Ween continued their reunion tour of 2016 last night, playing a rockin’ brown set at the inaugural Okeechobee Music & Arts Festival. Okeechobee marks the band’s fourth show since reuniting, after breaking up in early 2012. Just a few weeks after a three-night run at the 1STBANK Center in Broomfield, CO, Ween hit the Florida festival in fine form, opening with “Buckingham Green” and jamming out hits like “The Mollusk,” “Spinal Meningitis,” “Transdermal Celebration,” and more. The set closed with a fun “Homo Rainbow,” leaving the Florida fans wanting more.Thanks to Courtney Riley/Boognish Monster 2, there’s full show video from this awesome show. Tune in below:Setlist: Ween at Okeechobee Festival, Okeechobee, FL – 3/6/16Set: Buckingham Green, Roses Are Free, Your Party, The Mollusk, The Stallion Pt 1, Gabrielle, Transitions, Bananas and Blow, Spinal Meningitis, Happy Colored Marbles, Transdermal Celebration, Take Me Away, Boys Club, The Grobe, Did You See Me, Touch My Tooter, You Fucked Up, Big Jilm, Homo Rainbow[Setlist via WEEN Appreciation Society]
The Nth Power came into rainy Columbus last night for an evening of funk and soul that dripped from the ceiling of the local favorite Woodland’s Tavern.Fool’s Paradise Announces Artist-Led Excursions With Members of Lettuce And Break ScienceThe night was filled to the brim with songs on the the band’s 2015 release Abundance, the name of their current tour, and those in attendance loved every second of it. Starting the night like the album, bassist (and groove/funk master) Nate Edgar laid down the groove from “Intro” leading into “Only You,” showcasing some funky synth work from keyboardist Courtney “Jay-Mel” Smith.The band shifted gears at bit moving into “Waiting > Holy Rain” a sound which signer/guitarist Nick Cassarino noted evolved from hip hop roots. For those who’ve followed the band prior to their latest release, the crowd was treated to “Spirits” featured on their 2014 release Basic Minimum Skills Test and the 2013 single-released “Thank You”. The powerful connection of drummer Nikki Glaspie and Edgar could not be ignored during this stretch of music. Cassarino would then show off his guitar shredding ability and “man the fuck up” with “Walk on Water” for one of the quintet’s highest points of the evening.The Nth Power To Play Earth Wind & Fire Tribute With Members Of Dead & Co, TTB And More During Jazz FestRiding that high tide, the band would follow the next 20+ minutes with arguably their most popular tune “Only Love” with a percussion-heavy back end that would lead into “Wolosodon” featuring the talents of West African master percussionist Weedie Braimah for an electrically charged conga solo.The band would continue to show off each of the members strengths as grooves mixed with vibrant solos playing through “Home”, “Soul Survivor”, ending the set with “Right Now,” all featured on the latest album release. The crowd demanded more and the group heard them, treating them to an encore performance covering The Beatles “I Want You (She’s So Heavy)”.For those who love The Nth Power’s sounds, don’t miss them at the inaugural Fool’s Paradise event. Hosted by Lettuce, and featuring performances from Vulfpeck, Chris Robinson’s Soul Revue, GRiZ, Goldfish, Break Science and more, it all goes down from April 1-2 in. St. Augustine, FL. This is sure to be quite the fun festival, so don’t miss out! Tickets are available here.Setlist: The Nth Power at Woodland’s Tavern, Columbus, OH – 3/11/16Set: Intro, Only You, Waiting > Holy Rain, Spirits, Thank You, H2O, Only Love > Wolosodon, Home, Soul Survivor, Right Now,Encore: I Want You (She’s so Heavy)
Eventually, Snoop caught on to his mistake, saying he “steve harveyed” the situation but plans to visit soon. From there, someone from the city must have caught on to the mistaken tag, because the website Visit Bogota was launched shortly thereafter. With the tagline “Snoop Dogg checked into Bogota, Mures by mistake, but you don’t have to,” the owners were hoping to drive tourism based on a mistaken Instagram. Brilliant.Here they are on Facebook, advertising with the phrase “Get chillin’ this weekend in Bogota!” Snoop Dogg and the small city of Bogota, Romania have had one of the most intriguing social media exchanges we’ve witnessed in a good long while. The whole thing started a few days ago, when Snoop tagged himself in what was assumedly meant to be Bogota, Colombia. Here’s the Instagram post that started it all: Get chillin’ this weekend in Bogata! We hear the weather’s gonna be around 8-10 degrees and sunny, so pack your bags for…Posted by Visit Bogata on Friday, March 18, 2016 So, be sure to #visitbogota!
As per annual tradition, Phish returned to the Saratoga Performing Arts Center for three nights of pure jamming. Now a few shows into their summer tour, a return to SPAC over July 4th weekend signaled a homecoming of sorts for area fans. How would Phish fare for their return to SPAC? Through the first notes of “Stealing Time From The Faulty Plan,” the band never relented, bringing some nonstop energy throughout their jams.Whether it was the attacking Halloween instrumental “The Birds” or the classic “NICU,” the band has been locked and loaded for this first set. After those two, it was the tour debut of Talking Heads’ “Cities” and “David Bowie” that kept the crowd moving and grooving. The “Free” next in the setlist was some great rock, before Mike Gordon took the reigns on a bluegrassy “Uncle Pen.” The standard Americana piece was busted out on the tour opener, and brought a lighthearted moment before the band broke into “Halfway To The Moon.” They took their time, as the Page McConnell original was nicely developed with some great guitar work.The set continued with a new song debut, a lighthearted funky number called “Let’s Go,” marking the 7th debut of tour. The Gordon-led vocal track was catchy an even featured some rapping from the bassist.After a cool down moment in “Waiting All Night,” the group kept the set going with classic Phish tune “Bathtub Gin.” The nicely stretched out version brought the set to a frenzy before bringing out a raging “Golgi Apparatus.” Trey Anastasio proclaimed the set over before being convinced into one more song: “The Squirming Coil.” Set two raged on with some of the best jamming that this summer has offered. Phish opened up their second half with “Sand,” kicking into some funk before taking things up a notch with “Carini.” They took the darker jam into lighter places before segueing into “Chalk Dust Torture.” This was probably the improvisational highlight of the night – and possibly the tour – as the 20+ minute version saw the band move seamlessly through ideas before finding a groove. Locked in, it was Anastasio who put down his guitar and jammed on the marimba lumina. Gordon then abandoned his bass for some low end workings on the piano, joining McConnell behind his rig. The instrument swapping finished after one piercing bass bomb.Once the jam had ended, the band broke into “Prince Caspian.” Some melodic soloing found the band working into “Bug.” The slower song rocked the crowd before the band broke out into The Rolling Stones classic, “Shine a Light” and bluegrassy Phish tune, “My Sweet One,” courtesy of a fan’s sign request. Instead of ending the song with its traditional “name” lyric, the band played the opening notes to “Sleeping Monkey.” Within the introductory bars, the band began making jokes on the word name, even referencing Destiny’s Child’s hit song “Say My Name.” Full of jokes, the band kept things lighthearted.The rest of the show truly rocked, with the set ending run featuring “2001” and the classic Jimi Hendrix tune, “Fire.” With one more song, Phish brought out “Character Zero.” What a show! Fortunately there are still two more nights to come.Full Show VideoCheck out the full Phish.net setlist below, as well as a full gallery from Andrew Scott Blackstein Photography.Setlist: Phish at Saratoga Performing Arts Center, Saratoga Springs, NY – 7/1/16Set 1: Stealing Time From the Faulty Plan, The Birds > NICU, Cities, David Bowie, Free, Uncle Pen, Halfway to the Moon, Let’s Go, Waiting All Night > Bathtub Gin > Golgi Apparatus, The Squirming CoilSet 2: Sand > Carini > Chalk Dust Torture > Prince Caspian > Bug, Shine a Light, My Sweet One, Sleeping Monkey > Also Sprach Zarathustra > FireEncore: Character Zero Debut Trey on Marimba Lumina and Mike on keys.Notes: This show was webcast via Live Phish. This show featured the debut of Let’s Go. Chalk Dust Torture featured Trey on Marimba Lumina and Mike on keys. Load remaining images
It’s been 15 long years since 9/11, as New York City continues to rebuild its World Trade Center area. The construction of the One World Trade Center, aka The Freedom Tower, was completed in November of 2014, and the National September 11 Memorial & Museum officially opened back in 2011. There’s still one component from the area that has yet to be finished: the Ron O. Perelman Performing Arts Center.At the onset of construction plans, a Performing Arts Center was an intriguing idea that struggled to move forward. Marred by false starts and redesigns, it seemed the building would never come to fruition. That has all changed now, according to a report by NY Curbed, as the building is set to open as a performing arts space in the year 2020.It was the design firm REX that won the design competition for the new Performing Arts Center, mixing classical elements with a modern touch. You can see the design plans in this video, below.The building is a slightly-off-center box shape, which uses thinly-cut marble (it’s so thin that it’s translucent) on the exterior. Not only that, but the marble will be pulled from the same quarry that supplied the Jefferson Memorial and the Supreme Court Building – making it an instant landmark for that historical reason alone. The marble is then housed between two pieces of glass, both insulating the building and protecting the material from corrosion.Inside, the flexible nature of the room will allow for many different types of concert settings. According to Curbed, “the production level’s three performance spaces and seven movable acoustic walls will allow for 11 different configurations that will house everything from intimate shows sans microphones to rock concerts attended by 1,200 people.”The new building is set for a 2020 release date, and the design team is already optimistic that the new building will soon become one of the premiere performance spaces in the world. We can’t wait for this beautiful landmark to grace New York City and the World Trade Center.
The Z3 is a Northeast-based power trio who perform “Funky Takes on Frank [Zappa].” The band, featuring Tim Palmieri (guitar, vocals) and Beau Sasser (keyboard, vocals) of Kung Fu and Bill Carbone (drums, vocals) of Max Creek, Zach Deputy’s live band and others, plays all Zappa, but isn’t a “tribute” in the usual sense of the word.“Basically, we aim to melt 21st century dance floors with Frank’s music,” says Palmieri, the band’s de facto front man. Drummer Carbone adds, “and we definitely embrace the spirit of Frank’s live shows–you know, the banter, the politics, all that–but we’re doing it with the things that are happening around us now.” Anyone who has seen Palmieri and Carbone slip into on-stage character as “guitar man” (a no good liberal) and “the devil” (a conservative, obviously, complete with a shitty mask) for the extended dialog of “Titties and Beer” would likely agree.The Z3’s fresh take on Frank hasn’t gone unnoticed by Zappaophiles either: they’ve performed twice at the Zappanale fest in Germany, and hosted FZ alum such as Ike Willis, Ed Mann, Denny Walley and others as guests.The band’s new EP, Zappa Probably Would Think You’re Stupid, showcases The Z3’s knack for rearrangement. “Fifty Fifty” becomes an organ-funk tour de force; something from the prog rock album Soulive has yet to record. “Village of the Sun” also shows the band’s soul jazz roots—Sasser and Carbone spent years as 2 of the 3 members of the Melvin Sparks Band—and grooves with a sweet spank reminiscent of the jam session Zappa and George Benson never had. The band’s touch is nowhere more evident than on “Absolutely Free,” a Zappa ode to American consumerism and conformity, which they’ve changed from ¾ to 4/4 time signature, funked up and peppered with three part vocal harmonies. Finally, the full peacock tail is unfurled on “Flower Punk” as Palmieri achieves heights of epic banter, working himself into a petulant frenzy as he verbalizes his imagined life as a truly liberated hippy, all atop of a never-ending guitar solo.You can stream the new EP below, or head here to download it.The band’s current tour stops include Thursday Nov 17 at Gypsy Sally’s in Washington D.C., Friday Nov 18 at Jamsgiving at Paul’s Tavern in Lake Como, NJ and Friday December 16 at Pacific Standard in New Haven, CT.
Trent Reznor, the self made god of rage, is facing middle age and seeing the world through far calmer and wearier eyes on the newly released EP, Not The Actual Events. Nine Inch Nails personified the industrial music genre for most of America, with Reznor’s tortured vocals giving voice to the angst of a generation seeding the emo movement that followed. NIN’s formula of layered, clamoring beats, distorted instrumentation and breakneck tempo changes coupled with martyr complex imagery laden lyrics struck a chord in millions of disaffected souls.Time, as always, dampens the fires of youth, and even the patron saint of furious self loathing has found himself adrift and reflective on his latest release. Having slowly turned to more dark and expansive psychedelic scores on NIN albums, starting around the turn of the century, the music on the Not The Actual Events seems to come from a place of loss.Listen to the album below, and follow along with our full length review.“Branches/Bones” has the spacey disco beat and the waves of distortion of instrumental tracks we are used to, but the impetus behind the tracks sounds hollow. The build and release style that so exemplified the sound of most bands in the nineties is still present, but the peaks are far less grand and the valleys somehow less shallow. Gone is the wild abandon as Reznor flatly intones, “Parts of me are slowing down but time is speeding up.” When previous songs seemed to capture the firey pulse of a madman now we seem to be hearing the creaks of a man struggling to rise in the morning to face the day.On “Dear World,” he drones “I can’t concentrate,” a far cry from the mad focus of previous works. The sudden timing changes that, in the past served as much needed momentary respites from the jackhammer beats, now seem like chances for the artist to catch his breath. The unified hollowness of “She’s Gone Away” is impressive from a songwriting perspective. Based around a open and atmospheric low grade sonic howl, Reznor laments that he “Can’t get the feeling back” before repeating “She’s gone, she’s gone…she’s gone away.”“Idea Of You” (ft. Dave Grohl) seems to function as an approximation of an early era NIN song. Again the lyrical outlook spells out the conceit of the song, as the listener is asked to “Just go back, go back with me.” As the track unfolds it does seem that the old fires can be stoked when needed, though clearly the embers are weakening. The flames of creation are the focus of the final track on the EP, “Burning Bright (Field Of Fire).” Hiding his voice in echo and distortion has been a staple of Reznor’s work, but on this last track it seems to more embody the fading momentum of life. Dave Navarro also contributes to this last track.Though many musicians have helped Reznor realize his musical visions over the decades, it was always very clearly his pain and rage we were sharing. That he is also willing to open up about his current failings and fading passions is an impressive choice. The problem lies in the inherent lack of inspiration that comes from making music about losing interest, as it invites listeners to lose interest as well. Not The Actual Events is an unique take on aging from a completely unexpected source. At the bottom of the downward spiral there appears to be nothing but a vast bleak landscape that NIN finds themselves, lost and alone.
John Mayer released The Search For Everything today, four years after his 2013 Paradise Valley. While the time gap is not suggestive of Mayer taking any sort of musical break, it’s clear, through these twelve tracks, that the time was spent working on himself. In a new interview with NPR, Mayer describes the destruction of fame, living in the public eye, and how he got over it. “Just die and come back to life,” he says emphatically.These new tracks paint the picture of an artist seeking to relate to the many, rather than the one. This is his “version” of a pop record, but he’s not writing pop music – per se. It’s a personal reflection not of his musical abilities, but of his inner quest to better himself. He speaks eloquently of the sparks of inspiration, finding himself writing pages and pages while standing in a bathroom, or spending Christmas alone in an RV in Joshua Tree, just purging. This record seems to be the culmination of these experiences, and the difficulties that have shaped his hardships. “Your true life exists in between the period of time where you stop being an ass and something kills you. That’s your life, and I just started my life,” he says.Listen to the record below:While several of these songs were released in February and have been displayed on his current tour, there were a few new tracks that explain a lot about Mayer’s contemporary moment.About “In The Blood,” he says, “I guess I made a deal with myself that if I was gonna go that honest on a song, I wasn’t gonna necessarily be a liability to it and color it in. But suffice to say that when I heard that one come back, it was like, holy — had a fist in the air.”He continues, “When you’re writing, you’re just trying to hear a part of yourself that you can identify — identify itself to you. When I listened to that back, it was like an anthem for me, about me, and I went — I just had a fist in the air for any time it would play, I’d just be like — there it is.”About “Theme from “The Search For Everything”, he explains, ” I wrote this instrumental on Christmas Day in Joshua Tree. … I had this RV, I drove it out to Joshua Tree ’cause I had nobody and nothing. I was like — I’m gonna go to Joshua Tree for Christmas, I’m not gonna be sad in an environment that reminds me of a thing I don’t have. I’m going out in the middle of nowhere. And I wasn’t sure why I went, and once I got there I was kind of upset. It was really windy, I was watching The Big Lebowski in the middle of nowhere. Nobody was there, there were no bonfires.”He continues, “I thought maybe there’d be bonfires and a world of disenfranchised people meeting together — nothing, it’s a parking lot. … I woke up Christmas morning, and I had brought my ProTools stuff and my little recording rig, and I just started playing the guitar. And I was staring at Jumbo Rock right out of the window of the RV, and I just sat there and played this melody. And then I forgot about it. And then I opened up my computer one day and played it back and I went, “Oh, this is beautiful.” ‘Cause I drove away from Joshua Tree going, “Nothing happened this week, this was some sad-sack stuff.” And then when I laid it out as a song and played it, I went, “Oh, this is gonna go in the middle of the record.”Mayer goes on to reveal: “I will say one more thing that people don’t know about the record. The record started with this poem, and the poem’s in the middle — there’s a much longer poem that you will see more of in the future.”“It says, ‘How sad it is that time should pass, her majesty the hourglass. We take the sand of bygone years and make mud of it with all our tears. What is now compared to then and will I ever love again? The answer to that question brings the endless search for everything.’ And the day I stood in a bathroom and I stood there for one hour … and I just kept writing, kept writing, kept writing, kept writing — and these little couplets and — and I was like, “Oh, that’s the mission statement for this record.”And here we are. John Mayer is very much John Mayer. He is not the pop icon he once was, he has not gone fully Grateful Dead, he is not trying to be Neil Young, or anyone else for that matter.Mayer is currently on his The Search For Everything websitetour, performing multiple sets with a full band, one with the Trio, and one acoustic. For more information, head to his .Read the full interview on NPR right here.
At the start of the month on June 2nd, The Motet took over the legendary Red Rocks Amphitheatre outside of Denver, Colorado, for an epic night of tunes. As a band born out of Colorado, the group’s annual return to Red Rocks is always a highlight of the summer, with the funk act forever drawing out the crowds as a hometown favorite. For this years Motet Red Rocks showing, the band also tapped The California Honeydrops and Jurassic 5 to join them as support — also making possible one of the highlights of the night, when Chali 2na of Jurassic 5 sat in with the group during their excellent cover of Curtis Mayfield’s “Thankful.”Phishin’ with Ryan Jalbert: That Time When The Motet Guitarist Saw Trey ShowerToday, The Motet released a recap video of this year’s Red Rocks show, which lets fans near and far relive the magic experienced on the Rocks that night. Set to the group’s latest single, “Supernova,” the video captures the infectious energy from the evening and leaves us eagerly waiting for Red Rocks 2018. You can check out the video for yourself below, courtesy of the band. After watching the video, for those of us who can’t wait until our next Motet show, you can catch the group when they hit the East Coast for a Phish Baker’s Dozen late night at BB King Blues Club in New York City on Friday, July 21st. Plus, it was just announced that the ever-wonderful vocalist and trumpeter Jen Hartswick will join the crew for the night, making for a very special evening of music that you won’t want to miss. Tickets for The Motet with special guest Jennifer Hartswick post-Phish are available here. You can also check out the other shows Live For Live Music has in store to keep the party going during Phish’s Baker’s Dozen run by checking out Our Complete Guide To Baker’s Dozen Late Nights![Photo: Brittany Teuber]
Inspired by the vibrant musical communities of Brooklyn and New Orleans, Brooklyn Comes Alive is set to take place across three venues in Williamsburg, Brooklyn (Brooklyn Bowl, Schimanski, Music Hall of Williamsburg) on September 23rd and 24th. The unique homegrown event puts the focus on the musicians, curating dream team collaborations, tributes, and artist passion projects for two full days of incredible music both new and old.The 2017 lineup is set to include hand-selected band lineups featuring all-star musicians like John Scofield, George Porter Jr. (The Meters), Vinnie Amico and Al Schnier (moe.), Bernard Purdie, Kofi Burbridge (Tedeschi Trucks Band), Joel Cummins, Ryan Stasik, and Kris Myers (Umphrey’s McGee), Aron Magner and Marc Brownstein (The Disco Biscuits), Mike Greenfield and Jesse Miller (Lotus), Jason Hann (String Cheese Incident), Alan Evans (Soulive), Cyril Neville (Neville Brothers), Henry Butler, Jon Cleary, Reed Mathis (Electric Beethoven), Michael League, Nate Werth, Chris Bullock, Robert “Sput” Searight, and Bob Lanzetti (Snarky Puppy), Jennifer Hartswick and Natalie Cressman (Trey Anastasio Band), and scores of others! ***Tickets Are On Sale Now!***Brooklyn Comes Alive is now offering single day tickets, as well as a ticket payment plan for as low as $30/month. When checking out, just select “Monthly payments with Affirm” as your payment method. To find out more about ticketing, VIP options, and lodging, head to the festival website. As you’ve no doubt heard by now, Brooklyn Comes Alive is back and bigger than ever this September. The unique homegrown event has curated an extensive lineup of dream team collaborations, tributes, artist passion projects across three popular Williamsburg, Brooklyn, venues (Brooklyn Bowl, Music Hall of Williamsburg, Schimanski). But for its third annual edition, the festival has expanded to two full days of music featuring 100+ artists in 35+ group configurations spanning a vastly diverse spectrum of genres and styles. Today, we’d like to shed a little light on Future Folklore, a special collaboration that folks will not want to sleep on.For Future Folklore, Luke Quaranta of Toubab Krewe and Weedie Braimah will bring together artists from Mali, Senegal, Ghana, and American artists studied in West African music pay tribute to traditional Mandé folklore. The pan-west African djembe ensemble of drums will take center stage with Braimah on lead djembe, Quaranta on dunun & kenkeni, and Themba Mkhatshwa on sangban. Magatte Fall will add the Senegalese sabar drum and tamani, as well as djembe, while Nate Werth brings congas and percussion into the mix. MonoNeon—the last bassist for the late musical legend, Prince—is set to hold down the low-end on bass, adding a special musical element to this worldly music extravaganza.Weedie Braimah Djembe Solo[Video: Barry2theB]The over 800-year-old djeli (griot) tradition of West Africa consists of a network of families, musicians, and praise singers who act as historians and carriers of the culture. Also on tap are Yacouba Sissoko and Abdoulaye Diabate, who come from two famous djeli families, Sissoko and Diabate, respectively. Both from Mali, the two are amongst the foremost djelis living in the United States today. Yacouba plays the kora, a 21-string harp lute played for nearly a thousand years, and Abdoulaye is a singer in the djeli tradition. In addition, Raja Kassis will be on electric guitar, bringing a myriad of experience in West African styles, specifically the modern Senegalese style of mbalax music. Rounding out the lineup is Sam Dickey. He is steeped in the music of Mali and will play another harp lute central to the djeli culture, the djeli ngoni, and some guitar as well.Clearly, Future Folklore is set to be a truly special set, gathering musicians from around the world to celebrate the sounds of West Africa. The show’s musical directors, Weedie Braimah and Luke Quaranta, are two of the most renowned players of West African music in the United States. When asked about his upcoming Future Folklore set, Weedie Braimah said, “This show brings djembe to the forefront. I want to show people what this music is about and how we are moving it into the future. For too long as percussionists, we are the last one hired and the first one fired. Percussive music of Africa and the Caribbean is at the root of much of American music, so I want djembe and djeli music to be respected and understood in this country.”Luke Quaranta adds, “Many of us in this group share in common the experience of playing West African traditional music here in the US. Yacouba and Abdoulaye were born and raised in Mali of djeli families now living in the U.S.; Magatte from a Senegal family raised with a strong connection to his djeli roots in Los Angeles, California; Weedie, born in Ghana, grew up playing traditional music in St. Louis; Themba was born in Baltimore raised and trained in African drum and dance ensembles; and Raja, Sam, and I were raised in the U.S. and collectively have taken over a dozen trips to West Africa. So I think all in our unique way we are part of this tradition and moving it forward in this country. Add Mono and Nate who are both masters of their craft and who also play percussive-centric music in Ghost Note, and I think it is a very interesting group of artists to bring together to present this music.”