Last night was one for the books. As the sun set on Kansas City, Missouri’s first 4/20 with legalized marijuana, a crowd sprawled out over acres of land at the future site of the Smokey River Entertainment District got to bask in a new glow. Wiz Khalifa headlined the inaugural 420Fest, performing for thousands with the distant glow of car headlights from 291 Highway lighting the backdrop. Smoke filled the air, with the delicious scent from the food truck bay wafting over the attendees. It was a certain type of bliss, and Wiz was the ultimate soundtrack.
Joey Pintozzi, president of the event sponsor Besa Hospitality Group, is particularly excited about what the event means for Missouri at this time. “This is going to be an amazing event, on a special day, marking the beginning of a new era for Missouri during a historic time in our state.”
420Fest hosted a cannabis village area for attendees over the age of 21. Rows and rows of vendors – both local and those who drove in from an array of different states – brought us their own unique cannabis experiences. A stage brought us speeches on equity from lawmakers, nonprofit leads, entrepreneurs, and those who were formerly incarcerated for cannabis-related crimes. We also got to glimpse Mike Tyson and Ric Flair, as well as glass artists, edible extraordinaires, and so much more. The event aimed to normalize and celebrate the cannabis lifestyle, with a portion of the proceeds going toward equity in the space.
The evening of September 15th was a night to remember. Idles made a special appearance at the historic Kings Theatre in Brooklyn, and brought some high energy with them. Photographer Anthony Mulcahy nabbed some action shots for us to enjoy.
August 13th was a Saturday night unlike any I have seen in a very long time. Approaching the outside of T-Mobile Center Arena in Kansas City, MO, you would have no idea by the soothing, music-filled area outside the gates that you were entering an almost-sold-out show in a multi-thousand-seat arena. an enigmatic atmosphere. Those in attendance had been waiting to see The Lumineers since the show was announced prior to the pandemic setting in.
The 25-song set included crowd favorites like “Ho Hey,” “Dead Sea,” “Ophelia,” and “Stubborn Love.” Their spin on “You Can’t Always Get What You Want” masterfully blended original track “Leader of the Landslide” into an easily digestible and beautiful new work of art. One of the most notable tracks, however, was their Petty cover “Walls (Circus)”, which was performed with their openers, Gregory Alan Isakov and Daniel Rodriguez.
Much as their name suggests, The Lumineers’ set design left the crowd ensconced in the warm glow of the lights. Their multi-runway stage gave the show a dynamic we have not had the privilege of seeing in the past. While each member of the band is a multi-instrumentalist and talented as all get out, we are more familiar with a stage presence that keeps them all solitary, in a straight line with equal lighting for the audience to enjoy. For this show, we witnessed climbing on pianos, jumping from one part of the stage to the next, and dancing under the most magical disco ball the crowd has ever seen. Add the flurry of confetti mid-show to the mix and you’ve got yourself a kaleidoscope snow globe experience.
Before the pandemic, it truly was all about the music. Now, it seems to be about creating a joyful atmosphere. Sure, the music holds as the firm base and is what gets the audience in the doors. But this band has taken their set design to a level that makes everyone — whether you are in the VIP pit or in the nosebleeds — feel as though they are snuggled with a blanket under starry skies as summer fades.
Dashboard Confessional was slated to headline Boulevardia 2019. Then, a massive summer storm blew threw and everyone ended up hanging out under shelter, many in a parking garage in Kansas City’s West Bottoms region.
Kansas City was ready for a Dashboard Confessional show. Way past due, Carraba started the show by addressing that night, and explaining how much he had been looking forward to hanging out with us over the last three years. We bought it, and sang the night away under the stars–our echoes reverberating off the downtown skyline–during one of the most excruciatingly hot weekends of the summer. Ah, Boulevardia.
The indelible Tayla Parx performed for the masses at Day 1 of Dr. Martens Presents at SXSW 2022. The singer/songwriter/actress shared her incredible voice while the crowd – which was wrapped around the building to get into the party – went wild from both inside the venue and outside the gates. Her stage presence was absolutely off the charts, as she garnered everyone’s attention despite other activities provided at the event. (Can you say “free tattoos”?) With two Grammy nominations under her belt for writing credits on Ariana Grande’s Thank U, Next and Justin Bieber’s Justice, it seems like the songstress that is Tayla Parx isn’t slowing down anytime soon.
Anna Hamilton was the newcomer most hadn’t been acquainted with, winning a contest to open for Dermot Kennedy as a local act. A Kansas native and one of 12 children in her family, Anna’s music dripped with bits of nostalgia and hopeful thoughts for the future. It was also an insanely beautiful experience, her sweet-as-honey vocals accompanied only by a guitar. It was mesmerizing.
By her third song, we caught a glimpse at specificity in a track about a boy that left her for a city – “Me For Barcelona.” The song had never been played in front of a live audience before and is not currently available, but is open for preorder via her link in bio at clever Instagram handle @a.ham.sandwich. Her fourth trach was about leaving Kansas to pursue her singing career in Tennessee, something so many artists struggle with. She has clearly found a safe haven and inspirational options in her relocation, as her last track – “Self Help” – was realized so early on. Of the track, she admitted that it was about taking care of yourself before allowing others to benefit from you. “You need to be 100% before your cup overflows and they can receive it.”
Bishop Briggs emerged, energetic as ever and donning a leather jacket on a pretty balmy night in the midwest. It was shed quickly, to reveal skeleton-printed fingerless gloves and delicate tattoos dancing across both forearms. The first time this town got acquainted with Bishop, she had barely edged into the world of tattoos. Now, you find yourself mesmerized by them as she jumps across the stage with every robust, belted line.
An artist that truly allows you to feel the songs with her, Bishop has cultivated a fandom that spans generations, cultures, and ideals. Perhaps the show’s littlest attendant – a young man no older than 10 or 11 – could be found belting out lyrics and clapping in time with his family during the intense track “Hi-Lo (Hollow)”. Her set included “Someone Else,” “Darkside,” and her most recognizable hit, “River”, among others.
