On February 10th, The Harrington looked back on the legacy the venue left on the Syracuse community with a final, classy string of performances.

Words by Grace Johnson / Graphic by Sofia Floresca

The Harrington, a lively music venue active from 2021 until this Halloween, served as a vital nexus within the Syracuse community, fostering connections through a collective passion for music. Its legacy is one of fostering camaraderie and a canvas for artistic expression.

Unfortunately, The Harrington has officially taken its leave, surrendering with the announcement, “Okay, we’re actually done now.”

On February 10th, the venue bid farewell with a final show that paid tribute to the profound impact it left. The formal attire jazz night drew a crowd that spilled beyond the confines of the venue, forming a line that stretched out the door in a parade of elegance of anticipation.

McKenna Fenimore’s rendition of timeless jazz melodies, including Jerome Kern’s “Yesterdays” and Robert Glasper’s “All Matter” elicited a sea of dropped jaws and resounding cheers of support. Her vocals intricately wove a spellbinding tapestry that captivated the audience in a mesmerizing embrace. Accompanying her, Will Angus on saxophone showcased remarkable technical prowess, delivering flawless phrasing and demonstrating impeccable control over dynamics. Kai Wong’s presence on the keyboard infused the jazz pieces with a level of sophistication and depth, Robert Wilhelm exhibited versatility and creativity, and Grady Collingbourne’s drum performance seamlessly intertwined with the other instruments, crafting a cohesive and thoroughly enjoyable experience.

The band radiated an infectious sense of joy and the audience was right there with them, equally caught up in the exhilarating atmosphere. Adding to the spontaneity, Xaden Nishimitsu even stepped in for their first song.

Will Angus shared, “I was having the time of my life up there”, summing up the band’s enthusiastic energy that permeated their performance.

Following, Ania Kapllani graced the stage with electricity, infusing the room with a dynamic sense of fun. Her vocals, delivered with finesse and flair, added an admirable dimension to classics such as “Sometimes I’m Happy” by Judy Garland, “All of Me” by Billie Holiday”, and “How High the Moon” popularized by Ella Fitzgerald. Arguably, Xaden Nishimitsu took center stage with his trumpet, managing to effortlessly blend with Owen Wernow’s guitar mastery and Henry Powers’ innovative bass technique, creating a flawless musical fusion. Damian Doyle exuded enjoyment on the keyboard, imbuing the performance with energy and demonstrating evident expertise in dynamic control.

Consistently impressive, T.O.N.Y delivered an undeniably incredible performance. Joe Winslow produced a rich and expressive tone on saxophone, and Grady Collingbourne’s inventive approach coupled with his ability to build and release tension, ignited cheers of support from the captivated audience.

The Harrington's final show was nothing short of a bittersweet symphony, gracefully doing justice to the essence of the venue. In The Harrington’s words, “We did this for the love of music. The amazingly talented people you meet and the friends you make along the way is the best reward you could ever hope to achieve in this pursuit. So whether it be at a backyard bonfire or in the dingy basement of a house on Euclid keep the music or die trying.”