Indie Shows in Forest Hills

Hayley is continuing her partnership with nonprofits Support+Feed and REVERB to make her tour more sustainable and impactful for people and the planet .Learn more at reverb.org. Hayley Williams is a 3x GRAMMY winning singer, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying, “when it comes to singers in contemporary rock, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan, Doechii and Billie Eilish - she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “ Seein’ Stars”, Moses Sumney’s “I Like It I Like It,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour. At just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot! , powered by the success of the 6X certified platinum single “Misery Business.” In 2009, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus, in 2023, they returned with This Is Why , a full grown, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history.

Hayley is continuing her partnership with nonprofits Support+Feed and REVERB to make her tour more sustainable and impactful for people and the planet .Learn more at reverb.org. Hayley Williams is a 3x GRAMMY winning singer, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying, “when it comes to singers in contemporary rock, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan, Doechii and Billie Eilish - she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “ Seein’ Stars”, Moses Sumney’s “I Like It I Like It,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour. At just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot! , powered by the success of the 6X certified platinum single “Misery Business.” In 2009, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus, in 2023, they returned with This Is Why , a full grown, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history.

I was born in Dumbarton, Scotland. It was what was called a breech birth … which often means butt first … which was probably exceedingly difficult for my mother and may have been indicative of a bad attitude on my part. I was there, but I don’t remember. My parents had what was called a mixed marriage, which made life difficult. And there was little work in Scotland in those years. We moved to Canada on a boat, the QE2, when I was very young and after some years in Hamilton, the family moved to Baltimore, where I had my primary and secondary education. I loved art class and was asked to leave the school choir. I played guitar in a band with some friends; I think Ricky Brewster was the singer. At a high school battle of the bands, a rival band pulled the plug on us. We lost the contest. I wanted to be able to study both art and engineering—as I saw creativity in both areas—but that didn’t seem possible, so I went to art school in Baltimore and Rhode Island. There I encountered people with backgrounds very different than mine. Very different class, cultural, and economic backgrounds. This was all new and hard to understand at first. I made music at the same time I was at art school, but not having training, I never considered it as a career. For a while I wore old suits and had a beard—local children in Baltimore asked if I was “one of those people who didn’t ride in cars.” I hitchhiked around the U.S., stayed on a commune and busked for money … but eventually I came back East, discovered I could write songs, and with some friends we played at art school events and parties. I moved to NY with some wild art-related ideas—one was a sort of rating system for the arts influenced by the books on cybernetics and systems theory that I was reading. I reconnected with my friends and we auditioned at a local club playing our own songs. A handful of people liked us, and so we stuck to it and surprisingly soon we were playing our music all over the world. I still do this from time to time, it’s hugely enjoyable. I have been lucky to be able to do these things. Though music took up much of my time for many years, I eventually went back to re-engage with the visual side of things—directing some films and making picture books, art, and installations. I lived in L.A. for a while but now spend most of my time in NY. I began riding a bicycle as a way of getting around, and I wrote a book using those experiences as a way to talk about the things I saw. I made some custom bike racks for NY, for BAM, and for Stanford University. We need places to lock up. I then wrote a book about music, or rather the contexts that shape and affect music. I love working with other people. Though there are sometimes forks in the road, for the most part the convoluted path is worth it as together collaborators often end up somewhere neither expected. I wrote two musicals about powerful women—Imelda Marcos and Joan of Arc. When it works, a song can express a character’s inner feelings in ways that go beyond words. Songs help us understand things in a different way. There have been collaborations with Robert Wilson, Twyla Tharp, St. Vincent, Fatboy Slim, De La Soul, and Brian Eno. Recently I conceived and presented a show that brought together ten musical acts and ten colorguard teams. Now I’ve made a record that just has my name on it but is also the result of the contributions of many other people. I suspect that like me it is asking what are we like, what do we want, and what are we looking for.

Turnstile has partnered with PLUS1 so that $1 from every ticket sold will support The New York Immigration Coalition (NYIC) and their work advocating for the rights of immigrants across New York State. From the moment they hit the ground a decade ago, TURNSTILE have never stopped moving forward -- and they're sure as hell not about to look back. The Baltimore band, comprised of singer Brendan Yates, guitarists Brady Ebert and Pat McCrory, bassist Franz Lyons, and drummer Daniel Fang, immediately distinguished themselves from the pack with their infectious, aggressive punk fusion; their welcoming, satisfying live shows; and most importantly, their willingness to experiment, as seen by the steady evolution from their early demos to 2018's Roadrunner ambitious debut Time & Space , the latter of which earned renown from The New York Times, NPR , The FADER , and others. The only constant in the TURNSTILE universe, aside from love, is progression. Having laid the foundations for their new album, GLOW ON , in the before times of summer 2019, the band took quarantine and the resultant tour cancellations as an opportunity to buckle down and devote their full and undivided attention to the album-making process. As Yates puts it, the stars aligned: "It turned off any potential for us to get distracted by traveling, and let us focus on these ideas we had." Finding a studio housed inside a barn, tucked away in an isolated corner of rural Tennessee, only affirmed their aims: creating a self-contained universe of pure, united, unfiltered energy created entirely on their own terms, sustained as always by empathy and spirit. If Time & Space marked the sound of TURNSTILE charting new ground for hardcore, expanding stylistic boundaries and celebrating new possibilities, then GLOW ON is that utopic vision fully realized; 15 tracks devoid of boundaries, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. Hardcore remains the heart of TURNSTILE's sound -- songs like "BLACKOUT" and "T.L.C. (TURNSTILE LOVE CONNECTION)" are guaranteed to stir up that heavy energy -- but it moves to a more alien pulse this time around, an incessant arrhythmia that consistently keeps you guessing minute to minute, track to track. In this album's mixtape-esque flow, each song offers its own unique, ephemeral take on sensory overload -- and every listen brings something new. Less a song than a two-minute roller coaster ride, "DON'T PLAY" veers from a fast and manic intro to a top-heavy, ultra-rhythmic verse, followed by an anxious chorus draped in distorted vocal effects and pirouetting piano leads, and then back again. "FLY AGAIN" and "NEW HEART DESIGN" offset the band's aggression with swathes of waterlogged new-wave guitars, which are played up for mournful effect on "UNDERWATER BOI" (a spiritual successor of sorts to "Blue by You," off 2015's Nonstop Feeling ). And in yet another departure from hardcore norms, the band even link up with Blood Orange for two tracks, "ALIEN LOVE CALL" and "LONELY DEZIRES," the band's most melodic and soulful material to date. Never before have TURNSTILE focused so intensely on the details -- and clearly, it's paid off with GLOW ON . "Working to figure out what you want from a song and how to capture it is always a huge learning experience." says Yates, who co-produced the record alongside producer Mike Elizondo. "A live show environment shared with others, I think, is the true essence of the band and music; but when recording an album, you're given a lot of opportunity. You want to breathe as much imagination into it as possible." Yates, like many songwriters, isn't one for providing hard-and-fast interpretations of his lyrics, but he can agree to this: despite our best attempts to convey them through music and words, most emotions are just too complex to be summed up in a simple, digestible manner, least of all in a punk song. To that end, GLOW ON , with its free-wheeling approach and ambiguous lyrics, represents an attempt to subvert these roadblocks and embrace the human condition for what it is -- a mess. "Humans are complex," says Yates. "Feelings are complex. Sometimes, it's hard to get those dimensions of feelings into songs." Thus, rippers like "HOLIDAY" are built like Rorschach tests, the lyrics blurring the line between steadfast and somber. Depending on your perspective, the thought of "sailing with no direction" could be an untethered celebration, or the loneliest tale of a meaningless quest through life without purpose. TURNSTILE aren't seeking to provide any answers to life's big questions, of course: at the end of the day, they're here to spread love, and hopefully get you dancing. The band's short film TURNSTILE LOVE CONNECTION (a companion piece to July's E P of the same name, and by extension, GLOW ON Itself) underscores this mission again and again across its 11-minute runtime. The film begins with the band aimlessly roaming the grounds of a deserted stadium before transitioning to an extended, dreamlike sequence resembling a life cycle in their beloved hometown of Baltimore, starring their family and peers. We close with Yates riding on the back of a dirt bike, holding on for dear life, quiet bliss lighting up his face. The sound fades out as the pair speeds into the horizon, approaching the point of no return, or perhaps a new beginning. Of course, the end destination doesn't matter; TURNSTILE have always been about the journey; roadmaps, itineraries, and speed limits be damned. We're all immensely lucky to be along for the ride.