“I’m still floating on a cloud of disbelief that this is my life,” Karina Rykman confided recently, her voice bearing the lingering exhilaration of a dream vividly realized, a dream that took center stage on May 10th, 2025, at New York City’s iconic Webster Hall.
For Rykman, an artist so inextricably linked with the Five Boroughs, headlining this revered venue was far more than a concert: it was a deeply resonant homecoming, a “community event” pulsating with what she described as “more love than I ever thought possible.”
Her story and journey to this pinnacle are steeped in the unique cultural landscape of New York City.
City Kid Turned Industry Pro and Working Musician
Raised on the Upper West Side by Columbia professor parents, Rykman’s immersion in music was early, all-encompassing, and profound. She quickly became an active player, forming bands, learning from peers, and soaking up the city’s diverse sonic offerings; and at a young age, she began what became longstanding gigs with The Sound of Urchin and Marco Benevento and semi-regular appearances on late night TV. And her ambition wasn’t confined to the stage: she delved into the industry’s mechanics with internships at Relix and Vector Management, eventually becoming General Manager at the grassroots concert promotion company Rocks Off. This holistic understanding of the music ecosystem, from grassroots promotion to captivating stage performance, became a hallmark of her approach.
This deep-seated New York experience informed her every step as she built her own musical project. Her trio, featuring longtime collaborators Adam November on guitar and Chris Corsico on drums – both NYU connections – honed their infectious blend of indie-pop sensibilities, psychedelic rock explorations, and deep-groove improvisation across countless city stages. Each gig, including last year’s milestone of selling out Racket, was a stepping stone, a testament to her adoring fanbase, and the undeniable buzz surrounding her live shows, culminating in the Webster Hall booking.
The Webster Hall Show: It Takes a Village
The anticipation for the May 10th show was palpable. “So much blood, sweat, and tears went into the show,” Rykman says with equal parts gratitude and awe, acknowledging the immense effort from her dedicated team – her “village.” The night itself was a spectacular affirmation of that effort. Opening with the effervescent title track from her 2023 Trey Anastasio-produced debut LP, Joyride, Rykman immediately established an atmosphere of unbridled celebration.
After a few more tunes from Joyride, a significant portion of the set was dedicated to unveiling new, unreleased material, offering tantalizing glimpses into her forthcoming second album. “Leave It To Me (Shoegaze Summer)” picks up where Joyride leaves off, finding Rykman exploring her full voice over bouncy rhythms before morphing into a jam vehicle. With the sunshiney “Riverside Drive,” Rykman offers a direct nod to her NYC upbringing. (And perhaps even to Zabar’s and their rainbow BabKarina, made especially for the Webster Hall milestone.)
The introspective, poppy “Childlike” and dynamic “Change My Flight” further highlight Rkyman’s evolution as a songwriter. And beyond the new material, the band offered extensive jams, including a ten minute “Plants,” equal parts tight and loose, that makes clear that they’re not neglecting their improvisational chops as they work toward LP2. Says Rykman: “You prepare such that once the guard rails come off you can be truly in the moment and free to fuck around and find out.”
The night was also punctuated by three exhilarating debut covers, each chosen with intention. First came a fiery rendition of Ween’s “I’ll Be Your Jonny on the Spot,” paying homage to a key influence and early mentor in Dave Dreiwitz. The Cardigans’ 90s earworm “Lovefool” became a charming, collaborative moment, as was the grand finale, Beck’s slacker anthem “Loser,” which transformed the stage into a joyous party that found Rykman stepping from behind her bass to take lead vocals amidst a throng of friends.
This is completely on brand for Rykman, whose ethos is defined in part by a spirit of collaboration and mutual support. The “Lovefool” performance featured Marlo Shankweiler, guitarist for rising NYC band Melt, whose relationship with Rykman is deep and personal, stretching back to their high school days. “I was a senior when they were freshman,” Rykman shared. “I remember seeing Phish concerts with Marlo when she was barely 14, so it was amazing to invite her up to join us and hopefully turn people on to the great work she’s doing.” This desire to “pay it forward” is a recurring theme, a genuine commitment to fostering the same sense of community that has nurtured her. Isaac Slone, Rykman’s former roommate of a decade, was also part of the “Loser” ensemble, making it a true “family affair.”
Behind the triumphant performance was an incredible support network. Rykman made special mention of Gabe Monro, her close friend, songwriting partner, and producer, who for this show, served as unofficial production coordinator and stage manager, ensuring everything ran smoothly. Rykman lauds Charlie Horne as “tour manager extraordinaire,” crucial for logistical feats like fetching the confetti cannons lent by (and soon after purchased from) 2 Skinnee Js’ Andy Action. These cannons made for an unforgettable performance of “Elevator,” and the bubble machines deployed throughout the night will definitely feature in future shows.
And Rykman’s “village” extended far beyond the stage. The audience itself was a tapestry of her life: her parents, her first-grade teacher, her Pilates instructor, and even Scott Goldshine, the General Manager of Zabar’s, creator of the BabKarina. This diverse representation of her personal and professional life underscored the deep community ties that anchor her. Even after the last note of “Loser“ faded and the confetti (expertly deployed by Alastair Hart) settled, Rykman headed straight to the merch table, spending nearly two hours connecting with fans, signing autographs, and sharing hugs. “It just means so much to me that I’m able to have one-on-one connections with my fans,” she emphasized, a practice she holds that much more dear as her audiences grow.
In Due Time, It’ll Be Easy to Refine
Looking ahead, Rykman is already channeling the Webster Hall momentum. “I’m basking in being so overwhelmed with the fact that everyone showed up,” she says. She’s facing a packed summer festival season, where she’ll continue to workshop material for her highly anticipated second album. Her philosophy of live testing remains crucial: “Nothing is real until it’s live. It’s all about the connection in the space.” While she’s keeping specific recording plans close to the vest, she promises it will be “cool as shit!”
From an Upper West Side kid soaking up music to a Webster Hall headliner, Karina Rykman’s story is one of passion, perseverance, and profound connection. She serves as a vibrant example of how New York artists can cultivate a dedicated following, achieve significant milestones, and simultaneously uplift their communities. The joyride, it seems, is only getting more exciting.
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