Watch Dopapod Play P-Funk’s ‘Flash Light’ In Honor Of Bernie Worrell At Post-Phish Rager

first_imgBeloved progressive rockers Dopapod packed the Concord Music Hall last night, playing their hearts out for a great late night party post-Phish. While the Vermont jammers got the city rocking with two great nights at Wrigley Field, it was Dopapod that brought it all home with a great performance after the last show in Chicago, IL. Among the many highlights from the show was the band’s song “New James,” which saw the group break into the Parliament Funkadelic classic “Flash Light.” The song was played as a tribute to the late Bernie Worrell, who succumbed to a lengthy battle with cancer last Friday, June 24th. Dopapod did the song justice, with Eli Winderman working his magic on the keys.Watch a video of the funky jam, courtesy of iccuspunk on YouTube.You can see Dopapod’s full setlist and a gallery of images from Jeremy Scott Photography, below.Setlist: Dopapod at Concord Music Hall, Chicago, IL – 6/26/16Set: Cure, Psycho Nature, New James -> Flash Light -> New James, Weird Charlie > Nerds, 8 Years Ended -> Black and White, STADA, Present GhostsE: Sonic*the words to Nerds were replaced with Jon Snow Load remaining imageslast_img read more

Trey Anastasio Band Likely To Perform At This Year’s New Orleans Jazz Fest

first_imgOne of the last major hold outs for spring festival announcements is the famed New Orleans Jazz Fest, which is set to return to the Fairgrounds from April 28th through May 7th. Though the lineup is due out any day now, one particular artist of interest is likely to be featured on it: the Trey Anastasio Band.The most compelling bit of evidence comes from percussionist Cyro Baptista, the newest re-addition to the TAB lineup. Baptista’s website includes a full listing of tour dates, specifically detailing which ones are as a member of the Trey Anastasio Band. One such tour date includes the New Orleans Jazz & Heritage Festival on April 28th, as notated by our friends at Relix. The billing makes sense, as TAB has a festival-heavy schedule with appearances at Wanee, SweetWater 420, Summer Camp, DelFest, High Sierra and more.This would mark TAB’s first appearance at Jazz Fest since 2005, but their front man did perform at the festival with that other band, Phish, in 2014. Only time will tell whether these rumors are indeed true, but the Jazz Fest lineup should be out any day now.last_img read more

Joe Russo’s Almost Dead Shares Pro-Shot “Bird Song” Beatles & Grateful Dead Jam Sandwich From The Cap

first_imgAfter spending two nights in Brooklyn – one scheduled, and the other impromptu – Joe Russo’s Almost Dead made their way out to Port Chester, NY for two nights at The Capitol Theatre to close out 2016. The December 30th performance saw the band take more liberties with the Grateful Dead catalog and work outside the box for a great show.Half way through the first set, and after some “Space” jamming, the band slid into a “Bird Song” jam that segued into the debut of The Beatles’ “Day Tripper.” They returned to play “Bird Song” proper, before going into “King Solomon’s Marbles.” Finally, they closed the set with a reprise of “Bird Song”, putting a cap on a great set of music at The Cap.Thanks to the band, you can watch pro-shot footage of “Bird Song” > “Day Tripper” > “Bird Song” > “King Solomon’s Marbles” > “Bird Song Reprise” below:Setlist: Joe Russo’s Almost Dead | The Capitol Theatre | Port Chester, NY | 12/30/16Set 1 (8:45PM – 10:12PM)King Bee Jam + ->The Eleven @ (All) >BIODTL # (SM) >Feel Like A Stranger (SM) >Cumberland Blues $ (All) ->The Stranger (Two Souls In Communion) (AC)Estimated Prophet (SM) ->Space ->Bird Song Jam + ->Day Tripper % (TH) ->Bird Song ^ (TH) ->King Solomon’s Marbles & ->Bird Song Reprise + (TH)Set 2 (10:49PM – 12:??AM)Til The Morning Comes + (All + AC) ->Passenger + (SM & AC) ->Viola Lee Blues * (All) ->Jam ->Uncle John’s Band (All) ->Becky @@ ->Uncle John’s Band Reprise (All) ->Viola Lee Blues Reprise (All) ->Hoo Doo Voo Doo ++ (SM) ->Lovelight * (AC) ->Shakedown Street ## (TH) >Throwing Stones $$ (SM)ENC: The Weight (All + AC)AC is Alecia Chakour (Tedeschi Trucks Band) on Vocals+ – First Time Played by Almost [email protected] – With at Throwin’ Stones Tease (TH)# – 30 Beat BIODTL for Dec 30th$ – With Feel Like A Stranger & Hoedown (Aaron Copeland) Teases (MB) & a Lovelight Jam (Band)% – First Time Played by Almost Dead, Beatles Cover, Unfinished, 2 verses were sung^ – With a Day Tripper (The Beatles) Tease (MB)& – Unfinished* – With Cochemea Gastelum (Dap Kings) on Bari [email protected]@ – Benevento Russo Duo Cover, not played since 2015-10-03, a gap of 46 shows. Basically only Joe & Marco played on this song.++ – Wilco/Billy Bragg/Woody Guthrie Cover, First Time Played by Almost Dead.## – With a MB Piano Solo, an On The Road Again Tease (Band), a “That’s All” (Phil Collins) Tease – I think, it might be something else (Band) & an unknown jam (Band) that I may be able to figure out.$$ – With an Unknown Tease (TH)[Setlist via Peter Costello // Joe Russo’s Almost Dead Facebook]For fans of Joe Russo’s Almost Dead, you can catch them at the 2nd annual Fool’s Paradise March 31& April 1 in St. Augustine, FL alongside Lettuce x2, The Motet, The Floozies, a special Manic Science set featuring Manic Focus and Break Science, The Main Squeeze, Organ Freeman, alongside Oteil Burbridge and Antwaun Stanley as Artists at Large. Head here for more information.last_img read more

Watch Adam Deitch Destroy A Drum Solo In Virtual Reality At Fool’s Paradise

first_imgLast April, Lettuce threw their first annual Fool’s Paradise event in St. Augustine, FL. The two-night celebration was such a success that they’re doing it again this year. On March 31 & April 1, Lettuce will lead both nights alongside Joe Russo’s Almost Dead, The Floozies, The Motet, a special Manic Science set featuring Manic Focus and Break Science, The Main Squeeze, Organ Freeman, along with Oteil Burbridge and Antwaun Stanley as Artists at Large. Head here for more information.Thanks to Human Being Media, who was on hand to capture last year’s entire weekend festivities, we have some truly immersive footage from the band’s set. Not only can we witness a killer drum solo from Adam Deitch, but we can watch it in 360-degree virtual reality! While the best way to watch the action would be with a VR headset, you can simply drag the embedded video with your mouse and enjoy from any angle imaginable.Check out the 360-degree Deitch drumming below:To bump up the stoke, watch Human Being’s official after movie below:Don’t miss this year’s Fool’s Paradise! Head here for more information.last_img read more

Marco Benevento & Friends, Greyboy Allstars Throw Down Late Night Parties Saturday In NOLA [Photos]

first_imgThis weekend has been rich in late-night live music master classes, from Joe Russo’s Almost Dead, to The New Mastersounds, to Voodoo Dead (with Steve Kimock, Jackie Greene, George Porter Jr., Jeff Chimenti, JM Kimock, Oteil Burbridge, and Papa Mali), to a stellar performance from Greensky Bluegrass at the House of Blues, and beyond. But they were far from the only people wowing New Orleans crowds this weekend.On Saturday, after his Joe Russo’s Almost Dead gig at the Joy Theatre, keyboard soundscape artist extraordinaire Marco Benevento took the stage late night at Blue Nile for a special performance with help from JRAD cohorts Scott Metzger and Tom Hamilton.The Greyboy Allstars also served up a stellar late-night performance on Saturday night, partying with the Tipitinas crowd into the wee hours of the morning,You can check out stunning photos from each of these second-Saturday late-night dance parties below, courtesy of photographer Dave Vann.[Cover photos by Dave Vann]Greyboy Allstars | Tipitinas | New Orleans (Jazz Fest Late Night) | 5/6/17 | Photos by Dave Vann Load remaining images Photo: Dave Vann Marco Benevento w/ Scott Metzger and Tom Hamilton | Blue Nile | New Orleans (Jazz Fest Late Night) | 5/6/17 | Photos by Dave Vann Load remaining imageslast_img read more

EXCLUSIVE: Dopapod’s Rob Compa Talks Allman Brothers, Phish, And Future Dopapod Plans

first_imgGuitarist Rob Compa of Dopapod lives for making music. Recently, Dopapod announced fall tour and brand new album, MEGAGEM, due out October 27 ahead of the group’s planned year-long hiatus after seven years touring extensively. Live For Live Music’s Rex Thompson got the chance to chat with Rob to get some insight into Dopapod’s future plans over the next few months as well as what we should expect from his performances at Brooklyn Comes Alive next weekend with The Road Goes On Forever—a tribute to the Allman Brothers Band, featuring Bernard Purdie, Eric Krasno, and members of moe., Snarky Puppy, and more—and  Pow! Pow! Power Trio!—,a special supergroup paying tribute to classic rock power trios composed of Compa, Dopapod bandmate Chuck Jones, and Kung Fu’s Andrian Tramontano.Check out the interview with Rob below!Click here to purchase single-day tickets or two-day passes to Brooklyn Comes Alive on September 23rd and 24th!Live For Live Music: Let’s start with the new. Dopapod has a new album on the way. Is it all mixed down and ready to rock?Rob Compa: We recorded it over the winter and have gradually finished all the little bits and pieces of it. We just released the cover and announced the title, MEGAGEM. It’s coming out soon and will be out in the next month or so before we leave on fall tour. We actually recorded enough music to warrant another album coming out sometime next year. We just ended up with too much music for one album, so we are just gonna make two!L4LM: It has to be nice to know you have a whole other album in the can.RC: Yeah, it is gonna save us some hustle, for sure. Making an album is a stressful thing. It’s fun to create music, but you can start to look forward to it being finished after awhile. It’s a lot of work.Check out the first video from Megagen, “Please Haalp,” below:L4LM: Which side of the “Save the new material for the release” versus “Start playing the new songs as soon as they are written” debate do you fall on?RC: In the past, we always just played them before the album came out. This time, there are a few that we haven’t really played live for a couple reasons. Some of them don’t translate as easily to being played live. That said, we are a live band. Usually, the second we have new music, we bring it to the shows. It really helps, especially when you are writing sets and trying to give folks something new every night. The album is secondary to the live show for us. We are usually ready to play songs live when they are ready.L4LM: Does this mean that songs from the album you have ready for next year we’ll hear on the road as well?RC: Yeah, definitely. If you listen to recordings of us from the last couple months, you definitely can hear some of those songs. Some of them we have only played once, and a few not at all—yet. Some of those weren’t us playing the whole song, though. There were times when it was us just jamming, and we threw in some of the stuff.L4LM: Dopapod is a tight knit band with heavy improvisation at its core. Does that set-up make things like sit-ins easier or more difficult?RC: Hmm. I guess I am the one of us who is usually the most skeptical about sit-ins or guests. I worry, but almost all of the times I end up really enjoying them. We do like them, but sometimes it can be a lot of hard work, especially when it’s a lot of folks at once. The more people there are, the more moving parts. You can’t have everyone playing at the same time and doing whatever they want. One the other side, when I get a chance to sit-in and play with other people, I love that. I think those kinds of situations make me a better player. It gets me out of my comfort zone and gives me new things to say musically. It’s a breath of fresh air.L4LM: You mentioned being influenced and inspired by the people you play with. Who were some of the musicians who helped shape your sound when you were starting out?RC: It went through an evolution. When I first started playing, it was basically whatever was on the radio. It was the late 90’s, so a lot of alternative rock. Then my dad bought me the White Album for Christmas and I became a Beatles addict like everyone else does. The really big ones I got into later on were Pink Floyd and Phish. David Gilmore is still my favorite guitar player. He’s just so melodic and powerful—Floyd was my obsession in high school. Then, like a lot of people in our scene, I became a huge Phish head. That’s still a love of mine. And personally, for me at least, a lot of jazz guitarists. Any jazz musician really—Charlie Parker, Cannonball Adderly, Ella Fitzgerald. I love that style of music, and I really love country guitar. I could probably name you a million of those cats I like.L4LM: When you were playing as a kid, did you have the typical rock star fantasies of playing in front of a million people?RC: Sure, I think everyone has those. But honestly, I was kinda more realistic about it. It was fun to imagine, but I was never like “I gotta have that! I’m gonna go after that and nothing can stop me!” I was never like that. At one point in my junior year, I was looking at going to college and studying English and writing. I knew it was kinda unrealistic to dream of being a professional guitar player so I figured maybe if I worked at it, I could be a writer for a guitar magazine or something. So yeah, I had those thoughts, but I really tried to not get my hopes too high. But it was definitely fun to sit in my room and jam “Comfortably Numb” and imagine playing to a giant stadium. Nothing wrong with that.L4LM: Pretty sure people who don’t even play guitar have had that fantasy. I do like to hear that someone was trying to be honest with themselves at the same time though.RC: Our bass player, Chuck Jones, had some wonderful advice from one of the professors at the Berklee College Of Music. He spoke about the difference between hope and expectation. If you see yourself getting to a goal, hoping that your band gets to a certain place, with hope, you can still be happy with whatever ends up happening. But if you expect something to happen, then you leave yourself wide open to being let down. That mindset—that something is definitely coming to me and I deserve it and I am going to get it—is a kind of trap. A good way to be a saner, happier person is to aim as high as you can, but be happy wherever you end up. It’s hard to keep that childlike enthusiasm under control. Human nature, I guess. Check out this ripping “Super Bowl” from the Peach Music Festival featuring The Blend Horns and Adrian Tramontano on percussion!L4LM: Let’s talk about your involvement in the artist mix-and-match festival Brooklyn Comes Alive coming up. You’re stretching out away from Dopapod with the Pow Pow! Power Trio!. Can you let us in on the secret origin of that project?RC: Well, I have always wanted to play in a trio. Up until now, I have played with Dopapod, and we have the big Hammond organ sound, which is awesome. With that big sound, I don’t always have to play. I can just sit back and let Eli (Winderman) do his thing, and there is all that great interaction. But I also really like the concept of a trio, and I have always wanted to play in one. The core concept is a tribute to power trios, but we can play whatever we want. I think we’re billing it like we are because the name is just so good. We’re gonna just play what we feel and see where it takes us. It’s the most fun that way. That’s our plan, plain and simple.L4LM: Who were some of the trios that inspired this desire to be a part of that concept?RC: The first one that comes to mind, one of the most sorely under-rated bands ever, is the Wayne Krantz Trio. He is one of my favorite guitar players of all time. He’s a really cool dude, and I was just fortunate enough to have a couple Skype guitar lessons with him. He dropped some heavy knowledge on me. He has this band with Tim Lefebvre, who plays bass with the Tedeschi Trucks Band, and Keith Carlock, who drummed with Steely Dan and John Mayer, I believe. That is just one of the most unique and inventive improvisation bands ever.L4LM: In your mind, is there something about being limited in the amount of music you can make that inspires creativity?RC: Exactly. If you limit your options, then you are forced to come up with things that have never come up before. It’s like, you’re out in the wilderness and you are given a toothpick, an anvil, and a screwdriver, and you are forced to make something with the tools you have. That kind of pressure cooker definitely forces you to find new things. That is another reason I wanted to play in a trio. I hope it forces me to play differently. That’s my main goal.L4LM: You’re slated to sit in with the Allman Brothers tribute. Was their brand of syrupy southern rock an influence on you?RC: Oh yeah. They came a little later in life for me. Fillmore East is some of the best recorded live music ever. Duane (Allman) and Dicky (Betts) are just textbook examples of good guitar playing. And then there is the whole family of talented musicians that shoot off that band. Of course, you start with Gregg Allman, Duane, and Dicky, but then you have Oteil Burbridge, one of the most profound bass players ever, on down the line. There is just an endless list of top shelf players from one band.L4LM: The music the Allman Brothers made, with their army of players, seems the opposite end of your interest in being part of a trio.RC: That is the great thing about music and life, really. You can like two completely different things for two contradictory different reason. I can like the Allman Brothers because they have so many players, so many colors, and so many great songs. On the flip side, I can like the power trio because it is so raw and stripped down and leaves so much to the imagination.L4LM: As a veteran of the Brooklyn Comes Alive experience, what do you think of the artist mix-and-match concept behind the event?RC: It’s super cool. I hadn’t encountered anything like that before. Just a ton of musicians on a lineup and then creating a bunch of bands that may only exist that one time. It’s almost like a two-day jam session. It’s kinda like someone is playing with action figures only they are using musicians instead. They have some of the best musicians anywhere, and you get to play with them, learn from them, and just watch them do what they do. So great.L4LM: It’s going to be a special weekend. Well, we appreciate your taking some time to chat with us and can’t wait to see you play both ends of the musical spectrum at Brooklyn Comes Alive.RC: You’re welcome! See you all soon![Photo: Bradley Cooling]last_img read more

Suwannee Hulaween Is Broadcasting On SiriusXM’s Jam_ON Right Now!

first_imgSuwannee Hulaween is in full swing! After a successful pre-part on Thursday night, the Live Oak festival is bringing together an eclectic mix of music to the beloved Spirit of Suwannee Music Park. SiriusXM’s Jam_ON is on currently on-site, delivering soundboard audio and live interviews all weekend long. Today’s coverage includes sets from Greensky Bluegrass, Lettuce, and Umphrey’s McGee from Thursday night’s pre-party, as well as live streams of The String Cheese Incident‘s two sets later tonight. Tunes by Joe Russo’s Almost Dead from Thursday night will close the broadcast for Friday.Check out Sirius XM’s Jam_ON schedule below:last_img read more

moe. Bassist Rob Derhak Is Guest DJ-ing A Radio Show This Afternoon [Stream]

first_imgRobert Derhak is so anxious to start making music again after overcoming cancer that he is taking to the airwaves as a DJ later this afternoon. Following his (thankfully) successful treatment for nasopharyngeal cancer and his imminent return to the stage, the moe. bassist is dusting off his musical cobwebs with a special guest DJ set on Portland, Maine’s 98.9 WCLZ today at 1pm est. The station has a rock focus, although some bluegrass and other affiliated genres get a fair amount of play as well. Here’s hoping Derhak slips in some moe. magic as well as some of his inspirations–like the mind-boggling mayhem of Frank Zappa–into his set.If you aren’t close enough to tune in on your radio dial, you can follow along on with 98.9 WCLZ‘s online live stream via their website here. The online platform also includes information about the songs played, so you can follow along with what records rob. has spun so far, and learn the details behind the songs as they’re played.Check out Rob Derhak’s 98.9 WCLZ guest DJ spot today at 1pm, and don’t miss moe.’s triumphant return to the road throughout this year as both the band and its fans celebrate the recovery and return of their brother on the bass!last_img read more

Widespread Panic Celebrates St. Patrick’s Day With “Blackout Blues” In D.C. [Photos]

first_imgPhoto: AJ Genovesi The sordid celebrations culminated to an epic conclusion last night in the nation’s capital. Widespread Panic put politics aside and threw one last hurrah in true festive spirit. As a cheers to the many people who were honoring the holiday, the band began the musical foray with a lively version of “Tall Boy”. This crowd-favorite foreshadowed the celebratory nature of the set ahead, glamorizing a life full of dusty barrooms and cold beer. Dave Schools, JoJo Hermann, and John Bell all contributed vocally as the audience was whipped into a frenzy.Keeping the party going, the Panic progressed into “Up All Night” from the album Free Somehow. With his crisp vocal ability, John Bell astounded the reveling audience, most of whom appeared disheveled like they were indeed, up all night. After a brief pause, Dave Schools revealed “Little Lily” with his bouncing bass line. Guitarist Jimmy Herring carved notes around, effortlessly ripping two off-the-cuff, lightning solos. John Bell then took lead vocals with backup echoes provided By JoJo Hermann and Dave Schools.The heaviness lingered, as the haunted organ notes emerged and “You Got Yours” erupted throughout the enclosed venue. John Bell sang honestly with hints of spite and spun the tale of unrequited love and desire from the album Bombs & Butterflies. Dave Schools provided back up vocals while hammering notes up and down his bass’s fretboard. The drummers smashed their kits energetically and JoJo set the stage for a monster Herring solo which exploded with enough force that the sound threatened to blow a hole through the ceiling.To settle down the now frantic audience, the band eased into the beloved tune “Blue Indian” from Til the Medicine Takes, who’s album name is derived from this song’s lyrics. JoJo haunted the keyboards, injecting a honky-tonk feel of a swampy barroom into the sound. John Bell aced the sentimental tone and brought tears to eyes when he closed the song with the Michael Houser words “Brave Little Friend”.The rough and rowdy intensity returned once the drummers began to beat the introductory rhythm to “Honky Red.” The Murray McLauchlan song was recorded on their most recent album Street Dogs. Schools pummeled a destructive bass line and Jimmy Herring extracted acoustic annihilation from the depths of his wizard staff. John Bell painted a colorful picture of desperation and thirst, giving a courteous lesson in manners and politeness. The song concluded with an explosive bang as John Bell shuffled to the microphone to admit “We’re keeping a bit greasy”. A moment later, the distinctive notes of “Thought Sausage” from the album Don’t Tell the Band rang out. The song unleashed a barrage of rhythms and tempo changes with consistently elevated levels of intensity.JoJo Hermann took over lead vocal duties for another dynamic jam, “Bust It Big”. The lyrics “Beware of the man who builds monuments to himself” stood out considering the proximity to the White House and figurative headquarters of the United States Government with awesomely heavy drum accompaniment. Herring dazzled another lightning fingered solo and Sunny Ortiz slapped his drums like the powerful expert that he is before JoJo transcribed ancient knowledge with his unbelievable keyboard prowess. More Mexican Playa nostalgia was cathartically unleashed collectively with most of the audience chanting in unison to the words “Gonna call my shots and ride my liquor down…To Mexico!!!”To close the last night’s first set, Widespread Panic stayed true their roots with “Protein Drink / Sewing Machine”, a tribute to their late great friend, Vic Chestnutt. The “Protein Drink” possessed that rough around the edges feel with violent outbursts of energy. A molly-whopper of a bassline was handled with ease from the bass guru, Dave Schools, and John Bell poetically raved about treefrogs, snow, and mushrooms with an interesting little improvisation about “promises, promises.” Schools lifted a mammoth solo from the depths of a deliberately induced silence, as Schools and JoJo led a fluid transition into the complementary “Sewing Machine”. As John Bell listed all the uses of a sewing machine with anecdotes, the Trucks, Sunny, and Schools machine pounded the steady rhythms like clockwork. Jimmy Herring waited patiently in the shadows before destroying his guitar sections. The song wound its course and ended a seventy-minute first set.The second set carried the same intensity as the band hammered the drum-heavy “Rock” from their self-titled second album. John Bell took us back to Mexico once more to be a “Rock on my belly, lying on the bottom of the pool.” Sunny delivered his percussive abilities methodically with a heavier drive provided by Schools and Trucks. Herring revealed more wizard tricks to baffle and amuse the eager listeners.The jaunty Alan Price song “Sell Sell” followed with its asymmetric song structure and standout double note sequence. Schools berated his bass with nuggets of musical depth, and John Bell promised that “the next one will be the best one of the year!” JoJo slid languidly across his keyboards before relinquishing control of the wizard, who weaved arcane knowledge around the percussionists’ aggressive rhythms and School’s barbarically violent bass riffs.Dave Schools took lead vocals for a dirty version of the traditional blues song, “One Kind Favor.” The lyrics provide a walk through the cemetery for an otherworldly jam with a furious Herring guitar solo and a hammering bass and drums. The boys played this in Mexico earlier this year and were well-practiced to annihilate this tune. JoJo supplemented the ghostly tune with haunting piano precision.A guitar-led segue fused into the introduction with “Pilgrims” from Everyday. John Bell echoed wails of emotional torment before a catastrophically intense jam followed a percussive breakdown and ended with a scorching Jimmy Herring solo. The song faded away to the tinkering of JoJo’s piano.In its usual fashion, the band sculpted an extended rendition of J.J. Cale’s “Ride Me High”. With JoJo at the helm, his vocals and keyboard skills remained focal point with him reminding that “the less you want, the more you got, so don’t you cry for more!”. JoJo followed this lengthy jam with another one of his vocally led charges “Blackout Blues” appropriately for St. Patrick’s Day. The piano and vocals give JoJo the freedom to display his extensive talents on back-to-back songs. Though, Jimmy Herring still included one lightning bolt of a solo and the drummers and Schools hammered their notes maniacally throughout the jam.For only the second time, Panic performed their new tune “Sundown Betty” which was debuted this year in Mexico at Panic en la Playa. The song featured fiery John Bell vocalizations, (“We never, never, almost never break!”) JoJo organ spillovers, another nasty Jimmy Herring guitar solo, and several percussive breaks. The performance was an entire minute longer than the debuted version as an extra section of jams was included near the middle-end of the song.Duane Trucks and Sunny Ortiz held down the forts in a condensed but powerful drum showdown. However, soon the other band members reemerged from the shadows and Sunny’s drumming hinted upon the inevitable arrival of a dirty rendition of “Fishwater”. The wildly feverish jam concluded the album Ain’t Life Grand. John Bell took the audience “Down the street… to New Orleans… to drink more fishwater than any whale mama’s ever seen”, another obvious reference to the cheerful holiday and drinking like a fish. JoJo and Jimmy both took turns whooping up a cyclone of spiraling awesomeness which eventually sandwiches a mouthwatering version of George Clinton’s “Red Hot Mama” before returning to finish the last jams of “Fishwater”. The “Red Hot Mama” made use of the state-of-the-art visual displays, with dancing fire and women. The return of “Fishwater” brought about a hefty amount of “Mo, Mo, Mo’s” exchanged by both Dave Schools and John Bell. As the music faded, the musicians left the stage and ended a fervent second set.When the band returned to their instruments, the opening notes of “Saint Ex” announced the first encore in its explosive rock and roll tone. Jimmy Herring ripped another electrically charged guitar solo, prodigiously, yet so effortlessly while the music built higher and higher until ultimately crashing down to the tremendous percussive crashes of Duane Trucks. The lyrics voiced by John Bell suggested that “Maybe, this is a lucky day…” to fit into the holiday’s four-leaf clovered theme.Always full of surprises, Widespread Panic pulled another ace out of their wizard cloak with a debut of “Tura Lura Lural (That’s an Irish Lullaby)” that was popularized by Van Morrison’s guest appearance on The Band’s grand finale, the Last Waltz. John Bell left the audience spellbound, while Jimmy Herring retraced the vocal notes with his enrapturing guitar. To end the night in perfect Panic tradition, the band dove into a saucy and stompin’ version of “Love Tractor” from their self-titled second album. Whatever energy the ragged audience members had left, they spent every last morsel of strength to shake it to the lively harmonies and quick tempo and participate in raucous punctuations to the song’s jams in accompaniment to Dave School’s tremendous bellowing “Yee Haw!”. One final shred-tastic guitar solo by Jimmy Herring concluded the phenomenal three-night run in MGM at National Harbor, Maryland and John Bell bid that audience one last “Good night!”.Every time this band performs, it is nothing short of brilliance. The extra time between shows gives the band more time to craft thoughtful setlists. From politics to binge drinking, the musicians capture a wide range of emotions with expert meticulousness. From start to finish, the world-class professionals deliver raw energy that few venues can even sustain. Widespread Panic will play their next shows during a two-night stay at Wanee Festival in the swamps of Live Oak, Florida. Until next time, ladies and gentlemen, it is an honor to be among the “good people” and until we meet again, I hope we “live long and lucky”.Setlist: Widespread Panic | The Theater At MGM National Harbor | Washington, D.C. | 3/17/18Set 1: Tall Boy, Up All Night, Little Lilly, You Got Yours, Blue Indian, Honky Red, Thought Sausage, Bust It Big, Protein Drink / Sewing Machine (70 mins)Set 2: Rock, Sell Sell, One Kind Favor > Pilgrims, Ride Me High > Blackout Blues, Sundown Betty > Drums > Fishwater > Red Hot Mama > Fishwater (90 mins)Encore: Saint Ex, Toura Loura Loura^, Love Tractor (21 mins)Notes ^ First Time Played (Irish lullaby)Check out the full gallery below, courtesy of photographer AJ Genovesi.Widespread Panic | The Theater At MGM National Harbor | Washington, D.C. | 3/17/18 | Photos: AJ Genovesi Photo: AJ Genovesicenter_img Load remaining imageslast_img read more

Oteil Burbridge Was Just As Blown Away By Dead & Co’s Autzen Stadium Show As You Were [Photos]

first_imgPhoto: Dave Vann On Saturday night, Dead & Company made their way to Eugene, Oregon for their first-ever performance at Autzen Stadium. The show was particularly special for Dead & Co by all accounts—including the account of bassist Oteil Burbridge.Update 4/4/20: Watch the live re-broadcast of Dead & Company’s memorable Eugene, OR show on 6/30/18 below and check out an incredible photo gallery from the show by Dave Vann here:Dead & Company – Eugene, OR – 6/30/18After taking a few hours to reflect and bask in the glow of Dead & Co’s Eugene performance, Burbridge took to Facebook on Sunday to gush about the experience. Read the post below:Confession: I previously thought my favorite place to play with Dead & Company was Alpine Valley. I had always heard about how great those Grateful Dead shows were. But last night in Eugene, OR was something different.It was like some kind of GD nerve center. Like the “Old Growth Forest” of Deadheads. I’m not sure how to describe it but it was a new high for me and it revealed an even deeper level of the love this particular fanbase has to offer.And I say this having just had another transcendent night at the Gorge so you know it must have been SERIOUS at Autzen Stadium last night.Thank you to my bandmates and thank you #Deadheads old and new While Saturday marked the Eugene debut for this new Grateful Dead offshoot, the original Grateful Dead were frequent visitors to the University of Oregon football stadium, playing 10 shows there between their debut in 1978 and their final run in 1994.Along with his post, Oteil shared a beautiful photo of the performance courtesy of veteran photographer Dave Vann. Among countless other shows by countless other bands over the years, Vann previously made the trip to Eugene to capture shots of a Grateful Dead performance in 1994. He returned to Autzen on Saturday to capture the magic of this new chapter in the proverbial book of the Dead, and the results were simply spectacular.Below, check out some of Dave Vann’s photos from the Grateful Dead in Eugene on June 18th, 1994, as well as a full gallery of images from Dead & Co’s “transcendent night” in Oregon. You can also read a full recap and watch some pro-shot videos from the performance here.Dead & Company’s tour continues down the west coast with performances tonight, July 2nd, and tomorrow, July 3rd, at in the heart of Grateful Dead country at Mountain View, CA’s Shoreline Amphitheater. For a full list of the band’s upcoming tour dates, head here.Dead & Company | Autzen Stadium | Eugene, OR | 6/30/18 | Photos: Dave Vann Load remaining imageslast_img read more