As per tradition, Phil Lesh will celebrate his birthday at the Capitol Theatre in Port Chester, NY. The Grateful Dead bassist will step into his 77th year around the sun with three nights of music alongside some very special “Friends.”From March 15-17, Lesh will be joined by vocalist Joan Osborne, guitarists Stanley Jordan and John Kadlecik, keyboardist Jason Crosby, and drummer Mark Levy. Tickets and more information can be found here.Relive some of the glory from last year’s birthday celebration, which featured the “Almost Q,” a lineup with Warren Haynes, Rob Barraco, and John Molo, as well as Lettuce/Soulive axe player Eric Krasno, below. Watch “Althea” > “Bertha”:
Every year, The Roots host an all-star musical celebration for Roots Picnic in Philadelphia, PA. Set for June 3rd, the festival has just revealed a great lineup filled with talented performers.This year, The Roots will headline with a collaboration featuring Pharrell, but that’s not all! Lil Wayne, Solange, 21 Savage, Kimbra, Black Thought & J. Period Live Mixtape feat. Fat Joe, Mobb Deep & Scott Storch, Thundercat, Virgil Abloh, Michael Kiwanuka and more are all set to perform!Check out the full lineup below, and head to the Roots Picnic website for details. The lineup for the newer New York edition of Roots Picnic has yet to be announced, but will be taking place on October 1st and 2nd.
Manic Focus recently released a full-length album Minds Rising. The LP is an infectious encapsulation of Manic Focus’ roots in funk, soul, new-era hip hop, and electronic music. The album is an artful curation of the burgeoning Chicago music landscape and beyond, featuring appearances from cutting-edge hip hop artists, vocalists, producers, and musicians from across the country, including the percussive genius of Adam Deitch (Lettuce, Break Science), powerful vocals of Jennifer Hartswick (Trey Anastasio Band), and meticulous production of Late Night Radio, who all join forces on the album’s soulful lead single, “Stronger.”ProbCause lays down heavy bars on the trap anthem “Putting All Of My People On.” Russ Liquid backs “Habit” with a funky New Orleans style three-piece horn section, while emerging hip hop group the RapperChicks deliver witty, earth-shattering verses and a captivating chorus to round out the track. Brooklyn based musicians Exmag and Borahm Lee (Lowtemp Music, Break Science) harmonize on “Your X Now” to bring space jazz rhythms and twinkling piano elements to Manic Focus’ stellar composition. Other collaborations include features from future bass producer Psymbionic on “Pushing,” rising Chicago stars Statik on “Stochastic Resonance,” Carlile on “Timeless,” and the razor sharp lyricism of Chicago rapper Psalm One on “Joy In the Noise.” Stream the new music below:
When Phish fans think of the song “Squirming Coil,” the first name that comes to mind is Page McConnell. The other band members generally leave at the end of the song, allowing the keyboardist to tickle the ivories of his grand piano for one last heavenly solo from Leo.On September 3rd, 2016, however, it was bassist Mike Gordon who got the final curtain call. Played in the encore spot, Gordo took the final solo for the first time ever, bringing the house down with a combination of tight licks and bass bombs for the enthusiastic crowd at Dick’s Sporting Goods Park.Thanks to a video from YouTube user kembra allen, we can watch Gordo put a dramatic finale to a fantastic Phish performance. Watch “The Squirming Coil” with an epic bass solo, below.Listen:[Photo via Jeremy Scott]
Prior to the show, Stephen Colbert and his crew shared a mock rider from the band on their social media accounts, which hilariously pokes fun at the rockers for making absurd requests of their fans at the private release show. At least one of the requests, that Stephen Colbert keep a can of Chemistry energy drink on his desk throughout the taping, was followed through on. Check out their post below, and see Arcade Fire’s initial dress code requirements from last week. Arcade Fire’s Album Release Party Requirements“PHONE-FREE VIEWING EXPERIENCE:No cellphones, cameras or recording devices will be allowed at this show. Upon arrival, all phones and smart watches will be secured in Yondr pouches that will be unlocked at the end of the show. Guests maintain possession of their phones throughout the night, and if needed, may access their phones at designated Yondr unlocking stations in the lobby.WHAT TO WEAR:Our dress code is HIP & TRENDY as if you are going to a concert or night out with friends! The event is standing-room-only so please plan accordingly.PLEASE DO NOT WEAR shorts, large logos, flip flops, tank tops, crop tops, baseball hats, solid white or red clothing. We reserve the right to deny entry to anyone dressed inappropriately.Listen to the new Arcade Fire album here. Arcade Fire returned to our ear buds with new music last week, after four years of studio silence. The arrival of Everything Now was celebrated with an intimate club show in Brooklyn, New York last week, which invited guests to attend with a required dress code that caused some controversy pre-show. The show went on, after the band announced “you can wear anything,” and it was glorious.Last night, Arcade Fire stopped by the Late Show with Stephen Colbert to perform “Everything Now” and “Creature Comfort.” Their performance began with a pretend infomercial promoting a pretend corporation called “Everything Now,” to continue their anti-consumerism themes from the album. See both performances below:
To say that guitarist/vocalist Jackie Greene has led a charmed sort of musical life is a bit of an understatement. He’s payed with everyone from Phil Lesh to the Black Crowes to Huey Louis, and has managed to make some impressive music of his own along the way. After years of near-constant motion, Greene purposefully scheduled himself some time off this summer both to prepare for his upcoming acoustic run with Anders Osborne and to work on new material, some of which will be appearing on his upcoming EP, Modern Lives Vol I. As he puts the finishing touches on the new release and gears up to return to the road, we caught up with Greene to see how all his various endeavors are progressing:Live For Live Music: You’ve toured with Gov’t Mule, Los Lobos, Phil Lesh, Ratdog, Huey Lewis, B.B. King, Mark Knopfler, Black Crowes, Levon Helm…Do you ever consider yourself something of musical ‘Rosetta Stone?’Jackie Greene: No, I just see myself as a lucky guy. All those acts are mostly connected in a way. To me, it doesn’t seem weird to be connected to all those acts. Like I said…I just see myself as lucky. I can’t really account for the reason why I am so lucky. In the end I guess I just say ‘yes’ a lot.L4LM: Having played with so many disparate artists have you developed a process for preparing for playing with these folks.JG: Well in the case of the Crowes, I was actually in that band, so I had a whole catalog of songs to learn. But I have gotten pretty good at learning material on short notice. Maybe it’s just the way I learn. Like right now I am playing bass on a record, which I have never done before, so that’s pretty exciting. I’ve got a knack for learning songs, I suppose.L4LM: You’ve spoken of your tendency to pick up elements and traits of artists you work with. Is your whole career like a musical version of Pokémon, where you’re trying to catch them all to make yourself the best you can be?JG: No, I think that just happens naturally. I don’t really seek it out, but it is definitely there. If you’re a musician you learn from listening to people, listening to records and just playing with people and incorporating into your own style. I love all that stuff and I try and use all of it. I feel like in some ways you’d have to be pretty dense to not have learned something playing with all the people I have. I think it would be a failure on my part to not come out of this decade of my life and not have learned anything.L4LM: You’re putting together all of this knowledge on your upcoming album, The Modern Lives Vol I. You’ve seen a lot of change over the last decade or so in the music business. What changes have affected you the most?JG: The technology aspect of it can’t be discounted. It’s weird. It is much more difficult to make a living selling recorded music. But access and ease of recording music has gotten so much easier. There is just this wealth of knowledge to swim in. It’s a sign of prosperity in terms of artistic endeavors, but it has made it harder to find folks who can make a good living at it. But–and I think this is true for all artists–you have to swim in the pond in which you were deposited. For me…I just continue making music the best way I know how. That may change over time. I don’t think about it to much. I don’t let it affect my process.L4LM: One of the pluses of all this new technology is how easy it makes things for artists who like to ‘do it all.’ You seem to have taken this to heart on Modern Lives. I understand you did pretty much everything on this EP yourself, is that right?JG: Yeah, I played every instrument myself. I did everything but mix the record myself. I did everything in my basement in Brooklyn myself. I even did the engineering…if you can call it that, myself. This isn’t really that big a stretch for me. There is a homemade element to a lot of my records that has been there since day one. It’s a part of my aesthetic you could say.There has been at least one or two songs on each record I have done that has been like that, even if I cut it in a big studio. This is just the first time where everything has been like that. I have always been interested in recording, ever since I was a kid and got my first four track recorder. I’d link two reel-to-reel recorders together to get more tracks. It turned into a part of my songwriting process. I’d make a demo of a thing I am working on. A lot of the time I’d end up using at least part of those demos in the final recording. It’s not something that is new to me. This is just the first project where everything in it is all me from the ground up. I’ve always had some form of a home studio. It’s how I like to work. It’s just so much more easy for me to just go around to all the different instruments and work on it until I am happy.L4LM: It makes writing the album liner credits a lot easier, I assume.JG: [Laughs] Definitely.Check out the video for “Modern Lives” featuring animation by the legendary artist Bill Plympton below:L4LM: You’re a big proponent of limiting creative choices to spark the artistic process. Do you believe having less options makes you get more creative?JG: I think that is a universal truth…You see it in all cultures, particularly when it comes to art. This is just me, my philosophy. There are plenty of people who have done great records and art with all the gear in the world. I like gear too, certainly. But there is a point, to me, when it becomes unnecessary. Sometimes you just have to look at what you have on hand and make something happen. When I was recording in the past I was using the tape machines, and you had a limited number of tracks and you had a lot of decisions to make. I am a big fan of committing to things early in the process.By way of example…if there is an effect like reverb or delay that I really like for a part of a song, I will print it. That’s what it’s called when you add something like that, printing. I’ll do that early on in the process, so then it stays. It is always there. To me, making decisions early can help expedite the process. If I was to not make these commitments early, I would be stuck at the end making thousands of decisions and that kinda bums me out…It transcends disciplines. It’s basic simplicity.L4LM: You put a “Vol. I” in the album title. Is this a true indication of a coming sequel, or is this a “History Of The World Part I”-type thing where it is just part of the title?JG: Yeah, hopefully part two will be out in the winter. This is an EP, there are six songs on it. Originally I was gonna put this out all as one record, but there were a couple of tunes that I wasn’t quite finished with yet. When I was looking at what I had, I realized that these six go together pretty well and the other six work well together also. It became pretty clear that what I ought to do is put it out as two separate EPs.L4LM: You’re releasing this on the Blue Rose Music label out of California. They do a lot of interesting charity work. How did you first get involved with them?JG: I played one of their benefits a while back and the owner, Joe Poletto, has become a really good friend of mine. Now we are in business together. It was a truly organic relationship that started out there in Petalula.L4LM: Blue Rose does a lot to help the next generation of musicians. Was that the attraction for you?JG: Definitely a big part of it. The last benefit we did was tied into started a music scholarship for kids in Sacramento, where I am from. Music programs in schools are pretty much always the first thing to get cut [when budgets decrease]. Who the hell needs that right? But it turns out that music programs are good for more than just music.Music is really important to the development of the brain. Sadly, I think mine is one of the last generations to be assured of having a music program in school. Even as basic as those programs are, they introduce kids to the idea that there are other ways to succeed in life. That is my angle on all this–to help kids see that there is more than one way to go.L4LM: You just mentioned you were in the studio playing bass on a project right now. Are you going to get out and promote the EP with some shows?JG: My friend Anders Osborne and I are going to be playing some acoustic shows together in October. Pretty much all of October I will be promoting that. It’s basically us, acoustic. Maybe I’ll bring a banjo. We did a few shows together earlier this year and people really liked it so I am excited to get out and do it again.This summer in particular I have been taking a lot of time off to make some new recordings. I am starting to write songs for another record next year with my touring band that will be a straight rock and roll record. It is nice to have some actual time off to write and just be in recording mode for an extended period of time.Check out a clip of Greene and Osborne performing “Ball And Chain” from their short run earlier this year (via Salt City Live):L4LM: Now that you mention it, you do always seem to have a show around the corner. Is this your first really long break from the road?JG: Absolutely. At first it was weird. I didn’t really know what to do with myself. In the past it has been that I had songs that I wanted to work on but no time to do it. This summer I have had enough time to work on things. It was scary at first but now I really like it. And I will have a lot of new tunes to share.L4LM: Is it ever weird introducing songs you have written all alone to the musicians who will be backing you up on them?JG: Not really. I am not that particular, and my band is really great. Sometimes I have to re-learn these tunes myself. I think after this time off it will be great to take these tunes out to the people! For more information on Jackie Greene and his upcoming releases and tour dates, head to his website.
Jack White has made a career out of defying conventions, and his newest project appears to continue that trend. Today, the enigmatic Nashville-based rocker/producer released a new YouTube video entitled “Servings and Portions from my Boarding House Reach”. The roughly four-minute video cycles through what appear to be snippets of various new songs. Cryptic, pop art-style renderings of hands, clocks, vases, and other figures in black and shades of blue flash across the screen behind the music, interspersed with static, as if scanning through the TV stations of an Orwellian future. The video also shows shots of various musicians, including Louis Cato (Stay Human) and Neal Evans (Soulive, Lettuce), wordlessly indicating their involvement in this mysterious project.Although it is not specifically indicated, the video appears to be an announcement of sorts for the new solo album which White confirmed he was working on this summer. A series of photos featuring White with various lineups of musicians also surfaced around that time, giving fans a taste of the team working on the new project. The video ends with the words “Boarding House Reach” emblazoned across the screen, seemingly announcing the title of the project, although with White, that sort of thing is never certain: He’s released albums under a variety of different monikers, and even brought two backing bands on tour–one all-male, one all-female–behind his 2012 solo debut, Blunderbuss. It wouldn’t be all that surprising if there was more to this project (and this video) than simply an album announcement.Check out the video below, and keep your eyes and ears peeled for more information on the new Jack White album!<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span>
A Perfect Circle has officially announced their new album, Eat The Elephant–due out April 20, 2018. A follow up to 2004’s eMOTIVe, the new album will mark the band’s fourth original album to date. After being largely inactive between 2013 and 2017, the return of A Perfect Circle was marked with a successful spring tour last year.The band will hit the road again this spring, with North American dates starting at the Veterans Memorial Stadium in Tucson, AZ on April 14th and ending at the BFD at Starplex Pavilion in Dallas, TX on May 26th, with festival appearances at Coachella, Northern Invasion, and Rocklahoma. From there, they will head to Europe for the summer.A Perfect Circle features Maynard James Keenan (Tool, Puscifer), Billy Howerdel (Ashes Divide), James Iha (Tinted Windows, ex-Smashing Pumpkins), Jeff Friedl (Puscifer, The Beta Machine) and Matt McJunkins (Eagles of Death Metal, The Beta Machine). Today’s album announcement comes with new music in the form of their first single, “TalkTalk”, which you can listen to below.Marking their first new album in 14 years, Eat the Elephant–produced by Dave Sardy (Incubus, ZZ Top)–consists of 12 original tracks, including previously released tracks “Disillusioned” and “The Doomed”. You can download all three with a pre-order here.Eat the Elephant Tracklist:01. Eat the Elephant02. Disillusioned03. Contrarian04. The Doomed05. So Long, And Thanks For All the Fish06. TalkTalk07. By and Down the River08. Delicious09. DLB10. Hourglass11. Feathers12. Get the Lead OutA Perfect Circle 2018 Tour Dates:04/14 – Tuscon, AZ @ Veterans Memorial Stadium04/15 – Indio, CA @ Coachella Music Festival04/17 – Santa Barbara, CA @ Arlington Theatre04/18 – San Jose, CA @ San Jose State University Events Center04/20 – Las Vegas, NV @ Las Rageous Music Festival04/22 – Indio, CA @ Coachella Music Festival05/12 – Somerset, WI @ Northern Invasion05/15 – Omaha, NE @ Baxter Arena05/16 – Columbia, MO @ Mizzou Arena05/18 – Columbus, OH @ Rock on the Range05/22 – Birmingham, AL @ Legacy Arena at the BJCC05/25 – Pryor, OK @ Rocklahoma05/26 – Dallas, TX @ BFD at Starplex Pavilion06/01 – Nürburgring, DE @ Rock Am Ring06/02 – Nuremberg, DE @ Rock Im Park06/05 – Stockholm, SE @ Fryshuset06/06 – Oslo, NO @ Spektrum06/08 – Aarhus, DK @ Northridge Festival06/09 – Helsinki, FL @ Sideways Festival06/12 – Manchester, UK @ O2 Apollo Manchester06/13 – London, UK @ O2 Academy Brixton06/14 – London, UK @ O2 Academy Brixton06/17 – Berlin, DE @ Zitadelle06/20 – Zurich, CH @ Halle 62206/23 – Esch-Sur-Aizette, LU @ Rockhal06/24 – Dessel, BE @ Graspop06/26 – Paris, FR @ Olympia06/28 – Madrid, ES @ Download Festival Madrid06/29 – Barcelona, ES @ Be Prog! My Friend Festival07/01 – Verona, IT @ Rock The Castle[H/T CoS]
It was a snowy, unforgiving night in Philadelphia as funk fusion trio Soulive kicked off their first night of a two night stand in Philadelphia on Friday March 2 at the Ardmore Music Hall with special guests John Scofield and Consider The Source. Fans’ woes of missing the show due to inclement weather were consoled by a clutch last-minute action from the folks at the Ardmore Music Hall and Soulive: There would be a THIRD show added for the following morning, and Scofield would stick around for the matinee.NYC prog-fusion shredders Consider The Source took the stage first, opening the night with a taste of their signature sci-fi infused technical mastery. As fans were just escaping the unforgiving winds, CTS was able to thaw off the remainder of the frost with electrifying riffs, simultaneously sending the room straight into outer space, leaving the crowd was left pleasantly pumped up for the main event.Enter Soulive: Fresh off the release of their new album Cinematics, Vol. 1 and itching to play the first of their now-three scheduled United States shows of 2018. The band was all smiles as they casually informed the audience of the their realization that it was, coincidentally, the 19th anniversary of the group that night.From the first note of the night it was apparent that the band came correct, taking the room on a sonic journey through new debuts and old favorites. Perhaps as a tip of the cap to the impromptu third show, the trio led off with their classic heater “Hat Trick” before launching into their first live takes on new tunes from Cinematics, with an inspired of their first single “Kings March”, followed three more new ones: the high-flying funk of “Bluebird”, the classic soul grooves of “Miller’s Last Stand”, and the laid-back styles of “Sidekick”. The night was elevated out of the stratosphere after the band welcomed special guest John Scofield to the stage for the remainder of their set.Initially hitting on the jazzier tunes, including Scofield’s classic “Hottentot” and an unnamed, completely improvised blues jam, Sco-live didn’t skip a beat the whole time. The set finished up with a twist of classic rock including a revisit to “Rubber Soulive” in the form of The Beatles‘ “Get Back”, a funky twist on Jimi Hendrix’s “Hey Joe”, and an encore of the Allman Brothers Band classic instrumental In Memory Of Elizabeth Reed.Soulive w/ John Scofield – Blues Jam[Video: BudFulginiti]The feeling was apparent to all after night 1, the run had already established itself as a truly special occasion. The morning of March 3rd began with a matinee set from Soulive and John Scofield, who were more than pleased to be playing for those who could not make the previous night’s show. Sco-live was met with many a “thank you” shouted from the mid-day crowd. The group revisited three new tunes in the form of “Sidekick”, “King’s March”, and a mid-set “Waves”–each with more improvisation than their debuts. John Scofield came out after two songs with high energy, rapping the “Whatcha See is What You Get” lyrics to the crowd before settling into songs from the older Soulive catalog including “Uncle Junior”, “Shaheed”, and “Tabasco”. The set ended with the quartet covering “Hey Joe” (this time with Alan Evans on vocals) “Liz Reed”, and “Get Back” once more.[Video: BudFulginiti]As if the first two shows weren’t good enough, Soulive returned to the stage just 4 hours after their daytime performance for another barn-burner supported this time around by Karl Denson’s Tiny Universe guitarist Dj Williams’ new project Dj Williams’ Shots Fired.While the previous night showed more of a contrast in style between opener and headliner, the combination of Soulive & DJ William’s Shots Fired made for a nonstop crowd-pleasing funk onslaught. Shots Fired worked the crowd with a special blend of classic funk sound and new-school flare, including a talkbox laden cover of Nirvana’s “Smells Like Teen Spirit”.Soulive hit the stage for a third time with no signs of slowing up the pace and the band showed up big for their final ride. Night 2 had a heavy blues vibe including new material mixed with fan favorites like the groovy “Steppin”, a gigantic “El Ron”, and “Alladin”, even touching on Eric Krasno original tune “Curse Lifter” off of Blood From A Stone. Continuing the theme of tasteful covers on the weekend, the band gave a nod to blues great Stevie Ray Vaughn with a cover of “Lenny”, Eric Krasno Band guitarist and Philly local Danny Mayer joining the band for an extended jam on Hendrix classic “Manic Depression”, and revisited “Rubber Soulive” again for their final song, an instrumental cover of “Revolution”.Soulive came out swinging and left the room spinning in top form – just business as usual. With their only stateside shows finished, the trio will make their way across the pond to London’s Jazz Cafe this week on March 6. For more info, head to the band’s website.Setlist: Soulive | The Ardmore Music Hall | Ardmore, PA | 3/2/18Hat Trick, King’s March*, Bluebird*, Sidekick*, Miller’s Last Stand*, Waves*, Hottentot^, Nealization^, Boozer^, Hey Joe^, Turn It Out^, Whatcha See is What You Get^, Get Back^Encore: In Memory of Elizabeth Reed^ *Debut^ with John ScofieldSetlist: Soulive | The Ardmore Music Hall | Ardmore, PA | 3/3/18 (Daytime Show)Sidekick, King’s March, Whatcha See is What You Get^, Uncle Junior^, Shaheed^, Tabasco^, Waves^, Boozer^, Hey Joe^, Nealization^, In Memory of Elizabeth Reed^Encore: Get Back^^ with John Scofield Setlist: Soulive | The Ardmore Music Hall | Ardmore, PA | 3/3/18 (Nighttime Show)King’s March, Steppin, Up Right, Sidekick, El Ron, Alladin, Waves, Lenny, Curse Lifter, Manic Depression%, Spark, Miller’s Last Stand, One In SevenEncore: Revolution% with Danny Mayer
Bruce Hornsby & The Noisemakers will embark on a summer tour through part of the East Coast and Midwest in June and July before wrapping things up with a few shows in Colorado in August. The group will be supported by The Wood Brothers and Los Lobos at a few of their upcoming stops.Hornsby’s summer run will kick off a couple of weeks after he wraps up a five-show stint at City Winery locations in Nashville and New York City. The keyboardist, who is–among other things—known for his late ’80s and early ’90s collaborations with the Grateful Dead, will also play a pair of solo gigs in March.As previously reported, Bruce Hornsby & The Noisemakers’ summer tour includes a stop at the Telluride Jazz Festival, where they will join a bill that includes Irma Thomas, Karl Denson’s Tiny Universe, and more.Pre-sale tickets for Hornsby’s new tour dates will go on sale at 10 a.m. local time on Wednesday, March 21st.Bruce Hornsby & The Noisemakers Tour Dates:May 23rd – City Winery – Nashville, TNMay 24th – City Winery – Nashville, TNMay 26th – City Winery – New York, NYMay 27th – City Winery – New York, NYMay 28th – City Winery – New York, NYJune 15th – Meadows Casino – Washington, PAJune 18th – bergenPAC (Bergen Performing Arts Center) – Englewood, NJJune 19th – ArtsPark Amphitheater – Lewiston, NY #June 22nd – Funhouse Fest – Williamsburg, VAJune 24h – Lime Kiln Theatre – Lexington ,VAJune 26th – Pisgah Brewing Company – Black Mountain, NCJune 27th – Gaillard Center – Charleston, SC #June 29th – Wolf Trap – Vienna, VA #June 20th – The Freeman Stage – Ocean View, DE #July 7th – Music By The Lake – Williams Bay, WIJuly 14th – Knight Theater – Charlotte, NCJuly 16th – Mayo Performing Arts Center – MPAC – Morristown, NJJuly 18th – Hampton Beach Casino Ballroom – Hampton Beach, NH %July 19th – State Theatre – Portland, ME %July 20th – Flynn Center for the Performing Arts – Burlington, VT %July 21st – Indian Ranch – Webster, MA %August 3rd – 5th – Telluride Jazz Festival – Telluride, COAugust 4th Mishawaka Amphitheatre – Bellvue, COAugust 8th – Denver Botanic Gardens – Denver, CO# – w/ The Wood Brothers% – w/ Los LobosView All Tour Dates