CBGB Festival stays true to its roots with a night of punk’s past, present and future

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After almost 20 years, CBGB, the famous punk club from the Lower East Side, returned to the New York music scene – though in a reimagined way and at a new location. Last weekend, around 10,000 fans traveled to Under the K Bridge Park in Greenpoint, Brooklyn, for the CBGB Festival.

For almost 33 years, CBGB represented the energy and determination of the punk scene. It began in 1973 when the owner, Hilly Kristal, changed his rundown bar into a place for Country, Bluegrass, Blues, and other genres – originally called CBGB-OMFUG (Country, Bluegrass, Blues and Other Music for Uplifting Gormandizers). But to the many punks who frequented the club, it was simply known as “CBGBs” under its famous awning.

When Kristal’s dream of turning the club into a hub for country music didn’t come true, he changed direction and embraced the energetic, harsh music scene developing in Bowery-even though he, a former Marine, wasn’t a fan himself.

During the thirty years Kristal managed CBGB, he consistently explored new ideas and wasn’t hesitant to innovate – whether it was offering inexpensive chili for 50 cents or hosting afternoon hardcore shows open to all ages. Now, CBGB is primarily known as the birthplace of the first wave of punk music, and it helped launch the careers of bands like Television, Talking Heads, Blondie, Patti Smith, and the Ramones.

It wasn’t usually a pleasant sight. Marky Ramone, who played with Richard Hell and the Voidoids before becoming a Ramone, remembered when Kristal used to sleep on a cot in the bar’s back room. He said, “The bathroom didn’t have a door. Hilly had a dog that would defecate everywhere, and people would slip on it when they entered.”

When CBGB closed in 2006, it unexpectedly became a representation of neighborhood change, as a clothing store moved into the famous venue. Kristal, the club’s founder, died the next year, and the CBGB brand was sold. Since then, it’s been difficult to find the right way to share CBGB’s history-until just recently. Last weekend marked a turning point.

The CBGB Festival showcased a wide range of bands – from the pioneers of punk to current and up-and-coming artists – capturing the welcoming atmosphere of the early 1970s. Ramone recalled, “There wasn’t much competition between us, because we all played such different kinds of music. Blondie didn’t sound like the Ramones. The Ramones didn’t sound like Patti Smith. And Patti Smith didn’t sound like Television.”

The festival’s organizers valued diversity. Phil Sandhaus, brand manager and partner, drew inspiration from the festival’s history. “What would Hilly do?” Sandhaus asked. “He was the pioneer.”

Finding a new location for CBGB has proven just as difficult for Sandhaus today as it was 50 years ago. “The Lower East Side has changed a lot,” Sandhaus explained. “But what about Brooklyn? Or Queens? While we search for a permanent space, we’ve decided to host a festival.”

To add some authenticity and character, the original bar was showcased, and Kristal’s office was set up in the VIP section. While the famous awning was recreated for the event, the original is actually preserved and on display at the Rock ’n’ Roll Hall of Fame.

Each of the festival’s three stages was carefully planned to showcase Kristal’s changing ideas for his legendary punk rock venue. The CBGB Stage, the biggest and most energetic, featured major acts like the Melvins, the Damned, Jack White, and Iggy Pop, who delivered unforgettable performances. Or, as Iggy Pop did, he really got into the spirit of things by rolling around on stage.

The Young Punks Stage showcased up-and-coming artists like Pink Shift, Scowl, Linda Lindas, and Destroy Boys. While many of these bands are new to the scene, they’re well aware of the music that came before them.

As a huge fan, I was really impressed watching Eloise Wong from The Linda Lindas – she was dancing in the crowd both before and after their performance, and you could tell she really understood what that venue meant. She told everyone, “When The Linda Lindas first started playing, we were doing a lot of Ramones covers.” This L.A. band has some great taste, too – they’ve opened for Blondie and even recorded their own version of the Talking Heads’ song “Found a Job,” which they played during their set. It was awesome!

Kat Moss, from the band Scowl, discovered the history of punk rock through traditional research – by reading books. “I learned a lot about CBGB from ‘Please Kill Me.’ I think everyone should give it a read!” (Legs McNeil’s book, an oral history, is a fantastic starting point, but I also recommend “This Ain’t No Disco: The Story of CBGB” by Roman Kozak, which was republished last year by Trouser Press.)

Hilly’s Stage was a key venue for hardcore bands that had ties to CBGB, featuring groups like Cro-Mags, Murphy’s Law, and Gorilla Biscuits. As many established bands signed record deals, they soon moved on from CBGB, creating space for all-ages hardcore shows. A lot of the young people who came to these afternoon shows were inspired to form their own bands and CBGB became the place where many of them played their first gigs.

Harley Flanagan of the Cro-Mags first visited CBGB when he was 6 years old, and he experienced his initial punk concert at age 10. Soon after, he performed at the venue with the Stimulators. He continued to play shows at the club throughout the 1980s, 1990s, and 2000s – playing there until it closed its doors in 2006.

“I think I’m unique in having experienced the club throughout its entire history,” Flanagan stated. When asked how often he performed there, he replied, “It was so many times, I couldn’t even begin to count.”

Seeing James Drescher of Murphy’s Law play on Hilly’s Stage really hit me. It brought back a powerful memory of the man who launched so many careers, including his own. As he put it, “You don’t fully appreciate it until you’re older and realize, ‘Wow, this guy genuinely cared for us kids, fostered our talents, and helped us become the musicians-and people-we are today.’” It was a really touching testament to the impact one person can have. Honestly, it was more than just a concert; it was a tribute. It really made you think.

Though Drescher fondly remembered the past, he admitted things were different now. He asked everyone to look at the New York skyline, saying, “Look at the city we can’t afford to live in.”

A particularly moving moment occurred at Hilly’s Stage when Jesse Malin, of D-Generation, bravely sang with Drescher and Murphy’s Law. Malin is recovering from a spinal stroke and performed while rising from his wheelchair.

As the people behind it look for a lasting location, preparations are being made for another CBGB Festival. Brooklyn Councilman Justin Brannan, who is the only New York politician to have performed at CBGB, is optimistic that the festival will continue for years to come. He hopes it’s here to stay.

“Playing CBGBs felt like a significant milestone,” Brannan explained. “It was like graduating from a local group to a band with real recognition. Walking into that venue, you could feel the weight of its history and the sense that it was a special, almost revered place.”

Jim Ruland wrote the book “Corporate Rock Sucks: The Rise & Fall of SST Records” and maintains a Substack publication called “Message from the Underground.” This Substack focuses on books, music, and books related to music.

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2025-10-02 21:32