With her upcoming hosting gig for the BET Soul Train Awards show this Sunday, Nov. 27th, soul singer Erykah Badu performed a short set for The New York Times that can be seen below. Joining her for the performance of “On and On,” and “Time’s A Wastin’” were Snarky Puppy keyboardist Cory Henry and long-time collaborator Rashad Smith on drum machine.Following the brief performance, Badu fielded some questions from an online audience before the short, impromptu session ended. The singer was her usual, eclectic self while answering questions about her work space when she gets creative, the gold floss that was hanging from her teeth during the performance, what artists she is currently listening to, her love of folk music (Crosby, Still, Nash & Young and Joni Mitchell, in particular) and her thoughts on doing more activism during times of turmoil and negativity.[via Okayplayer]
Last Wednesday, Twiddle made their way up North to the State Theatre in Portland, ME. With Thanksgiving on everyone’s mind, the band debuted a sentimental new song called “Moments,” written by Mihali Savoulidis. Fortunately, taperchris was on hand to capture the full audio from this exciting performance. Listen below for the new song and more from this great night of music!
When walking into a venue and getting settled into a show, or relaxing during a set break with friends discussing the first set, the music playing overhead is something that can largely go unnoticed, while at other times keeping the party vibe alive and going. Phish is typically a band that has some more noticeable artists playing during these particular time periods.Whether you recognize said artist/s or not, you typically want to go home and discover some of their music. Thanks to Phish’s own Julia Mordaunt, who creates the artistic designs and layouts for their various releases, has made that task much easier with the creation of a Spotify playlist of the band’s Walk-In and Set Break music from 2009 – 2017.Artists such as Dr. Dog, The Meters, Professor Longhair, Broken Bells, The National, Cymande, Thelonious Monk, Real Estate, David Bowie, Kamasi Washington, Jimmy Smith, Al Green, and many more make up the rather enjoyable playlist. Take a listen below, all you have to do is press play.
An ominous introduction hovers and hesitates, uncorking four-on-the-four French tech-house, and before you know it, Boom! Mama. There. Goes. That. Man. Jason Kay, riding a clandestine clavinet, is back in the saddle again, slangin’ the soulful salutations that we’ve missed so. Not coincidentally, the lyric “Blow my mind” announces the bass drop, and “Shake it On” is on and poppin’. Disco queens scorch the scene, the bass and clavinet dance a heavenly housequake, afloat cinematic strings, Quiet Storm guitars and bold synths. All the elements that make Jamiroquai sui generis are clear and present, this is code red, Danger! The first record in seven long years is Jay’s Ferrari out on the open highway, buffalo-man headdress blowin’ in the wind; and they are tossing the kitchen sink at you on the very first song.After two mediocre offerings in a row (following a five album run that rivals any artist of my lifetime), the count was full for Jay Kay and his band of acid-jazz funksters. Would this be the nail in their proverbial coffin? Had the cutting edge and cultural zeitgeist passed them by? Was JK packing stadiums the globe over on nostalgia alone? 2005’s Dynamite and 2010’s Rock Dust Light Star were met with stateside yawns, and though they were well-received around the world, the art simply didn’t resonate as it did during their decadent and demonstrative first decade.Fact is, the jury was out on whether or not this funk odyssey had run its course. Kay and keyboardist/songwriter Matt Johnson decamped to the singer’s posh Chillington Studios on and off for several years, tweaking ideas and fleshing out concepts. The duo emerged from seclusion having crafted the new record Automaton, centered around a theme of post-millennial disconnect; a lack of authentic human communication and interaction has created a computerized cage for human beings.Swinging second is title track “Automaton,” a curious number, obtuse Justice-like trappings unearth a dystopian future of the digitized and automated. Oh the horror! As a preview single, the music felt troubling- if adventurous; but in the context of the entire record, it clicks. This is an Orwellian-bent British Mantronix remixed for a new millenium, though no doubt an acquired, intelligent taste. The band follows with second single “Cloud 9”, a warm, boozy bass-lead jam that paints Jamiroquai by the numbers, floozy and flirtatious. A chunky hook and Rob Harris’ choice guitar save the tune from the generic heap; the song’s resolution outro almost feels like victory.“Superfresh” pulls a vocoder-page from the Daft Punk playbook, a nu-disco thumper, if a bit gimmicky. Given Kay’s propensity for high-brow commentary over the years, the sophomoric “Superfresh” lyrics feel beneath him, yet nobody rocks disco for it’s poetic justice. “Hot Property” also suffers from lowest common denominator linguistics, as well as providing yet another disco-fied beat. Jason Kay continues unapologetic, waxing nostalgic funky-town fever, Shaft-worthy string arrangements embellishing Ocean Yacht egocentricity.At this juncture, after the first spins through a few tunes, this writer must admit- there was cause for concern, my internal alarms were ringing. Was another sound dying? Is this all going to be French proto-house, phoned-in dream pop, and four-on-the-floor disco workouts? Is this just an aging great taking the path of least resistance? Will we forever long for Stuart Zender to come home? Just at the very moment I started having those thoughts thought up, at the precipice of a permeating skepticism, a roller-skating jam bassline and massive Moog tones hijack “Hot Property”, and drummer of two-plus decades Derrick McKenzie pushes the team into a funkdafied crescendo. Don’t write their obituary just yet; indeed, there will be blood.Jay Kay comes for the jugular with “Something About You,” his shiny, syrupy vocals atop quintessential Jamiroquai, an electro-funkin’ pop-groove recipe from the Funk Odyssey cookbook. Firmly planted in the Reagan 80’s with triggered toms and synth’d strings, inimitable JK croons tip-toe between perfectly-placed hand-claps and chicken scratch guitars. Jamiroquai may be gluten-free in 2017, but best believe they’re still rich with instrumentation and luscious, sing-along choruses, triumphant resolutions riding torrid outro jams. Break out the backspins, cardboard and capoeira, as a positively filthy Fender bassline, and old-school hip-hop breakbeats announce “Nights Out in the Jungle,” the intergalactic Bronx park-jam gone Studio 54. Kay’s prophetic falsetto bemoans the media’s manipulation of his late friend, singer Amy Winehouse, and warns of his own “checkered past with the paparazzi.” Meanwhile, McKenzie’s crunkalogic drums propel Paul Turner’s ferocious low-end theory. Wait, what’s that, a turntablist scratching in a freaking chimpanzee?! Screeching surf-guitars serve up the Sriracha, long time assassin Sola Akingbola deploying hard-driving bongo-breaks; the bass and percussion shift unexpectedly into a fantastic flute-down, a tribalized section of rainforest B-boy. “Nights Out in the Jungle” is break-dancing naked on a runaway freight train; this is Jamiroquai 2.0 at their absolute zenith.In a virtual instant, eerie sounds give way to ginormous, unabashed Yacht Rock; vivacious female vocals saunter above shimmering urges, delivering us to the office of one “Dr. Buzz.” Another cautionary tale, this of urban blight and a morally-bankrupt Western culture, all the while doubling as the latest in JK’s canon of cannabis celebrations. A de-facto homage to Steely Dan, its AOR sensibility and biting, satirical edge betray an ostentatious energy; this is feelgood music to the core. Halfway through the gouda gluttony, while the “West is gettin’ so wild…” JK, McKenzie, and Turner stop on a dime, pivoting into future funk. The rhythm section brings the savagery, and Jay’s raw, weathered falsetto steers the squadron toward liberation. Swimming in sulty synth, a percussion break hints at full detonation; instead, like a silver surfer emerging the barrel, the band arrives back at the original “Dr. Buzz” motif. With that, a soaring sax solo dances within Moogs and Mary Janes, Harris’ wealthy axe-tone wails tubuler, and Automaton MVP Matt Johnson’s ARP swirls around McKenzie’s merciless metronome. “Dr. Buzz” is a classic twist in the Becker/Fagan tradition; and within it Jamiroquai has kicked down yet another door of perception, we can see their colors sprayed up on the wall.“We Can Do It” visits familiar territories in vibe and geography, drifting along to Jamaican shores with panache, Motown-disco-ska straight out of the United Kingdom. A decidedly throwback jam, this song feels neither staid nor played. Super cruising down the home stretch, the reggae-vibes finally shine through as the “We Can Do It” fades into the ether.Another spectral introduction belies an ambitious, mouth-watering half-time riddim; and rolling synth-bass thrusts the groove into steezy netherworlds.”Vitamin” is everything we always dreamt this Jamiroquai could be, and so much more. Twenty years ago, on “Do You Know Where You’re Coming From?” this krewe invented organic breakbeat in the band setting, only to solidify the blueprint on 1999’s “Planet Home.” “Vitamin” officially ups the ante all these years later, and takes the handoff to the house. Nevermind that it’s a defiant kiss off to Jay Kay’s rumored demon albatross, and a firm F-You to a career filled with numerous naysayers and many a short shrift. Incorporating sizzling, ravenous rhythms, libidinous bottom end, and all things Space Cowboy, this is the iconic, trendsetting Jamiroquai we have loved for so long. Clearly, they’ve still got that magic touch; “Vitamin” is nothing short of an instant classic.Jamiroquai. Automaton. Just when you thought you were out, they pull you back in.Key Tracks: Vitamin, Nights Out in the Jungle, Dr. Buzz, Something About YouWords: B.Getz
On Saturday night, Joe Russo’s Almost Dead and Medeski, Martin, & Wood hit the beyond-sold out 1st Bank Center in Broomfield, Colorado, marking Almost Dead’s first headlining arena appearance and Medeski, Martin, & Wood’s debut at the venue. The location of their Saturday show was bittersweet for fans and musicians alike, as the performance had previously been slated for the legendary Red Rocks Amphitheatre in Morrison, Colorado, though moved earlier in the week due to a snow storm rolling into Colorado’s Front Range. Saturday morning confirmed that the preemptive venue change was a good call, with thick, wet snow accumulating between three to six inches in Denver and with even more snow on the ground where Red Rocks is nestled—making for what would have been miserable if not dangerous conditions for players and attendees alike at the outdoor venue.Despite the somewhat gloomy day, spirits were high, and fans were ready to celebrate with the other 6,500 people gathered at 1st Bank, particularly considering the stellar performance put on by Joe Russo’s Almost Dead at the Ogden Theatre the previous night. And Joe Russo’s Almost Dead and Medeski, Martin, & Wood had a few tricks up their sleeves as well, putting on a special show for the crowd that made it out for the historic performance.Medeski, Martin, & Wood kicked off the performance, with the legendary improvisational jazz-funk group composed of pianist John Medeski, percussionist Billy Martin, and bassist Chris Wood setting the mood with an avant-garde, mercurial set characteristic of the trio. The stripped down lighting made the large arena feel intimate, with all eyes focused on the group as their slinky, groove-rooted melodies dissolved into spacey, ambient chaos, then back again, with each implementation of order building the original theme’s intensity. Medeski, Martin, & Wood put on a performance of exceptional depth, capitalizing on the inherent freedom created by having only three members. Watching the group, there was an eerie feeling that each member was simultaneously playing completely solo while also psychically dialed into the other two members, with their common intuition allowing the dramatic and hypnotic restorations of structure from sonic anarchy.Following a brief break after Medeski, Martin, & Wood’s heavy, spacey performance—also a preview of a special surprise to come later in the night—Joe Russo’s Almost Dead took the stage and went deep into the Grateful Dead’s catalog history, appropriately opening things up with a cover of Bob Dylan’s “Shelter From The Storm,” a song that the Dead and Dylan played together on July 24th, 1987 during their shared summer tour that year and which started out with Marco Benevento making use of the addition of the grand piano on the stage set-up. “Shelter From The Storm” quickly dropped into “Bertha,” with the well-known and upbeat crowd pleaser, and particularly its huge build-up led with Joe Russo front and center, amping up and locking in the collective energy within the arena (and also eliciting this gem of an overheard comment from a crowd member, “You could see a Creed cover band with Joe Russo on drums, and they would be amazing.”).“Shelter From The Storm”Bertha[Video courtesy of Karl Shenassa]“Let It Grow” came next, which was led in by a sparse, spacey intro and sung by Scott Metzger. Following “Bertha,” you could tell that this was the moment that Almost Dead truly hit their stride, with the substantial “No Quarter” jam imbued with the heavy, hard tone of Led Zeppelin and with frenetic guitar licks that had the 1st Bank Center rockin’. Russo’s jazzy, syncopated drumming led out of “Let It Grow” into the classic combo of “Help On The Way” > “Slipknot!,” with dramatic pauses from the ensemble, eventually building into a dark, grinding jam featuring meticulous soloing by Metzger and, later, with intricate interplay between Benevento and Russo. Contrasted with this lead-in, the melodic and optimistic resolve into the next song, “Throwing Stones,” was dramatic, eliciting a huge response from the crowd. Russo led the group into the first jam, which featured teases of another Bob Dylan number, “Quinn The Eskimo,” before rolling back through into the refrain of “Throwing Stones”—this was followed by a funky, almost trance-y section heavily focused on Benevento and Russo, which eventually incorporated fiery, shred-heavy licks from Tom Hamilton, which led into the rockified final verse of “Throwing Stones” to close out the song.There was thunderous applause to end the extended, three-song nonstop sequence, with the crowd not easing up as Almost Dead moved into “Must Have Been The Roses.” The mournful song was sung by Hamilton, who, as I wrote in my notes from the night, “can sing the fuck out of a ballad,” and Benevento’s bluesy playing along with Metzger’s emotive longing guitar made the song one of the highlights of the evening. The group’s debut of a cover of Bob Weir’s “Gonesville,” off his solo album Blue Mountain that was released last year, came next. The group took advantage of the classic sound of the song, with Benevento laying into the grand piano during his feature, then passing the lead to Hamilton who got up close to Russo as the two grinned at one another as they built the song to its peak together. “Gonesville” dumped into “Shakedown Street” to close out the first set, and Metzger shined during the song, providing rhythmically interesting counterpoint to the song’s disco base with his guitar. Benevento’s cascading piano on the grand led out of the song’s jam and back into the song’s main theme, where the group brought the song down to a whisper, then back up (while sneaking in teases of “China Cat Sunflower,” which Almost Dead played the previous night at the Ogden) to close out the first set on the high.Must Have Been The Roses[Video courtesy of Coloradojohnsons]Needless to say, the crowd was buzzing during set break, and the energy was palpable from the arena, which was fuller than I or anyone who I talked to had ever seen it. When the second set started, John Medeski, Billy Martin, and Adam Morford (Fort Collin’s Morfbeats) along with Joe Russo were on a riser behind the band’s main setup for an ambient, percussive “Drums” and “Space” segment (though dubbed “Morphbeats” on the setlist). The rest of the band came out for “Dark Star,” leaving Martin and Morford to hold down the auxilary percussion with Russo returning to the kit and John Medeski moseying down to join Benevento at the keys. The song also saw the emergence of Antibalas’ multi-instrumentalist, Stuart Bogie, who performed with Almost Dead at the Ogden last night and who switched off between flute and saxophone during the song. With Benevento behind the grand and Medeski stationed at the Hammond organ, the two renowned pianists together crawled out of the chaos, playing discordant, whorling circles around one another and leading the group as they stretched and reached for the resolve into the refrain sung by Hamilton, which tapered off into a whisper.Medeski, Martin, and Morford departed the stage as Almost Dead and Bogie (on clarinet) remained on stage and quickly transitioned into the crowd-pleasing “Mississippi Half-Step Uptown Toodleloo.” There was a huge round of applause as Tom Hamilton belted out the line “Prayed for better weather,” a shared feeling amongst everyone in the room, though at this point, no one seemed too worried about. Metzger led the charge with soaring, sweeping guitar through to the ending verse of the song, with the slow, a capella sung “Cross the lazy river,” trailing off and being savored by the crowd.“Morphbeat” > “Dark Star” > “Mississippi Uptown”There was barely a moment’s pause before the group built the song back into a jam, with Bogie’s triumphant clarinet at the helm as the group moved into “Estimated Prophet,” with whistles breaking out across the crowd and the house lights flashing on to illuminate the crowd. With Metzger crooning “Don’t worry about me,” Bogie’s exalted sax, and Benevento’s tickling solo, it was a truly sublime musical moment. A dub-tinged jam led out of “Estimated Prophet,” during which Dreiwitz held down the number with his smooth, laid-back bass straight into striking “Terrapin Suite.” The song had the crowd cheering and chanting along as it reached its climax, eventually making way into the “The Other One” with a series of sonically and thematically diverse jam portions, evoking tastes of the Middle East before and later the Caribbean, with the group’s galloping, breezy, and tropical sound. To close out the set, it was a mellow transition to “Eyes Of The World,” where Benevento was a heavy hitter throughout as his powerful solos built the song and the set to its forceful close.The group came back for their encore, opening with “One More Saturday Night,” with Bogie’s sax a perfect addiction to the jubilant song and Joe Russo taking the key force in pushing the song forward. The group then moved into “Not Fade Away,” ending the song following Metzger’s crisp soloing with a feature of Russo and Benevento before taking it to its close with its fading a capella chorus. The floor, which had been packed all night and at capacity, began to clear out, though patient fans were rewarded with a second encore. The first song, “Ripple,” was played at the behest of Russo’s wife, and the song was perfect to begin to close out the show, with the line “Let there be song to fill the air” accompanied by huge cheers from the crowd.“And now for something completely different,” Joe Russo announced to the crowd at the end of “Ripple,” as the band moved into a rockin’ cover of Bruce Springsteen’s “Born To Run.” With all the house lights on full blast and the arena fully illuminated, it’s safe to say that people were either loving and eating up the abrupt sound and lighting change or thoroughly and hilariously distressed by it. The band closed out their encore to huge cheers from fans, before departing the stage and ending the special night.It’s clear that Almost Dead put much thought into curating the event and their setlist with attention to the last-minute changes due to weather and with the goal of putting on a very special show for fans. The crowd left to the Rolling Stone’s “You Can’t Always Get What You Want” as house music. With “you can’t always get what you want, but if you try sometimes, you might find you get what you need” echoing in attendees heads as they left the 1st Bank Center, the crowd found themselves nodding along in agreement, thinking that maybe things worked out just the way they were supposed to.Those who are still disappointed on missing out on last night’s performance or are still (rightfully) longing for Joe Russo’s Almost Dead’s headlining performance at Red Rocks need not fret too long. The group returns to Colorado (unfortunately sans bassist Dave Dreiwitz, though with addition of the legendary Oteil Burbridge of the Allman Brothers and Dead & CO in his stead) for their rescheduled Red Rocks debut on Thursday, August 31st. You can also listen to a recording of last night’s 1st Bank Center show below, courtesy of BonoBeats, as well as check out the full setlist from last night below, courtesy of Peter Costello. You can also check out a gallery of photos from last night’s show, courtesy of Andrew Rios.Setlist: Joe Russo’s Almost Dead | 1st Bank Center | Broomfield, CO | 4/29/2017Set One (8:39PM – 10:17PM): Shelter From The Storm @ (TH) -> Bertha > Let It Grow -> No Quarter Jam # -> Help On The Way > Slipknot! $ > Throwing Stones, Must Have Been Roses, Gonesville % (SM) -> Shakedown Street ^Set Two (10:45PM – 12:53AM) &&: Morfbeats & -> Space *-> Dark Star + -> Half Step -> Estimated Prophet -> Terrapin Suite > The Other One > Eyes Of The World @@Encore One: One More Saturday Night -> Cold Rain & Snow Jam ## -> One More Saturday Night Reprise ##, Not Fade Away $$ -> Tequila Jam -> Not Fade Away RepriseEncore Two: Ripple, Born To Run %%Notes:@ – Bob Dylan Cover, First Time Played by Almost Dead# – Not played by Almost Dead since The Belly Up, Aspen, CO, 2016-07-02, a gap of 32 shows$ – With a “Duo Jam”% – Bob Weir cover, from “Blue Mountain”, First Time Played by Almost Dead^ – With short China Cat & Cold Rain & Snow Jams (Band)& – Kind of a Drums -> Space Hybrid, with Joe, Adam Morford, Billy Martin & John Medeski, playing crazy percussion instruments created & built by Adam Morford on a riser behind Joe’s kit. Eventually Marco, Tommy, Dave & Scott joined in & the segment evolved into Space. First Time Played by Almost Dead.&& – Entire second set from Space on & encore with Stuart Bogie on Sax, flute & clarinet.* – With John Medeski on percussion & then Hammond Organ and Billy Martin & Adam Morford on Percussion+ – With John Medeski on Hammond Organ and Billy Martin & Adam Morford on [email protected]@ – With a tease of what I think was a Tears for Fears tune (TH)## – First Time Played by Almost Dead$$ – With Black Throated Wind teases (SM), Chuckles (WOLF) Teases (SM) and a “Duo Jam”%% – Played with the house lights on Load remaining images
Steve Kimock is a renowned guitarist, gaining widespread recognition over the past four decades for his transcendent improvisation on electric, acoustic, lap, and pedal steel guitars. In addition to an enviable list of collaborations spanning from Bernie Worrell to Bonnie Raitt to the members of Phish to Taj Mahal, he’s become a beloved figure in the Grateful Dead sphere. Once touted by Jerry Garcia as his “favorite unknown guitar player,” Kimock has performed with Bob Weir‘s Kingfish and RatDog in addition to post-Grateful Dead ensembles like The Other Ones, Phil Lesh & Friends, and the Rhythm Devils featuring Mickey Hart and Bill Kreutzmann.Bob Weir Leads Kimock, Burbridge, Mendelson, Bluhm, And More During Backyard Benefit Concert [Video]More recently, Kimock has been touring with his latest collaboration KIMOCK, also featuring his old friend Bobby Vega on bass, his son John Morgan Kimock on drums, and Leslie Mendelson on vocals and various instruments. The project came together two years ago to present music off Steve Kimock’s last studio release, his 2016 solo album Last Danger of Frost, in a live setting. After coming together, the members of the quartet became quickly inspired to write new music as a group—the fruits of this labor is a nine-track album dubbed Satellite City, which was recorded at Bob Weir’s TRI Studios and produced by Dave Schools of Widespread Panic.Watch Bob Weir And Eric Krasno Join Steve Kimock & Friends In CaliforniaSatellite City is scheduled for release later this month on October 27th ahead of the start of the band’s November tour. Today, fans can get a taste of what to expect from KIMOCK’s upcoming release with the Live For Live Music premiere of the track “Variation”.Steve Kimock shared his thoughts on “Variation” with Live For Live Music, noting, “No other tune on the record evolved as far from its origins as this one for me. The musical seed was an acoustic resonator guitar sound I used on Last Danger of Frost. Just a little cascading melody, harmonics, sounded like spilled water. I played it for Johnny and Leslie, who responded as if I’d yelled ‘mush’ at two sled dogs, and I’ve been ass-over-teakettle trying to keep up ever since. Strong band, heavy lifting all around—check Bobby Vega on the outro. The longest song and longest journey by a song on the record.”You can listen to the premiere of “Variation” off KIMOCK’s Satellite City below ahead of its official release on October 27th.Those left wanting to hear more can pre-order Satellite City digitally on iTunes or Amazon and receive the first song off the album instantly. However, the guitarist’s official store will also be selling limited-edition autographed vinyl and CD editions of the new release, with anyone who preorders here automatically registered for the chance to meet the band for an hour during their upcoming tour (tour dates below), plus two VIP tickets and ultimate bundle.KIMOCK Upcoming 2017 Tour Dates11/1 Weds. Daryl’s House, Pawling, NY11/2 Thur. Highline Ballroom, NYC11/3 Fri. Swyer Theater at The Egg, Albany11/4 Sat. Flying Monkey, Plymouth, NH11/5 Sun. Met Café, Providence, RI11/6 & 7 Off11/8 Weds. World Café, Philadelphia, PA11/9 Thurs. Kent Stage, Kent, OH
In a Fall relatively short on tour dates, Umphrey’s McGee played the first of a quick two-night run at Madison, Wisconsin’s Orpheum Theatre last night, continuing the years-long trend of incredible Umphrey’s shows in Wisconsin. After a funky opening set from SunSquabi opened the evening, Umphrey’s took the stage. Before the music could begin, the band had to address a curious elephant in the room: bassist Ryan Stasik, known to be a die-hard Pittsburgh sports fan, was sporting a Chicago Cubs jersey–a sight no Umphreak had ever witnessed prior–and made a point of acknowledging that his surprising Chi-town gear was the result of a lost bet with his bandmates. Watch the show opener here.Umphrey’s McGee Details Upcoming Album Release PartyWhat the first set lacked in improv and jamming it made up for in a great set list. The set seemed to be plucked from 10 years ago/ “Hurt Bird Bath” was dark and energetic. “Passing” seems to be turning up more and more, and that’s undoubtedly a good thing. The Doobie Brothers’ “Black Water” slowed things down and allowed the audience to sing along before a fiery “Bottom Half” with “Eat” sandwiched inside to close the first frame.Watch crowd-shot footage of “Soul Food I” below via YouTube user Marian Moon:Watch crowd-shot footage of “The Bottom Half” below via YouTube user nothingtoofancy42:The second set saw another wardrobe change from Stasik, who had traded his cubs shirt for a Houston Astros jersey in honor of their recent World Series win. “Ringo” was a great way to start off the second set, and it was a monster. The band found a very danceable groove that they were able to build and build until the final chorus struck, making for perhaps the best improvisation of the night. Watch the second set opener here.Umphrey’s McGee Releases New Single “The Silent Type”, Track List For ‘it’s not us’“1348” also featured some top-notch jamming, but instead of building to a peak, they took a left turn into fan favorite “Glory”. A strong segment of the the show came in the form of Pink Floyd’s “In the Flesh” and “Another Brick in the Wall.” “In the Kitchen” had everyone singing along again, if just to mention what could make one old, like Joel. Finally, they found their way back into the unfinished “1348” from earlier in the set for a heavy-metal finish before a “40’s Theme” dance party sent the crowd home buzzing.With one more show in Madison, UM is zeroing in on twenty years together, and this evening’s show is sure to be a treat.Below, check out a gallery of photos from last night’s Umphrey’s show at The Orpheum Theatre in Madison, WI courtesy of photographer Daniel Ojeda.SETLIST: Umphrey’s McGee | The Orpheum Theatre | Madison, WI | 11/3/17Set 1: You Got the Wrong Guy > Hurt Bird Bath, Passing, Soul Food I -> Mail Package, Den > Black Water, The Bottom Half > Eat -> The Bottom HalfSet 2: Ringo, Make It Right > 1348 > Glory > 2nd Self, In the Flesh? > Another Brick in the Wall -> In The Kitchen > 1348Encore: 40’s Theme with Entrance of the Gladiators (Julius Fučík) teaseSupport: SunSquabi Umphrey’s McGee | The Orpheum Theatre | Madison, WI | 11/3/17 | Photos by Daniel Ojeda Load remaining images
Phish fans are an astute bunch, especially when it comes to mainstream crossovers and references. While the Vermont jam legends get notably little public attention for a band of their stature, their fans always have eyes and ears peeled for cultural references to the band and their music. Last Tuesday night, the first episode of Runaways, the new Marvel Universe series on Hulu debuted to the platform’s subscribers, and featured a socially (if not factually) accurate reference to the Phish from Vermont.In the comic, a ragtag group of teenagers teams up when they discover that their parents are part of a crime syndicate known as “The Pride”. Each parent is part of the evil consortium for a reason: because they are time-travelers, dark wizards, mad scientists, alien invaders, telepathic mutants, and the like. While only one episode of the Hulu series has been released so far, it gave audiences a glimpse at the diverse makeup of “The Pride”, helping to illustrate the varying backgrounds and personalities that make up the nefarious organization.In one of the show’s opening scenes, when the The Pride is meeting at a “charity” event, two of the group’s members “nerd out” about Phish in demonstrably cringe-worth fashion. “Just make sure that her music library’s backed up–I mean, she’s got every tasty Phish bootleg going back to Burlington ’92!” remarks one Pride member. As another member responds another in agreement, “If you haven’t heard Trey’s 14-minute guitar solo on ‘Sample in a Jar’, you haven’t heard music.” As is common in real life, the Phish talk sort of freaks out the rest of the guests, prompting eye-rolls, scoffs, and generally appalled reactions from the party’s high-brow attendees.EXCLUSIVE: MSNBC’s Katy Tur Talks Her Love Of Phish & Sneaking Lyrics Into The NewsOftentimes, those references come from Phish fans hiding within the media world, as with MSNBC news anchor Katy Tur and her frequent under-the-radar inclusion of Phish lyrics in her broadcast scripts. But judging by the way that it’s discussed, I’d wager a bet that the reference on Runaways comes from someone who is not familiar with the minutia of the band’s music, but is well versed in the apparent craziness of the band’s fan base and the social stigma and general jargon surrounding it–like, they probably have that one crazy friend who’s way into Phish.So, we’re guessing that whoever that Phish friend on the Runaways writing staff is got a call when it aired that sounded something like: “Duuude, I caught that Phish reference you threw in there! Awesome! For the record, Trey has never actually played a 14-minute ‘Sample In A Jar’ (the only real jammed-out version was on Jam Tuesday at the Baker’s Dozen–definitely check that one out), and they actually didn’t debut ‘Sample’ until 1993, but still, that’s totally awesome, though!”Oh, Phish fans. So crazy, so meticulous, so misunderstood–but so much fun. Never change…You can watch the clip below, and check out new episodes of Runaways, released each Tuesday on Hulu.
From July 12th to 14th, the 15th annual Camp Euforia will take over Jerry’s Farm in Lone Tree, Iowa. Hosted by the energetic funk and Afro-Carribean fusion group, Eufórquestra, the Colorado-based host band will perform two headlining sets. Camp Euforia has also tapped Turkuaz, Fruition, and The Dirty Dozen Brass Band to round out the festival’s headliners. Camp Euforia will also host sets from Middle Western, Miles Nielsen & The Rusted Hearts, Chicago Afrobeat Project, The Diplomats of Solid Sound, The Candymakers, The Maytags, Kind Country, Dead Larry, and more.The festival, which was started in 2004 as Eufórquestra’s “Fan Appreciation Party” but has grown into a full-blown music festival with multiple stages and dozens of artists, will celebrate its 15th anniversary in 2018. Given this landmark year, the festival will host a special “Camp Eurforia All-Star Jam” on Thursday night, which is available exclusively to three-day ticket holders. With a long-running focus on highlighting eastern Iowa’s music scene, the festival also has plans to announce additional local acts following a Battle of the Bands competitions on May 12th at Iowa City Yacht Club and June 2nd at Gas Lamp in Des Moines.Advanced tickets for Camp Euforia are on sale now, including a special $90 early-bird two-day festival pass, with the option to upgrade to a $110 ticket, which includes Thursday night pre-party camping. For more information about the festival and its lineup, head over to Camp Euforia’s website here.
On Monday, The Kinks’ frontman, Ray Davies, confirmed that the English rock band will be getting back together after over 20 years. The group, who first came to fame with 1964’s “You Really Got Me”. broke up in 1996, primarily due to commercial failure and increasing tension among the band’s members.In a recent interview with BBC’s Channel 4, Ray Davies announced that the group would be getting back together to record an album, and his brother Dave Davies and Mick Avory areon board. As he explained, “We’ve been talking about it because I’ve got all these songs that I wrote, then the band — not broke up, we parted company — and I think it’s kind of an appropriate time to do it.” Addressing concerns of the tension between Dave and Mick, Ray added, “The trouble is, the two remaining members, my brother Dave and Mick, never got along very well. But I’ve made that work in the studio and it’s fired me up to make them play harder, and with fire.”This announcement comes ahead of the release of Ray Davies’ latest album, Our Country: Americana Act II on Friday, which marks the second collaboration Davies has released with the Jayhawks.[H/T Billboard]