By: Staff –
The Meadows Music And Arts Festival returns to City Field in Queens, New York from September 15th to 17th. This fall, the festival is expanding to a third day of music, art, food, and entertainment, and will featuring Jay-Z, Red Hot Chili Peppers, Gorillaz, Future, Nas, Bassnectar, Weezer, Run The Jewels, M.I.A., Erykah Badu, and more.
Need help figuring out which artists to see at The Meadows 2017? Check out our picks below for the five artists you need to check out at this year’s festival!
Tickets are on sale now.
Embodying the rags-to-riches rap dream, Jay-Z pulled himself up by his bootstraps as a youth to eventually become the reigning rapper of New York City and, in turn, a major-label executive following his short-lived retirement from music-making.
In the wake of his 1996 debut, Reasonable Doubt, Jay-Z’s albums sold millions upon millions, and his endless parade of hits made him omnipresent on urban radio and television. He retained a strongly devoted fan base and challenged whatever rivals attempted to oust him from atop the rap game, sparring most memorably with Nas.
Jay-Z and his Roc-a-Fella associates greatly influenced the industry and established many of the trends that pervaded during the late ’90s and early 2000s. He consistently worked with the hottest producers of the day (DJ Premier, Teddy Riley, Timbaland, Swizz Beatz), and if they weren’t hot at the time, they likely would be afterward (the Neptunes, Kanye West, Just Blaze, 9th Wonder). He similarly collaborated with the hottest rappers, everyone from East Coast contemporaries like the Notorious B.I.G. (“Brooklyn’s Finest”) and DMX (“Cash, Money, Hoes”), to the best rappers from the South (Ludacris, Missy Elliott) and the West Coast (Snoop Dogg, Too Short). And with the release of his newest album, 4:44 (out June 30th via Roc Nation), Jay-Z has no plans to stop.
Don’t miss Hova at The Meadows 2017!
Emerging at a time when the internet had thoroughly disrupted the way we make, consume, and think about music, the Arkells’ 2008 debut, Jackson Square, inherited the dying-embered torch for a certain old-school, rock ‘n’ roll ethic—and poured a fresh gallon of gasoline on the flame. They came from a notoriously tough industrial outpost—Hamilton, Ontario—armed with songs about punching clocks and punching faces. And though they were spurred into action by the mid-2000s Canadian indie-rock renaissance—back when bands like the Weakerthans, the Constantines and Wolf Parade were channeling punk-fueled passion into anthems for the overeducated and underemployed—the Arkells were also keen students of the classics. They named songs after John Lennon and pinched lines from Elton John, and if you got them drunk enough, they could play you an hour of spot-on Motown covers.
But while their Canadian indie antecedents had either broken up or gone on indefinite hiatus by decade’s end, the Arkells gamely inherited their mission, and—with the release of their newest album, 2016’s Morning Report, Arkells have achieved the sort of national success that their underdog heroes always deserved but never experienced.
Broken Social Scene
Beloved Canadian indie rock collective Broken Social Scene are back after seven years of radio silence. Their new track “Halfway Home” follows the band’s critically acclaimed 2010 album, Forgiveness Rock Record, and is a welcome return from the Juno Award-winning group.
Broken Social Scene materialized in 1999 when K.C. Accidental’s Kevin Drew and Brendan Canning, formerly of By Divine Right, bonded their friendship into a band. They spent the next few years honing an atmospheric rock sound in their native Toronto and the dynamic was great. And with a new album released on July 7th titled Hug Of Thunder, Broken Social Scene are set to reclaim their spot on the indie rock throne.
Like musical theatre and scripted television, jazz and hip-hop are uniquely, undeniably North American art forms. Though the latter genre was born out of funk and disco in the late 1970s, many of its landmark artists embody the ethos of jazz: loose, visceral, instinctive. Some hip-hop acts–A Tribe Called Quest, or more recently Kendrick Lamar–have successfully repurposed jazz, but the older genre has seldom made successful inroads into new generations of rap fans. And that’s what makes BadBadNotGood, the four-piece, Toronto-bred jazz outfit that has melded jazz and instrumental hip-hop into something elusive, something altogether their own, so unique.
On their latest full-length effort, IV, BBNG decide to expand their universe, which was already one of the most compelling, labyrinthine worlds in pop music today. Saxophonist Leland Whitty, a long-time collaborator, joins Chester Hansen, Matthew Tavares, and Alexander Sowinski on a full-time basis; for the first time, guest vocalists are welcomed into the fold. Some artists find collaboration stressful and cluttering, but BBNG simply seems freer to chase down creative rabbit holes than ever before.
IV is a master class in mood. The opening three-song suite (“And That, Too.” “Speaking Gently”and the Samuel T. Herring-assisted “Time Moves Slow”) is a slow, slinking creep, like moving uneasily through an abandoned house. And while BBNG explores different tones on subsequent tracks, that feeling–the search, the push for the unknown–is the prevailing theme. “Chompy’s Paradise” is peaceful and serene, but ends on an uncertain note, unresolved. Like most great artists before them, the quartet understands that it’s more important to raise questions than to answer them.
Foster The People
Formed in Los Angeles in 2009 by multi-instrumentalist singer/songwriter Mark Foster, indie rock trio Foster the People make melodic, atmospheric, dance-oriented pop. Foster initially began the project alone, but before long he added long-term friend Cubbie Fink on bass and drummer Mark Pontius to complete the lineup. The following year, they posted the single “Pumped Up Kicks” on their website, picking up considerable buzz online and significant airplay, alongside packed performances at SXSW. This inevitably attracted the attention of major labels, and eventually the band signed to Columbia imprint Startime International. Early in 2011 they released a self-titled EP that featured “Pumped Up Kicks,” and with the major-label support, the song became a worldwide hit.
In 2016, the group debuted material from its upcoming third album in concert, and eventually released three of those songs on an EP in April 2017. In July 2017, they delivered the full-length Sacred Hearts Club, which found them exploring a funky, electronic, ’80s-style R&B vibe.
Don’t miss them at The Meadows 2017!