Widespread Panic continued their 30th anniversary celebration at Charlottesville, VA’s nTelos Wireless Pavilion last night with a well-rounded show setlist, that featured a cover of Warren Zevon‘s “Lawyers, Guns & Money” as well as a bust-out of cover of the instrumental Funkadelic track “Maggot Brain”.Sunny Ortiz Discusses The Future Of Widespread Panic In New InterviewPanicStream provided an audience recording and setlist of the show, which shows the band playing a solid performance front to back, with a massive second set that featured a slow build into “Drums > Drums & Bass”, a tasty “Barstools & Dreamers”, and a downright nasty “I Walk On Guilded Splinters”.Take a listen to “Maggot Brain” below, with some soaring guitarwork from Jimmy Herring:Setlist: Widespread Panic at nTelos Wireless Pavilion, Charlottesville, VA – 4/28/16Set One: Old Neighborhood > Henry Parsons Died, Wondering, Tickle The Truth, Junior, Hatfield > I’m Not Alone, Up All Night, Steven’s Cat, Solid Rock Set Two: Pleas > B of D > Worry, Space Wrangler, Party At Your Mama’s House > Ribs & Whiskey > Drums > Drums & Bass > Maggot Brain > I Walk On Guilded Splinters > Machine > Barstools & Dreamers, Imitation Leather ShoesEncore: May Your Glass Be Filled > Lawyers Guns & Money[H/T Jambase]
Turkuaz Load remaining images Turkuaz and The Nth Power are two of the most potent forces in the soul-rock genre today, with each band packing a powerful punch in each performance. Last night, the two shared the stage at Denver’s Bluebird Theater, rocking the venue with a back-to-back display of spellbinding music. Each band has a recently released album in their back pocket, with Turkuaz’s Digitonium and The Nth Power’s Abundance, and there was no shortage of music new and old for fans to enjoy last night.Take a look at some stunning shots, courtesy of Phierce Photo:The Nth Power A full gallery from Phierce Photo can be seen below:
Yesterday in Hickory, North Carolina, Elephant Revival awoke just in time to flee their smoldering tour bus as it went up in flames. The reasons for the blaze have been determined to be electrical in nature. The entire band and their crew managed to escape with only minor smoke inhalation symptoms and a fresh appreciation for life. Elephant Revival released the following statement on their social media accounts to let their fans know what had happened and that they were safe:“Greetings friends…. We are writing to let you all know that we are safe and sound this morning. An electrical fire ignited in the back of the bunk room. Luckily, we were already parked at the venue in North Carolina. It all happened very quickly, while some of us were sleeping and some of us were waking. A chorus of voices yelled smoke, as the initial flames encroached upon Daniel’s feet in the back lower bunk. Within two minutes, black smoke billowed through the windows as the interior of the bus went up in flames.We are so appreciative for this life, our family and friends, and each other. Thank you to the Red Cross, the fire department and the good people of Hickory. We’ve lost much in terms of material possessions and instruments of the trade, yet we remain grateful.“Guitarist Daniel Rodriguez described his harrowing awakening later in the day.“Well, this morning I woke up inside a bunk engulfed in flames. A visual and sensation that will not be quickly forgotten. It was an electrical fire that started at an outlet at the foot of my bunk. Had I not heard Bonnie yelling “smoke, smoke, smoke” I might not be writing this right now! If Bonnie hadn’t heard Dango yelling “smoke” who knows how things would’ve turned out. Fortunately it was only possessions that turned to char and ash. Sadly we lost our beautiful handmade instruments among other cherished belongings… And yet, we are so very lucky to have escaped in the nick of time. I truly love my band mates and co workers, and am joyed that I can still see them smiling. The show must go on… We start at 9. With love and a smokey musk, DanPs. I’m not much of someone that enjoys adding to the sensationalism of newsworthy material, but dang, this was a smoking story… A real hot topic… Gratitude to my friends who saved my ass! Love ya’sPs#2 Thank you to the Hickory Fire Dept…. The Red Cross… And all the fine folks from Hickory who helped!“Fiddler Bridget Law took a similar view, though she did share a sad picture of her beloved fiddles burnt remains:“Happy to be alive and well alongside my friends. But man, these were some amazing instruments… RIP fids“A fan based Go Fund Me has been started to help the band replace some of the more personal, hand crafted instruments lost in the blaze. You can donate to them HERE.
Eric Krasno‘s instantly recognizable tone and soulful guitar mastery have made him one of the most beloved players in the jam community. His willingness to take on any musical challenge, from shaping the melodies in Soulive to being a part of the massive funk machine that is Lettuce, has gained him worldwide renown. And, of course, we can’t forget his recent release and tour with his own Eric Krasno Band, with which he added lead vocals to his many musical responsibilities on stage. With his impressive display of multi-faceted musical mastery as of late, we thought now would be a good time to catch up with Kras and get an update about the state of his sonic kingdom. Check out his chat with our own Rex Thomson below as they discuss the origins of his signature sound, finding his voice, building the perfect super band, his upcoming performance with Rooster Conspiracy at the upcoming Brooklyn Comes Alive, and more!Live For Live Music: So, exactly how many bands are you currently in? Is it all of them?Eric Krasno: I get around. I like to stay as busy as I can.L4LM: How do you manage to keep all that music straight in your mind?EK: It depends. If it’s one of my bands—one of my original bands—it’s not so hard since I either wrote or had a hand in writing the material. It’s when I am playing other people’s material that it gets more complicated. That’s when I have to bust out my charts and my iPad. I try and go by ear most of the time.L4LM: You have a singular, piercing guitar tone that rings true no matter how many effects get added on. When did you first notice your sound becoming so distinctive?EK: I guess when I was pretty young. I started playing, and I kinda started to notice that around that same time, I decided this was what I really wanted to do for a job. I didn’t know how that would happen, but I knew it was what I wanted. I guess it really started when I found the electric guitar. I had played acoustic and I had played bass and I loved that. But once I picked up a stratocaster—my brother had a stratocaster—and I learned my first blues lick, that was that. I started going off. My uncle heard me playing some B.B. King riff, and he said, “Wait a minute! You got something there!”I think from there I just fell in love with how that felt. The vibrato. Your fingers relay that sound you hear in your head out to the world. It’s an amazing sensation. I think that is the moment when I found what makes me me. I still don’t really know where it comes from. But people say, “I knew that was you as soon as I heard you,” and that’s my favorite comment. That is what I look for when I listen to a person. I think, “Okay, what’s their voice? How are they different from everybody else?”L4LM: You play in a variety of configurations pretty regularly. How does your approach change from working in a trio like Soulive to a collective ensemble like Lettuce?EK: Both those situations are different, but I personally love both for different reasons. There is something about the power of a huge band with a horn section and all of that. You become part of this Voltron, like where all these forces come together to create something bigger than itself. Lettuce is like a machine. Sometimes playing with them, it’s almost like I am at the concert instead of being in the concert. I love hearing it all and experiencing it all. Soulive is more of each of us pushing each other, and there is a lot more improvisation. There’s more melody work and dynamism on my end.L4LM: You’re stretching out more as a leader with the Eric Krasno Band, and you’re even singing as well. How do you like playing the pure frontman?EK: Yet another totally different sensation. I’ve been really growing more focused as a songwriter over the last ten years. I’ve been doing a lot of songwriting for other artists, and, as I have evolved, I’ve started wanting to sing my own songs. I was able to put a record out and put a band together around those songs. That’s what the Eric Krasno Band is. It has been a great experience, a learning experience. It’s a new challenge to get out there and play and sing. I’ve never really done that before. I also have a really great band with EKB. There’s another singer—the great Mary Corso—and she takes the lead on some of the tunes. It is a lot of fun to have a new project focused on things like harmonies and songs and lyrics. It’s a whole other side of my brain getting active, which feels great.L4LM: When I first saw the EKB live, I really enjoyed the energy and humor your keyboard player brought to the mix. He was so talented and just hilarious.EK: Yeah, “DVibes” (DeShawn Alexander) is awesome. I found him when I was teaching a master class at Berklee College Of Music. He was one of the students, and one of the teachers recommended he come up and jam with me. I loved him. I was so into him that I brought him out to my gig that night, and he ended up jamming with us the whole time.Watch the Eric Krasno Band perform “Jezebel” at The Major Rager.L4LM: You’re making a big splash at this year’s Brooklyn Comes Alive. Tell us about your previous experience at Brooklyn Comes Alive in 2015.Eric Krasno: The first year was great. I was bummed I wasn’t able to make it last year. Initially, I was in on the ground level with Kunj (Shah, BCA founder) putting it together. Last year, I was in the middle of my solo tour, and I wasn’t able to be there. The first year was so amazing watching it all come together. I got to do a really cool set with some of my favorite musicians. I even got to see a lot of great music, which is rare but really nice. That’s why I like Jazz Fest and things like that. Those kinds of gatherings are really enjoyable for musicians like me. We get to see our friends play, watch new collaborations happen, and play in different collaborations. That camaraderie is the heart of the whole thing.So yeah, I get to be a part of a pretty amazing band this year. We have Louis Cato from the Colbert Show, We’ve got Nigel Hall and Chris Loftlin. That quartet was my band for awhile. We’re also gonna be joined by John Scofield, Cyril Neville, and I think George Porter, as well. We’re gonna really mix it up. We’ll take it to New Orleans, take it to Scofield-Land. It should be pretty wild.Check out some of the Erik Krasno Superjam from the 2015 Brooklyn Comes Alive Event below.[Video: Andrew Rubin]L4LM: That’s a ridiculous amount of talent to get together on one stage. How did you even get those people together in the first place?Eric Krasno: I have known those guys in different capacities, and they all just happened to be available. Every one of them was free when I reached out. I’m just lucky like that I guess.L4LM: You’re performing as part of the Rooster Conspiracy with Reed Mathis, Todd Stoops, and Jay Lane. Can you tell us a little bit about how this funky Grateful Dead-inspired project came to life?EK: Yeah, that was really inspired by Billy Kreutzmann. We were all together in Hawaii this year on New Years when the band—but with Billy on drums—came together. It was Reed Mathis, Todd Stoops, Billy, and myself. We pretty much improvised the entire time. We flowed in and out of Grateful Dead songs here and there. In Hawaii, there are roosters just roaming everywhere, and we were thinking of ourselves as a new band, so we figured we needed to have “Rooster” in the name. It wasn’t until later that we found out that this was the “Year Of The Rooster.” So we went with the “Rooster Conspiracy” name.Billy, unfortunately, couldn’t make it all the way over here, so we went with Jay Lane for this show, who is a pretty awesome replacement. Honestly, I don’t really know what folks are going to get from that show, but I do know that it will be cool. There will be some improvisation, there will be some hints of the Grateful Dead, and we’ll be taking folks to some far out places for sure.L4LM: You mentioned Jazz Fest earlier. It seems like Brooklyn Comes Alive captures some of the feel and flavor of that gathering. Do you feel the same kind of energy coming from this newer festival?EK: Yeah, I think it does. That was the idea going into it, and I think that has definitely been achieved. The great thing about it is there are all these different venues with all these awesome things are happening. It’s kind of like Frenchman Street in New Orleans. I think it’s right on and actually pretty amazing.L4LM: Speaking of Jazz Fest, you helped organize a show earlier this year that turned into one of the most amazing and emotional shows I’ve ever seen. It started as a tribute to the late Butch Trucks but after the sudden, tragic death of Col. Bruce Hampton, it got expanded to honor him as well. What were your impressions of the lead up to that and the show itself?EK: All of the people that were already a part of it were close with Col. Bruce and also with Butch Trucks. After what happened with the Colonel, the plans for what we were gonna do really all just changed on the spot. I reached out to everyone, and we were all sharing condolences with each other. So many people were on their way to New Orleans and more decided to come in at the last minute. I think we added Jeff Sipe like the day before. Then Warren (Haynes) came in.The emotions were so high. We were all crying and hugging. It was one of those things where we were like, “Let’s do this for Butch and Bruce.” We wrote out a setlist and just did it, man. It was one of those moments where everybody just came through out of love. Oteil (Burbridge) was already supposed to be there, and Duane (Trucks) was already gonna be there, and so many others just came in to support the show. Like, Warren played a whole set.Honestly, I don’t remember how it all came together like it did, but it just shows how strong this community is. Everyone is gonna rally for each other and we’re all really tight, y’know? I was so appreciative of that love and support. And I was definitely appreciative of the chance I had to get to know Col. Bruce and the opportunity to honor his legacy in some kind of way. I really appreciated all the people who came out to see the show, I appreciate all my friends who came out and played with me. It was important for us to do that.Watch a smokin’ “Scarlet Begonias” > “Fire On The Mountain” jam from the Daze Between Band tribute show at One Eyed Jacks.L4LM: With all these projects, do you have an overall message you are trying to send the world?Eric Krasno: It seems basic, but like I said at LOCKN’ in a moment of random inspiration, I just want to spread love to people. There are, of course, a lot more details to everyday life. We have to organize ourselves and get all of our lives together, but in the end, we want—I want—all the people to come together to hear the music and to love each other. That’s what spreading this music is really about. Giving love and gratitude.L4LM: I can’t think of a more appropriate note to end this on. As always, thanks for taking time out of your busy schedule to talk with us. Look forward to hearing you make the music only you can.EK: Thanks to you as well. See everybody out there!Inspired by the vibrant musical communities of Brooklyn and New Orleans, Brooklyn Comes Alive is set to take place across three venues in Williamsburg, Brooklyn (Brooklyn Bowl, Schimanski, Music Hall of Williamsburg) on September 23rd and 24th. The unique homegrown event puts the focus on the musicians, curating dream team collaborations, tributes, and artist passion projects for two full days of incredible music both new and old.The 2017 lineup is set to include hand-selected band lineups featuring all-star musicians like John Scofield, George Porter Jr. (The Meters), Vinnie Amico and Al Schnier (moe.), Bernard Purdie, Kofi Burbridge (Tedeschi Trucks Band), Joel Cummins, Ryan Stasik, and Kris Myers (Umphrey’s McGee), Aron Magner and Marc Brownstein (The Disco Biscuits), Mike Greenfield and Jesse Miller (Lotus), Jason Hann (String Cheese Incident), Alan Evans (Soulive), Cyril Neville (Neville Brothers), Henry Butler, Jon Cleary, Reed Mathis (Electric Beethoven), Michael League, Nate Werth, Chris Bullock, Robert “Sput” Searight, and Bob Lanzetti (Snarky Puppy), Jennifer Hartswick and Natalie Cressman (Trey Anastasio Band), and scores of others! ***Tickets Are On Sale Now!***Brooklyn Comes Alive is now offering single day tickets, as well as a ticket payment plan for as low as $30/month. When checking out, just select “Monthly payments with Affirm” as your payment method. To find out more about ticketing, VIP options, and lodging, head to the festival website.
Last night, Phish released the first single – “Breath and Burning” – from their new album, Big Boat. While fans wait patiently for the October 7th release date, we just can’t help but wonder what other songs are featured on the new release.Fortunately, we now have the full 13-song tracklisting! When the one single was uploaded onto iTunes Music, the titles of the other 12 songs from the album also appeared in their database. See for yourself in the screenshot below:Since the titles are greyed out and hard to read, we’ll reprint them and the track times below:1. Friends (3:42)2. Breath and Burning (4:20)3. Home (6:26)4. Blaze On (4:20)5. Tide Turns (4:21)6. Things People Do (1:54)7. Waking Up Dead (4:15)8. Running out of Time (3:32)9. No Men in No Man’s Land (4:59)10. Miss You (7:01)11. I Always Wanted It This Way (4:29)12. More (4:22)13. Petrichor (13:22)Of those songs, eight of them – “Friends,” “Breath and Burning,” “Blaze On,” “Tide Turns,” “Things People Do,” “Waking Up Dead,” “No Men in No Man’s Land,” and “Miss You” – were debuted in either 2015 and 2016. “Petrichor” is actually an interesting selection, as it was written by Trey Anastasio for an orchestral tour and debuted back in 2014, but this is its first appeance in anything Phish related. It makes sense that the song is also the famed 13-minute orchestral piece that Hamilton percussionist Andrés Forero referenced in an interview back in June.It seems the other four songs – “Home,” “Running out of Time,” “I Always Wanted it This Way,” and “More” – are brand new selections that are unheard by Phish fans. Interestingly, songs like “Mercury,” “Shade,” “Can’t Always Listen” and the 2016 favorite, “Ass Handed,” did not make the cut.With just a few weeks to go, we can’t wait to hear what Big Boat has in store.
Colorado takes a lot of pride in being home to The Motet, and this weekend, the band gave some serious love to its residents for their Hometown Hustle. The two-night stand at the Ogden Theatre featured classic Motet sets and a set of covers from 1979, their musical mixtape for Halloween this year. The shows also gave Colorado the chance to properly open its arms and embrace the Motet’s newest members, Lyle Divinsky (vocals) and Drew Sayers (sax), as it was the first time the current iteration of the band played the city of Denver proper (though the current line-up threw down at Red Rocks in July of this year, a recording of which can be found here). Supported by Sophistafunk on Friday and DJ Mikey Thunder on Saturday, the weekend was a triumphant homecoming for the Motet as they showed they were tight as ever coming off of their extensive fall tour.New York-based Sophistafunk kicked off the festivities on Friday night with an upbeat blend of hip hop and funk. The trio, which has been regularly making appearances with the Motet this tour, was clearly well-versed in reading the audience and delivered a solid performance. Lyricist Jack Brown easily commanded the attention of the crowd with his rapping, and Emanuel Washington (drummer) and Adam Gold (keys) churned out high-energy funk grooves to get the crowd moving. Toward the end of their set, Gabe Mervine joined the three on stage, laying down some sultry solos on the trumpet and riling up the crowd with a teaser of what the Motet had in store for the rest of the night.The Motet played one extended set on Friday night of original tunes, many of which were off of their latest album, Totem, which dropped over the summer. The night also proved to be a perfect opportunity for Colorado fans to get to know Lyle and Drew musically in a more intimate setting than their Red Rocks performance in July, while still allowing the veteran members of the band to shine.Of their songs off of Totem, “Know It Too Well” and “Solar Plexus,” stood out. The slower and smoother sound of “Know It Too Well” allowed space for the musicians on stage to show off, with a powerful and heavy instrumental break with with an initially exploratory solo on the part of Ryan Jalbert that culminated in a high-energy showcase of his guitar skills to close out the song. With an initially darker sound that particularly highlighted the rhythm section, the spacey vibes and triumphant horn part on “Solar Plexus” eventually settled into a solid funk groove that clearly resonated with the crowd, as those at the Ogden got down. Moving in and out of more ambient sections, this number showed off the Motet’s ability to control their audience, evidenced by the dramatic and super effective build of the song into a spirited solo by Jalbert.Throughout the night, Lyle Divinsky’s high energy was contagious, and he captivated the audience with impressive showmanship and powerful vocals. Some of his best moments were during the back-to-back “Keep On Don’t Stoppin’” and “Back It Up,” particularly because of the interplay between him and Joey Porter, who often took over the vocals on the talk box and threw down some righteous solos on the keys. Though Lyle commanded the audience’s attention with his effortless and energized vocals, he also knew when to step back and hype up his bandmates, often looking just as pleased as audience members by the others on stage and never failing to direct the crowd to show some love to the others.“Rippin’ Herb” served as evidence the band was truly in proper form, weaving displays of the Joey Porter, Drew Sayers, Dave Watts, and Garrett Sayers’ technical musicianship with catchy grooves that kept the audience dancing. The horns really began to shine from that point on, with Gabe Mervine’s pristine and soulful solo in “Danger” being a highlight of the night, and Drew Sayers ultimately stealing the show during his performance in “Cloak and Dagger,” which elicited grins from those on stage and throughout the crowd.Coming off of Friday’s performance, the crowd was electric for the second night and packed the sold-out Ogden Theatre, reaffirming the Motet as a hometown favorite. The band kicked off Saturday with a set of originals and, after a short break, returned decked out in hilarious disco garb to lay down hits from 1979. The setlist for their cover set was well-curated with hits from Sly & The Family Stone, Funkadelic, Chic, Michael Jackson, James Brown, KC and the Sunshine Band, and Earth, Wind, and Fire to name a few.Of the first set of Saturday, “Extraordinary High” was a stand-out song, with the crowd and band all locking into an incredible collective energy. Lyle’s vocals were on point as was Gabe’s exacting and jazzy trumpet solo, and the lights illuminated the dancing crowd, making it easy to see the countless smiles. While during the first night, Garrett mostly hung back, Saturday was his night, with his mind-blowing bass solo during the song being the first of many throughout the night.After setbreak, the band emerged decked out in polyester and ready to take the crowd back to 1979. The third song of the set, “Tell Everybody,” originally by Herbie Hancock, was when the performance really began to heat up. Lyle maintained excellent control of the crowd and threw down vocals that showed off his unflinching high notes without compromising tone. During the instrumental break, the rhythm section really shined, and Garrett threw down another insane bass solo and Dave really was keyed in on the drums, as the horns and Lyle moved into a playful two-step. As the band, all of whom looked like they were having a ball, moved out of this section to close out the song, Gabe’s started with an experimental and extraterrestrial tone before moving into an impressive and more traditional trumpet solo before passing the spotlight to Joey, who took it away on the keys and talk box.The final half of the 1979 set really proved the Motet’s ability to build setlists that energize audiences. The crowd went off as soon as they heard the hook for Funkadelic’s infamous “Knee Deep,” and this palpable enthusiasm for the band’s song choice continued as the band moved through the set. The rhythm section often stole the show with Garrett’s numerous and impressive bass solos that showed off his technical prowess on the bass over the driving force of Dave’s precise beats.Of the second set, the band really dialed in their sound with “Skagly,” a Freddie Hubbard cover, through to the end of the set. Throughout “Skagly,” the rapid-fire and complex horn part was a focal point, and Gabe’s jazz background shined through as he effortlessly built the tune to its climax during his solo. The interaction between Joey and Lyle during James Brown’s “Too Funky” was another highlight of the night, as Joey provided a perfect vocal complement on the talk box to Lyle’s lively performance. The song also allowed Jalbert to tag back in and take the spotlight for awhile with a shreddy guitar solo, as he hung back for the majority of the second set. As a tribute to Prince, the band closed out the weekend with an encore of “I Wanna Be Your Lover,” during which Lyle’s singing was truly outstanding and “I Feel For You,” which featured a funky instrumental jam which the band really rode out, much to the delight of the crowd, before bringing the weekend to a close.The Motet’s hometown hustle was a testament to the band’s ability to constantly evolve and seek out new sounds while staying true to themselves and their fans. After a hiatus from playing Denver, the weekend was a triumphant return that only revved up fans, who are eager for them to return again. You can check them out at a city near you as they finish out their fall tour before gearing up for their New Year’s run, dates of which are listed below or can be found on the band’s website. Photos appear courtesy of Andrew Rios Photography, and a full gallery – as well as the setlists – can be seen below.Setlist: The Motet at the Ogden Theatre in Denver, CO – 11/11/2016Set 1: Just Around the Corner, The Truth, Getting To Know You, Know It Too Well, Solar Plexus > Keep On Don’t Stoppin’, Back It Up, Jam, Rippin’ Herb, Danger, Damn!, Like We Own It, Thankful > Cloak and Dagger > Closed MouthEncore: Serpentine FireSetlist: The Motet at the Ogden Theatre in Denver, CO – 11/12/2016Set 1: Funny > So High, Ain’t No Way, The Fountain, Extraordinary, Handcuffs (Parliament), Ryno, FoolSet 2: In the Stone (Earth, Wind, and Fire), The Same Thing (Sly & The Family Stone), Tell Everybody (Herbie Hancock), Bustin’ Loose (Chuck Brown & The Soul Searchers), Wear It Out (Stargard), Glide (Musique), Knee Deep (Funkadelic) > Good Times (Chic) > Working Day and Night (Michael Jackson), Skagly (Freddie Hubbard), It’s Too Funky In Here (James Brown) > Shake Your Booty (KC & The Sunshine Band)Encore: I Wanna Be Your Lover (Prince) > I Feel For You (Prince)Upcoming 2016/2017 Motet Tour DatesNovember 17 – HiFi Music Hall – Eugene, ORNovember 18 – Revolution Hall – Portland, ORNovember 19 – Armory – Ashland, ORDecember 10 – Mesa Theater – Grand Junction, CODecember 28 – Skyway Theatre – Minneapolis, MNDecember 29 – Turner Hall Ballroom – Milwaukee, WIDecember 30 – Aragon Ballroom – Chicago, ILDecember 31 – Variety Playhouse – Atlanta, GAJanuary 20 – Jam Cruise – Miami, FL / The OceanFebruary 3 – 5 – Gem and Jam Festival – Tucson, AZ Load remaining images
Edit this setlist | More Red Hot Chili Peppers setlists[Photo via itsmandilee // Instagram] In 2012, the Red Hot Chili Peppers toured with New Orleans sensations Rebirth Brass Band across the country. This year, they’ve taken the same philosophy, hiring Trombone Shorty & Orleans Avenue to support them on their extensive 2017 tour dates. With last night’s performance at the Smoothie King Center in New Orleans, RHCP held a reunion of sorts, hosting members of both Trombone Shorty and Rebirth Brass Brand, as well as other local legends, for a grand finale.The horn playing guests all appeared during the final number, “Give It Away,” creating quite the funky finale for the NOLA fans. The band also welcomed out funk legends Ivan Neville and George Porter Jr., both of whom previously played with RHCP at Jazz Fest last year.Check out some great fan shot video of the sit in below, courtesy of Stu Howlin Wolf.The full setlist from the show can be seen below. In other news, RHCP was just announced as a headliner of Bonnaroo, and you can see that full lineup here.
[H/T CoS] With Inauguration Day looming, hip hop duo Run The Jewels performed as part of a pre-inauguration concert in Washington DC. Naturally, things got heated, with a politically-charged performance that had Killer Mike leading a “Fuck Donald Trump!” chant towards the show’s end.Musically speaking, the show also marked the return of Rage Against The Machine frontman Zack de la Rocha, who has shied away from the spotlight after his heyday. de la Rocha joined in for three songs of the encore, including “Kill Your Masters,” “Close Your Eyes (And Count To Fuck)” and “Reagan.” Check out videos of the wild collaboration, below.
Last weekend, the Boognish rose over Sin City, as Ween played three nights at the Brooklyn Bowl in Las Vegas, NV. The shows were filled with tons of classics from the Ween catalog, and the band even hosted a near-disastrous wedding proposal on the Sunday finale! Fortunately, fans now have the opportunity to stream audio from all three nights, as Boognish Monster has uploaded cuts from each night onto YouTube. Sit back, relax, and enjoy the brown! [Photo by Erik Kabik]
In our fame-driven culture, finding a second-generation music star as humble and friendly as Ronnie McCoury is a welcome surprise. Son of the legendary guitarist Del McCoury, Ronnie has been making music onstage with his father since the age fourteen. Alongside his brother, Robert McCoury, who performs with Ronnie in both his father’s band and their side project, The Travelin’ McCourys, Ronnie McCoury has grown into one of the most decorated and awarded musicians in bluegrass history. Live For Live Music’s own Rex Thompson was lucky enough to chat with Ronnie, and their conversation spanned the music of the Grateful Dead, the legacy of their family, finding a balance, and much more. Read on below!Watch The Travelin’ McCourys & Jeff Austin Band Perform The Grateful Dead’s “Althea” [Pro-Shot]Live For Live Music: You just spent a weekend with Jeff Austin covering the music of the Grateful Dead. I’m guessing your father wasn’t playing much Dead around the house. How did you find your way to their music?Ronnie McCoury: My heroes are my father, of course, and Bill Monroe, father of bluegrass and mandolin player. I got into their music when I was in my early teens, but in my later teens, I got a package in the mail from David Grisman to my dad. He had sent an album he was putting out called Early Dog. Basically, half the album was a live show he had done with my dad. Along with that album was all the music he had recorded with his new band at the time — the David Grisman Quintet.I immediately fell in love with Grisman’s mandolin playing. David lived in California, and I didn’t until I was 18 or 19. As I was growing up in Pennsylvania, all my buddies were like, “You play mandolin?’ and I was like “Yeah, I play with my dad” They always said, “Oh, you mean like Led Zeppelin or the Grateful Dead.” I didn’t fully know what they were talking about at the time because I was so into bluegrass. I didn’t listen to that music until my late teens.I finally went to find out what they were talking about. Then I found that David Grisman was playing on Grateful Dead recordings and Old And In The Way. At these Dead shows, I tell the audience “I know you all came to hear these songs and music through the Grateful Dead, but I found this world through David Grisman.” I had a few friends who were really into the Dead. They had all the recordings and went to all the shows. I went with them to every show in the area for around five years in the Philadelphia or D.C. area.L4LM: The music you started out with — Bluegrass — has a lot of structure and convention. The music of the Dead is all about openness and improvisation. How different are the mental tools you use to make their music as opposed to the music of your father?RM: That’s a good question. Grisman was stretching the limits of the mandolin with what he was doing. It’s mainly a jazz way of looking at music. I never really had had a chance to play in that style much, because, as you mentioned, I was coming out of the Bluegrass school of thought and playing with my dad. But through listening to Grisman, I already had a vague understanding of the concept. Through the years, I have been able to get up and do that kind of music. I got to the point where I could stretch out and embrace that kind of music a bit. I admit I’m a bit prejudiced on this point, but I think I already play in the best bluegrass band in the world with my dad, so I really can’t do much better than that, so why try to do that again?But I do like the opportunity to stretch out now that I have been in that world a bit. The Travelin’ McCourys do that a bit more, and it’s fun, for sure.“Althea”L4LM: The Travelin’ McCourys are extremely musically flexible. You’ve worked with folks from Jeff Austin last weekend to Keller Williams and even the Preservation Hall Jazz Band. Are there any artists or genres you want to connect with in the future?Ronnie McCoury: I’ve been really fortunate. When you start playing with folks like Keller Williams and Preservation Hall, you learn a lot along the way. It’s one thing to listen to the music they make, but a whole other thing when you play it with them. Even playing with folks like Trey Anastasio and Phish. I’ve just been so lucky getting to stretch my playing out.I love all kinds of music. I’ve never really played any classical music. I’d like to, but I don’t read music so there’s a challenge or two there. Life kinda takes you where it takes you. I have three kids and two bands, and I am a pretty busy guy. But life is always changing. Maybe when my time opens up, I’ll really get focused on playing and exploring again.L4LM: There seems to be a procedure to pickin’ parties like the one you just had over the weekend. Have you ever had a player jump up and sit in with you guys who just couldn’t stop hogging the lead?RM: Ha, no, not really. The best thing a person can do in a jam situation is lead by example and respect the others. If they are onstage with us, hopefully, they’ll see that that’s what they do.L4LM: When we were doing some pre-interview research, we noticed that you seem to have won every award available to a mandolin player multiple times. Do you have a room in your house that is filled with plaques and gold records?RM: No, I don’t have a room. I have a small thing, like a curio cabinet, that my wife has made up and is pretty full of all that stuff. And there is a fair amount of it on the walls. I’m proud of what I have accomplished, both alone and with my dad, especially knowing where we came from. I’m proud of it though.L4LM: You mentioned your wife just now. Have you ever tried to use your massive collection of awards in an argument? Like “Honey, are you doubting the word of a man who has won 35 ‘IBMA Mandolin Player Of The Year’ awards?”RM: Now that would really get me in trouble. So, no, I haven’t tried pulling that one.“Don’t Stop The Music”L4LM: Speaking of family, do you remember when you first got an idea of the effect your father and his music has had on the world?Ronnie McCoury: Definitely. When I was a really young kid, my dad was a logger. My dad has had a lot of jobs, and from like the 70’s to 1985, my dad was a logger. That was hard work. He would be in the woods when the sun came up and back home when it had come down. I started playing in the band with my dad when I was fourteen, and all the other guys in the band were older and they all had day jobs. The only way to really make a living playing bluegrass was to go on the road, and Dad didn’t want to be gone like that while we were kids. He wanted to be there to raise his family.But my brother and I, we got a real sense of just how much fun our dad was having when we saw him play. During the day, he worked so hard but when he got onstage, the fun he was having was just a joy to watch. I would say watching dad have that joy, that was when the bug to perform bit me. It wasn’t seeing the joy that other people had found in his music until I started traveling with him and seeing people react. That was another whole layer of fun.L4LM: You grew up in an age before social media. How do you think teenage Ronnie would have handled being in the public eye as a touring musician at age fourteen?RM: Boy, that is so hard to think about. My three kids — they’re 19, almost 18 and 14 — their life is their phones. I would imagine it would have been the same if it had been me, but I am so glad it wasn’t there. I had a buddy tell me something that really resonated with me. I have been lucky enough to have like a dozen friends who I grew up with since like first grade. We all keep in touch all the time. Anyway, my one friend told me his son said, “You know, dad? When my friends and I get to hang out together, we don’t have anything to talk about because we have already texted it.” That rang so true to me. When I was a kid and you had something cool to say your buddy, you couldn’t wait to hook up and tell him. Now a bit of that seems lost. I’m glad I didn’t have all that then. It’s a great tool, don’t get me wrong. I see and respect the power of it for sure. There are ups and downs to everything though.L4LM: Have you ever given any thought to having your own reality show? You’re an accomplished musician with a beautiful wife, multiple kids, and a very interesting life.RM: Ha, no, not really. I mean, I’ve thought about it and had it suggested. There are certain reality shows my wife watches, but I just can’t imagine having the camera running on us all the times, so I don’t think so. I’ve been in the spotlight a lot over the years. I’m just a guy with a job raising a family. My job just happens to be on the road playing shows in the spotlight.“I Need More Time”L4LM: You mentioned your father didn’t travel much with his music when you were a kid, but you have gone a different route, obviously. With kids at home and fans around the country, what is your ideal split between the road and home?Ronnie McCoury: Mainly what we do is weekends. The last time we did anything like a real tour was in around 2002. We went on the Down From The Mountains tour, which was music from O Brother, Where Art Thou? We weren’t in that movie, but they asked us to be part of that tour. I was in the middle of moving, and I had little ones at home, and it was just really hard on us to do everything at once. My whole thing is to try and be home through the week. We get home on a Monday and usually leave on Thursday. It’s all about balance.L4LM: Well, thanks for managing to fit this chat in in the middle of your busy summer. Have fun out there with your Dad and back home with the family, and thanks for making all this wonderful music for us to boot scoot to along the way!Ronnie McCoury: You’re more than welcome. Hope we see you out there soon!