grateful dead – Showbams

On tour for their new album, Dawes celebrate ‘Christmas in LA’ with Eric Krasno, John C. Reilly, Mike Campbell & more at The Bellwether

December 13, 2024 by Josh Herwitt 1 Comment

Christmas in LA: Dawes & Friends //
The Bellwether – Los Angeles
December 7th, 2024 //

When it comes to musicians and LA, it’s hard not to think of them like any 7-Eleven or Starbucks that you come across here — you can’t go very far before running into one. From amateur players all the way up to global superstars, so many have called California’s largest city home no matter where they have come from or how many miles it took them to reach Tinseltown.

But for as many as there are now and have been over the years, not nearly the same number are born and raised in LA. One of the world’s major entertainment capitals has always been a transient town for artists and creative types, and the proliferation of music makers who have moved to the City of Angels from other major U.S. markets in the past two decades has been particularly noticeable.

So when a homegrown talent comes along and climbs the ladder to book bigger venues, there’s always something special about watching a native Angelino thrive in one of the most competitive music scenes you will find anywhere around (and with no signs of that changing soon).

Taylor Goldsmith is certainly one of them. Growing up in Southern California and attending Malibu High School, he was exposed to music during his earliest years. His father Lenny Goldsmith was a longtime singer-songwriter whose fascination with James Brown and soul music inspired him to perform at local clubs throughout the Bay Area and eventually tour with Oakland R&B and funk band Tower of Power in the 80’s as its lead singer. And although Lenny has recently retired from the stage after leading Malibu’s 12-piece New Old Band for more than a decade, his sons Taylor and Griffin Goldsmith have followed in his footsteps admirably.

John C. Reilly

The elder Taylor began his music career in high school, where he met guitarist/producer Blake Mills and formed the post-punk outfit Simon Dawes that drew from each of their middle names. Over the next five years they would play with a number of bassists and drummers, including Taylor’s brother Griffin, before breaking up in 2007 when Mills left the band and joined Jenny Lewis on tour. While Mills ended up also going on the road with Band of Horses, Cass McCombs, Julian Casablancas and Lucinda Williams prior to settling in as a session musician and producer who worked on projects like My Morning Jacket leader Jim James’ second solo album Eternally Even in 2016 and John Legend’s sixth Darkness and Light that same year, Goldsmith teamed up with former Simon Dawes bassist Wylie Gelber and once again Griffin on drums in his new project he was calling Dawes. This time, though, he would go in a different direction sonically, one that embraced the Americana and folk-rock sensibilities of the Laurel Canyon sound that legendary acts like Buffalo Springfield, The Byrds, Crosby, Stills & Nash, Joni Mitchell, and The Mamas & the Papas popularized in the late 60’s and other icons such as Jackson Browne, Linda Ronstadt and The Eagles helped usher through the 70’s.

For Dawes, the association with LA’s celebrated Laurel Canyon isn’t just some contrived or pretentious PR strategy to turn consumers onto their product. It all started when Grammy-nominated producer and Father John Misty collaborator Jonathan Wilson invited the band to jam with a crew that included Conor Oberst of Bright Eyes, Chris Robinson of The Black Crowes and Benmont Tench of Tom Petty and the Heartbreakers. Those informal sessions are what ultimately influenced and informed Dawes’ debut LP North Hills, which Wilson produced and recorded live directly to analog tape in … yeah, you guessed it: Laurel Canyon.

Yet, that was more than 15 years ago now and a lot has happened in the studio for Dawes since then. Putting out an album at a prolific rate of every two years (or less), their ninth and most recent effort Oh Brother dropped in October ahead of another headlining gig at The Bellwether for the group’s second annual “Christmas in LA” date. And like the inaugural event that saw Sam Nelson of X Ambassadors, Matt Koma of Winnetka Bowling League and Taylor’s own wife Mandy Moore, among others, take the stage in addition to a brief Simon Dawes reunion with Mills, it was a night filled with special guests as advertised when it was announced.

That said, a new year meant a new supporting cast for Dawes and as we found out over the course of two hours, there would be only one repeat appearance from 2023. The evening’s format had changed as well, with Dawes digging into some of their latest material at the onset and adding a new wrinkle to songs such as “Didn’t Fix Me” from 2020’s Good Luck with Whatever with Radiohead’s “High & Dry” as its intro. Montana alt-country artist Jonny Fritz, whom some might remember as Jonny Corndawg, was the first “friend” to arrive onstage, followed by Eric Krasno, who captivated the audience’s attention with his soulful singing and playful guitar work. This wasn’t the first time we had seen “Kras” in the flesh after many Soulive and Lettuce shows, but it had been a while and the three-time Grammy winner treated us to a sweet cover of Jerry Garcia’s “Sugaree” (watch below and h/t to Jen Cox for the footage) that came sandwiched between two Dawes cuts, including the tour debut of “If You Let Me Be Your Anchor”.

Christmas in LA 2024 - Dawes & Friends - Taylor Goldsmith & Mike Campbell

Taylor Goldsmith of Dawes (left) & Mike Campbell (right)

You know that one special guest we mentioned who was back this year? That would be Koma, who joined both Goldsmith brothers for a stripped-down, acoustic version of their new collaborative single “This Is Life” featuring Medium Build and Dawes that has already amassed almost 1.4 million Spotify listens since being released in June.

Of course, those weren’t the only tricks Dawes had up their sleeves and they made sure to save the biggest ones for last. It wasn’t a surprise that actor John C. Reilly would be in the building — we just weren’t sure how exactly he would be involved. The loud applause he immediately received when he walked out dressed in all white made him feel welcome nevertheless, as he dusted off his 2007 single entitled “(For Christmas) The People Want Cox” in a tribute to his leading role as Dewey Cox for “Walk Hard: The Dewey Cox Story” and then duetted with Taylor on a cover of Gilbert Bécaud’s “Let It Be Me” that became a Top 10 hit in the states for The Everly Brothers.

When it came time to dial the energy back up a notch, it was Theo Katzman’s turn to bring the heat and the Vulfpeck guitarist proved to be all smiles in uncorking a searing solo on the Dawes single “Roll with the Punches” from 2016’s We’re All Gonna Die and subsequently showcasing his golden pipes during “Plain Jane Heroin” off his 2017 solo release Heartbreak Hits.

Some folks might be disappointed to learn that Dawes’ unequivocally most popular tune “When My Time Comes” wasn’t played like it was at The Fillmore in San Francisco and Belly Up Tavern in Solana Beach. What we got instead was something no other fans on this tour will get to witness, and I’m not just talking about all of the aforementioned special guests. Because it’s not every day that you get to watch the guy who co-wrote many of Tom Petty and the Heartbreakers’ greatest contributions to music plug in and rock out. When the crowd heard Mike Campbell deliver the opening chords to “You Wreck Me” however, most of us, if not everyone in that room, knew what we were about to get. Or at least we thought we did until Campbell took over midway through and brought Taylor in for a call-and-response section that had their guitars squealing by the time they had reached the summit. It was those gripping moments — whether they were with Krasno, Katzman or Campbell — that made this particular concertgoing experience feel unique, and as Dawes wrapped with the title track from 2015’s All Your Favorite Bands while a smaller collection of special guests from earlier in the night assisted, you remember that you never quite know what’s going to happen when you see live music in LA. That’s the absolute beauty of it.

Setlist:
Front Row Seat
If I Wanted Someone
Didn’t Fix Me (with Radiohead’s “High & Dry” as intro)
Mister Los Angeles
From a Window Seat
House Parties
Trash Day (Jonny Fritz cover) (with Jonny Fritz)
Middle Brother (Middle Brother cover) (with Jonny Fritz)
Raise the Dead
Somewhere Along the Way (with Eric Krasno)
Sugaree (Jerry Garcia cover) (with Eric Krasno)
If You Let Me Be Your Anchor (tour debut) (with Eric Krasno)
Christmas Tree in the Window (live debut)
This Is Life (Winnetka Bowling League cover) (with Matthew Koma)
(For Christmas) The People Want Cox (John C. Reilly cover) (with John C. Reilly)
Let It Be Me (Gilbert Bécaud cover) (with John C. Reilly)
Roll with the Punches (with Theo Katzman)
Plain Jane Heroin (Theo Katzman cover) (with Theo Katzman)
You Wreck Me (Tom Petty cover) (with Mike Campbell)
All Your Favorite Bands

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Band of Horses, Belly Up, Belly Up Tavern, Benmont Tench, Blake Mills, Bright Eyes, Buffalo Springfield, Cass McCombs, Chris Robinson, Conor Oberst, Crosby, Crosby Stills & Nash, Dawes, Dawes & Friends, Dawes & Friends: Christmas in LA, Eric Krasno, Father John Misty, Gilbert Bécaud, grateful dead, Jackson Browne, James Brown, Jenny Lewis, Jerry Garcia, Jim James, John C. Reilly, John Legend, Jonathan Wilson, Joni Mitchell, Jonny Corndawg, Jonny Fritz, Julian Casablancas, Laurel Canyon, Lettuce, Linda Ronstadt, Lucinda Williams, Mandy Moore, Matthew Koma, Medium Build, Middle Brother, Mike Campbell, My Morning Jacket, New Old Band, Radiohead, Simon Dawes, Soulive, Stills and Nash, The Bellwether, The Black Crowes, The Byrds, The Eagles, The Everly Brothers, The Fillmore, The Mamas & the Papas, Theo Katzman, Tom Petty, Tom Petty & The Heartbreakers, Tom Petty and the Heartbreakers, Tower of Power, Vulfpeck, Walk Hard: The Dewey Cox Story, Winnetka Bowling League, X Ambassadors

First Times: Experiencing a piece of SF history as My Morning Jacket take over The Fillmore for four sold-out nights with no repeats

June 7, 2024 by Josh Herwitt 1 Comment

By Josh Herwitt //

My Morning Jacket //
The Fillmore – San Francisco
May 27th-28th & 30th-31st, 2024 //

Growing up in Los Angeles, I have always loved going to the Bay Area. Sure, there is definitely no love lost between SoCal and NorCal when it comes to certain professional sports teams and their fan bases, but that hasn’t changed my feelings or how I think of it now — even if I bleed Dodger blue.

With my aunt, uncle and late grandparents living in the City, I have many fond memories of our family trips up north and still consider SF to be one of my favorite towns in the world that I have ever been to (and to be honest, there are a lot I haven’t stepped foot in). But from beautiful parks and breathtaking views to world-class art and innovative cuisine among a plethora of tourist attractions, there’s never a shortage of things to do in “The City by the Bay” no matter where your interests lie or how much time and money (obvious tip: it helps to have a lot) you have on your hands.

Since I began covering concerts more than a decade ago in this space though, my adventures in “music journalism” — if we can call it that — had not yet taken me to the same city where this blog was founded for “work.” I had visited back in 2011 to attend Outside Lands and Treasure Island Music Festival before returning five years later to cover what ended up being a disastrous and largely forgettable 2016 edition of TIMF (read our festival review here). Nevertheless, the right opportunity to photograph any individual shows had not presented itself despite all the years I have lived in the Golden State. That is, until one of my favorite acts in live music announced by early March that it had booked four in the span of five days at the historic Fillmore and promised not to repeat songs.

The first time I saw My Morning Jacket in the flesh, Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) completely blew me away after a three-night run at The Wiltern in LA with a unique opener — featuring Portugal. The Man, Iron & Wine and Shabazz Palaces — and setlist (inspired by fan requests submitted online) each night serving as the impetus for the Louisville-bred band’s “Spontaneous Curation Series.” The five-piece by that point was in between albums, having already released 2011’s Circuital almost 18 months earlier and toured the country in support of it, and the circumstances in the 415 felt similar with 2021’s self-titled marking the group’s last proper studio effort (unless you are counting MMJ’s holiday-themed LP entitled Happy Holiday! that they released in late November comprised mostly of Christmas carols plus two originals).

The weeks in May leading up to The Fillmore were certainly bittersweet. After all, this wasn’t supposed to be the first time I was seeing Jacket since their rescheduled — thanks to Tropical Storm Hilary — co-headlining date with Fleet Foxes at the Hollywood Bowl in August (read our show review here) after two sold-out gigs at Red Rocks (read our show review here). That was intended to be the first week of May instead of the last one, when they were scheduled to lead the third and final day of BeachLife Festival with ZZ Top, Fleet Foxes and Trey Anastasio & Classic TAB also rounding out an excellent lineup. But after covering the event’s first two days in Redondo Beach (read our festival review here), the final four hours were unexpectedly canceled — and many would say prematurely — due to a high-wind advisory.

In the matter of an hour, the only LA date that MMJ had slated for this year had been completely wiped from the record. The decision had already been made, and with the staff and security being sent home and an earlier curfew for Sunday in place, there was no way all the remaining artists could still perform. Attendees left that day visibly frustrated and angry with the fest’s organizers for calling it off so quickly, considering the wind had died down by 7 p.m. with time left on the clock. Subsequently, we have been wondering in the aftermath why BeachLife doesn’t target a weekend in June or another summer month rather than early May when it’s not exactly “beach weather” — unless you think daytime temperatures that peak in the mid-60’s and high winds of 45-50 mph is for some reason.

Is there any chance MMJ will eventually announce a makeup date for their SoCal-based fans? No one knows right now, but alas, there we were driving along Interstate 5 through California’s Central Valley a few weeks later, excited and gratified to be making the roughly 800-mile trek roundtrip to catch them at least on one occasion in 2024 and use that, on a personal level, as a way to celebrate the beginning of a new decade. Assuredly it helps when the weather in the Bay Area cooperates over the course of your stay, and with warm, sunny days filling the forecast, the stars were finally starting to slowly align after the disappointment we had recently experienced at BeachLife. Because when I walked up those burgundy-colored carpeted stairs at The Fillmore for the first time and was greeted by hundreds of old photos and posters plus a large bucket of apples (we can’t confirm if they were organic even if they passed our taste test), I could immediately feel the history of the place. And in the leadup to these shows, I had curiously spent some time learning more about Bill Graham and became fascinated with his backstory as I dived deeper into it. The legendary promoter whose mother placed him in an orphanage that helped Graham escape Nazi Germany has been credited with hosting some of rock ‘n’ roll’s most legendary musicians — Grateful Dead, Jimi Hendrix, The Who, Janis Joplin, Jefferson Airplane, the Doors and Otis Redding — as the counterculture movement in the 60’s exploded all across Western civilization. Whether it’s the iconic Jerry Garcia photo that greets you at the top of the staircase on your way to the Poster Room or the bevy of ornate chandeliers that hang above the hardwood dance floor, there’s nothing quite like an evening at The Fillmore. It has been said that Graham wanted to make patrons believe as if they were hanging out in his own personal living room, and the warm, friendly staff we encountered matched the auditorium’s cozy vibe that he created thanks to entrepreneur and businessman Charles Sullivan, who owned the property’s master lease in 1965 and let him use his dance hall permit to put on concerts.

Holding only 1,315 guests, the former Majestic Hall built in 1912 is easily the smallest music venue that I have ever seen MMJ play. While they have never quite reached the level of an arena or stadium act like other popular rock bands, any room under a couple of thousand folks would be considered an “intimate” setting for them at this point in their 25-year-plus history. Between the live music industry shutting down during the COVID-19 pandemic and the ongoing demands of touring upon its resumption however, you also won’t find Jacket throwing down three- and four-night runs with much regularity nowadays outside of their own destination festival One Big Holiday in Mexico and a select few U.S. cities such as Denver and Chicago where some of the highest fan concentration in the MMJ community exists. That’s not to say there aren’t plenty who traveled great distances to arrive at the corner of Geary Blvd. and Fillmore St. on the edge of Japantown. One couple I met, in fact, came all the way from northeast Pennsylvania to catch all four performances, and that’s the kind of dedication you will see from longtime enthusiasts and loyal listeners.

But considering the setlists that were assembled, no one could have asked for much more when the final note of “Wordless Chorus” was struck. After an opening night that boasted a myriad of highlights, including “Master Plan” with a “China Cat Sunflower” tag as an ode to the Dead, a stretched-out “Only Memories Remain” that reached the 14-minute mark, the first “Librarian” since March 2018 and a Bob Dylan cover of “Knockin’ on Heaven’s Door” during the encore, there were more Fillmore fireworks on Night 2 when James and company broke into Neil Young’s “Harvest Moon” and later offered up “I Get Around” from The Beach Boys, which we were hoping to hear at BeachLife since MMJ performed the 1964 single last year during the GRAMMY’s televised tribute for the Rock and Roll Hall of Fame band. Yet, I knew Jacket would save some of their biggest bangers for the last two shows in SF and we can only imagine the 48-hour break between Nights 2 and 3 provided some necessary respite before they dove into another round of jams to unleash only the fourth “If It Smashes Down” ever, extend “Steam Engine” for a whopping 18 minutes, bring back “By My Car” for the first time in almost five years and close with a huge “Phone Went West” that included Journey’s “Lights” interpolated midway through.

That collection of songs would satisfy most Jacket fans on any given night, but I was sure they would save their best for last — and by “best,” I mean “Dondante” without a doubt. The Z finale has been my favorite MMJ tune for quite a while, and the nearly 22-minute version they uncorked at The Fillmore was by far the best (no pun intended) one I have witnessed out of four. You could tell by the end of it that the capacity crowd, having already been gifted “Cobra” at the onset as well as a cover of George Harrison’s “Give Me Love (Give Me Peace on Earth)” earlier, was officially on cloud nine. Something special had seemingly happened in that moment and nothing could bring us down to Earth from that point forward — only making James’ ensuing “State of the Art (A.E.I.O.U.)” all the more powerful to experience live (you would have thought “the power is going out” from the way they played it with such fervor) along with the apropos live debut of Otis Redding’s “(Sittin’ On) The Dock Of The Bay”, which was written following the 1967 Monterey Pop Festival in a Sausalito houseboat the “King of Soul” rented. The three-time Grammy nominees, on the other hand, have always made a point to mix in covers that correspond to a particular time or place, and this was one that couldn’t have been more perfect for the moment. It was just another example of what has us coming back around time and time again … and ultimately why we will have our fingers crossed for that makeup date in LA.

MAY 27TH

Setlist:
At Dawn
O Is the One That Is Real
Master Plan (with “China Cat Sunflower” by Grateful Dead tag)
Mahgeetah
Rollin Back
Run It
Evelyn Is Not Real
Carried Away (Carl Broemel song) (“Just My Imagination” by The Temptations tag)
Only Memories Remain
A New Life (Jim James song)
You Wanna Freak Out
Outta My System
Honest Man
Librarian (last played 3/5/2018; “Let’s Live for Today” by The Grass Roots tag)
What a Wonderful Man (preceded by a Jim solo version on omnichord)
In Its Infancy (The Waterfall)
Holdin On to Black Metal
Touch Me I’m Going to Scream Pt. 1
Here in Spirit (Jim James song)
Love Love Love

Encore:
Knockin’ on Heaven’s Door (Bob Dylan cover)
Feel You
Gideon
Dancefloors (with “China Cat Sunflower” and “China Cat Sunflower” > “I Know You Rider” by Grateful Dead transition teases)

MAY 28TH

Setlist:
In Color
It’s About Twilight Now
Strangulation! (instrumental intro due to technical difficulties)
War Begun
Slow Slow Tune
The Way That He Sings
X-Mas Curtain
Never in the Real World
How Could I Know (Oxen)
I Will Sing You Songs
Harvest Moon (Neil Young cover)
Come Closer
I Think I’m Going to Hell
Victory Dance
Aluminum Park
I Get Around (The Beach Boys cover)
Anytime

Encore:
Old Sept. Blues (with “Sleep Walk” by Santo & Johnny during intro)
It Beats 4 U
Spring (Among the Living) (with “Dear Prudence” by The Beatles tag)
One Big Holiday

MAY 30TH

Setlist:
Regularly Scheduled Programming
Compound Fracture
Off the Record
Tropics (Erase Traces)
Death Is the Easy Way
If It Smashes Down (only performed live three times & last played on 3/2/2018)
The Dark
Lowdown
Climbing the Ladder
Least Expected
Penny for Your Thoughts
Steam Engine
By My Car (last played 08/09/2019)
I’m Amazed
Picture of You
Believe (Nobody Knows)
Lay Low
Wasted

Encore:
Sooner
Rocket Man (I Think It’s Going to Be a Long, Long Time) (Elton John cover)
Smokin’ From Shootin’
Phone Went West (“Lights” by Journey interpolation > Phone Went West)

MAY 31ST

Setlist:
Cobra
If All Else Fails
Golden
Give Me Love (Give Me Peace on Earth) (George Harrison cover)
Circuital
Easy Morning Rebel
Nashville to Kentucky
Like a River
Thank You Too!
Lucky to Be Alive
Evil Urges
Dondante
State of the Art (A.E.I.O.U.) (Jim James song)
Remnants
Run Thru

Encore:
Highly Suspicious
Touch Me I’m Going to Scream Pt. 2
(Sittin’ On) The Dock Of The Bay (Otis Redding cover) (Live debut)
Wordless Chorus

Filed Under: Editor's Picks, Featured, First Times, Live Music Reviews, Show Experience Tagged With: BeachLife Festival, BeachLife Festival 2024, Bob Dylan, BottleRock, BottleRock 2024, BottleRock Napa, BottleRock Napa 2024, Carl Broemel, Elton John, Fleet Foxes, George Harrison, grateful dead, Iron & Wine, Janis Joplin, Jefferson Airplane, Jim James, Jimi Hendrix, Journey, Monterey Pop Festival 2017, My Morning Jacket, Neil Young, Otis Redding, Outside Lands, Outside Lands Music Festival, Portugal. The Man, Poster Room, Poster Room at The Fillmore, Santo & Johnny, Shabazz Palaces, The Beach Boys, The Beatles, The Doors, The Fillmore, The Grass Roots, The Who, TIMF, Treasure Island Music Festival, Trey Anastasio, Trey Anastasio & Classic TAB, ZZ Top

Goose make a compelling case in their Santa Barbara Bowl debut why they’re one of the hottest (jam) bands to catch live right now

October 5, 2023 by Josh Herwitt 2 Comments

By Josh Herwitt //

Goose //
Santa Barbara Bowl – Santa Barbara, CA
September 29th, 2023 //

What is it about jam bands that makes them so polarizing? Is it their penchant for improvisation, their long-running songs or their loyal, dedicated fans?

From the Grateful Dead and The Allman Brothers to Phish, Widespread Panic and many more, a lot of folks I come into contact with either love ’em or hate ’em. Regardless of where you stand on the matter though, the reality is that they have been part of the music ecosystem dating back to the early 60’s and continue to be more than six decades later.

With that in mind, there should be little debate to assert that Phish have stood squarely at the top of the jam-band mountain for the past 30-plus years. The Burlington foursome that formed in the early 80’s at the University of Vermont has taken the torch from the Dead and in their own way kept that fire burning bright, building a unique community of diehards often known for traveling far distances to see them rock out at least three hours each night.

But there’s a new kid on the block now, and even though they might call themselves an “American indie-groove band from Connecticut,” it’s no secret that Goose like to “jam” when they step onstage. Phish’s music, after all, has always been rooted in grooves, and in that regard, it feels like the five-piece named after an Anatidae waterfowl rather than an aquatic animal is certainly paying homage to Trey Anastasio, Jon Fishman, Mike Gordon and Page McConnell with that sort of description for their sonic creations.

For those following closely, the million-dollar question — figuratively and literally — in the jam scene of late has been if Goose are next in line to eventually succeed the almighty Phish. The two groups have already formed a friendly bond, with Anastasio sitting in with Goose last year for the second of two sold-out gigs at Radio City Music Hall that featured a more unexpected cameo appearance by Father John Misty, too.

Yet, it was less than six months after those shows in NYC that Rick Mitarotonda (guitar, vocals), Trevor Weeks (bass, poetry), Ben Atkind (drums), Peter Anspach (keyboards, guitar, vocals) and Jeff Arevalo (percussion, drums, vocals) were touring with Anastasio and his solo project on an eight-date run that offered them even more exposure to Phish’s fan (or should we say “phan”) base.

Every member of Goose, similar to Phish, is an excellent musician. Mitarotonda’s virtuosity and emotive solos are assuredly reminiscent of Anastasio’s at times, and you wouldn’t know that Anspach, a guitarist first and foremost, only started playing keyboards when he signed on as the fourth member of Goose in 2017. The formal training that Mitarotonda, Atkind and Arevalo each received while they were at Berklee College of Music in Boston is quite evident when you watch them perform, but for a band showcasing as much musicianship as Goose, their vocal capabilities are equally impressive. It’s something Mitarotonda has worked very hard at according to Anspach, whom he shares the role of lead vocalist with, and what could ultimately help separate Goose from the pack when you consider that singing hasn’t always been a priority for some musicians in the jam world.

Of course, Goose’s pursuit to not only be an outstanding outfit in the live space but also one that takes the album-making process just as seriously is another side to the quintet that’s refreshing and can’t be overlooked. After 2016’s Moon Cabin sans Anspach and subsequently 2021’s Shenanigans Nite Club, they made such clear when they hired an outside producer for the first time, and their decision to elect D. James Goodwin, who has worked with Bob Weir as well as established indie acts like Kevin Morby and Whitney, proved to be a good (no pun intended) choice for the release of Dripfield in 2022. Goose have made songwriting a priority early on in their ascent, but a smart marketing strategy that saw them gross more than $100,000 during the COVID-19 pandemic by livestreaming eight concerts from a barn in their home state has propelled them rather quickly into the mainstream. In fact, few jam bands have earned the opportunity to perform on late-night television like Goose have.

You could tell by the turnout Goose received at their Santa Barbara Bowl debut — a day before making an inaugural appearance at Ohana Fest and a day after headlining The Wiltern in LA for the first time — they have come a long way in less than a decade. Though the 4,562-seat amphitheater wasn’t sold out, it was mostly full from the GA floor up to the A, B and C sections, a promising sign for any young band on the rise, with chants of “Gooooose” ringing out as the sun set over the Pacific Ocean.

Like any top-notch jam band, Goose craft a unique setlist every time they take the stage with an arsenal of covers at the ready and this outing would be no different. Much of the first set was carried by live cuts of material that has yet to be officially laid down in a recording studio, but Bruce Hornsby & the Range’s “The Way It Is” and Echo & the Bunnymen’s “The Killing Moon” that kicked off the evening’s second set provided everyone at the Bowl with a couple of familiar reference points. Nevertheless, the accessibility and hooks that Dripfield offers listeners are what sets Goose apart from other jam-oriented artists, and as its tracks — “Arrow” and “Hot Tea” plus “So Ready” (an alternate version of “Slow Ready” featuring some auto-tune from Mitarotonda) were what we were treated to in this case — take on their own size and shape under the bright lights, they’re destined to fill a room no matter how big or small it is. So with a European tour lined up next month and a couple of more arena performances before 2023 concludes, there’s no telling how high these guys will be flying by this time next year.

Setlist:
Set 1
Earthling or Alien?
Mr. Action
Time to Flee (with “Honeybee” teases)
The Way It Is (Bruce Hornsby & the Range cover)
Seekers on the Ridge pt. I (>)
Seekers on the Ridge pt. II
So Ready

Set 2
The Killing Moon (Echo & the Bunnymen cover) (>)
Arrow
Same Old Shenanigans
Everything Must Go

Encore:
Hot Tea

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Berklee College of Music, bob weir, Bruce Hornsby, Bruce Hornsby & the Range, D. James Goodwin, Echo & the Bunnymen, Father John Misty, Goose, grateful dead, Kevin Morby, Phish, Radio City Music Hall, Santa Barbara Bowl, The Allman Brothers, The Allman Brothers Band, The Wiltern, The Wiltern Theatre, Trey Anastasio, Trey Anastasio Band, Whitney, Widespread Panic, Wiltern Theatre

BeachLife Festival taps Jane’s Addiction, Cage the Elephant, Counting Crows & more for 2021 roster

May 21, 2021 by Josh Herwitt 3 Comments

BeachLife Festival //
Seaside Lagoon – Redondo Beach, CA
September 10th-12th, 2021 //

What’s summer without a day at the beach?

Whether you’re a fan of the sand or not, we know that it sure wouldn’t be a party down by the shore without a weekend of live music. That’s why after a successful inaugural event in 2019, BeachLife Festival is headed back to the South Bay of Los Angeles County for a second stint after its 2020 edition last May was canceled due to the COVID-19 pandemic — much like every other major U.S. music festival that was supposed to take place last year.

However, a number of the same acts are still scheduled to perform this September at Seaside Lagoon in Redondo Beach, including Counting Crows, Ziggy & Stephen Marley, Ben Harper & the Innocent Criminals, Fitz and The Tantrums, Sugar Ray, G. Love and Special Sauce, Phosphorescent, Save Ferris and more.

BeachLife Festival 2021
Sept 10-12, 2021 Redondo Beach, CA #WeLiveTheBeachLife Tix on sale now at https://t.co/1vES7G4v2h pic.twitter.com/er5OGqV9GN

— BeachLifeFestival (@BeachLifeFest) May 21, 2021

Joining Counting Crows and the Marley brothers as the fest’s other headliners will be LA alt-rockers Jane’s Addiction for their first hometown gig since 2017. Fronted by Perry Farrell, the band has not released a new studio album in almost 10 years — since 2011’s The Great Escape Artist — but that doesn’t mean it has forgotten how to put on a show with Cage the Elephant also serving as a Day 1 co-headliner for what should be an epic Friday night.

And even if you’re not a big fan of Jane’s or Cage, there are plenty of other exciting additions on BeachLife’s 2021 lineup with The Revivalists, Men at Work, Portugal. The Man, Silversun Pickups, Gary Clark Jr. and Thievery Corporation standing out among the pack.

Three-day GA and VIP passes are on sale here for $349 and $799, respectively, as well as single-day tickets for $125 (GA) and $299 (VIP). Of course, there’s also the three-day Captain’s pass if you’re willing to shell out a small fortune of $2,999 or $1,250 for one day so climb aboard while you still can!

Filed Under: Featured, Festivals Tagged With: Authority Zero, BeachLife Festival, BeachLife Festival 2021, Ben Harper, Ben Harper & the Innocent Criminals, Ben Harper and the Innocent Criminals, Bob Marley, Brett Dennen, Cage the Elephant, Cam, Counting Crows, Country Breakfast, Davey Allen, DENM, English Beat, Face to Face, Fitz & the Tantrums, Fitz and the Tantrums, Fortunate Youth, G. Love, G. Love & Special Sauce, G. Love and Special Sauce, Gary Clark Jr, GEN3, grateful dead, Hope Waidley, Jakob Nowell, Jane's Addiction, Jason Cruz, Jason DeVore, Jerry Garcia, Jerry Garcia Band, JGB, Jim Lindberg, John Kadlecik, Joker's Hand, Kevin Sousa, Kevin Sousa Band, Kira Lingman, Kira Lingman & V Torres, Larkin Poe, Law, Melvin Seals, Melvin Seals & JGB, Men at Work, Mother Hips, Nicki Bluhm, Pennywise, Phosphorescent, Portugal. The Man, Save Ferris, Silversun Pickups, Slackstring, Stephen Marley, Steve Caballero, Strung Out, Sugar Ray, The Aquadolls, The Main Squeeze, The Revivalists, The Wallflowers, The White Buffalo, Thievery Corporation, Tom Curren, Tomorrow's Bad Seeds, Too Rude, Trever Keith, V Torres, zella day, Ziggy & Stephen Marley, Ziggy Marley

Outside Lands 2019: Our top sets & festival awards

August 16, 2019 by The Bam Team 2 Comments

Photos by Marc Fong & Mike Rosati // Written by Molly Kish & Kevin Quandt //

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 9th-11th, 2019 //

Now that the dust has settled in Golden Gate Park both literally and figuratively, it’s time to look back at what made the 12th annual Outside Lands such a success this year. Besides the banner performances from a smorgasbord of artists and bands across a multitude of genres, some attention should be paid to the fresh features that were brought to the three-day music festival’s expansive grounds.

Grass Lands was unquestionably the most talked-about “land” onsite, as OSL made history by becoming the first major U.S. music festival to permit the sales of recreational cannabis. There was something for every stoner in this lush forest, whether it was a variety of edible selections from Kiva to our own personal favorite, the Pineapple Coast-flavored disposable vape pens by DomPen. It wasn’t surprising to witness a vast majority of attendees make a pass through this immersive area that featured vendors, promotional goodies and dedicated cannabis smoking areas. While the enjoyment of ganja-related items is not new to music events in the Bay Area, it was a breath of fresh air to have it be considered legal in these specified areas. What better way to cure that cotton mouth and those pesky munchies than with all of the mind-boggling food and drink options that were available?

The 2019 edition of Outside Lands also featured plenty of memorable sets from some of the best breakthrough talents, returnees and legacy acts in the business. So, sit back, relax and discover which were our favorite performances of the weekend, plus our picks for the fest’s most standout aspects, below.

TOP SETS:

Artist: blink-182
Set date/time: Friday, 6:25-7:40 p.m.
Location: Lands End

Though these 90’s pop-punk kings may be short an OG member, that didn’t stop them from a summer shed tour alongside Lil Wayne. Sure, we all miss Tom DeLonge, and yes, Matt Skiba of Alkaline Trio remains a considerably solid stand-in, but how effective is this nostalgia act in 2019? That’s a tricky question we won’t answer because at the end of the day, festivalgoers of all ages still love singing along to “What’s My Age Again?” and “All the Small Things”. It’s really as simple as that to be honest. Does frontman Mark Hoppus’ silly onstage banter work even as he approaches 50? That’s a whole other can of worms I won’t unpack here. -KQ

Artist: Tierra Whack
Set date/time: Saturday, 3:45-4:35 p.m.
Location: Twin Peaks

Following in the footsteps of many groundbreaking female artists who came before her, Tierra Whack brought some next level “Black Girl Magic” to OSL. Filling the oddball category on this year’s bill, the fire-spitting emcee brought impeccable artistry and her uniquely quirky brand of hip-hop to a stunned crowd as she competed against blink-182’s nostalgia-laden set over at the festival’s main stage. The audience was completely immersed in the 24-year-old’s warped red-and-white “Seussical” set design, as she delivered penetrating verses off her debut album Whack World. Reminiscent of Janelle Monae’s production during her tour cycle for Metropolis: Suite I (The Chase), Tierra paid homage to the aesthetics of Missy Elliot and Grace Jones while setting the bar for what music fans should expect from a truly authentic hip-hop show. -MK

Artist: Childish Gambino
Set date/time: Saturday, 8:25-9:55 p.m.
Location: Lands End

As one of the most anticipated sets of the weekend, Childish Gambino (born Donald Glover) was an absolute highlight of OSL 2019 and it could very well go down as one of the best sets over the festival’s 12-year run. Minutes before making his grand entrance on the main stage, Glover was informed that he had induced the largest crowd in OSL history. When he finally dismounted from his disco platform in the middle of the polo fields, he shared the news and the audience’s energy from that point forward was palpable. Catching Childish Gambino on his current touring schedule is not only rare, but also few and far between. This year he has been mainly headlining festivals, and rumor has it that this cycle will be his final one billed under the “Childish Gambino” moniker, which made for an even more monumental event in SF. Glover dove straight into an aggressive set of songs from Because the Internet and notable cuts on 2016’s Awaken My Love while being accompanied by a backup band and rotating cast of creative support, including a full choir and crew of dancers/performance artists. More of a conceptual art piece than a typical headlining set, Childish’s masterpiece is one that we will remember for a long time. -MK

Artist: DJ Koze
Set date/time: Sunday, 3:40-4:30 p.m.
Location: Sutro

Daytime disco is never an easy feat to pull off at a festival, but DJ Koze had no issue whipping a packed field of dance enthusiasts into a lucid, sweaty frenzy. Coming off his OSL night show Friday at Mezzanine, Stefan Kozalla brought the club vibes so seamlessly to the midday crowd that in the moment, you could barely recognize that you were with so many glistening festival attendees in 80-degree weather (yes, really). Everywhere you turned, smiling faces flashed in unison to the infectious beats of “Pick Up” and “Operator” from his 10-year discography. Fans unapologetically sang along to DJ Koze’s well-known, nu-disco anthems and genuinely let go of themselves during a set that produced some of the weekend’s best vibes. -MK

Artist: Kacey Musgraves
Set date/time: Sunday, 4:10-5:10 p.m.
Location: Lands End

Kacey Musgraves is arguably one of 2019’s top artists. Her fourth LP Golden Hour has received incredible accolades since its release in 2018, eventually nabbing the highly coveted Grammy for Album of the Year. That said, it was little surprise that Musgraves was able to fill the main stage with fans. Her subtle, yet powerful opener “Slow Burn” could not have been more ideal as she took in the immense crowd. She cutely quipped about playing the Sutro stage in 2014, and you could tell she was well-aware of the moment’s gravity. She naturally leaned heavily on Golden Hour, making sure to include fan favorites such as “Butterflies” and “High Horse” during her set, and at this rate, it seems like it’s only a matter of time before this alt-country breakout star finds herself in big font at the top of festival posters. -KQ

Artist: Toro y Moi
Set date/time: Sunday, 6:10-7 p.m.
Location: Sutro

While this wasn’t Chaz Bundick’s first OSL appearance, the Berkeley resident was welcomed back with the biggest and most energetic audience that he has ever amassed in the festival’s history. Riding high from touring in support of his sixth album Outer Peace, he commanded the stage with confidence and performed a club-worthy list of dance-floor jams from his full catalog. Complemented by idyllic weather, Chaz Bear got us grooving and sweating during a much-needed, pick-me-up set on an often-weary Day 3. -MK

Artist: Paul Simon
Set date/time: Sunday, 7:35-9:35 p.m.
Location: Lands End

Now that OSL has casually cruised into its 12th year, some musical traditions appear to be in place. Sunday night has become the “legacy artist” slot for many years now, and while these may not be the highest-attended sets of the weekend, they have become a quintessential part of the event. Simon was no different in all circumstances referenced above. No one should be upset that his live retirement barely lasted a year, as the 77-year-old came out jubilant and as entertaining as ever. He quipped about his past musings and even invited a Bay Area legend onstage. As the sun began to set on a shockingly sunny August day, Simon waltzed out there and opened with “Late in the Evening”. Other classic hits like “50 Ways to Leave Your Lover” and “Me and Julio Down by the Schoolyard” were featured early. “Graceland” kicked off his encore, which saw the Grateful Dead’s Bob Weir join in on the Simon & Garfunkel tune “The Boxer”. Although Weir didn’t tackle any major vocals, it was a unique moment to see the two share the stage. And in a fitting way, “The Sound of Silence” served as Simon’s closing song before the masses strolled into SF’s Outerlands one last time. -KQ

OUTSIDE LANDS 2019 AWARDS:

Best “Lands”: Grass Lands
Elevating the festival game with the legal purchase and consumption of marijuana on the grounds, there were interactive installations like the smell wall, tutorials on how to make bongs and pipes out of fruit, and lounges to chill and take in all the heady vibes.

Best Beacon: The Giant Inflatable Straw
In a city where the use of plastic straws is nearly obsolete, OSL found a tongue-in-cheek way to make sure that the last remaining one was ever-present throughout the park.

Best Food: Lobster Roll (Woodhouse Fish Co.)
This decadently loaded, perfect on-the-go meal may have been overshadowed by the rest of the 2019 culinary menu, but it was by far the best bang for your buck.

Best Cocktail: Pork Chop Express (The Treasury)
If you were looking for something refreshing and not too overwhelmingly intoxicating, The Treasury had you covered all weekend long. Consisting of gin, pineapple gum, honey syrup and lapsang souchong tea, this libation was a crowd favorite that essentially tasted like an adult Arnold Palmer.

Best Wine: West + Wilder (Sparkling)

Best Pop-up: Wyclef Jean’s (somewhat surprise) set outside of the Heineken Dome

Best Upgrade: Verizon Members Lounge

Best Merchandise: Limited Edition Bomber Jacket (buy here)

Best Comedian: Alyssa Edwards

Best Cameo: Bob Weir of the Grateful Dead (during Paul Simon’s headlining performance)

Outside Lands 2019 - Anderson .Paak & the Free Nationals

Filed Under: Editor's Picks, Featured, Festivals Tagged With: Alina Baraz, Altın Gün, Anderson .Paak, Anderson .Paak & The Free Nationals, AURORA, Bea Miller, Bebe Rexha, Better Oblivion Community Center, Big Wild, Blink-182, Bob Moses, bob weir, Cherry Glazerr, Childish Gambino, Counting Crows, CupcakKe, Denzel Curry, DomPen, Donald Glover, Ella Mai, Flume, Flying Lotus (3D), grateful dead, Half Alive, Hozier, Judah & the Lion, Jupiter & Okwess, Justin Martin, Kacey Musgraves, Kiva, Kygo, Lauren Daigle, Leon Bridges, Lil Wayne, Mavis Staples, Outside Lands, Outside Lands 2019, Outside Lands Music Festival, Outside Lands Music Festival 2019, Paul Simon, Puddles Pity Party, RL Grime, San Holo, Santigold, Sheck Wes, The Lumineers, The Marías, The Neighbourhood, The Treasury, Tony Danza, Toro Y Moi, Twenty One Pilots, Wyclef Jean

Monterey Pop 50 pays tribute to the Summer of Love & the festival that started it all

June 22, 2017 by Stephanie Port Leave a Comment

By Steph Port //

Monterey International Pop Festival 50 //
Monterey County Fairgrounds – Monterey, CA
June 16th-18th, 2017 //

Last weekend marked the 50th anniversary of the Monterey International Pop Music Festival, the iconic three-day music fest held at the Monterey County Fairgrounds in 1967 that featured such artists as Jimi Hendrix, The Who, Grateful Dead, Ravi Shankar, Simon & Garfunkel, the first large-scale performance by Janis Joplin and the introduction of Otis Redding.

To celebrate the occasion, Monterey International Pop Festival’s 50th anniversary featured a lineup of original performers and newer artists alike who all paid tribute to the original event in some way.

Many of this year’s artists covered songs by 1967 performers, such as Norah Jones (Grateful Dead’s “Ripple”), Jack Johnson (Steve Miller Band’s “Joker”; Jimi Hendrix’s “Foxy Lady”), Nicki Bluhm & Dirty Dozen Brass Band (Jefferson Airplane’s “White Rabbit”), Hiss Golden Messenger (Grateful Dead’s “Brown Eyed Women”) and Booker T. Jones’ Stax Revue (Otis Redding’s “Respect”).

Jim James

The three-day stretch featured plenty of sit-ins and collaborations as well, including Father John Misty, Nathaniel Rateliff and Danny Clinch joining Leon Bridges for his encore, Jones dueting with Johnson on a beautiful cover of “I Shall Be Released” and Duane Betts joining North Mississippi Allstars for “In Memory of Elizabeth Reed”, to name a few.

An on-site art exhibit featured original documents and photographs and showed parts of D.A. Pennebaker’s famed documentary “Monterey Pop”. The Morrison Hotel Gallery also hosted a pop-up gallery, which showcased 50 photographic prints of the artists that performed at the original festival, with several of the photographers in attendance.

The spirit of the Summer of Love could be felt throughout the weekend. Artists were honored as an important part of Monterey Pop’s legacy, and we all left with a sense of gratitude for its impact on contemporary culture and how we see music today.

Monterey Pop International Festival 50 - North Mississippi Allstars

Monterey Pop International Festival 50 - Jackie Greene

Monterey Pop Monterey Pop International Festival 50

Monterey Pop International Festival 50 - Dr. Dog

Monterey Pop International Festival 50 - Norah Jones

Monterey Pop International Festival 50 - Jack Johnson

Monterey Pop International Festival 50 - Hiss Golden Messenger

Monterey Pop International Festival 50 - Dirty Dozen Brass Band

Monterey Pop International Festival 50 - Dirty Dozen Brass Band with Nicki Bluhm

Monterey Pop International Festival 50 - Booker T's Stax Revue

Monterey Pop International Festival 50 - Kurt Vile

Monterey Pop International Festival 50 - Animal Liberation Orchestra

Filed Under: Editor's Picks, Featured, Festivals Tagged With: Booker T's Stax Revue, D.A. Pennebaker, Danny Clinch, Duane Betts, Father John Misty, grateful dead, Jack Johnson, Janis Joplin, Jim James, Jimi Hendrix, Leon Bridges, Monterey International Pop Festival, Monterey International Pop Festival 2017, Monterey International Pop Festival 50, Monterey Pop, Monterey Pop 2017, Monterey Pop 50, Monterey Pop Festival, Monterey Pop Festival 2017, Monterey Pop Festival 50, My Morning Jacket, Nathaniel Rateliff, Nicki Bluhm, Nicki Bluhm & The Gramblers, Norah Jones, North Mississippi Allstars, Ravi Shankar, Simon & Garfunkel, The Who

Karl Denson’s Tiny Universe expands at Terrapin Crossroads as Phil Lesh joins the party

February 3, 2017 by James Nagel Leave a Comment

By James Nagel //

Karl Denson’s Tiny Universe //
Terrapin Crossroads – San Rafael, CA
March 27th, 2017 //

Karl Denson’s Tiny Universe brought the funk to Terrapin Crossroads for a two-set, sold-out performance last Friday. Denson and company started things off slowly but eventually put fans into a frenzy with a jazzy cover of ZZ Top’s “Just Got Paid”. After that, the show turned into an energizing dance party for the rest of the night.

Though it might have been a surprise to some, regulars at Terrapin Crossroads have come to expect frequent guest appearances by the Grateful Dead’s Phil Lesh. With three songs left in the first set, Lesh stepped onstage and helped out with a cover of “Shakedown Street”. All in all, it was a very fun, jammy, jazzy and smiles-all-around show.

Karl Denson's Tiny Universe with Phil Lesh

Filed Under: Featured, Photos Tagged With: grateful dead, Karl Denson, Karl Denson's Tiny Universe, phil lesh, Terrapin Crossroads

20 predictions for Grateful Dead’s ‘Fare Thee Well’

June 26, 2015 by The Bam Team 2 Comments

By Andy Magnes //

With “Fare Thee Well” upon us and everyone dancin’ in the streets, it’s time to make some predictions for this one final run to be grateful for.

We’re not saying all of these are going to happen, but we’ll keep our fingers crossed!

Prediction #20: There will be no Phish or Bruce Hornsby songs.

This is a Dead affair. Although the devout “Phans” might hear a tease or two, if Trey played a Phish song, I’m pretty sure first generation Deadheads would have a heart attack. Having said that …

Prediction #19: We will hear a Beatles cover.

From one core four to the next.

Prediction #18: For better or worse, the whole run will be one huge singalong.

Time to start warming up those pipes!

Prediction #17: Having said that, there will be a few jams that go DEEP.

We’re predicting “Eyes of the World” goes long.

Prediction #16: Santa Clara will be a Sunshine Daydream.

The driest state in the country looks like it’s going to pay off this weekend.

Prediction #15: Soldier Field could be a “Box of Rain”.

The forecast isn’t looking great, but we’ve seen stranger things happen.

Prediction #14: Jeff Chimenti will be the unsung hero of “FTW”.

Out of everyone on stage, he’s the guy in his prime who is the most familiar with the Dead catalog right now.

Prediction #13: Deadheads will feel much better about Trey after Santa Clara.

Trey’s reverence for everything the Dead stood for and his soaring leads will win over many old hearts.

Prediction #12: “Fare Thee Well” will be the happiest moment at Soldier Field in 2015.

Sorry Jay Cutler, but look on the bright side — this at least gives you an opportunity to smoke cigs on the field.

Prediction #11: Trey will use at least three different guitars.

This is not going to be a Languedoc-heavy affair. After Jerry’s guitar mysteriously disappeared from the Rock and Roll Hall of Fame, expect some legendary axes to accompany some legendary music.

Prediction #10: Bobby will sit in on at least one late-night show. Trey will not.

These days, Big Red goes to bed while the rest of us rage!

Courtesy of Phish.net

Prediction #9: To symbolize the passing of the torch, Bobby will bequeath his daisy dukes to Trey.

Our sources tell us this is the main reason they didn’t choose Warren.

Prediction #8: This isn’t the last we’ll see of Trey and Bruce on stage together.

Bruce’s style is a perfect match for Trey’s guitar — like an even more bluesier Page — and after their chemistry shines, we can only hope to see more of this pairing.

Prediction #7: Antelope Greg and Mayor Rahm Emanuel will get into a fistfight.

With his turf threatened by the influx of the scene, Raging Rahm will have no choice but to throw down.

[Fun fact: Rahm’s got a Jerry hand!]

Prediction #6: Chicago will open with “Box of Rain”.

It was the last song Jerry played live, in that very stadium, and the core four will no doubt tribute the late, great guitarist.

Prediction #5: “And We Bid You Good Night” will close the Chicago run … and the era.

Not the boldest prediction, but the thought of the whole crowd singing “Good Night” with the core four one more time already gives us the chills.

Prediction #4: There will be at least three Furthur buses on the lot in Chicago.

Probably more. If you have a Furthur bus, you’re coming to the Windy City. Having a geo-centric location will at least pay off in this way.

Prediction #3: Obama in attendance?

The Dead campaigned for him in 2008, it’s in his hometown and he’s officially entering the “IDGAF” portion of his presidency. O-bong hits for Obama!

Prediction #2: Mike Gordon will be raging the Chicago pit … with an enormous cactus rage stick.

You’ll be able to see his scarf for miles.

Prediction #1: Three generations of Deadheads will be in attendance.

It’s more of an observation than a prediction, but wow, what an incredible 50-year ride!

Even though this represents the end of an era, the tradition and spirit of the Grateful Dead is as fresh as ever. Whether you’re seeing Phil Lesh and Friends or Bob Weir & RatDog or you’re taking a new spin on the Dead’s songbook with Joe Russo’s Almost Dead or The Motet’s “Funk Is Dead” tribute, one thing’s for certain: even after the last note rings at Soldier Field, the music will never stop!

Filed Under: Featured, Live Music Previews Tagged With: Fare Thee Well, grateful dead, Grateful Dead 50, Levi's Stadium, Phish, Soldier Field, Trey Anastasio

Loop master Keller Williams keeps his fans guessing at Sweetwater Music Hall

April 20, 2015 by BenJamin Wallen Leave a Comment

By Benjamin Wallen //

Keller Williams //
Sweetwater Music Hall – Mill Valley, CA
April 17th, 2015 //

The one-man music-making loop master Keller Williams performed a full solo set at the Sweetwater Music Hall only a few days before the launch of his 21st album entitled Vape.

Many of Williams’ songs are road-tested before they are recorded, and this album is no different. However, there were a few tracks not road-tested that were some really tasty treats last Friday night. One in particular called “Jesus’ Gun”, Williams’ take on the gun-toting nuts who live in the U.S., started off the show and got the crowd relaxed.

Sprinkled in were some new renditions of classic Grateful Dead tunes that had this fan laughing and applauding at the same time. Just when you think you know how the songs are going to play out, Williams spins them on their head and kills it. He certainly doesn’t seem to be slowing down, and seeing a full solo set in the Bay Area was a fantastic treat.

With an All-Star supporting cast that includes none other than Phil Lesh, Scott Law, Jackie Greene, Jason Crosby and Alex Koford, Williams will grace the other Grateful Dead shrine in Marin County for his record release party at Terrapin Crossroads on April 20th in what will surely be another magical performance.

Filed Under: Featured, Photos Tagged With: grateful dead, Keller Williams, Sweetwater Music hall

RUMOR: Why not Phil Lesh or Trey Anastasio for additional Fare Thee Well Bay Area shows?

March 14, 2015 by Steven Wandrey 37 Comments

By Steven Wandrey //

After the most hyped shows of our lifetimes sold out instantaneously, a million people (literally) were crestfallen and left without tickets. Scalpers’ prices currently range from insulting to outrageous for the Grateful Dead’s Fare Thee Well shows in Chicago over Fourth of July weekend.

After overseeing a sell out of epic proportions, the Dead 50 camp surely has dollar signs in their eyes. And why shouldn’t they? If they could stand to pocket millions more dollars by playing four to six more shows, they should.

Now that the rumored date additions at Levi’s Stadium and New York City are seemingly close to fruition, the rumored performers for the Santa Clara shows in late June at Levi’s stadium are: Bob Weir, Mickey Hart, Bill Kreutzmann, Jeff Chimenti, Steve Kimock, John Mayer and Mike Gordon.

While John Mayer pulls some mainstream weight, it’s truly a testament to how strong the Chicago demand was that promoters believe this alleged lineup will safely sell out Levi’s for tickets over $100 face value.

Most importantly, why the possible omission of Phil Lesh and Trey Anastasio? It seems like a slam dunk that Lesh would be a part of his homecoming shows, a short drive from his own venue Terrapin Crossroads.

So what changed? The only obvious change is the swapping of Anastasio for Kimock. Does Lesh have a personal problem with Kimock, who has performed with Phil & Friends in the past? Why would Lesh possibly sit this one out? We’ll update as this one continues to develop.

Watch this performance of “Loser” with Bruce Hornsby and band along with Steve Kimock and Phil Lesh from 1998.

Filed Under: Featured, Music Story Tagged With: Fare Thee Well, grateful dead, Grateful Dead 50, Levi's Stadium, Phish, Santa Clara

Tickets for the last Grateful Dead shows are reselling for as much as $4,000

February 28, 2015 by Mike Frash Leave a Comment

By Mike Frash //

Grateful Dead nation is split into two distinct factions after the Ticketmaster on sale Saturday morning for the group’s final shows — those who scored tickets and the other ones left with none. This is arguably the most in-demand concert series in recent years, and most Deadheads knew what they would be up against after only one in every 10 mail order tickets were awarded for purchase.

Many folks have reported Ticketmaster crashed at the on-sale time of 10 a.m. CT. From there, many hopeful attendees had their souls crushed as the Ticketmaster waiting room minute countdown continued to fluctuate one hour later, which is common for instant sellout events.

The final three shows, dubbed “Fare Thee Well” for the 50th Anniversary of the Grateful Dead, will feature Bruce Hornsby and Phish’s Trey Anastasio filling in the Jerry Garcia role over Fourth of July weekend at Chicago’s Soldier Field. The injection of the phanner community has helped to make these three shows the hottest tickets of the year.

In opposition to the ethos of the Dead, premium tickets are being sold for as much as $215. And of course, many 21st century scalpers took notice of the demand and have taken to third party sellers for mad, mad profit.

A sign that the day of granting miracles to show-going hopefuls might be kaput, tickets for these shows are selling for as much as $4,000. Granted that could be a deal between a greedy scalper and someone that gives no fucks about spending money, but the overall median for sold tickets so far is $933 for the first show and $941 for the second at 11 a.m. CT.

So if you’re considering the idea of dropping $1,000 to get into this show, don’t let that deal go down. Ticket prices will likely go down from here and will be broadcasted in some way. But come on, it’s not like Jerry’s coming back for the event — that I’d pay a grand for.

What are your thoughts on this over-demand fiasco?

As soon as they go on sale, Ticketmaster crashed. Now online waiting to hear they are sold out. The struggle is real. #GratefulDead50

— Joe Fagan (@JagsFagan) February 28, 2015

dear @Ticketmaster. the next time the Dead do a 50th anniversary tour, you might want to consider purchasing more servers. #GratefulDead50

— jim van huysse (@jim_vh) February 28, 2015

@BobWeir @mickeyhart @fat_man_rocks @GratefulDead50 @Sugarlimeblue this is no longer about the music. Happy trails. We will miss you !!

— Tommy Cooper (@Tommy1978Cooper) February 28, 2015

how about canceling the orders of tickets that wind up on stubhub? #GD50 @GratefulDead50

— Ryan Little (@donnycheads) February 28, 2015

This whole Grateful Dead ticketing process has been painful and dissapointing. #dead50 @GratefulDead50

— Chris Drouin (@ChrisDrouin) February 28, 2015

You have to add more shows/weekends @GratefulDead50 you broke @Ticketmaster.

— Josh'n Perks (@Perk_U_Later) February 28, 2015

Did any non-robots score a single @GratefulDead50 ticket in the onsale? #doubtful

— SD (@sland3rous) February 28, 2015

https://twitter.com/scottdhutch/status/571713575321915393

.@GratefulDead50 we need to have a talk about these ticket sales

— Eric (@erockpgh) February 28, 2015

https://twitter.com/patpat09/status/571712393362989057

#gratefuldead50 No need 4 tix will have own kool aid acid test this July. Hang it up see what tomorrow brings

— Rich L (@ztrebeil) February 28, 2015

Filed Under: Featured, Music Story, News Tagged With: Fare Thee Well, grateful dead, Grateful Dead 50, Soldier Field

Bluegrass takes center stage at The Chapel for a night

January 8, 2015 by BenJamin Wallen Leave a Comment

The Neckbeard Boys

By Benjamin Wallen //

Newgrass and Tried & Truegrass – SF’s Finest Local Bluegrass Heroes feat. The Neckbeard Boys, Windy Hill, Grateful Bluegrass Boys, Rusty Stringfield //
The Chapel – San Francisco
January 3rd, 2015 //

The Chapel hosted another night of string-picking and foot-stomping bluegrass of all tastes thanks to Britgrass, a collection of local bluegrass musicians in the Bay Area. “Newgrass and Tried & Truegrass” was the theme of this show with music from Rusty Stringfield, the Grateful Bluegrass Boys (a mix of some players from Hot Buttered Rum and The David Thom Band), Windy Hill and headlining act The Neckbeard Boys.

There to host the event was none other than Bay Area bluegrass legend and president of the California Bluegrass Association Chuck Poling, who you may also recognize from his hosting of the Hardly Strictly Bluegrass’s Rooster Stage. For a genre back on the rise, it was great to see some of the best in the Bay Area play together to a packed house on a Saturday night in The Mission. Windy Hill brought the classical approach of Doc Watson’s and Del McCoury’s single-mic, three-party harmonies that people know and love from the old-timey bluegrass days.

Rusty Stringfield

To bridge the gap from the true to the new grass was Rusty Stringfield and the Grateful Bluegrass Boys with their takes on bluegrass classics as well as both modern and Grateful Dead tunes. Closing the night out, the rousing tunes of The Neckbeard Boys had the place dancing and stomping, finishing with a cover of “Ignition (Remix)” by R. Kelly.

For bluegrass fans in the Bay Area, keep an eye out for these bands and more Britgrass events, as they offer one heck of a ride.

Filed Under: Featured, Photos Tagged With: Britgrass, California Bluegrass Association, Chuck Poling, Del McCoury, Doc Watson, grateful dead, Hardly Strictly Bluegrass, R. Kelly, Rusty Stringfield, The Chapel, The Grateful Bluegrass Boys, The Neckbeard Boys, Windy Hill

Gov’t Mule pay tribute to list of legends at Orpheum

September 30, 2014 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Gov’t Mule //
Orpheum Theatre – Los Angeles
September 26th, 2014 //

Warren Haynes may be leaving The Allman Brothers Band for good after this year, but that doesn’t mean the future of Gov’t Mule is in jeopardy. The Southern rock outfit has been going strong for 20 years now, becoming a staple in the jam scene and a household name at music festivals across the country.

But for as many gigs as they’ve tallied over the past two decades, the well-oiled machine of Haynes (guitar, vocals), Matt Abts (drums, percussion), Danny Louis (keyboards, trumpet, guitar, vocals) and Jorgen Carlsson (bass) hasn’t slowed down, releasing their 10th studio album Shout! just a year ago.

Hitting LA on a Friday night for their “20 Years Strong” tour, the quartet ripped through a 19-song, two-and-a-half hour performance at the historic Orpheum Theatre that saw Haynes and company pay tribute to a long list of music’s biggest legends — Ray Charles, Jimi Hendrix, Johnny Cash, Al Green, Ann Peebles, Maynard Ferguson, The Beatles, The Rolling Stones, Grateful Dead, Sly and the Family Stone, The Allman Brothers, Creedence Clearwater Revival and The Police were all represented in some shape or form over the course of the night.

With Gov’t Mule only playing three songs from Shout!, it was clear that this night was more about their appreciation for those who had come before them than what their own music embodies. When it was all said and done, Mule left their loyal LA fan base eager for the next U.S. tour — whenever that may be.

Set 1:
Mule, Game Face (with “Birdland,” “Mountain Jam” and “Norwegian Wood” teases), Little Toy Brain, Funny Little Tragedy (with “Message in a Bottle” lyrics), Kind of Bird (with “When the Wind Cries Mary” tease), Banks of the Deep End, Captured, Broke Down on the Brazos

Set 2:
Done Got Wise, I Believe to My Soul (Ray Charles cover with Jimmy Vivino and Jeff Babko), Brighter Days, Fallen Down (with “Gimme Shelter” lyrics), The Other One Jam (Grateful Dead cover with “Gimme Shelter” lyrics), Drums, Drums & Bass, I Feel Like Breaking Up Somebody’s Home (Ann Peebles cover with Jimmy Vivino and Yoshi Yanagi with “Let Me Have It All” lyrics)

Encore:
Effigy (Creedence Clearwater Revival cover), Folsom Prison Blues Jam (Johnny Cash cover) > Effigy, I’m a Ram (Al Green cover)

Filed Under: Featured, Live Music Reviews Tagged With: Al Green, Ann Peebles, Creedence Clearwater Revival, Gov't Mule, grateful dead, Jimi Hendrix, Johnny Cash, Orpheum Theatre, Ray Charles, Shout!, The Allman Brothers Band, The Police, The Rolling Stones, Warren Haynes

PHOTOS: Preservation Hall Jazz Band with Bob Weir at Sweetwater 4/18

April 21, 2014 by Sterling Munksgard 1 Comment

By Sterling Munksgard //

Preservation Hall Jazz Band with Howell Devine //
Sweetwater Music Hall – Mill Valley, CA
April 18th, 2014 //

A New Orleans institution, Preservation Hall Jazz Band hit the road every year when they aren’t delighting local audiences in the French Quarter. When visiting Preservation Hall in NOLA, the group take requests from show-goers in the hallowed 100-person space — just don’t request “Saints”, it’ll set ya back $10.

In between consecutive weekend dates at Coachella, the legendary group played at Sweetwater Music Hall just over the Golden Gate Bridge and one of the Bay Area’s own local icons, Bob Weir, joined them as well as opener Howell Devine beforehand onstage. So did folk songstress Maria Muldaur for Pres Hall’s headlining set during what would be a memorable evening in Marin County.

Preservation Hall Jazz Band & Bob Weir 5

Preservation Hall Jazz Band & Maria Muldaur

Preservation Hall Jazz Band & Bob Weir 4

Filed Under: Featured, Photos Tagged With: bob weir, Coachella, Coachella 2014, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2014, grateful dead, Howell Devine, Maria Muldaur, Preservation Hall Jazz Band, Sweetwater Music hall

PHOTOS: Rex Foundation Benefit at The Fillmore 12/7

December 13, 2013 by Sterling Munksgard 2 Comments

By Sterling Munksgard

The Rex Foundation Benefit //
The Fillmore – San Francisco
December 7th, 2013 //

The Grateful Dead was always known for generosity and the performance of numerous benefits. In the fall of 1983, the Rex Foundation was established as a non-profit charitable organization by members of the Grateful Dead and friends to further this tradition. The Rex Foundation enabled the Grateful Dead to go beyond responding to multiple requests for contributions, and proactively provide extensive community support to creative endeavors in the arts, sciences, and education. The first benefit concerts for the Rex Foundation were held in the spring of 1984 at the Marin Veteran’s Memorial Auditorium. Since 1984 the Rex Foundation has granted $8.9 million to over 1,200 recipients.

On December 7th, The Rex Foundation Benefit included a Keller Williams solo set, Keller Williams with Nicki Bluhm (Nicki Bluhm and the Gramblers) and Tim Bluhm (The Mother Hips), Grateful Grass with Keller Williams, Keith Moseley (String Cheese Incident), Michael Kang (String Cheese Incident) and Jeff Austin (of Yonder Mountain String Band), and Mickey Hart joined as a special guest, paying tribute to Nelson Mandela.

Filed Under: Featured, Photos Tagged With: grateful dead, Jeff Austin, Keller Williams, Michael Kang, Mickey Hart, Nicki Bluhm, Rex Foundation, Tim Bluhm Keith Moseley

10 best tracks about “Home”

December 6, 2012 by Mike Frash 1 Comment

Subscribe to our “Home” Spotify Playlist

This is the time of year when a lot of people spend time at home. People go home for the holidays, as most of us did for Thanksgiving and will do this month. People get stuck in their house when it’s raining & snowing. And we recognize how important home is when catastrophic events like hurricanes and earthquakes destroy so many dwellings.

Home can also have an abstract meaning, especially when it comes to music. Home can be a state of mind, and the idea of home shifts for many over the course of their lives.

Enough deep analytics – here are 10 of our favorite songs about home.
What did we miss?

10. Band of Horses – “On My Way Back Home”

On my way back home, by chance I thought of
All my favorite songs, where I’d gone wrong
The only words that I could think of
I’m pissing my life away in the form of a song
On my way back home

9. Japandroids – “The House That Heaven Built”

I happened on a house
Built of living light
Where everything evil dissapears and dies…
I settled in slowly, to this house that you call home
To blood and breath, fear, flesh and bone…
Its a lifeless life, with no fixed address to give
but your not mine to die for anymore
so i must live

8. Al Green – “Call Me (Come Back Home)”

If you find you’s a long way from home
And if somebody’s doin’ you wrong
Just call me baby
Come back home

7. The Head And The Heart – “Lost in My Mind”

Momma once told me
You’re already home where you feel loved
I am lost in my mind
I get lost in my mind

6. Grateful Dead – “Brokedown Palace”

Goin home, goin home, by the riverside I will rest my bones,
Listen to the river sing sweet songs, to rock my soul.

5. John Denver – “Take Me Home, Country Roads”

Country roads, take me home
To the place I belong
West Virginia, Mountain Mama
Take me home, country roads

4. Michael Kiwanuka – “Home Again”

Home again, Home again
One day I know I’ll feel home again
Wrong again, Wrong again
One day I know I’ll feel strong again
And lift my head

3. Edward Sharpe & The Magnetic Zeros – “Home”

Home
Let me come Home
Home is wherever I’m with you

2. LCD Soundsystem – “Home”

Home, home, home
Home, home, home
Take me home…
If you’re afraid of what you need
Look around you, you’re surrounded
It won’t get any better…

1. Talking Heads – “This Must Be the Place (Naive Melody)”

Home is where i want to be
Pick me up and turn me round
I feel numb – burn with a weak heart
(so i) guess i must be having fun…
Home – is where i want to be
But i guess i’m already there
I come home – -she lifted up her wings
Guess that this must be the place

Subscribe to the “Home” Spotify Playlist

Filed Under: BAM of the Week Tagged With: Al Green, Band of Horses, Edward Sharpe and the Magnetic Zeros, grateful dead, Japandroids, John Denver, LCD Soundsystem, Michael Kiwanuka, Talking Heads, The Head and The Heart

25 of the best cover songs ever

November 27, 2012 by Mike Frash 10 Comments

It’s pretty hard to proclaim the best cover songs of all time — there have been so many great covers performed in the studio and in a live environment. So that’s why we’re framing this as “25 of the Best Cover Songs Ever”. This list is not as hyperbolic as we prefer to be, but our top 10 is pretty damn solid.

Some prescribe to the theory that a cover song has to be better than the original to be great, or considered one of the the best. I don’t believe this to be true. There are cases in this list where the cover song does not surpass the original in greatness (see #25 for example). But if a cover song attempts to be different and successfully recreates a track to make it original and timeless in its own way, credit should be granted.

What did we miss? Leave us a comment with a YouTube link.

25. Chromatics – “Into the Black”
Originally by Neil Young

24. Guns N’ Roses – “Knockin’ On Heaven’s Door”
Originally by Bob Dylan

23. Bob Dylan – “Train of Love”
Originally by Johnny Cash

22. Johnny Cash – “I’m on Fire”
Originally by Bruce Springsteen

21. Bruce Springsteen – “Trapped”
Originally by Jimmy Cliff

20. Birdy – “Skinny Love”
Originally by Bon Iver

19. Sublime (featuring Alex Grenwald) – “Scarlet Begonias”
Originally by the Grateful Dead

18. Grateful Dead – “Morning Dew”
Originally by Bonnie Dobson

17. Alison Krauss & Robert Plant – “Trampled Rose”
Originally by Tom Waits

16. Santana – “Black Magic Woman”
Originally by Fleetwood Mac

15. Sharon Jones – “It’s a Man’s World”
Originally by James Brown

14. Radiohead – “The Headmaster Ritual”
Originally by The Smiths

13. Eric Clapton – “Coccaine”
Originally by JJ Cale

12. Tina & Ike Turner – “Proud Mary”
Originally by Creedence Clearwater Revival

11. Creedence Clearwater Revival – “I Heard It Through the Grapevine”
Originally by Smokey Robinson & the Miracles

10. The White Stripes – “Jolene”
Originally by Dolly Parton

9. Joe Cocker – “With a Little Help from My Friends”
Originally by The Beatles

8. The Beatles – “Twist & Shout”
Originally by The Top Notes, made famous by The Isley Brothers

7. Nirvana – “Where Did You Sleep Last Night”
Traditional song; arranged by Lead Belly

6. Janis Joplin – “Me and Bobby McGee”
Originally by Kris Kristofferson

5. Phish – “Remain in Light” LP in it’s entirety
Originally by Talking Heads

4. Talking Heads – “Take Me to the River”
Originally by Al Green

3. Aretha Franklin – “Respect”
Originally by Otis Redding.

2. Jimi Hendrix – All Along the Watchtower
Originally by Bob Dylan.

1. Johnny Cash – Hurt
Originally by Nine Inch Nails.

Filed Under: BAM of the Week Tagged With: Al Green, Alison Krauss, Aretha Franklin, Birdy, Bob Dylan, Bon Iver, Bruce Springsteen, CCR, Chromatics, Cover Songs, Creedence Clearwater Revival, Dolly Parton, Eric Clapton, Fleetwood Mac, grateful dead, James Brown, Janis Joplin, Jimi Hendrix, Jimmy Cliff, Joe Cocker, Johnny Cash, Neil Young, Nine Inch Nails, Nirvana, Otis Redding, Phish, Radiohead, Robert Plant, Santana, Sharon Jones, Sublime, Talking Heads, The Beatles, The Smiths, The White Stripes, Tina Turner, Tom Waits

Greensky Bluegrass throw down at The Mint

November 6, 2012 by Pete Mauch Leave a Comment

By Pete Mauch //

Greensky Bluegrass //
The Mint – Los Angeles
November 2nd, 2012 //

Greensky Bluegrass stormed into The Mint in LA on Friday and delivered a tasty set of foot-stompin’ originals and clever cover songs that you wouldn’t normally expect at a bluegrass show. There’s something special about this quintet from Kalamazoo, Michigan because you feel immediatly connected with them as if they’re playing on your back porch. Anders Beck, who plays the dobro, could easily be a comedian on the side. His banter in between songs is priceless. Greensky Bluegrass is a force to be reckoned with on the bluegrass scene, and they proved it once again at The Mint.

Freshly shaven Paul Hoffman on Mandolin delivers songs with great passion and skill. His mandolin playing is delicate yet his voice bellows out thoughtful lyrics. I particularly liked his playing on Greensky’s original “Old Barns.” This powerful tune evokes the feeling of listening to your grandfather telling stories about the good ol’ days, and Hoffman played it beautifully. One of my favorite songs, “All Four,” which is the last track off their newest album Handguns was also a highlight of the set. “I’d Probably Kill You” is fun little number that was sung by Dave Bruzza that is probably about an ex-girlfriend who drove him nuts, and it features a great mandolin solo by Hoffman.

Another great part of the band is their beautiful harmonies, which are well thought-out and add to their unique sound. Guitarist Dave Bruzza has a deep voice that compliments Hoffman’s softer tone. Bruzza was sporting a mullet leftover from Halloween night when they played an all 80’s cover show in San Francisco at The Independent. It seemed to fit right into the bluegrass scene and of course Anders had to point that out with his witty stage banter. Now, Beck may be a jokester, but when it comes to the Dobro he is very serious. His addition to the band just a few years back really adds great depth and texture.

One of my favorite parts of a Greensky Bluegrass’ show is their amazing choice of covers. Fresh off the Halloween covers show, I figured they had some new cuts that they wanted to share to this LA crowd. They ended the first set with “Second that Emotion”, originally by Smokey Robinson, and it was well-received. Grateful Dead’s “West L.A. Fadeaway” also made an appearance, much to the delight of this West LA crowd. Greensky even dared to take on Pink Floyd’s classic rocker “Time” in great bluegrass fashion, and they conquered it. Paul Simon’s “You Can Call Me Al” ended the night, and they rocked this classic tune out, and before I knew what hit me, the night was over. Greensky Bluegrass is the real deal, and their show guarantees a great night out on the town.

“You Can Call Me Al”:

“I’d Probably Kill You”:

Filed Under: Live Music Reviews Tagged With: grateful dead, Greensky Bluegrass, Paul Simon, Pink Floyd, Smokey Robinson, The Independent, The Mint

Movember: Top 5 Musician Mustaches

November 5, 2012 by Pete Mauch 1 Comment

By Pete Mauch //

Last week we posted this question on our Facebook page:

We got some great responses, and T.J. Rigney receives a Frank Zappa vinyl courtesy of Showbams for his comment:

The results are in, so here they are:

5. RON “PIGPEN” McKERNAN

This founding member and original lead singer of the Grateful Dead rocked a proper ‘stache.

4. LEMMY KILMISTER

It’s badass. ‘Nuff said.

3. FREDDIE MERCURY

Freddie is not quite the champion of mustaches in rock, but he’s damn near close.

2. DAVID CROSBY

Crosby gets in at No. 2. Have you seen his ‘stache lately??? It hasn’t changed.

1. FRANK ZAPPA

This self-taught, eccentric rocker tops the chart for best mustache in rock history. Gotta love the ponytail to boot, too.

Honorable Mention: Prince, John Oates, Rick James and Lionel Richie.

Give us a “Like” on Facebook and comment on our weekly question to possibly win a prize!

Filed Under: BAM of the Week, Featured Tagged With: BAM of the Week, Crosby, David Crosby, Frank Zappa, Freddie Mercury, grateful dead, John Oates, Lional Richie, Lionel Richie, Motörhead, Pigpen, Prince, Queen, Rick James, Ron McKernan, Stills & Nash, The Byrds

Dancin’ in the streets of LA with Furthur at the Greek

October 10, 2012 by Pete Mauch Leave a Comment

By Pete Mauch //

Further //
Greek Theatre – Los Angeles
October 5th-6th, 2012 //

Night 1

Furthur took the stage Friday night at the beautiful Greek Theater in Los Angeles and proceeded to play an inspired show full of surprise guests and timeless songs. The Greek Theater is easily my favorite outdoor venue in Los Angeles. It’s nestled right in the mountainside of Griffith Park and gives you the feel of seclusion, which is exactly what I want when I see a Furthur show.

This particular night the sky was a dark shade of purple and had amazing patchy clouds that made me think of the song “Cream Puff War.” One of my favorite parts of attending a Furthur show is the family of deadheads who truly hear the music the way it is supposed to be heard. It had been a year to the day that Furthur graced the stage at the Greek, and I was reeling with anticipation because the shows last year were absolutely wonderful.

Due to my day job and Los Angeles traffic, I walked in late and caught the tail end of what seemed like a blistering “Brown-Eyed Women”. After “Brown-Eyed Women”, I turned to my bug-eyed neighbor and asked him what I missed, and he enthusiastically said “Truckin'” and “Smokestack Lightning.” I immediately gasped as I’ve always loved “Smokestack”, but I didn’t worry because there was still plenty of show left for this young deadhead.

Next came a Bob Weir tune “Money for Gasoline”. I was pleasantly surprised with this version because I can usually do without this song, but Weir pulled it off quite nicely with a lot of help from the backup singers, Sunshine Becker and Jeff Pehrson. Furthur then decided to tackle the George Harrison song “Any Day”. Lead guitarist John Kadlecik took lead vocals on this track. It was my second time hearing this cover, and I will surely welcome it anytime. Bassist Phil Lesh then treated us to a beautiful take on “Peggy-O”. Lesh is usually not very strong with his vocals, but he absolutely nailed “Peggy-O”.

Furthur then invited Jonathon Wilson on stage to play guitar and sing on “Mission in the Rain”. A lot of Deadheads recognized Wilson from the Jerry Garcia tribute show “Move Me Brightly”, put on by Weir back in August. I’m usually not a big fan of special guests, but Wilson did a great job on this Garcia tune, especially with his vocals. As Wilson walked off stage, Lukas Nelson walked on and played a countrified rendition of Bob Dylan’s “I Shall Be Released”. Nelson is the son of the legendary Willie Nelson, and you can tell that the apple does not fall far from the tree. Nelson then led Furthur into a fiery take of “Althea”, which is one of my all-time favorite Dead songs. So, when Lukas Nelson took lead vocals, I was at first put off. But by the end of the song, he had the band and the crowd completely hanging onto every note. Drummer Joe Russo was obviously moved because he was bouncing behind his kit like I’ve never seen before. I haven’t seen that much energy on a Furthur stage in a long time.

After a lengthy set break, Furthur started things off with the famous segue of “China Cat Sunflower” into “I Know You Rider”, known simply by Deadheads as “China Rider”. “China Cat Sunflower” is one of those songs that just makes you smile. There is something about this song that puts you into your happy place, and this version definitely did that for me. Furthur transitioned beautifully into “I Know You Rider”, which had everyone in attendance singing along.

Furthur wasn’t ready to take a breather just yet, so they segued right into a rather lengthy and psychedelic version of “Cassidy”, which had some serious legs to it and clocked in around 15 minutes. Kadlecik and Jeff Chimenti on keys were feeding off each other while Lesh and Russo stayed locked into the rhythm. “Cassidy” is rarely a highlight of a Further set, but tonight it was just that.

Another highlight of the show was the classic combo of “Scarlet Begonias” into “Fire on the Mountain”. It was 20 minutes of pure bliss for these ears. “Scarlet” was fired up from the get-go, and it had all the players in the band locked in. They transitioned flawlessly into a raging “Fire on the Mountain”, and Furthur must of known the crowd needed a break because next came an angelic take on “Standing on the Moon”. It is impossible to compare Weir’s take on this song to Garcia’s, but I will say that Weir did one hell of a job on this version. His vocal phrasing was on point, as was his guitar playing. My hat goes off to Weir for even trying to sing that song.

Next came a very unexpected, second-set “Shakedown Street” that brought the disco funk to the Greek Theatre. My friends and I always joke that “Shakedown” will be the opener of the show, but we very rarely expect it late in the second set. It was a very welcomed treat to hear it at this point in the show. It was also really fun to sing “Don’t tell me this town ain’t got no heart” because everyone thinks that LA is fake and has no real soul. But as an Angelino, I can verify LA and the Greek were full of heart this past weekend.

Furthur invited Wilson and Nelson both back on the stage for a fun singalong of Van Morrison’s “Gloria”. This version had Weir rapping about baseball playoffs in between verses that gave the crowd a good laugh. They ended the night for me in a confusing way as I thought the encore was for sure “Cosmic Charlie”, but after the intro, they slammed right into “Revolution” by The Beatles. All in all, it was a fantastic night at the Greek Theatre as I looked forward to getting back to the Greek for Night 2.

Set I:
Truckin’
Smokestack Lightning
Brown Eyed Women
Money For Gasoline
Any Road
Peggy-O
Mission in the Rain (with Jonathan Wilson)
I Shall Be Released (with Lukas Nelson)
Althea (with Lukas Nelson)

Set II:
China Cat Sunflower
I Know You Rider
Cassidy
Passenger
Mountain Song
Scarlet Begonias
Fire on the Mountain
Standing on the Moon
Shakedown Street
Gloria (with Johnathan Wilson and Lukas Nelson)

Encore:
Revolution (with Johnathan Wilson and Lukas Nelson)

Night 2

After walking in late the night before, I made sure my crew was on time and ready to dance to some Grateful Dead music. Furthur once again started just after 7 p.m., and they got right into things with “Golden Road”. I love this song for many reasons, one of them being that this was the first Grateful Dead song I ever heard back as a kid. This is the opening track on Skeletons From the Closet, and its a show opener for a reason because it gets the party started — and that’s exactly what happened when they opened with it on Saturday night. Furthur moved right along with a great version of “Music Never Stopped” to keep the dance party going. Weir took the lead vocals on this one, and he delivered them quite nicely while Kadlicek was on point with his lead-guitar riffs. Furthur then decided to go into the classic cover of “Dancin’ in the Street” that had the Greek going nuts. It was really fun to have these three songs all in row to start the first set. It’s almost like we were treated to three opening songs, and I thought that was pretty special.

At first, it seemed like Furthur was going to transition into “Just a Little Light”, but I must of heard a tease of some sort. Anyway, they went into a Ryan Adams cover called “Let It Ride”. I wasn’t all that surprised by this selection because last year Furthur covered Adams twice in LA. Adams once toured with Phil Lesh back in 2005, so I’m sure Lesh was giving his friend a nice gesture. “Let It Ride”, in my opinion, is a perfect song to place in the middle of Dead songs. It has lyrics that have great imagery of rivers, ferry boats and sailors that many Grateful Dead songs have, too.

Furthur then transitioned beautifully into “The Wheel”, and that had the crowd roaring because this version was smoking. Russo and Lesh were feeding off each other the whole night per usual, but they seemed especially locked in during “The Wheel”. After that scorcher, Furthur then segued right into the fun singalong “Dire Wolf”. This song invokes the feeling of drinking whiskey and sitting around the campfire all night. As they were playing this, I couldn’t help but think about the dire wolf skulls they have on display just a couple miles away at the La Brea tar pits. Furthur then closed the set off with a fun, bouncy version of “Loose Lucy” and a very passionate “Touch of Grey” that had the LA crowd singing the chorus of “I will Get By”. I really enjoyed this first set, especially the opening three songs.

The second set got started with the classic Weir combo of “Lost Sailor” and “Saint of Circumstance”. I personally wasn’t that enthralled with “Lost Sailor” as the second set opener since they played it last year at the Greek, and it just wasn’t very exciting out of the gate. “Saint of Circumstance” was played beautifully, and it brought the energy back to the show before they went into the song of the night, which was “Unbroken Chain”. The Lesh-penned song was raucous from the start, and the band seemed to feed off that energy because this version was amazing from start to finish. I really enjoyed Lesh’s bass lines on this song while Kadlicek complimented him perfectly. I’d highly recommend this version to any Deadhead.

The classic “Uncle John’s Band” came next, and it’s always a treat to these ears. It was soon after “Uncle John’s Band” when I heard the bass thumping of “The Other One”. Lesh absolutely destroyed this song on bass as Weir and company belted out the lyrics. After the enormous “The Other One”, Weir led the group in another great rendition of “Let It Grow”. This song has really grown on me over the years, mostly because Furthur absolutely nails it every time. They then brought the high energy down with a beautiful take on “Comes a Time” that was truly needed as I found myself drenched in sweat from dancing.

Furthur brought the house down with the powerful trio of “Help on the Way”, “Slipknot” and “Franklin’s Tower”, better known as “Help, Slip, Frank”. The “Slipknot” was absolutely breathtaking as they weaved perfectly into “Franklin’s” and kept the momentum throughout. It was a great way to end a gigantic set. Lesh did his donor rap to remind everyone to be a donor because it saved his life, and then he went on to sing his signature song “Box of Rain”, which is such a beautiful song and was a perfect way to cap off an already amazing weekend of music. Long live Grateful Dead music.

Set I:
Golden Road
Music Never Stopped
Dancing in the Streets
Let it Ride
The Wheel
Dire Wolf
Loose Lucy
Touch of Grey

Set II:
Lost Sailor
Saint of Circumstance
Unbroken Chain
Uncle John’s Band
Other One
Let It Grow
Comes a Time
Help on the Way
Slipknot
Franklin’s Tower

Encore:
Box of Rain

Filed Under: Featured, Live Music Reviews Tagged With: bob weir, Further, grateful dead, Greek Theatre, joe russo, phil lesh