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Warren Haynes is hitting the West Coast with a fury, making up rescheduled dates with heartfelt performances at every step of the way. Last night, Haynes hit the Bing Crosby Theater in Spokane, WA, delighting fans with a smattering of Ashes & Dust originals along with fan-favorite covers.Haynes, along with his Ashes & Dust Band comprised of the bluegrass group ChessBoxer and drummer Jeff Sipe, wasted no time delighting the audience. The group broke into a debut cover of “Why Does Love Got To Be So Sad?,” written by Eric Clapton for his project, Derek & The Dominos. The Layla & Other Assorted Love Songs track was played on Clapton’s 71st birthday, only adding to the magic.Warren Haynes Covers Allmans, Dead, Little Feat & More For Beautiful Portland PerformanceThe show also featured a number of classics, like Little Feat’s “Skin It Back,” Allman Brothers’ tunes “Jessica” and “Blue Sky,” and a number of Haynes-written songs from the Ashes & Dust 2015 album. Check out the full setlist below:Setlist: Warren Haynes feat. The Ashes & Dust Band at Bing Crosby Theater, Spokane, WA – 3/30/16Set: Why Does Love Got To Be So Sad?*, Jessica, Is It Me Or You, Patchwork Quilt, Banks Of The Deep End, Company Man, Skin It Back, Word On The Wind, Dusk Till Dawn, You Ain’t Going Nowhere, Instrumental Illness, Blue Sky, Spots Of TimeEncore: Where Did You Sleep Last Night?Encore 2: Two Of A Kind BluesNotes: *First time played
Widespread Panic played The Joint at the Hard Rock Hotel in Las Vegas last month, and they brought the Dirty Dozen Brass Band with them for some Sin City fun. Dirty Dozen has a long history with WSP, sitting in with the band on countless occasions. For this appearance, Widespread Panic brought the horns out for a fun run through “Sharon” mid way through the show’s second set.The band has just released pro-shot footage of the guest appearance, which you can now watch below in all of its glory.
With Vulfpeck’s new album The Beautiful Game out for the past week, fans have had the opportunity to thoroughly peck over the new release. The pop-funk band continues to pick up fans along every turn, though new listeners might be unfamiliar with just how this new album fits into the band’s unique canon. For that, we turn to trumpeter Greg Rosen of Swift Technique, the band whose horn section recently played with Vulfpeck in Philadelphia and rocked the roof off of the Electric Factory. Rosen takes us through The Beautiful Game, introducing the album before taking a track-by-track look at the release. Stream the new album and read along below!It’s hard to take any Vulfpeck release out of its intended context. While all of their records stand up on their own, there is an inherent strategy in everything they do. Each EP or LP is a logical successor to the last one. As their popularity grows, though, they are exposed to scores of people who are not attuned to their grooves, not privy to the in-jokes and history that informs each new album.Without being intimately familiar with the personality of this band, you could be excused for feeling like an outsider. You could be excused, as a first time listener, for not latching on to these songs in the way long time Vulf fans undoubtedly have. You could be excused for not laughing at Jack’s monologue in “Conscious Club.” You could be excused for being thrown off balance by the musical and production curve-balls hurled towards you at every turn.There is, however, no excuse for not breaking your neck to the ‘holy shit!’ groove of “Cory Wong.”Luckily, for first time Vulfers, the group has made it extremely easy to track their progress and get up to speed. Not one of their six album releases exceeds 35 minutes. You could absorb their entire discography in less time than it would take to watch three episodes of CSI: Miami! Vulfpeck wants you. They and their fans want you to delve deep into their world. One of the joys of this band is plunging down the endless internet rabbit holes associated with their individual projects and guest artists. The Beautiful Game, having more guests than all their previous albums combined, allows for a wealth of discovery. At every turn the listener is given the opportunity to be in on the secret.The real treat of all of these incredibly talented artists putting their touch on a Vulfpeck release is hearing how mastermind, Jack Stratton incorporates them into his grand design. The more ingredients he has, the more he can exert his influence. This album more than any other, demonstrates his skill as producer, engineer, mixer, comedian, bandleader, and curator. Given so much material, he makes the pieces fit together in a cohesive and digestible way. His attention to detail and true reverence for his influences shine brightly on this release.To be honest, I am not as immediately in love with this record as I was their last. I don’t know if I ever will be. Thrill of the Arts, to me, is a quintessential ‘coming out’ album for Vulfpeck and will hold up for a long long time. The Beautiful Game is more challenging on an ideological level. Its a challenge to accept that your favorite funk-band-who-never-claimed-to-be-a-funk-band is making (really good) pop songs. Its challenging even though this type of music has endured as some of the best ever for the past 50 years. Pop is in this group’s DNA and they’d be the first to tell you that. This record challenges longtime fans to throw out their expectations of what Vulfpeck should be. They will always be themselves and as their family expands to include a wide array of influences, so too will their sound.Then & Now: Theo Katzman Discusses What It Means To Be VulfpeckMost of all The Beautiful Game challenges you to not be a passive listener, to not take any song at face value, whether its theirs or anyone else’s. They ‘came out’ with Thrill and now they want you to get to know the real Vulf. The Beautiful Game is at points quirky, poppy, patient, theatrical, funny, inspirational, and disgustingly funky. In this way its a real summary of everything that has defined and created the success of this group.So if you have any hangups about this latest addition to the Vulfpeck catalog, I invite you to listen deeper. Key in to the influences and the references. Locate Cory Wong in 7 of the 10 songs and marvel at his ability to add his unique flavor and still serve the Vulfpeck sound. I really can’t say enough about his playing on this album. Sink your teeth into the many layers and details that Jack and engineer, Tyler Duncan so deliberately crafted, like your grandmother slaving all day over her home made kougal. Get into it.Here’s my track by track breakdown of The Beautiful Game:The Sweet Science – My goodness. Listen to this song and tell me Jews don’t have soul. Whether taken as a tongue-in-cheek reference to the overt Jewishness of the group or as a sincere showcase of one of the oldest enduring Jewish art forms, this song speaks volumes. Clarinet can be one of the most hauntingly expressive wind instruments when played correctly. The characteristic scoops, dips, trills and grace notes are all used to great effect here to convey so much mourning. This is a total 180 from Vulfpeck’s other most notable clarinet display, the playful and bright outro to “Back Pocket.” It’s a twist right from the get-go. As a foreword, it effectively says, “Abandon your expectations. Vulfpeck will defy them.”Animal Spirits is the purest pop in the spirit of the Jackson 5. But instead of Little Michael we hear Theo Katzman singing lead and displaying impeccable range and precision. His vocals are never overly flashy and they serve the song perfectly. With typically catchy and winking lyrics, thick layers of keyboards and of course some great Joe Dart bass work, this song is pure fun. Also listen closely to the smooth and rhythmic outro lyrics by Christine Hucal and you’ll hear a clever nod to another Vulf favorite, “Back Pocket.”Dean Town – As much as this seeming Weather Report homage is a showcase for the whole band, its really the Joe Dart show the whole way through. The man is a sixteenth note MACHINE. You get the feeling he could play that complex, syncopated melody for a year straight and never drop a beat. As the song goes on more, members join in on the main riff, proving without doubt how talented and in-sync these musicians are. Among all the intricacy, the tune still grooves super hard thanks to Jack and Theo maintaining a rock solid pocket. This is a “vintage” Vulfpeck performance if there ever was one. This song, along with many others in the Vulf catalog, remind me that you can’t rightly separate one aspect of their presence from the other: listening to the recording alone, you might be fooled into thinking this was one drummer but, the video shows Jack and Theo playing separate parts of the drum kit/lamp. Another example of the attentive listening/watching this group demands.Conscious Club is Vulfpeck’s dance club anthem. Having spent considerable time in Berlin night clubs, I can tell you this track would be right at home. This feels akin to the kind of uplifting dance-pop of Lady Gaga’s “Born This Way” while splicing in the production sensibilities of Quincy Jones. This is especially apparent with the disco strings and Cory Wong’s guitar break which is reminiscent of Michael Jackson’s “Wanna Be Starting Something.” All the while Joe Dart’s warm, round bass tone fills out the sound and gives this song a ton of forward momentum. Jack’s directions to the Conscious Club are, of course, hilarious and will undoubtedly be spoken word-for-word by audiences across the nation during Vulf’s next tour. “Ich Bin Dart!” And in case you forgot just how funky he is, Cory’s outro is the perfect tag to let you know this is still Vulfpeck you’re listening to.El Chepe is a pallet cleanser. It’s no coincidence that this is the longest song on the album. You’ll need a lengthy breather before the second half kicks in. This is a good song for sitting back in your rocking chair and whittling a new toothpick. With so much happening production-wise in “Conscious Club”, it’s refreshing to hear the group lay into the kind of patient, minimalist groove at which they are so adept. This feels like a spiritual sequel to Rango I & II with the country inclination and masterful guitar (Adam Levy) and lap steel (Rich Hinman) work. I absolutely love the muted tone of the lap steel and how it plays against the dirtier, more biting guitar tone. This is also a great showcase for the honky tonk stylings of Woody Goss.1 for 1, DiMaggio – I am a huge baseball fan. YUGE. So when Vulfpeck makes a song about my favorite sport, I get excited. This track is like a mouthful of Big League Chew. I can already see the little league training montage set to this tune. The group’s sense of humor is on full display here with lyrics that are basically groups of baseball buzzwords set to a rhythm. I laughed out loud when Jack said “New York Yonkles” and “Bartoli Colon.” Antwuan Stanley gives a typically powerful performance though he doesn’t have as much room to stretch out here as in the past. I loved how the group dug into the dirty disco groove in the chorus.Sidenote: I’m very glad Woody Goss was mentioned by name in this song because, gosh-dang-it, the man can play. While Cory Wong has, deservedly, gotten a lot of focus as a guest player on this record, Woody remains the glue that holds the sound together. The definition of tasteful, he epitomizes the Vulfpeck philosophy of never doing more than you should to serve a particular song. When he does poke his head out into the spotlight, he creates some of the most memorable licks, phrases, and chords in the Vulf catalog. #woodyforpresidentVulfpeck’s Woody Goss Takes Us Birdwatching, Gives Wild Interview About Burritos And SpaceDaddy, He Got a Tesla – This song is perhaps the most obvious departure from the standard Vulfpeck sound. It’s most apparent in the drum performance. Usually their drum grooves are strikingly simple and crisp, letting the chordal and melodic instruments take up most of the sonic space. Here, though, the drum beat, played by Jamire Williams, is a constant stream of syncopated snare drum and washed out ride cymbal. This is by no means bad, and in fact this is a really cool, experimental, Herbie Hancock-esque song. It just doesn’t really blend with the sound of the rest of the record. I’d be curious to hear this played with a more traditional Vulf drum feel. Its always great to hear from the original Vulfpeck collaborator, Joey Dosik. His alto sax tone has become as big a part of the Vulfpeck signature sound as any full time member.Margery, My First Car – This song is downright hypnotic. In its instrumental form, this was a tune in which you could easily lose yourself. Now, with Christine Hucal’s vocals added, its like walking through a dream. Right from the intro you are transported. Her layered harmonies feel like being draped in velvet, which I would regularly do were it socially acceptable. Meanwhile Cory Wong once again subtly elevates this song with his tasteful and utterly funky guitar work, placed perfectly in the mix. I’ve also always loved the snare drum in this song: it sounds like Indiana Jones punching Nazis.Try something when listening to this one: Close your eyes. Imagine a beautiful person of your preferred gender. All of their features are up to you except this: their eyes are big and bold and deep green. Keep those eyes in your mind. This person is leading you by the hand through a corn maze at dusk, looking over their shoulder at you, giving you the most alluring bedroom eyes you’ve ever seen. What wouldn’t you do for that person?Aunt Leslie – This song feels like a number from a synth-heavy sequel to Fiddler on the Roof performed by a community theater group in Skokie, Illinois and directed by David Byrne. Antwuan really gets a chance to flex his muscles here. In more scaled down and contemplative settings he can perform some serious vocal gymnastics. This is an endearingly honest performance with just the right amount of quirkiness. With a vague and mysterious subject, this song still has the power to evoke a very specific feeling of bittersweet nostalgia. In this way it reminds me of another Vulfpeck classic, Wait for the Moment.Cory Wong – What a way to end an album! You will need a neck brace after this one. As the title implies, this song is all about Cory. After playing a mostly supportive role throughout Game, with occasional shining moments, its great to hear him take the lead and let loose. His Minneapolis and Prince-fueled roots show through here and take this song to incredibly funky places. I can easily imagine Prince’s sexual falsetto quivering over this stanky, Lettuce-reminiscent groove. The production on this track is seamless, totally blurring the lines between the live and studio aspects to supremely energetic effect. I did not want this tune to end. Yet another hallmark of the Vulfpeck catalog is leaving the listener wanting more. I can’t wait to lose my damn mind when I hear this performed live.For advanced listeners: Think of this record as a conversation with Thrill of the Arts. Either track by track or as a whole, there are many parallels, perpendiculars, acute and obtuse angles, mirror images and polar opposites on these two albums. Whether this was by design or purely coincidence (and with Jack Stratton at the helm, its almost never a coincidence) this pairing works incredibly well.Agree? Disagree? Hear something I didn’t? Let me know!
The year of 2016 was certainly an interesting one in the music world. Though many headlines will focus on those who have passed this year, we wanted to reflect on the joyous occasions that music brought throughout 2016. In doing so, we asked a number of musicians to tell us about some of their favorite experiences throughout the year, and will be running features all week to celebrate all things live music.For the first part of this series, we asked, “What was your favorite music festival experience of 2016?” Here’s what your favorite musicians had to say…Karl Denson (KDTU, The Rolling Stones) – I spent two months in South America with the Rolling Stones. It was the most awesome experience of my life. Seeing that part of the world and getting to hear the music that comes from that part of the world was beyond belief. So many surprises.Michael Kang (The String Cheese Incident) – Hulaween Stringier Things SetOteil Burbridge (Dead & Company) – New Orleans Jazz FestRyan Jalbert (The Motet) – We were well into our Fall tour and in the middle of a stretch of 13 shows in 12 days. Coming from a late gig in NOLA the night before, our bus rolled into Hulaween just before our afternoon set on the amphitheater stage. We climbed out of our bunks, slammed some coffee and it was time to set up and rock it. Everyone was groggy, rushed and feeling loopy but sometimes just being in a different head space can really be used to your advantage on tour when you’re playing every single night because. Those pressure cooker situations on tour can really bring out a special camaraderie and this was one of those shows where we really came together and brought it. It was Sunday afternoon but our fans came out swinging, the crowd was massive and the energy was on point.Oliver Wood (The Wood Brothers) – Floyd Fest was especially fun, as were Merle and Del Fests…Neal Evans (Dopapod) – Playing the Dopaquaz Yacht Rock set at Catskill ChillRuss Lawton (Trey Anastasio Band) – Peach Fest. Unfortunately the storm cut into our set time but there was some great stuff happening on stage. I thought Trey’s playing hit another level.Eli Winderman (Dopapod) – Brooklyn Comes Alive. It was so cool to see something totally new in the landscape of live music events. Really enjoyed seeing all of these great musicians out of their shells and doing something different. I also enjoyed the social atmosphere it provides backstage. Bravo!David Shaw (The Revivalists) – Jazz fest, hands down. The weather was great, the line up was killer and I was lucky enough to have a handful of my family in town. For me, it really doesn’t get any better than that.Alric Carter (TAUK) – Jam CruiseSammi Garett (Turkuaz) – Catskill Chill, Lockn’ and Mountain Jam!!Simon Allen (The New Mastersounds) – High Sierra – we were there for the whole weekend. Played a special daytime collaborative event, an evening fest show, a late-night, and a super-fun unofficial campground set. I also got to ride a bike in the beautiful sunshine and watch loads of other great bands including Tedeschi Trucks, Femi Kuti, Greensky Bluegrass & The Motet.Nick Tkachyk (Spafford) – Euphoria Music and Arts Festival. Played a cool stage on the banks of a river. Saw a fish.Craig Brodhead (Turkuaz) – Lockn’Jesus Coomes (Lettuce) – Suwannee HulaweenDave Watts (The Motet) – High SierraMike Gantzer (Aqueous) – It’d be a tough tie between Summer Camp and Electric Forest, at Scamp we had Vinnie Amico of moe. sit in for a raging cover of “War Pigs”, and Electric Forest was unlike any festival I’ve ever been to, plus Joel from Umphrey’s came up with AQ to jam on a tune so that was rad too!Chuck Jones (Dopapod) – Summer CampJP Biondo (Cabinet) – DelFestMatt Gibbs (Evolfo) – Hardly Strictly Bluegrass Festival in San Francisco. It’s the most musically diverse music festival I’ve been to and it’s 100% free. There are no corporate sponsors, no fan VIP areas, and the police/security presence is as easy going as it comes. The crowds are gigantic so that can be a bit overwhelming but the fact that this many people are able to be cool to one another amidst all the partying is something of a miracle.Jeremy Schon (Pigeons Playing Ping Pong) – Peach Festival was probably my favorite of 2016 – had an amazing set by the wave pool and was able to catch a ton of great music, plus the water park is a nice bonus…Scrambled Greg (Pigeons Playing Ping Pong) – I was in the kiddie pool at The Peach when The Primate Fiasco decided to walk into the middle of the pool with their instruments for an impromptu polka jam and sparked an epic dance party. You never forget a tuba in a kiddie pool.Pappy Biondo (Cabinet) – Del FestTony Hall (Dumpstaphunk) – New Orleans Jazz FestRob Compa (Dopapod) – Peach Fest is consistently my favorite. Always a killer lineup, the staff and patrons are always in a great mood and friendly, the catering is awesome, and it’s gorgeous there.Eric Bloom (Lettuce) – Lockn’Laurie Shook (The Shook Twins) – Northwest String Summit and Oregon Country FairCory Wong (Vulfpeck collaborator) – I loved watching Bonnaroo from my computer! Of course I wish I could have been there in person, but it’s so cool to be able to have a glimpse of the experience by watching online.Dominic Peters (Goldfish) – Electric Zoo NYSeth Walker – Bristol Rhythm and Roots Festival. We had an afternoon set where the stars were aligned just so. Really felt connected to everyone that day.T Sisters – FloydFest in Floyd, Virginia was a personal favorite in our festival touring schedule last summer. We had the opportunity to collaborate with some amazing musicians, such as The Wood Brothers, Keller Williams, Leftover Salmon, and members of the Pimps of Joytime and Elephant Revival. The festival felt like a California-style hippie roots gathering in the beautiful mountains of Virginia.William Apostol (Billy Strings) – Albino Skunk Music Festival is my home away from home
Brooklyn-based, indie-folk-rock husband-and-wife duo The Bergamot won each others’ hearts in 2003 as high school sweethearts in their hometown of South Bend, Indiana. Since the band’s inception in 2009, Nathaniel Hoff and Jillian Speece have been sharing their love through music, blossoming beyond their experiences at Indiana University Purdue University Fort Wayne (IPFW) and into the support slots for internationally-touring bands All American Rejects, Young The Giant and Wiz Kalifa. Drawing upon influences such as Pink Floyd, The Beatles, Joni Mitchell, The Dave Matthews Band, Feist, and Ryan Adams, the dynamic duo are on track to release a new album in 2018. Following the release of their latest single “PDR”, the band shares the visual accompaniment today exclusively through Live For Live Music.Having experienced the world together, The Bergamot’s uplifting songs are powered by unbreakable harmonies with seamless songwriting adeptness that combines a story of both the joys and heartaches of life. The Bergamot writes songs that are uplifting, catchy, and downright fun. Jillian’s velvety alto voice blends seamlessly with Nathaniel’s dreamy ethereal vocals creating dynamic harmonies that are apart of their signature sound. Speece and Hoff have an amazing gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy, as exemplified in their newest tune “PDR”. Watch the new video below:“PDR” was recorded in a basement on a kitchen table in Indiana, then mixed by Matt Wiggins (London Grammar, Glass Animals, The Horrors) at The Church in London. The journey of this song and this duo is as unpredictable as it is heartwarming, leading listeners through their rollercoaster experiences in the music industry. The song’s inspiration came at Playa del Rey, a romantic beach town nestled on the south-western tip of Los Angeles where the couple found themselves in their 312,000 mile old “Unity Car” with the window down and the rain falling over their heads.“Life just seemed so confusing at that particular point in time – it was all just hitting us as we sat in silence taking in the swells of the Pacific Ocean on our left and the arriving international flights of LAX over our heads,” reflects Hoff. “Those planes lit up like fireballs falling from the sky.”“Our car was on the brink – WE were on the brink” continues Speece. “We put everything we had into that track… and everything WE DIDN’T!”The song weaves the listener through the idea of “holding on”, while reminding their audience that “with everything uncertain, I think we will be O.K.”. With the swelling guitar, dreamy vocals, and swooning harmonies, the song is best represented as a visual accompaniment to Claude Monet’s “Rough Sea”, attempting to create a sonic seascape of lyrical imagery and instrumental precision.If you’re new to The Bergamot, be sure to catch them live in their remaining 2017 tour dates. See below.The Bergamot Tour Dates:Nov 2 @ Wunderkammer Co -|Fort Wayne, INNov 3 @ Purdue Campus Room SC 239 | West Lafayette, INNov 4 @ Burgie’s | Ames, IANov 14 @ Secret Show | Phoenix, AZNov 18 @ Hotel Cafe | Los Angeles, CANov 25 @ Secret Show | Salt Lake City, UTDec 8 @ Hunt & Gather MKT | Crown Point, INDec 9 @ Secret Show | Grand Rapids, MIDec 15 @ South Shore Christmas | Three Oaks, MI
[Photo: Dave Vann] The annual Dominican Holidaze celebration continues on this week, taking over the Breathless Resort & Spa in Punta Cana, Dominican Republic. Given the nature of the destination getaway, Dominican Holidaze has already hosted a number of special moments and sit-ins, including members of The Motet teaming with both The Disco Biscuits and TAUK on Saturday night.PHOTOS: The Motet Members Join Both Disco Biscuits & Tauk On Dominican Holidaze Day 2Last night, the collaborations kept on unfolding, with Umphrey’s McGee’s Brendan Bayliss joining the Disco Biscuits on a cover of Prince’s “Controversy”. The cover of the title track of Prince’s 1981 album came during the Biscuits’ first set of the night, in the middle of a “Sweating Bullets” sandwich coming out of set-openers “The Very Moon” and “Voices Insane”.You can check out video of this stacked “Controversy” cover below, courtesy of The Disco Biscuits’ Facebook page.Setlist: The Disco Biscuits | Dominican Holidaze | Punta Cana, DR | 12/3/2017Set I: The Very Moon-> Voices Insane-> Sweating Bullets-> Controversy (Prince; with Brendan Bayliss of Umphrey’s McGee)-> Sweating Bullets, And the Ladies Were the Rest of the NightSet II: Morph Dusseldorf-> Basis for a Day-> Catalyst-> I Feel Love-> Orch Theme-> Basis for a Day“Controversy” with Brendan Bayliss
Load remaining images For the fifth and penultimate show of their duo tour, Bob Weir and Phil Lesh arrived at the opulent Chicago Theatre for another round of Grateful Dead music. The duo’s debut of “Estimated Prophet”, the surprise guest sit-ins from Jeff Chimenti, Larry Campbell, Teresa Williams, and Wally Ingram, all highlighted the Chicago Theatre opener.The environment was teeming with good vibes all around, and the duo wasted no time in bringing the magic. The first set was fairly straightforward. With the exception of Wally Ingram, who played percussion on only three songs, the first set was what many imagined when the tour was announced: Phil & Bobby, alone on stage, giving their take on numbers from the Grateful Dead canon. Phil started it off with “Box of Rain”, featuring Ingram on drums, who left the stage to just the two bandmates for the next two songs.”Ramble On Rose”, “Cosmic Charlie”, and “Looks Like Rain” were all gentle versions, with Bob on acoustic guitar. “Looks Like Rain” especially sounded like it was made for no electricity, as the two reminisced the origins of the song: “I remember you bringing this song over to my house on a rainy night in Fairfax, and playing this incredible song right there in my living room. I never forgot that it was very moving,” expressed Phil. “And the cool thing is the bulk of it we wrote over the telephone,” Bobby added, referring to his co-writer John Perry Barlow.The duo’s first time playing “Estimated Prophet” was a unique one, as the strange time signature of the song presented a new composition without the power of a drumkit (and the Rhythm Devils!), though Bobby executed the song’s solos to perfection. Perhaps the most precious moment of the first set was when a child–just barely old enough to walk–pranced onto the stage, almost reached Phil, and then sheepishly pranced back off stage. The crowd noted the child’s curiosity and gave him a big cheer. The Dead family undoubtedly lives on. “Operator” followed and the set closed out with an especially raunchy “West LA Fadeaway”. Watch the first-set opener below, courtesy of nugs.tv.The second set was irrefutably better. The energy level was not even comparable, and this certainly had to do with the guests that Bob and Phil brought out. Joining the two were Larry Campbell and Teresa Williams, who accompanied Bob and Phil in Boston. A piano was sat abandoned for the first set and fans were happy to see that Jeff Chimenti was the one who would occupy it for the entirety of the second set. And with Ingram sitting in as well, the second set gave the audience a full-band setup.Bobby, Phil, and guests opened with a phenomenal version of “Playin’ in the Band”, followed by the revered “Scarlet Begonias” complete with a smooth transition to “Fire on the Mountain”, marking one of the evening’s best segments. It was surprising how many peaks they tried to fit in the buildup of “Scarlet Begonias”, as Bob and Phil continued to lure the other musicians into another round of jamming. In almost rehearsed synchronicity, for the final peak, a balloon slowly floated onto the stage right in front of Phil. Instead of ignoring it, Phil took a massive kick and booted it just as he hit the peak, and the balloon returned from where it came. The transition into “Fire On The Mountain” was seamless, and once they officially began the song, it was just Bobby and Phil for a couple measures before Campbell joined in with a mandolin. Watch the second-set opener below, courtesy of nugs.tv.A spacey introduction allowed the music to settle on “Dark Star”. The vocals were majestic in the song, as first Teresa Williams, then Phil, and finally Bobby took a line in each verse before getting to the chorus. “St. Stephen” was properly juxtaposed to the spacey “Dark Star”, as the familiar guitar lick and sing-along lyrics were open to involve the whole crowd. “A Hard Rain’s Gonna Fall” was unusually placed amidst a set filled with Dead heavy-hitters, but “Bird Song” brought it right back up, and also demonstrated the versatility of Campbell as he used an acoustic cittern for the tune. Finally, a rousing rendition of “Sugar Magnolia” closed the second set with an exclamation point. “U.S. Blues” was a last minute modification to the show and was played in the encore slot.With only one more show on their very brief tour, Bob and Phil showed that they still can bring the magic to the masses. It was great seeing them together on stage, and tonight the two will bring the music for one last time.You can listen to the full show audio below, courtesy of JeffFrank:[Audio: JeffFrank]Setlist: Bobby & Phil | Chicago Theatre | Chicago, IL | 3/10/2018Set I: Box Of Rain pl @ *, Ramble On Rose bw @, Cosmic Charlie bw pl @, Looks Like Rain bw @, Estimated Prophet bw *, Operator pl @, West L.A. Fadeaway bw *, Voter Rap bwSet II [ w/ Jeff Chimenti, Larry Campbell, Teresa Williams & Wally Ingram ]: Playing In The Band bw @ # +, Scarlet Begonias bw # > Fire On The Mountain bw ^, Dark Star tw pl bw > St Stephen bw pl tw > A Hard Rain’s a Gonna Fall bw, Bird Song pl §, Sugar Magnolia bwEncore: Donor Rap pl, U.S. Blues bw*Wally Ingram percussion @ Bobby Acoustic, # Larry Acoustic, + Bobby Electric, ^ Larry Mandolin, § Larry MandolaBobby & Phil | Chicago Theatre | Chicago, IL | 3/10/2018 | Photos: Daniel Ojeda
Have you ever listened to a particularly strange Kanye West interview and wondered, “Hey, I wonder what it would sound like if Australian psych-rock act Tame Impala performed a medley of outlandish Kanye quotes?”No? Yeah, we hadn’t either. But thanks to this video shared by comedy site Super Deluxe, you’ll never have to wonder. The video, captioned “This is what Kanye West would sound like as a Tame Impala song,” pulls together some of the more colorful quotes from Kanye West interviews throughout the years and transforms them into what could very easily be mistaken for an actual Tame Impala tune. The music is credited to Tennessee-based indie-pop artist Nick Lutsko.The result a surprisingly catchy track, and the Tame Impala-style liquid-light psychedelia and various other trippy animated additions make the clip downright hilarious, taboot. You can watch the video below:Kanye West As A Tame Impala Song (Music by Nick Lutsko):[Video: Supreme Deluxe]Tame Impala hasn’t performed in the United States since the Kevin Parker-led project headlined the Panorama Music Festival in New York City last July. The group is set to headline Pitchfork Music Festival on July 20th, 2018 in Chicago and Desert Daze in Moreno Valley, CA from October 12th through 14th. As of now, there are no other Tame Impala dates officially on the books.Kanye West has also remained mostly out of the public eye of late, as multiple reports have confirmed that the’s holed up in a recording studio in the mountains of Wyoming working on his next album, the follow-up to his Grammy-nominated 2016 album, The Life of Pablo. Various high-profile rappers and producers including Nas, Kid Cudi, Travis Scott, and Pierre Bourne have traveled to Wyoming to work with West in recent weeks.A friendly message to Kanye: now that you’ve heard how good a collab between yourself and Tame Impala would sound, get Parker on a plane out to Wyoming and let’s make this happen. What’re you waiting for?[H/T Supreme Deluxe]
Back in March, Vulf Records released a six-track EP under a new moniker The Fearless Flyers. The new band—comprised of Vulfpeck bassist Joe Dart, guitarist Cory Wong, drummer Nate Smith, and Snarky Puppy guitarist Mark Lettieri—has now released all six music video-supported tracks from the self-titled EP. You can purchase/download the full record here.Following the official releases of “Aces of Aces”, “Under the Sea / Flyers Drive”, “Barbara“, “Signed, Sealed, Delivered“, “Bicentennial“, Vulf Records has shared the studio video for “Introducing the Fearless Flyers”, the EP’s third tune. “Introducing the Fearless Flyers” showcases the tight musicianship between the four players, providing the style of playing that fans of Vulfpeck crave from the band’s earlier days.Watch “The Seal Team 6 of funk” go in for studio duty on “Introducing the Fearless Flyers” below:The Fearless Flyers – “Introducing the Fearless Flyers” [Official Video][Video: Vulf]The new-ish project—which is produced, composed, and mixed by the “Vulfmon” himself, Jack Stratton (bandleader/multi-instrumentalist of Vulfpeck)—is seemingly a “2.0” version of the original Vulfpeck lineup. Basically, any musical group under the Vulf Records umbrella will resonate with fans of Vulfpeck, as the brain and tools behind the music will all come from the same place. The Vulf Compressor, indeed, continues its legacy.The full record is available on Bandcamp and features all sorts of musical nuggets. A sped-up, jammed-out, funkified rendition of Stevie Wonder’s “Signed, Sealed, Delivered” appears on the EP, featuring guitarist Blake Mills and gospel performer Sandra Crouch. A secondary version of “Barbara” also appears on the record, featuring Sandra Crouch again on the tambourine, as a follow-up to Vulfpeck’s 2012 Vollmich version of the song. There’s also a “kids” version of The Little Mermaid‘s “Under The Sea”, while “Bicentennial” is a clear continuation of the closing groove from Vulfpeck’s Mr. Finish Line track, “Grandma”. You can own a copy of The Fearless Flyers today for $6, if you didn’t already reserve a copy of the vinyl, here.