The jam band Umphrey’s McGee took the stage at the Broome County Forum on Wednesday, October 29. The GA show left the lower orchestra packed and an intimate environment for the dedicated fans that traveled and locals that indulged in the convenience. These fans know they’re always in for a new treat, with Umph constantly changing with the tide and adapting to the crowd.
Amidst it’s fall touring of the Midwest and East Coast promoting the new album Similar Skin, the rarely hosting Forum had it in their cards to land a class act. Guitarist/vocalist Brendan Bayliss, guitarist/vocalist Jake Cinninger, keyboardist/pianist/vocalist Joel Cummins, drummer/vocalist Kris Myers, bassist Ryan Stasik, and percussionist Andy Farag, together form a Voltron-like beast as formidable as any other jam creation. They made sure to suit up for the Forum, providing plenty of their classics, spreading they’re new album exposure across the tour.
Starting with “Jekyll & Hyde > Robot World”, Umph played a transforming “Walletsworth”, “Rocker Pt. 2”, “Anchor Drops”, a “Get in the Van” that explored thrashing to a paradise breeze and everywhere in-between, followed by a stanky legged “Smell the Mitten”, and clear fan favorite, a sixteen minute “Plunger” to wrap up the first set.
The second set opened with “Search For”, followed by a “Much Obliged” that featured a “50 Ways to Leave Your Lover” (Paul Simon) jam. “Yoga Pants” then fooled me into thinking we we’re getting an “In the Kitchen”, instead it sounds like a song among the stars, where I’m sure we can agree “Yoga Pants” came from anyway. A nearly seventeen minute beastly “Hurt Bird Bath” would be a journey as the jam buildt and transitioned from one moment to the next. The next part of the journey was the win; it was Mario taking out Bowser back on NES, a “2×2 > Final Word > 2×2” that single-handedly stormed the castle, rescued the princess, earned her eternal love, and Hulk Hogan’ed off her chastity belt. In celebration, a Steely Dan cover of “Reelin in the Years” brought everyone on the same page of joy and nostalgia. An 11 minute “Conduit” would close out the second set.
“WE WANT THE UMPH, GOTTA HAVE THAT UMPH!” – the familiar chant wasn’t heard on this evening, but the interactive band would never let its loyals down. They came out with a soul food serving of Waylon Jennings “Good Ol’ Boys”, and a send off a moving “Wife Soup” for dessert.
Umphrey’s not only fails to disappoint, they’re still getting better. With a huge following across the country selling out theaters and headlining festivals, if you haven’t walked out of a venue with an “Umph Love” sticker lately, get off life support and get out there.
Umphrey’s McGee at The Broome County Forum Setlist via All Things Umphrey’s: Set 1: Jekyll & Hyde > Robot World > Walletsworth, Rocker Part 2, Anchor Drops > Get In The Van, Comma Later > Smell the Mitten, Plunger Set 2: Search 4, Much Obliged[1] > Yoga Pants > Hurt Bird Bath[2], 2×2 > Final Word > 2×2, Reelin’ in the Years, Conduit Encore: Good Ol’ Boys, Wife Soup
[1] with 50 Ways to Leave Your Lover (Paul Simon) jam
[2] with Domino Theory teases
Umphrey’s McGee have announced that their upcoming fall tour, ending on November 8 in Madison, WI with their 2000th show, with the first 11 streams will cost $9.99 while the 2000th show, ending their Fall Tour, will be offered free to fans HERE.
The first show on October 22 will be streamed from the House of Blues in Cleveland, OH as part of the Yahoo Music and Live Nation’s 365 shows in 365 days free series. Umphrey’s will join a bill that includes such artists as Ray LaMontagne and The Dave Matthews Band. Fans will have the ability to stream the concert via Yahoo Screen on iOS, Android, mobile, desktop, and Smart TV platforms including Apple. The show can be streamed here.
The following 11 shows will be a collaboration with webcast partner TourGigs and will feature high quality, multi-camera shoots with a soundboard feed. Each stream will replay for 24 hours until the next evening’s performance. Each show is available for $9.99, including the 24-hour replay, or all 10 for $49.99. The band will offer audio download options via UMLive.net.
Additionally, Umphrey’s McGee has launched the first full service, streaming site for a single artist. Fans will have access to over 1000 live shows as well as band’s entire catalog for $10 per month. The service is available via UMLive.net in both desktop and iOS versions (Android nearing completion).
And if you haven’t tried Headphones & Snowcones at an Umphrey’s show, you are missing out! Fans can rent high-end wireless headphones at shows to listen to a direct audio feed from the soundboard. The band recently posted a great video about the impetus of the program featuring testimonials and live footage. You can read about one fan’s experience with Headphones & Snowcones here.
Umphrey’s McGee’s Winter Tour will also feature special guest’s Tauk for seven dates which will begin on January 28 in Oxford, MS and will finish in Albany, NY on February 21 at The Palace Theatre.
Umphrey’s McGee Tour Dates:
October 22 – House of Blues – Cleveland, OH October 23 – The Rapids Theatre – Niagara Falls, NY
October 24 – Stage AE – Pittsburgh, PA
October 25 – Orbit Room – Grand Rapids, MI October 29 – Forum Theatre – Binghamton, NY
October 30 – The F.M. Kirby Center – Wilkes-Barre, PA
October 31 – House of Blues – Boston, MA (Sold Out)
November 1 – House of Blues – Boston, MA
November 5 – The Canopy Club – Urbana, IL
November 6 – Kalamazoo State Theatre – Kalamazoo, MI
November 7 – The Orpheum – Madison, WI (Sold Out)
November 8 – The Orpheum – Madison, WI (Sold Out)
Winter Tour Dates:
January 28- The Lyric – Oxford, MS
January 29- Tennessee Theatre- Knoxville, TN*
January 30- Taft Theatre- Cincinnati, OH
January 31- The Fillmore- Detroit, MI*
February 4-5- Chattanooga,TN
February 6- Ryman Auditorium- Nashville, TN
February 7- Asheville Civic Center- Asheville, NC*
February 11- The Jefferson Theater- Charlottesville, VA
February 12- The National- Richmond, VA
February 13- The Norva- Norfolk, VA*
February 14- The Ritz- Raliegh, NC
February 18- The Calvin Theatre- Northhampton, MA*
February 19- The State Theatre- Portland, ME*
February 21- The Palace Theatre-Albany, NY* Official website | Facebook | Band blog | Twitter |YouTube
The second Annual Lockn’ Music Festival was a huge success, drawing approximately 30,000 fans to the massive Oak Ridge Farm in Arrington, VA over September 4-7, 2014. Founders Peter Shapiro and David Frey listened to fan complaints last year to make major changes to the festival grounds, including building new stages, roads, and entrances, as well as hiring better-trained staff to handle parking, security, vending, and logistics. Music started daily around 11 am and continued until 3-4 am each night (except Sunday).
Thursday
The music kicked off promptly at 4 pm with the No BS! Brass Band from Richmond, who treated the first fans to horn-loaded renditions of popular favorites by Michael Jackson and Led Zeppelin, including a fiery version of Led Zeppelin’s “The Ocean” with a “Black Dog” riff at the end, ending with a festive “Thriller”.
The Revivalists, from New Orleans, started on the Oak stage, hosting one of the first sit-ins of the weekend from Lettuce’s guitarist Eric Krasno. They covered the Rolling Stones’ “Gimme Shelter” with rocking soul that amped up the sweaty crowd, as lead vocalist David Shaw jumped off the stage to sing in the crowd.
New York’s own Lettuce brought their extreme funk to Lockn’ with fast-paced tunes that set the groove for the night. One of the highlights was Alecia Chakour sitting in on vocals for “Do It Like You Do” from their latest album, Fly, with a swanky melody, smooth bass line, and sensual flair thanks to Chakour. She also dedicated “The Sun” to her friend, Brian Farmer, who was Warren Haynes’ guitar tech and recently passed this year. Lettuce broke out fierce classics like “Lettsanity” and “Last Suppit” along with one of their newer songs, “Phyllis”, and closed the set with “By Any Shmeeans Necessary”, joined by the No BS! Brass band.
Just as the sun began to set and cool off festivalgoers, back-to-back sets by Umphrey’s McGee andThe String Cheese Incidentheated things up. Umphrey’s McGee executed their first set with precision and purpose as the 6 piece band rocked the stage with triumphant sound. String Cheese immediately followed Umphrey’s on the adjacent stage with a set of crowd-pleasing originals like “So Far From Home” and “Can’t Stop Now”. Umphrey’s returned with a solid “Wappy Sprayberry”, and a fresh song off their newest album, Similar Skin, “Cut the Cable”. Flexing their jam-band prowess, Umphrey’s tore into a half-hour version of “Puppet String > Higgins”, and closed with a rousing rendition of Pink Floyd’s “Shine on You Crazy Diamond”.
SCI ended the night on the main stage with a tribute set to Kool and The Gang, joined by the Preservation Hall Jazz Band and JT Taylor (a founding member of Kool and The Gang). There was no fighting the dancing bug when a trio of backup singers joined in, where everyone on stage showed off their dance moves. The old school disco funk had the crowd singing along to “Ladies Night” and “Get Down on it”, with a wild “Celebration” encore.
A new stage conveniently situated on the walk back to the campsites, the Relix Shakedown Stage, hosted late-night sets all weekend. Following the funk theme, Ivan Neville’s Dumpstaphunk packed the grassy amphitheater for an explosive dance party in a field framed by a colorful line of trees. Playing crowd favorites “Everybody Want Sum” and “Put It In the Dumpsta”, Dumpstaphunk was joined on stage by the Steel Town Horns for “I Know You Know” and “I Wish You Would”, closing the night with “Raise the House”.
Friday morning brought blue skies and a hot sun making most festivalgoers crawl out of their tent just in time for Keller Williams‘s Grateful Grass set on the Acoustic Triangle Stage at 11am. His 5-piece all string band included mandolinist Jeff Austin from Yonder Mountain String Band, fiddler Jason Carter from Del McCoury Band, Keith Moseley the bassist from The String Cheese Incident, Ray Starling, and the man himself, Keller Williams, who altogether drew a shoulder-to-shoulder crowd. The foot-tapping, southern swing style set was greatly appreciated by the audience and musicians, as Williams continuously thanked everyone for the chance to perform some of his favorite Dead songs. Walking out of the shaded forest area to the top of the hill, guests had an amazing view of the festival grounds and colorful tents, backed by the majestic Blue Ridge Mountains.
NY’s instrumental progressive rock band, Tauk, opened the main stage with an insane breakdown of The Beatles’ “She’s So Heavy”. Tauk kept fans cool with fluid segues and refreshing grooves, which have appeared on Sirius/XM JamOn. When asked about plans for fall tour, bassist Charles Dolan beamed that they have shows booked until January, with a Halloween gig being announced soon.
Friday began steamy, as the 6 piece bluegrass plucking madness of Cabinet took the stage, followed by Del McCoury Band, who dressed in their finest suits to play harmonious and authentic folk tunes. Drive By Truckers brought a classic rock ‘n’ roll sound with the help from four screaming guitars and simple lyrics. Their “Grand Canyon” set closer sent layers of ringing guitar riffs echoing across the field.
The String Cheese Incident returned to the main stage for a second night of two sets, much to the delight of fans. This Colorado band rarely tours the East Coast, making their appearance at Lockn’ even more special. The set was light and breezy with caribbean vibes that drove the crowd wild. The set took a turn towards electrified bluegrass when Sam Bush joined in on fiddle for one of their more popular new songs, “Colorado Bluebird Sky.”
A last-minute addition to this year’s lineup was Bill Kreutzmann’s Locknstep Allstars, stepping up to fill the gap left when Grateful Dead co-founder Bob Weir cancelled his appearance. The Allstars included keyboardist Aron Magner from Disco Biscuits, guitarist Tom Hamilton from American Babies & Brothers Past, ace guitarist Steve Kimock and the legendary bassist Oteil Burbridge of the Allman Brothers Band. The musicians shared intense chemistry, gliding through the set of Dead classics, with sit-ins by Keller Williams for “Bird Song” and Taj Mahal for “Further on Down The Road.” Kreutzmann’s set closed with “Franklin’s Tower”, a Dead cover played later by Phil Lesh and Friends (one of many “cover collisions” throughout the weekend).
The last main stage act wasPhil Lesh, Grateful Dead bassist and founder, along with his Friends, drummer Joe Russo (Furthur), keyboardist John Medeski (Medeski Martin & Wood), legendary jazz guitarist John Scofield, and guitarist Warren Haynes (Gov’t Mule, Allman Brothers) for a two hour set of improvisational spacey jams. They kicked off the party with a festive “China Cat Sunflower”. It was refreshing to hear other band’s covers such as Traffic’s “Low Spark of High-Heeled Boys” and Cream’s “Sunshine of your Love”. Deadheads rejoiced to hear familiar favorites such as “Shakedown Street” and a lengthy “Unbroken Chain”, a dark and mysterious “Mountains of the Moon” and a furious “The Other One”, followed by Traffic’s “Dear Mr. Fantasy”. Curiously, Phil Lesh and Friends closed with “Franklin’s Tower”, which was also played earlier by Bill Kreutzmann’s Locknstep Allstars.
The warm summer night was capped off with a beautiful acoustic Derek Trucks and Susan Tedeschi set on the Triangle Stage, and Chris Robinson Brotherhood on the Relix Shakedown Stage, who performed one Black Crowes cover, “Tornado”, and mostly originals, such as “Shore Power”, from their new album, Phosphorescent Harvest, along with a smokin’ version of “Never Been to Spain” (by Hoyt Axton). Chris Robinson closed the evening with an intense version of Slim Harpo’s “Got Love If You Want It.”
Saturday brought blazing sunshine and high humidity for Lockn’ fans, eager for two more days of incredible music. It was so hot that even the speakers were sweating. The steamy afternoon started on the Oak Stage with the bluegrass expertise of Larry Keel & Sam Bush, joined by Larry’s wife Jenny Keel on upright bass. The music shifted to upbeat rock, as Ween guitarist Aaron Freeman (aka “Gene Ween”) took the Ridge Stage, playing a new song (as of yet untitled), starting off with the crowd scratching their heads. He rocked through “All the Way to China”, and “Covert Discretion”, the latter a song about saving himself from his chemical dependency. He played most of the songs off of his new album, Freeman, which are very philosophical stories of his life and the battles with various influences of fame.
Bluesy guitar virtuoso, Gary Clark, Jr. brought out-of-sight guitar licks and powerful vocals to the Oak Stage in the early afternoon, as the heat took over while fans sought or made any shade possible. Clark opened with “Catfish Blues” (Robert Petway) and “Ain’t Messin’ ‘Round”, and as his guitar playing warmed up, so did the crowd, but the cold local craft beer helped dull the heat. Clark played an hour and a half with mostly originals, including “Don’t Owe You a Thing”, a fuzz-guitar finger-picking blues ballad, B.B.King’s “3 O’Clock Blues” and the sultry “Bright Lights”.
Tedeschi Trucks Band proved to be one of the best acts of the weekend, with adoring affection for each other that speaks through their music. The crowd cheered with all the variety from soul, blues, and southern rock that was full of heart. They played blues classics such as “Rollin’ and Tumblin’” (by Hambone Willie Newbern), “Keep Your Lamps Trimmed and Burning” (Willie Johnson), a rousing version of Derek and the Domino’s “Keep on Growing”, and a beautiful version of “Bound for Glory”, which was dedicated to the late Brian Farmer. In a 10+ minute long “Misunderstood”, Derek showed off his deft slide guitar, moving to “Bound for Glory”, graced by Susan’s angelic vocals and soulful guitar, along with intense Hammond riffing by Kofi Burbridge.
Wilco opened with their 2001 classic, “War on War”, from Yankee Hotel Foxtrot. During Wilco’s set, a passing sun shower provided a brief relief from the summer heat, as well as a bright double rainbow across the horizon. Frontman Jeff Tweedy cracked jokes about the weather, quipping “don’t rainbows suck?” during “I’m the Man Who Loves You”, then teased “Let it Go” from the film Frozen. As they dove into some serious jamming, keyboardist Mikael Jorgensen smashed his keys with a pillow. Guitar duels ensued between Nels Cline and Pat Sansone, with rhythmic backing by bassist John Stirratt and drummer Glenn Kotche. Wilco played other favorites, “Handshake Drugs”, “California Stars” and “Kingpin”, closing their set with “A Shot in the Arm”.
Phil Lesh and Friends kicked off Saturday night with a slew of segued songs, starting with a killer “Going Down the Road Feelin’ Bad” and ending with a beautiful “Bird Song”. Mingled into the line was a somber “Wharf Rat”, along with a picturesque “Eyes of the World” and a psychedelically-tinged “Caution”, augmented with great walking bass lines by Lesh and lovely organ fills by Medeski. “Dark Star” was enhanced by the soulful vocals of Warren Haynes. During the Beatles’ “She Said, She Said”, Phil & Friends’ set was cut short due to a nearby lightning storm, which prompted Lockn’ authorities to order an orderly evacuation of the concert field.
‘You can’t have a Panic show without a little panic’, as a few fans commented while the skies grew dark over the fans rushing to their campsites. The rain delay was lifted after an hour, with Widespread Panic starting on time. Steve Winwood sat in for strong vocals that were as cool as the fresh air after the rain. “Can’t Find My Way Home” went into dark jam territory as Winwood added a touch of the blues. Sax man Randall Bramblett joined alongside Steve and Widespread for “The Ballad of John and Yoko” through nearly the end of the set. Winwood played the best version of “Low Spark of High-Heeled Boys”, which was also covered by Phil the night before. Winwood’s powerful organ solo brought recognizable delight for the set closer, “Gimme Some Lovin’.”
One of the biggest acts of the weekend was the main stage closer of Tom Petty & The Heartbreakers. The legendary rock group opened with the iconic “So You Want to Be a Rock ‘n’ Roll Star” (The Byrds), blasting through top hits “Mary Jane’s Last Dance”, “Free Fallin’” and “Yer So Bad”, with Petty on acoustic. His set finished with a rocking “Refugee” and “Runnin’ Down a Dream”. Petty encored with “You Wreck Me” and a sizzling “American Girl”. The familiar in-your-face rock had stretched out jams, and was much better live. Tom Petty is like hanging out with old friends, making jokes about music and poor memories of the past.
Late-night Saturday started up the hill on the Triangle Stage, for a rare appearance of Hot Tuna Acoustic, with founders Jorma Kaukonen and Jack Casady on guitar and bass, and Barry Mitterhoff on mandolin. For his 17th birthday, Jorma’s son Zach joined Hot Tuna on stage to play guitar during their opener, “Been So Long”. Hot Tuna did a number of classic covers by Reverend Gary Davis, such as “I Am the Light of this World”, with Jorma’s incredible fingerpicking and Jack’s virtuoso walking bass thunder, which really took off at the last half of “Hesitation Blues” and the lively “Keep On Truckin’” encore, as well as sprinkled throughout their set, along with Barry’s tasteful mandolin picking and occasional audience support on the choruses.
Late-night closers and the real “break-out” band for Lockn’ was Bustle In Your Hedgerow, who completely burned up the hillside at the Relix Shakedown Stage with passionate instrumental versions of Led Zeppelin songs, bringing a fresh intensity to these classic rock anthems. Led by the multifaceted Marco Benevento (with his army of keyboards and circuit-benders), Dave Dreiwitz of Ween on bass (a modern-day John Paul Jones), Scott Metzger (of Particle & Rana) on guitar (shredding Jimmy Page licks with aplomb), and the ever-limber Joe Russo (Furthur) on drums, pounded out Bonham beats to the responsive crowd. Bustle gained many new fans at Lockn’ with incredible renditions of “For Your Life”, which went into a dark and mysterious “No Quarter”, as Marco unleashed alien sounds from his vast array of keyboards and effects, with stratospheric keyboard solos.
Few people were sleeping, even at the campsites, but everyone said how much they loved listening to Bustle. A Native American tribal dance circle evolved around the sole campfire, and fans slowly soaked in the Bustle set as the three days of music, camping and walking started to sink in.
Sunday
Sunday started out cool and mellow, with a welcome cloud cover to thwart the blazing late summer sun. Keller Williams played his Grateful Gospel set on the Early Triangle Stage at 11 am, with classics like “Ripple” done with a bluegrass feel, assisted by a skilled gospel vocal troupe. Keller then went into a light and airy version of the Dead’s “Eyes of the World”, where fans didn’t mind another ‘cover collision’, as it was fresh and tastily enhanced by soothing vocals and guitar work. Hailing from Charlottesville, Erin and the Wildfire opened the main stage at noon to a few early risers, but more fans arose from their camps to flood the concert grounds for SOJA, who brought a large local following and fired up the crowd.
Grace Potter and the Nocturnals kicked the afternoon into overdrive, with straight-ahead power rock anthems like “Ah Mary”, “Low Road”, and “Sweet Hands”. “Nothing but the Water” went into part of Sly’s “I Want to Take You Higher” and ended with an eerie”White Rabbit”. Potter dedicated their encore to the memory of Brian Farmer with a sorrowful “I Shall Be Released”, with Grace taking the helm of the B3 and belting out vocals that echoed off the hills. GP&N ended their set and completed the tribute with The Beatles’ “With a Little Help From My Friends”, propelled by Grace’s blasting organ & vocals.
Grace Potter and the Nocturnals
Willie Nelson treated long-time fans to straight-ahead versions of many classics like “Crazy”, “You Were Always On My Mind” and “Georgia”, playing almost 30 songs in an hour and a half. He joked throughout, making fun of the hard road life and introducing songs like “Roll Me Up and Smoke Me When I Die” with related stories to provide context. Wilco had another memorable set, with “I Am Trying to Break Your Heart”, “Hesitating Beauty” and “Hoodoo Voodoo”, finishing with “Outtasite (Outta Mind)”. Widespread Panic also played a great closing set on Sunday, treating fans to Neil Young’s “Vampire Blues”, where Randall Bramblett again joined the band, this time on harmonica. They closed with a funky version of the Bill Withers classic,”Use Me”, with Susan Tedeschi joining on guitar and vocals, and Bramblett on sax.
The Allman Brothers Band performed Live at the Fillmore East, kicking off with “Statesboro Blues” (Blind Willie McTell) and “Done Somebody Wrong” (Elmore James), and a sweet & smooth version of “Stormy Monday” (T-Bone Walker) with soulful vocals by Gregg Allman, sweet slide work by Derek Trucks, and rhythm guitar by Warren Haynes, who took a soaring solo at the end. A few of the standouts were a nearly 15-minute “Whipping Post”, with ridiculous slide and guitar solo trades between Derek and Warren, and a lengthy “In Memory of Elizabeth Reed”. The Allmans closed out the set with “Blue Sky” > “Mountain Jam”, ending with “Little Martha” and an encore of “Mountain Jam Reprise” to close the main stage, while group and album cover photos of the Allman Brothers of yore graced the audience, who cheered to thank the Allman Brothers for a lifetime of music, reflecting on the band who will soon retire.
[youtube http://www.youtube.com/watch?v=Ps0K3SFMS-Y]
See You Next Year
Entry into the festival was far smoother this year due to skillful planning, as well as better layout due to the purchase of adjacent land so all the campsites could be closer. The concert fairgrounds and camping areas were completely redesigned, with new stage locations and new roads built to handle more fans. VIP and Super VIP had larger camping and concert field space, more bathrooms and showers than last year.
Moving the late-night Triangle Stage to the nearby ridge made it less than a 20 minute walk from the main stage field (versus a long 45-minute walk last year). VIP facilities were larger and cleaner this year, under constant maintenance until after midnight. Patrons enjoyed more food choices, more fresh water taps, colder beer, and better use of space, as compared to 2013.
There was a temporary shortage of porta-johns, but more were promptly delivered the next day. There were complaints of minor thefts of tapestries, coolers, and other personal items, but in general the fans were well-behaved and all the major areas were kept safe and sound. The crowd was well-behaved, withstanding the blistering sun with umbrellas, wide hats, shade tents, and water mist guns. In spite of a cancellation by one of the major headliners (Bob Weir and Ratdog, which also cancelled a Furthur reunion), other musicians stepped up to the plate to fill the open main stage slots (namely Bill Kreutzman and Phil Lesh with their respective super-groups).
One of the newest additions to this year’s activities was the on-site biking program. Fans were encouraged to bring their bikes, or could rent one, courtesy of Snowshoe Mountain Bike Park. Oak Ridge Farm has over 30 miles of trails to explore with guided tours from the Charlottesville Area Mountain Bike Club. Because of the beautiful weather, bikers could be seen pedaling at all hours of the weekend. Disc golf, yoga, and swimming hole trips, cultural awareness and crafts were also some of many activities that Lockn’ provided to patrons.
In spite of threats by the ABC to shut down Lockn’s liquor license, county and state police reported only minor incidents, and Lockn’ ran very smoothly, especially considering the amount of fans and crew this year. Thanks to careful planning, and expenditures on key infrastructure like new staging, camping, electricity, and roads, Lockn’ organizers seek to improve the area further, and bring more business into Nelson County next year. Although The Allman Brothers are retiring, we can hope to see many of the headliners return next year.
Umphrey’s McGee will continue their tradition of starting their first full tour of the year in New York in 2015. Joined by saxophonist Joshua Redman, UM will play shows at NYC’s Beacon Theatre on Friday, Jan. 16, and Saturday, Jan. 17, before shipping the party out to Long Island.
The Chicago-based improg powerhouse makes their debut at Huntington’s Paramount Theater on Jan. 18. Umphrey’s and Umphreaks alike rejoice when award-winning saxophonist Redman joins the sextet on stage, which he has done sporadically for the past decade.
2014 has been a huge year for UM, as they launched their own Nothing Too Fancy Music record label and their first album off N2F, Similar Skin. They close the year out with a historic 5-night run at Atlanta’s Tabernacle Theater from Dec. 30, 2014- Jan. 3, 2015, before opening up their first proper tour of 2015 in New York.
Pre-sale tickets go on sale Friday, Sept. 19, and tickets will be on sale to the public on Friday, Sept. 26. More information can be found here.
On Friday, August 15th in Upper Darby, PA, Dopapod, or more lovingly known as Derp-uh-perd, flipped the Tower Theater on its head before Umphrey’s McGee got the chance to touch an instrument.
Dopapod opens the Tower Theater.
Thinking to myself, “they’re really playing down their weirdness for this huge slot tonight,” I overheard a woman behind me: “I think I like them; they’re just really weird. Did he just sing about Trapper Keepers?” Weird is synonymous for Dopapod and vice versa, so pardon the repetitiveness.
Dopapod bassist Chuck Jones.
“This is their attempt at toning it down,” I had to interject. “They just turned knobs, slapped basses, and jammed out for 15 minutes about a Trapper Keeper, or something like that. But, they’re actually playing a relatively straightforward set tonight.” As fans packed in for Umphrey’s McGee’s debut at the Tower Theater, Dopapod cranked the rock out, setting the mood for a long night of hard jamming ahead.
For my friend Chris and I, this was our third night of getting Umphed in a row. This night was special, though: we were back on our home turf, back with our UMPHamily. The previous two nights in Burlington, VT, and Hampton Beach, NH, respectively, were great, but Burlington’s Maritime Festival show drew a relatively subdued crowd and Chris had to drive us home in the middle of the night after the Hampton show— five hours away.
Philadelphia was basically our backyard. As I met up with some of my best friends from all over the Northeast (and a new one from Atlanta), a warm sense of serenity washed over me: this was exactly where I belonged in the universe. Umphrey’s took the stage and showered a foreboding “Bathing Digits” onto us, and my hands involuntarily reached to the heavens, pointer fingers fully extended, crossed, and displayed Umph-horns for the world to see.
Bassist Ryan Stasik: Rage, rest, repeat.
The Tower Theater, a classic movie house built in 1927, had an historic feel to it with trellised boxes upstairs and pillars climbing the height of the stage on both sides. Downstairs was a wide open symmetric room, where the approximately 3,000 fans were confined in a tightly packed sea of people that would sway gently and heave aggressively throughout the show, depending on the band’s climate.
The historic Tower Theater.
From night to night, you never known what you’re going to get at an Umphrey’s show. UM is that friend who is the life of the party, yet inherently a loose cannon. It is only an educated guess whether you’re going to get a melodic old friend in “The Fussy Dutchman,” or a brashly combative “Wizard Burial Ground;” a persistently rebellious “Mulche’s Odyssey,” or a rambunctious yet contemplative “Der Bluten Kat.” At the Tower Theater, we saw all these faces of Umphrey’s.
Jake Cinninger’s game face.
Whenever you get “Glory” and “Hajimashite” in the same night, the universe is aligned in your favor. Throw in an emergency 11-minute dance party known as “The Triple Wide,” and the start of “In The Kitchen” early in the first set and the end late in the second, and an Umphrey’s show is materializing. With an emotional cover of The Police’s “Driven To Tears,” a “Puppet String” sandwich encore, and a few other originals and teases, Joel Cummins and the Cookie Bandits brought their “A” game to rock UMPHilly late into the night.
Umphrey’s at the Tower Theater.
Setlist Umphrey’s McGee Tower Theatre, Upper Darby, PA Set One: Bathing Digits > The Fussy Dutchman, In The Kitchen > Mulche’s Odyssey, The Linear > 2X2, Der Bluten Kat > Amble On > Der Bluten Kat (1) Set Two: The Triple Wide > Cut The Cable, Driven To Tears > Hangover (2), Educated Guess, Hajimemashite (3) > In The Kitchen, Synchopated Strangers, Wizard Burial Ground Encore: Puppet String (4) > Glory > Puppet String
[1] with It’s About That Time (Miles Davis) tease
[2] with Proverbial teases
[3] with White Man’s Moccasins tease and Den jam
[4] with Simple Gifts (trad.) tease
Waking up early on Friday, August 8th, the plan was to book it the three hours from Burlington, VT, to Hampton Beach, NH, check in to the hotel, then relax and regroup in the afternoon. My friend Chris and I started the day with high hopes and spirits. We had seen our favorite band, Umphrey’s McGee, last night, and we were going to see them again that night—and the following two nights. Our friend Sam, whom we had serendipitously met at the Catskill Chill Music Festival last year, had housed us in Burlington. With plenty of room to sprawl out the previous night and hot showers in the morning, all was well.
Then, we got to Hampton Beach.
The damnedest thing about checking into the hotel is, if one does not have a hotel, one cannot do that. As I drove in circles around the main Hampton Beach strip, Chris called every hotel, motel, and campground within a twenty-mile radius. With each “sorry, we’re fully booked,” our spirits sunk. Who would have thought that New Hampshire’s most popular beach town would be sold out of rooms on a midsummer Friday night?
After we regrouped over a couple IPAs, I decided it was time to take to the streets and visit some motels in person. For three hours, I walked up and down the strip, pulling out every trick I knew to lock down a room—and I’ve got tricks. Nothing. Not even a spot to pitch a tent.
Time to regroup again. I met Chris napping in the car. He had resigned to the fact that we were homeless in Hampton, and he would have to drive the five hours back home after the show. I was not giving up yet. I headed back to the strip again.
Instead of a room for the night, I came back with an earring. The decision was part deliriousness, part booze-induced, and part my friend Putty’svoice in my head: “if you get your nipples pierced, you can never lose your tits. It’s key for our type of music.” At least this we could laugh about today. (Un)fortunately, the piercer gave me a look of horror when I asked about nipples; I had to settle for knowing my left ear would not be blown off by the Umph-machine. This time back at the car, Chris woke with a chuckle. I still would not give up on the hope of getting us a room, and headed out again.
Next, I came back with Kris Myers. I noticed my favorite drummer hanging out in the parking lot and had to say hello. Not only is he the hardest working man in music, he may be the most genuine and friendliest. For fifteen minutes, Chris, Kris, and I talked about the previous night’s concert, the hapless hotel situation in Hampton, All In Time Productions, and our appreciation of music. Before going to prepare for the show, he asked, “Hey, how’d you guys like to hear ‘All In Time’ tonight?” Yes, please.
Kris Myers (r) and my blingin’ self.
Making it into the Hampton Beach Casino Ballroom was a major relief. The venue—a very long, open room with the stage up front and bars in the back—had wooden floors that acted as shoe magnets when beer was spilled and feet were shuffling. When Umphrey’s started with a “Miss Tinkle’s Overture > Higgins > Miss Tinkle’s Overture” sandwich, all worries washed away. From the first note to the last, UM brought their hard rocking hats and fed off the excitement of the exceptionally raucous crowd.
During the first set, one of Kris Myers’ cymbals stood slightly out of reach. After a stagehand replaced it, Myers went out of his way to visibly thank him without missing a beat. After the band concluded a fiery version of “Little Gift” in the second set, there was an extra long delay. The crowd stomped, clapped, and yelled, and Myers sought me out, made eye contact, nodded, and shot into “All In Time”. The tune started off upbeat and, as always, the final stanzas were powerfully emotional and uplifting and had me nodding along in pure joy. With Bayliss wailing out the resonating words, “My blood, it boils with passions, they overflow from time to time, and I can see that when your eyes look down,” a perceptible oneness could be felt throughout the ecstatic crowd.
Although the oddly long shape of the room was not ideal for the lighting wizard Jefferson Waful, the indoor Ballroom allowed for a more spectacular light show than the previous night outdoors in Burlington. During “1348”, however, the boys on stage gave an atypically subdued shout-out to Waful—“let’s see light.” The tune turned into a fuzzy sandwich, with Umphrey’s showing off their vocal and musical ranges during “The Fuzz” and proving rock ‘n’ roll is still thriving with “1348” again.
Rock ‘n Roll
The energy of the room was palpable all night; before Cinninger—“The Man Who Shits Arpeggios”— went to town in “Making Flippy Floppy”, Bayliss pointed out “You guys are fucking rowdy tonight!” Umphrey’s stretched “Bright Lights, Big City” into an uber-long dance jam in the first set, which closed with crowd favorite “The Song Remains The Same”. While everyone danced hard, there was not a drop of ill will in the Ballroom; like most UM shows, if someone pushed you, it was to get you closer to the stage.
Apart from the aforementioned Zeppelin cover and a few other teases, the band played a delicious assortment of originals that spanned their illustrious sixteen-year career. From “KaBump”, which they’ve played live since their South Bend days in 1998, to “Proverbial”, which debuted at the “Nothing Too Fancy Music” label release party in May, the Umph-love was aplenty. The highlight may have come when they concluded the second set with “Mantis”. Joel Cummins—who “plays with the passion of an unbridled horse running down the beach”—hammered his keys emotionally and Andy Xanadu Farag—the “chode and the balls of the band”— transitioned between sections with the most beautiful chimes in music.
Unfortunately, there comes a moment in every UM show when you realize the end is nigh. The encore fittingly wrapped up with “Bad Friday”, and it was time to head home. Chris valiantly drove us the 260 miles back to New Paltz and our own beds.
On the bright side, of course, the run was only halfway over.
Setlist:
Set One: Miss Tinkle’s Overture > Higgins(1) > Miss Tinkle’s Overture, Made to Measure > Bright Lights, Big City, Mad Love, Kabump > A Go Go >Proverbial, The Song Remains the Same
Set Two: 1348 > The Fuzz > 1348, Making Flippy Floppy(2) > Little Gift, All In Time > Kula > All In Time, Preamble > Mantis
Encore: Mullet (Over), Bad Friday
This past weekend, my friend Chris and I jumped in the car to join our favorite band, Umphrey’s McGee, for an extra long weekend of rocking. For four straight nights in four different cities, our faces were melted with new and old friends alike. From the Adirondacks to the Atlantic, the Chi-town sextet kept the improg party raging all weekend. Thursday night, lighting guru Jefferson Waful duked it out with the sun setting in the Adirondacks behind Lake Champlain, and UM rocked Burlington’s Maritime Festival
There was no gurgling to open the string of shows—Umphrey’s started the set with a tight version of “Conduit” at 6:32 p.m. sharp. Having shown up a minute late, we joined the mass of fans rushing to the outdoor waterfront concert grounds. Before fully settling in, UM wrapped up “Conduit” and the deliberate and unmistakable opening notes to “Ocean Billy” rang out across the lake. Guitarist Jake Cinninger bared his mean face and started warming up. “Ocean Billy” transformed into a “Day Nurse” sandwich. The dirty “Nurse” in the middle inspired the first big dance party of the night. With plenty of open space in the park, friends shimmied all over the concert field, driven by thudding percussion and whaling guitars.
Between the epic vocal conclusion to “Ocean Billy,” and the sharp live debut of “No Diablo’s” album choruses, keyboardist Joel Cummins joked “for once, we get the beautiful view.” The sun rippled off the lake, sinking toward the distant Adironacks for the night. Cummins—known for his unsuccessful “Goldside” presidential run in 2012—was full of jokes in Burlington. Later in the show, he had to remind one eager fan curled in a tent, “This isn’t that type of festival, man, we can only play til 9:45!”
Jokin’ Joel Cummins.
The first mega-UMPHlosion of the weekend occurred during “Hurt Bird Bath”. A few minutes into the jam, Bayliss started shredding hard and Cinninger took up the challenge; the two guitarists stood stage-left, dueling it out with their axes. Kris Myers kicked the double bass into gear and Ryan Stasik set up front and center, foot perched on amp, sending out reverberating bass waves. Cummins and Andy Farag still rocked their dark black shades, looking and sounding as cool as ever through the heavy jam.
After a twangy “Mail Package,” Umphrey’s transitioned from face-melting to heart-melting mode during a beautiful rendition of “August”. The euphoric jam induced contagious smiles and had many shaking their heads and looking to the colorful summer skies in awe. The set wrapped up with a sing along of The Beatles’ “I Want You (She’s So Heavy)” which left myself and plenty of other concert-goers with pleasantly wowed, deer-in-the-headlights looks. We staggered to the lakefront to reciprocate joy, recuperate from melting, and skip rocks towards the waning sun.
The second set started with the title track from Umphrey’s recently released eighth studio album, Similar Skin. Knowing looks shot through the crowd as the opening drum solo revealed the new hit. Like “No Diablo” earlier, “Similar Skin” stayed pretty true to the album version. Being the expert crowd-readers that they are, Umphrey’s transitioned into a heavily metallic “Go To Hell” as children laughed and kicked soccer balls, and retired couples nodded along from their lawn chairs.
Cinninger and Stasik jam in foreground with Myers on drums.
The sun had finally tucked behind the mountains during the set break, and, with the twilight hour at hand, the seventh member of the band could finally play too. As the sky darkened and Waful’s rig lightened, “The Bottom Half” provided the funk. Stasik peered out into the magnificent atmosphere, singing into an invisible mic. Conical yellows and prism blue lights spun and twisted around him and the rest of the band. Pinks and greens and oranges melded together, transitioning and moving with the flow of the music.
“Resolution” was another sing along (when terrifying monstrous noises weren’t wafting from Cinninger’s area supplemented by quickly flashing red lights) and Bayliss reminded “it’s 11:42 all day” as the crowd swayed to “No Comment”. The second sandwich of the night was “Plunger > Drums > Great American > Plunger”. Farag sparked the killer drum solo and Myers escalated it to a slamming duet. Someone must have let Stasik into the maple syrup, however, as he got a little antsy in his pantsy; he snuck back to Farag’s chimes and his overzealousness reminded us why Andy should be the only one allowed to chime in. They managed to pull it back together, playing the Elizabeth Reed’esque “Great American” during which the light show turned into a spinning snowstorm of whitish lights. The long jam came full circle, closing with “Plunger’s” vocals.
Farag ignites drum solo as Bayliss plays guitar.
A creepy, crawly, spacy version of “Dump City” closed out the second set and ignited a brief “We Want the Umph!” chant. It didn’t take long for the band to re-emerge for a cover of Led Zeppelin’s “Kashmir”. Everyone was elated to hear the familiar jam. What many may not have noticed, however, is that the concluding vocals to the evening came from Kris Myers perched back behind his drum kit. The raw emotion and power in his voice left me shaking my head in wonderment as the set concluded.
With that, the first leg of the run was complete. We had raged, and it was time to rest and then repeat.
In the end, Waful crushed the sun.
Set 1: Conduit, Ocean Billy > Day Nurse > Ocean Billy, No Diablo, Hurt Bird Bath, Mail Package, August, I Want You (She’s So Heavy)
Set 2: Similar Skin, Go To Hell, The Bottom Half, Resolution > No Comment > Plunger > Drums > Great American > Plunger, Dump City
Anyone can tell you that putting on a music festival is no easy task; it takes months and months of planning. Each year is a fresh start to learn from previous mistakes and create improvements for everyone involved from volunteers, festival goers, musicians and more. After the inaugural four-day Lockn’ Music Festival, organizers have made some serious changes involving musical lineups, camping spots, vendors and hopefully less frustrating traffic jams. Check out ‘s own Nick Fitanides’ review and Phrazz’s photos of the last year’s Lockn’.
The 2nd annual Lockn’ Music Festival is set to take place Sept 4-7 at the Oak Ridge Estate in Arrington, VA with a star-studded lineup that is sure to make every second of the weekend count. This year’s artists include Widespread Panic, The Allman Brothers Band, Tom Petty & The Heartbreakers, The String Cheese Incident, Umphrey’s McGee, Phil Lesh & Friends, Willie Nelson and many more. Bob Weir & RatDog as well as Further were originally set to perform but recently Bob Weir cancelled all remaining shows for the forseeable future, including his appearance at Lockn’. To fill in the void, Lockn’ has booked Bill Kreutzmann’s Locknstep Allstars to Friday’s lineup plus funk masters Lettuce and two-sets from Umphrey’s McGee for Thursday. Lockn’ – the interlocking festival, features two side-by-side identical stages, providing a continuous flow of music with multiple sit in guest possibilities.
Click here for the weekend schedule so not to miss out on any of the music on the various stages. Check out the official Countdown to Lockn’ 2014 playlist on soundcloud.com with 19 tracks featuring many of the artists performing this year.
New this year will be the festival layout with the addition of a 385 acre farm located next to the current festival site. The new use of fields and woods for camping means that all campsites will now surround the concert site, making them almost a mile and half closer than last year. With the new farm fields, the traffic plan will now allow better site access and hopefully less congestion plus pedestrian and vehicle interactions will be greatly minimized. Also new this year is the on-site Biking program, giving people the chance to explore over 30 miles of bike trails as well as a convenient way to travel from camp site to the main stage. Guests are encouraged to bring their own bikes but may borrow the top of the line mountain bikes brought in by Snowshoe Mountain Bike Park with plenty of bike racks throughout the festival grounds.
Lockn’ recently had their liquor license revoked by the Virginia Department of Alcoholic Beverage Control (ABC) due to last year’s undercover ABC agents witnessing hundreds of instances of inappropriate drug/alcohol use. This is not the final ruling, the license remains active until the 30 day appeal. Hopefully, everything will work out because Lockn’ is partnering with Sixpoint and many other local craft vendors to bring Brewers Village, a separated section of the festival for fans to enjoy a nice cold one.
Tickets are still available for general admission, VIP Packages, student tickets and single day tickets. Unfortunately, RV camping tickets are already sold out as well as preferred tent-only camping tickets. Each ticket requires a GA camping pass with various prices depending on your camping situation between tent, car or forest camping.
Seaside Park in Bridgeport, Conn. once again played host for the 2014 edition of the Gathering of the Vibes, a music festival which featured a dreamlike musical lineup with rock legends at every turn. Literally offering something for almost all musical tastes, Vibes once again showed why it has become one of the most entertaining and dominant festivals this country has to offer. The music that these four magical days produced seemed to blow the sky-high expectations out of the water and will certainly serve as one of the true highlights of this year’s summer festival season.
Thursday Gathering of the Vibes offered a full four days of music and the proceedings kicked off early Thursday afternoon. One of the early headliners was White Denim, a true up and comer on the scene, currently in the midst of a full-scale North American tour. Their set on the Green Vibes Stage, the secondary stage of the festival located just outside the main grounds and near Boardie Camping, featured selections from their new album Corsicana Lemonade. Afterwards, Rusted Root took over the stage and contributed a set filled with their usual selections including their entertaining take on the Elvis classic “Suspicious Minds”. Following a spirited set of tunes from Ryan Montbleu & Friends on the Main Stage, old school northeastern jam icons Strangefolk delivered the first memorable set on this stage with a poignant yet lighthearted string of songs that included a full set sit in from Jason Crosby of God Street Wine and Assembly of Dust. Stanley Jordan, a guitar virtuoso who essentially served as a musician at large throughout the entire festival, made his first appearance with an inclusion on “Sometimes”. Despite a solid start of music, an unfortunate mishap occurred on the opening night of the festival as East or Boardie Camping, an area of campsites located near the festival grounds that comes with an additional cost due to its close proximity, was improperly arranged with cars due to a staffing deficiency earlier in the afternoon. This forced the area to close at a certain hour of night and force campers who had rightful access to it to park in West aka General Camping which is further away from all the stages and main festival grounds. To the festival’s credit however, they did allow campers with passes to East Camping to move their cars and belongings to the right area the following morning when sunlight would allow for a much more feasible transition.
The latter part of music on Thursday night included a Grateful Dead tribute band and one of the true rising talents in the jam scene. Dark Star Orchestra did not replicate a Dead show of yonder but instead delivered two sets of covers that traversed both the Dead and Jerry Garcia Band catalogs. “Shakedown Street” served as an appropriate opener before seguing into an impressive “Greatest Story Ever Told”. Later, the GOTV veterans smoothly moved through the JGB classic “Cats Under the Stars” before bringing Stanley Jordan and drummer Kenwood Dennard on stage for a sit in on “Bird Song” which ended the first set. DSO’s second set, as expected, was a little more spacey but not before a “China Cat Sunflower” started things up again before giving way to a “Hey Pocky Way” and, eventually, “I Know You Rider”. A stellar “Playing in the Band” then sandwiched a drums jam which featured another appearance from Jordan and Dennard for good measure. This performance helped set the tone for what is typically a heavily Grateful Dead inspired weekend and this year’s Vibes would certainly prove to be no different. A late night set from Dopapod was the only thing left on the menu this evening and the thriving electronica quartet was the perfect fit for last act of the day. The group displayed a deft touch in moving in and out of different musical styles ranging from hard rock to psychedelic dub and showed off a much improved light rig that definitely enhanced the performance. The collaborative spirit was still alive and well late at night as Dopapod’s set also featured another sit in from Stanley Jordan and later Todd Stoops and Adrian Tramantano from Kung Fu joined the fray for two songs which included a monstrous version of “Trapper Keeper”. Dopapod seems to slowly be making the ascension many thought they would and their set capped off an extremely busy first day.
Friday Another band making a slow yet steady rise to prominence in the festival circuit, Twiddle, served as the wake up call on the Main Stage for the first full day of music. As would be expected for any set starting at 11 a.m., the group played a fairly laid back but heartfelt set of songs to a crowd that steadily grew as the festival population continued to rise and shine. By the end of their set, the band seemed genuinely honored with how many people were present which suddenly made such an early start time not as bad. Afterwards, the next Grateful Dead inspired act took the stage in the form of a certified power trio. Keller Williams brought his Grateful Grass act to Bridgeport which featured the very capable assistance of Jeff Austin on mandolin and Reed Mathis on bass guitar. On an increasingly humid afternoon in front of a rapt crowd, the group acoustically plowed through a string of Dead tunes from all eras. The set began with the band intricately weaving in and out of a sublime version of “Eyes of the World” that featured a strong outro jam which segued right into “Brown Eyed Women” which, in turn, transitioned right into the opening of “Birdsong”. Perhaps more impressive than the quality of play from these masterful musicians was their innate ability to craft cohesive jams that seamlessly flowed right into one another. After Williams delivered a heartfelt thank you to the crowd for giving them an excuse to play all of these wonderful songs, the group demolished one last segue in the form of the set closing combination of “Scarlet Begonias -> Fire”.
The musical tone then shifted, albeit briefly, to big band style as Trombone Shorty and Orleans Avenue followed on the Main Stage with a rousing set of New Orleans themed funk and jazz numbers. Strong rhythmic jams with heavy brass overtones filled this lively set as festival goers slowly started to populate areas in the crowd with lawn chairs and blankets in an effort to carve out personal real estate for the rest of the night. In the true spirit of a communal festival, setting chairs and leaving other personal belongings on the ground to do this is not only safe and permissible but also somewhat recommended as long as it’s not done too close to the stage or it interferes with someone else’s vantage point. Once the Mardi Gras atmosphere that had been built up subsided a little, it was once again time to pay homage to the Grateful Dead, the band responsible for the inspiration of the first Gathering of the Vibes festival 19 years ago. Drummer extraordinaire Joe Russo has assembled an all-star band of sorts that is making themselves quite known due to their ability to both pay tribute to Dead compositions of all sorts while adding a modern-day influence and style to the jams that ensue. Featuring other established artists like Marco Benevento on keys and Scott Metzger on guitar, Joe Russo’s Almost Dead tore through Grateful Dead staples like “Casey Jones” and “St. Stephen” and did so in a fashion that seemed to have even the oldest or most jaded Deadheads slowly nodding in agreement. A true highlight was a soulful version of “Reuben & Cherise”, a song Jerry Garcia often performed with his solo projects, that slowly but steadily morphed into yet another stirring rendition of “Eyes of the World”. Guitarist Tommy Hamilton took care of lead vocals on the majority of songs played and the set ended with one last segue of “Lazy Lightning -> Uncle John’s Band”, a pair of songs which had been played in the opposite order to begin the set.
This would be the last of The Grateful Dead themed portions of the day as the final three acts on the Main Stage greatly varied in both substance and style. San Diego rockers Slightly Stoopid brought a loose, fun and total West Coast vibe to this East Coast festival with a lengthy set of rock and reggae inspired songs. A vibrant horn section helped give a lot of their songs an old school ska feel to them as well. The band even decided to reach back into the vaults for an older song from 1994 that was straight up punk rock which, no lie, resulted in a full-fledged hippie mosh pit. This may be a first for Vibes but research is still ongoing. With a fun and ‘lively’ mood in the crowd now firmly established, it was then time for one of the weekend’s true headliners, John Fogerty. The driving force behind Credence Clearwater Revival, one of the most iconic American bands ever formed, seems like he hasn’t lost a step at all and prowled all over the Main Stage with a complete set of classic rock hits. Starting with the “Travelin’ Band” opener, Fogerty began his set with a string of popular songs like “Born on the Bayou”, “Lodi” and “Lookin Out My Back Door”. Following this, he then went back and forth between lesser known solo numbers and other CCR classics like “Susie Q” and a set closing “Fortunate Son” that seemed to feature the entire crowd on backup vocals. The rock legend then came out for a stirring encore of “Bad Moon Rising” and “Proud Mary” which allowed Fogerty one last chance to show off his infectious stage presence and properly end a set that was much more lively and powerful than many may have expected.
Finally, it was time for one of the most anticipated sets of the weekend as Lotus, an established act in the jamtronica vein of today’s music scene, promised a set of ‘deconstructed’ Talking Heads covers. This meshing of two distinct musical styles had everyone dreaming big and also wondering if the performance would be all instrumental or not. This question was answered immediately with Gabe Otto taking care of the lead vocals on the opener ‘Pull Up the Roots’. Donned in his finest all white suit and doing an admirable impression of David Byrne, Otto handled the vocals on all songs when needed. When it wasn’t needed, Lotus delighted the evening crowd with a stunning technical proficiency and truly unique take on another immensely influential American band. Driving guitar riffs and spacey synth effects served as a foundation for the music that expertly mixed the percussive heavy jam style of Talking Heads with the electronica aspects of Lotus – a match made in music festival heaven. ‘The Great Curve’ was played to perfection and, later, Tommy Hamilton reemerged to lend guitar work on “I Zimbra” and the Lotus original “Spiritualize”. Some of the other highlights were songs taken from the Talking Heads Remain in Light album like “Born Under Punches” and “Crosseyed and Painless”, the latter of which featured Jason Hann from String Cheese Incident and EOTO on percussion. What appeared to be a first time musical experiment can clearly be deemed a success which was met with resounding applause from a tired yet appreciative Vibes crowd. With action now complete on the Main Stage after a thorough day of music, the crowd slowly parted as people weighed decisions on whether to retire to campsites, trudge over to the Green Vibes stage for Deep Banana Blackout and EOTO late night sets or take a nice long walk down the shoreline to the Silent Disco which featured a plethora of DJs spinning well into the night.
Saturday The term “Super Saturday” can be thrown around loosely at times and may not always ring true but on the third day of Gathering of the Vibes it most certainly did. With superstar names like Umphrey’s McGee, Widespread Panic and The Disco Biscuits all on the day’s lineup, Saturday was, by far, the day most people were looking forward to and it certainly featured the largest crowd of the weekend as many came to the festival this day only based on the music that was being offered. If it’s possible, a day that began with very high hopes seemingly had them all exceeded and then some with a Saturday that produced one magical moment after another. Appropriately filling in the pre-noon time slot on the Main Stage was Assembly of Wine – a hybrid of band members from Assembly of Dust and God Street Wine. Their relaxed and quasi-folky sound helped those few who were in attendance to wake up and start a new day with a relaxed attitude. Afterwards, Connecticut locals Kung Fu got things a little more warmed up with their signature brand of ‘in your face’ funk rock. When their set was completed, Stoops, Tramantano and guitarist Tim Palmieri held court in the media tent, answered questions and shed a little inside light on what appears to be a potentially exciting and popular band on the rise.
Gathering of the Vibes really showed its musical diversity on Saturday with the bands performing that afternoon. First, a relaxed and intimate set of bluegrass inspired rock went down on the Main Stage as the recently reunited Leftover Salmon were joined by Bill Payne of Little Feat for the entire set. Covers of Little Feat classics “Oh Atlanta” and “Dixie Chicken” stood out amongst everything played even though they stayed fairly true to the original versions. Next, acoustic guitar duo Rodrigo y Gabriela wowed spectators with their unique style of synchronized strumming and picking before giving way to Edward Sharpe and the Magnetic Zeros, a relatively new indie folk band and one of the few West Coast acts to appear this weekend. All of these acts served as wonderful musical appetizers of sorts, but now it was time for some main courses. Starting with a lively Dumpstaphunk set on the Green Vibes stage, for the rest of the evening, music would be served by true titans of the current jam scene. One of these is the popular Midwestern rock outfit Umphrey’s McGee. Certainly no stranger to the festival circuit, Umphrey’s played a set full of songs from their newest album Second Skin starting with the opener, “Cut the Cable”. Later, Kenwood Dennard would lend his percussive assistance again with a sit in on “Women Wine and Song”. The Chicago rockers then proceeded to deliver a complete set of their popular blend of musical improvisation fueled by prog rock themes and blistering cohesiveness. UM showed off its dark side as well with a harrowing cover of Tool’s “Forty Six & Two” with drummer Kris Myers taking care of the vocals. This paved the way for an old school closer in “Miss Tinkle’s Overture” that served as a fitting end to a remarkable set.
The bar had certainly been set high with this performance, but amazingly, Widespread Panic was able to build on it and take the music to another level. With all traces of sunlight now finally gone, the Southern rockers opened things with an energetic “Tall Boy” opener highlighted by some spirited play on piano from JoJo Hermann. This moved seamlessly into another older, classic tune in “Climb to Safety” and the band was off and running and didn’t look back. Other highlights included a massively psychedelic “Little Lilly” which featured some captivating background lighting on stage. A slow and steady jam followed that eventually picked up in pace and before long, Col. Bruce Hampton joined the band on stage and lent his vocal prowess to a wild version of “Fixin’ to Die”. Between the truly inspired guitar solos from Jimmy Herring and an ultra-steady rhythm section, Panic delivered both a musical and visual show for the ages that touched on all areas of their extensive catalog of songs. Classics like “Chilly Water” and “Driving Song” were expertly mixed with newer songs like “Cotton Was King” and covers like JJ Cale’s “Ride Me High”. The finished product wound up being one of the most impressive and memorable acts of the entire weekend, a feat unto itself right there. While most people knew what to expect from a Widespread Panic performance, the one that followed had everyone guessing as to the possibilities. The kings of the modern jamtronica scene, The Disco Biscuits, recruited the help of some familiar faces for a potentially mind-blowing musical collaboration. Mickey Hart & Bill Kretutzmann, the Rhythm Devils themselves, would be joining them for a performance that saw old school Grateful Dead songs performed in a truly new school manner. At first, only the Philadelphia foursome appeared on stage as they warmed everyone up with a fairly standard run through of “Story of the World”, a Bisco original. A surprising cover choice in James Brown’s “I Don’t Want Nobody to Give Me Nothing” followed which also featured a guest vocalist in Greg Sherrod to give it a truly soulful touch. Soon after, the music steadily shifted back from funky to untzy as the band ripped through the ending of another standout original song, “Confrontation”.
While hopes of an inverted version went by the wayside, it was then time to bring out the guests of honor as Hart and Kreutzmann got both the introduction and warm welcome each deserves as they arrived on stage. In a truly fitting first song choice, the newly formed sextet delivered a stunning version of “Home Again” that was marked with a superb ascending jam. It only made sense to play a first song like this with two members of The Grateful Dead, a band which helped inspire the notion of festivals like this. In true jamband fashion, the opening number eventually turned into a new one without any stoppage and a string of modernized Dead classics ensued. Starting with “West L.A. Fadeaway” – the next sequence of songs was one for the ages as the drum icons lent a steady and recognizable rhythm to the proceedings. “I Know You Rider” and yet another “Eyes of the World” with keyboardist Aron Magner on vocals followed; the group did a remarkable job of keeping the basic integrity of these classic songs intact while injecting a faster tempo with contemporary musical effects at certain times. The always upbeat “Shakedown Street” also made an appearance and as a slow, gentle rain began to descend on the crowd towards the end of the set, another impressive jam steered its way into a take of “Viola Lee Blues”. A song that was expected to be heard as The Disco Biscuits had debuted it in a performance earlier this summer. One last Bisco tune rounded out the set in the form of a long and powerful “I-Man” that was rich in musical texture and served as a fitting end to the set. The encore featured a legitimate choir on stage that sang everybody home with a spirited version of “And We Bid You Goodnight” – a song often used to close out Dead shows of the past and a more than fitting ending to an epic day of music.
Sunday The final day of Vibes generally has a more relaxed and intimate feel to it as people begin to pack up campsites and prep for the ride home back to reality. This year’s Sunday was no different as afternoon sets from Maceo Parker and McLovins were fairly laid back and mellow. After each of these, the music then took on a true Upstate New York vibe as two more legends graced the festival with their respective styles. Donna the Buffalo has been delivering their infectious sound of zydeco fueled grassroots rock all over New York and the rest of the country for many years now. Their set on the Green Vibes stage fit the relaxed Sunday atmosphere perfectly as Tara Nevins belted out the inspirational lyrics of the band’s classic hit “If You Only Could”. Over on the main stage, fellow New York rock legends moe. treated the Sunday crowd to a set full of originals. A lively “Tailspin” opener soon turned into “Hi and Lo” – a much older tune, before transitioning into “Little Miss Cup Half Empty”; a song from their most recent release No Guts, No Glory. A fairly straightforward set followed with “Buster” and “Wind it Up” serving as songs/jams of note.
Once the Upstate New York portion of the festival was completed, the end of a memorable weekend was within sight, but not before two more notable acts closed out the Main Stage. Ziggy Marley was the perfect choice to fill one of the Sunday afternoon time slots as he led his band and the audience for a set composed of mostly original numbers. As good as they may have been, it’s hard to argue that they got the same reception as his father’s ‘love’ songs as “Is This Love”, “One Love” and “Could You Be Loved” all made appearances. Afterwards, one of the last additions to the festival’s lineup, Dispatch, closed things out in fine fashion with an upbeat and positive set of rock and harmonies. The 19th Gathering of the Vibes was now in the books and what a weekend of music it was for those fortunate enough to be in attendance all four days. Despite some early mishaps, the festival smartly put all its chips behind the immense musical talent that truly defined this year’s Vibes. With pleasant weather throughout and the same warm, communal vibe that’s present every year, it would be hard not to declare this year a resounding success with one of the finest musical lineups ever assembled.
Diehard fans brave the elements during the summer season to enjoy their favorite band and songs with good friends. Umphrey’s McGee fans proved this to be true after enduring heavy rains and thunderstorms this past Sunday, August 3 at the outdoor venue at the Saranac Brewery in Utica. Light rain started the evening, progressing to heavy rains with the occasional lightning strike and booming thunder. For everyone’s safety, the concert was delayed for two hours with fans seeking refuge in the Saranac Brewery, a reminder that there are worse places to be stuck indoors. With the delay of the show, Umphrey’s could only perform one set with a show time of 9PM vs 7PM and a curfew of 11PM but what a set it was.
Umphrey’s McGee. Photo by Bryan Lasky
Touring to support their latest and 8th album, Similar Skin, representing their new label Nothing Too Fancy Music. Umphrey’s played some fresh music as well as classic favorites. The show opened with a groovy and hard “Ringo” as bassist Ryan Stasik laid down a funky doo-wop and the band hit heavy rock peaks only to sway down to a jazzy melody from keyboardist Joel Cummins. “The Linear” saw crisp vocals from Brendan Bayliss and fast paced rhythms from Andy Farag and Kris Myers. The set got dark with a haunting “Morning Song” with echoes from Jake Cinninger guitar picking before going into an upbeat “Out of Order”. Among the many reasons to enjoy an Umphrey’s McGee show is the light show. Lighting Designer Jefferson Waful’s lights are truly stunning especially with the raindrops reflecting every glow. The dimensions of color, light symmetry and precise timing soar as high as the music does. Umphrey’s McGee treated soaked fans to a three song encore, the reggae easy flow of “FF”, the electrifying boogie of “Bad Friday” followed by the first and only cover of the night, David Bowie’s “Let’s Dance”.
Umphrey’s McGee is a powerhouse of improvisational progressive rock clashed with classic metal and electronic funk. Fans can download this show and past shows from umlive.net. Be sure not to miss Umphrey’s McGee when they return to Upstate NY as part of their fall tour to the Rapids Theatre in Niagara Falls on Oct 23 and the Forum Theatre in Binghamton on Oct 29.
Setlist: Ringo, #5 > The Linear, In The Kitchen, Morning Song > Out Of Order, Example 1, Educated Guess, Wappy Sprayberry > Eat
Encore: FF > Bad Friday > Let’s Dance
The first show on October 22 will be streamed from the House of Blues in Cleveland, OH as part of the Yahoo Music and Live Nation’s 365 shows in 365 days free series. Umphrey’s will join a bill that includes such artists as Ray LaMontagne and The Dave Matthews Band. Fans will have the ability to stream the concert via Yahoo Screen on iOS, Android, mobile, desktop, and Smart TV platforms including Apple. 
