When aliens drift through far reaches of the universe, the ethereal sound of electro synth funk is what we can only imagine helps them to pass the time during intergalactic space travel. That theory may have been proven a few days ago, when Sound Tribe Sector 9 (STS9) played at Brooklyn Steel, emanating frequencies which evoked a sense of extraterrestrial presence. The five-piece instrumentalists from Atlanta, Georgia, have been elevating consciousness since 1997, giving their own cosmic view of the world through many different soundscapes. Promoting their new album Chromalight on their 2024 US Tour, STS9 claims “The multi-sensory production set out to explore the connection between sound and light, the colors we associate with musical notes and scales, and how we can tap into the power of the harmony between them to create an intentional and immersive live spectacle,” when asked about the LP in a press release.

The lights went out and a brilliant blue glow illuminated the stage. In true maestro fashion, STS9 entered without speaking and dove straight into the music, letting the notes weave their story. The set began with a furiously played violin sample beginning a commanding “This, Us,” with Alana Rocklin (bass guitarist) laying a strong bassline and David Phipps (keyboards, synthesizers) using what sounded like a horn or saxophone filter for his keyboard. This tune was followed by a strong siege into the funky “Moon Socket,” with plenty of arpeggio play from both guitarist Hunter Brown and Phipps, and a short synth soliloquy from Phipps. The lights were nothing less than interdimensional, making us feel like this was a true close encounter of the third kind. Their set took a turn as they played more astral jams with a tune from their new album, Human Dream, and a groovement favorite, “World Go Round.” The most notable track of the first set (and maybe the night) was the fan favorite and set ending, “Modular.” This jam was an absolute journey – needless to say, set one had us out of breath and begging for more.

Set two kicked off with the trippy and contemplative “Sky High,” which included a DnB rhythm from Zach Velmer (drums), alien balloons from the crowd, and continued with non-stop play into “Balancing,” “It’s Alright,” and “Breath in.” We got a good feel of tribal funk from the saucy bongo fills Jeffree Lerner brought to “It’s Alright” and after the always uplifting “Breath In,” the Sectornaughts were ready to crank it up a notch. You always know the party’s about to begin when you hear spaceship sirens from STS9, and tonight was no different as the band jumped into a Peaceblaster classic, “Shock Doctrine,” which was followed by a massive DnB remix to Ramone & Emiglio and had the crowd absolutely rabid for the jazzy, DnB, funk fest that would ensue. The set ended with the unfinished Modular jam from the first set which was preceded by Click Lang Echo, another STS9 vintage track with heart warming lyrics:

“Day in and day out, in the lights and the sound, in the world in this place, it’s just me and you.”

In dramatic fashion, STS9 came back on stage where Velmer spoke about how happy and thankful the band was to be able to play for a packed Brooklyn Steel crowd. The encore included a bit of the old and new as they began with Haze from Chromalight and dove right into Peoples from Artifact, a now almost 20 year old album, to end the show. If you’re one to partake in an interstellar spiritual awakening, definitely check out STS9 at a venue near you!

Connect with STS9 on Instagram, Spotify, TikTok and their website.

Terminal 5’s large chamber hall was packed to the brim with groovers on September 17th, the crowd bristling with anticipation for headliner, singer-songwriter, multi-instrumentalist and poet, PJ Harvey. An intergenerational throng of music lovers anticipated Harvey’s long-awaited return to the stage, promoting her acclaimed LP I Inside the Old Year Dying, a brooding album that explores the mythology of the mundane and of life in Dorset, the quiet countryside town in England where Harvey was raised. The record is a sonic departure from Harvey’s staple “yowling,” most notably utilized in hits such as “Dress” and “Man-Size,” but her incisive and evocative lyricism remain timelessly intact. Harvey’s return to the stage (a nearly sold-out show at that) is both triumphant and an uphill battle against expectations of a “greatest-hits” revival, which many longtime fans in the crowd were eager to receive. But just as Harvey in her career has experimented with form, from post-punk to political anthems, so too would she stretch the parameters of performance.

The set design was a wall of fabric with cracks running through, and when lit in certain angles, colors resembled the bark of a tree, molten lava running through ash, or a glacier lined with snow. Mid-century modern wooden furniture clustered at the lip of the stage, where Harvey would pen letters during the opening of songs, like “Lwonesome Tonight.” We were introduced to Harvey and her band by ominous bell tolls and echoing bird sounds, setting the scene for an evening in an eerie cabin in Dorset. Her band and longtime collaborators, John Parish, Jean-Marc Butty, Giovanni Ferrario, and James Johnston, stood out in their own right as multi-instrumentalists, providing backing vocals on each song, as well as a variety of percussive instruments. Donning a thick white cloak, Harvey journeyed through Old Year Dying both through song and through movement, often taking interludes as a moment to dance, run, laugh, and stretch, utilizing her body as an instrument to its fullest potential. Her signature vocal cadence and tender upper register shone particularly on “The Nether-edge” and “Prayer at the Gate.”

The second portion of the concert cycled through the hits that cemented PJ Harvey as one of the most formidable singer-songwriters of her time. The crowd was on their feet with political battle cries like “The Glorious Land” and “The Words That Maketh Murder,” and epic rock anthems like “Angelene.”

At this point in the show, Harvey began to loosen the mask and embrace the kinetic energy of her songs (and the crowd’s enthusiasm), breaking into guitar solos and crawling on the ground, accompanied by epic guitar solos from Parish. Harvey finished out the set with the darkly transfixing “To Bring You My Love,” eponymous to her acclaimed fourth album. Harvey marched along to the steady rhythm and bassline and cryptic keys, leading her and her bandmates behind the stage curtains as fans pleaded for more. Fortunately, to our delight, they returned for an encore of “C’mon Billy.”

As we left the venue, we couldn’t shake the spell that Harvey had cast through her rich, layered performance imbued with storytelling. Every dimension of the show, from the costumes to the stage design to the song selection, all worked together to build scenes of tension and tenderness, a window into the mind of a woman who has made an indelible mark on rock (and music at large) history.

Connect with PJ Harvey on Instagram, Spotify, TikTok and her website.

Born out of the jam band scene in Maryland in 2009, Pigeons Playing Ping Pong has had a steady rise since its inception, developing a cult following along the way. The band’s recent performance on the last day of August at Pier 17 was the ideal combination of high energy antics and thoughtful, pop-funk song writing. As the sun set behind them, framing the Statue of Liberty and the East River, the band kicked off their set. The fog machines and funky light show enveloped the stage, enhancing the psychedelic atmosphere.

By the time Pigeons Playing Ping Pong took the stage, the vibe at Pier 17 was electric. The venue's rooftop provided a panoramic backdrop that perfectly complemented the band's dynamic performance. Their setlist was a mix of old favorites and new jams, each played with the infectious energy that the band is known for. Highlights included fan favorites like "F.U." and "Julia," alongside a groove-laden "Ocean Flows," which kept the audience dancing well into the night. For a detailed look at their complete setlist from that night, check out their performance on Setlist.fm.

Lead singer Greg Ormat's signature facial expressions and the seamless interplay between the talented musicians underscored a performance that was as much about their dedicated fans and following as it was about the sound. The crowd, fully engaged and evidently not ready to wind down, was visibly disappointed when the 10pm curfew approached.

This concert not only highlighted Pigeons Playing Ping Pong's ability to command a stage but also reinforced their status as a must-see act within the jam band scene. Their unique blend of funky riffs and electrifying performances continues to draw in groovers and music lovers, making every show a memorable experience. We can't wait for their next stow!

Connect with Pigeons Playing Ping Pong on Instagram, Spotify, TikTok and their website.

The music industry and its global reach can be a powerful force. At the groovement, we believe that venues, artists and fans should use all available tools to practice sustainability in the live music world.

It’s no secret that our actions can have a negative impact on our planet, and it's time to consider how we can all help build a better world for future generations. . Groundbreaking legislation such as Local Law 97 in NYC supports this idea: owning property is a choice and means you’re responsible for the emissions that come with that choice. However, while laws of this nature have extended to properties, and corporations and educational institutions have adopted internal commitments, the entertainment industry lacks a plan.

The average music festival emits 500 tonnes of CO2 emissions. This is equivalent to emissions from 119 fossil fuel powered passenger vehicles driving for an entire year, or 65.2 homes’ electricity use for one year. Last February, Taylor Swift’s private jet usage for only 11 Eras tour dates was responsible for 393 tonnes of CO2 emissions. This is equivalent to emissions from 25,944,557 smartphones charged from the grid, or carbon sequestered from 459 acres of US forests in one year. One tonne of CO2 in the atmosphere from a headlining tour is the same as one tonne of CO2 emitted from burning coal; it needs to be treated the same.

So what can we do, and how do we get started? Despite the lack of regulatory oversight on the matter, a handful of artistic enterprises have taken it upon themselves to assume accountability. For example, last Summer, Coldplay became the first band to release a sustainability report. The report utilizes historical data from past tours to establish a baseline, sets goals and targets for current and future tours, and highlights measures implemented to reduce emissions. This format and methodology echoes similar reports issued by corporations, most of which are not tied to regulatory mandates and engage with reporting to comply with internal corporate and brand sustainability goals. Coldplay contracted consultants from DHL to create the tour’s sustainability roadmap, including energy efficiency, renewable production, waste diversion, and reduced meat consumption.

For socially-conscious bands, there are other private and nonprofit entities that offer products and services to limit emissions. REVERB is a nonprofit organization that seeks to mobilize the platform that live music creates into environmental action. REVERB works with artists, festivals, and venues alike to cut waste, measure and limit tour-associated emissions, and educate fans about the climate crisis. Since its inception in 2004, REVERB has gone on tour with acts like Paramore, Dead and Co., and the Dave Matthews Band, has neutralized over 375,000 tonnes of CO2, raised over $5.7 million for environmental nonprofits, eliminated the use of over four million plastic bottles, and galvanized the use of over 950,000 gallons of biodiesel among touring fleets.

Organizations like REVERB highlight a key aspect of tour emissions: fan travel. Traveling across city and state lines, or even internationally to catch a show is not uncommon (and an awesome experience). For certain bands, fans will dedicate seemingly endless time, funds, and let’s face it, carbon emissions, to follow tours. While some of this travel is inherently baked into the magic of live music and the community it breeds, fans can consider more sustainable options when it comes to traveling to shows. To support local artists and preserve the planet it’s important to try to see shows locally, take public transit to shows, and carpool when public transit is not possible.

At the groovement, we hold each other accountable and take action to ensure a sustainable future. Here are some resources to check out and ways to get involved:

• REVERB’s Music Climate Revolution
• Resources for musicians
• Earth Hero: track your personal carbon footprint
• Join the chat at We Don’t Have Time and Good Empire