Rockin’ singer/songwriter Jason Isbell made his debut on Stephen Colbert’s The Late Show last night, pouring his heart out into a performance of new song “If It Takes A Lifetime.” Isbell taped the song just hours before appearing at The Beacon Theatre in NYC for the first of a two night run.“Lifetime” comes from Isbell’s newest album, Something More Than Free, which earned the guitarist a Grammy Award for Best Americana Album this year. Watch the exciting performance below:
On the first night of Mountain Jam, pianist Marco Benevento and the band Superhuman Happiness teamed up for an enormous tribute performance to the late great David Bowie. Bowie’s passing earlier this year affected the music community deeply, so much so that dozens of artists packed on the stage in celebration of the Thin White Duke.Among the many powerful moments of the performance were two songs featuring the guitar stylings of Warren Haynes. Haynes has been involved with Mountain Jam since its earliest days, and his guitar prowess can be found all across the festival at any given moment. For this particular set, Haynes got to work with the band on two of Bowie’s most classic tunes, “Let’s Dance” and “Rebel Rebel.”Thanks to Mountain Jam, we have pro-shot footage that we can share of the event.Rebel RebelLet’s DanceCheck out the full setlist below.Setlist: Marco Benevento + Superhuman Happiness Tribute To David Bowie at Mountain Jam, Hunter Mountain, NY – 6/2/16Set 1: Andy Warhol, Soul Love, Jean Genie (w/ Aaron Lieberman), Oh You Pretty Things (w/ Aaron Lieberman), The Story Of Fred Short (parts 1-3), Kooks, Life on Mars?, Limbs Of A Pine, Young Americans (w/ Woodstock Day School Choir)Set 2: Rebel Rebel (w Warren Haynes + Aaron Lieberman), Let’s Dance (w Warren Haynes + Aaron Lieberman, vocals by Andrea Diaz), Queen Bitch (w/ Karina Rykman, vocals by Dave Dreiwitz), Dropkick At The Show (w/ Aaron Lieberman), Heroes (w/ Mikaela Davis), Let’s Spend The Night Together (w/ Mikaela Davis), Changes
Roadies, a new Showtime comedy following the road crew of a fictional major touring band, is set to officially premiere on Showtime on Sunday, June 26th. The series, created by music industry veteran Cameron Crowe (Almost Famous), puts the hard-working individual members of the often-overlooked crew in the spotlight by providing an insider’s look at the lives of some roadies for the Staton-House Band. Although they don’t have the prolific lives and public scandals of the rockers who take the stage each night, there is still enough recklessness and romance to go around with the road crew. The roadies persevere through the issues they face in their personal lives to make sure the show goes on as planned every night.Ahead of the official Showtime release on Sunday, the network has allowed fans on YouTube and the Showtime app to watch the series premiere early. Check out the full episode below:The show’s premiere episode is sure to pique the interest of any music fan. The dialogue is well-written and clever, and the characters are strange and lovable–like the conspiracy-nut bass tech from New Jersey who speaks in a fake British accent, the wise, road-worn tour bus driver who spouts advice like “It’s my opinion that in like you need two things to survive: oxygen and family. Everything else is dessert” (played with emotion by Luis Guzman), the grizzled felon head roadie (the hilarious Ron White) who shouts things like “when you look at me, you’re lookin’ at Rock n’ Roll in America!”, the spike-clad rocker kid who just got fired from Pearl Jam‘s crew but still would “take a bullet for McCready, ‘cus those are my guys!”, the crazy stalker groupie (“You live for what you live for. I live for this band.”), and many more. It’s a show about quite literally living for live music, and the ways people devote themselves to the music in order to feel close to it.Needless to say, we’ll be setting our DVRs for this one. Check out new episodes every Sunday night on Showtime.
Fire On The Mountain Load remaining images Boulder, CO was certainly the place to be this past weekend, as Dead & Company played two massive shows at Folsom Field on both Saturday and Sunday night. With the Deadheads in town, both The Fox Theatre and Boulder Theater played host to some incredible after-shows to keep the party going. On Saturday night, Washington D.C.’s own Thievery Corporation took to the stage for a sold-out show that brought the dub and bossa nova-inspired creations of Rob Garza and Eric Hilton to the Colorado faithful.Oteil Burbridge & Marco Benevento Cover Grateful Dead, Allman Bros With Tom Hamilton [Watch]The world beats of Thievery Corporation is something that is akin to straight intoxication. Once Garza and crew step up on stage and get the music going, it is hard to not find yourself entranced in all the happenings that occur with this full ensemble and its ever-rotating cast of musicians and singers and gets into their groove. As the group made its way through a set that was chock full of hits, from the opener “Facing East” from 2002’s Richest Man in Babylon, to “Culture of Fear” ft. Mr. Lif, or “La Femme Parallel” with the sexy vocals of LouLou Ghelichkhani, from front to back there isn’t any let down with the Corporation.“Heart is the Lonely Hunter”, of which the studio version features Talking Heads great David Byrne, is always a welcome addition to the setlist, while “Warning Shots” gets the crowd into an absolute frenzy, jumping up and down and making the room shake. Being that this was a Dead & Company after-party it would only seem fitting that Thievery would pay some tribute to the band. They certainly aren’t any strangers to the material, as the group played a set of Dead songs during last year’s 50th anniversary Fare Thee Well shows in Chicago.After a great “Drum Solo”, the group went into their super mellow version of “Darkstar > Heaven’s Gonna Burn Your Eyes” with Natalia Clavier on vocals , and then brought out surprise guest bassist Oteil Burbridge of Dead & Company for an epic “Fire On The Mountain”, as TC bassist Ashish Vyas (a self-proclaimed Deadhead himself) bowed down to the former Allman Brothers Band member. Needless to say, there was quite a bit of that “Did that actually just happen?” going on inside the venue. But, to answer the question….Yes, it most certainly did happen.Ending the set with arguably their two biggest hits, “Lebanese Blonde” and “Richest Man in Babylon”, Thievery Corporation sent the crowd floating out onto 14th Street, full satiated for this evening but ready for the Sunday portion of the weekend to commence.Watch some video highlights from the night.[Photos and “Depth of My Soul”, “Holographic Universe”, “Lebanese Blonde” videos courtesy of Lacey Terrell – LTstillpix.com – “Fire On The Mountain video courtesy of Sophia Farina]Fire On The Mountain ft. Oteil BurbridgeDepth Of My SoulHolographic UniverseDark Star Lebanese BlondeThievery Corporation Setlist – Boulder Theater 7/2/16Facing EastTake My SoulRadio RetaliationHari KrishnaCulture Of FearLiberation FrontIlluminationDepth of My Soul33DLa Femme ParallelAmerimackaHolographic UniverseVampiresHeart is the Lonely HunterUnified TribeWarning ShotsDrum SoloDarkstar > Heaven’s Gonna Burn Your EyesFire On The Mountain*Sweet TidesLebanese Blonde Richest Man in Babylon* w/ Oteil Burbridge (Dead & Company)[All photos by Lacey Terrell, full gallery below]
Lettuce played a sold out Lollapalooza late night at the intimate Bottom Lounge in Chicago, IL last Saturday, July 31st. The crowd was fired up from the start, as the band truly performed late night starting a bit after 12:30 AM. Much of the audience had spent the day getting down at Lolla and the warmed up energy was palatable. As Lettuce took the stage, bassist Jesus Coomes took the mic and hyped the crowd up! Before long, the funk was rolling and the funk was deep.As has been the trend in 2016, the show took on a very loose vibe with all sort of improvisational highlights. Ryan Zoidis particularly shined with his saxophone and pedals, creating all sorts of sexy grooves that had the room moving. The Shady Horns were anything but shady on this night as the spotlight clearly shined on them.The continued path towards improvisation has lead the band into some far out spaces that had the sold out crowd worked into a frenzy. The type of energy that only seems to appear from improvisation. This show seemed to have more of a collective vibe then virtuosic soloing, and these adventures into the unknown lead to a legendary performance and continues to show that the sky is the limit for Lettuce Funk.Photos by Skol Shotz Photography, full gallery below. Load remaining images
The CAN’d Aid Foundation, Oskar Blues Brewery’s do-goodery arm, has announce the launch of a new initiative called Send Me a Friend, a one-of-a-kind support system developed in partnership with New Orleans musician Anders Osborne. Send Me a Friend’s mission is simple – support musicians on the road to recovery from addiction by helping them get back to work sober. Conceived by Anders in response to his own experiences with early sobriety, Send Me A Friend provides musicians (and those who work in the music industry) with the resources they need to make life on the road–in clubs, music halls, and festivals—less daunting.“When I first got clean, it was suggested that I should take time off from playing music and do something else while I focused on my recovery,” says Anders, who now has eight years of sobriety and a revitalized career. “But playing music was what I knew how to do…and it’s how I support my family—so I made the decision to get back on the road and start performing again.”Send Me a Friend is named after Anders’ more powerful and hard-hitting song of the same name, where he sings, “You know I’m lost out here. Yeah I’m lost out here. Please won’t you send me a friend?” The creation of this nation-wide network will do just that: send friends with long-term sobriety that have volunteered to be “on call” to support newly-sober musicians and music people—who are trying to get back to work—at their gigs. “It was really hard for me in the beginning, and something like this would have been awesome,” says Anders.All of the program’s Friends will have at least one year of continuous sobriety and will be called on, as needed, to meet with a struggling musician while they are “on the gig.” Friends will provide one-on-one support, a buffer, and a safe harbor from the temptations that can loom in music venue environments. Additionally, Anders will help curate the program’s website to provide helpful information on coping with early sobriety in the music industry. “Getting through early sobriety is all about connecting to other sober people, and to be accountable. That can be tricky on the road,” he says. “We hope this will make it a little easier.”Anders and CAN’d Aid will officially launch “Send Me A Friend” on Thursday, December 15th on the eve of his annual New Orleans Holiday Spectacular with a solo acoustic performance taking place at John Bukaty’s Studio and Gallery at 841 Carondelet Street. During this special evening, Anders will perform, talk about the program, and take questions from audience members. All proceeds will directly support the program, including a silent auction featuring a signed guitar and artwork. Oskar Blues will provide the beverages and long-time Anders friend Shaggy, the “Crawfish King,” will serve food.More information is available here.
Umphrey’s McGee took over Milwaukee this weekend, setting up a three-night residence at the Riverside Theater. Umphrey’s treated fans to a number of rare covers during this final show of the run, which went down on Saturday night. The Police’s “Voices Inside My Head” lodged itself squarely in the middle of the close-to-nonstop second set, marking the first time the cover has been played in seven years after a gap of 684 shows. A few songs later, Bob Marley’s “Burnin’ and Lootin’” made a comeback after a three-year absence of over 325 shows, which was played incompletely during a “Mulche’s Odyssey” sandwich. To close out the night, The Verve’s “Bittersweet Symphony” ended the second set. Though “Bittersweet Symphony” sometimes makes its way into Umphrey’s setlists paired with “Hajimemashite,” Saturday night’s performance marked the second time the song has been played in its entirety by the band, with the first time the full song was played occurring back in 2014 during Summer Camp Music Festival.You can check out photos below, courtesy of photographer Daniel Ojeda. You can also check out his recaps and photos for Thursday night of the run here and Friday night of the run here.Setlist: Umphrey’s McGee | Riverside Theater | Milwaukee, WI |4/1/2017Set 1: Depth Charge > Wappy Sprayberry > Higgins, 2nd Self, #5, Syncopated Strangers, Crucial Taunt, Weird Fishes/Arpeggi, The FloorSet 2: 1348, Speak Up, Plunger > Kula > Plunger -> Voices Inside My Head > Conduit, Mulche’s Odyssey > Burnin’ and Lootin’ > Mulche’s Odyssey, Bittersweet SymphonyEncore: The Triple Wide with Stranglehold (Ted Nugent) jam incomplete Load remaining images
Theo Katzman (w/ Joe Dart, Jacob Jefferies, Julian Allen) | Brooklyn, NY | 4/16/17 | Photos by Andrew O’Brien Load remaining images On Easter Sunday, Theo Katzman took to Brooklyn for some extra helpings of New York City love after selling out the Mercury Lounge the previous Friday night. Baby’s All Right provided the ultimate setting for an intimate show, bringing Katzman back to his Brooklyn roots with new Heartbreak Hits material. Jacob Jeffries opened the night, then served double duty as the keyboardist for Theo’s headlining slot. Drummer Julian Allen has become an excitingly familiar face on the stage, alongside the one and only Joe Dart of Vulfpeck on the Fender bass.It’s quite refreshing to see Katzman and Dart reunite under circumstances beyond Vulfpeck. Taking his natural singer/songwriter abilities, Katzman confidently displays a persona that might not be what newer Vulf fans are used to. While equally musical and silly at times, Theo Katzman’s solo work balances a living dichotomy of tragic/comedic, serious/satirical, over-the-top/subtle, and healing/hurting. While the room swayed to the sing-along song marathon, Katzmen held his fans in the palm of his hand as he rocked an all original setlist. Running through his entire 2017 Heartbreak Hits record, he even debuted a new song and threw in the 2011 hit “Brooklyn” for good measure.Watch Theo Katzman, Joe Dart, Julian Allen, and Jacob Jeffries perform “Plain Jane Heroin” below, courtesy of Jason Pinsky:Check out Theo Katzman’s full tour schedule and follow him on Facebook here.You can view a gallery of photos from the performance below, courtesy of photographer Andrew O’Brien.
Only a few shows into their Come What May Tour, Gov’t Mule performed the Tower Theatre in Upper Darby, Pennsylvania on Friday night. While most rock bands rely heavily on their new material, Mule takes a confident approach toward mood with each and every show that they play. Friday night, as an example, featured three tunes from the upcoming Revolution Come … Revolution Go album, amongst an otherwise emotional setlist.The tone was set when Warren Haynes (former Allman Brothers guitarist) opened the show with “Dreams.” The Allman Brothers song has only been played by Mule 35 times, so the song choice was certainly methodical. The “Dreams” groove led into Mule’s original “Thorazine Shuffle” from their 1998 Dose, then “Whisper In Your Soul.” Just a few days after the unexpected death of Chris Cornell, the band played tribute with a cover of “Fell on Black Days” by Soundgarden, a fitting choice to follow up Haynes’ reflection earlier in the week. The song hadn’t been played by Mule since 2008 at The Hammerstein.From there, the tone was set. The reality sunk in, and it was time for Gov’t Mule’s reflections on the current political climate with a pair of new tunes, “Stone Cold Rage” and “Sarah, Surrender,” from Revolution Come … Revolution Go. From hard rock to soft funk, the band moved on to their often-visited cover of “Kind of Bird,” the second Allman Brothers cover of the evening. Chris Robinson and Neal Casal were on set, opening as the Chris Robinson Brotherhood, and eventually joined in for a cover of the Black Crowes‘ “Sometimes Salvation” to close out the first set.The second set opened with an emotional cover of “Effigy” that featured a “Folsom Prison Blues” jam, leading into “Painted Silver Light” and “Temporary Saint” from the band’s 1995 debut, self-titled Gov’t Mule album. Onwards, an instrumental version of Bob Marley & The Wailers‘ “Lively Up Yourself” lifted spirits before a moving version of “Captured” took over, then “Lay Your Burden Down.” With the music as the medium, it seems as though Gov’t Mule chooses to spend their time on the road with purpose: to send a message.With music as the ultimate medicine, a cover of Howlin’ Wolf‘s “Smokestack Lightning” presented itself into a “Lay Your Burden Down” reprise. Life Before Insanity‘s “Bad Little Doggie” came next, into another cover of Howlin’ Wolf’s “How Many More Years” to close the show.Haynes and Danny Louis returned to the stage to encore with a touching version of Leonard Cohen‘s “Hallelujah.” The rest of the band joined the two on stage for a show-closing live debut of “Dark Was the Night, Cold Was the Ground” from their forthcoming album — due out June 9.Thanks to Sean Roche, you can watch video highlights from the show below:Dreams (Allman Brothers Band)Fell on Black Days (Soundgarden)Kind of a Bird (Allman Brothers Band)Sometimes Salvation (The Black Crowes) with Chris Robinson and Neal CasalEffigy (Creedence Clearwater Revival)CapturedHow Many More Years (Howlin’ Wolf)Hallelujah (Leonard Cohen) part IHallelujah (Leonard Cohen) part IIDark Was The Night, Cold Was The Ground (live debut)Setlist: Gov’t Mule | Tower Theatre | Upper Darby, PA | 5/19/17Dreams (Allman Brothers Band cover) > Thorazine Shuffle, Whisper In Your Soul, Fell on Black Days (Soundgarden cover), Stone Cold Rage, Sarah, Surrender, Kind of Bird (Allman Brothers Band), Sometimes Salvation (Black Crowes cover, with Chris Robinson and Neal Casal)II: Effigy (Creedence Clearwater Revival cover, with “Folsom Prison Blues” jam) > Painted Silver Light > Temporary Saint, Lively Up Yourself (Bob Marley & The Wailers cover, instrumental), Captured, Lay Your Burden Down, Smokestack Lightning (Howlin’ Wolf cover) > Lay Your Burden Down Reprise, Bad Little Doggie, How Many More Years (Howlin’ Wolf cover)E: Hallelujah (Leonard Cohen cover, Warren & Danny only), Dark Was the Night, Cold Was the Ground
Pop starlet Taylor Swift dropped her new single, “Look What You Made Me Do,” this week, proudly declaring in her new single that the old T. Swift was dead. Unfortunately, at the time, we didn’t know that she might take ticket sales as we know it down with her. While much of the mainstream culture has been fired up over her new song, its subsequent music video, and all the drama that came along with it, Taylor Swift’s announcement of her new ticketing system dubbed “Taylor Swift Tix powered by Ticketmaster Verified Fan” flew more or less under the radar. However, regardless of your thoughts on Swift, this new system could create a reverberating effect across the music industry and affect pretty much all lovers of live music.While Swift and Ticketmaster claim that the system is designed to stop scalping and ensure bots don’t get their hands on tickets to her highly in-demand show, whether this plays out, in reality, is still up for debate. Ticketmaster’s Verified Fan program was launched earlier in the year to more-or-less positive reviews—the Verified Fans program uses an algorithm to differentiate humans from bots, while also giving fans the ability to register before hand, become verified, and unlock a code that allows them to purchase tickets. However, Swift’s take on the Ticketmaster Verified Fan program with “Taylor Swift Tix” eschews this original model, instead asking fans to partake in “boosts,” such as buying merch or engaging with the singer on social media, to ensure their place in the virtual ticket line for a show and to increase their chances of getting tickets during a competitive on-sale.As the ticketing site notes, “Watch the latest music video, purchase the album (for the greatest boost), post photos and engage on social media. Check the Taylor Swift Tix portal for the newest boosts and activities you can do everyday.” Each action identified as a boost holds different weight. If you pre-order her CD for the largest boost, Consequence Of Sound points out that you must buy the CD from a big-box nationwide chain like Target or Wal-Mart instead of a local record store, and if you do pre-order, it comes to a grand total of $63.03 if you’d like to receive the album with “timely shipping” on the day it comes out. If you happen to not be willing to drop that absurd amount of money on a CD, generously, Taylor Swift offers her fans the opportunity to pull themselves up by the bootstraps and engage in lower-level boosts, such as watching her new music video or tagging the singer in social media posts (we are unsure at this time if the algorithm for Taylor Swift Tix will check to make sure the posts are positive, but, if not, I’m sure they’re working on that next).While this program notes that fans don’t *have* to buy anything or flood Taylor Swift’s Twitter with adoring 140-character love notes, they are open about the fact that engaging in those actions increasing fans’ chances of getting tickets. While this new system is supposed to prevent scalping, the reason fans hate scalping is because fans get boxed out of shows and the remaining tickets get sold at such a mark-up. While we’re clearly all about getting merch from the artists you love and supporting them as artists, suggesting that fans buy merch—with absurd shipping costs—as a means to increase the odds of getting tickets clearly stacks the system toward richer fans with immediate expendable income and defeats the purpose of trying to get tickets immediately into fans hands for face value. Hopefully, bands in our scene that sell out shows quickly, don’t pick up on this new system. To close this out, we’ll leave you with the first two lines of Taylor Swift’s new single: “I don’t like your little games / Don’t like your tilted stage.” Indeed, Taylor, indeed.