When Michael David Rosenberg, aka Passenger, took the stage at House of Blues on Sunday night, he wasn’t sure the packed room had heard the rest of the songs on his big album as he admitted during some of his stage banter. It turns out he had nothing to worry about as the crowd swayed, sang, and even shushed each other to get a closer listen to each track of beloved 2012 hit album All the Little Lights. He broke apart the album set with a cover of Simon and Garfunkel’s “The Sound of Silence,” which felt very true to his roots as a busker. Singer-songwriter SYML provided opening support as well, telling stories about his family to warm up the audience.
Check out all of Wendy’s photos from the show below.
From left: Liz Kantor, Alasdair MacKenzie and Chris Haley of Hush Club perform onstage at NICE, a fest on July 27th. Photo Credit: Cole Parks
Hot off of a crowd pleasing set at this summer’s NICE, a fest, Somerville-born Hush Club will take the stage at The Sinclair on September 8th. Having released two singles already this year, the trio plan on a couple more releases before the annual ball drop. As they plan to hit the road, we caught up with members Alasdair Mackenzie, Chris Haley and Liz Kantor to discuss childhood heroes, pizza and Chappell Roan.
Allston Pudding: What’s your advice to other groups of friends or creatives coming together to make music?
Alasdair MacKenzie: At the risk of sounding hokey, do it with people you really like and really respect. I think there’s no substitute for that and those are two separate things. There are plenty of people I like whose musical taste and ability I don’t particularly respect, And people whose musical ability I respect, but I wouldn’t want to hang out with for hours and hours.
AP: Who were your childhood heroes or inspirations? Musically, or in general.
Chris Haley: I’d say when I was really young – I know this isn’t the coolest take but I was really into U2. My dad listened to them a lot. I really fell in love with The Edge’s guitar playing, and that’s what made me want to start playing guitar. As I got older, I got really into this band Dawes. They are probably one of my all-time heroes. I love [them], I feel like my guitar playing has been hugely influenced by the people in that band… Those are the first two that come to mind.
Liz Kantor: Yeah, I grew up doing a lot of theater so most of the music I listened to as a kid were show tunes and Broadway, which is also not the coolest answer in the world [laughs], but I’m a huge Stephen Sondheim fan. I’ve always respected his writing ability. He’s such a clever composer and lyricist and I feel like, even though now I don’t really do much theater, I feel like I try to think “what would Sondheim do?” if I’m stuck on a melody.
AP: Which musical is your favorite?
LK: I would say Sunday in the Park with George or Into The Woods probably. Are you a musical person?
AP: I don’t love a lot of musicals. I do theater so people are always like, “Oh you don’t like musicals but you do theater, you’re not a real theater person.”
LK: Are you in plays?
AP: Yeah, I do comedies but not many musicals. They’re stressful though, I respect people that do them a lot.
LK: I just played my first musical in years this past Thursday and I forgot just like, so many moving parts…
AM: It makes what we do look really easy.
AP: I wouldn’t say that! You guys also have quite a task.
AM: I’s different, the act of performance for what we do is maybe easier than the act of performance for a musical. We’re not acting and dancing at the same time that we’re singing. It’s harder in that we wrote the stuff and produced the recordings which Broadway stars don’t do for their shows. But at the moment on stage, I think they’re working harder than we are.
From left: Chris Haley, Alasdair MacKenzie and Liz Kantor of Hush Club. Photo credit: Joshua Murray
AP: Back to the original question, I don’t wanna take it away from you, Alasdair. Who was your childhood hero or inspiration?
AM: A lot of first generation rock ‘n’ roll. The Beatles, Bob Dylan, Grateful Dead, because that’s what my parents loved. It’s sort of like what Liz was saying about Sondheim and you could probably say about U2 as well, just a pretty strong grounding in melody. Maybe not Bob Dylan so much but the others definitely. I’ll be off thinking what would Lennon and McCartney do? What would Carole King do? What would Smokey Robinson do? And that gets mediated through stuff that I’ve gotten into since then.
AP: Who would be a more recent inspiration for you?
AM: A lot of indie rock artists who we hope will be thought of as peers someday like Dawes, Fleet Foxes, the Shins, Tame Impala, the people in that world. Plus, and I think there’s sometimes a stigma about saying this in the indie world, but pop music is pretty great too. There’s a lot of great melodies if you just listen to Chappell Roan’s album or Taylor Swift.
AP: In the age of TikTok and instant gratification, fans and artists are closer than ever and viral marketing seems to be more of a need than a want for creatives these days. As a group who has already experienced levels of online success, do you find it to be more pressure or excitement, to be able to operate with fans in that way?
LK: A lot of pros and a lot of cons. Like youre saying, there’s a lot of pressure to be a musician, but also to have a public relations or marketing [background]. For the three of us, it’s not necessarily something that comes the most naturally. What we’ve discovered in the last year is just being ourselves and showing the true side of the band, that’s what connects us to the most people. Music and art are such saturated markets – it’s amazing that everyone can learn how to play an instrument, but there’s so many bands trying to break through. On the flip side of that pressure, TikTok does allow artists like Hush Club to actually get in front of a lot of people in a way that you wouldn’t necessarily get to, when it’s less common to get a record deal or sign to a label without having insane connections. I don’t think we would be where we are now if not for TikTok.
“Music and art are such saturated markets – it’s amazing that everyone can learn how to play an instrument, but there’s so many bands trying to break through.” – Liz Kantor
AM: In addition to the tangible career benefits that Liz outlines, it’s also about connecting to people. Sometimes it can feel like it’s just the three of us in a room making music, but social media makes me feel more constantly connected and of course, facilitates real life connections like meeting people after shows.
AP: What’s your favorite song that you’ve written?
CH: Probably “The Moon.” I’m proud of the composition but it’s fun more so than any other song that I worked on. I’ve experienced more people knowing the words and remembering the melody than previous songs, and that’s not to say what makes a song valuable is whether people like it or not but to Alasdair’s point, it’s a lot about connection and if something we created brings someone else joy that’s really special and I’m really grateful for artists that bring me joy.
LK: Yeah, I loved working on [that song]. I think it was the first song where we were appreciating more pop music, listening to Olivia Rodrigo and Chappell Roan and trying to be really meticulous about every aspect of the song. Making sure there’s a hook everywhere, trying to make it really catchy and fun and danceable. I think that song is a really good encapsulation of what our writing process looks like. Chris came up with the melody and the chords and from there it was very collaborative.
AP: What’s your favorite song to perform?
AM: “Caroline.” It was very collaborative, then unlike “The Moon” it’s taken on a different life when performed live. There is a guitar solo near the end but it fades out [for the recording], and live it’s a chance for us to show off our secret weapon: Chris Haley. We typically are pretty self-conscious about solos because you can get numb to them. But for this song, it feels really special to have this moment where we don’t hold anything back, and we have a moment where we get the crowd singing along.
AP: That was definitely something that stood out from your NICE, a fest set: your crowd work. The way you played off of people, it didn’t feel forced or tedious. It felt natural.
LK: I love performing that song also and I’m glad to hear that the crowd work comes across naturally, but there is a part of me sometimes where – [the song “Caroline”] is actually about someone who’s name is really Caroline and she does live in Boston, so now that we’re getting more visibility, I’m like “she might be here.” That’s a real thing that might happen and she’s gonna know. Hasn’t happened yet, but who knows.
AM: And you figured you’d keep it under wraps and minimize the risk by-
LK: Talking about it in interviews, exactly.
AP: If you had to choose a neighborhood in Somerville as your identity, which would you choose?
AM: You have to say Davis Square right? Chris and I have lived here since we graduated college and Liz lived with us for the first few years, so wouldn’t it feel disingenuous to say anywhere else? Not that I don’t love the other squares…
CH: I’m gonna go out-on-a-limb and say Teele Square. I feel like I get a lot of food there and I identify with Teele Square because it’s kind of off to the side. I’m a little bit of an introvert.
AM: It’s the George Harrison of the squares. [all laugh]
LK: I feel like Davis is the one that’s the most important to me. I live in Providence [Rhode Island] now, but I spend a ton of time in Davis with Alasdair and Chris. But I think the one that’s the closest to my personality might be Union Square. I feel like it’s always changing and it’s very artsy and there’s vibrant nightlife.
AP: In honor of your recent post-show pizza giveaway, could you list some of your favorite pizza shops?
AM: Dragon Pizza’s gotta be on the list, yeah?
CH: I think Area Four in Kendall Sq.
LK: Area Four rocks.
CH: That’s some serious pizza and I’d say the other kind of sleeper because it’s new, in Harvard Square, is Joe’s. The New York place, kinda great! Open until 4 AM.
LK: I had an idea in my head and then you said those. They’re all so good. It’s so hard to choose. I also love Pinocchio’s in Harvard Square. That is a place that got a lot of my money in college.
AP: After your upcoming show at The Sinclair, you will be hosting an after-party at Lizzie’s ice cream. So what’s your favorite ice cream topping/flavor? Unconventional options encouraged.
CH: The best ice cream flavor I’ve had recently… my brother lives in Los Angeles and when I was out there, there’s a place called Salt & Straw-
LK: SO good.
CH: They had this blueberry banana bread flavor… Incredible.
LK: I love chocolate ice cream or raspberry sorbet, but specifically the salted caramel crackle from Honeycomb Creamery in Porter Square and the B3 from Toscanini’s in Central Sq.
AP: Both TIFFY and you have recommended Honeycomb Creamery now so I guess I really gotta check that place out.
AM: And Lizzie’s! Like Pinocchio’s with Liz, they took a lot of my money in college.
AP: So after all the pizza and ice cream, what does the rest of the year look like for you guys?
AM: Shows, shows, shows! Songs, songs, songs!
CH: We have The Sinclair show coming up, Philadelphia & DC, and we’ll be in New York in December with a great other Boston band called Copilot. Trying to take the show on the road and hang with some new people in different places!
For more information regarding Hush Club’s new music and tour visit their website! Follow Hush Club on Facebook, Instagram and Twitter for more!
SPRY is the latest project from folk-jazz heavyweight Eleanor Elekra. You might know Elektra from her 2020 solo album Exquisite Corpse (one of AP’s best albums that year) and as the guitarist for perennial faves Tuxis Giant since 2022.
The band came together to record songs for Elektra’s Exquisite Corpse follow up, which they tracked live at the Record Co. back in February. Frequent collaborator Max Ridley (upright bass) is joined by Zosha Warpeha (fiddle), Jacob Hiser (piano), and Tim Wolf (percussion). Together, the group conjures the avant-folk that fans of Hejira will find an easy home in.
Before they embark on an east coast run, SPRY are inviting Boston fans to an intimate performance at a secret location known only to the band (it’s someone’s house). The show will be Thursday, September 5 at 7PM with support from Miriam Elhajli.
Find the poster below, hand-made and designed by Eleanor herself. You can DM her or Allston Pudding for the addy.
After 70 years, the late George Wein’s Newport Jazz Festival continues to curate a stunning collection of live music on the water in Newport, Rhode Island. From hosting icons to new artists or fresh talent that become legends, the festival historically ensures that its attendees are in for a once-in-a-lifetime musical experience. Each lineup is filled with incredible jazz artists, but also does not refrain from including related genres like disco, funk and blues. On the sunny, humid first weekend of August, jazz lovers fill Fort Adams State Park for the 70th anniversary, prepared to brave the heat for the special occasion.
Friday
Cisco Swank opened the Quad Stage, which can be found within the fort. “It felt like I was welcoming people into the festival,” says the rising musician while enjoying the Harbor Stage after his set. He greeted people with some of his recorded work and incorporated improvisational moments with his band. Enjoying his time on stage and kicking off the day at such an iconic festival, Cisco felt that the set flew by compared to his other gigs.
Chief Adjuah on the Quad Stage
Eager to keep the day moving, Chief Adjuah started his set by saying “fuck the soundcheck, let’s have some fun!” He enters the stage with his electric harp, an instrument he’s developed alongside a plethora of other modified brass instruments. His voice held a smooth tone, which blended well with the array of unique instruments used by his band. Most of his set included intricate, heavy drum patterns that got the audience moving swiftly. He also shouted out the Newport Jazz Camp kids in the audience, acknowledging the presence of the next generation of jazz musicians. With a smile on his face that you could hear through his singing, he maintained the momentum that Cisco Swank started on the Quad Stage.
As a nod to the festival’s notable past, the remainder and expansion of jazz great Sun Ra’s band, Sun Ra Arkestra, took the festival’s main Fort Stage. The group proved to be a collective of talented musicians dedicated to the craft of honoring Sun Ra’s legacy. The group ranged in age, but this contrast became blurred when one of the older members of the band came to the front of the stage and started flipping and cartwheeling alongside the psychedelic instrumentals played by the band. The group aced Sun Ra’s psychedelic sound with cutting, dissonant piano chords, cascading guitar sounds, and an erratic flute solo.
Brandee Younger on the Harbor Stage
The Harbor Stage was placed just outside the entrance to Fort Adams’ quad entrance, which attracted many passersby to the stage’s sets. Attendees stopped in their tracks at the sound of harpist Brandee Younger. Proceeding with historical nods, Younger started with an Alice Coltrane arrangement, which elicited cheers from the crowd upon the song’s introduction. Each solo played by Younger carried an ethereal sound, varying between deeper and higher elements and displaying her expertise. Her set also featured an impressive drum solo from Makaya McKraven, who also had his own set later on in the weekend. Younger ends her set with a creatively reimagined cover of Marvin Gaye’s “I Want You,” translating the legend’s vocals to harp strings.
Attendees flocked to the Fort Stage mid-afternoon to secure a spot for André 3000’s highly anticipated set. Veering from the Outkast sound that many know and love him for, André played a set full of music from his new, flute-filled album, New Blue Sun. The set began with thunderous drums and spacious synth, setting the avant-garde tone of what was to come. André played multiple flutes throughout the set, including Mayan, digital and bamboo flutes. He informed the audience that he and the band were improvising based on the audience’s presence. “Whatever you brought with you today and you’re giving to me, we’ll play back to you.” For a moment, his flute playing sounded similar to a gull, emulating the environment in which he was playing.
Brittany Howard wasted no time in showing the audience the talented force that she is, immediately filling the space of the quad with her forceful vocals. Between buttery head voice, strong belts and gritty growls, Howard’s vocal range and control demanded the crowd’s attention. Her setlist invited audience members to dance, as it was full of poignant bass and undeniable groove. “The vibe here is immaculate!” says Howard, between songs. She’s also joined by saxophonist Jaleel Shaw — who had a set on the Harbor Stage earlier in the day — for a mesmerizing saxophone solo. Her stage presence captures attendees, taking their energy and giving it right back. Between club-like beats and distorted guitar, Howard effortlessly transitioned between genres and enhanced the welcoming nature of the festival.
Saxophonist Kamasi Washington ended Friday with rolling drums that rumbled past the ocean’s edge surrounding the Fort Stage. Washington would sporadically interupt the drums with complex passes on the saxophone. He also invited DJ Battlecat to join him and spin some George Clinton. To keep all jazz listeners intrigued, he ensured that his setlist touched on all the subsections of jazz and the genres that often intertwine with jazz, such as blues and funk.
Brittany Howard on the Quad Stage
Saturday
Three-piece Golden, Brown & Delicious — consisting of guitarist Mark Whitfield, bassist Robert Hurst and drummer Jeff “Tain” Watts — provided the crowd with a fluid transition from morning to afternoon with a smooth jazz-driven set. Whitfield graced listeners with expansive jazz guitar, emitting a rounded sound and a clear presence of skill. The trio both looked and sounded in tune with one another, maintaining eye contact and contracting their bodies in sync with the rhythm. Hurst played the double bass with confidence, while Watts ended the set with a heavy kick-drum finish.
Lianne La Havas on the Quad Stage
Lianne La Havas took the Quad Stage after the group of three for her first appearance at the festival. She started solo, standing alone in the middle stage with her guitar. La Havas’s delicate, supported voice enchanted the audience and she made her difficult runs sound facile. She also displayed strict control over her dynamics when she seamlessly jumped from her sustained head voice to a strong belt during “Green & Gold” and “No Room For Doubt.” Pianist Julius Rodriguez joined La Havas 24 hours before his own Quad Stage set for a handful of songs, which included her cover of Radiohead’s “Weird Fishes/ Arpeggi.” The cover excited the audience upon the first few notes of the song’s distinguishable guitar riff. To end her set, she invited the crowd to join her for backup vocals, creating a chorus out of the crowd.
Returning to the main stage, Best New Artist Grammy winner Samara Joy entered the stage to an immediate roar of cheers. Joined by a miniature jazz big band, Joy cut to the chase and made sure attendees were aware they were in for a master class in vocals for the next hour. Between jumping octaves, expert-level scatting and sustained belts, Joy entertained the crowd to the point where the audience cheered multiple times throughout every song. She expressed her gratitude to be performing on a stage that many jazz greats took before her and further emphasized her graciousness with her setlist. She performed a Sun Ra composition and Thelonious Monk’s “Worry Later,” where she sang the lyrics at a stunning speed. After an honorable introduction highlighting Billie Holiday’s greatness, Joy also sang Holiday’s unrecorded song “Left Alone,” which reduced the crowd to a pin drop in a moment of focus.
Samara Joy on the Fort Stage
To eliminate any chance of a dull moment in the day, the Quad Stage seating section was cleared to create a dance floor for the all-vinyl DJ set by Acid Jazz Is Dead. The DJing duo Adrian Younge and Ali Shaheed Muhammad curated a set of disco, jazz and funk music for attendees to groove into the evening part of the festival. Some tracks included “Cosmic Girl” by Jamiroquai, “It’s Just Begun” by The Jimmy Castor Bunch, “Evil Vibrations” by the Mighty Ryeders and “Keep On Movin’” by Soul II Soul and Caron Wheeler. They would also intermittently pause the music to let the audience sing to their favorite tracks alongside their friends. Safe to say, it was what the crowd needed to keep their energy up for the rest of the evening.
Upright and electric bass legend Stanley Clarke and his touring band 4Ever performed at the Harbor to a packed crowd. Grouped at the very front of the stage, the group was not only tight-knit in their placement, but also in their synchronized sound. Clarke often played the same parts alongside his band members, such as his guitarist Colin Cook and saxophonist Emilio Modeste. Playing a trick on the crowd, keys player Beka Gochiachvili played what sounded like a xylophone solo on his keyboard. Drummer Jeremiah Collier appeared to play effortlessly despite the intricacy of his sections. Clarke also partnered with Collier by playing percussive elements by hand on the neck of his upright bass.
To complete Saturday, Kamasi Washington, vocalist and rapper Terrace Martin and pianist Robert Glasper teamed up to perform as “Dinner Party” and invited everyone at the festival to the table. Listening to the set felt like you were intruding on a dinner party full of talented musicians having a jam session, incorporating all of their individual skills. The bass and drums rattled the ground, likely sending ripples out to the ocean. Washington performed a raspy, range-traveling saxophone solo, which elicited cheers from those who didn’t get enough of him the night before. Martin also produced layered vocals, Glasper added intriguing synth elements and DJ Battlecat joined the group to spin some George Clinton.
Julius Rodriguez on the Quad Stage
Sunday
Grammy-winning pianist Julius Rodriguez started Sunday with a slick-looking keytar and was joined by a group of skilled musicians. In addition to his keytar, he also had a keyboard and grand piano to work with. Taking a page out of Stanley Clarke’s book, he also had saxophonist Emilio Modeste join him for the set to contribute great saxophone segments. Rodriguez expressed his gratitude for a slot at the festival and shared that he and trumpeter Alonzo Demetrius Ryan used to attend the festival together when they were younger before sharing the stage. Ryan also contributed unique sounds from his trumpet through pedals, giving the brass instrument the sound of a synthesizer or immense reverb. “Run To It (The CP Song)” appeared to have a heavy blues influence, especially with a smooth electric bass solo and strong piano chords. Rodriguez played a piano solo during “Around the World” that featured his award-winning abilities and beautifully transitioned to Ryan taking over for his respective solo.
Afro-Cuban artist Cimafunk bolstered Sunday’s energy with his nine-person band from Havana, Cuba. Much of his setlist includes funk music with Latin influences, which got the audience moving to the point where they disregarded the standing space guidelines to create their own dance floor. The set included a wide variety of percussion, as well as impressive vocals and instrumentals from trombonist Ilarivis Garcia and saxophonist Katerin Llerena, who Cimafunk referred to as “the queens of the band.” Those in the VIP area next to the stage were just as hype as the crowd, performing what appeared to be a pre-choreographed dance in unison. Overall, the set was easily the most energetic of the weekend because Cimafunk and his band’s energy was undoubtedly contagious.
Cimafunk on the Quad Stage
Just after playing Lollapalooza with the Chicago Philharmonic Orchestra, Laufey returned to Newport to play the Fort Stage after playing the Harbor Stage two years prior. Her fans — donning hair bows and long skirts — inched closer to the stage as she ran out in a polka-dot, ruffled Rodarte dress (which she later compared to a dragonfruit on her Instagram). Laufey showed off her piano skills in a captivating solo as a part of “Like The Movies,” which also starts and ends with “Misty” by Erroll Garner. “Fragile” was enhanced by airy harmonies that increased dynamically alongside the instrumentals. A powerful string quartet also added swelling, mesmorizing elements to nearly every song. Laufey also solidified her vocal talent by belting the bridge to “Goddess” and sent the crowd into a cheering frenzy. To end the set, she played her recently released cover of the jazz standard “It Could Happen To You” to include those who may not have been familiar with her discography. She kept a smile on her face for her entire set and was not shy of expressing her gratitude for her appearance on the main stage at such a historic event.
Back at the Quad Stage, rapper and poet Noname entranced the crowd with her powerful lyrics, whilst also keeping the large crowd she gathered moving. She’s accompanied by strong, intricate drums that move with her remarkable flow. Noname also invites the crowd to yell “Woo!” back to her in a call and response form during “boomboom.” Vocalist Abena also joined Noname for captivating vocals that further enhanced Noname’s already notable setlist. With incredible rapping speed and no sign of fatigue, Noname ensured that the afternoon energy would not be lost.
Laufey on the Fort Stage
Drummer Makaya McKraven and guitarist Jeff Parker paired on the Harbor Stage up to play a set full of incredible skill on their respective instruments. The duo played each other’s music, as well as some interpretations of songs by jazz greats. McKraven and Parker have been friends and collaborators for a long time, which was noticeable in their ability to understand each other and be on the same page musically throughout the set. “He’s my dude and one of my favorite musicians, he plays with so much heart, energy and creativity,” says Parker, highlighting his appreciation for McKraven.
Outside of a great friendship, their connection as musicians allows them to collaborate effectively in any setting. “It was really dope to find a guy who’s so well versed and has so much vocabulary in Black music from straight jazz to avant-garde, but also is really into hip hop, producing beats and doing all of this contemporary music…that really drew me to him as an artist in the breadth of what he could do and how he connected with what I did,” says McKraven.
The crowd was enamored by the sound of two adept musicians that have an honest love for jazz and what it can become, especially during their favorite songs to play live: Parker’s “Max Brown” and McKraven’s “Dream Another.” “We’re both improvising musicians who come from a jazz tradition, but we both approach our music compositionally from more of a production aesthetic, which in my view is a more contemporary and newer way of looking at things,” says Parker, explaining his collaboration process with McKraven.
To close out the festival, Nile Rodgers and CHIC grooved enough to hold off the impending storm. Despite the dark clouds surrounding Fort Adams, attendees risked a downpour to hear the legend and an updated CHIC lineup perform some of their greatest hits. They also played of cover of “Lose Yourself to Dance” by Daft Punk and Pharell Williams, encouraging the audience to sway their arms to the beat. While Rodgers entertained the crowd with his iconic musicianship, vocalist Kimberly Davis hit every difficult note that the CHIC catalogue entails. Since the skies opened up just after their set, it was almost fate that the group closed the 70th Newport Jazz Festival.
Yoni Wolf and his alt rock/ hip hop project returned to Boston for the first time in several years, bringing along new guitarist and vocalist Mol Sullivan. The crowd was so raucous and ready for them, one could have thought Harry Styles was in town, just from the volume and intensity of their cheering throughout the set. The audience knew even the most recent songs by heart, a fact that impressed the band thoroughly. They also played hits “The Vowels, Pt. 2”, along with an acoustic version of “Paper Hearts” during an intimate encore. Baths played a memorable opening set as well, with Will Wiesenfeld debuting new, dancey, tracks about heartbreak and infidelity.
Check out all of Wendy’s photos from the show below.
The multi-talented dancing violin player Lindsey Stirling brought her spectacular Duality tour to MGM Music Hall on 8/13. She wowed an all-ages crowd with a highly polished and choreographed presentation of her 7th studio album.
Longtime Lindsey Stirling touring partners Walk Off The Earth started the show with an opening set crammed full of creative covers and original songs, featuring an appearance from Stirling herself. When it came time for the main event, she quite literally elevated things to another level for her own performance. In addition to her signature fusion of high energy dance and violin instrumentals, Lindsey Stirling supplemented an already-impressive display with a troupe of dancers and a variety of aerial acrobatics. One would not be blamed for mistaking the concert for something straight out of Cirque du Soleil. Stirling seemingly effortlessly played her violin while dancing, spinning, upside down, suspended from wires, and running up and down stairs with a quite frankly enviable amount of stamina. She performed just about all of her newest album Duality, with a bit of some of her earliest in the mix. Although much of the show was a solo affair, Stirling called up fellow fiddler Máiréad Nesbitt from the crowd for a special guest appearance, and later she was accompanied by the vocal talent of Walk Off The Earth’s Sarah Blackwood. Given the physical demands of such a spectacle, the short-but-sweet evening unsurprisingly ended early, with Lindsey Stirling twirling her way to a reasonable 10 PM conclusion.
Check out all of Greg’s photos from the show below.
Barns Courtney accompanied his fellow Brit rockers The Struts as they made the Boston stop of their Pretty Vicious tour at the House of Blues. He took advantage of his opening set to deliver a brash, thrashing, rowdy performance. The setlist was notably geared towards a crowd-pleasing mix of older tracks, particularly from his first LP The Attractions Of Youth, with only a surprisingly brief taste of Courtney’s new album Supernatural present. While he might have shied away from his newer material for this particular show, his performance was anything but restrained as he dramatically whipped his mic around on stage before jumping into the crowd. By the end of his 40-minute set, Barns Courtney had expertly thrilled the audience, leaving them all the more hyped for The Struts to follow.
Check out all of Greg’s photos from the show below.
On Saturday 8/3, the indie internet phenom mxmtoon came to TD Garden, accompanying AJR for the final night of The Maybe Man arena tour. A long way from her humble beginning self-releasing music on Youtube, mxmtoon remarked on the massive size of the crowd filling the Garden as she bantered through her opening set. She mostly performed selections from her 2022 album rising, but had enough time to highlight her brand new single “i hate texas” during her time on stage.
The AJR brothers followed up with their quirky yet impressively produced headline set. The performance featured everything from disguises, optical illusions, wirework, and dominating set pieces to understated sing-alongs performed from up in the nosebleeds. Dedicated fans came prepared to match that same energy with signs, costumes, and props. That’s not to say it was relentless energy start to finish. The stripped-back moments of their set balanced out the otherwise nonstop exuberance of the show. Those quieter points made it most apparent that -disregarding the trappings of the arena-sized production- AJR delivered a solid performance that easily could have stood on its own merits. Of course, who could begrudge them for closing out their tour with a bang?
Check out all of Greg’s photos from the show below.
French House icons Justice took over MGM on Friday in a party for the ages. Playing new mixes that included selections from the classic †, and their latest album Hyperdrama, the hundred foot line of subwoofers under the stage bounced the crowd into a new stratosphere. Sampling beats from disco, soul and classic rock at varying levels of distortion and bitcrush, Justice spun a wall of sound that was equal parts adrenalized optimism and frantic, terrifying mania. The only thing possibly more glamorous and disorienting than the mix would’ve been the apocalypse of lights descending on the stage throughout the set. Strobes and mirrors flashed across the crowd, threatening an alien abduction. If you blinked, you’d miss it. Looking around the packed room, the diversity of the crowd was truly impressive. The duo took a considerable amount of time after their set to meet fans and sign autographs, indicating they are as sweet as they are talented. They were supported by fellow eurodisco pioneers Braxe and Falcon.
Check out all of Wendy’s photos from the show below.
Truly illuminating the incredible talent that the Greater Boston area has to offer, Get To The Gig Boston’s aptly titled ‘Nice, a fest’ returned to Somerville’s Davis Square. In its second year at The Rockwell and Crystal Ballroom, the festival also saw an expansion by way of an outdoor main stage at the Grove St parking lot. Running from Thursday, July 25 through Sunday, July 28, Nice, a fest saw more than 70 bands grace the three stages across the weekend.
The fourth edition of the festival so far, it’s become a welcome tradition to see what the area has to offer. A wide variety of talent that stretches beyond the stage, with two local vendor markets (dubbed thee “Small-Mart”) popping up throughout the weekend, just steps away from the music.
The festivities began on Thursday at the Crystal Ballroom with a lineup that included local faves Pink Navel, Haasan Barclay and Dutch Tulips. Digital Awareness got to debut their live visuals that evening, which moved to the Rockwell for the rest of the weekend. A welcome addition, the group created backdrops that effectively amplified the performers, without distracting or taking away from the music.
Continuing on Friday, the Rockwell opened for business and hosted an incredible evening of music, rivaled only by the lineup boasted by the Crystal Ballroom of course. Artists like Coco Smith, Chris Walton, Alright Thanks, Tiffy and Pet Fox were only a few of the names attendees were eager to catch in the charming basement venue. As the energy grew, so did the temps – with Pet Fox capping off the sweatertainment with another rousing set.
Over at the Crystal Ballroom, Bus Crush, Tiberius, Hannah Mohan, Mallcops (feat Allston Pudding’s own Joey Del Ponte), Ian Sweet and more captivated listeners with their luscious lamentations while those in the back of the room slung merch and took free rides on the Mechanical Pickle – courtesy of Grillo’s Pickles’ of course.
Saturday brought the heat – and an additional stage – to carry us into the weekend. Artists Layzi, Hush Club, Divine Sweater, Pile and Palehound kept ticket holders from succumbing to the sun’s rays with cool tunes (and free Smart Water!). Boston heroes Vundabar closed out the outdoor MainStage to a packed crowd of fans, obviously undeterred from the prior hours of standing.
Saturday at the Rockwell hosted The Calendars, Nurse Joy, Ohio State Fair, Supermarket Parking Lot and many more while The Crystal Ballroom welcomed Happy Just to See You, JVK, Gymshorts, Burp. and OVLOV – filling in for Grass is Green at the last minute. The outdoor markets shopped along all weekend with vendors like Goldenhour Goods, Gracie Makes Things, Hungry Ghost Press, Speakeasy Print Shop and Wanna Hear It Records keeping eyes hungry and tote bags full. DJ sets continued all weekend by the Statue Park Vendor Market courtesy of Mercet and Allston Pudding’s own DJ Denim Dill.
Sunday closed out the festival with more comfortable weather, and more impressive outings from many of Boston’s local acts. Vivid Bloom, The Collect Pond (feat. Allston Pudding’s own Dan Moffat), Mercy Ruin, Corporeal, Gift and House of Harm rounded out the lineup with more diverse and delicious jams, while beloved rock band Model/Actriz closed out the Crystal Ballroom as the weekend’s final act.
Using one of Greater Boston’s busiest and charming neighborhoods as its backdrop, Nice, a fest showcases the area and its talent and then some. The lovely folks at Get To The Gig Boston continue to provide an annual excuse for friends & family to come together, crack open a Topo Chico, throw back a few pies at Dragon Pizza – or some delectable Thai food from Dakzen – and listen to some very nice music.
