Entry list for Nationwide race at Indianapolis

first_imgREAD MORE: FULL SERIES COVERAGE• View all articles • View all videos • View all photos The NASCAR Nationwide Series is at the Brickyard this weekend. Click here to see the entry list for the Indianapolis 250. READ: First-half season awards READ: Memorable moments of the first halfcenter_img READ: Eldora qualifying procedures explained The NASCAR Nationwide series returns for the Indianapolis 250 at Indianapolis Motor Speedway READ: Complete coverage from Chicagolandlast_img

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Watch Bob Weir Join Jackie Greene For Sweetwater Music Hall Celebration

first_imgLast night marked a performance from Jackie Greene, who set up shop at the Sweetwater Music Hall in Mill Valley, CA. The guitar slinger delighted with songs from his newest release, before welcoming an old friend to the stage: Bob Weir.The Grateful Dead guitarist made his appearance as part of a birthday party celebration, sticking around to perform a handful of songs for the crowd. He joined in for a cover of the Temptations’ “Standing On Shaky Ground,” which you can watch below, courtesy of Adrienna Monique:Weir stayed on for “Digging A Hole” and “Sugaree,” as well as an encore version of “West L.A. Fadeaway.” Alex Nelson also joined in the fun, only adding to the magic.Here’s “Sugaree,” via Matthew Kann:Check out the full setlist below:Setlist: Jackie Greene Band at Sweetwater Music Hall, Mill Valley, CA – 3/21/16Set: The King Is Dead, I’m So Gone, Farewell So Long Goodbye, A Moment Of Temporary Color, Spooky Tina, Mexican Girl, Light Up Your Window, When You’re Walking Away, By The Side Of The Road, Shaken, So Hard To Find My Way, Standing On Shaky Ground*, Digging A Hole*, Sugaree*Encore: West L.A. Fadeaway** – w/ Bob Weir & Alex Nelsonlast_img read more

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Vibes and Vibrations: NOLA Jazz Fest After-Dark 2016

first_imgWhat I have gleaned from chronicling the culture surrounding live music for twenty years, and from attending Jazz Fest for fourteen, is that one should judge their festival experience not by what music they were fortunate enough to catch, instead by the shows they were forced to miss. This is a phenomenon we know as FOMO, or Fear of Missing Out. Judging by word on the street, there were dozens of shows (Joe Russo’s Almost Dead, The Last Waltz, Snarky Puppy and assorted offshoots, etc) that are already the stuff of legend. The FOMO was at its most fierce during second weekend, where the show choices were downright excruciating. After a one year JazzFest hiatus, I trusted my instincts and followed my heart, simply chasing the musicians and collaborations that I treasure most, as opposed to catching a more diverse selection, as I have in years’ past. Sure, I did end up at gigs by several of the same musicians, multiple times. Yet no two shows, or collection of players were ever the same, between the plethora of funk, interspersed with a few genre-defying acts, and the sheer musical gluttony of FIYA Fest (where one could sample a little bit of everything and overdose on NOLA funk) I’d like to think I had a fairly comprehensive aural menu over the course of a week. Acknowledging that disclaimer, and without any further adieu, these are a few of my favorite things from NOLA Jazz Fest After Dark 2016.  4/26: Adam Deitch Birthday Party ft. Adam Deitch Quartet and Sonic Bloom at the Blue Nile For his big 40th birthday, Adam Deitch booked an engagement at the Blue Nile to unveil his Adam Deitch Quartet, which consists of Bay Area organist Wil Blades and his close compadres The Shady Horns. Deitch’s parents Bobby and Denise proudly watched through glass doors from a perched directly behind the drum set as their son took the stage to lead this performance. Celebration was in the air, musicians littered the audience, and the band used this set to unveil material from an album they recently recorded in NYC. The birthday boy and his team got down to business by opening with “Fear the Blades,” and it was crystal clear that this was no jam session.    The compositions were a mixture of throwback rare groove, psychedelic exploration, and golden-era boom-bap breaks. A good example was their take on Cannonball Adderly’s “Inside Straight.” The tune was simultaneously true to its 1973 ethos, bathing in David Axelrod; all the while firmly entrenched somewhere in Pete Rock’s record crates, these beats were Soul Brother certified. Breakbeats on breakbeats on breakbeats, the collective dispatched avalanches of groove on a dirty Maceo Parker vamp; the seeds of hip-hop lying within a perpetual headnod that had engulfed the room.  Soon thereafter it was time for a parade of champions to take the stage; and Deitch dedicated to Prince an astonishing read of Herbie Hancock’s exquisite “Butterfly,” as Nigel Hall joined on keyboards and Kofi Burbridge on flute. Maurice Brown (trumpet) and Big Sam Williams (trombone) also graced the stage with magnanimous personalities.  Sonic Bloom, Eric “Benny” Bloom‘s local cooperative, took over the Nile just after Deitch’s quartet wrapped. Bloom led his band equal parts fierce and hilarious, with comical banter, animated gesturing, and brilliant trumpet melodies that soared atop the room. Alternately sitting/gangsta-leaning on a stool, and bounding about the stage, Bloom displayed a knack for natural showmanship and whipping the room into a general circus of soul. His slow and greasy “Thank U Fallettin Me Be Mice Elf (Again)” was all things N’awlinz, done with Bloom’s patented Don Rickles/Red Sox flair.   On this night Sonic Bloom would be comprised of local heavies: current Gramatik guitarist (and solo artist in his own right) Andrew Block, bassist Eric Vogel, Dumpstaphunk drummer Alvin Ford, Rebelution/George Porter Jr. saxophonist Khris Royal, along with Wil Blades on Hammond B3. Their set was another funk n’ jam marathon, disco-fresh and French Quarter to the core.  WAR’s “The World is a Ghetto” blossomed wild, jazzy excursions in full Sonic Bloom. This showcase was fueled by a laundry list of guests, including KDTU guitarist DJ Williams, Maurice Brown, Break Science’s Borahm Lee, Snarky Puppy’s Robert ‘Sput’ Searight, as well as members of The Heard and Naughty Professor. The krewe shut it down for the night by passing the jam around on Michael Jackson’s seminal “Working All Day & Night.”   [Photos by Adam McCullough, videos by NuNu Zomot] 4/27: The Suwannee Family Affair ft. Chapter 2 at One Eyed JacksFor several years running, Suwannee svengali Paul Levine has been throwing a phenomenal party at One Eyed Jacks, late Wednesday night during the days between. Formerly the Bear Creek All-Stars, the event has transformed into the Suwannee Family Affair, incorporating all the divergent entities that come together for festivals held at Florida”s Spirit of Suwannee Music Park. From 2010-2012, Eric Krasno brought a version of his solo project Chapter 2 to Bear Creek. So for this installment of the Affair, Kraz enlisted Adam Deitch, Nigel Hall, Oteil Burbridge, Kofi Burbridge and Nicholas Payton to deliver a magnificent set of throwback brew.   Rocking a mohawk, Oteil Burbridge was a force to be reckoned with, holding down the middle of the stage as he plundered tombs of low end madness. Burbridge’s mighty skills would rather effortlessly interlock with the riptide undercurrents of Deitch’s drums. Nigel Hall and Kofi Burbridge danced atop the keyboards, and clad in the G-code, Nicholas Payton serenaded the room with wailing trumpet blues.  Nigel was feeling the vibes, and repeatedly came around from behind the Hammond to get in Oteil’s face, egging him on with his meanest mugging and thug posturing. Oteil would retaliate mercilessly, with mathematical cacophony, precision blasts of rumbling thunder that shook the venue’s foundation. Fleshing out some Kraz originals and Rudy Van Gelder-style vamps, the team mined deep psychedelic Bitches Brew geography, as Hall played space cowboy on the Moog. Deitch and Oteil connected on Kraz’s rubberband jams, the rhythm section gone wild as the Taliban. No Chapter 2 set is complete without Krasno’s chunky rewiring of The Beatles “Get Back; on this night, the Burbridge brothers and Payton owned the tune.  Guitar-driven fusion rockers were laced with Payton’s patterns, while Deitch stopped, dropped and rolled out the Garibaldi.  The evening was ended in treasured swan song, a heart-wrenching neo-soul (Deitch) arrangement of Tears for Fears 1980’s mega-hit “Everybody Wants to Rule the World.”  [Videos by Funk It Blog]4/28: RAGEFEST ft. Lettuce, Break Science, Nigel Hall Band, Joy TheaterThe Royal Family is what’s hot in the streets, and they have been for some time now. At the forefront of this world domination is the future-funk Voltron known as Lettuce. The all-world crunk squadron made their NOLA bones many moons ago, yet these ultimate professionals, living legends in the game, will never be caught half-stepping, especially in this city, at this time of year. RAGE Fest was a sold-out, high-profile, and thoroughly fulfilling engagement that satiated the minions of Lettuceheads that had congregated at the Joy Theater. Dr. John, the Night Tripper himself, was spotted getting loose in VIP, as Lettuce torched his hometown with class and prestige, yet not a trace of mercy.  First up, a robust showing from a Nigel Hall Band featured Big D Perkins, Adam Smirnoff, Eric Vogel, among others. But as the masses filed in from Canal Street, just before midnight, the dragon force brigade stepped onstage to Phife Dawg’s “Scenario” verse, an eloquent tribute to their fallen rap idol. The assembly immediately dipped into a favored opener, the Mothership-drenched “Dr. Digglesworf,” the slinky, bouncing cartoon funk hollered “Bootsy!” enhanced by the innovative tones emanating from the saxophone of one Ryan Zoidis.  “Let it Go-Go” was archetypal Deitch, the bandleader firing interplanetary ballistics toward the District, bringing that jungle love straight outta Georgetown.  The throwback vibes on “Pocket Change,” which featured a grown and sexy trumpet solo from Eric Benny Bloom, provoked furious dancing from the nearly one thousand funkateers jammed into the Joy. People often lament the absence of Eric Krasno on recent Lettuce tours, but this writer feels Adam “Shmeeans” Smirnoff can more than carry the load in a one guitar lineup. That said, it was refreshing to see Kraz back in the mix, though his presence was most fervently felt when he stepped to the analog synth setup. Kraz’s sound palette wizardry devoured the sonic canvas with drippy vibrancy, and the portal was reopened. Jesus Coomes played rockstar out front, whipping the maniacal crowd into a near hysteria. Neal Evans was a blur of malevolent psychedelia on his rack of organ, clavinet and synth, it was business as usual for this Berklee battalion.  Soon, it was time for the special guests, this being JazzFest and all. First out was the mohawked viking Oteil Burbridge, who somehow blurred the lines between Paul Jackson and Cliff Burton, as the boys charged through a sprightly “Break Out” that was full-on seek and destroy. Oteil proved himself rager-royalty, as was to be expected, and slam dunked the Jesus bounce pass with finessed fury. Later, the Uptown Ruler emerged again, Cyril Neville’s mere presence transforming RAGE Fest into a Player’s Ball. The cane-wielding, steez-serving, Crescent City cowboy proceeded to take over the festivities like only he can. It was terrific to hear Lettuce’s respect and admiration for Neville transmitted through their music. This served to power the corps through downright philistine versions of “The World is a Little Bit Under the Weather” and “No More Okey Doke.” I don’t often love special guest sit-ins with my favorite band, but when I do, they are from Cyril Neville.[Photos by Jeremy Scott] 4/28: Earth Wind & Power ft. The Nth Power and Friends at One Eyed JacksIn the wake of Maurice White’s February death, The Nth Power served notice that this would be a can’t miss engagement, “Earth, Wind and Power.” Yet it was impossible to predict nor expect the sheer magnitude of what was to come.  Born of shared admiration for a timeless songbook and humanized world-view, this eulogy was delivered by a musical collective who have over untold miles and umpteen years, become a family. A sold-out shrine at One Eyed Jacks, reverberating deep into the French Quarter night, only added to the potency of the environs. This would prove to be a definitive JazzFest experience; the pure crystallized essence of the healing power of music.  Everybody adorned in lavish, glittering EWF attire, the Nth Power assembled a Steinbrenner-esque murderer’s row to assist them in their meritorious mission. The roster included a horn section of Jennifer Hartswick, Natalie Cressman, and James Casey of Trey Anastasio Band, sadistic saxman Skerik, and Farnell Newton of Othership Connection on trumpet. NOLA favorite son Ian Neville (Dumpstaphunk) on guitar, and the all-world sibling tandem of Oteil Burbridge (bass), his brother Kofi (keyboards and flute) solidified the squadron; this blended brood wasted no time in heading to the sky.  “In the Stone” started things off with promise, a splendid funk jam that set the tone, and was followed by “September.” Dear Lord! From first words “Do you remember?”, we were transported into a real life boogie wonderland, pandemonium was running wild inside One Eyed Jacks. The bliss was bountiful, uncontrollable, and contagious; a disco dance party, brimming with love and human connection, exploded in every direction.   Positioned at the center of this revival, and pounding out the pocket with her usual panache was Nikki Glaspie: the musical director of this titanic production, she consistently nailed Philip Bailey’s soprano harmonies with a childlike glee. Weedie Braimah was shimmying while serving up Ivory Coast riddims, Hartswick radiating top left. Bassist Nate Edgar was exacting revenge on Babylon, baiting Oteil to join him in eradicating evil. Kofi and Courtney Smith were a four-handed leviathan on a mountain of keys and synths, so essential to the fabric of EWF.  Everybody brought their A game, and had a freewheeling fun time doing so.However, the hero of the night, other than Maurice White, was unquestionably Nicky Cake Cassarino. This man stepped into a whole new realm, becoming the mesmerizing frontman I always dreamt I might, when singing  my favorite songs into a hairbrush a few moments out of the shower. Cassarino commanded the stage like his idols, he prowled with an assured mojo; sporting a Master’s degree in Paisley Park, he was a direct descendant of Soulquarian. On this night, in this room, this dude was intravenous sexy; all swag with no brag, and though dressed for a date with a “Sun Goddess”, this wasn’t no costume. The vitalizing depth of this music, and the dynamic ensemble that emboldened him, an audience in full bloom and audibly in full swoon; this concoction proved a potent and intoxicating elixir for Nicky Cake.  Somewhere inside the glorious twenty-plus minutes that was “Serpentine Fire> Devotion > After the Love”, Cassarino uncorked a bottle of the warrior king within.As things began to climax during “Shining Star” through “Boogie Wonderland,” I felt the gravity of this ambitious endeavor; the mythical, supernatural EWF catalogue an indelible imprint embedded in the DNA of each player on stage. I cannot stress enough just how powerfully connected the audience felt, and The Nth Power did a masterful job in sequencing this thrilling, tear-jerking joyride. Each member of this imaginative ensemble dug so very deep within, to mine the best version of their superhero selves to honor this legacy.  A nearly half-hour  encore of “The Way of the World” was an unfiltered renaissance; soaring harmonies commanded the entire room, while Glaspie captained the vessel homeward bound. Hugs in abundance, tears shed; couples made out to a Cassarino falsetto. In a stroke of pure genius, Adam Smirnoff was drafted to take the final guitar solo; dripping in sweet science. “Shmeeans” delivered a walk-off, mic-drop, iconic moment for the ages. Soon everyone took a succinct and impactful solo turn, walking offstage after their final note, leaving the core unit of The Nth Power to bask in the adulation. This divine assembly of soul-shepherds took the game to new level, and immersed us all in the healing power of music. Beholdeth an instant classic. Gratitude. [Photos by Jeremy Scott/Video by Rex Thomson for L4LM] 4/29: The Roots “Soul Slaughter” with Human Experience, Hot 8 Brass Band at Orpheum Theater This past winter, NOLA’s tightly knit music community tragically lost a promising young sax maven in Clarence “Trixzey” Slaughter. He was loved and respected around the city, and renowned outside of it; The Roots announced they would be returning to JazzFest for a late night concert, and they christened it “Soul Slaughter: In Loving Memory of Clarence “Trixzey” Slaughter.” I’m unsure of Clarence’s connection to the Philadelphia hip-hop institution, but it really doesn’t matter: The Roots knew enough about what kind of prodigal talent Trixzey was, and returned to NOLA after a five year absence to celebrate his life. The Philadelphia krewe enlisted local superheroes and Slaughter familia The Hot 8 Brass Band to set the table early, who in turn welcomed the likes of Papa Mali and June Yamagushi to their sets. For his second NOLA JazzFest, The Human Experience scored a fortuitous gig, an opening slot for The Roots; he provided three short ‘tweener sets throughout the evening. Block played a anthologized sampling of his idiosyncratic styles, be it the meditative original “11.11.11”, or his sexy, swaggering edit of Buena Vista Social Club’s “Chan Chan.”  The highlight of his mini-sets would be the unannounced reunion of Soul Visions, The Human Experience’s otherworldly collaboration with Rising Appalachia. Leah Song and Chloe Smith, in town for their own engagements, took the stage with Block and delivered a few cuts from their eponymous 2013 EP.  Transcendental tunes  like “SUNU” and “Mississippi” were revisited and revered. Block is adept at making fast friends and collaborators; on his virgin visit he connected with “Freaky” Pete Murano (of Trombone Shorty and Orleans Ave), and they made a song together that night. It came as little surprise to see Murano strap on his axe and join the Soul Visions trio. Later, they were joined by guitarist Eric McFadden, Maurice “Mo-Betta” Brown on trumpet, and members of the Hot 8 Brass Band, for a Shaman-on-the-Bayou uniting of the clans.   Shortly after one in the morning, it was time for the main event in this celestial room now two-thirds full and fueled to the gills. Roaring out of the gate with WAR’s “Me and Baby Brother”,  frontman Black Thought saluted “Tipitina” repeatedly, letting people know exactly what time it was. This funky classic segued perfectly into Eric B. & Rakim’s timeless “I Know You Got Soul”, as Black Thought would recite one of the illest, and most quintessential verses ever committed to vinyl. Staying true to the game, Riq Gz then led the troupe toward the nation’s capital, flowing into the rambunctious Go-Go riddims of Chuck Brown’s “Bustin Loose.”  Commandeered by drummer/cultural icon/musical director Ahmir “?uestlove” Thompson, the enormous Roots band would fill the ornate theater with a bulbous thump. Sousaphone madman Tuba Gooding Jr. caroused the stage while Mark Kelley chased with rumbling basslines. Kamal Gray held down the keyboards with the same game-face he’s been wearing for over twenty years. The Roots have drafted Jeremy Ellis on drum machines, samplers and digital pads; infinitely more bounce to the kick-drum ounce. David Guy and Ian Hendrickson-Smith, two horn players previously known for their work with Sharon Jones & The Dap-Kings, have been strategically added to the ensemble, and their bright, brassy leads gave the Philly/Fallon squad even more musical muscle on a triumphantly reworked “Game Theory”.    In-sync with the Crescent City, unadulterated musicology was on display for the duration of The Roots performance. It was refreshing to hear virtuoso bassist Kelley occasionally cut loose with Chuck Rainey-esque jazz-bo chops, and Kamal bring back Fender Rhodes licks of yore. “Without A Doubt” saw ?uest, percussionist Frank Knuckles, and Ellis uniting for Go-Go-break juggling madness. Ellis set the spot off something major with his 808-drenched solo segment; alternately battling ?uestlove in a baffling drum duel, cutting up vintage J-Dilla samples, dropping the obligatory Prince tune (“Let’s Go Crazy”), and whipping the theater into a frenzy with real-time NOLA-bounce, tapped-out live and on digital steroids.  NOLA aficionados were treated to a Philadelphonic version of The Meters’ “Hand Clapping Song”, while “You Got Me”, the band’s biggest “hit” to date, was it’s usual chameleon self. The ten-minute epic traversed a dub reggae tomb, an organ-trio lounge, and breakbeat drum n’ bass before sinking into it’s familiar R&B croon.The five-alarm flamethrower that is “Get Busy” might have been the concert’s cyclonic apex; as Thought spit verbal darts with a professor’s wit, I was convinced that this antique theater would not hold us. However, it was an unthinkable touchdown run through seminal territory that sealed the proverbial deal: “Sections > Clones(!) > Proceed > What They Do > Next Movement> Without a Doubt” was a revival in the gospel of Illadelph.   4/29: Karl Denson’s Tiny Universe at Tipitina’s UptownAfter the Orpheum, in keeping with a fourteen year tradition, I skipped Worship My Organ 2, instead venturing uptown to Tipitina’s for the original kings of the JazzFest late-night, Karl Denson’s Tiny Universe. It was this band, in this city, on this weekend, that made the unbreakable first impression upon me, one fateful maiden voyage in 2000.  The supreme saxophonist was fresh off of a South American tour with his other band, The Rolling Stones; a jaunt that took him to Havana, Cuba, along with fantastic locales beneath the equator. Going back to last Halloween, Denson has been incorporating Prince’s seminal Dirty Mind album into select KDTU sets, with the help of Con Brio singer Ziek McCarter. Sadly, this former tribute has turned into concert eulogy, as Denson and company were given a chance to honor the mythical artist-forever-known-as-purple with a Howlin’ Wolf engagement the night prior. (This is not unfamiliar territory for Denson, as Beastie Boy Adam MCA Yauch died during JazzFest 2012, and Denson’s previously scheduled Beasties tribute served as a public funeral and celebration.)  Tip’s Uptown with Karl, every year on second weekend, is unfailingly a rigorous exercise in the gritty and gluttonous, and why would this night be different than any other? Opening with the Blue Note rare groove “Dance Lesson #2”, the Tiny Universe was a lean, focused machine.  As the night wore into wee hours, KDTU tore through a runaway freight train version of Steely Dan’s “Showbiz Kids”, a rowdy run around Bowie’s “Young Americans”, took on Pink Floyd’s vaporous “Fearless”; yet the real ultraviolet gem was an ungodly sexy romp through “When Doves Cry.”  Denson did lead his troupe through one Dirty Mind track, pledging allegiance to tantric sexcapades on “Do It All Night.” Late into their elongated single set, the band welcomed former drummer John Staten (Pimps of Joytime) back behind the kit. Staten spent nearly a dozen years bashing the skins for the Tiny Universe, it was a beautiful reunion of sorts, with smiles abound the stage and spilling into the audience. Soon thereafter, fiery guitarist DJ Williams, longtime keyboardist David Veith, trumpet/flugelhorn assassin Chris Littlefield, and Staten powerfully reconnected on a stunning, electric gallop through the erogenous KDTU chestnut “Satisfied.” The Tiny Universe returned for a “Purple Rain” encore, with Staten drumming as Alan Evans shared the lead vocal. Denson blew luscious tenor on the iconic coda, sending us deep into the Tchoupitoulas night, like he’s wont to do ’round this time of year. 4/30: Break Science Live Band at Blue NileBreak Science is trendsetter in realms of live electronic music; implementing avant garde approaches to technology while retaining core identity and original sound. The duo comprised of Adam Deitch and keyboardist/sampler/producer Borahm Lee have begun to reinvent themselves as a live band, drafting Lettuce crew Jesus Coomes (bass), Adam “Shmeeans” Smirnoff (guitar) and The Shady Horns to make a formidable dance music dragon.  It’s clear that familiarity and trust are crucial to the duo’s transition into a full live band. Deitch remains a force behind the kit, propelling the breaks, programming pads, and setting the ultimate tone; while Lee is mad professor, furiously twisting knobs, painting Rhodes colors, and layering the synth waves. Shmeeans and Jesus would lay back, low-down dirty and deep in the cut, serving the songs and keeping it vibey with disciplined restraint.    On the other hand, saxophonist Ryan Zoidis was levitation station, a dude not of this earth. The Shady Horns veteran hellraiser married imaginative melodies with sinister, psychedelic tones; all done through his Korg analog guitar-synth triggered by a custom-equipped mouthpiece. Eric Benny Bloom is well versed in live-band electro-soul from his tours of duty in Pretty Lights Analog Future Band, and his stimulating, muffled wah wailing remained a perfect Zoidis foil in yet another compelling context.  The undeniable Tycho/Kendrick Lamar mashup “Vibe Walk” was a moving expedition, paired with familial collaborations with Michal Menert (“Goin Down”). Two tracks from the recent Manic Science project were reinterpreted: the Nice & Smooth-sampled “Funky Style,” and the haunting PL remix “I Can See it in Your Face.” In mixing older Break Science originals like “Zion Station”, re-working NOLA classics (The Meters “Hand-Clapping Song), and powering through AOR radio staples (Yes’s “Owner of a Lonely Heart”), the omnifarious Break Science personalities were revealed. A smattering of new songs were interspersed within the set, only adding to the promising potential of this larger unit. Break Science Live Band surpassed many expectations, and chaperoned an enchanting journey down the wormhole of organic electronic music in 2016. 4/30: Killa 4 Dilla II at The Maison After the rousing success of their first endeavor, a late-night, post-BUKU throwdown, FIYAwerx Productions revealed a Jazz Fest after dark redux, and the Killa 4 Dilla II was born just days before the show. The FIYA Dept had this one tucked up their sleeve for a few weeks, but once they announced the second edition of their J Dilla tribute, the excitement around the city was palpable. Boasting a roster of jazz-funk heavyweights with a healthy appreciation for hip-hop history, the band came together in short order to summon a ghost of The Ummah. Lacing us with two hours of classic Jay Dee, this was Welcome to Detroit, the Frenchman Street edition.  The ensemble included the likes of Nate Edgar (bass), Borahm Lee (keys and samples), Nicky Cake Cassarino (guitar), Ian Neville (guitar), Farnell Newton (trumpet), Khris Royal (sax and effects), Alvin Ford Jr (drums), Adam Deitch (drums) and emcees Nikki Glaspie and [email protected] Peoples. The outfit ambled on stage just after two in the morning, and deftly delivered a cadre of bangers that had us “Body Movin’” and crush-groovin’ late into the night. A student of the James Yancey pantheon, Borahm Lee was a revelation; a true-school beat conductor for this focused free-for-all, playing choice Rhodes betwixt a bevy of samples and looping gymnastics. Soulquarian essential oils were in the air on Common’s “The Light”, and the energy turned Nthfectious;  Cassarino’s slinky Spanky Chalmers licks, Edgar’s Pino Palladino was perfection, and Glaspie’s mojo was workin’ through Rashid’s effervescent verses, the dreaded femcee gripping the mic like it was mama’s gun. Another period piece, Slum Village’s “Jealousy” was handled with verbal authority by [email protected] Peoples. This talented local emcee shined on a vast array of Dilla-gence throughout. Newton and Royal passed the champion sound forth and back, and Ford was steady-clicking a metronome of Dillafication, the off-beat/on-beat, blunted breaks mined from a Conant Gardens bassment.   Miraculously, the man, myth, legend, the all-galaxy cat himself, Louis Cato appeared out of thin air and relieved Ford on the drum kit; a segment of virtue and virtuoso, this was beyond Filthy Mcnasty. Naturally, it being a FIYA Dept hip hop show in NOLA, the boy wonder Adam Deitch emerged to nail the illest Iverson crossovers. Lettuce’s hip-hop heartbeat got luscious on a lucid dreaming “Lightworks,” an MPC piece of masterpiece theater found on Yancey’s final finished document, Donuts. The Killa chorale continued to bless the Maison massive by honoring the legacy of hip-hop’s greatest producer; emotional readings of several undying soundtracks to our lives included “Runnin’” (The Pharcyde) and the SV/Common slab of heat rocks “Thelonious.” Most treasured was an sojourn through this writer’s amaranthine anthem: De La Soul’s 1996 word-to-the-wise “Stakes is High” James Casey and the Mayor of *my* New Orleans  Derrick “Smoker” Freeman assumed the role of Plug-One and Plug-Two; this duo led the crew through golden-age, rap-superhero theme music.In a word: FIYA.  A new generation of Native Tongues had been reinstated. Vibes? Vibrations. Jay. Love. JazzFest. [Videos by FunkItBlog]5/1: Rising Appalachia at The Parish – House of BluesSisters Chloe Smith and Leah Song are no strangers to activism, an anarchist streak is woven into the afghan of their siren serenity, artistic and cultural identity. Their progressive passions called them to connect with the Permaculture Action Network, resulting in an action day at CRISP Farms in the Upper 9th Ward. More than 75 dedicated light warriors arrived at the site Saturday afternoon to assist in cob building, food planting, and to sew seeds of awareness into local community. Those still lingering at the farm before the downpour would enjoy an assortment of percussion rhythms courtesy of Biko Casini, Arouna Diarra, and Luke Quaranta. This type of community cooperation and mobilization through music is at the core of what Rising Appalachia seeks to achieve.  Hailing from the metropolitan epicenter of Atlanta, setting down roots in the fertile soil of Asheville, and having lived and busked in New Orleans proper for seven years, Rising Appalachia are by now card carrying southern musical troubadours. Ignoring the boundaries of genre and championing a fearless independent streak, they are representing the mountain culture, the urban culture, and the swamps. Rising Appalachia’s ingenious Sunday evening service at The Parish- House of Blues took us to an intersection at the bosom of the Southern Appalachian music renaissance, and the Crescent City’s bountiful booty. The sisters employed an melange of fiddles, banjos, and acoustic guitars on hymns that channeled Deep South, Bulgarian, Congolese, and Cuban influences. Alongside Casini’s meditative, handmade beats, Leah and Chloe were backed up by the prodigious talents of multi-instrumentalist David Brown.  Chloe Smith took a brave turn on upright bass, acknowledging that this was among the first few times she had played the instrument in concert. She nailed the bluesy tune, to the delight of the sold-out Parish. Her sister Leah trotted out some impassioned, fierce rhymes, replete with an emcee’s confidence and playful braggadocio, she proved unafraid to invoke a poignant Macklemore verse into their mystic stew. The ladies led the foursome to break out a lush, torrid re-imagination of Aaliyah’s late-90’s R&B paean “Are You That Somebody” that knocked over with a feather anyone listening to urban radio around the turn of the millennium.   “Wider Circles,” title track to their most recent studio effort, was performed as a unifying, rallying cry; a song to inspire communities to join hands. A hypnotic reggae riddim and harrowing chants colored the triumphant “Medicine,” the thumping pulse had people transfixed and swaying in unison. “Fall on My Knees for You” saw Chloe on fiddle and Leah on banjo, the sisters uniting in towering vocal harmony on this lover’s lament. A rollicking rhythm, powered by Biko Casini’s authoratative drumming, informed “St. James Infirmary” the sisters’ stirring vocal approach putting a bold, zealous spin on the Bayou classic     In the appropriate JazzFest fashion, Rising Appalachia chose to share their stage and spotlight with a few stupendous guests. For some Cajun music on the mountainside, the band welcomed local legend Washboard Chaz for a hoedown “Cumberland Gap”; later regional treasure Aurora Nealand came up for a spirited clarinet sit-in. Longtime Rising Appalachia tour mate, and beloved Burkina Faso dignitary Arouna Diarra joined in with riveting kora action, stoking the Biko blaze and sending the packed and sweaty house into a whirling dervish of delirium. A homecoming, a family reunion, a new chapter, and coming of age, Rising Appalachia were welcomed back to the Bywater, the Bayou and beyond, the salutation came in a familiar Crescent City swoon. [Photo by Rising Appalachia]— Thank you Universe for providing me the opportunity to immerse myself in the glory that is NOLA JazzFest, and to L4LM for the canvas on which I may share these impassioned experiences. Infinite thanks and praises to all of the musicians, funkateers, and the denizens of the City of New Orleans!  I’ll be back… Promise! Le Bon Temps Roule-B.Getz- May 2016 [Videos by Funk It Blog]4/27: FIYA Fest at Mardi Gras WorldWednesday brought us to the 4th annual FIYA Fest, an orgy of NOLA goodness hosted at Mardi Gras World by the incomparable Fiyawerx Productions. Thankfully moved to the days between, it’s a difficult task to summarize everything that makes FIYA Fest amazing into a few short paragraphs. FIYA chief Chris Rogers literally wrote the book on how to host a party with New Orleans music as the main course; the FIYA Dept goes to unthinkable lengths to provide a fulfilling, authentic cultural experience to fans of all ages. In addition, the cornucopia of local art vendors, crawfish boil and other delectable culinary options, photographer Michael Weintrob‘s resplendent ‘Instrumenthead’ exhibit, and heaping mounds of Crescent City vibes made for an unforgettable day on the Mississippi River banks. Cloud 9 raffled off a Jam Cruise cabin, Weintrob did the same for the Soulive piece from his collection, the proceeds for both went to a righteous cause. FIYA Fest 2016 benefited the New Orleans Musicians Clinic, an organization that tirelessly works toward affordable health-care options for NOLA musicians.   A deluge of rain early in the afternoon threatened to damper the festivities, but thankfully, it subsided and the event really started cooking by midday. There were almost one hundred artists onsite, top-shelf music going head to head all day long, spread across three stages: the giant indoor Flame Stage, the outdoor River Stage, and the swanky, extravagant VIP stage The Mansion. In order to see something awesome, you were forced to miss something, also awesome. Like all things Fiyawerx, this conundrum is true to the essence of JazzFest, and makes for a great motivator for one to bounce from stage to stage in a gluttonous quest for the deepest pocket, dirtiest jam, or ultimate sit-in. The all-star collaborations were often unique to this event, and it’s safe to say that some of the pairings you may never see again.   Early afternoon, David Shaw’s Family Jam stirred emotions at The Mansion, as did Stanton Moore’s Jazz Trio with Skerik; the latter showcasing the astonishing skills of pianist David Torchanowsky and bassist James Singleton. Jen Hartswick and Karl Denson mesmerized while fronting FunkiFIYA, as Zigaboo Modeliste and Tony Hall laced up “Welcome to New Orleans” with the same gritty determination that defines their artistry. Bernard Purdie and Friends welcomed heavyweights like The Meters’ Leo Nocentelli, Oteil and Kofi Burbridge, Corey Henry and Khris Royal. Furious funk workouts included an impressive “Ain’t No Use” (belted mightily by Erica Falls), and a hefty helping of the Pretty Purdie shuffle. NYC/NOLA supergroup Dr. Klaw trucked the outdoor River Stage with their low-down, dirty sludge funk. Nick Daniels III and Adam Deitch locked sinister grooves, Ian Neville and Eric Krasno traded hardy licks, and Nigel Hall crooned sumptuously on “Leave Me Alone.” Klaw original “The Lost Rager” was a Kraz clinic in tremendous tone, technique, and taste. For this writer, the real treat of the day came when Cyril Neville sauntered onstage and joined Dr. Klaw, dressed dapper as an OG should. The Klaw dug deep for the filthiest funk tunnels on “Africa”, as Daniels audibly upped the ante and challenged Deitch to meet him in the crunk dungeon, while Uptown Ruler serenaded the FIYA-faithful with the epitome of swagger.   Allegiances were tested in the final slotting, depending on your taste and mood at the moment. For your Crescent City cravings, the configuration dubbed “Revivalactic Hall“ saw collaboration from members of NOLA icons Preservation Hall, cagey veterans Galactic, and The Revivalists, a local band on a cusp of national superstardom. A smorgasbord of New Orleans rhythms, fundamentals, and tradition was on display, cool breezin’ on the River Stage, as this swollen troupe careened their way through half a century of Bayou boogie. Inside on the Flame Stage, Soulive with The Shady Horns were cooking up their own Big Apple gumbo, laying it down thick and chunky.  Led by the possessed genius of keyboard superhero Neal Evans, Soulive blazed through a few choice originals, as Ryan Zoidis and Eric Benny Bloom blasted brass atop the patented organ-trio dub-hop. Next, out came the marvelous Maceo Parker to blow alto over classic JB’s vamps. Top-buttoned up and rocking indoor moon-shades, the man they call Maceo was the consummate bandleader; steering the rumbling vessel with only the slightest of head fakes, hand gestures, and facial expressions. Clearly reeling from the death of dear friend and band bossman Prince, Parker channeled his grief through the music. It proved to be cathartic for all in attendance, as Parker’s always-inspired, radical and radiant playing matched his regal aura. The many musicians and fans that remained bowed their heads with respect, and stood in gratitude for this national treasure. To close the show, Fiyawerx had succeeded in re-creating the essence of NOLA JazzFest- as we simultaneously soaked in scents, sounds and songs spanning three generations, over two stages, all-in-together now, one nation under the groove.    last_img read more

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Everything You Need To Know About Dopapod & Pigeons Playing Ping Pong’s Co-Headlining Tour

first_imgWe are pumped for the upcoming Dopapod and Pigeon Playing Ping Pong tour! The bands are surely excited to hit the road together, as their tour kicks off tomorrow night at 1904 in Jacksonville, Fl. Dopapod’s vocalist/guitarist Rob Compa made his excitement about playing with PPPP clear when he spoke to us about the tour, saying “we’re always crossing paths, whether it be barely missing each other along tour or at festivals. After a while it became clear that we ought to do something cool together. I’m happy that this finally came together.” Pigeons front man Greg Ormont returned the sentiment, explaining that “[Dopapod are] great friends and even better musicians, so it should be an epic few months on the road.”Live for Live Music is presenting the tour, so get ready for tons of DopaPigeons content as the bands wind their way across the country. We have a lot of fun things planned for this tour, and we want to make sure that you have all the info you’ll need to keep up with these two awesome bands while they’re on the road this fall! The first leg of the tour starts tomorrow night, as the bands prepare for an eight show Southern run. The bands will hit Jacksonville, Gainesville, St. Petersburg, Ft. Lauderdale, and Orlando in Florida, before arriving in Macon, GA on 10/11 for a show at the Cox Capitol Theater. We’ll check in with the two bands when they get to Macon for what should be an excellent Facebook Live Q&A. The two bands will finish their first leg by hitting Charleston, SC before the they venture back up north for Luna Light Festival in Darlington, MD.There are 33 dates in all on the Dopapod and Pigeons Playing Ping Pong tour, which will also hit Irving Plaza in New York City, The Jefferson Theater in Charlottesville, VA, The Orange Peel in Asheville, NC, Terminal West in Atlanta, Lincoln Theatre in Raleigh, NC, and many more venues before finishing up December 17th in Kalamazoo, MI. We’ll be there throughout the tour bringing you exclusive content, behind-the-scenes footage, creative feature pieces, video/track releases, and much, much more.Check out a few videos below to get excited for this awesome double bill. Below, watch video of Pigeons Playing Ping Pong playing “F.U.” featuring Dopapod keyboardist Eli Winderman from 4/22/16 at the Theater of Living Arts in Philadelphia, Dopapod playing “Welcome To The Machine” in their Pink Floyd tribute set at Resonance Festival 2016, and a full set of Pigeons Playing Ping Pong at DomeFest 2015.video courtesy of Pigeons Playing Ping Pongvideo courtesy of YouTube user mk devovideo courtesy of YouTube user superchillproductionsSee below for a full list of Dopapod & Pigeons Playing Ping Pong tour dates and the official tour art!October 5 – Jacksonville, FL – 1904October 6 – Gainesville, FL – High DiveOctober 7 – St. Petersburg, FL – State TheatreOctober 8 – Ft. Lauderdale, FL – Culture RoomOctober 9 – Orlando, FL – Venue 578October 11 – Macon, GA – Cox Capitol TheatreOctober 12 – Columbia, SC – Music FarmOctober 15 – Darlington, MD – Luna Light Music FestivalOctober 26 – Saratoga Springs, NY – Putnam DenOctober 27 – New Haven, CT – Toad’s PlaceOctober 29 – Northampton, MA – Pearl StreetNovember 2 – Syracuse, NY – Westcott TheaterNovember 3 – Buffalo, NY – Iron WorksNovember 4 – Cleveland, OH – Beachland BallroomNovember 10 – State College, PA – The State TheatreNovember 11 – Charlottesville, VA – Jefferson TheatreNovember 17 – Stroudsburg, PA – Sherman TheatreNovember 18 – New York, NY – Irving PlazaNovember 19 – Woodstock, NY – Bearsville TheatreNovember 30 – Asheville, NC – The Orange PeelDecember 1 – Atlanta, GA – Terminal WestDecember 2 – Charleston, SC – Pour HouseDecember 3 – Raleigh, NC – Lincoln TheatreDecember 6 – Chattanooga, TN – Revelry RoomDecember 7 – Nashville, TN – Exit InDecember 8 – St. Louis, MO – Ready RoomDecember 9 – Iowa City, IA – Gabe’sDecember 10 – Chicago, IL – Bottom LoungeDecember 11 – Champaign, IL – The AccordDecember 14 – Ann Arbor, MI – The Blind PigDecember 15 – Kalamazoo, MI – Bell’s BreweryDecember 16 – Milwaukee, WI – Mirimar TheatreDecember 17 – Indianapolis, IN – The Vogue Theatrelast_img read more

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Papadosio’s Two-Night ‘Rave From The Grave’ To Pay Tribute To 90’s Electronic Pioneers

first_imgEarlier this summer, Papadosio performed their second-ever headlining performance at Red Rocks Amphitheatre, marking yet another major success in the band’s consistent upward trajectory within the scene. Now, the group is getting ready to return to Colorado for an intimate multi-night Halloween weekend run dubbed Rave From The Grave, which will take place at the Boulder Theater on Friday, October 27th, and Saturday, October 28th. For the run, Papadosio will be supported by Colorado’s own DYNOHUNTER on the 27th and Bass Physics on the 28th. You can get your tickets at the Boulder Theater website here.At Rave From The Grave, Papadosio is going to pay homage to some of the 90’s and early 2000’s electronic pioneers that influenced their own sound, pulling from the catalogs of some familiar acts. In addition to the cover songs, the band will also be performing classics from their own songbook. While each night will feature monstrous sets from the Asheville, North Carolina-based progressive space rock act, in true Papadosio fashion, the band will continue to focus on musical exploratoration during this musical resurrection.Boulder’s own DYNOHUNTER will be providing a special hometown support set for Papadosio on the Friday night portion of this killer two-night run. The live trio’s house and techno leanings have made DYNOHUNTER an undeniable and organic force to be reckoned with. Featuring consistently tight grooves and with a focus on danceable beats, the act is well-versed in the sounds of 90’s electronic pioneers and will be a welcome addition to Friday’s bill.Denver-based producer Arja Adair, also known as Bass Physics, is known for the positive energy of his sets, which are frequently infused with soulful electronic beats and backed by live guitar and keys. Bass Physics has made multiple appearances at the massive annual Decadence New Year’s Eve event, while also taking it deep to crowds at Electric Forest and Austin’s Euphoria Festival.Two-day passes to Papadosio’s Rave from the Grave at the Boulder Theater have already sold out, though single-day tickets are currently on-sale. You can purchase tickets for the 27th here and 28th here. For additional information and show updates, join the Facebook Event page.[Cover photo courtesy of  The Chronic Electronic via Papadosio FB page]Enter To Win A Pair Of Tickets + Meet and Greet + Merch Package Below!last_img read more

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Umphrey’s Busts Out “Pooh Doggie” For Superfan’s 400th At Remarkable Brooklyn Bowl Show [Photos]

first_imgAfter two nights at impresario Peter Shapiro‘s rock palace, The Capitol Theatre, Umphrey’s McGee moved the party to Shapiro’s beloved Williamsburg bowling alley/night club for an celebratory finale to their three-night run in New York. The two sets and encore at Brooklyn Bowl last night marked the most complete show of the weekend, which is saying something considering how impressive the band was on Friday and Saturday. Focusing on their older and most cherished material, Umphrey’s was simply on fire, showcasing the intense focus, energy, and precision for which they’re known.Umphrey’s McGee Honors Tom Petty, Covers Toto’s “Africa” To Open Cap Run [Photo/Video]Set one started off with “Conduit”, off 2011’s Death By Stereo. The medium-paced rocker was a great fit for the opening slot, allowing guitarist Jake Cinninger to show off his chops early in the frame. Cinninger’s solo breakdown evolved into an evil-sounding metal segment, with an aggressive power rock jam that built to a strong peak by the song’s end. The hair metal vibes of “Mad Love” followed, eventually fading away as the band started up the beloved instrumental “Fussy Dutchman”. Brendan Bayliss took his turn at lead guitar and ran with it, with an excellent solo the cherry on top of an excellent all-around version of the song.Up next was “Morning Song”, one of the band’s best progressive rock originals. The version was a bona fide bullseye, turning things up in the room for band and crowd alike. As the song finished, the band harnessed that energy and unleashed a big rendition of “Hurt Bird Bath”. The multi-sectional masterpiece opened up with a bass-heavy jam, constructed with several interesting musical building blocks from bassist Ryan Stasik. The whole band synced up around this rock n’ roll vibe, allowing Cinninger to go off on a wave guitar fireworks. As the energy in the room reached a fever pitch, the band dropped back into “Hurt Bird Bath” for the second verse, and then quickly moved into the song’s second jam, marked by an out-there space funk theme. Eventually the band locked in around a part house music-part metal sonic space. Cinninger introduced some metal riffage, and the band delved into full-blown, hand signal-driven Jimmy Stewart-style improvisation. After some physical instructions from Cinninger, the band changed keys and rhythm several times before landing back on “Hurt Bird Bath” to complete the incredible rendition.Prog-funk track “Deeper” followed up the huge first set odyssey, and Umphrey’s kept the improv going with another impressive jam. After bursting out of the funk with some heavy metal, the band settled on a drum and bass jazz fusion vibe, with a melodic peak. Out of nowhere, the band moved into a song unfamiliar to most in the crowd: “Pooh Doggie.” The ultra-rarity was played in honor of Dan Delaney, hardcore Umphrey’s McGee fan who was celebrating his 400th show (!!!) at Brooklyn Bowl last night. Kudos to Dan for the accomplishment, and thanks to him for inspiring the band’s mega-bust-out at The Bowl. The song was last performed in Dallas, TX on 11/10/2006–a mere 1180 shows ago. The rarity closed out the first set, leaving fans clamoring for more after a remarkable opening frame.When the band emerged for their second set, dissonant and ambient sounds started to emanate from the stage. Fans with a trained ear knew that this could mean only one thing: “Nothing Too Fancy.” The electronic-leaning improvisation vehicle provided the jam of the night: a patient and meditative exploration that built into several peaks, with the entire room hanging on every note. The tension was released as Umphrey’s pulled off one of their patented “on-a-dime” transitions, building “Nothing Too Fancy” into a wild frenzy before dropping unexpectedly into “August.” A welcome sing-along, this “August” proved to be one of the nights emotional highlights. The small venue and three-night run invited some of the band’s biggest fans to attend this weekend, and the hardcores really let lose on “August.”The down-and-dirty funk of “Mail Package” provided a much-needed breather after the intense one-two-punch set opener. Things picked back up in a huge way with “#5”, an old favorite that dates back to 2003. The progressive rock masterpiece saw drummer Kris Myers and percussionist Andy Farag offer up some tribal sounds, using his floor toms to create a pulsating rhythm. Joel Cummins eventually linked up with Myers, leaning into his organ line with gusto. The organ sound led to a 80’s rock vibe, which was fitting as the sound eventually dissolved into a slow, piano-led jam that wound its way towards a soaring dual-guitar master class from Cinninger and Cummins. The crowd was in a frenzy, and kicked into another gear when Umphrey’s landed back on the tail end of “Nothing Too Fancy,” finally finishing the version that opened the set.Umphrey’s McGee Plays Nostalgic VIP Pre-Show, Covers Radiohead In Capitol Theatre Finale [Video]The smooth rock vibes of “No Comment” kept the old school feel going, before the band eventually moved back into some more aggressive improvisation (do they ever take a song off?), with Stasik offering up some more amazing bass licks. After flowing into a call-back off “Pooh Doggie” one more time for good measure, they closed out the set with a rocking version of “The Song Remains The Same” by Led Zeppelin. Finally, for the encore, Umphrey’s continued the old favorites with a reggae-tinged version of “Slacker”, which ended up sounding something similar to “The Bed’s Too Big Without You” by The Police. Bayliss was all smiles during this final song of the run, watching with a huge grin as Cummins rocked the organ to close out their weekend in New York.Umphrey’s McGee may be done in the New York area, but they will be back soon, with three recently-announced shows at The Beacon Theatre in January on deck for the band’s 20th-anniversary celebration. In the meantime, Umphrey’s will hit Suwanee Hulaween on Thursday before traveling to St. Paul, MN for two nights at the Palace Theatre, where the band will take a break from their usual Mashup celebration and will debut a new theme for  Halloween.Check out a full gallery of photos from Umphrey’s McGee’s Brooklyn Bowl performance below courtesy of photographer Andrew Blackstein.You can watch a few clips from the show via Instagram below: Load remaining images SETLIST: Umphrey’s McGee | Brooklyn Bowl | Brooklyn, NY | 10/22/2017Set One: Conduit, Mad Love > Fussy Dutchman, Hurt Bird Bath, Deeper > Pooh DoggieSet Two: Nothing Too Fancy -> August, Mail Package, #5 -> Nothing Too Fancy, No Comment > Pooh Doggie, The Song Remains The SameEncore: SlackerUmphrey’s McGee | Brooklyn Bowl | Brooklyn, NY | 10/22/2017 | Andrew Blacksteinlast_img read more

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PHOTOS: The Revivalists & The Marcus King Band In ATL

first_imgOn December 15 and 16, The Revivalists took over the amazing Tabernacle in Atlanta, GA for two nights of sonic bliss. With The Marcus King Band on the bill as support, fans were treated to back-to-back nights of The Deepest Dream Tour-closing madness. Check out the full gallery below, courtesy of photographer Emily Butler.The Revivalists will celebrate New Year’s Eve in their hometown of New Orleans at The Orpheum Theater on December 29, 30, and 31. For more information on The Revivalists, head to the band’s website.The Revivalists | The Tabernacle | Atlanta, GA | 12/16/17 | Photos by Emily Butler Load remaining imageslast_img read more

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Enter For Exclusive Access To The 2018 Tapings Of PBS’ Iconic ‘Bluegrass Underground’

first_imgEmmy Award-winning PBS concert series Bluegrass Underground is one of the most unique musical experiences out there, featuring intimate musical performances that take place literally inside of a cave deep beneath the earth. Now going on its eighth season, the beloved series has found a new, permanent home at The Caverns, located at the foot of Monteagle Mountain in the rolling hills of Grundy County, Tennessee.This year’s musical lineup includes Sam Bush Band, Brandi Carlile, Lettuce, Turnpike Troubadours, Billy Strings, Kathy Mattea, Sweet Lizzy Project, and more. See below for a complete 2018 taping schedule.We’re giving four lucky winners the chance to attend this once-in-a-lifetime experience for free! One grand prize winner will receive a season pass for a pair of tickets to all three taping weekends. Three runners-up will receive a pair of tickets to one full weekend of tapings. Enter below, then following the instructions for sharing to increase your chances of winning. Good luck!For more information and to purchase tickets, head over to their website.Spring 2018 Taping Schedule:March 24: Sweet Lizzy Project, Billy StringsMarch 25: Sam Bush Band, Aaron Lee TasjanApril 20: Brandi CarlileApril 21: Kathy Mattea, Tim O’BrienApril 22: Lettuce, Rev. SekouMay 19: Turnpike Troubadours, Flatt LonesomeMay 20: Mary Gauthier, Michael Cleveland<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span>last_img read more

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Smashing Pumpkins Announce Extensive Summer Reunion Tour

first_imgOver the past few weeks, Smashing Pumpkins began formally teasing the idea of a reunion tour. Earlier this week, the band launched an official countdown clock, with many speculating the clock was counting down to the new tour’s announcement. Though much of this week was marred by the back-and-forth between frontman Billy Corgan and original bassist D’arcy Wretzky, who has informed a number of outlets that she was purposefully excluded from the reunion, today, Smashing Pumpkins announced their “Shiny And Oh So Bright” tour.For the “Shiny And Oh So Bright” tour, the majority of the founding members of Smashing Pumpkins—save Wretzky—as well as the band’s current longtime guitarist, Jeff Schroeder, will hit the road together and celebrate the band’s first five albums: Gish, Siamese Dream, Mellon Collie and the Infinite Sadness, Adore, and Machina.The band has announced an expansive list of dates for the new tour, which range from July 12th through September 7th. The tour will take the band across the United States during its two months, with a quick dip into Canada at the start of August. Tickets go on sale on Friday, February 23rd, at 10 a.m. (local), and are available on Smashing Pumpkins’ website.last_img read more

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Spread The Word Announces Family Band With Members Of SCI, Sunsquabi, Break Science, More

first_imgReturning to Denver, CO for the sixth straight year, Spread The Word Music Festival has just revealed another exciting component of the upcoming 2018 event. Taking place from May 11th through the 13th at the Fox Street Compound, the festival will see a headlining performance from the Jeff Austin Band (former leader of Yonder Mountain String Band), A-Mac & The Height (2 shows), and Spread The Word Family Band. Today, the festival revealed that the Spread The Word Family Band will feature Jason Hann (String Cheese Incident), Kevin Donohue (Sunsquabi), Josh Fairman (Sunsquabi), Borahm Lee (Break Science, Pretty Lights Live Band), Clark Smith (Dynohunter), Ashley Niven (Tiger Party), Megan Letts (Mama Magnolia), and Will Trask (Great American Taxi).The full billing includes Magic Beans, Tatanka, Skydyed, Eminence Ensemble, Grant Farm, Great American Taxi, Evanoff, Cycles, Tnertle, Lucid Vision, Whitewater Ramble, Dead Floyd, Rastasaurus, The Sweet Lillies. Aaron Bordas, Spectacle, Mikey Thunder, Trufeelz, Homepage Spaceship, Caribou Mountain Collective, The Orcastra (The Orcastrator Live Band), Avenhart, Emma Mayes & The Hip, Dog City Disco, Cosmic Mesa, and Morsel, as well as a late-night Everyone Orchestra set conducted by Matt Butler at Cervantes. Check out the full lineup below, and head to the festival’s official website for more information.last_img read more

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