A video posted by The World Famous KROQ (@kroq) on Apr 23, 2016 at 12:23am PDT Last night, LCD Soundsystem graced Coachella’s second weekend with a dedicated set of dance music. In honor of two of lost legends, the band paid tribute to David Bowie with a cover of “Heroes,” as they did the previous weekend, and honored Prince with a popping performance of “Controversy.”Before the band took the stage, they displayed video from Prince’s legendary 2008 performance, where he covered Radiohead’s “Creep.” You can watch that here.Here is some fan-shot video from the Prince tribute, courtesy of Oscar Scenestar:Here’s another short clip with higher quality audio, thanks to rob mitchell:As well as a clip from Instagram: LCD Soundsystem @ Coachella, April 22, 2016 Setlist:Us v ThemDaft Punk Is Playing at My HouseI Can ChangeYou Wanted a HitControversy (Prince cover)TribulationsMovementYeahSomeone Great45:33 Part FourLosing My EdgeNew York, I Love You But You’re Bringing Me DownDance Yrself Clean“Heroes” (David Bowie cover)All My Friends[Setlist via Brooklyn Vegan, Photo via @nat.somphoto]
Last Friday, December 2nd, Joe Russo’s Almost Dead took over the House Of Blues Boston with an emphatic display of Grateful Dead music. The band has been on fire, particularly in the second half of 2016, and the show was clearly a night to remember.Interestingly enough, some of the biggest highlights weren’t Grateful Dead songs at all. As Almost Dead members Joe Russo and Marco Benevento prepare for the return of the Benevento Russo Duo (on Jam Cruise), Almost Dead worked in two different Duo jams into their set: “My Pet Goat” and “9×9”. Of course, a full 27-minute “Terrapin Suite” and extended jams on tracks like “Ruben & Cherise”, “Jack Straw”, “He’s Gone” and more never fail to get the crowd excited.Fortunately for us, taper Brian V. captured this great performance for us all to enjoy. Tune in and listen to the full Joe Russo’s Almost Dead concert, streaming below.Setlist: Joe Russo’s Almost Dead | The House Of Blues | Boston, MA | 12/2/16Set 1 (9:16PM – 10:21PM)Music Never Stopped @ (SM) ->China Cat Sunflower (TH) ->Touch of Grey (TH)Black Throated Wind # (SM) >Jack Straw (SM & TH)Ruben & Cherise $ (TH) ->I Know You Rider (All)Set 2 (10:53PM – ~1:00AM)Althea % (TH) ->Duo Jam ->Good Lovin (SM) ->Terrapin Station Jam ++ ->My Pet Goat Jam ^ ->Terrapin Suite & (TH) >Uncle Johns Band (All) ->9×9 Jam * ->Uncle Johns Band Reprise + (All)He’s Gone (TH/All) ->Saint Of Circumstance @@ (SM)E: Ophelia (SM) >Not Fade Away ## (All) ->Brown Eyed Women %% ->Not Fade Away Reprise $$ (All)@ – With The Eleven Tease (SM), unfinished# – With a Jack Straw Jam (Band)$ – With China->Rider Transition Teases (TH) & a “Waltz #1” (Elliot Smith) Tease (MB)% – With an “All of My Love” (Led Zeppelin) Tease (MB)++ – First Time Played by Almost Dead (I think?)^ – First Time Played by Almost Dead, Benevento Russo Duo Original, not the complete song& – With Ruben & Cherise Teases (Band)* – First Time Played by Almost Dead, Benevento Russo Duo Original, not the complete song+ – First Time Played by Almost [email protected]@ – With Ruben & Cherise and Terrapin Station Teases (Band)## – With GDTRFB Teases (SM) and “Shortnin’ Bread” (James Whitcomb Riley) Teases (Band)%% – With a “Come On Feel The Noize” (Quiet Riot) Tease (JR)$$ – First time played since 2015-02-16 Boulder, CO, a gap of 66 shows, With a “Hey Bulldog” Jam (Band) – that may end up being a track, not sure if it was long enough.[Setlist annotated by band manager Peter Costello //
For the first time since Suwannee Hulaween, beloved jam group The String Cheese Incident is set to take the stage tonight for the first of three nights at the 1stBANK Center in Broomfield, CO. As excitement builds for the three shows ahead, some unfortunate news was passed down from keyboardist Kyle Hollingsworth.Hollingsworth apparently has a broken left wrist, though he does intend to play through the pain and be present for all three upcoming shows. To turn the unfortunate situation into an optimistic one, Hollingsworth is offering a free ticket for whoever comes up with the best storyline for how he broke the bone.You can see the photos and enter the story contest through the Facebook post embedded below.
The vibes are plenty with this new collaboration between Break Science and Dreamers Delight. The dynamic duo beat masters Adam Deitch and Borahm Lee have teamed up with electronic producer Reed Krafft. The three have worked together in past times, with DD’s breakout single “Around” and a Brooklyn Bowl throwdown just last year. The future is now with this dreamy collaboration, as they step forward with “Dreamers Sequence”, a space-shifting, hip-hop inspired single that radiates fresh moves and endless grooves.Enjoy their new single below:Break Science2/15 – Aggie Theatre – Fort Collins, CO2/16 – The Barkley Ballroom – Frisco, CO2/17 – Ulls Tavern – Winter Park, CO2/18 – Fox Theatre – Boulder, CODreamers Delight1/11 – The Barkley Ballroom – Frisco, CO (w/ Maddy O’Neal)1/14 – Ullrs Tavern – Winter Park, CO (w/ Maddy O’Neal)
Load remaining images Foundation of Funk started the Denver leg of their Colorado run on Friday at Ophelia’s Electric Soapbox before kicking off a funk extravaganza at Cervantes on Saturday. Foundation of Funk, brought together by drummer Zigaboo Modeliste and bassist George Porter Jr., the legendary rhythm section of The Meters, has been rotating an enviable line-up of world-class musicians over the last few years to fill in on guitar and keys. For this latest run, the precedent of bringing on other all-star artists to round out the band remained, with Eddie Roberts of The New Mastersounds and John Medeski of Medeski, Martin, & Wood returning to the group to hold it down on the guitar and keys, respectively.The band is a must-see multi-generational funk affair. Even five decades later, Porter and Modeliste, the mythic figures of the early ‘60s and ‘70s funk scene, show no signs of letting up or slowing down. With their near-telepathic ability to snap into their patented funk back beat that they helped bring to the masses with The Meters, the duo’s precise rhythm work is a pleasure and privilege to behold.Behind the kit, Modeliste is still a force to be reckoned with. His playing is animated and decisive, and his good humor shows through, as it did on Saturday evening during a particularly spirited solo when he fumbled a drum stick, grinned at the crowd, and picked up right where he left off, barely missing a beat, to lead the band into the next song. Porter is similarly captivating on the stage with his flawless bass lines and the way in which he steps into the role of conductor at times, curating each song with glances, grins, and motions to Medeski and Roberts to step forward and take the lead or fall back while still providing them ample space to do their thing.With Modeliste and Porter leading the way, Roberts and Medeski masterfully capitalize on the freedom provided by such a tight rhythm section, and the two are given license to shine. When Roberts takes the lead, his guitar stylings are transcendent, classified by soaring and exacting fretwork and a mesmerizing and airy lightness. On the keys, Medeski is truly a joy to watch perform. His virtuosic playing, and particularly the ease with which he plays, is stunning.Each musician in his own right is a powerhouse of a player, though when brought together, the group brings out the best in one another. They put on a dynamic performance, with an expert ability to change styles on a dime, with New Orleans swing making way for solos rooted in ambient jazz before transitioning back into more funk-centric numbers. Furthermore, as a band, they operate as a cohesive unit, with an impressive ability to read and anticipate one another as they handily ebb between support and soloing, doubly remarkable when considering the infrequency with which the four gather.For Saturday night’s performance, Foundation of Funk also invited Fred Wesley (James Brown) to join them, more or less putting on a funk masterclass for the audience. Lettuce’s trumpeter, Eric “Benny” Bloom, also emerged for Foundation’s encore, helping the band close out their set with his massive sound. However, Foundation of Funk and their special guests were not the only high-caliber musicians who made their way to Cervantes’ on Saturday night. Rather, they only kicked off the festivities for a dual-room celebration of all things funky.On The Other Side, the original lineup of electrofunk outfit Juno What?!, brought together by keyboard wizard Joey Porter and featuring Dave Watts on the kit and Steve Swatkins on the keys, kept it locked down ‘til close. Bassist extraordinaire and Watts and Porter’s Motet bandmate, Garrett Sayers, also joined in for the evening, and together, the group, all donning matching Adidas tracksuits, tore it up for the sold-out audience. On the Ballroom side of Cervantes, a funk super group assembled to throw a James Brown dance party. Featuring Fred Wesley (James Brown, The JBs), Natalie Cressman (Trey Band), Jeremy Salken (Big Gigantic), Borahm Lee (Break Science/Pretty Lights Band), Eric “Benny” Bloom (Lettuce), Corey Frye (The Main Squeeze), Nicholas Gerlach (Tiger Party), Victor Little (20th Congress), and The Chase Brothers, a banging crew of musicians was gathered to pay an epic tribute to the Godfather of Soul and kept the party going until late in the night.Setlists from Foundation of Funk’s two nights in Denver can be found below. You can also check out a gallery from Cervantes’ funk throw down in Denver on Saturday, courtesy of photographer Bill McAlaine.Setlist: Foundation of Funk | Ophelia’s Electric Soapbox | Denver, CO | 2/10/2017Set: Cissy Strut, Cardova, Drum Intro > Hey Pock A Way, Here Comes The Meterman, Change/Reform, Drum Intro > Zig Me, People Say, Whatcha Say, Meters Jam, Ain’t No UseEncore: Cabbage AlleySetlist: Foundation of Funk | Cervantes’ Masterpiece Ballroom | Denver, CO | 2/11/2017Set: 9 til 5, Little Old Money Maker, Cabbage Alley, Cissy Strut, Chicken Strut, Funkify Your Life, Joog, Africa, Zig Me, Hey Pocky Way, Rollin Stone, Fire On The Bayou, Aint No Use,Encore: He Bite Me
Perhaps one of the catchiest songs to come out of Vulfpeck is “Christmas in L.A.” The instrumental version came out in 2014 on the band’s Fugue record, and they released the song again with lyrics on their 2015 Thrill of the Arts. Today, they premiere a music video for the instrumental version – and it’s as glorious as ever. The video sees the funk quartet in their natural habitat, with each character cut out and “vulfified” in a moving, grooving frame. Enjoy!In discussing the songwriting process of Vulfpeck, Theo Katzman once told us: “Then, for “Christmas in L.A.”, we had an instrumental, and Jack was like, “I’m hearing like na-na-nana-nana-da-da-da-dee-dada-da Christmas!” and I remember being like, “Aw man, that’s just like a steady stream of 16th notes. That’s just so many words. I don’t know if I can do that. Whatever.” Then I forgot about it and it came to me one day, and I was like, “All the little children and all the big children, it’s Christmas!”
Since 2010, the world has been waiting with baited breath for a new Jamiroquai album, but fans of Jay Kay & Co. will see their patience rewarded on March 31. With the release of Automaton, the band will satiate the thirsts of a global following, a rabid fanbase that few bands today enjoy. A world tour is to soon follow, with dates in Europe and Asia already popping up.YouTube user TiagoVarejao has released pro-shot video footage of the classic Jamiroquai lineup in October of 1997, in full effect on the massive Traveling Without Moving world tour. The setlist is chock full of Jamiroquai’s funkiest jams and electro-funk anthems, no doubt in large part to bassist extraordinaire Stuart Zender, who sadly departed the band after this whirlwind global trek that lasted over two years. Co-founder Toby Smith is still on keyboards, Derrick McKenzie a machine on the drum kit, while Sola Akingbola blesses up the percussion something phenomenal. DJ D-Zire rockin’ the wheels of steel, and the inimitable Wallis Buchanon crushing the didjeridoo jams with Zen vibrations. This tour, lineup and era is widely considered to be the apex of Jamiroquai’s storied career.Previously only a smattering of songs were available online, some of them incomplete. Now fans across the oceans and beyond can peep the full show, and revel in the sultry, pimpadelic, world-fusion funk of Jamiroquai circa Fall 1997, already an established renaissance of phunk jams for another beloved band.Check out the video, below.Setlist: Jamiroquai | Free Jazz Festival | Sao Paulo, Brazil | 10/11/97Set: Hooked Up, Too Young to Die, Space Cowboy, Mr. Moon, Cosmic Girl, Didjital Vibrations, Use the Force, High Times, Journey to Arnhemland, Virtual Insanity, Stillness in Time, Alright, Travelling Without Moving, Funktion.Words by B. Getz
While Widespread Panic have said that they will not be touring in 2017, the southern rockers will however be playing more festivals and multi-night runs at esteemed venues. Today, they announce their only headlining gig of 2017 with the return of their three-night run at Red Rocks Amphitheatre in Morrison, Colorado. On June 23, 24, and 25, Widespread will be taking it to the mountains for their annual summer celebration.The three-night run comes in addition to their previously announced festival appearances at Wanee Music Festival, Sweetwater 420 Festival, New Orleans Jazz & Heritage Festival, Beale Street Music Festival, Sunfest, Sloss Music & Arts Festival, Peach Music Festival, and Lockn’ Music Festival.Tickets go on sale March 24 at 10AM MT. More information can be found here.
The Disco Biscuits have just announced two nights in Portland Maine over Memorial Day Weekend. The Philly-based electronic jam pioneers will bring their world to the State Pier on Friday, May 26 and Saturday the 27th.Tickets go on sale to the public this Friday, April 7 at 12 ET. Early access starts tomorrow at noon through BiscoTix Fanclub. More information can be found here.[photo by Dave Vann]
In Amir Bar-Lev’s extensive new Grateful Dead documentary, Long Strange Trip, the director looks at the history of the legendary original jam band, examining the beautiful and dark moments from the Grateful Dead’s storied past. Long Strange Trip sees interviews with members of the band and those who knew them along the way, including former tour manager Sam Cutler. Within the movie, Cutler gets a good amount of screen time and become one of the more memorable characters in the film, with his frank offerings and perspective about his time as the tour manager for the band during the early 1970’s.‘Long Strange Trip’ Red Rocks’ Screening Offers Light And Dark Moments From The Grateful Dead’s PastIn a recent Facebook post, Cutler outlined his thoughts of the film, addressing some of the controversies and difficulties surrounding the film while reiterating that he “loved the film” and considers it a “magnificent achievement.” The former Grateful Dead tour manager, in his statement, first reiterates the difficulty of fully capturing the depth of the band’s history. He then notes that he felt some parts of people’s interviews during the movie were “articulated as ‘apporpriate for posterity’,” highlighting the hypocrisy of laughing at the idea that Deadheads could be told to only come to shows with tickets in hand while simultaneously complaining about the presence of Hells Angels backstage — he commends Jerry for refusing to participate in either, always keeping his part in the Grateful Dead in balance because he “welcomed anyone who loved the music.”From there, Cutler gets distinctly more emotional and discusses the fact that Long Strange Trip made him cry, though not shying away from the beauty in this: “It was, at times, unbelievably painful to see the mistakes we made, the errors of judgement, the poor planning, the rampant nihilism, that led like some tragic operatic shuffle towards Jerry’s demise. BUT, conversely, it was thrilling to see how all of those too-human errors that we made were happily embraced by the family and the band and laughed about, and thus in some crazy unexplainable way ‘survived’. Embracing ‘failures’ was surely one of the distinctive markers of the magnificence of the Grateful Dead. There was room for all.”After talking about the serendipitous way the band has been credited for creating an outstanding business model when it really just an error of convenience in not trying to regulate tapers at shows, he notes, “When Barbara said that Jerry told her “I’d just like to live on the ice-cream money”. I thought THAT was so poignant that I cried like a baby. Poor Jerry, the thing that he had spent his life creating and nurturing consumed him in the end, and it seemed as if no-one could save him, though they all surely tried. The ONE thing that they COULD have done, they DIDN’T DO !!!! Namely, they could have ‘abandoned ship’. Called the whole thing to a halt and simply STOPPED. Jerry could have scuba-dived for the rest of his days. BUT, no-one could bring themselves to do it, and Jerry, poor Jerry, disappeared down the dumb rabbit-hole of heroin.”You can read Sam Cutler’s full statement on Long Strange Trip below or on his Facebook page.LONG STRANGE TRIP – my thoughts on the filmWhere the hell to BEGIN? Well, let’s begin with love. I loved the film. I loved that so many of the people in the film expressed love, LIVED in love, loved one another, and MOST OF ALL, loved Jerry. I became for a few years another person in that psychedelic army of people all over the planet who loved that gentle and so-loving man and his band. I was just so amazingly fortunate to have been his tour manager, co-manager (with Jon McIntyre and David Parker) and his agent, through my company Out of Town Tours from 1970 – 74.Amir Bar Lev, the mountain-climber’s mountain-climber, sure picked one hell of a hill to climb when he decided to make this film! Solo unaided up the face of El Capitan in Yosemite has nothing on the perils associated with trying to ‘capture’ who what where how and when on the Grateful Dead. It’s an ‘impossible task’ on a rational level, but thankfully rationality was never a particularly necessary attribute around the band and the family – in fact, it seemed sometimes that the wackier things were, the better. It never seemed to represent too much of a problem, and (of course) people loved the madness, but only up to a point! When it got to be too much, the good ol’ Grateful Dead simply ‘retreated’ or ‘practiced invisibility’.Jerry might not have been the whole ship, but he sure as heck was the vessel. AND the anchor! I was struck by what people decided to say in the film – what they articulated as ‘appropriate for posterity’. How (for example) some of the more ‘fey’ representatives of the family laughed uproariously at the notion that latter-day dead-heads could be told (or asked) to behave and not come to shows if they didn’t have tickets; whilst on the other hand, these same modern day ‘libertarians’ (so hip and so free) could happily suggest that there were too many nasty hairy Hells Angels back-stage for their taste. Jerry, bless him, kept it all in balance. For example, he point-blank refused to sign any letter to the fans when their behaviour became an issue, and he pointedly welcomed the Hells Angels to concerts as he welcomed anyone who loved the music.The film left me an emotional mess. In the midst of it all I burst into tears and had to be comforted by my son Bodhi. It was, at times, unbelievably painful to see the mistakes we made, the errors of judgement, the poor planning, the rampant nihilism, that led like some tragic operatic shuffle towards Jerry’s demise. BUT, conversely, it was thrilling to see how all of those too-human errors that we made were happily embraced by the family and the band and laughed about, and thus in some crazy unexplainable way ‘survived’. Embracing ‘failures’ was surely one of the distinctive markers of the magnificence of the Grateful Dead. There was room for all.One little thing stands out as a perfect example of the Grateful Dead’s approach and how posterity has somehow ‘misinterpreted’ what happened. The record company hated the tapers because they believe it would damage the band’s record sales. The band was in a quandary. It was decided that the taping couldn’t be allowed. Myself and the crew had the unenviable task of implementing this ‘edict’. That lasted for two shows at the most, then we brought up the situation in the dressing room prior to a show. We had all taken a trip and were getting high. We explained to Jerry “we aint cops, we don’t wanna be cops” and the policy of stopping taping was then and there abandoned as it was unanimously agreed that asking ANYONE to ‘police’ the tapers was a bridge too far. That was it. No big deal. We tried it. (banning the tapers) It didn’t work, so we immediately abandoned it and moved on. This was later interpreted by some Wall Street people as a supreme example of the Grateful Dead’s business ‘acumen’ which directly led thru the distribution of the tapers recordings to the bands huge commercial success. As if we’d planned it all ! You have to laugh!WHERE did I cry in the film? Where did I laugh? When Barbara said that Jerry told her “I’d just like to live on the ice-cream money”. I thought THAT was so poignant that I cried like a baby. Poor Jerry, the thing that he had spent his life creating and nurturing consumed him in the end, and it seemed as if no-one could save him, though they all surely tried. The ONE thing that they COULD have done, they DIDN’T DO !!!! Namely, they could have ‘abandoned ship’. Called the whole thing to a halt and simply STOPPED. Jerry could have scuba-dived for the rest of his days. BUT, no-one could bring themselves to do it, and Jerry, poor Jerry, disappeared down the dumb rabbit-hole of heroin. PigPen had died, Keith had died, Brent had gone before him – tragic and ghastly precursors of what was to come. Vince followed thereafter.The film captured it all. It was heart-breaking, and yet in the end it was MORE than simply THAT. It was an epic trip those guys wrote on the pages of their lives, an adventure of Homeric proportion and Shakespearian intensity, that has had no equal. Phil said some beautiful soulful things, as did Micky and Billy and Bobby – these guys were the true psychedelic explorers of their time and showed us how to LIVE. Phil said: “the Grateful Dead was the best thing that ever happened to me” and that goes for me too, and everyone else that was ‘on the bus’. As soon as I’ve ‘recovered’ I want to see the film again .. and again. It has so MUCH depth and is so subtle.Amir Bar Lev is to be congratulated on a magnificent achievement. The Grateful Dead never quite managed to capture the ‘sound of heavy air’ in the recording studio, but Amir got it on film. In the end, the movie rendered me speechless and just simply GRATEFUL to all the guys in the band and all the people in the family for the four years I was involved. They were the best years of my life.