Held on June 11th, the annual LOHI Music Festival is returning to Denver, CO for their sixth straight year. Today, the festival announced its lineup, with Karl Denson’s Tiny Universe, Kyle Hollingsworth Band and ALO all topping the bill.The first wave announcement also includes Poor Man’s Whiskey performing Graceland, as well as Greener Grounds and Whip Snap. Furthermore, Trey Anastasio Band horn players Jennifer Hartswick and Natalie Cressman were announced as artists-at-large, only adding to the fun of the festival.There’s also a late night party planned that will see Everyone Orchestra perform, as well as Poor Man’s Whiskey.Tickets and more information can be found on the LOHI website, and the full first wave lineup announcement poster can be seen below:
Phish has brought their best to San Francisco’s Bill Graham Civic Auditorium for the last two nights, treating fans to a tease-filled opener and a classic second night with some great song selections. Leave it to Phish to continue accelerating for night three, giving Bay Area fans one of the best shows that 2016 has seen. Whether it was the 11 consecutive tour debuts to open the show or highlights sprinkled through the second half, this was a finale none will soon forget.Right off the bat, Phish hit fans with a bust-out opener, playing Hoist tune “Demand” for the first time since 12/31/09 (258 shows). The tour debuts kept coming as the band nailed a great version of “The Curtain With,” before bringing out yet another bust out, “Alumni Blues.” Not seen since 8/3/13 (114 shows), the rocker kept fans locked in, before Mike Gordon took over lead vocals on the first “Fuck Your Face” of the summer. The next surprise was a cover of The Beatles’ “Cry Baby Cry,” not played since 11/21/98 (496 shows), and there were only more surprises in store!The band broke out into “Sing Monica,” the only Fuego track that hadn’t been performed in 2016. They dedicated the version of Bob Ezrin, famed producer who worked with Phish on the Fuego album, and also produced their new, unreleased album. The band also said they had just put the finishing touches on their new album today, so the excitement was truly palpable.The epic first set continued with “McGrupp and the Watchful Hosemasters,” yet another first-time-played song in 2016. The Gamehendge-themed song never fails to excite fans, as it only gets played roughly once per summer. The breezy tones eventually led into the Halloween 2014 instrumental “The Very Long Fuse,” played for only the third time ever. The interplay between Trey Anastasio and Page McConnell was on point during the song’s coda, before the band exploded the fuse into “Big Black Furry Creature From Mars.” Yet another tour debut! Jon Fishman was playing around with the countdowns in the song, bantering with Gordo throughout the tune.As if “BBFCFM” wasn’t enough for this first set, they brought out a cover of James Gang’s “Walk Away.” Not played since 10/29/13 (100 shows), McConnell led some great vocals, but it was Anastasio that shined with a ripping guitar solo. The Junta track “Sanity” came next, with the band joking throughout the song’s silly lyrics and even getting into a vocal jam. McConnell teased “The Very Long Fuse” during the “I don’t care if the world explodes” section of the song, before Fishman led the band into a set closing “David Bowie.” Though it was the only non-tour debut of the set, having played the song at SPAC, the back-to-back Junta tracks served as a fine ending for one of the best sets yet.After the break, Phish returned to get things jamming with a great “No Men In No Man’s Land.” The soaring set opener was pulled into “Mike’s Song” by Anastsaio. It was a fun version, but it was the following “Fee” that really got the crowd’s attention. The 12th tour debut made its first appearance since 7/27/14 (74 shows), and was played after a “Mike’s Song” for the first time in band history. Wow! The band also played “Fee” > “Seven Below” for the first time, keeping the set energy high. They cooled things down with a “Waiting All Night,” but got the dance party started once more by bringing out “Gotta Jibboo.” Ripping through “Jibboo” with a passion, it was the return of 2016 debut “Miss You” that came next. The slower Anastasio-penned ballad brought the second set mood down, though Anastasio did finish the song with a nice melodic solo. Still, fans have yet to warm up to “Miss You” in its second-ever performance. Fortunately, “Weekapaug Groove” came out next, funking the finale of this lengthy “Mike’s Groove” set. The far-out improvisation session included more instrument swapping, and eventually wound its way into the “Weekapaug Groove” finale, but the set wasn’t over yet, as Phish touted out “The Oh Kee Pa Ceremony” before segueing into “Suzy Greenberg.” The two songs were played together in Philadelphia for the only time this summer, suggesting that the classic “Oh Kee Pa/Suzy” pairing may have just returned. A rockin’ “Julius” closed out the set in style.With a short break, Phish returned and Page thanked the audience for having them for three nights. The band then proceeded to perform the piano ballad “Wading In The Velvet Sea,” before finishing the performance with the straight up rock and roll of “Character Zero.” Anastasio let the crowd sing most of the familiar tune, only adding to its power.While the finale sent the crowd home rocking, something more in line with the 11 tour debuts from set one was certainly on people’s minds for the encore. The first set was the true highlight of this performance, going down as one of the best first sets ever.Check out the full Phish.net setlist below.Setlist: Phish at Bill Graham Civic Auditorium, San Francisco, CA – 7/20/16Set 1: Demand, The Curtain With, Alumni Blues > Letter to Jimmy Page > Alumni Blues > Fuck Your Face, Cry Baby Cry, Sing Monica > McGrupp and the Watchful Hosemasters, The Very Long Fuse > Big Black Furry Creature from Mars, Walk Away > Sanity -> David BowieSet 2: No Men In No Man’s Land > Mike’s Song > Fee > Seven Below > Waiting All Night > Gotta Jibboo, Miss You, Weekapaug Groove, The Oh Kee Pa Ceremony > Suzy Greenberg > Julius Dedicated to producer Bob Ezrin. Vocal jam.Notes: Demand was played for the first time since December 31, 2009 (258 shows). Alumni Blues and Letter to Jimmy Page were played for the first time since August 3, 2013 (114 shows). Cry Baby Cry was played for the first time since November 21, 1998 (496 shows). Sing Monica was dedicated to producer Bob Ezrin. Walk Away was played for the first time since October 29, 2013 (100 shows). Sanity contained a brief vocal jam.
Last night at Red Rocks Amphitheatre in Morrison, CO, local funk troupe The Motet played their first-ever headlining performance at the storied venue, bringing along both Medeski Martin & Wood and Vulfpeck to lend a hand in bringing some serious funky grooves. After a major storm rolled through the area, causing a delay, the festivities commenced and the night continued without a hitch.Vulfpeck Has Added A New Sunday Show To Their Colorado RunVulfpeck was as candid as ever, displaying their relative ease at showmanship and including the crowd in just about everything they do, with call and repeats, sing-alongs, and such. The Ann Arbor, MI-based act brought along their main cohort Antwaun Stanley who stood out on a rather extra funky “Funky Duck”. Medeski Martin & Wood put on an absolute clinic during their set, deciding to keep things more on the funk side, rather than go too experimental jazz-y on the crowd on this particular night.The Motet brought their A-game to the fray, and did not disappoint, as they ran through a 15-song set that featured sit-ins from John Medeski, who played side-by-side with the dominant Joey Porter on keys, on “Cloak and Dagger”. Former member and Big Gigantic leading man Dominic Lalli joined his former mates during a “Nemesis” that featured a jam of David Bowie‘s “Fame” and an outstanding solo from the saxophonist.Trey Anastasio Band trombonist Natalie Cressman also joined the horn section for the entire show. A “Fool No More” encore ended the night proper for what was a wildly successful first headlining gig for the Colorado-based band, led by founder and drummer Dave Watts. Check out some videos below from the night:The Motet “Nemesis” w/ Dominic Lalli from Big Gigantic, courtesy of Brian Eckes:Medeski Martin & Wood – Red Rocks:Vulfpeck “Funky Duck” w/ Antwaun Stanley:The Motet Setlist – Red Rocks Amphitheatre – Morrison, CO – 7/22/16DamnSo HighKnow It Too WellRippin HerbBack It Up Like We Own ItCloak and Dagger*The TruthFountain Ain’t No WayKeep OnDangerNemesis# >Closed MouthEncore: Fool No More#* w/ John Medeski of MMW# w/ Dom Lalli of Big GiganticPhotos by Gary Sheer. Full Gallery: Load remaining images
Last week, we reported on Umphrey’s McGee and their fantastic show in Columbus, Ohio at the brand new venue Express Live! Now, thankfully, full audio of the show has emerged on archive.org. The September 8th show featured impressive improvisation throughout, with a fifteen-minute version of “Nothing Too Fancy”, a fourteen-minute version of “Water”, and a twelve-minute version of “Spires” leading the way for a night of improvisational awesomeness.The show also featured an incredible three-song encore, with the band opening with acoustic rarity “The Weight Around” before setting the place ablaze with an uptempo “Bad Friday” that transitioned into John Lennon‘s classic Beatles track from Revolver, “Tomorrow Never Knows”.Listen to the full show from Express Live! below. Plug in headphones, turn the volume to eleven, and enjoy two full sets of Umphrey’s McGee!
On October 28th, Dopapod stopped at the Higher Ground in Burlington, VT to perform a two-set Halloween-weekend show. The band, who were joined by a horn section for the majority of their second set, set out to cover several fun television theme songs for this special performance. Alongside the theme songs from Nickelodeon shows “Doug” and “Hey Arnold!”, as well as a dub version of the famous “Game of Thrones” theme, the band performed a number of their own originals like “Nerds” and “The Happy Song.”Thanks to taper-extrodinaire mk devo, this fun second set from Halloween is available for your viewing pleasure. See below for the video, setlist, and timestamps from each song in the second set.0:00:54 My Elephant Vs. Your Elephant0:11:50 Nerds →0:16:00 Doug theme →0:17:18 Nerds0:19:00 Costume Contest0:24:23 Trickery0:31:00 Super Bowl0:39:20 New James →0:42:11 Hey Arnold! →0:43:02 New James0:49:42 PLSS →0:52:30 Game of Thrones →0:57:37 French Bowling1:05:07 The Happy Song →1:08:31 Cure
There are distinct changes in sensory and motor pathways between the brains of dancers and musicians. Though, the effects on the brain between these creative activities are far from similar. According to research published in the journal NeuroImage, the changes in white matter are completely opposite to each other. While cultural practices often include dance and music together, mostly through desire, the importance of these traditions extend far beyond artistic measures.Researchers from the International Laboratory for Brain, Music, and Sound Research in Montreal, Canada recently set out to compare and contrast the neurological changes within the brain that music and dance produce.Previous studies have confirmed that practicing music at an early age can pave changes in the pathways of the brain, building the brain like a muscle and strengthening the associated functions of each lobe. A finding from 2014 concluded that the most evident changes that musical training makes in the brain are between the two hemispheres (the corpus callosum). This area of the brain facilitates interhemispheric communication and is the largest area of white matter in the brain. Responsible for the distribution of action potentials, and acting as the coordinating center between different brain regions, this area of the brain actively affects learning and overall brain functions. So, it’s no wonder that parents have had their children practicing an instrument early on in life. Strengthening the corpus callosum is very important.While this has been said about music for some time now, dance has been less acknowledged as a brain-stimulating activity. While both skills involve intense training and focus, dance focuses on integrating visual, auditory, and motor coordination; whereas playing music mostly concentrates on auditory and motor information.Researchers used an advanced imaging technique called “diffusion tensor imaging” to explore the white matter structure of musicians, dancers, and brains that had training in neither activity. According to lead author Chiara Giacosa, researchers “found that dancers and musicians differed in many white matter regions, including sensory and motor pathways, both at the primary and higher cognitive levels of processing.”They found that the pathways most affected by training were in the bundles of fibers that link the sensory and motor regions of the brains, and the fibers of the corpus callosum that run between the hemispheres. For dancers, these sets of connections were more diffuse and broad, while musicians had the same connections, but were stronger, less diffuse, and showed more coherence in fiber bundles.“This suggests that dance and music training affect the brain in opposite directions, increasing global connectivity and crossing of fibers in dance training, and strengthening specific pathways in music training,” explains Giacosa.The broadness in the neural cortex might be explained by the dancer’s use of their whole body, which may encourage fibers to cross over and increase in size. Since musicians tend to focus their training on particular body parts (fingers, mouth), there will be smaller cortical representations in the brain.It’s also interesting to note that dancers and musicians differ exponentially when compared to the untrained control subjects. The reasons for this aren’t acutely identifiable, but could be for a number of reasons. Giacosa explains, “[…] our samples of dancers and musicians were specifically selected to be pure groups of experts, which makes it easier to differentiate between them.” Also, the group of untrained subjects also exhibited diversity in their range of interests and life experiences. More research is needed to articulate the difference in connections between musicians, dancers, non-musicians, and non-dancers.This particular research could, and should, be continued. The results, while interesting in face value, might also have purpose in education and rehabilitation for the strengthening of brain activity.According to senior author Professor Virginia Penhune, “Understanding how dance and music training differently affect brain networks will allow us to selectively use them to enhance their functioning or compensate for difficulties and diseases that involve those specific brain networks.”So far, dance and music therapy is under investigation for its potential use in the treatments of Parkinson’s and autism. Of course, we hope the research is continued and applied to saving people from these various diseases.We also think you should “Let all the children boogie.”[via Medical News Today]
Though many people were skeptical of John Mayer’s inclusion in the newest Grateful incantation, Dead & Company, those involved with the project have been nothing but faithful. Indeed, Mayer’s guitar playing has converted the most cynical into believers; a fact that guys like Mickey Hart could have predicted years ago. In a new interview with Radio.com, Hart digs in deep when asked about performing with Mayer.“John’s great, John really gets it,” says Hart. “He really was thirsty, he came to drink at our fountain. And he took major gulps! He was so enthusiastic, a great student of the music, he gave everything he had. That was a great commitment. He’s really a nice guy to be around, and he plays his a– off.He didn’t try to copy Jerry, he’s not a clone, he’s not a Jerry clone at all, but he definitely respects the songs. That’s what you would hope someone would do when they come into this kind of thing. We have 450 songs. Next year, we’ll probably learn some more songs to expand our repertoire. Right now we’ve got like 90 under our belt, so it’ll grow. He’s really a true musician, very much like Jerry. Jerry just cared about the music and playing his guitar. I couldn’t speak more highly about John.”The interviewer continues, asking about Mayer’s work as a mainstream pop star. Hart says, “All music has its beauty to it; he writes those beautiful pop songs. But he’s not a pop star in the Grateful Dead, he’s a recovering pop star (laughs). He plays pop music very well, though. I’m not really into pop music myself.He adapts, he’s such a great musician, he’s like a gunslinger on the guitar. He has a great mind; he remembers a lot. After we do a song a few times, he thinks about it and then he dreams about it, And once it gets in his dreams, then he can really have fun with it. I told him it would happen for him. I said, “Be careful John, if you get in too deep, it’ll turn into a habit, so understand what you’re getting into!””Mickey Hart also talks about his solo career and the introduction of “World Music” to American audiences. He says that a new album is in the works, one that will likely be supported by a tour. He also talks about drumming with President George H. W. Bush, with Bill Kreutzmann, and more. Check it out here.
The movie itself, in addition to presenting the glory that is Tedeschi Trucks Band live in concert, will also contain behind-the-scenes footage from the band and interviews with Marc Maron and David Fricke. Clearly, we are not the only one’s excited about this new project, as David Fricke noted that Live From The Fox Oakland is “an authentic, widescreen group portrait . . . simply the truth of what happened, in all of its shared glory” within the liner notes.Live From The Fox Oakland is due out on March 17th. You can watch the band’s performance of Derek and the Dominos’ “Keep on Growing” from The Fox to get stoked on this upcoming live release.The full trailer for the release can also be watched below.Pre-order information can be found here, and the full tracklist and album artwork can be seen below.Live From The Fox Oakland Tracklist1. Don’t Know What It Means2. Keep On Growing3. Bird On The Wire4. Within You, Without You5. Just As Strange6. Crying Over You7. Color Of The Blues **Film only8. These Walls (featuring Alam Khan)9. Anyhow10. Right On Time **CD only11. Leavin’ Trunk12. Don’t Drift Away13. I Want More (Soul Sacrifice outro)14. I Pity The Fool15. Ali ** CD only16. Let Me Get By17. You Ain’t Going Nowhere **film only Tedeschi Trucks Band recently announced Live From The Fox Oakland, the film and audio were recorded on September 9th during the band’s two-night stand at The Fox Theater in Oakland, CA. Derek Trucks and Susan Tedeschi duo will be guest DJ’ing on SiriusXM’s Jam_On (channel 29) to preview this new release (due out March 17). The husband and wife duo will play through all 17 tracks, in addition to some of the music that has inspired theirs over the years. Hear their Live Album Jam weekend starting Friday 3/10 at 4 pm ET and through Sunday 3/12. More information here.This album has been in the works for a long time coming, as Derek Trucks had mentioned it on several occasions in interview conversations. Trucks explains in the new press release, “we’ve been wanting to properly document the progress of this band for a while and it really felt like we were hitting our stride and firing on all cylinders last fall.” Susan Tedeschi adds, “it was special capturing the live performance from Oakland. The audience was great and the band played with passion. I am thankful we captured the band at this moment in time.”
40 years ago today, on May 8th, 1977, the Grateful Dead‘s Spring Tour rolled onto Cornell University‘s Ithaca, NY campus for a performance at the university’s field house, Barton Hall. As the years have passed, 5/8/77 has become the near-consensus pick for “greatest Grateful Dead concert ever”–particularly high praise considering that the band played thousands of them before Jerry Garcia‘s death in 1995.Why Is 5/8/77 Considered The Grateful Dead’s Best Performance?Much of the show’s notoriety can be attributed to the quality audio recordings taken that evening in Ithaca, first by audience taper Jerry Moore (who actively circulated tapes of the show) and later via sound engineer Betty Cantor-Jackson‘s soundboard recording, which was recovered in the 80’s from a storage unit auction. Because of the widespread access to these high quality recordings, the show became a well-known go-to show among Deadheads in the know. And then, of course, there’s the incredible quality of the performance itself, which featured all-time great renditions of “Scarlett>Fire,” and “Morning Dew,” a breathtaking “St. Stephen” > “Not Fade Away” > “St. Stephen” segment, and so much more.In a recent interview with Rolling Stone, guitarist Bob Weir spoke about the mythical status the 5/8/77 has attained among fans. “For me it was just another tour. I remember feeling like we were hot back when were doing it. But, for instance, that Cornell show that that people talk about, I can’t remember that specifically. It didn’t stand out for me on that tour. The whole tour was like that for me. I think that show became notable because there was a particularly good audience tape made of it. And that got around. I think it was the quality of the recording was good and the guy’s location was excellent. And whoever it was that made that recording made every attempt to get it out there so that people could hear it.”According to Weir, “[Our label] was freaking about the phenomenon of tapers showing up at our shows. They were insisting that we put an end to this. And we just didn’t want to do that. We didn’t feel comfortable doing that, so we didn’t. [Laughs] And through simple benign neglect we get credit for inventing viral marketing.”You can listen to full audio of the show below, consisting of Betty’s Boards (remastered by Rob Eaton) spliced with audience recordings from taper Steve Maizner on archive.org, as we’ve been listening to it for the last decade plus.Last Friday, May 5th, the band released an official re-mastered version of the show, Cornell 5/8/77, as a 5-LP (vinyl), 3-CD special remastered release of sound engineer Betty Cantor-Jackson‘s soundboard recordings from the storied performance. You can listen to the newly remastered audio below via Spotify:Finally, below you can watch a new mini-documentary that interviews several attendees of the Grateful Dead’s famed 5/8/77 Cornell show about the memorable experience, as shown at this year’s annual Grateful Dead Meet-up At The Moves on 4/20. SETLIST: Grateful Dead | Barton Hall; Cornell University | Ithaca, NY | 5/8/77Set 1: New Minglewood Blues, Loser, El Paso, They Love Each Other, Jack Straw, Deal, Lazy Lightning > Supplication, Brown Eyed Women, Mama Tried, Row Jimmy, Dancing In The StreetsSet 2: Scarlet Begonias > Fire On The Mountain, Estimated Prophet, St. Stephen > Not Fade Away > St. Stephen > Morning DewE: One More Saturday Night,SETLIST: Grateful Dead | Barton Hall; Cornell University | Ithaca, NY | 5/8/77
On October 27th, Thalissa Van de Lagemaat, a resident of the Netherlands, was traveling around Spain when her phone and identification were stolen. At the time, Van de Lagemaat reached out to her family to let them know about the theft, telling her parents she’d be home on October 31st and that she was planning on hitchhiking back to the Netherlands.October 31st came and went without further word from Thalissa, and understandably, her family and friends began to worry. As days passed without any sign of Van de Lagemaat since her initial call on October 27th, her loved ones grew frantic, eventually filing a missing persons report. By November 6th, news outlets across Europe—at the behest of loved ones and law enforcement—picked up the story of the missing woman, issuing urgent appeals for any leads on her whereabouts.Frequently, stories like these have tragic endings. Luckily, this one doesn’t. Eleven days after Thalissa first checked in with her parents and seven days after she told them she’d be home from her travels, Van de Lagemaat has been confirmed as alive and well. After being MIA for a week to friends and family, the missing woman responded to the flood of concerned posts on her Facebook, responding with a link to a weeklong Halloween rave and stating that’d she’d been there since last week. It’s safe to say that her friends and family were pretty pissed.Let this be a lesson to everyone: for fuck’s sake, check in with your loved ones when you say you will—lest you too become international news like Thalissa.[H/T YourEDM]