Perhaps no band straddles the line between band and DJ better than Go Go Gadjet. Their innovative combination of musicianship with traditional instruments and modern controllers crafts an indelible sound that’s uniquely their own and one that simply must be experienced.
The acclaimed band, which performs upwards of 120 shows a year, will begin the new year with a sold-out performance at Bethlehem’s Musikfest Café on Friday.
Go Go Gadjet is Joel Bermudez (drums), Alex Buonopane (lead vocals), Rheed (lead vocals), Pete Macartney (guitars) and Luke Anderson (bass).
In addition to having founded Go Go Gadjet, manager Jeff Tomrell continues to build upon his success from his 8,000-square-foot creative studio, Three Hive, located in Sinking Spring. Last year his tribute creation Magical Mystery Doors, which pays homage to the Beatles, Led Zeppelin and the Doors, was voted “Best Casino Show,” beating out the likes of Keith Urban, Shania Twain and Cirque du Soleil.
I recently spoke with Rheed and Pete Macartney of Go Go Gadjet and Tomrell about the band’s upcoming Musikfest Café performance, their origin and more in this new interview.
Go Go Gadjet is not a typical cover/bar band. Having said that, how would you describe the band in terms of its sound?
Rheed / Pete Macartney: We try to put an interesting and modern spin on everything we play. We’ll blend older and new songs across all different genres. The outcome is a sound uniquely our own. Go Go Gadjet has often been described as a band version of a DJ. The band is comprised of very talented musicians on their own individual instruments. This allows us to improvise and connect with an audience in an entirely different way than a DJ.
Read the rest of my Morning Call interview with Go Go Gadjet by Clicking Here.
Kashmir is considered the nation’s No. 1 Led Zeppelin tribute show, and for good reason. The band, which prides itself on bringing fans a true audio and visual Led Zeppelin experience, offers perhaps the most authentic representation and energy of the mighty Zep on the touring scene.
Kashmir’s set is a playlist of classic rock radio, and their show not only features songs that have become the soundtrack to people’s lives but also pay homage to one of the most identifiable voices in rock history, Robert Plant, as well as other Zeppelin trademarks, like a Jimmy Page-inspired double-neck guitar and a John Bonham-style drum solo.
Zeppelin fans of all generations can experience Kashmir for themselves when the band performs at the Musikfest Café in Bethlehem on Saturday. .
Kashmir is Jean Violet (vocals/harmonica), Kevin Slover (guitars, theremin & bow), Paul Cooper (drums) and Felix Hanemann (bass, keys and mandolin).
I recently spoke with Violet about the band and more in this new interview.
Q: Everyone has their own opinion but as someone who sings the songs night after night, what do you think makes the music of Led Zeppelin so special?
Jean Violet: I always like to use the analogy of steak and potatoes. It’s been on the menu for hundreds of years. When something tastes good and people like to eat it then it’s going to be around a long time. I think classic rock is in the same realm as classical music — it’s timeless. We now have kids who are 12 and 13 years old coming out to see our show who are into Led Zeppelin.
Read the rest of my Morning Call interview with Jean Violet by Clicking Here!
With sales in excess of 30 million albums and more than a billion streams, Sarah Brightman is the world’s best-selling soprano. She originated the role of Christine Daaé in the world-renowned “The Phantom of the Opera,” which ended its historic run this past year, and her most recent album, “Hymn,” debuted at number one on both the classical and classical crossover charts.
Brightman will ring in the holiday season on Wednesday, Nov. 29, in, appropriately enough, Bethlehem, when she brings her acclaimed A Christmas Symphony tour to the Wind Creek Event Center.
Accompanied by a huge choir and orchestra and using emotional elements of costume and a world class light show, Brightman’s performance will feature renditions of Christmas classics and holiday favorites as well as a selection of her own greatest hits along with a few surprises.
I recently spoke with Brightman about her upcoming performance in Bethlehem and more in this new interview:
Q: In your opinion what makes the season of Christmas so special?
Sarah Brightman: For me, Christmas is a very emotional and important time of year, My family has always taken it very seriously. Even when I’m abroad I always try to get back home in time. It’s traditional for families to be together this time of year and whether you’re religious or not it’s lovely to go and see a Christmas show.
Q: What made you decide to do A Christmas Symphony tour ?
Sarah Brightman: Back when we first went into COVID a few years ago, I started thinking about what I could do that would help make people feel better, make myself feel better and also hire a few people who needed to work. I came up with the concept of doing a Christmas show and we got permission to film it in a beautiful old church in London. It went all over the world and we had such an amazing response that I thought maybe I should do this on tour in various continents, which we’ve started doing.
You can read the rest of my Morning Call interview with Sarah Brightman by Clicking Here!
It’s hard to believe that it’s been fifty years since the untimely passing of singer-songwriter Jim Croce. The legendary artist was at the peak of his success, with hits that included “Bad, Bad Leroy Brown,” “Operator (That’s Not The Way It Feels),” “You Don’t Mess Around With Jim,” “I’ll Have To Say I Love You In A Song,” and “Time in a Bottle,” when the plane in which he was traveling crashed shortly after takeoff in September of 1973. Croce had spent much of that time living with his wife and young son, A.J. in a suburb outside of Philadelphia before moving to the West Coast just prior to that fateful night.
Jim’s son, A.J. Croce, an acclaimed artist in his own right, is honoring the music and memory of his father with a new tour, “Croce Plays Croce 50thAnniversary.” One that will make two stops in the area: first at the Santander Performing Arts Center in Reading on Wednesday, November 1, and then at the Keswick Theater in Glenside on Sunday, November 5.
Croce’s show will feature many of his father’s biggest and most beloved songs performed by a full band while a large screen showcases a montage of video memories. Croce will also connect with his father’s legacy by telling stories behind the songs and sprinkling in selections from his own catalog of original music as well as taking requests from the audience in real time. To coincide with the tour a new box set, “The Definitive Jim Croce,” was recently released that features all three studio albums Jim Croce made for ABC records: You Don’t Mess Around With Jim, Life and Times, and I Got A Name.
I recently spoke with A.J. Croce about the tour and much more in this exclusive new interview.
It’s been fifty years since the untimely passing of your father, Jim Croce. When you think about this anniversary what thoughts come to mind?
A.J. Croce: It’s kind of amazing because in a way, he never left. It’s hard to go into a grocery store or a mall and not hear one of his songs. Plus, I have worked his catalog from behind the scenes for twenty-eight years so it’s very much a part of my daily life. Making sure people hear his music has been a gig that I really have enjoyed. As a person, I was able to get to know him not only through his music and friends and my family but also from the hundreds of tapes he left where I could hear him talking to friends about new songs and conversations about politics, history, psychology and philosophy. His presence has always been there.
Read the rest of my Morning Call interview with A.J. Croce by clicking here.
Nancy Wilson is celebrated as one of the most inspiring and trailblazing women in rock history. Together with her sister, Ann Wilson, they comprise the multi-platinum, Rock & Roll Hall of Fame band, Heart. Nancy’s revered as a guitarist, vocalist and co-writer on songs that have become staples of classic rock playlists, including “Crazy On You,” “Barracuda,” “Even It Up,” and “These Dreams.”
In addition to having sold upwards of 35 million albums in their five-decade career, Nancy and Ann recently received a Lifetime Achievement Grammy for their contributions to the world of music.
In 2021, Nancy Wilson released her debut solo album, You And Me. It’s an indelible collection of songs that includes a tribute to her mother and Edward Van-Halen as well as a cover of Bruce Springsteen’s “The Rising.”
On Sunday, Wilson will bring her catalog of Heart hits along with a few surprises when her solo band, Nancy Wilson’s Heart, performs at the Wind Creek Event Center in Bethlehem.
I recently spoke with Wilson about her upcoming performance in this exclusive new interview.
Q. What can fans expect from your upcoming performance at Wind Creek Event Center?
Wilson: We’ll be doing a lot of memorable Heart songs because they’re fun to do and we’re happy to do them. We’re also adding a few surprises and more cool, hip material that people know and love.
Q. Heart has a such a vast catalog of hits. How do you determine which songs you want to include in the set?
Wilson: There are the obvious ones, like “Crazy On You,” “Barracuda,” “These Dreams” and “Even it Up,” that have to be there. But there’s also a few songs from Van Halen and [Led] Zeppelin I’ve always wanted to play that are exciting and keeps things fun. We have a really good band and our singer, Kimberly Nichole (or Kim Nicky), brings a power and energy in such a graceful way. She touches people with her voice. We’re a tight, fighting unit that’s ready to rock.
You can read the rest of my Morning Call interview with Nancy Wilson by Clicking Here.
When singer-songwriter Christopher Cross unveiled his self-titled debut album in 1980, little did he know the impact it would have. With hits like “Ride Like The Wind,” “Sailing,” and “Never Be The Same,” the album went on to win five Grammy awards in 1981, including earning Cross the coveted Best New Artist and Album of The Year awards. A year later, Cross followed that success with an Academy Award win for Best Original Song with “Arthur’s Theme (Best That You Can Do),” from the movie, “Arthur.”
In the years since, Cross has released more than a dozen acclaimed albums, from 1983’s “Another Page” and hits like “All Right,” and “Think of Laura,” to recent albums like 2018’s “Take Me As I Am” and a limited-edition box set retrospective aptly titled “The Complete Works,” which celebrates his 40th anniversary as a recording artist.
On Tuesday, Cross will bring his signature sound and legacy of carefully crafted songs to an intimate performance at the State Theatre in Easton. Joining Cross that evening will be renowned Moody Blues guitarist and lead vocalist, Justin Hayward, who will be performing a selection of his own classic hits.
I recently spoke with Cross about his upcoming performance and more in this new interview:
Q. What can fans expect during your performance at The State Theatre?
Christopher Cross: I’m a singer-songwriter so for me it’s all about the songs and playing them for the fans. One thing about the show is that there are no tracks. I have an amazing group of musicians with me who are jazz trained and very high-level players and singers. It’s a sophisticated, high-production show as far as the music goes. I’ll be playing most of the first and second album and the hits that people know. I’ve made 12 albums over the years so I’ll also be playing selections from the other albums as well. This is our first time out this year and we’re really excited.
You can read the rest of my Morning Call interview with Christopher Cross by Clicking Here!
With more than 50 million albums sold and having an enviable reputation as both an artist and for his wit and raconteur, Rock and Roll Hall of Famer Rick Wakeman should delight his fans when he performs “An Evening With Rick Wakeman: His Music And Stories” at the Wind Creek Event Center on Thursday.
The one-man event gives Wakeman the opportunity to perform selections from his vast 50-plus-year musical catalog as well as share anecdotes from his early days as a session player right up to the present day. Included will be selections from Wakeman’s time arranging and performing keyboards on hits like David Bowie’s Life On Mars, as well as his groundbreaking stint with the progressive rock band Yes, and his own multi-platinum solo albums.
An Evening with Rick Wakeman: His Music and Stories promises to be a show filled with musical memories and riotous reflection from a true rock legend.
I recently spoke with Rick Wakeman about his plans for his Wind Creek performance and more in this exclusive interview.
What do you enjoy most about these one-man shows as opposed to performing in a group ensemble?
Rick Wakeman: I don’t really prefer one over the other, I do shows with orchestras, band shows, band shows with orchestras and even one-man and two-man shows with my son, Adam. They’re all different and I love them all. I think the reason why is because I’m not doing the same thing all the time. I’m a people person and it’s great to just be in a room with a lot of people and playing away.
What can fans expect from your upcoming performance at Wind Creek Event Center?
Wakeman: It’s a one-man show where it’s just me, a piano, a couple of keyboards and a microphone. I’ll play music from all the eras I’ve been involved with in my life and the people I’ve played with, such as David Bowie, Cat Stevens, Yes [obviously], some of my own stuff, and a few surprises. In between, I’ll tell ludicrous stories. Some of which, possibly, have some resemblance of truth to them. You never know.
Read the rest of my Morning Call Interview with Rick Wakeman By Clicking Here.
When Sabrina Joseph began her musical theater journey, it was in the production of “Hairspray” during her time at Dieruff High School. She’d later go on to participate in the State Theatre’s annual Freddy Awards and take part in the ceremony’s opening and closing performances.
The Dieruff and DeSales University graduate will be making a homecoming visit on Saturday, Feb. 18, to The State, this time as part of the touring production of, ironically enough, “Hairspray.”
Set in the 1960’s, “Hairspray” tells the story of 16-year-old Tracy Turnblad (Niki Metcalf) as she dances her way onto TV’s most popular show and winds up changing the world. The show features a beloved musical score and a talented ensemble cast that also includes Andrew Levitt and Sandie Lee.
Joseph’s role in the touring production is that of a swing, an important position that requires her to master multiple parts. Slightly different than an understudy, Joseph is an offstage performer who goes on often at a moment’s notice if someone in the ensemble is unable to do so.
I recently spoke with Joseph about the upcoming “Hairspray” performance and her local ties to the Lehigh Valley and State Theatre in this exclusive interview.
What can fans expect from the upcoming Hairspray tour stop at The State Theatre?
Sabrina Joseph: You can expect a great show with a lot of fun energy, moving moments and, at the end, a big dance party.
What can you tell me about your role in this touring production?
Joseph: I’m a swing for the show, which is an understudy for the ensemble members. My role is to learn multiple ensemble roles and be ready to go on for them at any given time due to someone going on vacation, being sick, or has an injury. Sometimes I may have two days’ notice, but often times it may be hours before the show or even while the show is happening.
Over the course of his nearly 50-year career, Mandy Patinkin has established himself as one of the legends of stage and screen. His accolades include a Tony Award win for his debut performance as Che in Andrew Lloyd Webber’s “Evita,” as well as an Emmy for his role on the CBS series, “Chicago Hope.” Patinkin also spent eight seasons in the role of CIA agent Saul Berenson on Showtime’s acclaimed series, “Homeland.”
On Saturday, the self-described mailman storyteller, along with pianist Andy Ben-David, will take to the intimate stage of The State Theatre in Easton, to perform Patinkin’s latest concert experience, “Being Alive.” A show Patin
kin describes as a celebration of living, learning and loving.
I recently spoke with Mandy Patinkin about his upcoming performance and more in this exclusive new interview.
Q: How did your new concert experience, “Being Alive,” come about?
Patinkin: I had a previous concert called “Diaries” that I did before the pandemic. Times were a little dark then and, although I loved it, it was a bit of a dark concert. When we were coming out of the pandemic and deciding to get back on the road I said, “I need a concert that makes me and my audience feel happy.” So I went through 13 hours of archival material that I had in my repertoire over the years and we put together a happy, fun evening. I called it “Being Alive” because that’s the great privilege of being 70 years old and still waking up every morning. To say nothing of the fact that I get to do what I love and have fun.
I hope this letter finds you well. I was having a bit of trouble trying to find the right words to say as I wrote it. It’s not every day you try to put into words just how much an old high school teacher means to you. Yeah, I know, it’s been more than thirty-five years since I was a student walking those hallowed halls but believe it or not, you’re still the first person who comes to mind whenever I think about my high school experience.
Back then, you had a saying you liked to use whenever someone was having a problem. Whether it was something as simple as a homework assignment, peer pressure, or even trouble at home, whenever someone was having an issue, you’d pull that person aside and say, “Talk to me.” Those three words became your mantra, and I guess in a way that’s what I’m doing now, talking to you.
I never told you this before, but you played a huge role during the most fragile and formative years of my young life. Like so many other teenagers trying to find their place in the world, I didn’t fit in well in high school, but your choir class was the one place I could go where I felt like I completely belonged. You taught me how to sing and how to release the song from inside my soul. Most of all, you made me feel valued.
I remember the awkward feeling I had walking into your music room every morning and seeing you surrounded by a gaggle of students. All of them eagerly asking you questions about last night’s music theory assignment or trying to get your opinion on a selected piece of music they chose for their district chorus audition. You seemed like a celebrity and the class was your fanbase. Sometimes I had questions of my own to ask but was too shy to do so. It wouldn’t be until after class had ended that I’d pull you side and tell you about my interest in majoring in music at the same state college as you.
I hadn’t seen you since the night of my graduation in 1987. If I’m being honest, I also hadn’t given you much thought at all, that is until almost two decades later when someone told me about the adult choir you were directing once a week in a chapel on the far side of town. This was shortly after you’d retired from teaching, and long after I’d given up on my own dream of becoming a professional musician.
Call it nostalgia but I had an urge, a tickle in my stomach of wanting to be part of something special. By then, I’d already had a family of my own and was long established in a busy career in information technology. Something like the prospect of singing in a choir with you seemed too good to be true, but regardless of any scheduling concerns, I needed to make time, if only for myself.
I still remember the familiar feeling of awkwardness when I walked into church that night for that first rehearsal. As usual, you were already in conversation with a few people and didn’t see me approaching. I felt a knot in the pit of my stomach. Part of me wanted to turn and run, not because I wasn’t sure of what to say, but because I’d already started second guessing myself again. It had been years since I’d sung in a choir. Would I even know what to do?
I also wondered if you’d even remember me. I was one of thousands of students you had taught over your thirty-three-year teaching career. It had been decades and the skinny, introverted, long-haired student who once sat before you in the corner of the room was now a full-blown middle-aged man. Less hair on his head and, sadly, a bit thicker in the middle. Somehow, I was able to muster up the courage and nervously tapped my hand on your shoulder.
“Hello, M” I said, meekly. “Do you remember me?”
I will never forget the look of joy on your face when you turned around and saw me standing there. It was as if the Prodigal Son, who had been through the confusion of life and adult responsibility, had suddenly found his way back home. Here I was, once again the fragile student now stuck in an adult body, and there you were, still carrying the age and wisdom of years just like me, but with the same wit and energy I loved while sitting in your music theory classes.
“Oh my gosh!” you exclaimed as you shook my hand, firmly. “It’s been a long time.”
You told me to call you “Ed” that night because your name was Ed Milisits and we were now both adults. I did but truthfully didn’t want to. That bond of teacher-student was still very strong. For me, and I think for most everyone who ever had the pleasure of being one of your students, you were known as a single letter of the alphabet:
“M.”
I spent the next ten years spending Tuesday nights in the choir under your direction. One year, I mustered up the courage to suggest a piece of music to do that we performed my senior year of high school. You were excited about the possibility but let me know that it was a bit of a long-shot because approval was needed by the music committee. It took a few more years but one morning, ironically thirty years after last performing the piece in high school, I received an email from you:
“Thought you’d be interested to know that ‘Os Justi’ is on the Winter program list! We WIN!”
When the pandemic hit in 2020 and the world shut down, the choir went on hiatus. It was also a time when I was going through a lot of personal issues and you were facing your own challenges as well. Ones that made mine look small in comparison. Although I did email quite a few times to see how you were, I always respected your need for privacy.
It’s hard to believe that today makes a full a year that you’ve been gone. Sometimes I’ll see a post pop up in my Facebook memories and read your comments about it. That will, inevitably, get me to thinking about you and our conversations in the high school choir room or the adult choir rehearsal hall. It puts a smile on my face but I wish there was a chance to have one more conversation with you. Until then, I suppose this one-sided letter will have to do. Someday, God-willing, I’ll have the honor of sitting in your choir again.
M, just know that you are missed dearly, not just by me but by the generations of people who had the pleasure of sitting in one of your classrooms or choirs. You taught us to believe in ourselves, to laugh and, most importantly, to raise our voices in song.
go.Jimmy.go 