Tag: Kelis

New Audio: Sylvia Black’s Swinging and Noir-ish Take on Fat White Family’s “Touch the Leather”

Born Sylvia Gordon, the New York-based singer/songwriter, bassist and producer Sylvia Black may be best known for her work as the frontwoman of the internationally acclaimed electro pop act K.U.D.U, as well as collaborations with the likes of The Black-Eyed Peas, Moby, William Orbit, Kelis, Spank Rock, The Knocks, and Telepopmusik.  Over the past couple of years, I’ve spilled quite a bit of virtual ink covering Gordon’s solo side project Betty Black, a project that received attention across the blogosphere for a sound that drew from an eclectic array of genres and sources including garage rock, Southern gothic blues, Ennio Morricone soundtracks and ambient electronica while thematically exploring love, lust, longing and obsession.

The restlessly creative Gordon has also released material as Sylvia Black and her forthcoming Sylvia Black album Twilight Animals (Originals and Covers for Tortured Lovers), which is slated for an October 18, 2019 release finds Gordon effortlessly hopping  back and forth between electro pop, noir-ish jazz, Texan blues and twangy country and the sounds of Morocco and India. The album reportedly is a mix of unique unique covers and interpretations of some of the JOVM mainstay’s favorite artists including Fat White Family, JOVM mainstays The Horrors, Psychedelic Furs, Van Halen and Huey Lewis and the News among others. Of course, the album features some originals — with some of the album’s tracks being collaborations with legendary No Wave Lydia Lunch. (In fact, the duo’s collaboration was so fruitful that they’ve also worked together on a full-length album.)

Earlier this month, I wrote about Twilight Animals’ firsts ingle, the slow-burning and sultry David Lynch and Quentin Tarantino-like”Walking With Fire,” a collaboration with Lydia Lunch. Interestingly, the album’s second and latest single is a swinging, noir-ish jazz take on Fat White Family’s “Touch the Leather” that features an arrangement of strutting horns, plinking xylophone, shuffling drums and Black’s imitable and sultry vocals. 

New Video: Sylvia Black and Lydia Lunch Team Up for a Sultry and Noir-ish Visual for “Walking With Fire”

Born Sylvia Gordon, the New York-based singer/songwriter, bassist and producer Sylvia Black may be best known for her work as the frontwoman of the internationally acclaimed electro pop act K.U.D.U, as well as collaborations with the likes of The Black-Eyed Peas, Moby, William Orbit, Kelis, Spank Rock, The Knocks, and Telepopmusik.  Over the past couple of years, I’ve spilled quite a bit of virtual ink covering Gordon’s solo side project Betty Black, a project that received attention across the blogosphere for a sound that drew from an eclectic array of genres and sources including garage rock, Southern gothic blues, Ennio Morricone soundtracks and ambient electronica while thematically exploring love, lust, longing and obsession. 

The restlessly creative Gordon has also released material as Sylvia Black and her forthcoming Sylvia Black album Twilight Animals (Originals and Covers for Tortured Lovers), which is slated for an October 18, 2019 release find Gordon effortlessly hopping from electro pop, noir-ish jazz, Texan blues and twangy country and the sounds of Morocco and India. The first half of the album reportedly evokes a mysterious scene from a David Lynch film full of hazy and hallucinatory paranoia and unease while the album’s later half evokes the campiness and weirdness of a John Waters film. Overall the album is a mix of unique covers and interpretations of songs from the JOVM mainstay’s favorite artists including Fat White Family, JOVM mainstays The Horrors, Psychedelic Furs, Van Halen and Huey Lewis and the News among others. Of course, there are a bunch of originals — and some of the album’s original tracks finds the New York-based JOVM mainstay collaborating with the legendary No Wave artist Lydia Lunch. (In fact, the duo’s collaboration was so fruitful that they’ve also worked together on a full-length album.) 

Twilight Animals (Originals and Covers for Tortured Lovers)’ latest single is the slow-burning and noir-ish “Walking Through Fire,” a collaboration with the aforementioned Lydia Lunch that manages to evoke the work of David Lynch and Quentin Tarantino — or in other words, it’s all doomed detectives,  hazy cigarette smoke, femme fatales, double-crosses and triple-crosses and sultry, late night saxophone solos. Unsurprisingly, the recently released video, which was directed and shot by Sylvia Black is an equally sultry and apt take on the song; in fact, it looks like the opening credits for a classic film noir. 

 

Comprised of Dave Sitek, a guitarist, songwriter and producer, best known for being a member of TV on the Radio and for collaborating with Yeah Yeah Yeahs, Liars, Foals, Celebration, Little Dragon, Beady Eye, Kelis, Santigold, and others; and Daniel Ledinsky, who’s best known for releasing the viral hit “DonaldTrumpMakesMeWannaSmokeCrack,” and for collaborating with Tove Lo, Kent, CeeLo Green, Shakira and Rihanna, the Los Angeles, CA-based duo The Neverly Boys are inspired by their adopted hometown, and the duo’s debut single together “Burn, Hollywood, Burn” is actually about the broken dreams on which Hollywood is built. Though the single was written and recorded before the relatively recent reports of rampant and unchecked abuse, the single comes from the same poisoned well. As Ledinsky says in press notes “I’m guessing most people who live here in Los Angeles can relate to that feeling of total hopelessness. This place sure creates some amazingly beautiful art, but it also has a tendency to use and corrupt you. Hollywood has attracted artists to come here to pursue their dreams since the 20’s, and a lot of people end up in a very dark place chasing that dream. I love this city for all its beauty, but it has always been a very hard and violent place as well.“ And as a result, “Burn, Hollywood, Burn” while consisting of a bluesy and twangy shuffle paired with an anthemic chorus manages to feel haunted, as though imbued by bitter and lingering ghosts.

 

 

 

New Video: Live Footage of Preservation Hall Jazz Captures the Explosive and Ebullient Energy of Their Latest Single “Santiago”

Allan Jaffe founded Preservation Hall Jazz Band in 1961 with a vital and critical mission: promoting and preserving New Orleans‘ jazz and its jazz culture with the authenticity that it deserved. And although most of the act’s first lineup is no longer with us, the act has continued on its mission with a variety of different lineups, recording over 30 studio albums, a live album, and a touring schedule that has included collaborating with a number of renowned popular acts at festivals and concerts, helping to introduce and re-popularize the New Orleans jazz sound to concertgoers and music fans across the world.

With the act celebrating its 50th anniversary earlier this decade, the milestone left its current creative director Ben Jaffe, the son of the act’s legendary and beloved founder, and its current members with a couple of deeply existential and important questions: First, how does an institution based on early 20th century musical culture survive and prosper in the early 21st century? And second, how do they do that while continuing to preserve and honor New Orleans’ musical culture and sound? Interestingly, the answer Jaffe and company came up with was that they needed to reinvent themselves and their sound by looking at the future, but with a loving and kind gaze at what inspired and influenced them, and at their previous history. Or in other words, with the band’s first 50 years being focused on the sounds and styles of the past, Jaffe and company felt it was necessary to make the institution’s next 50 years about how they can modernize without forgetting or losing the vital connection to the past.

Jaffe and the members of the band decided that the best way to look towards the future would be to write and record new, original material — including the band’s first album of originals, the boisterous and joyous That’s It!, which included album title track “That’s It,” “Dear Lord (Give Me The Strength)” and “Rattling Bones” among others. April 21, 2017 will mark the release of the Dave Sitek-produced So It Is, the septet’s second album of original material — and the album’s material finds the band mining fresh influences, including their 2015 life-changing trip to Cuba. As the band’s leader, arranger, composer and multi-instrumentalist Ben Jaffe explains in press notes, “In Cuba, all of a sudden we were face-to-face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one — we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”

Featuring compositions and songs largely penned by Jaffe and 84 year-old saxophonist and clarinetist Charlie Gabriel in collaboration with the members of the band, the material ties the New Orleans jazz sound to the larger African Diaspora, in particular with the Afro-Caribbean and Afro-Cuban sound through the common sonic and aesthetic linkages — in particular Fela Kuti, Pharaoh Sanders and John Coltrane. Of course, the material also draws from the continuing post-Katrina rebuilding of New Orleans that has forced all locally-based artists to consider what the city’s sound and culture means and should be in 2017 and onwards. And lastly, the material draws from their collaborations with the likes of Stevie Wonder, Elvis Costello, The Grateful Dead, My Morning Jacket, Arcade Fire and The Black Keys.

As I mentioned earlier, Dave Sitek was enlisted to produce So It is. Sitek, best known as a founding member of TV on the Radio and a go-to producer, who has worked with Kelis, Yeah Yeah Yeahs, Santigold and others, also offered a modern perspective and a profound respect for the band’s history. In fact, as Sitek recalls upon his arrival in New Orleans to meet Jaffe and the members of the septet, he and Jaffe had randomly stumbled into one of the second-line parades, which New Orleans has long been known for. “I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediately,” Sitek said in press notes. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.”

“Santiago,” So It Is’ first single bares a clear resemblance to the material on its predecessor as it possesses a boisterous, riotous joy; but unlike any of their previously released material, the composition is a difficult to pigeonhole melange of influences and sounds that features a propulsive rhythm section that seemingly draws from Cuban son, meringue and salsa, Afrobeat, and big band jazz paired with a bold, bright, swaggering horn lines familiar to New Orleans brass band and jazz. Interestingly, the composition possesses a loose and completely improvisational feel, as the musicians in the band catch a groove and ride it; but there’s also enough room for the members of the band to play strutting and swaggering solos. Simply put the band and this particular composition radiate an indefatigable joy — and if you don’t immediately start to dance as soon as you hear it, there’s something deeply wrong with you.

Now, if you’ve been frequenting this site for a while. you’d know that I have a profound love of the New Orleans sound, have written about the legendary Preservation Jazz Hall Band and have even caught them live a couple of years back, when they stopped at Brooklyn Bowl for an incredibly fun Christmastime show. The recently released video for “Santiago” captures the band at their best — live. And it shouldn’t be surprising that the video captures the song’s explosive and swaggering energy; but it should remind you that jazz while jazz over the past 50 or 60 years has been reduced to “classy” establishments, jazz has long been the sound of rebellion, of ebullient and frenetic joy, of passionate, seductive danger.

New Audio: Preservation Hall Jazz Band Return with a Globe-Spanning Take on Their Renowned Sound

Allan Jaffe founded Preservation Hall Jazz Band in 1961 with a vital and critical mission: promoting and preserving New Orleans’ jazz and its jazz culture with the authenticity that it deserved. And although most of the act’s first lineup is no longer with us, the act has continued on its mission with a variety of different lineups, recording over 30 studio albums, a live album, and a touring schedule that has included collaborating with a number of renowned popular acts at festivals and concerts, helping to introduce and re-popularize the New Orleans jazz sound to concertgoers and music fans across the world.

With the act celebrating its 50th anniversary earlier this decade, the milestone left its current creative director Ben Jaffe, the son of the act’s legendary and beloved founder, and its current members with a couple of deeply existential and important questions: First, how does an institution based on early 20th century musical culture survive and prosper in the early 21st century? And second, how do they do that while continuing to preserve and honor New Orleans’ musical culture and sound? Interestingly, the answer Jaffe and company came up with was that they needed to reinvent themselves and their sound by looking at the future, but with a loving and kind gaze at what inspired and influenced them, and at their previous history. Or in other words, with the band’s first 50 years being focused on the sounds and styles of the past, Jaffe and company felt it was necessary to make the institution’s next 50 years about how they can modernize without forgetting or losing the vital connection to the past.

Jaffe and the members of the band decided that the best way to look towards the future would be to write and record new, original material — including the band’s first album of originals, the boisterous and joyous That’s It!, which included album title track “That’s It,” “Dear Lord (Give Me The Strength)” and “Rattling Bones” among others. April 21, 2017 will mark the release of the Dave Sitek-produced So It Is, the septet’s second album of original material — and the album’s material finds the band mining fresh influences, including their 2015 life-changing trip to Cuba. As the band’s leader, arranger, composer and multi-instrumentalist Ben Jaffe explains in press notes, “In Cuba, all of a sudden we were face-to-face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one — we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”

Featuring compositions and songs largely penned by Jaffe and 84 year-old saxophonist and clarinetist Charlie Gabriel in collaboration with the members of the band, the material ties the New Orleans jazz sound to the larger African Diaspora, in particular with the Afro-Caribbean and Afro-Cuban sound through the common sonic and aesthetic linkages — in particular Fela Kuti, Pharaoh Sanders and John Coltrane. Of course, the material also draws from the continuing post-Katrina rebuilding of New Orleans that has forced all locally-based artists to consider what the city’s sound and culture means and should be in 2017 and onwards. And lastly, the material draws from their collaborations with the likes of Stevie Wonder, Elvis Costello, The Grateful Dead, My Morning Jacket, Arcade Fire and The Black Keys.

As I mentioned earlier, Dave Sitek was enlisted to produce So It is. Sitek, best known as a founding member of TV on the Radio and a go-to producer, who has worked with Kelis, Yeah Yeah Yeahs, Santigold and others, also offered a modern perspective and a profound respect for the band’s history. In fact, as Sitek recalls upon his arrival in New Orleans to meet Jaffe and the members of the septet, he and Jaffe had randomly stumbled into one of the second-line parades, which New Orleans has long been known for. “I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediately,” Sitek said in press notes. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.”

“Santiago,” So It Is’ first single bares a clear resemblance to the material on its predecessor as it possesses a boisterous, riotous joy; but unlike any of their previously released material, the composition is a difficult to pigeonhole melange of influences and sounds that features a propulsive rhythm section that seemingly draws from Cuban son, meringue and salsa, Afrobeat, and big band jazz paired with a bold, bright, swaggering horn lines familiar to New Orleans brass band and jazz. Interestingly, the composition possesses a loose and completely improvisational feel, as the musicians in the band catch a groove and ride it; but there’s also enough room for the members of the band to play strutting and swaggering solos. Simply put the band and this particular composition radiate an indefatigable joy — and if you don’t immediately start to dance as soon as you hear it, there’s something deeply wrong with you.

Growing up listening to an eclectic variety of music including Patti Labelle, Jill Scott, Bob James, Stevie Wonder, D’Angelo, Bjork and The Black Crowes among others, up-and-coming, Edmonton, AB-born, Toronto, ON-based soul artist Tanika Charles quickly developed a reputation locally as an emerging solo artist, whose puts a modern spin on the classic Motown soul sound — frequently meshing it with swaggering, hip-hop-like beats and deeply, confessional and honest lyrics, reminiscent of Mary J. Blige, Kelis and others. And as a result, within Canada’s soul scene, Charles has largely been considered her country’s next big thing; in fact, interestingly enough, over the past couple of years Charles transformed from being an emerging solo artist to being a commanding performer and bandleader, as well as one of the scene’s staples. Adding to a growing national profile, Charles has collaborated with Estelle, Lauryn Hill and Macy Gray, and has made regular appearances on CTV, Global and CBC Radio.

Produced by Slakah the Beatchild, best known for collaborating with Drake, Charles’ latest single “Soul Run” is the first single off her self-titled, full-length album, slated for an April 7, 2017 release through Italian soul label, Record Kicks, and the single will further cement the Edmonton-born, Toronto-based singer/songwriter’s burgeoning reputation for crafting confessional lyrics based around her own personal experiences with “Soul Run” based around Charles’ experience of feeling trapped in an emotionally abusive relationship in rural Canada — until she decided to “borrow” her then fiancée’s car and left for Toronto to start her music career, never looking back. Considering the personal nature of the song, Charles as the song’s narrator expresses regret over her own foolishness that wound up with her being hopelessly trapped in an abusive and fucked up relationship and desperate desire to get away and start over. You can almost picture Charles, jumping into the car with whatever possessions she could manage and hitting the road without an idea of where she was going or what would happen — and yet feeling true freedom to do whatever she wanted.

 

 

 

Preview: Full Moon Festival 

Matte Projects is a creative production company that focuses on the conception, production and promotion of music-related events, perhaps more famously known here in New York for creating the Full Moon Festival six years ago, a carefully curated festival and dance party, largely inspired by Thailand’s world-renowned full moon parties. And although it’s been a couple of years since JOVM has covered the Full Moon Festival, its sixth year marks a return to Governor’s Island for two days of partying, art installations, and dancing from early afternoon to late in the night with one of the most enviably gorgeous views of Lower Manhattan and the Statue of Liberty around – and under this month’s blue moon, no less.

Culinary Delights

Although I’m a music blogger and journalist first and foremost, I fucking love food – I mean, who doesn’t right? – and when I covered the festival back in 2014, one of the best food highlights was The Brooklyn Star’s fried chicken waffle cone. Picture a waffle cone stuffed with popcorn fried chicken on top, mashed potatoes and coleslaw and topped with your choice of honey sriracha sauce (which was frankly the best thing I’ve ever had) or a ranch-based sauce.

 

Two years later and I’m still talking about it; that’s how fucking good it was – and I might kill someone to have another one.


(Photo Caption: Brooklyn’s fried chicken waffle cone may be the reason the terrorists hate us. And the person who came up with it is a genius.)

This year will continue the festival’s reputation for culinary delight as Matcha Bar, Mile End, Best Pizza, Pokito, Pig and Khao, Clean Shave Ice and Chalk Point Kitchen will all host pop-up stands throughout the festival. I’m starting to salivate over the possibility of some pork belly Adobo, pastrami sandwiches, pizza – well, all the food, really. And whatever weight you put on, you can sweat it off dancing all night.

Music

Full Moon Festival’s sixth edition may arguably have one of the most musically diverse lineups in its history and some of the must see sets will include the following:

Day 1, August 20, 2016

Led by its creative mastermind, producer and electronic music artist Aaron Jerome, SBTRKT (pronounced as “Subtract”) has developed an internationally renowned reputation for remixing the work of M.I.A., Radiohead, Modeselektor, Basement Jaxx, Mark Ronson and Underworld, and for releasing two critically applauded full-length albums, a few EPs and a number of singles – all of which have either received airplay or have been playlisted by BBC Radio 1 and BBC Radio 6. Interestingly, throughout his recording and performing career Jerome has preferred to be as anonymous as humanly possible and during live shows he’s been known to perform wearing modern interpretations of native and indigenous society ceremonial masks designed by A Hidden Place, as well as performing with frequent collaborator Sampha.

Earlier this year, Jerome announced a new project that he described as a “non album,” a collection of songs specifically designed to be an ongoing listening experience, while bringing new music to fans in a faster fashion than the traditional album cycle.

Born Terrence Thornton, Norfolk, VA-based emcee Pusha T is perhaps best known as one-half of critically applauded and commercially successful hip-hop duo Clipse, with his brother Gene “No Malice” Thornton. And with the help of their friend, Norfolk, VA-born producer, multi-instrumentalist and eventual mega-hit artist Pharrell Williams, the duo quickly exploded into the national scene with the release of their 1997 full-length debut Exclusive Audio Footage. And as a result, Pusha T has made a number of guest spots over the years including on Kelis’ “Good Stuff,” Nivea’s “Run Away (I Wanna Be With You),” all while recording three more albums as a member of Clipse, including the duo’s critically applauded and commercially successful third album Hell Hath No Fury. After the duo’s fourth album, they announced that Clipse would be on hiatus while each individual member would pursue solo projects and other creative endeavors.

In 2010 Pusha T was signed to Kanye West’s GOOD Music and made guest appearances on a number of labelmates’ releases including “Runaway” off West’s My Beautiful Dark Twisted Fantasy and West’s GOOD Fridays singles series and as a solo artist Thornton has collaborated with an increasingly lengthy list of artists and producers including Swizz Beatz’s Monster Mondays series, Lloyd BanksH.F.M. 2 (Hunger For More 2), Future, Tyler the Creator, Jay Z and others. Interestingly, over the last few years Thornton has been incredibly prolific, releasing a handful of mixtapes and his solo debut, My Name Is My Name. Adding to a growing profile, last year Kanye West personally appointed Pusha T to take over the reins at GOOD Music. And we should be expecting a full-length in the near future.

Born Nkosinathi Maphumulo, the internationally acclaimed,  eThekwini, South Africa-born and Johannesburg, South Africa-based producer and DJ Black Coffee can trace the origins of his recording and performing career to when he majored in Jazz Studies at Technikon Natal. While as a student there, he worked as a backup singer for Madale Kunene before forming an Afro-pop act S.H.A.N.A (short for Simply Hot and Naturally African) with classmates Mnqobi Mdabe (Shota) and Thandukwazi Sikhosana (Demor). The somewhat short lived act was signed to Melt 2000; however, his DJ and production career explored when he was selected as one of two South African participants during 2003’s Red Bull Music Academy – and with an increased buzz around him, he released “Happiness,” which was featured on the DJs at Work compilation; in fact, by the release of his sophomore effort, Have Another One, Black Coffee had become a household name in South African electronic circles for a propulsive, forceful tribal sound and for putting on locally-based artists and producers, all of whom have started to receive attention across Africa, Europe and elsewhere.

Adding to a rapidly growing international profile, Black Coffee has played at some of the world’s biggest and most renowned clubs and stages including Southport Weekender, Panorama Bar, Circo Loco and Boiler Room and has made appearnaces at a number of music festivals including SummerStage, ADE and Red Bull Music Academy in his hometown of Johannesburg, Coachella, Ultra Music Fesitval and others. I’ve seen the brother do his thing live and he’s arguably one of the best electronic music arists, producers and DJs in the entire world. And as much as I want to see some of the other acts on the bill – i.e., Marcus Marr, Santigold and others – I think that Black Coffee may well be worth the price of admission.

Day 2, August 21, 2016

Largely influenced by James Brown, Aretha Franklin, Devo, reggae, Fela Kuti and a ton of Nigerian music, Philadelphia, PA-born singer/songwriter and producer Santi White is best known under the monikers Santogold (which she performed under between 2003-2009) and Santigold has throughout the course of three full-length albums Santogold, Master of My Make-Believe and her most recent effort, 99¢ has developed a reputation for a sound that has at times been compared favorably to the likes of M.I.A. as her work sonically manages to blur, mesh and completely destroy genre lines as you’ll hear elements of techno, house music, dub, reggae, alt rock and others while ironically commenting on our sociopolitical zeitgeist. Interesting, as the result of a growing national and international profile, White has collaborated with an equally impressive list of artists and producers including Diplo, Jonnie “Most” Davis, Yeah Yeah YeahsKaren O., Switch, Q-Tip, TV on the Radio’s Dave Sitek, has opened for the likes of Jay Z and Kanye West during their co-headlining tour, Beastie Boys, Red Hot Chili Peppers, the aforementioned M.I.A., Bjork and has a number of singles make prominent appearances in ad campaigns, including a 2013 campaign for Honda Civic among others.

Comprised of Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar), Los Angeles-based indie rock sensations Allah-Las can trace their origins to when three of the four band members worked at renowned record store Amoeba Music. Formed back in 2008, the Southern California-based have received both local and national attention for a sound that draws entirely from the 60s and includes elements of folk rock, psych rock, surfer rock and garage rock – while firmly establishing themselves as part of a burgeoning retro/garage rock scene that includes The Mystery Lights, The Black Angels, Raccoon Fighter and others.

London, UK-based producer, electronic music artist, multi-instrumentalist and DJ Dhas received international attention over the last few years for a number of critically acclaimed singles released through renowned dance pop/electro pop label; in fact, “Brown Sauce” was mentioned in Pitchfork’s Tracks while “The Music,” appeared in the major motion picture Pusher and landed at number 3 on Spin Magazine’s Best Dance singles in 2013. And if you were frequenting this site over the course of 2015 you might recall that Marr collaborated with internationally acclaimed indie pop artist Chet Faker on an EP that featured the slickly produced Daft Punk and Off the Wall-era Michael Jackson leaning track “The Trouble With Us.”

Now if you’ve been frequenting this site over the course of its six-year history, you’d know that the New York-based neo-disco/electronic dance music/funk collective ESCORT have been mainstay artists. And over that same period of time, the collective founded by producers Eugene Cho and Dan Balls featuring frontperson Adeline Michele as members of a core group of five that frequently expands to 17 for live shows has received local and national attention for an incredible live show of funky, danceable tunes, their two full-length albums and for their frontperson’s incredible stage presence, cementing their reputation as a must-see live act.

Tickets are still available — and for a two day festival out on gorgeous Governor’s Island, the tickets are pretty affordable. [Purchase Tickets]

JOVM will be there to cover the festival. Expect some live tweeting, a lot of Instagram and more. And if you weren’t following me, here are the socials:

Twitter: @yankee32879 and @williamhelms3rd

Instagram: @william_ruben_helms

 

 

 

 

New Audio: JOVM Mainstay Act Betty Black Returns with Psych Rock-Leaning Visuals for a Psych Rock-Leaning New Single

New York-based singer/songwriter, bassist and producer Sylvia Gordon, best known as Sylvia Black. Gordon is an internationally recognized artist for her work as the frontwoman of electro pop act K.U.D.U. and for her collaborations with The […]