March 2, 2021 | |Post a Comment

first_imgOn Saturday night of Coachella Valley Music and Arts Festival, Thundercat performed songs off his 2017 Drunk and welcomed out Michael McDonald (Steely Dan, The Doobie Brothers) for their first-ever live collaboration of “Show You The Way.” The song’s album recording also features Flying Lotus and Kenny Loggins, who were not present for this performance. Thundercat and McDonald also had the chance to perform “What a Fool Believes” by The Doobie Brothers, which they’ve played together once before at Brainfeeder’s Hollywood Bowl concert in 2016.Thanks to wyatt case, you can watch these fan-shot videos from the collaboration below: [cover photo via Thundercat Facebook]last_img read more

March 2, 2021 | |Post a Comment

first_imgAs we bound through the holiday season towards another New Year, music fans are getting ready for their favorite bands to put on what is always the biggest party night of the 365-day cycle. Papadosio’s incredible 2017 will culminate with a two-night run of performances at Nashville, TN’s Exit/In on Saturday, December 30th (w/ support from Doyle) and Marathon Music Works on New Year’s Eve proper with Zoogma and Push/Pull (Check out full NYE run info here). Dosio’s Anthony Thogmartin will host a free pre-party under his Earthcry moniker at The Back Corner to get the celebration started on Friday, December 29th, along with Liferoot.Papadosio To Ring In 2018 Proper With Zoogma, Push/Pull, & MoreThe Asheville, NC-based group had their biggest year yet with headlining performances at Red Rocks Amphitheatre for their own Re:Creation event (check out a full review here), Rave From The Grave in which they paid tribute to electronic music pioneers of the 90’s, a Fall tour with Phutureprimitive, and most recently their annual Earth Night event (take a looks at photos from the event).Add in massive festival sets at both Resonance Reconstructed and Resonance Music & Arts Festival in the spring and fall, respectively, Wanee Music Festival, SONIC BLOOM, both weekends of Electric Forest, The Peach Music Festival, Oregon Eclipse, and a list that goes on and on, and it becomes increasingly clear to anybody following Papadosio that the band is on a mission.Electric Forest 2017 Recap:[via Papadosio]With 2017 almost behind them, and looking ahead to their upcoming New Year’s Eve run, both Thogmartin and Billy Brouse commented on the run, how fortunate the band is to be performing in front of such a hardcore base of fans, and the prospect of starting a new chapter with the recording of fresh music in 2018 with a pending release.After releasing the all-instrumental Pattern Integrities EP in 2016, Thogmartin is looking forward to dropping new music in the coming year, “2018 will be a big year for us. We have a bunch of new music we are going to be recording. We have so much new music that we are slimming down the songs to be able to fit them into a release. Coming off of an instrumental EP, we couldn’t be more excited to open this new chapter.”“New Love /The Big Smile /New Love” | Red Rocks Amphitheater 2017:[via Papadosio]Brouse discusses the unbelievable fans the group has made over the years, and how special a night like New Year’s Eve is to the band,  “To be able to play our music for our most ardent supporters is always amazing, I can’t tell you how much we appreciate the people who make our dreams a reality. To play for them on NYE is always a treat because I feel like people let it all hang out that night. There’s something in the air and it’s alive all weekend, and I think a lot of it has to do with the fact that a large portion of our fanbase it pretty tight knit. Get all these awesome people in one room together and it becomes really special, and the energy that they give to us and to the rest of the crowd is palpable. Also, playing in Nashville is always a great time, so we’re excited about that.”Rave From The Grave recap:[via Papadosio and Zac Fabien]Tickets for Papadosio’s New Year’s Eve performance with Zoogma and Push/Pull at Marathon Music Works in Nashville, TN are currently on-sale and can be purchased here. Tickets for the 30th at Exit/In are available here. Tickets for Earthcry’s pre-party are first-come, first-serve on the 21st (more info).[cover photo courtesy of Keith Griner – Phierce Photo]last_img read more

March 2, 2021 | |Post a Comment

first_imgThanks to Youtube User Osty Gale, we can now listen to every guest of the Grateful Dead jam in under eight hours. This audio playlist compiles all known tapes of The Grateful Dead performing live with select guest sit-ins, from David Crosby, Duane Allman, Ken Nordine, Ornette Coleman and Spencer Davis, to Branford Marsalis and the Gyoto Monks.In a conversation spurred by “The Crowded Dead Stage 1976-1988” discussion, the cognitive miser went on to collect all documented sit-ins spanning from 1966-1995, ultimately showcasing the evolution of musicianship, the timelessness of their music, and the jamminess of the Grateful Dead novelty.Let this entertain you:last_img read more

March 2, 2021 | |Post a Comment

first_imgOn Saturday night, fans at Lollapalooza Brazil were treated to a memorable headlining set from Pearl Jam. In addition to two-plus hours of the band’s extensive catalog of originals, the band had a couple surprises up their sleeves in the form of two ultra-rare covers.Midway through their set, Eddie Vedder welcomed Lollapalooza founder/former Jane’s Addiction frontman Perry Farrell onstage to have the crowd sing him a happy birthday. Following the sing-along, Farrell remained onstage for a rendition of Jane’s Addiction’s “Mountain Song”, marking just the second time Pearl Jam had played the song live and the first since Austin City Limits 2009, when they were also joined by Farrell. Watch the “Happy Birthday”/”Mountain Song” segment with Perry Farrell below:Pearl Jam – Mountain Song with Perry Farrell (live @ Lollapalooza Brazil 2018)[Video: Vinicius Souza]Two songs later, Vedder took a brief solo interlude, in which he played a wistful re-imagining of the first verse and chorus of Talking Heads‘ “Pulled Up” before sliding into “Unknown Thought”. This marked just the second recorded time the song has appeared at a Pearl Jam show, and the first since their set at Pinkpop Festival in 1992. You can watch Vedder’s “Pulled Up” [at 54:28] in the full-show video below.Pearl Jam – Full Pro-Shot Video – Lollapalooza Brazil – 3/24/18[Video: gotsome2016]Pearl Jam will now take a brief hiatus from the road before heading out to Europe for a run of early-summer dates. See below for a full list of upcoming Pearl Jam tour dates. For more information, head to the band’s website.Setlist: Pearl Jam | Lollapalooza Brazil 2018 | Sao Paulo, Brazil | 3/24/18Set: Wash, Corduroy, Do The Evolution, Why Go, Mind your Manners, Elderly Woman Behind the Counter in a Small Town, Can’t Deny Me, Even Flow, Happy Birthday (sung to Perry Ferrell), Mountain Song*, Breath, Pulled Up^, Unthought Known, Jeremy, Sirens, Down, Better Man, Hold On, Black, Once, Lurkin, PorchNotes: *Jane’s Addiction cover, with Perry Farrell | ^Talking Heads coverPearl Jam 2018 Tour Dates:06/12 – Amsterdam, NL @ Ziggo Dome06/15 – Landgraaf, NL @ Pinkpop Festival06/18 – London, UK @ O2 Arena06/19 – London, UK @ O2 Arena06/22 – Milan, IT @ I-Days Festival at Area Expo06/24 – Padova, IT @ Stadio Euganeo06/26 – Rome, IT @ Stadio Olimpico07/01 – Prague, CZ @ O2 Arena07/03 – Krakow, PL @ Tauron Arena07/05 – Berlin, DE @ Waldbuhne07/07 – Werchter, BE @ Rock Werchter07/10 – Barcelona, ES @ Palau St. Jordi07/12 – Madrid, ES @ Mad Cool Festival07/14 – Lisbon PT @ NOS Alive Festival08/08 – Seattle, WA @ Safeco Field08/10 – Seattle, WA @ Safeco Field08/13 – Missoula, MT @ Washington Grizzly Stadium08/18 – Chicago, IL @ Wrigley Field08/20 – Chicago, IL @ Wrigley Field09/02 – Boston, MA @ Fenway Park09/04 – Boston, MA @ Fenway ParkView Tour Dates…And if you’re still in the mood to rock, you can also watch full pro-shot video from Red Hot Chili Peppers‘ headlining performance at Lollapalooza Brazil from the previous day:Red Hot Chili Peppers – Full Pro-Shot Video – Lollapalooza Brazil – 3/23/18[Video: Ladydarkness]last_img read more

March 2, 2021 | |Post a Comment

first_imgOn May 11th, Round Records will release a brand-new Jerry Garcia box set titled Jerry Garcia Before The Dead. As its name suggests, the new box set compiles rare—including a number of unreleased—recordings of Garcia performing live before the 1965 inception of the Grateful Dead.Earlier this month, we previewed two tracks from the forthcoming sets: a 1963 rendition of “Deep Elem Blues” with Garcia’s first wife Sara Ruppenthal and a 1964 take on Bill Monroe’s “Raw Hide” by the Black Mountain Boys (a group comprised of Garcia, Geoff Levin, Sandy Rothman, and New Riders of the Purple Sage’s David Nelson).Now it looks like Huffington Post has premiered to new additional tracks ahead of the compilation’s official release. Both tracks—a take on the traditional “All My Trials” and a version of Richard M. Jones’ “Trouble In Mind”—find Garcia teaming up with longtime friend and writing partner Robert Hunter at the 16th birthday of their friend Brigid Meier. The performance took place in Menlo Park, CA, where Meier’s father worked at the Stanford Research Institute (which gave him access to the reel-to-reel tape recorder he used to immortalize the show). “The most remarkable thing about this is it’s a very intimate group. There’s probably about 10 or 15 people in the room,” author and former Grateful Dead publicist Dennis McNally told Huffington Post. “You got an 18-year-old kid… He semi-talked his way out of the Army… He had played a little electric guitar at a pickup band in high school, and then had learned fingerpicking from a friend of his while in the Army.”You can give both tunes a listen below, and Jerry Garcia Before The Dead can be preordered here. The compilation will be released as a four-CD set and as a five-LP vinyl set.Bob and Jerry – “All My Trials”Bob and Jerry – “Trouble In Mind”[H/T – JamBase]last_img read more

March 2, 2021 | |Post a Comment

first_imgPhoto: Jake Sudek On Wednesday night, Dead & Company made the penultimate stop on their 2018 summer tour for a performance at Albuquerque, NM’s Isleta Amphitheatre. The band took the stage in a somewhat unusual formation, with Oteil Burbridge occupying the space to Bob Weir‘s left where Jeff Chimenti‘s keys usually sit and Chimenti set up in Oteil’s normal spot to John Mayer‘s right. The reasons as to why the change was made are anyone’s guess. This writer, for one, thinks the thought process may have something to do with the musical sparks that have been flying between Chimenti and Mayer all summer—put them closer together, and maybe those sparks might glow brighter… Or, you know, it could have been for practical reasons with no deeper meaning whatsoever. But whatever the reason for the stage plot switch-up, those moments of magic between John and Jeff continued in kind in New Mexico.The show opened strong with a slow but potent “Mississippi Half-Step Toodeloo”, which swiftly led into “Crazy Fingers”, making just its second appearance of the summer following its tour debut at The Gorge. A short, somewhat-sluggish “Dire Wolf” followed, before the band picked up the pace considerably for a tight rendition of Johnny Cash‘s “Big River”, with Bob Weir leading the way on vocals. The tune gradually built to a musical duel between guitarist John Mayer and keyboardist Jeff Chimenti, the two trading bars over a bouncing beat anchored by bassist Oteil Burbridge and drummers Mickey Hart and Bill Kreutzmann.Dead & Company – “Mississippi Half-Step Uptown Toodeloo” [Pro-Shot][Video: Nugs.tv]“They Love Each Other” followed—Chimenti’s organ and Mayer’s vocals buoying this swaying rendition of the Jerry Garcia/Robert Hunter favorite. A sparse, slow-burning “West L.A. Fadeaway” came next, making its first appearance since Dead & Co’s 100th show at Blossom Music Center. After a minor blues jam, the band diverted into “The Music Never Stopped” at a slower-than-usual tempo. The jam eventually picked up steam as it headed into the song’s ending coda, but rather than letting the train charge off the rails for some improvisation, the band instead shifted into Rob Wasserman‘s “Easy Answers”, as they have now done following each of the four renditions of “The Music Never Stopped” played this tour. Albuquerque’s “The Music Never Stopped” > “Easy Answers” also marked the third time this tour that the pairing closed the first frame—and the third time that it left fans with something to be desired as the show headed into the break.Dead & Company – “West L.A. Fadeaway” [Video: David Seymour]Dead & Company returned for set two with “Here Comes Sunshine”, followed by a breezy stroll through “Uncle John’s Band” featuring some of the evening’s most interesting improv. “Looks Like Rain” got the call next, making just its second appearance of the tour following an outstanding rendition in Hartford. The band made ample use of dynamics on this run through the Weir/John Barlow tune, bringing the audience on a journey as they navigated the song’s emotional peaks and valleys. An always-welcome “Help” > “Slip” > “Franklin’s” followed, with “Slipknot, venturing into “Space”-like dissonance and “Franklin’s Tower” capitalizing on the resulting tension with a cathartic release.Dead & Company – “Here Comes Sunshine” [Pro-Shot][Video: Nugs.tv]Dead & Company – Uncle John’s Band[Video: David Seymour]After an extended “Drums” > “Space” voyage, the band rolled into “The Wheel”. From there, they segued into a cover of Bob Dylan‘s “A Hard Rain’s A-Gonna Fall” for the third time this summer. Finally, a sing-along rendition of “Good Lovin’” brought the set to a close, followed by an energetic reading of Chuck Berry‘s “Johnny B. Goode” in the encore slot.In the end, the show produced a handful of highlights (“Big River” through “West L.A. Fadeaway” was great, as were “Uncle John’s Band”, “Slipknot!”, and a few others), though perhaps not as many as we’ve come to expect from Dead & Co this tour. But that’s okay—their two-night Colorado run that looms this weekend promises to offer a bounty of highlights as the tour comes to a close.Dead & Company will round out their 2018 summer tour with a pair of performances at Boulder, CO’s Folsom Field on Friday and Saturday, July 13th and 14th. Later this summer, the band will make their final appearances of the year at LOCKN’ on with two scheduled sets on Saturday, August 25th, and two on Sunday, August 26th with help from renowned saxophonist Branford Marsalis. For more information, head to Dead & Company’s website.You can see a gallery of photos from the show below via photographer Jake Sudek.Setlist: Dead & Company | Isleta Amphitheatre | Albuquerque, NM | 7/11/18Set One: Mississippi Half-Step Uptown Toodeloo, Crazy Fingers, Dire Wolf, Big River, They Love Each Other, West L.A. Fadeaway, The Music Never Stopped, Easy AnswersSet Two: Here Comes Sunshine > Uncle John’s Band, Looks Like Rain, Help On The Way > Slipknot! > Franklin’s Tower > Drums > Space > The Wheel > A Hard Rain’s A-Gonna Fall, Good Lovin’Encore: Johnny B. GoodeA full soundboard recording of the show is available to stream now via Nugs.net.Dead & Company | Isleta Amphitheatre | Albuquerque, NM | 7/12/18 | Photos: Jake Sudek Load remaining imageslast_img read more

March 2, 2021 | |Post a Comment

first_imgIt’s summer festival season, so it’s time for everyone’s favorite musical jester and acoustic one-man band Keller Williams to hit the road for another fun-filled run around the nation. Besides his regular one-man assault shows, he is working with The Hillbenders for a series of shows featuring acoustic reworkings of Tom Petty songs they’ve dubbed “Pettygrass.” Never one to slow down, Keller also has a new record he is polishing up that should be released in mid-October and dates in all four corners of the country and points between—including a highly anticipated performance at LOCKN’ this August with both Keller & The Keels and Keller Williams’ Grateful Gospel.With all this fun about to kick off, we thought we would chat with Keller Williams once again to hear his thoughts on working with the Hillbenders and honoring the late Petty, his newest addition to his incredible catalog, and how he deals with talkers at his shows. Enjoy!L4LM: We like to check in with you whenever we hear you have a new album in the works. I guess we will be in business forever because you just never stop making new music.Keller Williams: Well, there’s no backup plan. I’ve gotta keep making them, so there will always be something to document.L4LM: I believe this is your 189th album, correct?KW: Negative. [laughs] No, maybe my 189th song… Actually, I think we’re in the mid-twenties now.L4LM: You usually have a core concept for your work. What is it for this new record?KW: This is the first attempt at creating an instrumental record, and a lot of these songs are ones I have been playing for twenty years but have never seen a bass line or a drum part. It’s really fun to revisit these songs and make them new again by adding different parts while staying true to the arrangement.L4LM: Good idea. The fans get studio versions of songs they have been hearing for years, and you get basically a freebie album.KW: It’s more like an attempt to release an album of music like the stuff I usually listen to. The music that I play and release is often different than the music I listen to, strangely enough. I’ve been listening to electronic music for the past fifteen years or so. This is moving forward in my tongue-in-cheek idea of making acoustic dance music. This is acoustic guitar, acoustic bass, and lots of groovy loops, samples, and live percussion. Basically, I’m trying to create a mixture of acoustic music and dance music, but using the acoustic guitar as the meat—the main ingredient.L4LM: Have you got one of your patented one-word names for this new disc figured out yet?KW: Record To Dance To As Well As Talk Over, maybe? There’s some music you really need to listen to and be able to get it, you know? This one you can actually talk over and understand it. It should be out in mid-October, and it would be perfect for a groovy barbeque.L4LM: Speaking of talking over, as a primarily acoustic playing artist, how do you deal with how chatty folks can be at shows, particularly upfront?KW: One thing that works for me is to take the dynamics of a song down. A lot of time people are trying to talk over the music, so if you take the dynamics of the music itself down, I think the talkers will, generally, talk more quietly. Hopefully, they realize that the music is quieter, and hopefully, they will get quieter as well. I find that telling people to be quiet only pisses people off and makes the drunks talk louder.I came to grips with this about ten years ago. I would go to these listening rooms, and I would see people play and it would be pin-drop silent. Then, when I would go to play these same spots, it was just like one of my normal gigs, and people would feel as comfortable to chat as any of my shows. This, again, is in a venue where I had just seen the place be pin-drop silent, and that would kinda upset me.But then, I came to the point where I made peace with the fact that they had bought their tickets. I use in-ear monitors, and I can just turn them up and ignore them like they are ignoring me. At the end of the day, I did my thing and hopefully, my kids can go to college one day. For fans trying to hear, the closer speakers always help. Oh, and cupping your hands by your ears so you can hear better and sometimes gets your message across in a gentle way.L4LM: You have another upcoming project that features some newish material out there on the road right now: your tribute to Tom Petty with The Hillbenders. What was the genesis of this collaboration?KW: It was about 2015. Every year I do a benefit for my hometown ASPCA the day after Christmas. I try and change it up and bring a different project for that show, so that year I did “Pettygrass” with my studio engineer and the amazing dobro player Jay Starling. I played bass, and it was fifteen Tom Petty hits with harmonies as a set for the benefit.Skip ahead to when Tom Petty died, and I was in the studio working on this upcoming instrumental project and we couldn’t concentrate. So we brought up the voice memos from the project, and we just sat and listened to those and ran them through computer models, mastered them, and ended up releasing them on my Soundcloud or something like that. It was just because we both loved Petty and had loved that time when we were working on these songs.Often, I would go back and listen to these voice memos just to listen and remember how happy we were when we were doing these songs. The Hillbenders picked up on these tracks and contacted me and suggested continuing this project. The Hillbenders are just so amazing in their sense of attention to detail. You can see it in their version of The Who‘s rock opera, Tommy, which was really fun.It took me a minute to come around to the idea of continuing this project, but I’m glad I did. We’ve done our first gig, and it was just really special—there were so many people singing along. There is something really special about playing songs with so many people singing along at the same time. Live For Live Music: In the jam scene, there can be a little dichotomy between the folks who are there for a twenty-minute jam and the folks who like to sing-a-long. Which side of that would you say you fall more on?Keller Williams: Hm. As far as the Petty project, I like the singing. The same with the Grateful Grass stuff I do. Sure, there’ll be some solos, but nothing like the Steve Kimock stuff. Time and place, I guess.L4LM: You said a moment ago that you had slight trepidation about continuing the Pettygrass project. Was that a “respect for the fallen” line of reasoning or something else?KW: It was more of my issue with making money with other people’s music. That’s something I have always had an issue with. But, at the end of the day—as far as, say, the Gratefulgrass stuff I do—people liked it and they were always asking for it. If you put the artistic bitching aside, both the Gratefulgrass and this Pettygrass project come down to a beautiful celebration of songs and sing-a-longs. I wrestled with it at first, but now I am okay with it.Keller Williams’ Grateful Gospel – “Who Was John” – LOCKN’ 2016 [Video: LOCKN’ Music Festival]Live For Live Music: It’s summertime, and, as always, you are gonna be out there hopping around the country with Pettygrass and your various other projects this year. Your touring schedule seems especially weird this year, with some serious distances between shows back to back. Any idea how many miles you will cover just this summer alone?Keller Williams: Not really. It’s a lot of sitting on airplanes and napping, watching movies and reading. It’s not as bad as it looks. It’s all about relying on the airline industry. You have to approach it with the mentality that every flight will end up delayed or canceled, and that your gear is never going to arrive and if it does it will be broken. That way, if you do make it and the gear does arrive unbroken, you have a reason to celebrate. Needless to say, I celebrate all the time, but if I do end up missing a show or my gear doesn’t come, then I accept it. That is the mentality you have to take to be successful.L4LM: Heck, you turned your travel stress into a song with “Doobie In My Pocket”. That was a wonderful job of embracing the Native American philosophy of using every part of the buffalo.KW: That’s right. Bones for the tools and fodder for the song.“Doobie In My Pocket”[Video: Live For Live Music]Live For Live Music: Is there any band or artist whose material wouldn’t sound awesome translated into bluegrass? Could we see a “Slayergrass” set from you someday?Keller Williams: I would go ahead and say Bach. I would not do a bluegrass thing with Bach.L4LM: One of the standout dates for the Pettygrass shows this year is your return to the Spirit Of The Suwannee Music Park for the Roots Revival. Are you thinking of coming early or staying late and maybe taking a float on the river? KW: You know, I never made it down to the river before. I always hang out up by the stages or campfires. I won’t make any promises about the water, but I will take some golf cart rides to some cabins and campsites.L4LM: Thanks, as always, for taking time to share your future plans in the middle of your endless cycle of shows and new projects. We can’t wait to see these new versions of your music and whatever else you come up with down the road!Keller Williams will be headed to LOCKN’ this summer. On the final two days of the festival—on Saturday, August 25th, and Sunday, August 26th—the virtuosic musician will present two projects. On Saturday, Keller will join forces with the husband-and-wife duo of Larry and Jenny Keel for a daytime Keller & The Keels set. The following day, Williams will kick off the final day’s festivities, performing with his joyous tribute to the Grateful Dead, Keller Williams’ Grateful Gospel. For more information on LOCKN’, head to the festival’s website here.last_img read more

March 2, 2021 | |Post a Comment

first_imgToday, Grateful Dead guitarist Jerry Garcia would have turned 76 years old. A hero and icon in the San Francisco psychedelic-rock scene and beyond, he sadly did not get to experience much of his 54th circle around the sun. Jerry passed away eight days after his 53rd birthday, on August, 9th, 1995.To celebrate Captain Trips birthday this year, his daughter, Trixie Garcia, has shared a short message and big surprise for fans. Read Trixie Garcia’s statement below:Dear Fans and Friends!It’s that time of year again when we celebrate the legacy of our dad, Jerry Garcia! To honor Jerry’s birthday this year we are giving away 90-day Nugs.net memberships so that you can listen to Jerry’s catalogue and explore all the other great artists that our friends at Nugs.net stream! To unlock your membership, join the email list at Jerrygarcia.com and you’ll receive a unique code via email within 24 hours of signing up. Let’s remember the good times and keep the love alive!Peace and Love,Trixie GarciaThat’s right! Free 90-day Nugs.net memberships for all! Just join the email list on Jerry’s website and you will receive a unique membership code within 24 hours of signing up! Happy birthday, Jerry! You know our love will not fade away…last_img read more

March 2, 2021 | |Post a Comment

first_imgPhoto: Andrew Blackstein On Friday night, Phish made their triumphant return to New York City’s Madison Square Garden, opening up their sold-out four-night run of New Year’s shows at The World’s Most Famous Arena. Flying high off of an incredibly creative and well-received Las Vegas Halloween run, the seasoned four-piece picked right up from where they left off in early November, delivering a high-octane two-set performance. Everyone in the Manhattan arena felt the feelings they’d forgotten, as Phish worked through some impressive second-takes on Kasvot Växt material, and also brought back memories of 2017’s untouchable 13-night Baker’s Dozen run.Phish got the show on the road with “We Are Come To Outlive Our Brains”, or as some have already started to refer to as “WACTOOB”, immediately bringing the sold-out crowd back to the brilliance the band first unveiled at Las Vegas’ MGM Grand Garden Arena, and also counted as a first for many in attendance. The second delivery ever of “We Are Outcome To Live Our Brains” had some serious girth to it, as Trey Anastasio got his chance to take the jam out twice as far, clearly indicating his intents for another rowdy night in arguably Phish’s favorite venue.Following a brief pause, “Martian Monster” came next, as Vermont’s finest quartet locked into the tune’s signature infectious groove. Anastasio once again took things into his own hands, spitting out some firey hot guitar licks, with Page McConnell following closely behind. It was evident Jon Fishman and Mike Gordon were loose and ready to attack, as the rhythm section anchored the band’s uncontainable energy moving forward with “Axilla”. The standard “Axilla” led way to “Free”, as the Madison Square Garden crowd immediately silenced themselves and locked in with the four masterminds on stage.Gordon laid down his first bass-bombs of the night leading into “Free”, as a breezy sensation drifted across the room, accompanied by Anastasio’s opening lyrics. With Fishman strutting his stuff into a contagious hi-hat centered rhythm, Anastasio quickly looked to his pedalboard, charging into a roaring guitar solo.  A solid take on “The Wedge” was next, before Gordon led his bandmates into “Meat”. Friday night’s rendition of “Meat” was particularly slowed down and funky, with the band utilizing their rhythmic breakdowns as a creative outlet for Anastasio and McConnell to bounce off of.Following a final segment of Page hammering away on his grand piano, the jam smoothly segued into “Ghost”, as Trey stared directly into the center of the venue’s ceiling with a deadly glare in his eyes. Trey and Page took no time to move away from the compositional structure of “Ghost”, quickly finding themselves in some delicate interplay, as all four members eventually locked in and slowed down the groove. Longtime lighting designer Chris Kuroda left the latch unhooked throughout the night, rocking his ever-evolving monstrosity of a light rig in all dimensions, as rainbow beams blasted the enthusiastic crowd.As “Ghost” fizzled out, the band quickly hopped into “Sparkle”, which led way to the somewhat rarity “If I Could, despite being played 2 shows prior in Las Vegas. Anastasio, Gordon, and McConnell shined as a vocal unit, belting out, “flipping backwards through the doors and through the windows”, before moving forward with “Maze”. Following Anastasio’s opening lyrics, Fishman and Gordon paved the way for McConnell to blaze into his solo on the clav, before quickly hopping in between his grand piano, dazzling the crowd with an electric whirlwind of a solo. Fishman continued to hold down the pocket, as Anastasio let it all hang out with a tenacious, ever-evolving solo. A rocking take on “Walls Of The Cave” brought Phish’s ambitious first set to a close.Following a brief set break, Trey let out the opening riff for “Set Your Soul Free”, immediately setting a launchpad for his bandmates to dive head-first into Type II territory. “Set Your Soul Free”, which was debuted earlier this summer at the Gorge, allowed McConnell to flex his chops on the keys, as the band soared into a blissful, free-flowing segment. Fishman continued pushing forward, with Anastasio jumping around between his complex assortment of effects. Up next was the glorious return of “Swept Away” into “Steep”, played for the first time this year, and last played at Phish’s  “maple” themed night during their now iconic Baker’s Dozen run.Although the segue didn’t contain an extended jam à la Baker’s Dozen, the Madison Square Garden crowd was bouncing around the room, as Phish stealthily whipped out their second 2018 Halloween song back into the mix with “The Final Hurrah”. In similar suit as the show opening “We Are Come To Outlive Our Brains”, Phish took “The Final Hurrah” out for a silky-smooth ride, ambitiously pushing deep into improvisational territory. The band was beaming with shit-eating grins from ear-to-ear, as they showered the crowd with the beloved recent debut, adding an extra element of funk-fueled treatment.Following a quick chance to catch their breaths, the band moved into “Fuego”, setting the mood for the remainder of the evening  which was chock-full of free-flowing psychedelic Phish. Trey and Page made sure to keep things rolling, as Page powered through a continuous path of explosive work on his grand piano. The band continued down their heavily-focused exploratory path with “Shade”, before moving into a noteworthy take on “Bathtub Gin”. Friday night’s “Gin” encompassed the band’s deepest desires to continue pushing their creative bar with scents and subtle sounds of their Halloween show, before bringing the second set to a close with “Possum”. The soul-drenched one-two punch of “Bouncing Around The Room” and “Slave to the Traffic Light” in the encore slot suggests that Phish is ready to continue their quest of burning Madison Square Garden down.Setlist: Phish | Madison Square Garden | New York, NY | 12/28/2018Set One : We Are Come To Outlive Our Brains, Martian Monster, Axilla > Free, The Wedge, Meat > Ghost > Sparkle, If I Could, Maze, Walls Of The CaveSet Two: Set Your Soul Free > Swept Away > Steep, The Final Hurrah, Fuego > Shade > Bathtub Gin > PossumEncore: Bouncing Around The Room, Slave To The Traffic Light Load remaining imageslast_img read more

March 2, 2021 | |Post a Comment

first_imgCaptain Marvel actors Brie Larson and Samuel L. Jackson are the latest entertainers to try their hand at performing music from the hit 2018 film, A Star Is Born. Music and film fans are still swooning over Lady Gaga and Bradley Cooper‘s duet performance of “Shallow” during the Academy Awards last weekend. Those two have nothing on Larson and Jackson, who took the song to new heights during their recent appearance on Jonathan Ross Show over the weekend.The unplanned performance took place when Ross, host of the British talk show, put Larson on the spot in reminding viewers that she actually released a music album back in 2005 titled, Finally Out of P.E. The career flashback prompted Larson to ask if she should audition for The Voice before bursting into song while singing a tune from the Broadway musical Cats.Related: Lady Gaga And Bradley Cooper Perform “Shallow” During Surprise Live Debut In Las VegasApparently, Larson’s impressive theatrical display wasn’t convincing enough for the show’s host and the audience. That prompted Larson, along with her Captain Marvel castmate, to put together a spur-of-the-moment performance of “Shallow” from the Oscar-nominated film. Just like the performance between Gaga and Cooper, Larson and Jackson kept each other close as they delivered a duet of the popular movie song worthy of any karaoke bar highlight reel. Fans can watch the video below to see the two actors attempt to lay down a serious performance of “Shallow”.Brie Larson and Samuel L. Jackson – “Shallow” [Video: The Jonathan Ross Show]A Star Is Born may not have won the Oscar in the highly-coveted “Best Picture” category, but “Shallow” did win the award for “Best Original Song”. The popularity of the song also prompted Korn singer Jonathan Davis to take part in a pretty awesome parody trailer for the film.[H/T Billboard]last_img read more