Wednesday night, where the crowd buzzed with anticipation for The Felice Brothers' first show at the venue since January 2020.

As the crowd filtered in, new Philadelphia-based rock band Florry took the stage to open for the Felice Brothers. Led by teenage front-woman Francie Medosch, Florry's tunes such as "Jane" and "You Don't Know" off their most recent 2021 album Big Fall pair melancholy with rock-and-roll twang. Their sound and presence on stage, combined with the ever-present rhythm of falling bowling pins in the nearby lanes, set a playful and anticipatory tone for the evening to come.

Though the Felice Brothers are originally from the Catskills, their close connection with New York City showed in the enthusiasm of the audience on Wednesday night, who sang along to songs ranging from the more popular "Jazz on the Autobahn" and "Aerosol Ball" to more tucked away tunes like "The Dollar Store" off the band's 2015 holiday album, Felice Navidad.

Ian and James Felice, the brothers behind the eponymous band name, have a natural camaraderie on stage that makes room for them to share the spotlight and make spontaneous changes to the set list when one of the brothers wants to "liven things up," as the two joked on stage. Ian's signature vocals and passionate guitar strumming, paired with James's fervid performance on both the accordion and keyboard, make for a show that bridges rock-and-roll and Americana genres.

With nine studio albums released since the band's inception in 2006, they had plenty to choose from for their setlist Wednesday night. Songs of the night included hits off their 2021 album From Dreams to Dust such as "Silverfish" and "Valium," as well as songs the crowd asked for by name, like "Whiskey in my Whiskey" from their 2008 self-titled album.

For a band that got their start playing in the subways stations of New York City, The Felice Brothers' performance Wednesday night made it clear that the band is as woven into the culture of the city as the subway itself. And after the band's energetic and impassioned performance, there's no doubt that fans in Brooklyn will be eagerly awaiting the next time they pass through.

Temperatures dropped to single digits on Friday night in New York City, but those welcomed into Wesley Stace's Cabinet of Wonders were offered a warm respite from the blustery city.

The Cabinet of Wonders series, a monthly show hosted by Stace at New York City's City Winery, brings together artists in a curated and unique variety show. Self-described as "a little bit vaudeville, a little bit literary, and a lot of rock 'n' roll," each Cabinet invites different artists to the stage for an evening of communal laughter and joy.

Stace kicked off the night by inviting all Cabinet members to the stage, reading thoughtfully written introductions of each artist in his signature cheeky and playful style. He then kicked off the night by performing songs from his 1992 album Why We Fight including "Kill the Messenger," "The Truth," and "Come Gather Round." 

The first guest to be introduced was artist Nora Brown, accompanied by Stephanie Coleman on the fiddle. Alternating between playing a pre-civil-war-style banjo and an acoustic guitar, Brown managed to make the large venue feel intimate with her traditional Appalachian-style tunes including "Lady of the Lake" and "Copper Kettle." She closed out her three-song set with a lively cover of Elliott Smith's "Pitseleh" with help from the backing band.

Next up was actress and writer Amber Tamblyn, who read an excerpt from her most recently published book Listening in the Dark. Tamblyn's passionate reading of the excerpt, which was inspired by journal-writings of her youth, combined humor with thought-provoking poetic commentary on the struggles facing women in claiming and owning their bodies. Tamblyn's set underscored the unique intent behind the Cabinet of Wonders - to bring together artists of different mediums and expertise to share their perspective and their craft with a captive audience.

Following Tamblyn was artist Langhorne Slim, longtime friend of Stace and performer of Cabinets past. Slim and Stace joked and poked fun at one another on stage - a dynamic that Stace seems to have mastered in a way that makes his gatherings feel inviting and familial. Slim performed his songs "Morning Prayer" and "Sugar Plum" before launching into a cover of Warren Zevon's "Lawyers, Guns and Money."

Comedian and actor David Cross next took the stage, performing segments of the set he's soon to take on tour and bring to a recorded comedy special. Cross's material covered everything from parenting to coming face-to-face with your worst qualities, all of which was met with knowing laughter from the audience.

Next to the stage was singer-songwriter Kim Richey, who brought Nora Brown back on stage to accompany her in playing the song "I'm All Right" from her album Bittersweet. Richey then went on to play her original song "Chase Wild Horses," followed by a cover of Tom Petty's "Listen To Her Heart."

Toby Leaman, bassist from the band Dr. Dog, took the stage with Stace to close out the evening, playing an original solo song followed by a longtime Dr. Dog favorite, "Nelly." Leaman and Stace then played a raucous cover of David Bowie's "Moonage Daydream," closing out the final set of the night.

Before the night wrapped, Stace invited all of the performers back on stage to sing a final song together before the crowd would begin to pour back out into the cold New York City streets. For those who missed the February Cabinet, or for those who are eager for more, Stace will bring a new suite of guests to the next cabinets, set to take place on March 10th and April 7th at City Winery.

On a cold and windy night in New York City this past Wednesday, a boisterous crowd gathered between the warm walls of Manhattan's Bowery Ballroom for a show that would bring boundless energy and positivity.

The two-night, sold-out show at the Bowery Ballroom is part of the national tour of Florida-based band The 502s. The tour, dubbed "Fresh Squeezed Happiness" will feature various accompanying artists, including Ohio-based Oliver Hazard who joined The 502s for the Bowery show.

Having just finished their first-ever west coast tour, Oliver Hazard warmed the stage at Bowery Ballroom with their debut song "Caesar Knows," which was released in 2017. The band got their start not long beforehand, when the trio of childhood friends met while visiting home to write songs together. Shortly after, they won a Facebook raffle for one song's worth of studio time. But rather than one song, they played ten newly-written songs straight through - resulting in their first ever LP.

The band went on to play crowd-pleasing songs such as "Grenadine," "Dandelion," and "Fly Right," with lead singer Michael Belazis encouraging crowd sing-a-longs along the way.

By the time The 502s took the stage, the audience was practically buzzing with anticipation. And when the band started performing, it was clear why - the performance that The 502s bring to the stage is energetic and bright, and many audience members had certainly experienced that before and come back for more.

The band, described by some as "folk orchestra," combines instruments from banjo and saxophone to kazoo and bass. The boundless energy of each of the seven members, combined with the orchestrated overlaying instruments, makes for a show that is both musically and visually joyful.

The 502s played crowd favorites like "Magdalene" and "Wait Just a Little While," as well as newer tunes like "Inside Joke" and "Backstage in Glasgow," off of their most recent EP.

What makes a show by The 502s particularly special is how they manage to make the experience feel familial, both in how they engage with the crowd and with each other. Each band member has a moment to shine with their own solo performances throughout the set, including lively saxophonist and horn player Joe Capati and keyboard player Matthew Toner.

The tour name, "Fresh Squeezed Happiness" encapsulates what the band seems to represent - positivity, happiness, and child-like joy. The energy of the evening could be perfectly described by lyrics featured in The 502s' song "You Belong": Throw your arms around your neighbor my dear, there's good times, good vibes, and good people near.

Drew and Ellie Holcomb took the stage at City Winery New York on Friday for night two of their three-night residency at the venue. The couple's visit to the city is part of what's become a traditional annual tour, where they take a break from their solo careers to play together.

Drew joked on stage that, despite both being musicians and being married, the duo doesn't write songs together often. He compared it to house projects: "One [of us] is a solo house project person, while Ellie's kind of a team player - that doesn't always work together." This type of on-stage banter and resulting laughter from the crowd - and the musicians -  made the evening feel as if you were being invited into the Holcomb family for the evening, being let in on their inside jokes and also getting a glimpse into their love for one another.

Ellie and Drew Holcomb met in college, and Ellie went on to become a band member of Drew Holcomb & the Neighbors. She now writes and performs music on her own, and played some of those tunes at the show such as "I'm a Canyon" and "I Don't Want to Miss It." Drew continues to make music with Drew Holcombe & the Neighbors, having just released an EP this year entitled Fly that features the uplifting song "Gratitude," which he played for the crowd on Friday night.

The duo alternated between performing together on stage and performing individually, playing each other's songs and even taking a moment to cover Sting's "Fields of Gold," which they shared they were inspired to begin covering after seeing him live years ago at New York's Carnegie Hall.

The couple took a brief intermission halfway through the evening, and upon returning to the stage opened it up to requests from the audience. The immediate enthusiasm and yelling-out of song titles made one thing clear - the music of Drew and Ellie Holcomb has a special place in the hearts of its fans. The pair went on to play crowd-favorites like "Tight Rope," "Tennessee," and "Tomorrow," and encouraged a sing along for the sweet tune "I Like to Be with Me when I'm with You."

The final song of the night came at the end of the encore, where Drew and Ellie played one of their most popular songs, "Family." I couldn't imagine a better song to capture the energy of the evening - a celebration of special moments, and the people we get to spend them with.

Drew and Ellie Holcombe will play night three of their residency at City Winery tonight, February 25th, and we certainly hope they'll be back when they next tour together.