Full Audio Of moe.’s Three Set New Year’s Celebration Has Surfaced [Listen]

first_imgBeloved jam band moe. decided to take their diehard fanbase out to a new location for New Year’s Eve, ultimately settling on The Wilma in Missoula, MT to ring in 2016. The intimate two night run kicked off with a great opening show, but moe. took things to the next level for three full sets of magic on New Year’s.moe. largely stuck to their original music for the performance, opening with “Meat > Timmy Tucker” to get the party started. They did work in a tune from their recent Quentin Tarantino-themed Halloween, bringing out the beloved instrumental “Battle Without Honor or Humanity.” That song kicked off an awesome second set which saw the band bounce between “Four,” “Rebubula,” and “Yodelittle.”The third set saw more of the band’s original music, including “Tubing The River Styx > The Pit > Meat” before the big countdown. The show concluded with a “Brent Black” followed by the conclusion of “Meat” – so it’s safe to say this show wasn’t for the vegetarians. They returned for an encore that included “Stranger Than Fiction” before a sweet tribute to Leonard Cohen in the form of “Hallelujah.”You can steam the full show below, courtesy of taper marcus.Setlist: moe. | The Wilma | Missoula, MT | 12/31/16Set One1. Meat >2. Timmy Tucker3. Gone4. Jazz Wank >5. Spine of a Dog >6. BusterSet Two1. Crowd2. Battle Without Honor or Humanity3. Four >4. Rebubula >5. Yodelittle >6. Four >7. RebubulaSet Three1. Tubing the River Styx >2. The Pit >3. Meat4. Countdown5. Auld Lang Syne >6. Brent Black >7. MeatEncore1. Crowd2. Alnouncements3. Stranger Than Fiction4. HallelujahAll photos by Paul Citone, see the full gallery below. Load remaining imageslast_img read more

Kamasi Washington To Release New EP, Details North American Tour Dates

first_imgBreakout jazz saxophonist Kamasi Washington is following up his 2015 debut masterpiece, The Epic, with a brand new EP due out September 29th (via Young Turks). Harmony of Difference features six movements, including “Truth,” the first single from the album, which features the star and his band in fine form on the 14-minute number. The entire piece was featured alongside A.G. Rojas‘ film at this year’s Whitney Biennial, which takes place at the Whitney Museum in New York City and features contemporary art from young and lesser known artists each year.Washington has also announced an entire Fall Tour run of dates around North America in support of the EP, including a few previously announced European dates. The Fall Tour is set to begin on Nov. 7th in Milwaukee, and will see the jazz artist make stops in Chicago, Detroit, New York City, Asheville, and more, with a tour-ending performance in Memphis on December 11th.A vinyl version of the record will be made available, and will come with a concertina booklet that includes some of Amani Washington‘s (Kamasi’s sister) artwork and stills from Rojas’ film itself. Harmony of Difference pre-orders are currently being held here. Check below for a full list of Kamasi Washington tour dates.Harmony of Difference Tracklist:DesireHumilityKnowledgePerspectiveIntegrityTruthKamasi Washington 2017 Tour Dates:08/03 – Salt Lake City, UT @ Twilight Concert Series08/04 – Morrison, CO @ Red Rocks Amphitheatre08/23 – Hollywood, CA @ Hollywood Bowl08/25 – Saratoga, CA @ Mountain Winery09/03 – Detroit, MI @ Detroit Jazz Festival09/24 – Yokohama, JP @ Blue Note Jazz Festival10/28 – Great Live Oaks, FL @ Suwannee Hulaween11/01 – Zurich, CH @ JazznoJazz11/02 – Torino, IT @ Club To Club11/03 – Paris, FR @ Pitchfork Music Festival Paris11/04 – Eindhoven, NL @ So What’s Next Festival11/07 – Milwaukee, WI @ Turner Hall Ballroom11/08 – Madison, WI @ Majestic Theatre11/09 – Minneapolis, MN @ First Avenue11/10 – Chicago, IL @ Riviera Theatre11/11 – Cleveland, OH @ Agora Ballroom11/14 – Urbana, IL @ Canopy Club11/15 – Detroit, MI @ Majestic Theatre11/16 – Toronto, ON @ Danforth11/17 – Burlington, VT @ Higher Ground11/18 – Northampton, MA @ Calvin Theatre11/20 – Boston, MA @ Royale11/22 – New York, NY @ Terminal 511/24 – Washington, DC @ MGM National Harbor11/25 – Philadelphia, PA @ Union Transfer11/27 – Pittsburgh, PA @ Mr. Smalls Theatre11/28 – Cincinnati, OH @ Taft Theatre11/30 – Charlottesville, VA @ Jefferson Theater12/01 – Richmond, VA @ The National12/02 – Raleigh, NC @ Duke Energy Center12/03 – Asheville, NC @ The Orange Peel12/05 – Birmingham, AL @ Saturn12/06 – Athens, GA @ Georgia Theatre12/08 – Atlanta, GA @ Variety Playhouse12/09 – Nashville, TN @ Marathon Music Works12/10 – Louisville, KY @ Headliners Music Hall12/11 – Memphis, TN @ New Daisy Theatre[cover photo courtesy of Lou Montesano Photography – STILLROCK]last_img read more

10 Baker’s Dozen Phish Setlist Tricks You Might Have Missed

first_imgWe all love it when Phish plays games with us. Sometimes these take the form of actual games (like the Audience-Phish chess matches of 1995), but generally speaking, they come out in carefully crafted setlists. While the band’s annual Labor Day weekend run at Dick’s Sporting Goods Park has been their focal point for setlist games in years past, the band fully took advantage of their thirteen donut-themed Baker’s Dozen performances to play countless setlist games with their avid fanbase.Some of these games were obvious: Almost every show featured a direct shoutout to the theme, including one-off covers from “Shake Your Coconuts” to “Powderfinger,” “Chocolate Rain” to “Strawberry Fields Forever.” These were all quite fun–especially my favorite of the bunch, “Strawberry Letter 23”–but deeper investigation reveals some clever setlist quirks that may have gone unnoticed to the untrained eye, whether or not they were actually intended to have a deeper meaning.That being said, if you’re reading this, you’re probably as big of a Phish nerd as I am. You probably caught some, if not all, of these. If that’s the case, then at the very least take this opportunity to appreciate the enormous dedication and mastery that this band brought to Madison Square Garden for their Baker’s Dozen run (or, you know, to decide if you think the theories are just a result of over-enthusiastic fans digging a little too deep for significance)…1. The Sweetest EncoresFrom the get-go, Phish playfully came out with a series of sweet-tooth-appropriate encores for our indulgence. The first three shows alone featured “The Mango Song,” “Peaches en Regalia,” “My Sweet One” and “Sweet Jane,” not to mention the (Orange) “Julius” from night 4. How sweet it is to be loved by Phish.2. All of the JimmiesIn the face of the Sprinkles vs. Jimmies debate, Phish seemed to lean towards their Vermont heritage with the “Jimmies” verbiage. Yes, they used sprinkles in the night 13 description, but they drove the “Jimmies” point home with not one, not two, not three, but four Jimi Hendrix songs in the last six shows, starting with “Jimmies” night” (“The Wind Cries Mary,” “Bold As Love,” “Fire,” and “Izabella”). It was as if the Jimi floodgates had opened, and we certainly reaped the rewards. Of course, just to confound the whole debate, they played one of the most-sought-after Jimi songs (the 574-show bust-out of “Izabella”) on the night with sprinkles in the description. We may never know what to call this topping again.3. And another Jimi!With “Jimmies” now being sprinkled (err… jimmied?) throughout the remainder of the run, Phish paid tribute to Jimi Hendrix one show later in an unusual and totally Phish-y style. They opened their Maple theme night with a version of “O Canada,” honoring both the theme of the show and the master guitarist’s iconic take on the “Star Spangled Banner” from his festival-closing set at Woodstock Music & Arts Fair in 1969. This was certainly a nod to Jimi, Jimmies, and Maple all in one gut-busting opener.4. The O’s are donuts too, manAnother fun fact about “O Canada”: Its first word is the letter “O.” This is fairly uncommon in modern English, and yet the same pattern appeared in the next night’s donut selection as well, “O Holy Night.” Of course, the letter O is actually representative of the shape of the Universe, which is to say that it looks like a donut. It’s almost as if they planned this out…5. Lemon “Party Time”Was the choice to play “Party Time” on “Lemon” night a nod to the gross-out “Lemon Party” Internet meme of yore? Maybe so, maybe not. Either way, this mainstay middle school prank was quite ripe for word play.6. A show of snow and dustThe “Powdered” theme of night 5 was perhaps one of the less obvious choices, lending itself to only two direct uses of the word Powder: Neil Young‘s “Powderfinger” and Chilling, Thrilling Sounds of the Haunted House‘s “The Very Long Fuse,” which mentions gun powder/explosions. “1999” continued the “gun powder” nods with its references to “bombs.” There were snow references everywhere throughout that show, from the opening harmonies of Fleet Foxes‘ “White Winter Hymnal” to the second set jams of “Steam” and “No Quarter.” Even “Gumbo” has some snow in it. And if we’re going wide with the theme, “Pebbles and Marbles” and “Farmhouse” both feature references to “dust,” which is certainly powdery in its own right.7. Chalk-ocolate donutsThe first syllable of the word “Chocolate” is a homophone for Chalk, which is the first word of “Chalk Dust Torture,” the biggest jam on “Chocolate” night. I’m proud of myself for using the word homophone correctly in context…8. The unspoken JimmyThough many of the “Jimmy” references from the “Jimmies” show were straightforward (including “Runaway Jim,” “Harpua” and “The Wind Cries Mary”), “Drowned” also gets credit for being on-theme. The song is a cornerstone from The Who’s 1973 rock opera, Quadrophenia, which centers around a teenage protagonist named… you guessed it… Jimmy. Unlike the Jimmy in “Harpua,” however, The Who’s Jimmy does not have a cat named Poster Nutbag. He might have benefited from a dog, though.9. The Boston Cream “Frost”-ingIn an NPR interview, Federal Donuts’ chef Matt Fein explained that some of the hardest donuts to mass-produce for the Baker’s Dozen shows were the ones with fillings. This could explain why the “Boston Cream” donut didn’t have the traditional Boston Creme filling, instead using the flavor as a frosting drizzle. It seems plausible that the band could have attention to this detail, following up their own  “Sunshine Of Your Feeling” medley with just the second-ever performance of “Frost,” and the first since 2013. [EDIT: In Trey’s post-Baker’s Dozen New York Times interview published today, he talks about the band’s spontaneous decision to follow their “Boston Cream” mashup with the quiet “Frost,” which turns out not to have been an intentional nod to the “frosting” situation. Oh well, that’s how it goes with Phish: “Most Shows Spell Something” to fans, even when they’re not meant to.]10. A “whole” set inside Mike’s Groove“Mike’s Groove” is the cute nickname that Phish fans have given the suite that begins with “Mike’s Song” and ends with “Weekapaug Groove.” Though “I Am Hydrogen” traditionally fills the space between the two songs, dozens of songs have occupied that coveted setlist spot. It’s almost always one song that fits in the Mike’s Groove sandwich, but on “Holes” night, they fit the “whole” second set between the two bookends of Mike’s Groove. Yes, whole and hole are different words, but they are homophones! Hooray for homophones!Bonus points to “Way Down In The Hole” for its “Garden” reference, and to all of the names in the first set of “Jimmies” night – Esther, Brian, Robert, Col. Forbin, Nellie Kane and David Bowie! I’m not reading too much into this, you are…Thanks for each and every one of the 237 songs, Phish![Cover photo by Chad Anderson]last_img read more

Watch Dave Matthews, Emmylou Harris, Steve Earle, & More Cover Tom Petty’s “Refugee” For Refugees

first_imgOn Tuesday evening, Octover 3rd, the “Lampedusa” tour kicked off at the Moore Theatre in Seattle featuring a diverse and talented group of musicians including Dave Matthews, Steve Earle, Emmylou Harris, Patty Griffin, Joan Baez and more. The string of performances are intended as a benefit for the Jesuit Refugee Service, a nonprofit that looks out for the well-being of refugees across North Ameirca.This 1977 Interview Proves That Tom Petty Was Coolness Personified [Watch]Just one day earlier, on October 2nd rock legend Tom Petty had suddenly passed away after suffering a heart attack at his Malibu, CA home. To begin their collaborative benefit performance at the Moore Theatre, the collective of musicians opted for an all-too-appropriate song, Petty and the Heartbreakers’ “Refugee,” a nod to both the dearly departed singer and the sensitive socio-political nature of the evening’s gathering. Earle, Harris and Griffin each took a verse of the Petty classic, while Matthews took chorus duties on the string heavy, emotionally potent cover.Watch Emotional Footage From Tom Petty’s Final Live Show At Hollywood Bowl, 7 Days Before His DeathYou can watch footage of Dave Matthews, Steve Earle, Emmylou Harris, Patty Griffin and more performing Tom Petty’s “Refugee” below, courtesy of YouTube user LJSimon:For further information on the Jesuit Refugee Service and the upcoming Lampedusa Concerts For Refugees, head to the organization’s website.[h/t – Rolling Stone]last_img read more

1 Year Later, HeadCount’s All-Star Election Night Party Is Still The Strangest Show We’ve Ever Been To

first_imgToday, November 8th, 2017, marks one year since the United States electorate chose Donald Trump as their 45th President–one year since one of the most collectively shocking evenings in American history. With Hilary Clinton overwhelmingly favored to win, HeadCount had organized a very special election results viewing party at Brooklyn Bowl billed as “Soundtrack to History”. But while most presumed that 11/8/16 would be “historic” as the day we elected our first woman President, it wound up being historic for significantly more worrisome reasons: It was the day we elected the supposedly “un-electable” President Trump. Listening back now, the music that served as the “Soundtrack To History” was incredible…but the fact that it was being performed in front of a screen displaying historically shocking news made it hard to swallow in real time. Like many others, I spent the majority of this show sitting in a corner watching the results roll in on TV, essentially ignoring the concert going on behind me. It made for one of the most bizarre, disorienting concert experiences of my life: my heart told me to enjoy the music, but my brain argued that there were more important things at stake. You could feel everyone in the room going through that internal struggle, however you may have felt about the results themselves. In the end, the “Soundtrack To History” made good on its promise. While it may not be a day that we remember fondly, it is surely a day that nobody will ever forget.Read the original piece below: All Star Musicians Perform The Soundtrack To A History We Never Expected[Originally published November 9, 2016]It had all the makings of an incredible celebration.After HeadCount‘s noble and tireless efforts to register voters and engage the electorate in the political process throughout the circus that was the 2016 election season, the polls were closed, and their work was finally done–at least for the time being.All that was left to do was sit back and watch the results of this monumental election roll in, and the HeadCount team had put together an appropriately monumental “soundtrack” for the historic evening. Billed as “Soundtrack To History“, the Election Night party was set to mix the pride of electing a new President with the familiar excitement of live musical improvisation. As a projection screen on Brooklyn Bowl‘s stage (and TVs throughout the venue) showed ongoing election coverage, a star-studded Everyone Orchestra lineup would play two all-improv sets of music.Marc Brownstein and Aron Magner (The Disco Biscuits), Steve Kimock, Mihali Savoulidis (Twiddle), Vinnie Amico (moe.), Jay Jennings and Chris Bullock (Snarky Puppy), Jeremy Salken (Big Gigantic), Natalie Cressman (Trey Anastasio Band), former The Motet frontman Jans Ingber, Marco Benevento, Karina Rykman, unannounced special guest Robert Randolph and more collaborated and improvised impeccably throughout the evening, delivering the sort of special performance that stays with you, that inspires the feelings of appreciation, awe, and elation that live music enthusiasts constantly chase.But on this night, the energy in the room was not in sync with the music in the air. The crowd was not buzzing with the excitement that this amazing performance should have inspired–and it was no mystery as to why. While the band wailed away, the crowd grew increasingly distracted by the elephant in the room: Despite virtually every early media prediction pointing toward an easy Hillary Clinton victory, controversial Republican nominee Donald Trump had taken the lead. As contested states continued to go in Trump’s favor, a palpable air of dread began to permeate the audience. Gradually, the crowd in front of the stage began to thin, and the crowds around the TVs in the front of house steadily grew, fixated on the incoming poll numbers in stunned silence.By the time the band finished their second set and began to take their bows, the outcome that virtually no one expected was slowly but surely becoming a reality…Donald Trump was going to win. No glass ceilings would be shattered on this night. The crowd was in a state of disbelief as HeadCount founder Andy Bernstein stepped onstage to address the audience, himself visibly shocked by the outcome. “We all came in here having no idea what the night was going to be like…We’re all going to remember this night for the rest of our lives. And whatever you think of what happened, we had beautiful, powerful music and we were all here together.”At the time, these words rolled off my back without sinking in. The utterly astounding turn of events that we had just seen unfold had descended on me like a thick fog. I love and appreciate the unifying powers of music–more than most, I would even venture to say. But on this night, that sentiment did little to console me. We, as a country, had just elected President Donald Trump. This man that has consistently horrified us for over a year was going to be the leader of the free world. The crowd thinned slowly, many in attendance reluctant to leave this small bubble of like-minded music folk and walk out the door into the real life.It wasn’t until I woke up this morning that I was able to truly appreciate what Andy had said. Despite the crushing blow of watching something supposedly “impossible”–the one thing many hoped and prayed would never happen–occur before our eyes, and despite the palpably distressed cloud that the results cast over the the “Soundtrack To History” show, I had spent a historically upsetting evening watching beautiful live music surrounded by great friends, all coping together. While no one is sure of the challenges we’ll face under this new regime, all is not lost. We can still create this magic. We can still strive to make the world a better, more positive place, even in the face of overwhelming negativity. Together, we can still do good. And that’s something we can all be thankful for.Below, you can watch full video of the “Soundtrack To History” Everyone Orchestra performance courtesy of nugs.net, and view a full gallery of photos from the historic evening’s event courtesy of Andrew Scott Blackstein Photography.[Video: nugsnet / Jonathan Healey]For information about how you can get more involved in our country’s political process and affect positive change through democracy, head to the HeadCount website. Load remaining imageslast_img read more

13 Days Of Phishmas 2017: Baker’s Dozen Night 4, The “Jam-Filled” Show

first_imgHot Takes From Night 4:REPEAT WATCH: Pshhh, come on now. On Jam-Filled Tuesday? No shot.TODAY’S DONUT: Jam Filled [5-song first set, each song at least 10 minutes in length, including a 30-minute “Lawn Boy”; 20-minute “Fuego” set two opener; 33+ minute “Crosseyed and Painless,” the second-longest jam of the 3.0 era; Bob Marley “Jamming” quotes]WE TIRED YET: Tired? Sure. But after Jam Tuesday, we’ve all decided we’re never missing a Phish show again. Whether or not we’re tired.SETLIST: Phish | Baker’s Dozen Night 4 | Madison Square Garden | New York, NY | 7/25/17SET 1: Sample in a Jar, Lawn Boy[1] > My Friend, My Friend[2] > Stash, Bathtub GinSET 2: Fuego > Thread > Crosseyed and Painless > Makisupa Policeman -> End of Session[3] > Tuesday > CavernENCORE: Julius > Lawn Boy[1] Page on keytar.[2] No “Myfe” ending.[3] Debut.[Cover photo: LivePhish]We’ll see you back here tomorrow, as we continue to re-sample all the donuts on our way back to the Garden for New Year’s Run 2017-2018. For a complete list of pre-show plans and late-night after-parties, check out our guide here.13 Days of Phishmas 2017:Night 1 – “Coconut” – 7/21/17Night 2 – “Strawberry” – 7/22/17Night 3 – “Red Velvet” – 7/23/17Night 4 – “Jam-Filled” – 7/25/17 In just 10 days, Phish will make their triumphant return to Madison Square Garden in New York City for their traditional 4-night New Year’s Run at the world’s most famous arena. Over the years, The Garden has become the de facto home court for the Phish from Vermont. To date, the band has played the storied midtown room 52 times–usually surrounding New Year’s Eve–and among those 52 are some of the more exciting and memorable shows they’ve ever played. In 2016, we counted down the days until New Year’s Run with “The 12 Days Of Phishmas,” a festive collection of our favorite Phish shows at the Garden over the years. But that list was made before the Baker’s Dozen, Phish’s unprecedented run of 13 straight shows at MSG over the course of 17 days featuring nightly donut flavors, surprise covers and bust-outs to cater the setlists to each evening’s respective donut “theme” and, oh yea, NO REPEATS, that ended with a “championship” banner being raised to The Garden’s rafters on a day officially designated as “Phish Day” by the Mayor of New York.Much of the excitement of the residency came from figuring out the game as it went along. By the thirteenth night, we were all experts on the Baker’s Dozen: We were making informed setlist guesses based on pastry flavors, hoarding our souvenir beer cups (anyone else have a cabinet full of those bad boys?), confidently debating the virtues of one concourse spicy chicken sandwich vs. the other. On the Monday morning following the run, we gushed about the impressive amount of material covered (230+ different songs) as we proudly surveyed the thoroughly baffling results of these 13 nights in NYC. But on Night 1, nobody knew much of anything. We didn’t know that the donut flavors held deeper meaning. We were skeptical of the band’s ability to play 13 shows with no repeats. We were totally unprepared.Our Official Guide To Phish New Year’s Pre- And Post-PartiesGoing back over the music of the Dozen is an extensive undertaking, and it’s been tough to know where to start in the months since, let alone how to rank these shows among the rest of Phish’s decorated history at MSG. So with the band’s historic summer at the Garden in the rearview and another four Phish MSG shows squarely in our sights, we’ve decided to celebrate this year’s Phishmas by reliving the magic of the Dozen one donut at a time, the same way it was originally tasted. By the time we’re done going back through the Baker’s Dozen spoils, we’ll all be primed and ready to add four more shows to the list, rounding out 17 in ’17–the biggest and baddest year of MSG Phish we’ve ever seen. Merry Phishmas, kiddos…NIGHT 4: JAM-FILLED7/25/17(Review by Andrew O’Brien) Phish – 7/25/17 (Jam Filled) – Full Video [Dinner and a Movie Ep. 3]When Phish announced after their velvet-y Sunday performance that Tuesday night’s donut theme was “Jam-Filled,” wild guesses as to what the clue meant abounded. After all, the daily donut “puzzles” have been one of the most entertaining aspects of the Baker’s Dozen so far. We get one clue, and our imaginations take over as we try to figure out what tunes will fit within the established framework for the evening. Would they play “Jam” songs like “Mountain Jam?” Or maybe they’d play a Pearl Jam song? And so on. But in the back of everyone’s minds, there was only one right answer. The answer that just seemed a little too outlandish to be true—more outlandish, even, than Phish playing “Black Betty” by Ram Jam.On Tuesday, Trey Anastasio, Mike Gordon, Jon Fishman and, of course, Page McConnell, answered the hypothetical that has been bouncing around the inter-webs since their reunion in 2009—a dream scenario for even the most jaded of vets: “What if they just, like, came out and jammed for a full show?” Well, on a Tuesday night at Madison Square Garden, the foursome did just that. You can go ahead and mark Jam-Filled night at the Baker’s Dozen as a full-show entry in the ongoing and rapidly expanding upcoming series entitled, “For Real, Though, You Do Just Need To Go To All The Damn Shows.”It seemed a lot of familiar faces from weekend one were running a little late—and dressed a little more formally than they were on Sunday—as they filed into the Garden. It’s Tuesday, after all, and the real world doesn’t care that Phish is playing thirteen shows across seventeen nights. The real world wants you to go to work. So as those first “Sample In A Jar” guitar jabs rang out, the incoming “straight from work” crowd in the venue concourse seemed to slow down a couple notches—”Maybe we’ll just get our beers now before we head to the seats. ‘Sample’ opener, nothing we haven’t seen before.” Wrong. “Sample” quickly launched into majestic Type-II space, the audience let loose a rapturous roar as the concourse kids stampeded toward their respective sections. Jam-filled Tuesday was already making good on its promise. Hope you grabbed those beers when you had the chance latecomers, because there was nary another “piss break” moment the rest of the night.After 10+ minutes of “Sample,” Trey Anastasio kicked up “Lawn Boy.” It’s early for a “breather,” but hey, who doesn’t love to hear the Chairman strut his stuff? After a quick, knowing “Good evening, everybody,” Page McConnell started in on the verse, quickly ceding to spotlight to Mr. Michael Gordon, who dove into his usual bass solo with a determined focus. But it quickly became apparent that this was not your regularly scheduled “Lawn Boy” programming. Exhibit A: After the extended Mike solo, it was Trey who picked back up on vocals, not Page. The keyboardist had other plans, grabbing his notorious keytar instead, as Trey tossed him an alley-oop: “He gets so overwhelmed by olfactory hues—Mr. Page McConnell!” Mr. Page McConnell, indeed. Leo started with a keytar run through the song’s theme before linking up with Jon Fishman and powering into a meaty funk groove. Yes, in “Lawn Boy,” a song with no earthly reason to spawn a groove. And yet, there it was. And on it went. And on, and on…Trey joined the fray before long, helping build the jam to its first of many peaks and distinct sections, ranging from crunchy funk, to beautiful, to melodic vamps, to space-rock ambiance, to towering lead lines, and virtually everything in between. Powered by an impeccably tight Fishman (quite possibly the evening’s MVP), the “Lawn Boy” jam was patient, focused, and enthralling, and clocked in at just under 30 minutes (?!) when all was said and done. People read show reviews to get a feel for the music that was played, but at a certain point, verbally describing a jam becomes a fool’s errand. Some things you just have to hear for yourself. So listen back to this “Lawn Boy” at all costs for some of the finest Phish you can hope to hear. For our purposes here, we’ll just say this: On Jam-Filled Tuesday at MSG, “Lawn Boy” became a Lawn Man.Watch pro-shot footage of Phish’s enormous “Lawn Boy” from Jam-Filled Tuesday at the Baker’s Dozen below, via the band’s YouTube page:Thunderous applause ensued as the band moved into “My Friend, My Friend,” ending what was by far the greatest rendition of “Lawn Boy” ever played. Phish continued their jam-filled mission on the Rift favorite, eschewing the song’s “myfe” ending for a blissful major key jam that seemed to briefly touch on “The Very Long Fuse” from Chilling, Thrilling Sounds. “Stash” was up next, with Trey stepping up and swinging for the fences with delicate but powerful jazz-rock guitar leads, giving the classic composition its own hearty helping of sweet, sweet raspberry jam. “Bathtub Gin” then popped up out of “Stash,” making its highly-awaited Baker’s Dozen appearance on Jam-Filled Tuesday to the still-dumbstruck delight of the crowd. The roaring Type-I shot of “Gin” would have easily been a highlight of any other Phish show, and is definitely worth several re-listens, but on this night, the set-closing tune quickly faded into the background.Set break was jammed full of high-fives, awe-struck stares, and a chorus of “wtf did we just see?”. The answer to that burning question: A five-song FIRST SET, with excellent versions of “Sample,” “My Friend,” “Stash,” and “Gin” all eclipsing the ten-minute mark. And, oh yeah, thirty overwhelming minutes of olfactory hues! And Jam-Filled Tuesday was still just getting started.Phish returned from the break with a set-opening “Fuego,” giving the fans a chance for some cathartic “whoa” chants before, once again, launching deep into blissful Type II territory and, eventually, descending into the murky depths (with touches of “2001” and “Piper” thrown in, to boot). With Fishman once again keeping things rolling, the band put together a gorgeous “Fuego” jam reminiscent of some of the tune’s early extended outings (see 7/4/14; 7/8/14) during the “Summer of the Fuego.” Right around the 20-minute mark, the bottom dropped out of the “Fuego” jam, and the infectious guitar riff of recently debuted original, “Thread,” took its place. While “Thread” would prove to be one of the few songs that didn’t get the jam treatment on Tuesday evening, it further affirmed its stature as the strongest of the summer’s original debuts.After the brief detour into “new tune” terrain, Phish got the “Jam” train rolling once again as they kicked into the Talking Heads‘ “Crosseyed and Painless”—and oh, what a “Crosseyed” it was! Riding a steadfast determination to jam the living daylights out of this song, the band delivered a multi-section, multi-faceted, multi-“wait, is this still ‘Crosseyed?” rendition of the fan-favorite cover, vaulting it into the upper reaches of the “best of” conversation. A slinky “cocktail lounge” jam, building and breaking bass-forward sonic chem-trails, flighty guitar flutterings, and seemingly endless thematic twists and turns, with some 1.0 hose, some 2.0 weirdness, some 3.0 groove, and more generally impeccable work behind the kit from Fishman. This jam had a bit of everything, all served up in the form of a half hour-plus of immaculate Phish improv. Just like the big, burly first-set “Lawn Man,” it’s a farce to try and do justice to this “Crosseyed” with words—it’s a dish you simply have to taste yourself.“Makisupa Policeman” followed the massive “Crosseyed” jam, serving as the show’s first true “breather” and a welcome choice for that role (Keywords: “Woke up this morning, stumbled out on stage; I only came here so I could listen to Page” > funky Page solo). In the midst of the reggae bounce, Trey inserted one of the night’s most amusingly appropriate embellishments: a quote of Bob Marley‘s “Jamming,” serving as a second set of “keywords” to introduce a solo from the Cactus: “We’re jamming, hope you like jamming too. It’s the kind of music I like, especially when I’m listening to Mike.”“Makisupa” even got a brief dose of synth-led major key jamming itself toward the song’s end, before bleeding into another totally unexpected surprise—the cotton-soft ambiance of “End of Session,” the “quasi-song” coda from the end of 1998’s The Story of the Ghost, making its first-ever live appearance almost 20 years after its release.[Thanks to Phish Tour 2014 member Christina Elaine for the fist-pump GIF]The remainder of the set was the definition of a “victory lap”—just take a look at Trey’s emphatic fist pump above if you need proof. Newly Phish-ified TAB rocker “Tuesday” served as a celebratory nod to a Tuesday night show for the ages, and a raging “Cavern” drove the set home. “Julius” kicked off the encore, and Trey, at first, seemed tired and winded after several solid hours of electric improvisation. However, that, too, proved to be a parlor trick, as the guitarist tore into the song’s closing solo. Finally, Page walked out from behind the keys toward center stage, as the band landed back on the “Lawn Boy” theme, allowing the keyboardist his usual chance to ham up the tune’s closing notes.So, there we have it. Jam-Filled night is in the books, and it’s proved to be one of the most exciting, creative, and all-around high-quality shows in recent memory. With the Baker’s Dozen, nothing is off the table, not even an all-time great show on a Tuesday night. It’s hard to imagine the shows getting better from here. But, in case you forgot, this was still only night 4 of 13, and after a monster show like that, it would be thoroughly unwise to doubt the powers of the Phish. There’s still a lot of magic to come, so strap on your seat belts and enjoy the ride. See you all tonight for some Powdered Donuts!Listen to Tuesday’s “Jam-Filled” performance below, courtesy of Phish Rabbi.last_img read more

Two Elderly German Men Escape Nursing Home, Are Found Raging A Metal Festival At 3am

first_imgThis past weekend, Wacken Open Air festival took place in Schleswig-Holstein, Germany. The annual event, billed as the largest heavy metal festival in Europe, brings in tens of thousands of fans young and old from around Germany and beyond each year. However, this year, two particular attendees have captured the attention of the media on a global scale.According to a report from German public international broadcaster Deutsche Welle, on Saturday, police in the area were alerted that two elderly residents of a local nursing home had gone missing. Later that night, around 3:00 a.m. local time, police found the two escapees on the grounds of Wacken Open Air enjoying the festivities along with the gathered masses. According to police, the two men were “disoriented and dazed” when they were found at the festival, but were nonetheless reluctant to leave and head back to the home. As police spokeswoman Merle Neufeld told German broadcaster Norddeutscher Rundfunk, “They obviously liked the metal festival.” Authorities had to escort them back with the help of a taxi and a patrol car.In the hours since the nursing home escaper caper, the story has spread through the global media, with die-hard music fans around the world tipping their metaphorical hats to the ballsy senior citizens for their determination to get in on the party. Sure, their plan was foiled and they were returned to the home, but in the meantime, they got to rage Wacken Open Air into the wee hours. If you’ve ever had to go to great lengths to get to a concert, you’re surely well acquainted with the feelings of elation and “worth it”-ness you experience once you’ve finally made it to the show. You can be sure that these well-aged metalheads were feeling pretty fantastic on Saturday night.Here’s hoping you guys had the time of your lives on Saturday night. We can only hope we’re as cool as you when we grow up.[H/T NY Post]last_img read more

Widespread Panic Summons The Kraken In Scorching St. Augustine Opener [Videos]

first_imgOn Friday night, in the wake of a three-night blowout at Nashville’s Ascend Amphitheatre, Widespread Panic took the stage at St. Augustine Amphitheatre in St. Augustine FL, the oldest city in America. The city is known throughout the world for its historic landmarks and pirate mythology, including Ponce De Leon’s search for the fabled “Fountain of Youth.” Since Nashville, it appeared the boys had taken shelter in an abandoned pirate fortress and drank nothing but Caribbean rum, trading gold doubloons while shooting dice to pass time. Hurricane Florence knew better than to mess with St. Augustine this year, as many refugees from the Carolinas took shelter from the storm with the protection of Jimmy Herring’s six-stringed Neptune trident, John Bell’s mystical incantations, and Dave Schools‘ seismic pulses.To kick off the first set in a classic “Panic in the Streets” style, the band nailed a lively “Disco” before following with a smooth “Wondering.” John Bell remained outstanding as the band picked up a fiery version of “Glory” featuring some sizzling organ provided by JoJo Hermann (“Anytime we dance takes us closer to glory!”). Jimmy Herring took the helm of this pirate ship’s one-way trip next, his electric sawblade cutting out the lightning riffs of “Action Man”, which recounts the tale of the legendary horse Man-O-War’s only defeat—to a horse appropriately named Upset.Keeping the tone fiery with a hint of brimstone, the Panics executed a coup de grace with a nasty “Junior” (an ode to Junior Kimbrough) featuring an intensely built-up jam that transitioned softly into a sentimental “C. Brown”. (“And you can walk on home with me…You don’t even need to think a word. You don’t have to worry… “) The slow and steady instrumental “Party at Your Mama’s House” incorporated JoJo’s pristine piano playing, Jimmy Herring’s wizard fingers, and a percussive beatdown by Duane Trucks and Sonny Ortiz.As the song wound down, John Bell stepped back to the microphone to destroy a modern take on Robert Johnson’s “Stop Breaking Down” before a murky wave full of “Fishwater” crashed over the Amphitheatre’s walls. At first, it seemed that Hurricane Florence was coming closer for a listen but, in truth, it was the band’s powerful music summoning the salty sea to churn in accompaniment to JoJo’s swirling synthesizer and Herring’s maelstrom guitar licks. The song descended through the depths of the ocean right through the gates of the underworld as each member of the band contributed to the musical mayhem. John Bell and Schools “Mo, Mo Mo’ed” in a whirlpool descent until finally hitting rock bottom and capsizing, at which point the boys temporarily abandoned ship and left the audience to tread water until their return.The band of swashbucklers returned after set break aboard a commandeered galleon and busted out a beautiful tribute to fallen fan Pace Taylor with “Don’t Wanna Lose You”. The Ball original had not been played since Panic en la Playa Tres in 2014. The music continued straight into Jerry Joseph’s jagged reggae tune, “Chainsaw City”, Dave Schools backing Bell’s squawking vocal ad libs. Steve Lopez joined the stage to lend a percussive hand before another smooth segue marooned the festive audience on the island of Jorma Kaukoken’s “Genesis”.The band took their only pause of the set before acing an extended “Up All Night” and taunting the passing Hurricane with a defiant “Hatfield”, the true story of the rainmaker who got paid ten grand by the city of Los Angeles to end a drought. John Bell dazzled with his off-the-cuff raps about Hatfield’s mama (“a big, beautiful German woman!”), “cold beer in the summertime,” “cowboys and Indians,” “Batman and Robin,” “apple pie smells coming from the window,” and “three-stringed banjos,” all culminating spectacularly with “rain for L.A.”Widespread Panic played one for the bilge rats next with a heavy “You Got Yours”, buoyed by Herring’s sacrificial riffs to Poseidon and Schools’ thumpin’ and shadowing backup vocals. JoJo’s synthesizer lifted the band into J.J. Cale’s “Ride Me High”, which led into a lengthy and flexible jam. The band transitioned into a sexy “Tie Your Shoes” and, at some point during the weighty jam in between, it seemed the mythical Kraken was summoned from the briny deep to groove on some Panic tunes.A mixed medley kept the audience (and the Kraken) guessing until the band finally settled into an appetizing “Contentment Blues”, with John Bell declaring proudly, “I Lerv mah Chicken!” To end the second set, Panic played a fiery tribute to Tom Petty with their third-ever rendition of “You Wreck Me” and their first since it capped this year’s three-night Red Rocks run.For their encore, Widespread Panic reemerged from the shadows to nail a cover of Vic Chestnutt’s “Expiration Day”, with JoJo tinkering a forlorn piano line. As a grand finale, the boys brought the swampy Georgian farmland to the beaches of St. Augustine with stomping “Love Tractor”. The song featured some lively call and response, raucous “Yee-Haws!”, crashing percussion by Ortiz and Trucks, and a Herring solo that had everyone’s feet (and tentacles) swaying in jolted rhythms.The boys dismounted from their musical positions and shuffled offstage, riding out of the amphitheatre, over the waves, and toward the horizon on the back of the high-seas tall tale they’d summoned with their weekend-opening performance. No need to worry, though. These swamp scoundrels are set to return to the shore today for their first of two remaining evenings in St. Augustine.You can listen to an audio stream of Widespread Panic’s first night in St. Augustine via PanicStream here.Below, check out a selection of crowd-shot videos from the performance:Widespread Panic – “Fishwater” Widespread Panic – “Genesis” [Jorma Kaukonen cover][Video: Fred Ramadan]Widespread Panic – “You Wreck Me” [Tom Petty cover][Video: rofred09]Setlist: Widespread Panic | St. Augustine Amphitheatre | St. Augustine FL | 9/14/18Set 1: Disco, Wondering, Glory, Action Man, Junior, C. Brown, Party At Your Mama’s House > Stop Breakin’ Down Blues, Fishwater (65 mins)Set 2 Don’t Wanna Lose You^ > Chainsaw City* > Genesis, Up All Night > Hatfield️ > You Got Yours, Ride Me High > Jam > Tie Your Shoes > Contentment Blues > You Wreck Me (88 mins)Encore: Expiration Day, Love Tractor (13 mins)Notes * w/ Steve Lopez on percussion^ LTP 3/17/14 Playa Tres (264 shows) ~ RIP Pace Taylorlast_img read more

Watch Lettuce Jam With Legendary Drummer & Former Teacher, Kenwood Dennard, At Wormtown Music Fest [Full Show Video]

first_imgOver the weekend, the funk gurus of Lettuce headlined Greenfield, MA’s Wormtown Music Festival alongside other fan-favorite artists like Turkuaz, Leftover Salmon, The Original Wailers, and more. Lettuce performed a two-set show on Saturday night, and had plenty of surprises planned for the festival crowd.Recently, Lettuce has been experimenting with extending their songs and going deeper into jams, creating winding, psychedelic explorations within and between tunes. Appropriately and sticking with this evolution, the band kicked things off with a four-song first set, with each of the four tunes—”Reunion”, “Yakitori”, “Gang Ten”, and “Sam Huff’s Flying Ragin’ Machine”—ringing in at over 12 minutes, with the longest song of the first frame being a nearly 20-minute rendition of “Gang Ten”.However, a major highlight of the night came during Lettuce’s second set. After opening with a 14-minute take on “The Force”, the renowned funk group worked through “Larimar” and “Ghost Of Jupiter” before the set’s standout number—an 18-minute rendition of the group’s beloved “Lettsanity”, which featured a sit-in from Kenwood Dennard, a famed jazz drummer who has previously worked with Dizzy Gillespie, Miles Davis, Maceo Parker, and many more. Notably, Dennard also serves as a professor at Berklee College Of Music, where Lettuce’s members originally met, and previously taught Lettuce’s own Adam Deitch.As Deitch noted in a Facebook post,Honored to have had one of my favorite drum gurus/ Teachers sit in with Lettuce last weekend!! If you HAVENT heard Maceo Parker‘s album, “Life on Planet Groove” you better listen right now!! Im talkin bout Kenwood Dennard!!!! Go friend request him, drum friends!! His elevated approach of teaching funk and life lessons is unparalleled!!However, Adam Deitch is not the only high-profile drummer in the live music scene who has studied under Kenwood Dennard. Jason Hann, percussionist for String Cheese Incident, also offered his experiences with the prolific jazz master and teacher. He added,Kenwood was one of the first drum clinics I saw in Miami when I was around 12. I still have the cassette tape of it. He was playing 2 keyboards on their side next to his feet. Made me get a Krumar to try and play keys while playing drums. His feet were playing the beat and he did a rap – all at the same time – that I still remember about Elvin Jones and Stewart Copeland. Got to sing it back to him when he sat in with SCI (with his collection of jaw harps) and he freaked out that anyone knew that. He’s a mega talent and super influential for being unique at the highest of levelsYou can watch a video of Kenwood Dennard’s sit-in with Lettuce at Wormtown Music Festival 2018 below. You can also check out complete video of both of Lettuce’s Wormtown sets below, courtesy of gerryjdvideo. Setlist: Lettuce | Wormtown Music Festival | Greenfield, MA | 9/15/2018Set One: Reunion, Yakitori, Gang Ten, Sam Huff’s Flying Ragin’ MachineSet Two: The Force, Larimar, Ghosts Of Jupiter, Lettsanity, Tryllis, House, TrapezoidSet One Set Two[Videos: gerryjdvideo]last_img read more

Widespread Panic Concludes Milwaukee Run With Old-School Classics [Photos]

first_imgWith two nights of unrestrained debauchery behind them, Widespread Panic shuffled on stage once more to wrap the three-night run in Milwaukee to an explosive end. The band continued to raise the bar in their bid for perfection with crisp tones and impeccable synchronizations that left the audience and couch tour listeners eager for more.The heaters came out early with a first set of classics, opening the show with “Conrad” which picked up serious momentum before slowing down the tempo for a juicy “Coconuts” that left the audience’s mouth watering. The song had never been played in Milwaukee before. Continuing the trend of songs written before 1986, Dave Schools led the boys through a wild bass-heavy romp through “Stop-Go” with John Bell “strutting and crowing” along the way. The bassline danced and morphed into an extended version of Vic Chestnutt’s “Aunt Avis” with a dreamy conclusion added to the end. Curtis Mayfield’s “Pusherman”, which hasn’t been played since Gentleman’s night in Atlanta on 12/30/17, developed out of “Aunt Avis” and featured a spirited John Bell on vocals.A slight pause gave way to a scorcher “Rebirtha” which callously presented the lines “I know a town where real life’s a game, Baseball’s all that’s real” to a city eliminated from postseason contention. A heavy, psychedelic development emerged from this tune with a “We Want the Funk” tease that slowly morphed in a slow, ponderous rendition of “Wondering”. An aggressive “Dyin’ Man” culminated into a head bobbin’ version of yet another old school jam “Pigeons” to finish the first set. All songs played in the first set have been played by the band before the mid-nineties with most dating back to the band’s eighties repertoire. Every musician played exceptionally well with noteworthy performances by the incandescent Jimmy Herring, dominating Dave Schools, and calculated madness of John Bell.Upon return from set break, the boys kicked into the only modern era song played with a gradually intensifying “Steven’s Cat”. The second set was quickly thrown into overdrive with the opening bass notes of “Arleen”. John Bell’s deranged rants about no electricity, no donuts, no chicken was absorbed by the audience in an insatiable uproar. The music flowed continuously into J.J. Cale’s “Travelin’ Light” which was hammered home by a formidable Dave Schools. An unforeseen cover of John Dawson’s “Dirty Business” was performed for the first time since the Halloween run in Broomfield, Colorado on 2016 to the raucous exhilaration of the frenzied crowd.The boys then began an arduous task of building one of the biggest and most ridiculous musical sandwiches that have ever been constructed, beginning with the first half of a soaring “Surprise Valley” that was then commandeered by Dave Schools’ unbelievable vocal performance of “All Along the Watchtower”. The tune that was written by Bob Dylan and later popularized by Jimi Hendrix as part of his Electric Ladyland album hasn’t been played by the boys since New Year’s Eve Run at the Fox Theater nearly three years ago.The ambitious sandwich continued to be piled higher with meaty jams including a beloved “Jack” (“who was really a jester”), a loaded portion of “Drums” featuring Duane Trucks and Sonny Ortiz, an extra helping of saucy jams with Schools and Herring joining the percussionists, and finally the belly-buster tribute to Vic Chestnutt with a rockin’ “Protein Drink / Sewing Machine” that culminated into the second half of “Surprise Valley” to finish this monumental masterpiece. To add to the epic conflagration, the Panics melded the music and transitioned smoothly into a heartfelt “Climb to Safety” by Jerry Joseph. This nasty sequence of music flowed nonstop from the first half of “Surprise Valley” and ended with “Climb to Safety” for a whopping total of nearly an hour of relentless jams.Widespread Panic played two more “Songs” from the early days of the band to finish out the run in Milwaukee. Most people in attendance have no recollection of any of the shows as their brains leaked out their ears and onto the Riverside Theater’s floor. However, with recording technology at hand, it has been surmised that a lucid “Dream Song” drifted lazily into “Porch Song” for a mellow finale to an incredible night. The Riverside Theater and its shell-shocked patrons stood in awe for an indeterminable amount of time before both the establishment and audience vanished in a cloud of smoke with only scattered rubble and debris left on site.Milwaukee will have at least a year to rebuild Riverside Theater, the cities’ infrastructure, and restock the beer supply until the next time that Widespread Panic rolls through town. Until then, the boys realign their periscopes toward the City of Las Vegas for an early Halloween celebration. With plenty still at stake, the band and the audience prime their energy and funds to go all-in next weekend at the Park Theater in the Park MGM Casino, formerly known as the Montecarlo Casino.Odds of survival are low, but at this point, your pot-committed to bet your ass on a good time in Vegas.Before I part, I impart the knowledge bestowed upon me from Mr. Kenny Rogers:“You’ve got to know when to hold ’em,Know when to fold ’em.Know when to walk away,And know when to run.You never count your money,When you’re sittin’ at the table.There’ll be time enough for countin’,When the dealin’s done.”~Good luck and God bless, good people. Always keep an ace in your sleeve and your pedal to the floor.Below, you can view a gallery of photos from Sunday night’s Riverside Theatre show via photographer Daniel Ojeda.Setlist: Widespread Panic | Riverside Theatre | Milwaukee, IN | 10/21/18Set 1: Conrad, Coconut, Stop-Go > Aunt Avis > Pusherman, Rebirtha > Jam > Wondering, Dyin’ Man, Pigeons (87 mins)Set 2: Steven’s Cat, Arleen > Travelin’ Light, Dirty Business, Surprise Valley > All Along The Watchtower > Jack > Drums > Jam (w/ Jimmy & Dave) > Protein Drink / Sewing Machine > Surprise Valley > Climb To Safety (96 mins)Encore: Dream Song, Porch Song (12 mins)Notes: ‘Coconut’ LTP 10/28/17 Vegas (FTP for Milwaukee)‘Rebirtha’ with Dave solo tease/intro‘Pusherman’ LTP 12/30/17 Atlanta‘Dirty Business’ LTP 10/29/16 Broomfield (64 shows)‘All Along The Watchtower’ LTP 12/30/15 Atlanta (141 shows)‘Dream Song’ LTP 12/29/17 AtlantaWidespread Panic | Riverside Theatre | Milwaukee, WI | 10/21/2018 | Photos: Daniel Ojeda Photo: Daniel Ojeda Load remaining imageslast_img read more