by Wfuv Holiday Cheer 2023 – “The holidays are back!” These four wonderful words are not sweet words at all, said by this year’s host Anthony Mason of CBS News as he leads the 2022 holiday cheer for FUV.
As Mason points out, 2019 is 1,092 days from the last break for FUV, a three-year absence that represents a global experience – pandemic, deep loss, renewal and hope. This year’s radio station’s 16th benefit concert at the Beacon Theater is not only an event, but for many listeners and supporters of the station, FUV staff, musicians on the bill, and the audience are proof of a stable and fresh start. – One night. The sunlight that spreads on a December night in New York City
Wfuv Holiday Cheer 2023
And a group of singers – CB, Lucious, Kristen “Kingfish” Ingram and new players say that he is the one. The quartet of acts represent the breadth of listeners’ love, the intersection between different genres: funk-up soul, gritty blues, ethereal folk-pop and straight-up ‘n’ rock.
Holiday Cheer For Fuv 2019
Mason, one of the top music journalists in this country, is serving as the new face. Stepping into the well-worn cowboy boots of late FUV program director and former host Rita Houston is no easy feat. Mason politely introduced himself as “first guest, longtime listener” and spoke passionately about Houston’s cool “chair cat green” and their friendship, performing concerts over the years and now in hospitality history. A bonhomie trifecta of love for Rita, the radio station and singers of the night, and Mason’s understanding of songs about Salvation in Blood as a music lover set the tone for the evening.
Some of the best music has been made in the deepest and darkest days of the pandemic, Mason said — a growing fact he recently demonstrated with his opener Say She She, which aired during New York’s mass lockdown. Led by singers Sabrina Cunningham, Pia Malik and Naya Gazelle Brown, he said he launched his album this year.
Typically a septet, tonight’s nine players – brass, guitar, keys, drums and the diabolical harmonies of Cunningham, Malick and Brown – may not have a shiny disco ball in the radiator, but the library’s Studio Vintage 54 is clearly evident. . . Just call it “Prism,” the three twelve grandchildren began their short but impressive set.
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Decked out in ethereal white minidresses, as the Blue Snow Angels, Cunningham, Malick and Brown belt out lead vocals, showcasing their fluidity and confidence. With debut single “Don’t Forget Me,” inspired by the feminist movement Guerrilla Girls, and album single “Norma,” a reproductive rights anthem, they bring not only She’s steely funk chops, but a mission of their own. They may call themselves “disco-delics” and delight in descriptions like chic and rotary connections, but in one, Cunningham, Malick and Brown bring a vocabulary to what they want and need.
In fact, the conversation and public exchange is one of the joys of the night. Blues Christone “Kingfish” Ingram’s conversation with the audience is not only the guitar – this evening, a dark purple Kingfish Telecaster Deluxe (it is to attract the color “black winter sky” in his hometown of Clarksdale, Mississippi). Touched by grief, courage and love in his relationship, Mason said in his speech that Kristen’s father was showing him a video of five-year-old Ingram playing Muddy Waters guitar, and the boy knew his destiny.
(a tribute to the Clarksdale area code), Ingram’s guitar skills have greatly improved. Not only is he an interpreter of the classic blues, but his performance tonight speaks to something more original and psychedelic – a raw and unexpected emotional response to the brutality of the past few years. An inside look at Ingram’s performance brings the audience to their feet as he throws his head into the sky and taps the fretboard with his fingers in the explosive language of the blues.
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Kingfish played guitar with a meditative consistency, running through the Stompers’ “Regulate” like “Kingfish Called Me” or Warren G & Nat Dogg’s 1994 take on Michael McDonald’s loop. Although Ingram sings “I’ll Forget” (As Long as You Live), his Telecaster is a true singer — he likes to have a constant conversation with the person he’s playing.
Decked out entirely in black except for cardinal red sneakers, Ingram occasionally places a woolen watch cap on his head — while simultaneously adjusting his hat with his left, making a smart move.
Joining bass guitarist Paul Rogers, keyboardist Claude Hinds and drummer Chris Black, Ingram brings special guest Vernon Reed of Lever Caller fame to Jimi Hendrix’s bar-bar blues masterpiece with absolute charm. Reed, who has played Hammer guitar since the ’90s, said backstage that he and Kingfish met on a blues boat and hit it off — which seems odd for the two men shooting the same camera. This is clear on stage. They graced the stage with Hendrix’s songs with playfulness and brutal ferocity, and performed a guitar masterclass for everyone at the Beacon Theatre. The audience roared and gave the pair another round of applause — and again at the end of Ingram’s five-song set. The response was so overwhelming that an exhausted Ingram returned to the stage to record it on his smartphone (Ingram’s FUV live show at Rockwood Music Hall earlier this year).
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During the session, Mason brought out all the FUV DJs who played tonight – Paul Cavalconte, Delphine Blue, Dennis Elsa, Darren DeVivo, Ross Boris, George Evans, Benham Jones, Alyssa Alley, Eric Holland, Core Manning, Janet Berdini. , and Corny O’Connell (Don McGee, Bob Sherman and John Platt were there).
As Air Force Ones left the stage, former FUV fighter and Rita Houston’s successor – Lucious – was in the wings. First revealed in 2015, the return of Lucious in 2022 is the epitome of what FUV does best – supporting new artists from the start and then happily watching their careers take off. Lucius indeed did; They were nominated for Grammys this year, including for the record “You and I Rock” and Song of the Year, a collaboration with Brandy Carlyle.
, produced by Carlyle with Dave Cobb, expands on the folk pop techniques of Holly Lassig and Jess Wolfe, to disco-thump dance moves and country ballads.
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For their funky performance, Lessig and Wolfe stripped things back to acoustic, with two guitars and a stand-up bass, offering a different, dreamy angle.
“The Man I Don’t Live With”, Heartbreak of the Torch, and their own disco sweet single “Promise” from that album.
Jerry Rafferty’s
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, is also an organized scene, a beautiful double voice of Lassig and Wolff on a pure scale sea wave.
As is their practice, Lessig and Wolff meet each other when they sing, and like Ingram and Reed’s instrumental dialogue, Lucious’s vocals are at once intimate and intimate, especially on the closing track “Woman.”
. The lyrics echo the restless night: “Why are you in every minute? What is the rationale behind each response? And when I see you, in the heavy rain. “
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Some couples go full style like Jess and Holly – and instead of bringing a disco ball, they dress up as two, Holly (pantsuit) and Jess (doll dress) dance in outfits made entirely of silver palette – Audrey worked with Hepburn as a teenager and the famous 60s Paco Rabanne dress and many stars on the Christmas tree.
It was Lucious’ last gig of the year and this New York show seemed to have a special meaning for the band – an audience member exclaimed, “I love Lucious!” Midway through the set, they lamented, “It’s amazing to be back on the road after so long,” Lessig said at the end of their performance.
If any band is a good example of Mason’s best online idea that the epidemic’s darkest days created great music and resilience, it would be Spoon.
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The Austin, Texas rockers celebrated their 30th anniversary as a band in 2023, and in 2022, they received their first Grammy nomination in the Best Rock Album category.
Their first album at five
