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After an incredible New Year’s run down at The Tabernacle in Atlanta, GA, The Disco Biscuits are now setting their sights on a triumphant return to their hometown of Philadelphia from February 2nd-4th. There’s never any shortage of fun when the Biscuits hit their hometown, as the energy in the room is always palpable whenever the band hits the stage. The group will return to The Fillmore Philadelphia for the run, and today has announced stellar supporting acts for each night of the three-night stand.Watch The Disco Biscuits’ Full Performance On Night Two Of NYE Run [Pro-Shot]Joining the Biscuits will be up and coming jam band Aqueous on February 2nd. The group is coming off a stellar 2016, having released two EPs and recently rang in the New Year with Twiddle. The Buffalo-based, high-energy band is poised bring it in 2017, and will prove to the Bisco faithful why they are the real deal.On February 3rd, the fiery Philly funk extravaganza that is Swift Technique will get things heated up at The Fillmore nice and early. The band has supported everybody from the Wu-Tang Clan to The Meters, and Turkuaz to The Motet, and more for a reason. They bring that straight up F-U-N-K right to your trunk.And on February 4th, what else needs to be said about long-time friend and Electron cohort Tom Hamilton and his American Babies that hasn’t been said already? The Joe Russo’s Almost Dead guitarist is one of the busiest musician’s in the scene, between that project, Billy & The Kids (with Aron Magner), playing with Bob Weir, and….do we really need to keep going? Tom Hamilton’s American Babies is one of the best original projects going in the scene, hands down.Whenever the Disco Biscuits ascend onto Philly, the shows tend to be of epic proportions, and these shows are sure to be no different. With old friends and new, expect some exciting collaborations to punctuate an awesome three night hometown run. Tickets for all three shows are currently on-sale and can be purchased here. For additional show information and updates, check out the Facebook Event page.
[Video courtesy of Da Bearman]Supervision with Pretty Lights and JuBee[Video courtesy of Pepi Almovodar]Supervision with Pretty Lights and JuBee[Video courtesy of Pepi Almovodar]Supervision with Pretty Lights[Video courtesy of Russ Mullins] [Video courtesy of Da Bearman]Supervision with Pretty Lights and JuBee Since Cervantes’ teamed up with Euphonic Conceptions to debut Re:Search Wednesday earlier this year, a weekly evening primarily dedicated to all sounds electronic, Wednesday nights in Denver, Colorado, have been goin’ off. This past Wednesday brought Mikey Thunder, The Party People, Chill Mickelson, Supervision, and Unlimited Gravity to Cervantes’ Other Side, a 400-person room, and guests who were able to get into the sold-out show certainly got a lot of bang for the five-dollar pre-sale price. In addition to this already stacked line-up, GRiZ and Pretty Lights also surprised the crowd by making appearances during the night, with both of them sitting in and throwing down during Supervision’s set. Rapper JuBee, who was celebrating his birthday that night, also reemerged after his own set with The Party People to lay down some fiery bars alongside Pretty Lights.You can check out some videos from the epic night below.Supervision with Pretty Lights and JuBee [Video courtesy of Da Bearman]Supervision [Video courtesy of Da Bearman]Supervision with Pretty Lights and JuBee [Video courtesy of Da Bearman]Supervision with GRiZ
The lyrics from the Grateful Dead‘s “Truckin,” while admittedly a bit cliche, aren’t a bad description of Matta’s tenure at Ohio State. When he took the job during the 2004-2005 season, Ohio State was ineligible for the postseason due to NCAA infractions, but Matta helped guide the school’s basketball program in the right direction. He went 337-123 overall, winning at least 20 games in all but one season, and brought teams to the Final Four in 2007 and 2012. Ten of his former players went on to be selected in the NBA Draft. However, the team has struggled in recent seasons.According to the school’s athletic director Gene Smith, the decision to part ways with Matta was mutual. “We weren’t winning the recruiting battles,” Smith said. “As we started talking about it Friday, the flow of the conversation took me to the realization as I said to him, ‘This might be the time to make a leadership change,’ and he agreed,” mentioning that he was “trying to get healthy.”Who knows, maybe he’s just super stoked on the top-notch shows Dead & Company is churning out this summer and wanted to ditch the recruiting circuit and jump on tour instead. If that’s the case, let the record show we’re all about it–follow that golden road, Thad! See you on Shakedown.[h/t – USA Today] On Monday afternoon, The Ohio State University made news in the sports world by firing their head men’s basketball coach Thad Matta. In a statement regarding his parting of ways with the Ohio State basketball program, Matta referenced a “great song” with a familiarly grateful message. “This has probably been the greatest 13 years of my life,” remarked Matta, “If you wanted an exact thought of where my emotions are, there’s a great song that says, ‘Sometimes the light shines brightly on me, other times I can barely see. Lately it’s occurred to me what a long, strange trip it’s been,” the ex-Buckeye mused with a restrained smile.
In January of next year, the Winter X Games will return to Aspen, Colorado, taking over the long-running host mountain, Buttermilk Mountain at Aspen Snowmass, from January 25th through 28th. Like past years, women’s and men’s snowboarding and skiing will be represented in different styles plus various forms of competitive snowmobiling. However, the X Games will also see four major musical performances across its four days, with LCD Soundsystem, Marshmello, Martin Garrix, and Method Man & Redman tapped for the Winter X Games 2018. All four acts will perform headlining spots over the course of the long weekend on the X Games GEICO Music Stage at Buttermilk. Each act will also be performing intimate club shows at Belly Up Aspen (check the venue calendar for tickets and show info here).LCD Soundsystem Releases First LP In 7 Years, ‘American Dream’ [Full Stream]While viewing the competition and accessing the festival village is free and open to the public, the X Games’ musical performances require the purchase of a ticket. This year, a four-show general admission pass costs $150 dollars, while a four-show preferred pass costs $200 dollars—the preferred pass grants ticket holders access to a preferred viewing area, private venue entrance, and dedicated cash bar and restrooms.Human Dumpster Fire Martin Shkreli To Auction His One-Of-A-Kind Wu-Tang Album On EbayFor the first time, this year, the X Games is also offering Diamond Music Club passes, which grant access to complimentary wine and beer, plus a heated premium viewing tent and heated outdoor patio at the GEICO music stage. Those who are really looking to ball out can purchase a four-day platinum pass, which gives access to the Platinum Tower at the base of the SuperPipe for prime competition viewing while enjoying gourmet food, beer, and wine, in addition to providing athlete meet and greets, a Diamond Music Club pass, a private tour of the SuperPipe, and limited-edition merch.Regardless of whether you’re looking to drop $0 on the X Games or $1,888 on the Platinum Sports & Diamond Music Club pass, you’re not going to want to miss out on the X Games in Aspen this year. Check out tickets for yourself here.[Photo: X Games website]
Funk legend Bootsy Collins is gearing up to release a new album World Wide Funk, due out Oct 27th. Marking the bassist’s first album since 2011’s Tha Funk Capital of the World, the upcoming World Wide Funk is populated with musical friends old and new, and recorded in his Cincinnati home’s Bootzilla Re-hab studio. Blue-chip rappers like Doug E. Fresh, Big Daddy Kane, DJ Quik, Dru Down, and Chuck D, along with guitar shredder Buckethead, all join a Bootsy-curated posse of fresh new artists on a record that embraces everything from the classic P-Funk sound Bootsy pioneered to the closest Collins has ever come to radio-active, boots on the ground, friendly fire in a musical-P-rated-adventure. Following the releases of three singles already, Bootsy Collin is streaming the entire album today on NPR.Bootsy explains in a press release, “I wanted to create a mystical monster that was born between a ‘Pee-hole & a A_ _hole,’ which automatically smelled fishy and funked up!’ At the same time, it could fit into a radio station format with a little wiggle room. But then ‘Boot-Rapp-A-Fella’ showed up and said that it would be ludicrous to do this. The ‘One’ kindly gave me the Funk Finger and showed me this World Wide Funkateer Drive going on out here, and he said ‘all you have to do is un-dress it.’ So I waved my hands in the air and gave up the funk like I just didn’t care. Then out of the clear blue, my man Brother-Nature showed up to announce that This is the Year of the Funkateer! The Funkateers began chanting, ‘Come back Bootsy, Come back, Come back, Bootsy Come Back.’ Not only do I have bootz on the ground, we got troops getting down, drones in the air and these young disciples were hungry and not a one of them was scared. The vets of Hip-hop, a la cream of the crop, shouted out to retain their gold, made me feel real good once again to know that they still got soul. Or as his longtime partner in funk George Clinton once put it: ‘Free your mind and your ass will follow!’The press release continues…From the maximalist funk of the body-slamming title track, to the soulful pop-R&B of “Heaven Yes,” to the experimental “groovegrass” of “Boomerang” (featuring Nashville slide-guitar hero Justin Johnson), to when “mix master Chew Fu showed up and showed out with his DJ skills on ‘Candy Coated Lover’,” World Wide Funk is the latest chapter in Bootsy’s life-long dedication to the One. The ineffable thing that makes the funk funky emerged from the primordial ooze during teenaged William “Bootsy” Collins’ watershed year (1970-71) with James Brown. Bootsy subsequently took the One to George Clinton’s P-Funk crew – in what Brown biographer RJ Smith has called “one of history’s biggest cases of industrial espionage” – where he adapted Brown’s precision and rigor to ringleader Clinton’s ecstatic, chaotic, and prolific musical playpen.“Being part of James Brown’s disciplined army kind of stabilized me before I got with George,” Bootsy recalls. “I was already tweakin’ on the edge and freakin’ out when I joined the original JBs, so it didn’t take much to tip me over and pour me out. JB was a disciplined person; George was a freakin’ accident that already happened while you were asleep, and I love both of ’em! They’re like a two sided coin: James Brown is the head and George has to be the tail. Why must he be like that? Why must the dog chase the cat? ’Cause he’s funky like that.”With Clinton, Bootsy developed his extravagantly cool and playful alter ego on Stretchin’ Out in Bootsy’s Rubber Band; Ahh…The Name Is Bootsy, Baby!; and Bootsy? Player of the Year. The sly, sexy sense of humor that erupted in pun-filled commentaries throughout these albums is on full display here in tracks like the Chuck Berry-ish “Boomerang” (“Victoria got a secret, y’all/ But I can’t tell, ’cause I’m out on bail”).The Collins mythology created in this trippy trio of late-’70s R&B hits undergoes further development on World Wide Funk in tracks like “Bass-Rigged System” (with guest appearances by fellow bass legends Victor Wooten, Stanley Clarke and Manou Gallo), ”Pusherman” (wherein the BlvckSeeds collective offers a feminist take on the theory of evolution), and “Come Back Bootsy,” an epic funk extravaganza anchored once again by Bootsy’s star-shaped Space Bass.Along with X-Zact and BlvckSeeds, who supply gorgeous harmonies throughout World Wide Funk, other fresh faces on this casually collaborative effort include bassist-co-producer Alissia Benveniste and singer Tyshawn Colquitt. Bootsy discovered Benveniste (a Berklee School of Music graduate who leads a 15-piece band called the Funketeers) online. Kali Uchis is another fresh singer on tap that will “quench your thirst for the funk.” Cincinnati singer Tyshawn Colquitt sings his heart out on the soulful “Snow Bunny.”Other World Wide Funk guests include rappers Dru Down (“Pusherman”), DJ-Quik, MC Eiht (“Ladies Night”), and X-Zact (“Candy Coated Lover”), along with singers Kali Uchis, (“Worth My While”), Musiq Soulchild, and October London. London adds feminine appeal alongside a shoe-infatuated Bootsy on “Hi-On-Heels,” a slow-groove collaboration with Snoop Dogg. On the sexually gastronomic “Hot Saucer,” Musiq Soulchild announces his intention to “put it on your body like cheese on grits,” with Big Daddy Kane adding, “I ain’t dinin’ you, I’m brinin’ you!”Funk wasn’t always all about the bass, but Bootsy helped make it so. He’s noted for rocking his custom-made star-shaped Space Bass like a lead guitar, both in the funk zone and alongside experimental producers like Bill Laswell. There’s no lack of fiery instrumental magic on World Wide Funk either, not with shredding virtuosos like Eric Gales, the mysterious Buckethead and Joe Mass onboard. “You can also hear Jabo and the late Clyde Stubblefield on the album as vocal guests,” Bootsy explains, “and former Prince drummer John Blackwell, along with Dennis Chambers, who left road kill up and down our mile long driveway.”While not all the musicians made it into his Re-Hab Studio, the experience of recording World Wide Funk convinced Bootsy that a good producer can create a community online, and the album signals a détente with long-distance technology. “It boils down to this,” he says. “The world is going to evolve with you or without you, so my mind was made up to evolve along with it.”‘Let’s take it to the Stage’ by Funkadelic proved that Collins can play rock in a funk band as well. Parliament’s ‘Chocolate City’ marked Bootsy’s breakout with the P-Funk crew.Not only was he beginning to employ the Mu-Tron III effect pedal that gave his Space Bass its distinctive bubbling sound, but it also included the earliest tracks by the songwriting trio of Collins, Clinton, and keyboardist Bernie Worrell, with Bernie expanding upon George and Bootsy’s basic tracks. On “Hey Bernie” Bootsy salutes Bernie Worrell, who “changed frequencies” in 2016. The gorgeously elegiac track consists of stunning keyboard tracks Worrell recorded in the early 2000s accompanied by his “brother nature” Bootsy’s plaintive refrain: “Hey Bernie, please don’t go/ Hey Bernie, we need ya on the show.”With Worrell’s vintage Moogs and the analog keyboards he used on the road still set up in Collins’ studio, where they’d long resided, Bootsy had plenty of tracks to choose. “Man, I couldn’t finish this record without having something that not only Bernie played but something Bernie played just by himself,” he says. “The track I picked felt like Bernie speaking, which was his favorite way of communicating. I felt Bernie’s presence.”World Wide Funk also entails a call to activism – literally “Bootz on the ground, baby!” as the title track puts it. “The whole concept,” Collins explains, “was not only about playing music or being current on this album, but about teaching people how to funk for themselves so they can bring some funk to get some. We bring them hope like dope, so not one Funkateer chokes. Unity in the community is a part of this plan and when the Mothership lands there’s nothing but helping hands. WWF-Drive is about propelling ourselves and generations to come into the future with the speed of light as in Flashlight.”A longtime activist himself, Collins has long given back to his community through the Bootsy Collins Foundation (bootsycollinsfoundation.org). The 501(c)(3) nonprofit is overseen by Patti Collins, Bootsy’s wife, and it focuses on raising the self-esteem of bullied girls, preventive dental care for underserved communities, and providing musical instruments to disadvantaged kids.Bootsy’s music and life are all about creating unity in the community, “but not necessarily the same old community.” He has never stopped generating new energy among new musical associates, and World Wide Funk is the latest example of his Promethean powers. It blends classic Bootsy, Analog (“aka the veteran artist”), and Slingshots (“aka the youngins”) into the silly serious world of Bootsy, with results that will extend far beyond the confines of our galaxy.“I’ve never really been concerned about what others thought about me or my music, as long as it made you feel good & sexy, like them old house parties, sharing a coke and a smile while doing a bump and grind,” Bootsy concludes. “I’ve had the privilege to travel back in time to imagine; what it was like, ‘When a Stage Coach was First Class!’ Bottom line is, ‘MAKE MY P-WHOLE AGAIN!’”Stream World Wide Funk HERE, exclusively on NPR.Track List1. World Wide Funk (feat. Doug E. Fresh, Buckethead & Alissia Benveniste)2. Bass-Rigged-System (feat. Victor Wooten, Stanley Clarke, Manou Gallo, Alissia Benveniste & World-Wide-Funkdrive)3. Pusherman (feat. Dru Down, BlvckSeeds , Mr. Talkbox)4. Thera-P (feat. Tyshawn Colquitt & Alissia Benveniste)5. Hot Saucer (feat. Musiq Soulchild & Big Daddy Kane)6. Heaven Yes7. Ladies Nite (feat. MC Eiht & BlvckSeeds)8. Candy Coated Lover (feat. X-Zact, Kali Uchis & World-Wide-Funkdrive)9. Snow Bunny (feat. Tyshawn Colquitt, Snowbunny & World-Wide-Funkdrive)10. Hi-On-Heels (feat. October London)11. A Salute To Bernie (feat. Dr. G. Bernie Worrell)12. Boomerang (feat. Justin Johnson)13. Worth My While (feat. Kali Uchis)14. Come Back Bootsy (feat. Eric Gales, Dennis Chambers & World-Wide-Funkdrive)15. Illusions (feat. Chuck D, Buckethead & BlvckSeeds)
If you’ll be in New Orleans For Jazz Fest, don’t miss this year’s Daze Between Band featuring Eric Krasno (Soulive/Lettuce), Dave Schools (Widespread Panic), and Duane Trucks (Widespread Panic), with special guests John Medeski and Tom Hamilton at One Eyed Jacks (5/2) and Marcus King and DeShawn “D’Vibes” Alexander at The Howlin’ Wolf (5/3). For more information, click here. To purchase tickets, click here for 5/2 and here for 5/3. For our full guide to Jazz Fest late nights, click here. Perhaps the most talked-about, star-studded late-night shows during the 2017 Jazz Fest-ivities was the “Daze Between Band.” The mid-week show, led by Eric Krasno (Soulive/Lettuce), took One Eyed Jacks by storm with a jam-packed lineup that included Oteil Burbridge (Dead & Company), Duane Trucks (Widespread Panic), Danny Louis (Gov’t Mule), Scott Metzger (Joe Russo’s Almost Dead), Ike Stubblefield, Lyle Divinsky (The Motet), Nate Werth (Snarky Puppy), Rashawn Ross (Dave Matthews Band), and D Vibes (Eric Krasno Band).Originally, Krasno had planned for the musical direction to honor the memory of the late Butch Trucks, who died early in the year. However, with the passing of the legendary Col. Bruce Hampton on the previous Monday, the show found its emotional impetus significantly magnified. This brought fellow collaborators Jeff Sipe (Aquarium Rescue Unit) and Warren Haynes (Allman Brothers Band) to the scene with heavy hearts, but ready for some serious spiritual musical healing.The night quickly transformed into a tribute to both Butch Trucks and Colonel Bruce Hampton, with the music of the Allman Brothers Band and the Grateful Dead to lead the way. All those in attendance could feel the magnitude of the emotions projected from the stage and returned an inimitable energy to help heal the wounds of those affected by two great losses. On this night, music was the answer.Stranger Than Fiction: The Cosmic Curtain Call Of Col. Bruce HamptonThe first set opened with two Allman Brothers classics, “Trouble No More” and “Dreams” followed by the Dead’s “Mr. Charlie.” From there, Warren Haynes joined the all-star lineup for a ripping performance of “Scarlet Begonias > Fire On The Mountain,” into “Whipping Post” and “Mountain Jam” to close the set. The second set opened with the Dead’s “West LA Fadeaway,” into ABB’s “Hot ‘Lanta.” Oteil Burbridge was certainly within his element, as the former bassist of the Allman Brothers and the current for Dead & Company, leading the way for “Eyes of the World” and “Elizabeth Reed.”“Sugaree” turned into a triumphant “Lovelight,” which, of course, was the song that featured Haynes, Sipe, and Trucks on stage at Col. Bruce’s final performance only a few days prior. Emotions ran high, matching the cosmic certainties that were lifted with the passing of Hampton during his final bow. When the band returned to the stage, turning close to 5 a.m., they closed the show with a “Hey Pocky Way” encore.Setlist: Daze Between Band | One Eyed Jacks | New Orleans, LA | 5/3/17Set One: Trouble No More, Dreams, Mr. Charlie, Scarlet Begonias > Fire On The Mountain, Whipping Post, Mountain JamSet Two: West LA Fadeaway, Hot ‘Lanta, Eyes Of The World, Elizabeth Reed, Sugaree, LovelightEncore: Hey Pocky WayVideographer John Peckham was on site with a multi-cam setup, plugged into the soundboard. You can enjoy the full performance below:Trouble No More, Dreams, Mr. Charlie, Scarlett Begonias, Fire On The MountainWhipping Post, Mountain Jam, West LA Fadeaway, Hot ‘Lanta, Eyes Of The World, Elizabeth Reed, Sugaree, Lovelight, Hey Pocky WayYou can also enjoy the full show below with audio provided by nolamule:
On Tuesday night, July 31st, Phish made their way to Austin, Texas for a one-off performance at Austin360 Amphitheatre. The clear centerpiece of the band’s lone summer 2018 stop in the Lone Star State came in the opening slot of the second set, as the band took “Everything’s Right” on a thrilling improvisational ride.The relatively new song, debuted by Trey Anastasio Band on 4/14/17 at The Capitol Theatre and by Phish a few months later at their summer opener in Chicago on 7/14/17, has made a few solid outings during the band’s ongoing 2018 summer tour. However, Phish’s Austin version of “Everything’s Right”—their 7th rendition of the tune since its pre-Dozen debut last year—easily eclipsed the previous 6 as the deepest and most interesting to date.Over the course of the jam’s nearly 20 minutes, the band explored a number of major-key spaces, briefly hinting at a segue into “What’s The Use?” before continuing to forge ahead, blazing to a peak and, finally, dropping back into the song’s closing refrain before moving into “Down With Disease”.Until now, fans following along from home have had to settle for LivePhish audio of the Austin “Everything’s Right”, as it came during one of the handful of non-webcast shows this summer. However, today, Phish has shared a pro-shot video of the standout jam, so people everywhere can enjoy it in all its glory, with Chris Kuroda‘s mesmerizing light rig as a backdrop. Hit play. Hold tight:Phish – “Everything’s Right” [Pro-Shot][Video: Phish]Phish’s summer tour continues this weekend with a sold-out three-night run in Alpharetta, GA. For a full list of Phish’s remaining summer tour dates, head to the band’s website.Setlist: Phish | Austin360 Amphitheatre | Austin, TX | 7/31/18SET 1: Sample in a Jar, Light, The Moma Dance > Funky Bitch, Heavy Things, Theme From the Bottom, Brian and Robert, Halfway to the Moon, The Line, I Didn’t Know, 46 DaysSET 2: Everything’s Right > Down with Disease > Steam > Seven Below > Dirt > The Wedge, Wilson > Run Like an AntelopeENCORE: Loving Cup Unfinished.
“46 Days” (partial) Photo: Bill McAlaine “Ocelot” (partial) “My Friend, My Friend” (partial) “Tweezer Reprise” (partial) “Golden Age” (partial) Setlist: Phish | Dick’s Sporting Goods Park | Commerce City, CO | 9/2/18Set 1: Soul Planet, Possum, Mellow Mood, Tube, Funky Bitch, Ocelot, Keepin’ It Real, My Friend, My Friend, Horn, Maze, Miss You, Run Like an AntelopeSet 2: 46 Days, Tweezer, Golden Age, Steam, A Song I Heard the Ocean Sing, Gotta Jibboo, Suzy Greenberg, Character ZeroEncore: The Horse > Silent in the Morning, Tweezer RepriseA full soundboard recording of the performance is available to stream now via LivePhish.Phish | Dick’s Sporting Goods Park | Commerce City, CO | 9/2/18 | Photos: Bill McAlaine “Silent In The Morning” (partial) “Maze” (partial) On Sunday night, Phish performed their final gig of the summer at Dick’s Sporting Goods Park in Commerce City, CO. Following Saturday night’s lengthy setlist, the third night of the run kept quantity and quality in mind in term of song selection, especially for fans of 1993’s concept album, Rift.“Soul Planet” opened the show for the first time in its nascent career, continuing the tour’s theme of second set regulars being shifted to the beginning of the show. While the jam didn’t quite sail away as it did during its last outing in Alpharetta, Sunday’s rendition contained a seamless transition into “Possum” thanks to A+ driving by drummer Jon Fishman. The southern-style rocker, which dates back to the early days when Jeff Holdsworth was still a member of the band, got the arena shaking for the final show of Labor Day weekend and gave Mike Gordon a chance belt it out on the topic of roadkill.Trey Anastasio took over the lead vocals for Bob Marley’s “Mellow Mood”, which was taken off the shelf for the first time since 8/9/2011 in Tahoe to the delight of the mile-high crowd. The four white guys from Vermont did the soulful Rastafarian tune justice as smoke filled the air and brought smiles to the faces of the rude boys (and girls) in attendance.The always funky “Tube” made its way into a Centennial State first set for the fifth consecutive Dick’s run and found Page McConnell’s “Rage Side” getting down to the danceable tune thanks to his synth expertise (and, of course, his dapper new octopus shirt). Channeling Son Seals for the second cover of the evening, “Funky Bitch” gave Gordon another chance to mention his “new fancy clothes”, which he’s consistently kept fans updated on throughout the tour via his Instagram page. In similar fashion to the 8/10/18 performance in Raleigh, “Ocelot” followed “Funky Bitch” and offered bulky bass, wailing guitar improvisation and an attack on the grand piano. For the third time of the night, Gordon showed off his pipes during the newly debuted “Keepin’ It Real”, a promising fast-paced rocker that has yet to be truly released into the wild.A three-pack of Phish’s Rift cuts came next in the form of “My Friend, My Friend”, “Horn”, and “Maze” during latter-half of the first set to the delight of the Phish 1.0 junkies in attendance. The nightmarish ending to “My Friend, My Friend” had an even scarier vibe than usual as Trey screamed the lyrics with a villainously terrifying tone. McConnell worked up a sweat during “Maze” as he slammed and beat on the keys like a mad scientist while Trey brought the maddening song to a boil. The older side of Trey gave everyone five minutes to catch their breath during a delicately placed “Miss You” before Trey’s inner kid reemerged to cap the set with a raging “Run Like An Antelope”.The last set break of summer is usually a hard pill to swallow, but with one more Sunday set and only 43 days left until Fall Tour 2018, the optimistic crowd remained in high spirits. Phish took their own inventory of time during the set-opening “46 Days” which followed the path through lush sonic meadows to the dark side during its patient Type II breakdown. Gordon held down a powerful foundation as Trey melted faces with an all-or-nothing attitude not seen in the first set. Fishman smacked the cowbell with a Christopher Walken-approved intensity and set up a silky-smooth transition into “Tweezer”. Every minute of this ice-cold version provided something special with more cowbell, 80’s synth-pop interludes, and deep spacey bass lines. Page brought the Clavinet to life, which paired well with Mike’s inventive additions to the interesting jam.Trey laid into a fuzz-infused solo which lead to a full-band “Manteca” tease that quickly morphed into “Golden Age”. The ecstatic sold-out arena clapped their hands to signal to their red-headed leader they were in the right place, and Chris Kuroda visually signaled that he was in the right place as well, putting on an awe-inspiring light spectacle that accompanied the futuristic funk jam. Gordon was gold once again on the TV on the Radio cover, interlacing multiple effects to join McConnell in a joyful movement toward the end of the jam. The 40-plus-minute, must-listen Phish rollercoaster ride that was “46 Days” > “Tweezer” > “Golden Age” finally melted into a haunting “Steam”, followed by a stormy “A Song I Heard I the Ocean Sing”.The first section of the “Gotta Jibboo” that came next was tranquil and serene, taking a step back from the spooky and mysterious territory the band had immersed themselves in for the majority of the second set. Trey turned up the heat during the back end of “Jibboo”, and the energy did not dissipate for the remainder of the set. The “Suzy Greenberg”/”Character Zero” one-two punch to close out the final set of the summer didn’t chart any unknown territory, but served as a great way to say goodbye to some of the Rocky Mountain’s most dedicated fans. The encore featured yet another combo-pack of Rift tunes in “The Horse” and “Silent in the Morning” before inviting the rambunctious crowd into the freezer one last time with “Tweezer Reprise”.Two dozen Dick’s shows are now in the books, and we can only assume this beloved 3.0 venue has more Phish in its future. Where one tour ends, another begins. Although the Curveball cancellation still weighs heavy on the minds of many in the Phish community, Fall Tour 2018 is a month and a half away and plans for New Year’s Eve (and, rumor has it, Mexico) will likely be announced any day now. The life we love is making and seeing music with our friends. See you on the road again!Watch some assorted fan-shot clips from Phish’s tour closer below:“Funky Bitch” (partial) Photo: Bill McAlaine “Character Zero” (partial) Load remaining images
Today, Atlanta’s Shaky Knees Music Festival has announced the artist lineup for their seventh year, set to take place from May 3rd–5th at downtown Atlanta, GA’s Central Park.The Shaky Knees 2019 lineup features high-profile acts from around the globe and across the genre spectrum including Tame Impala, Beck, Cage The Elephant, Gary Clark Jr., Interpol, Foals, Father John Misty, Grouplove, Tash Sultana, Liz Phair, Sharon Von Etten, Dashboard Confessional, Tyler Childers, Black Lips, Japanese Breakfast, The Joy Formidable, and many, many more.As Shaky Knees Music Festival founder Tim Sweetwood notes in an announcement press release,It is gratifying to be able to curate a unique lineup each year. Now in our seventh year, I’ve had the opportunity to see a band go from opening the main stage, to now headlining that same stage. Attending Shaky Knees is one of the best ways to find the next great band, as well as satisfy the music soul from start to finish each day of the festival.General Admission 3-Day Tickets, VIP 3-Day Tickets and Platinum 3-Day Tickets will go on sale today, Wednesday, November 14th, at 12 p.m. EST. VIP Tickets include up-close, prime viewing areas at three stages, plus a viewing platform with elevated sightlines of the main stage. VIP also includes access to the VIP Lounge which features shady seating, premium restrooms, complimentary bites, full-service cash bars, along with complimentary beer and water.Platinum packages include exclusive viewing areas at three stages, a Platinum viewing deck with elevated sightlines of the main stage in addition to side-stage viewing at the main stage, and access to the Platinum Lounge featuring a full-service open bar, complimentary bites and catered dinner, relaxed seating, premium restrooms, concierge services and more.To purchase tickets and for the full list of amenities, head to the festival website here. But make sure you don’t delay—prices will increase as the festival draws closer.
Steve Gunn Adds Spring Tour Dates, Shares Video For New Single “Vagabond” From Upcoming Album [Watch]
Folk-rock guitarist and singer Steve Gunn has shared the third single from his forthcoming studio album, The Unseen in Between, which next Friday, January 18th on Matador Records. The lively new tune is titled “Vagabond”, and follows the previously shared tracks, “New Moon” and “Stonehurst Cowboy”.“Vagabond” was reportedly named after Gunn’s favorite Agnes Varda film, and once again showcases the musician’s ability to captivate the listeners with meaningful lyrics and subtly attractive melodies with that brooding voice of his—a skill that should not be overlooked too quickly. The vibrant musical makeup of “Vagabond” contrasts heavily with the slower tempo of “Stonehurst Cowboy” and the low-key psychedelia of “New Moon”. This song charges forwards with a consistency that is much more similar to standout singles from his last solo album like “Ancient Jules” or “Full Moon Tide”.Gunn teamed up with director Jason Evans for a music video in hopes of providing a fitting visual accompaniment worthy of the impressive new song. Their collaboration worked, as the colorless aesthetics of the video allow “Vagabond” to stand on its own without trying to show off with some crazy visual effect or trick. There is some crafty strobe-like camera editing which begins near the middle and again towards the end of the video, so tread lightly.Steve Gunn – “Vagabond” – Official Video[Video: Matador Records]“I wrote all these songs on the acoustic guitar and wanted to keep it as simple as possible. Recording them acoustically, it all came naturally,” Gunn admitted about his latest project in a recent interview. “I feel like the last album, Behind the Lines, is a bit more electric and I kind of wanted to take a step back and be more vocally forward and let the songs unfold naturally. I wanted it to sound more live and I think I really felt like it would make a difference going into the studio knowing the songs.”Gunn began introducing some of the new material to fans in New York City during a recent run of shows at Union Pool in the fall of 2018. He’ll head out on the first U.S. leg of his 2019 world tour later this month beginning on January 30th in New Haven, Connecticut. He also unveiled a new batch of U.S. dates scheduled for this spring to go with Tuesday’s song premiere, which will begin following his European run of shows throughout all of March and early April. The new dates begin on April 18th in Milwaukee and continue until May 4th with a closing performance in Washington, D.C. Tickets will go on sale starting this Friday, January 11th via Gunn’s website. You can reference a full list of upcoming shows below.New Steve Gunn 2019 Tour DatesApril 18 – Milwaukee, WI – Cactus ClubApril 19 – Chicago, IL – Lincoln HallApril 20 – Galien, MI – The StorehouseApril 21 – St. Louis, MO – Off BroadwayApril 22 – Oklahoma City, OK – 89th StreetApril 23 – Dallas, TX – Double WideApril 24 – Austin, TX – BarracudaApril 26 – Birmingham, AL – SaturnApril 27 – Athens, GA – 40 Watt ClubApril 28 – Atlanta, GA – The EarlApril 29 – Nashville, TN – The BasementApril 30 – Asheville, NC – The MothlightMay 1 – Carrboro, NC – Cat’s CradleMay 2 – Charlotte, NC – Neighborhood TheatreMay 3 – Richmond, VA – Richmond Music HallMay 4 – Washington, DC – SongbyrdView All Tour Dates[H/T Rolling Stone]