Madison Kemeny
Madison Kemeny turns national tours, TV specials, and festivals into direct, step-by-step guides for how to get in, with a clear focus on ticket access, pricing, and streaming options. She works as a commerce reporter for entertainment and experiences at Syracuse.com | The Post-Standard, covering streaming and live entertainment across concerts, festivals, and must-watch series and movies. Her coverage stands out for its service angle: every piece is built around what to buy, how to watch, and how to find value in live and on-demand entertainment.
Streaming and live entertainment commerce coverage
Kemeny’s streaming work focuses on major television and platform events, framed as practical instructions on how to watch them, often at no extra cost.
Her piece on “The Howard Stern Show” debuting on HBO Max explains the shift from long-time radio listening to streaming and offers guidance on how to access the show on the new platform. Coverage of ABC’s “9/11: United We Stand - 25 Years Later” special centers on when it airs, where it runs, and how to watch the commemorative program for free. A similar approach appears in her guide to the 1000th episode of “Big Brother,” which is written as a timed, platform-specific explainer on how to catch the milestone broadcast without paying out of pocket.
Across these stories, the emphasis is on dates, networks or services, access methods, and any free viewing paths, rather than on critique or commentary.
Ticketing guides for major tours and festivals
Ticket access for live music and festivals is the core of Kemeny’s music coverage, and most of her work in this area reads as a buyer’s manual for specific shows.
When Shaky Knees 2026 sells out, she writes about how fans can still secure last-minute tickets, guiding readers through remaining options after standard sales have closed. Her Styx “Live in Las Vegas” coverage takes the same angle, focusing on how to secure tickets today, ahead of a sell-out, with attention to timing and presale windows. The confirmed article on The Strokes’ hometown show in Queens fits this pattern, walking through presale mechanics so fans can get tickets before general sales and before inventory disappears.
Bruno Mars’ Gillette Stadium date is another example: she notes that tickets are still available and highlights the remaining price points and purchase routes for a high-demand stadium show. For Ye’s Phoenix stop, the article is expressly about accessing presale tickets before they sell out, underscoring her focus on scarcity, presale codes or windows, and early-buy advantages.
Festival coverage follows the same structure, with pieces on Borderland Festival and similar events organized around ticket prices, lineups, and what buyers need to know before they purchase.
Focus on rock, pop, and live spectacle
Kemeny’s live-music work spans big-name pop, rock, and spectacle-driven performances, rather than niche or underground scenes. She covers Kid Rock’s headlining role at the Rock the Country Fest, treating the festival as a ticketing and logistics story tied to a well-known act.
Her Trans-Siberian Orchestra piece marks the group’s 30th anniversary tour and highlights its arrival as a major winter event, again framed through dates and ticket access rather than artistic analysis. Bruno Mars appears in her work as a stadium headliner at Gillette Stadium, reinforcing her interest in large-scale pop shows with complex ticket markets.
Coverage of Ye’s Phoenix date, legendary Rock and Roll Hall of Famers making tour stops, and Styx’s Las Vegas show rounds out a roster that is heavy on classic rock, marquee pop, and crossover acts. Beyond individual artists, she writes about “Wicked in Concert” launching a live-to-film tour in New York, combining Broadway-origin material with concert presentation and treating it as another major ticketed experience. Pieces on Candlelight Concerts and other branded experiences show an eye for immersive, curated events where setting and atmosphere are part of the draw, but the story still turns on price and availability.
Regional and cultural events
Within that national slate, Kemeny regularly covers concerts and festivals scheduled in Upstate New York, grounding her service journalism in specific regional dates and venues. Rock the Country Fest’s stop in Upstate New York is approached as a local opportunity to see a touring headliner, with clear details on how to get tickets for that location.
Trans-Siberian Orchestra’s 30th anniversary tour story emphasizes its winter arrival in Upstate New York, treating the region as a key stop on a larger national circuit and again focusing on ticket access. Cyber Monday coverage of Candlelight Concerts in Upstate New York ties together regional performances and national discount timing, highlighting slashed prices and limited-time offers for those events. Borderland Festival is handled as a regional festival package, with reporting on ticket prices, lineup information, and essential practical details for attendees.
Across these pieces, her distinguishing trait is consistent: she takes culturally prominent or locally significant events and strips the coverage down to what matters for someone deciding whether and how to attend.
Underlying all of this work is a commerce-first reporting approach for entertainment and experiences, backed by a stated focus on streaming and live entertainment sectors and on emerging trends in how audiences access them. She reports for Syracuse.com | The Post-Standard with a remit that explicitly covers concerts, festivals, and must-watch TV series and movies, and her archive shows that nearly every story is built around access, pricing, and timing rather than reviews or industry analysis.
That combination of beat definition and consistent service framing is what defines Madison Kemeny’s coverage.
4 more music journalists.
Andrea Dresdale
Andrea Dresdale manages entertainment content at ABC Audio and covers music-driven pop culture for news and audio platforms. Her beat centers on chart-friendly pop, new releases, mainstream artists, awards, residencies and industry milestones. She also reports on legacy acts, anniversaries, nostalgia, remixes, live performances and music’s links to film, television, streaming and social media. Her notable coverage includes Taylor Swift, BTS, The Weeknd, Madonna, The Beach Boys, Bruce Springsteen, Patty Smyth and Miley Cyrus. Her work has appeared through syndicated ABC Audio coverage on outlets such as WRMF, KS95 and Hot 96.7. Dresdale writes concise, timely pieces for radio audiences. She frames songs, tours, specials and career moments through cultural impact, fan appeal, commercial momentum and lasting relevance. Her stories connect current hits with music history and show how artists maintain attention through new releases, collaborations and reinterpretations.
Andrew Weber
Andrew Weber uses accountability reporting to examine who benefits from decisions shaping Austin’s music ecosystem. He reports for KUT as a government accountability reporter and works as a freelance reporter and associate editor for KUT News across the public radio network. His music coverage focuses on musicians’ pay at festivals, health care, mental health services, venue relief and working conditions. He treats SXSW as a workplace and economic system, reporting on low fees, sponsorships, boycotts and the political choices behind the festival. He also covers government and institutional issues, including KUT’s relationship with the University of Texas and the firing of general manager Debbie Hiott. His reporting ranges from nonprofit support systems to experimental sound art. He plays music on the side and brings digital storytelling experience, including an Edward R. Murrow award for social media work.
Andy Greene
Andy Greene is a senior writer at Rolling Stone who stands out for long-form interviews and narrative features that follow artists across entire careers. He focuses on music, especially classic rock performers, live shows, tours, and band dynamics. He runs the interview series Unknown Legends and King For a Day, which center on veteran musicians, sidemen, collaborators, and singers who replace legendary frontmen. He also writes cover stories and major features on high-profile figures, including Radiohead, Howard Stern, Bill Withers, Nathan Fielder, Steve Perry, Pete Townshend, and Stephen King. His reporting relies on access, detailed questioning, and a deep command of rock history. He also writes about film and television when they connect to music and culture.
Anna Grace Lee
Anna Grace Lee is a Vogue reporter who covers pop musicians and celebrities through fashion, weddings, and lifestyle culture, focusing on dresses, events, pets, and subcultures rather than industry news. She writes scene-driven features that place entertainers in vivid settings, from villas to underground food markets, and treats music-adjacent stories as fashion and craftsmanship narratives. Her Dua Lipa Sicily wedding coverage shows how she frames a wedding dress as a haute couture moment and a pop-cultural milestone, emphasizing design, making, and handwork. Her Millie Bobby Brown miniature poodle piece reflects a consistent interest in celebrity pets, fandom, and off-stage persona. She also reports lifestyle features like Brooklyn’s buzziest underground cheese sale, embedding in niche food scenes. At Vogue she contributes to weddings, celebrity, living, and Met Gala coverage, and maintains a portfolio of culture and lifestyle work built around entertainment-adjacent storytelling.