Gary Clark Jr. Plays Two Songs, Talks Trading Licks With John Mayer, & Upcoming Album In Live Interview

first_imgModern blues guitar icon Gary Clark Jr. hits the famous Carnegie Hall for the first time ever this evening. While in town for the monumental occasion, Clark stopped by the New York Times for a Facebook live interview session. Clark performed two original songs–“Church”, and “Hold On”–before answering some questions from the audience at home. In the conversation, he touched on a variety of subjects, such as his preparation for performing at Carnegie Hall, his favorite things about his hometown of Austin, TX, his work on a new album and a new live record, his relationship with Dead & Company guitarist and fellow bluesman John Mayer, his inspiration behind his songwriting process, and more.Check out the full performance and interview below!last_img read more

Bob Weir, Bill Kreutzmann, Taj Mahal & More Play Private Party In Hawaii For New Year’s

first_imgGrateful Dead musicians Bob Weir and Bill Kreutzmann got the celebrity treatment over New Year’s Eve, as they celebrated the holiday at a star-filled private engagement in Hawaii. The two collaborated with Heartbreakers’ guitarist Mike Campbell, as well as keyboardist Todd Stoops and bassist Reed Mathis. According to Stoops, a similar band also backed up blues legend Taj Mahal at the event, who had stumbled upon the party while walking down the beach.Stoops said, “What a way to ring in a new year! It will be hard to top it in years to come!! I had the honor of playing my favorite music with Billy Kreutzmann, Bob Weir, Mike Campbell and Reed Mathis – then ringing in the new year backing up Taj Mahal with the same cats. Unreal.”A slew of A-list celebrities were in attendance at the high profile party, including Ben Stiller.Watch a video of this all-star lineup taking on “Turn On Your Lovelight,” below.last_img read more

Greensky Bluegrass Covers “One Way Out” With Jay Cobb Anderson In Honor Of Butch Trucks

first_imgLoad remaining images Greensky Bluegrass hit the Westcott Theater in Syracuse, NY last night, tasked with delivering a performance to an audience still raw from the recent death of Allman Brothers Band co-founder and drummer, Butch Trucks. Greensky is certainly influenced by the Allmans, and even shared a video of their “Midnight Rider” cover from 2013 when they’d received the news of Butch’s death.During the show, the band welcomed out Fruition’s Jay Cobb Anderson at the end of the first set for a live musical tribute on stage. Together, they played “One Way Out,” the classic blues song captured on ABB’s famed At The Fillmore East live album. We can watch a clip of the action below, thanks to this video shared by JamBase. @JamBase #greenskybluegraas #ripbutchtrucks #ABB— TORT (@MTort41) January 26, 2017The full setlist and a gallery from Dave DeCrescente Photography can be seen below.Setlist: Greensky Bluegrass | Westcott Theater | Syracuse, NY | 1/25/17Set One: The Four > Eat My Dust, Into The Rafters,Room Without A Roof > White Freightliner Blues, Demons, Nine Days, Broke Mountain Breakdown > One Way Out (1)Set 2: Hold On > Handle With Care > Blood Sucking f(r)iends, Tied Down, Last Winter In The Copper Country > A Letter To Seymour > New Rize Hill, Casual Wednesday > Run Or DieEncore: Windshield(1) Jay Cobb Anderson on mouth harplast_img read more

Victor Wooten Discusses Music As An Art Of Expression

first_imgWith over thirty years in the business, bassist Victor Wooten knows a thing or two about what it means to play music. When he’s not out on the road creating music with his Trio or reuniting with Béla Fleck & The Flecktones, Wooten can be found teaching at his popular music camps or at the Berklee School Of Music. Unlike other music teachers who focus on music theory, Wooten’s lessons are guided towards unlocking music as a tool of expression, painting a more complete picture of what music really is.Our own Dave Melamed recently linked up with Wooten, who has plenty of ongoing projects with which to express himself. The bassist is currently putting the finishing touches on a new studio album, his first official project with the Trio of Dennis Chambers on drums and Bob Franceschini on sax. They’ll be out on the road throughout the year, including a headlining performance in Denver, CO as part of The Drunken Hearted Medicine Show, a full day of music featuring performances from The Band Of Heathens, Drew Emmitt & Andy Thorn Duo, The Drunken Hearts, Brad Parsons Band and Coral Creek at Cervantes Masterpiece & The Other Side on March 24th. More info can be found here.Read on for the exclusive interview with Wooten, below.L4LM: I appreciate you taking time out of your busy schedule to talk with us. From what I hear you’re working on a new album?Victor Wooten: That’s right! This is something I’ve wanted to do for years, to do a project with these two gentlemen, Dennis Chambers on drums and Bob Franceschini on sax. It just works out where it’s time for me to do a new record anyway. I don’t do new records every year, I do them every two to three years, and I felt it would be a great, different thing for me to do. Usually, each of my records are different from the last, and I felt doing this trio record would be perfect. Everybody was into it.L4LM: Is this the first record you’ve done with the trio?VW: Oh yeah, with this trio, absolutely. I’m really, really looking forward to it. Lot of great music, we have most of it recorded, and I’m actually working on some things while we’re on tour. There will probably be ten songs, and we are playing a few of them live already. Still not settled on the title of the album yet, but we’ll know very soon.L4LM: How’d you come to work with these two musicians?VW: I’ve known about Dennis for a long time. I think the first time we ever played together was with jazz guitarist Mike Stern. I know, for sure, that it was with Mike that it was my first time playing with Bob, but I think it was my first time playing with Dennis also. The three of us had played together behind Mike in the Mike Stern Quartet, with Dennis on drums and Bob on sax. I just love the way that felt.L4LM: So is this a new approach for you?VW: Well, I’ve done different things. I’ve traveled with larger bands, I’ve traveled with just a drummer. I’ve done quite a bit with just myself and a drummer. I’ve done some with just a drummer and my brother on guitar, so I’ve done that trio. But I haven’t done a trio with no other chordal instrument, so this is quite different, and quite fun.L4LM: Is the music mostly instrumental?VW: Yeah, the record is instrumental. On Facebook, believe it or not, I found this woman from India and I heard her sing off of Facebook. She’ll sing along with John Coltrane’s solo on “Giant Steps,” she’ll just sing it note for note with amazing pitch. I heard her sing a few of these things so I contacted her. At first it was just to say, “Hey, I love what you’re doing.” When I started working on the record, I thought, “Wow, it would be great to have her sing a few things.” No words, just singing melodies. On one part, I recorded a bass solo and I had her learn it, singing along with me. So there will be a couple of songs with her.L4LM: So it’s vocals, but it’s still instrumental.VW: Yeah, it’s the voice used as an instrument, not lyrics. She came in on a couple of songs. It’s really cool, really neat stuff.L4LM: I also realize that this is your tenth solo album. How does that feel?VW: It’s really nice. That’s an accomplishment, that I can even have a career that’s long enough to produce ten solo albums, especially when I don’t do them every year. It feels good, it’s pretty nice. I guess the last half of them, or most of them by now, have been on my own label.L4LM: When was your first solo album?VW: The first one, I believe, was 1996. It was my solo bass record called A Show Of Hands. And then the first record I released on my own label was that same record, A Show Of Hands, but we released it fifteen years later and called it A Show Of Hands 15. I remastered it and added a few bonus tracks, and made a vinyl out of it also and released that on my own label. That was my definitely very first solo record, my overdubs, no other instruments.L4LM: And how did you decide to start your own label?VW: Having been on three different labels with my own solo stuff, and different labels with Béla Fleck & The Flecktones also, having had positive experiences with those labels, I just wanted to be in more control so you know where the money’s going. You don’t have to ask. And this way, I get to own my music. When I retire, my kids will end up owning my music, rather than a record exec’s kids. I like that a whole lot more.L4LM: I know you’re currently on tour with your band, and you said you’ve been playing some of this new music. How has that been going?VW: Yeah, it’s been going great! It’s been nice to really get to know these songs. For a couple of them, we’ve been playing them before we recorded them, so it’s nice to be able to get in the studio and just knock it out.The one thing that we do is that we’re playing different versions of the songs. Nowadays, if you play something live, it’s on the internet before you even get to the hotel. So we’re making sure we’re not playing them all, because we don’t want people to feel like they’ve heard the record already. Even when they hear the songs that they’ve heard on tour, they’re going to hear them differently when they hear the record!L4LM: I know one of your upcoming shows with the trio is in Colorado. I’m sure you’ve had a lot of great experiences performing in that state.VW: Yeah! From my early days with Béla Fleck & The Flecktones, we’ve always had positive experiences in Colorado. Anywhere in Colorado, it’s just been wonderful.L4LM: Any particular memories come to mind?VW: Well lots! Béla Fleck & The Flecktones have played the Boulder Theater many times. We played the Botanical Gardens in Denver. We’ve been able to play some of the ski resorts in Aspen and Vail and places like that. Even though I love all of those, I have to say my favorite experiences in Colorado have been in Telluride at the Telluride Bluegrass Festival.Such gorgeous scenery. And because it’s a weekend festival, it’s a chance to see a lot of other music, good music, and to see a lot of my friends who I don’t get to see that much. So the overall experience is just wonderful at Telluride, even though I just love Colorado as a state. The clean air, the mountains – you can see far in the distance and the air is still clear. I just love everything about Colorado. It does get a little cold, but Telluride, that’s been an experience.L4LM: This Colorado show you’re performing on is actually called The Drunken Hearted Medicine Show. What was your take on that name?VW: Haha, I know it is pretty crazy. Names are crazy these days! I mean, one of my favorite bands is named Snarky Puppy. What is that?But we love the music, right?!Victor Wooten Trio, Band Of Heathens, Members of Leftover Salmon, Drunken Hearts & More Announce Stacked Colorado ShowL4LM: That is the important thing. I know there’s a lot of bluegrass on the lineup for this upcoming show. Your current trio doesn’t seem too bluegrass influenced, but obviously there’s a lot of history there with your roots in the Flecktones.VW: I have a huge influence in bluegrass and country music. I actually started playing it in 1981 when I got hired, believe it or not, as a bluegrass fiddle player at an amusement park in Virginia called Busch Gardens. At the time, I had never played any bluegrass at all, and I definitely had never even played fiddle. I had to learn, within a couple weeks, how to play fiddle. Literally! So I got some recordings. I had played cello, and I needed a job, so I figured I could play violin. I didn’t realize how difficult it was holding that thing under your chin, not sounding like a screaming cat.Through it all, I ended up learning to love the music, and that eventually led me to meeting Béla Fleck and a lot of other bluegrass musicians. My life has changed ever since.L4LM: So I don’t suppose there’s any chance you’ll be donning the old fiddle for this upcoming show in Colorado?VW: I seriously doubt it! I don’t think anyone would want that. Hopefully I’ll get to sit in with someone… I don’t know if it’ll be on fiddle though.L4LM: Speaking of Béla Fleck, I happened to catch a reunion show with The Flecktones last summer. What was that like?VW: Oh it was a lot of fun. That reunion was with our original member, Howard Levy, the harmonica player. It was a different type of reunion than we normally do. A lot of the time, if we’ve been off for a little while, when we come back, we will have written new music, recorded a new record, and then a long tour. This time, we just got together, no new music, we just learned old music, got out there for two weeks, and had a blast. It was a lot less pressure.We’re actually going to do it again this August! Béla Fleck & The Flecktones is going to tour with the Chick Corea Elektric Band, so that’s going to be a lot of fun.L4LM: That should be great. So aside from your work creating music, I know you spend a lot of time teaching it as well.VW: Yeah, I’ve been doing more and more teaching over the last decade. It started back in the 90’s when Béla Fleck & The Flecktones started becoming popular. I found myself in Bass Player Magazine quite a bit. I found out that, if you’re in that magazine enough times, people think you must be good and you must know how to teach it. So I started getting asked to do workshops.So I had to figure out how to teach. I just played my whole life, I never thought about how I played. I had to learn how to teach, and I did that by looking at other teachers and finding out what other people were teaching. And although I loved everything people were doing, I felt there were a lot of things that were being left out in the music curriculum. So I set my sights on focusing on those other things, to help round out people’s knowledge, and to help round out the music curriculum by teaching what everybody else wasn’t teaching. It’s turned into a really nice angle for me, because people know that what I’m going to do is quite a bit different from what they’ve heard before.L4LM: How is it different?VW: In short, most music curriculum is based on what we call music theory, and most music theory is based on the twelve pitches that we have, the twelve notes. So we have ear training, but ear training goes up to the twelve notes. You have to learn to recognize chords, you have to learn to recognize intervals, key changes, key signatures – all of that deals with notes.Music is much more than twelve pitches. In other words, if I just play a note for you, if I just play an E, it doesn’t do anything to you. You have to do something with that note. It has to have rhythm, a tone, some dynamics. I’ve got to put a lot of feel into it. Overall, as part of what we call music theory; tone, feel, dynamics, phrasing, articulation, things that make the music speak to you, are not stressed.In other words, there’s no music theory for space. It doesn’t include space. How you use space, silence, to pull a listener into you. How to use dynamics for a desired reason, not just to get loud or soft, but how do you use it? The same way musicians know how to use notes for desired effects, but the other parts of music aren’t really stressed.L4LM: So it seems like music theory is only telling part of the story.VW: Exactly! It’s a good part of the story, but it’s still only part of the story. I look to help fill in more of the story. Of course I can’t tell the whole story either, but I want to offer a different part than what most other people are offering.L4LM: Is that what someone would hear about when they attend a Victor Wooten class at Berklee?VW: Absolutely. I’m brought into Berklee to offer this other stuff. The guy who hired me, Steve Bailey, is a longtime friend and a wonderful musician. We’ve been teaching at my music camps since the year 2000. And even before that, Steve and I, for at least six or seven years, toured together doing clinics, just a bass duo. We had a bass duo called Bass Extremes. He actually helped me form the whole idea for the first Camp that we did in 2000. Now, he is the chair of the Bass Department at Berklee, so he brought me in to offer the different approach that I have.L4LM: Do you find that the students are receptive to it?VW: Very receptive to it. Again, what I do is not better than what anybody else does. It’s just different. It’s like what you say, I’m helping tell more of the story. I’m telling a different part of the story than everyone else, so that the musicians can learn the whole story. Part of that story they have to create themselves, that’s the thing.L4LM: If you were to give an aspiring musician one piece of advice from the Victor Wooten experience, what would that look like?VW: For the most part, it’s make your music groove. You’re not just going to play a collection of notes. People want to feel it. You want to move people. You don’t do that with notes alone, so you have to make people feel something. You want to have something to say with your music.When kids learn English, they don’t just learn rules. The first thing they do is, they learn the words they need because they have something to say. A lot of times, in music curriculum, what the student wants to say is not ever brought up! We just teach our curriculum, and that forces most people who start taking music lessons to quit. They never get to their own story. When we’re learning your first language, you’re learning what you want to say first. That helps you learn it quickly, and you’ll also do it your own way, which is really, really nice. It’s personal, and it makes you want to stay with it.L4LM: Absolutely. That sort of approach lets you express yourself.VW: Right. In a lot of curriculums, you’re expressing what someone else has already expressed. You have to learn that first before you can express yourself. To me, that’s backwards.L4LM: So I imagine the new album is going to be quite the expression then.VW: Haha, yeah. It is. I mean, you’ve got three great musicians coming together for a project of all new music. It’s almost like there’s no way that it can’t be good with us three. It may not be everyone’s taste, but you will feel it. I guarantee you that. You will feel the love, the expertise in everyone’s musicianship. It will be a musical record. It won’t just be a bunch of licks and a bunch of notes. You will feel the music and you will be able to sing the melodies, and, at the same time, you will get blown away by it.L4LM: Right on, I can’t wait. I really appreciate you taking the time to speak with me. Anything else you’d want to share with the fans?VW: Yeah sure! As well as teaching at Berklee, we do a summer bass weekend at Berklee. It’s the Victor Wooten/Berklee Summer Bass Program, that comes up in June. But I’m also in the 18th year of running my own music camps, just outside of Nashville, TN. People can go to my website,, or directly to the camp website, which is, and people can check out the camps. Registration is open! We do a camp every month from May to October, all levels, different ages, and all different instruments, not just bass.And I’m looking forward to getting back to Colorado!L4LM: Thanks again! Take care.Don’t miss The Victor Wooten Trio headlining The Drunken Hearted Medicine Show, featuring The Band Of Heathens, Drew Emmitt & Andy Thorn Duo, The Drunken Hearts, Brad Parsons Band and Coral Creek at Cervantes Masterpiece & The Other Side on March 24th. Tickets and more info can be found here.last_img read more

EXCLUSIVE: Grahame Lesh Talks Midnight North, His Famous Father, And Twiddle Love

first_imgGrahame Lesh and his band Midnight North have created an exciting blend of rock and Americana that is both fresh and evocative of past masters of the form like Graham Parsons and The Band. He got his start playing music at an early age thanks to his rather famous father, Phil Lesh of The Grateful Dead. Though he might have family in the business, so to speak, the music he and his bandmates make stands up remarkably well on it’s own merits.Grahame took some time out of preparing for the release of their new album Under The Lights on June 16th (and their special release party the following day) to expound on the wonders of Craigslist, the music and lessons he learned on the road with Twiddle and what it’s like having your dad crash the stage during one of your shows!Live For Live Music: So, I know every interview you have done gets to your famous genes before too long so I thought I would get it out of the way first. Does your dad ever hit you up for a percentage of your earnings as like, a finders fee or last name surcharge?Grahame Lesh: That is definitely the most fun way I’ve been asked something like that. I started my career as a family thing. There was some jamming with my friends, but when I really got serious it was with my family. And with my dad and mom running Terrapin Crossroads and giving us a place to play it has always been something I was aware and proud of. I’m pretty lucky to be involved with them and the crew here in Marin County.L4LM: With all the musicians around as you were growing up, did it just seem natural to want to play, or was there ever a rebel period where you wanted to be an accountant or anything else as far away from music as possible?GL: I wanted to be a baseball player, but that isn’t super weird for a kid. I liked Metallica and that kind of music when I was a kid, which is probably the farthest thing away from the music of the Grateful Dead you could find. That’s probably the closest I came to being a rebel.Being surrounded by all these musicians, this community we have gathered together here in Marin County, and growing up as part of this family and the musicians who were around this music, this life was pretty logical to me.L4LM:  Growing up, It’s safe to assume people would come up to your dad and profess their love and talk about how his music changed their lives.  What was that like seeing that love and reverence through the eyes of a son?GL: It happens all the time and the thing I have always been struck by is how gracious and thankful my dad is back. None of his life would have happened without them. The community they built made that possible, and a bunch of fucking amazing songs they made!  It was a crazy thing to watch, cause he was pretty much just my dad. They would come up to him, and even me when he was not there, and talk about how many shows they had seen, and how much each one had meant to them. It’s heavy stuff. But always uplifting to hear. When you’re a kid it kinda goes over your head though.L4LM: I see that you met up with your first band mate on Craigslist. Is that true?GL: We did! You can call it fate or whatever. When I was in college and some friends and I were playing around a bit, but our bass player moved away. So we found Connor [O’Sullivan], our bass player in Midnight North, through an ad on Craigslist. That band kinda fell apart, as bands do, after a while. We were still jamming when we could though, and Connor knew Elliot [Peck], our other singer-songwriter in Midnight North, and brought her into the fold and Midnight North was born. It was just one of those lucky things, that we all met right when we were looking to start something new, musically.L4LM: Do you think Connor followed the protocol for Craigslist meet ups and warned a friend before he came to meet you?GL: I hope he did! Connor is still all about Craigslist, and that economy around it. I think when he got there we looked pretty harmless.L4LM: You gotta realize you were the greatest Craigslist find ever for someone looking to start a band, right? Superstar dad, you’re crazy talented and an already interested nation of fans is a pretty sweet amount of cool to bring to the table, right?GL: (Laughs) Yeah, my family starting Terrapin Crossroads right after we got together and that giving us a place to play is very fortuitous. At the time we didn’t mention any of my family history or connections. Honestly though, I feel lucky to have met him, and through him Elliot. I mean…Midnight North is still going strong.L4LM: Midnight North has a really cool, roadhouse Rock-Americana-Country vibe to it. Was that a sound you went for on purpose or was it just how you played?GL: It was a result of the musicians and what we all brought to the table. When Elliot and the band started jamming together we gravitated to stuff like Graham Parsons, Emmylou Harris and stuff by The Band. We found pretty quickly that when we sang together, and when Alex Jordan, who also sings with us, when he joined that was something we all enjoyed as a band. The three-part harmonies we make are one of my favorite things about the band. I think if you play a lot of music together you sort of just find your path. And the more you play together the more you find the heart of your band.L4LM: Similar question about songwriting–You are billed as one of the main songwriters of the band. Do you write as a whole?GL: It changes from song to song. Our first album was kinda like 2 EPs. [Elliot and I] both had a lot of songs we brought in and played. But since Scarlet Skies, whatever we have written, once it comes time to bring an idea to the band,e we see where they take us a group.L4LM: You’re getting close to the release of the new Midnight North album, Under The Lights, on June 16th. Anything about the new material you are particularly excited about?GL: It’s interesting. There are a couple songs that we may stretch out live, but I like how concise the material on the new record is. There are lyrics and melodies on this record that I am really proud of. I really feel that there are moments and songs that people who like this kind of music will really dig.L4LM: You’re throwing an album release party at The Great American Music Hall the day of the release, on the 16th of June. Word on the street is that it is being crashed by your dad and one of your mutual friends, Scott Law. For most people that would be kinda annoying, but I am guessing you folks aren’t too upset to have him share the stage with you.GL: That party is gonna be really fun. The opportunity to have it at The Great American Music Hall, my favorite venue in San Francisco, is special to us. We have been holding a lot of these songs back, though we did road test them for a while. Now that the album is almost here we are itching to get them out and start playing them again. Connor plays some mandolin on the new album and that opens up the bass for my dad to come sit in and play a few with us at the show very organically. We’re looking forward to a special musical party for sure.“Evangeline”L4LM: You have plenty of non-legacy musical connections you have formed as well. You had a well-received and apparently friend-making run with Twiddle recently. How do you feel your roots-oriented vibe worked with their jam sound?GL: It was amazing to play with them. It was the nicest time…they are incredible guys and they treated us so well. They are such good musicians and such a good band to watch, day in and day out. They play completely separate shows, song-wise and stylistically, on consecutive nights. It gave us a great example of what to work towards.More than just the musical lessons, it was good to do a month together, in the old school way, to let us see how a band and their crew puts it together night after night. As for the sounds working together, I really think they did. Even if you look at the furthest extremes of our sounds it still comes from the same place.I know some of what we were doing with our harmonies made an impact on them. When we first played together we worked out some harmonies for some of their stuff and a bit of that, or a form of it, made it to their new record. There was a lot of love that apparently went both ways.L4LM: Something must have been working, as they added you to the 2017 lineup for their Tumble Down festival. How excited are you to get back together with them?GL: We’re excited, but you can’t be around them and not get pumped for it. Our first gig out that way this year was in Burlington, and they were already talking about how incredible it was gonna be. They are just super excited about it. I know they are gonna be in their element, playing like 4 or 5 sets with them.L4LM: The Everyone Orchestra is on the line up. Any chance you’ll be getting the call from Matt Butler to join in?GL: Oh yeah, Matt is a friend from waaay back. I know Elliot and I, and Mihali are definitely gonna go out on that set. It’s such a cool concept, and Matt brings so much to it from the conductor sense. I never really understood how much of a factor a conductor was in classical music, but what Matt does is amazing.L4LM: Well, with all this going on it sounds like you really have a jam-packed year ahead of you. Thanks for carving out a few minutes to talk to us about the fun on the way!GL: No problem! Thanks for helping spread the word![Cover image by Bob Minkin]Enter To Win Tickets To Twiddle’s Tumble Down Festival Below!last_img read more

The Peach Festival Brings The Jam Back To Summer Festival Season

first_imgWith the artist landscape of the summer music festival rapidly changing year after year, the “jam factor” of many festivals has somewhat lessened to a degree. When Bonnaroo first began, it sported a jam-heavy lineup, which began to diversify around 2006. Festivals such as Wakarusa, All Good, and Gathering of the Vibes have had trouble keeping up with the ever-expanding festival market, leaving some wondering “Where can fans of the jam go?” While there are still several jam-friendly festivals holding on, The Peach Festival — taking place at Scranton, PA’s Montage Mountain from August 10th–13th — is one of the standout players when considering its massive lineup.This year’s festival includes sets from heavy hitters Widespread Panic (2 nights), My Morning Jacket, Umphrey’s McGees (2 sets), and Joe Russo’s Almost Dead (2 sets). The Peach Festival also touts performances by Greensky Bluegrass, Galactic, Rich Robinson’s Magpie Salute, Keller Williams’ Kwahtro, Cabinet (2 sets), Tom Hamilton’s American Babies, Hayley Jane & The Primates, and Pink Talking Fish Eats a Peach (A full performance of Eat A Peach intertwined with Pink Floyd, The Talking Heads, and Phish song). Rounding out the lineup are appearances by up-and-comers Pigeons Playing Ping Pong, Spafford, Aqueous, Mungion, and The Marcus King Band, plus artists-at-large, the Turkuaz Horns and Primate Fiasco.It wouldn’t be The Peach Festival if there weren’t some Allman Brothers Band-related acts on the bill, as the event began six years ago as the first-ever ABB-inspired festival in the Northeast Pennsylvania region. After the loss of both Gregg Allman and Butch Trucks in the first half of 2017, The Peach Festival lets friends, family, and fans come together and pay tribute to the band that inspired the festival itself, in addition to the almost fifty years of legendary Southern blues rock ‘n’ roll they graced us with. Warren Haynes’s Gov’t Mule will be joined by friends such as John Scofield and more for their own set, while Jaimoe’s Jasssz Band and Les Brers are both on tap to make special appearances, with the latter’s set marking their final performance. The All-Star Tribute to Greg Allman & Butch Trucks set is guaranteed to be an emotional affair for all, bringing everything from smiles, tears, and chills to attendees and musicians alike.Tickets are on sale now at For CID travel packages, VIP, and festival details, visit the festival website. For event updates and additional information, join the Facebook Event page. Check out the full festival lineup below:last_img read more

Trey Anastasio Band Keeps It Rolling In Santa Ana, Debuts Bob Marley Cover [Photos/Videos]

first_imgLoad remaining images Fresh off their enormous Tuesday evening Halloween performance in Los Angeles, Trey Anastasio Band rolled into Santa Ana, California to play the intimate Observatory Orange County, a venue so small that Trey and company were nearly stepping off the stage as they boogied about. Lucky enough for the five-hundred fans in attendance, Trey and his compadres busted out a debut cover of Bob Marley’s “Coming In From The Cold.”Trey Anastasio Trolls The Trolls On Halloween In Los Angeles [Full Video/Photos]TAB got the night started off in the grandest fashion, jumping straight into a high-energy take of “Sometime After Sunset”, the Paper Wheels track that has gained impressive momentum since its 2014 debut at the Uptown Theater in Kansas City. The instrumental “Mozambique” followed, as Trey got the conga party moving, before a heavily-jammed “The Way I Feel”, marking only its third performance of 2017. Anastasio kept it rolling with rather short but sweet renditions of “Speak To Me”, “Pigtail”, and “Magilla” before throwing the ultimate curveball of the night. The small, intimate, Southern California beach town was the perfect place to whip out Bob Marley’s “Coming In From The Cold”, the 1980 classic of off Bob Marley’s ingenious album, Uprising. TAB absolutely knocked this debut cover out of the park, highlighted by Anastasio taking the lead on vocals, without any mistake in sight.First set’s soul-shakedown party continued with a bouncy and bubbly “Curlew’s Call,” before Anastasio led the octet through “Sidewalks of San Francisco”, a TAB song that had been recently shelved for fourteen years, until its recent comeback at Brooklyn Bowl Las Vegas to open this mini TAB tour last weekend. A beautiful “Shine”, “Frost”, “Last Tube” closed out the first set, marking the first TAB performance of “Frost” in 2017.Trey Anastasio Band Honors Vegas Victims With Debut Of “Somewhere Over The Rainbow” & 2 OriginalsAnastasio and company’s infectious energy could be felt from every inch of the building, as he came back out to open set two with another Paper Wheels favorite, “In Rounds.” A sweet and silky “Sweet Dreams Melinda” followed, as Trey dialed in for the remainder of his red-hot Wednesday night performance. A highlight of the night followed, as the somewhat-rare instrumental “Spin” popped out, before transitioning into a monstrous “Simple Twist Up Dave” with Trey trading off tasty solos with his bulky horn section, consisting of masters James Casey, Jennifer Hartswick, and Natalie Cressman.Trey Anastasio & Dave Matthews To Perform Gala Honoring Manager Coran CapshawNext up was “Tide Turns”, and old-school favorites “Cayman Review” and “Goodbye Head.” “Rise/Come Together” has developed such a sense of love within the Phish community since its debut last 4/20 in Charlotte with TAB, and putting it in one of the last slots of the night was a spot-on call by Big Red. Set two came to a close, with a horn-heavy coupling of “Ocelot” and “Push On Til The Day”, before surely surprising the boiling venue with an encore of Chuck Berry’s “Back In The USA,” recently debuted this year at TAB’s St. Louis show this past May. “Soul Planet” brought the beachfront party to a close, as James Casey harnessed his vocal range, belting out the lyrics as the venue bounced in unison with the crowd.Watch the full first set below, courtesy of Z-Man:Watch the full second set below, courtesy of Z-Man:Trey heads up to Santa Monica on this “off-day”, for a performance at an event honoring Red Light Management’s Coran Capshaw, followed by two TAB shows at Oakland’s Fox Theater, to close out this short but sweet West Coast fall tour TAB run.Checkout the photo gallery below from Wednesday night’s show, courtesy of Steve Rose.Setlist: Trey Anastasio Band | The Observatory | Santa Ana, CA | 11/1/2017I: Sometime After Sunset > Mozambique, The Way I Feel, Speak To Me, Pigtail, Magilla, Coming In From the Cold, Curlew’s Call, Sidewalks Of San Francisco, Shine, Frost, Last TubeII: In Rounds, Sweet Dreams Melinda, Spin, Simple Twist Up Dave, Tide Turns, Cayman Review, Goodbye Head, Rise Up/Come Together, Ocelot, Push On Til The DayE: Back In The USA, Soul PlanetTrey Anastasio Band | The Observatory | Santa Ana, CA | 11/1/2017 | Photos by Steve Roselast_img read more

Cage The Elephant Set To Christen New Washington D.C. Venue This Weekend

first_imgOn Saturday, October 13th, Cage The Elephant will roll through Washington, D.C., helping to christen the newly opened St. Elizabeths East Entertainment And Sports Arena in the city’s southeast neighborhood, Congress Heights. The venue only opened on September 22nd, though it will hold its first concert and grand-opening celebration with Mary J. Blige this weekend before Cage The Elephant offers up the venue’s second-ever performance the following weekend on October 13th with support from hip-hop band, Judah & The Lion.Fans in the D.C. metro area have been eagerly awaiting the opening of the 18,000-square-foot sports center and venue. With 4,200 seats, the new, $69M arena will serve as a home to the WNBA’s Washington Mystics in addition to housing practice facilities for the NBA’s Washington Wizards. However, outside of sports games, the space will be a welcome addition to D.C.’s ever-growing roster of music venues, offering a large venue for performers who can’t necessarily fill out full arenas though overly pack out smaller theaters around town.The choice for Cage The Elephant at the Entertainment And Sports Arena is an appropriate one, given the Grammy-winning band’s commercial and critical success since their self-titled debut album in 2008. While the band first rose to popularity with their smash hit, “Ain’t No Rest For The Wicked”, which ruled the airwaves and embedded itself into popular consciousness in the late 2000s,  earning the group a rabid following in the United States and abroad. However, the pop-friendly sensibilities of these first radio singles don’t necessarily portray the group’s far-reaching influences, with the group frequently drawing on punk rock and grunge like Pixies and Nirvana in addition to classic rock, funk, electronic, indie, and blues.Cage The Elephant – Bonnaroo Music & Arts Festival 2018 [Video: jeremy dula]In late 2015, Cage The Elephant released their fourth studio album, Tell Me I’m Pretty, which was produced by The Black Keys‘ Dan Auerbach. With this work, the band departed from past albums, focusing on experimenting with sounds and diving farther into a psychedelic space. This adventurousness paid off, as the group’s most recent album snagged them a Grammy for Best Rock Album, triumphantly following up the group’s Grammy nomination for Melophobia in 2015 for Best Alternative Music Album.Don’t miss out the chance to check out the newly opened St. Elizabeths East Entertainment And Sports Arena on Saturday, October 13th, and catch the fan-favorite, Grammy-winning band, Cage The Elephant, performing with Judah & The Lion. For more information and ticketing, head here.last_img read more

Lettuce Announces 4/20 Show At The Capitol Theatre

first_imgFuture funk heroes Lettuce will celebrate 4/20 at The Capitol Theatre in Port Chester, New York on April 20th, 2019.Lettuce is currently on their Vibe Up Tour throughout the early months of 2019 with a run of supportless “evening with” shows, followed by a number of performances with The Greyhounds. So far, 2019 has seen the band play a bevy of unreleased material on the live circuit–though an official release date of the forthcoming album has yet to be confirmed.More recently, Lettuce announced the return of their fourth annual RAGE!FEST in New Orleans during this year’s Jazz Fest. The progressive funk band will be joined by Dead & Company bassist Oteil Burbridge and The Soul Rebels for a night to remember on Thursday, May 2nd at the Joy Theatre.Related: Lettuce Kicks Off Vibe Up Tour With Unreleased Music, MonoNeon Sit-InFans and interested ticket buyers can visit the band’s website for a full list of upcoming tour dates. Pre-sale tickets for the 4/20 performance are available here, with general on-sale opening up this Friday at 10 a.m. ET.last_img read more

A pesky bacterial slime reveals its survival secrets

first_imgBy rethinking what happens on the surface of things, engineers at Harvard University have discovered that Bacillus subtilis biofilm colonies exhibit an unmatched ability to repel a wide range of liquids—and even vapors.Centimeters across yet only hundreds of microns thick, such slimy bacterial coatings cling to the surfaces of everything from pipes to teeth and are notoriously resistant to antimicrobial agents. The researchers now suspect they know the secret to a biofilm’s resiliency.Published in the Jan. 5 early edition of the Proceedings of the National Academy of Sciences (PNAS), the study holds promise for both creating bio-inspired non-wetting materials and developing better ways to eliminate harmful biofilms that can clog pipes, contaminate food production and water supply systems, and lead to infections.“By looking at biofilms from a materials perspective rather than a cellular or biochemical one, we discovered that they have a remarkable ability to resist wetting to an extent never seen before in nature,” says lead author Alex Epstein, a graduate student at the Harvard School of Engineering and Applied Sciences (SEAS). “In fact the biofilm literally resisted our initial efforts to study it.”last_img read more