Mike Gordon is not your typical man. And when left to his own devices, things can get quite Gordon-y. The Phish bassist’s solo band made a stop in Baldwinsville, just outside Syracuse, at Paper Mill Island. The amphitheater resides on a small parcel nestled between the Erie Canal and the town center, tucked back behind an inn and a canal lock. If you blinked you might miss it. A perfectly weird spot for the perfectly weird Gordon. It was the band’s first outdoor show. As Gordon announced, “it’s nice to be out.” Though in the end, it might have been better to stay in. From the imagination of Mike Gordon, this outside out show featured a whole lot of visual enhancements, most of which were lost in the summer sun.
Mike Gordon Band – Papermill Island
The stage was almost entirely black. All of the instruments were either black or draped in black. The musicians were dressed in black with slight variation. Gordon wore deep red jeans, and his shirt was more of a dark grey. Once you went down the rabbit hole of noticing these details, you noticed it all seemed to be meticulously coordinated. Drummer John Kimock wore a striped shirt that perfectly matched the colors of Gordon’s jeans and shirt for instance. But why Gordon’s nails were painted white I couldn’t say. Scott Murawski‘s guitar and Gordon’s bass were custom made with LED lights in the neck that reflected through the bodies. Seeing them in action was somewhat reminiscent of the early 90’s Phish backdrops painted by Gordon’s mother. The walls displayed constantly moving graphics while lights lined the floor were flashing and spraying more color across stage. There was a lot to take in visually once the sun went down.
Additionally, there was a large interactive keyboard lining the front of the stage. When the keys lit up, audience members were able to hit the keys and play along with the band. After a very brief appearance in the first set, the keyboard came alive for most of a late-second-set version of “Voices.” (video below) The keys would light up in sections giving different audience members a chance to jam. Aurally, the results were mixed, but in person it was a boatload of fun.
This tour saw the additions of Robert Walter on keys and John Kimock on drums in Gordon’s band. Both members slid right into their roles with nary a hiccup. The band was tight and grooving every step of the way. And every song jammed. With lesser musicians this formula can grow tiresome, but with this outfit, it only got more interesting the further they went. They played a smattering of Gordon originals, a couple of Phish tunes, and a few covers to round it out.
The covers, two in particular, stood out as clear highlights of the night. Their take on the Flaming Lips’ “Are You a Hypnotist” started with excellent playing through the song portion, and dripped slowly into a oozing spacey jam while a Tron-esque bright green grid was projected along the walls. It was a “wow” moment, as the music went places I hadn’t thought possible from this side project. Then, to close the set, the band took on Here We Go Magic’s “How Do I Know.” The sunny and bright song burst out into a rocking jam driven by some relentless work by Walter and Kimock. The covers were so good, perhaps it pointed out a weakness of this band: songwriting. That said, Mike Gordon knows how to put on a thoroughly fun show that is both musically and visually engaging. I’m still smiling.
Setlist
Set 1: Different World > Another Door, Surface, Here Today, Say Something, Looking For Clues, Spock’s Brain > Different World
Set 2: Jones > Take It As It Comes, Sugar Shack, Normal Phoebe, Are You A Hypnotist, Voices, Face, How Do I Know
There’s no doubt that we’ve been having one hell of a year in music. Most recently, we’ve seen artists like Joan Jett & the Blackhearts, Stevie Ray Vaughan, and Bill Withers (finally) becoming inductees into the Rock and Roll Hall of Fame. Leading up this year, we’ve seen big name artists like Taylor Swift pulling their music from online streaming services to crush the myth that “physical sales just don’t sell anymore.” We’ve seen lawsuits changing the recording world and the way we associate artists with earlier musical predecessors.
In the live show atmosphere, we’ve seen many great small music festivals lose the support they need to bring us great music. Luckily, there’s one festival that seems to have left a firm stance in an ever changing music industry, and it’s back for its 20th year to bring us the music that’s so very near and dear to our hearts. Friends, get ready for the Gathering of the Vibes.
Starting as nothing more than a small memorial celebration at SUNY Purchase, “Deadhead Heaven: A Gathering of the Tribe” was created from a batch of devoted, yet mourning fans of the legendary Jerry Garcia: local promoter Bob Kennedy, business guru Ken Hays, and publishers of the fan magazine “Dupree’s Diamond News” Sally Ansorge Mulvey and John Dwork. Their aim was to provide an atmosphere that celebrated the incomparable success of the Grateful Dead, while mourning the loss of a respected, legendary frontman with hope and celebration. As the word spread about the show’s reminiscent and engaging atmosphere, so did the festival itself. Moving to Croton Point Park, NY a year later, it was renamed “Gathering of the Vibes,” named after the devoted fans self-proclamation as the ever present “VibeTribe.” To meet the growing number of attendees, the festival moved the following year to Plattsburgh, NY as the founders searched for an even bigger venue to host a long-term contract. Upon finding Seaside Park in Bridgeport, they immediately jumped on the opportunity, gracing Connecticut with the 1999 and 2000 Gathering of the Vibes Music Festival. It was then that Bob Weir himself played the Vibes stage, alongside his band Ratdog.
With great success always comes great challenge, and renovations needed to be done to Seaside Park as Vibes gained notoriety. For the next six years, the festival hopped over to Red Hook, NY followed by the Indian Lookout Country Club in Mariaville, N.Y. That certainly didn’t stop Dead members stopping in on the fun, however, since Phil Lesh & Friends made a two night cameo appearance in the 2002 festival in Mariaville.
Despite the festival’s continued success in New York, Vibes was able to relocate back to Seaside Park from 2007 onward, with endless support from the Town of Bridgeport as well as the devoted VibeTribe. Today, you can still witness the same spiritual cleansing and celebration of great music that these great pioneers aimed for back in SUNY Purchase. Along with the great artists that graced the stage back in 1996, including Strangefolk, Max Creek, and moe., Gathering of the Vibes has brought in some of the greatest legends in music, including Elvis Costello, Allman Brothers Band, James Brown, Buddy Guy, and Primus, to name a few.
This year, the team at Vibes has thrown us a couple of surprises in their 2015 lineup, including Weezer, Wilco, Ben Harper & The Innocent Criminals, and The Gaslight Anthem. Though you may plan to make your way into a crowd of sweaty, sprightly individuals to jam out to the newbies of the Vibes lineup, make sure you take part in the shows of those who came at the early stages of Vibes, including but not limited to Max Creek, Strangefolk, Warren Haynes, and Deep Banana Blackout.
With so many venue relocations and constant adaptations, Gathering of the Vibes has been no easy wind. With constant support from the beloved VibeTribe, Gathering of the Vibes has been able to withstand the odds and survive as a notable festival, earning ranks on Rolling Stone’s “Summer 2015 Must-See Music Festival.” To join in the 20 year celebration, visit the Gathering of the Vibes official website and get your tickets. While you wait in anticipation for this year’s festival, however, make sure to check out the past performers that graced the Vibes stages, dating back to SUNY Purchase in 1996. The Gathering of the Vibes has certainly beaten many odds and maintained its high reputation, which is certainly worth celebrating, so we’re looking forward to this year as well as many years to come.
If you were looking for a festival with continuous high energy bands, then Buffalove was it. We were greeted with sunny skies on Thursday afternoon, and a buzz in the air from everyone who couldn’t stop talking about what was to come of that first night. Everyone knew it was going to start with a bang, and they couldn’t have been more accurate.
Buffalo’s own Imperial Brown kicked things off on the Pavilion stage, setting a tone that would carry throughout the weekend. With a sold base of funk, reggae, soul and jam, Imperial Brown got the feet moving, and everyone’s excitement could be focused on one thing: dancing.
As Buffalovers made their way across the field to the main stage, you could feel everyone’s energy level soaring. Hometown heroes Aqueous took the stage at 8pm as the sun was setting and it was go time. They eased into their set, building intensity as the hour went on. We could all tell it was just a tease of what was to come. One by one, Dopapod took the stage, with a seamless changeover that left us continuously dancing for hours. Like Aqueous, they eased into their set, but definitely took things up a notch. Aqueous’ Mike Gantzer was the first to step on stage for the birth of Aquapod. And with a blink of an eye, members of both Aqueous and Dopapod were all on stage, getting into one of the strongest starts any festival could ever hope for. If you were a fan of both of these bands before, then this was the penultimate moment. Trading solos with the biggest of smiles, it just kept going. Even when the rain started to fall, the set from top to bottom was any fans dream. The intensity, the happiness of both bands, and the wide-eyes and looks of amazement from the crowd really started Buffalove off right. From there, it just kept going.
For those whose legs could still hold their bodies up after four and a half straight hours of Aqueous and Dopapod, the late night Woods Stage sets kept the intensity going. A beautiful little stage, set on the hill and covered with trees, was the scene of several sets that would leave people dancing until the wee hours of the morning. Sonder and Spacejunk were first up in the woods, with a segue set that rang through the property. Sonder with their jamtronic, groovy set, then Space Junk with a DJ set that got even the weariest of festival goers back on their feet. The Woods Stage would be the scene of serious talent and body-moving sets. Even with the rain continuing on and off all night, the vibe was nothing short of magical.
Friday morning, we were met with cool weather and constant chatter of what we had all witnessed the night before. The question kept being asked, “How can you top that first night?” But yet again, Buffalove delivered. Imperial Brown started it off again on the Pavilion Stage as the crowds began to wake up, stretch their bodies and get some food. Like every band, their dance-worthy set definitely pulled us out of the fog and back into the light.
Friday afternoon hit, and from there it was on again. Beau Sasser’s Escape Plan, led by current Kung Fu keyboardist Beau Sasser, took the Main Stage and came out swinging with their amped-up, soul crushing version of the Grateful Dead’s “New Speedway Boogie.” Mary Corso’s voice was enough to give anyone the chills, as they cruised through a powerful set. Guitarists Danny Mayer and Justin Henricks had some solos that could leave anyone’s jaw on the floor and drummer Kevin Urvalek was cruising by the time they closed with a cover of “Whipping Post.”
Slip Madigan continued the party, with a rhythmic, groove-oriented set on the Pavillion Stage. Then it was time for Funktional Flow to begin their first of three sets over the next 24 hours.
Flow took Main Stage for a 5pm set that only left fans craving more. Their tight, jam-based songs got the excitement level up once again. With covers like “Atlantic City” by Bruce Springsteen and Chicago’s “25 or 6 to 4,” it was very apparent that they can span the genres. Then before you knew it, Albany-based Formula 5 took the Pavilion Stage. For these guys, it was a pre-cursor to their late night segue set with Funktional Flow at the Woods Stage.
Headlining the evening was Kung Fu and Particle, both bringing the hammer down on Saturday evening. Kung Fu, brought the jam-funk to the Main Stage, giving fans a different taste of what they could accomplish with a slightly modified lineup. Sasser soared, with solos that layered and layered, and meshed so well with their new sound. Kung Fu fans were shocked at what the band had become: a funk-heavy jam band. Then it was time for Particle to take the party to the next level. As the disco ball beamed, they played a set that was clearly meant to leave people exhausted from dancing.
Late night Friday was a beast of its own. Funktional Flow came out heavy on the Woods Stage. And if you weren’t keeping an eye on the stage at all times, you wouldn’t have even noticed that one by one, Formula 5 took over. If you had caught their earlier set, this one was completely different in attack. We could all tell they just wanted to get out there and jam as hard as they could. James Woods’ intricate and heavy bass lines and Joe Davis’ cruising guitar licks were almost too much to handle. Before you knew it, Funktional Flow had taken the Woods Stage over yet again. This time, it was one for the books. With a closer like Umphrey’s McGee “All In Time”, we were dancing just as hard as with Kung Fu and Particle, if not harder. The woods were lit up and the buzz around these two bands was heavy. Buffalovers had been treated to one of the most seamless sets of the weekend and all in the wee hours of Saturday morning. Closing out the morning was Buffalo-based Skyepilot, led by powerhouse lead singer Skye Del Re. If you still had the energy, this band kept the party going until the wee hours of 5am. The sun was coming up, and the groove was still ringing through the woods.
With a full weekend of high-energy bands, we were still left with Saturday. From top to bottom, the last day of Buffalove was filled with talent. Even though Skyepilot had just packed up on the Woods Stage, they opened Saturday on the Main Stage. Their strong, fast-paced versions of songs like “Sugaree” was enough to get even the weariest back on their feet for the final day. Buffalove contest winner The Goods hit the Pavilion Stage, with a very apparent reason why they were the winners. With a slightly different flare than the rest of the acts, they added that international/world groove.
The Main Stage on Saturday was filled to the brim with talent, as Blue Rootz and Whiskey Reverb both gave noteworthy sets. Next, it was time for Funktional Flow to give their final of three sets. With a setlist that included heavy originals and crowd-favorite covers like Warren Zevon’s “Lawyers, Guns and Money” and to close it all out, Led Zeppelin’s “Kashmir.” Funktional Flow definitely earned their three sets, and stood on par with the headliners.
To close out the Pavilion Stage and Main Stage, Albany favorites Mister F tag teamed sets with Pink Talking Fish. Mister F did a stripped down set to start, with Andrew Chamberlaine playing a banjitar (banjo/guitar combo) for the first set. If you ran across the mud-filled lawn, you could witness the greatness of Pink Talking Fish, with their full, accurate versions of Pink Floyd, The Talking Heads and Phish. With their first set over, Mister F took the Pavilion Stage. The crowd filtered in fast, and before you knew it, hundreds of people were crowded around for Mister F’s final set. The energy coming off them was undeniable, and anyone who wasn’t a fan before, was now. Even with drummer Matt Pickering sick as a dog, they blasted through their set. With almost all originals, they included one cover that got everyone’s feet moving a little faster, Jamiroquai’s “Canned Heat.”
Sit-in master Scott Hannay of Mister F wasn’t done there. After finishing packing up, he decided to hang out the rest of the night and see what else he could dive into. Pink Talking Fish topped their first set with versions of Phish’s “Possum” and “Tweezer” that had the crowd in full fun mode. Scott Hannay jumped on for “Crosseyed and Painless”, swapping keyboards back and forth with keyboardist Richard James. It was a spectacle, to say the least.
Late night Saturday drove it all home. Grateful Dead tribute band Workingman’s Dead took the Woods Stage around midnight, giving everyone that comfortable, familiar set of Dead music that left everyone with a smile. High energy, fast tempo Grateful Dead is exactly what we needed after all that was Buffalove. If you weren’t completely out of steam, heavy-hitters After Funk closed out the whole festival in the woods with their horns blaring. Scott Hannay managed to sneak in for another sit-in, adding to the already sonic boom that is After Funk. For those resting at their campsites, there was no way you couldn’t perk up hearing this band wail through the night.
Buffalove came through. Co-founder of Buffalive Productions and Founder of Buffalove Cody Conway clearly had one goal in mind: keep the energy as high as possible. Every single band had heads turning and jaws on the ground. There was never a lull, never a band that just played to fill space. Every minute was dance-worthy. If you missed out this year, we can highly recommend you don’t make that mistake next year. Without any problems or unruly attendees, this festival made its mark at North Fork Music Park in Warsaw, NY. The amount of talent coming out of Upstate New York is only paving the road for more incredible shows. Buffalove, you certainly were lovely.
For two days the Dean Ween Group took over The Heath at the classy The McKittrick Hotel, which, in fact, is not a hotel at all. The McKittrick, most known for being the home of Sleep No More, is a frequent stop on most tourists’ itinerary. On this Monday and Tuesday the McKittrick was going to see a very different type of visitor, as Ween fans have a reputation as a hard-drinking and partying group and their New York contingent couldn’t wait for the opportunity to leave their mark.
The Dean Ween Group, consisting of Mickey “Dean Ween” Melchiondo (guitar, vocals), Dave Dreiwitz (bass, vocals), Scott Rednor (guitar), Glenn McCelland (keys) and Claude Coleman Jr. (drums), played two very different shows over the course of two nights, despite repeating a lot of Ween classics for the faithful fans. Monday started out with some technical difficulty overshadowing the beginning of the show, but once it was sorted Deaner and Co. treated the crowd to a roaring rock show. The stench of sweat and Corona quickly overtook the small retro-fitted bar as soon as Deaner lead the charge on a powerful “Don’t Get 2 Close (2 My Fantasy)” which erupted from the whimsical opener “Ice Castles.” Dreiwitz took the lead on “Homo Rainbow” and graced us with a raging bass solo during the overly ironic “I Saw Gener Crying In His Sleep.” The first night was highlighted by the calypso rumblings of “Bananas & Blow” and the dark, set-closing “The Rift” before the three-song encore which featured McCelland leading the way on “Waving My Dick In The Wind” followed by “Hey There Fancypants” before the night was brought to a close by the fan favorite “Roses Are Free.”
The second night back with Dean Ween Group at the McKittrick brought quite a different atmosphere. While the room was slightly more crowded, a more subdued and calming feel came over the room, with no technical difficulties out of the gate. With one night under their belt the band sounded tight from the get go. The first night felt more like a booze-fueled band practice and that may just be what the Ween fans were looking for. Is it really a Ween show if Deaner isn’t sweating on the first few rows of rabid fans? The crowd and band alike got fired up quickly and left all the pleasantries behind with Dean Ween favorite “Booze Me Up” and an early set “Roses Are Free” with Deaner and Dreiwitz dueling it out face-to-face. Standouts from this evening include “Spinal Meningitis,” “Homo Rainbow” and “The Mollusk,” as well as an extended duo jam featuring McCelland and Coleman Jr. on keys and drums respectively. We can only hope that Dean Ween Group continues to tour and play together. You can catch them next in the Northeast at The Stone Pony in Asbury Park, N.J. Tickets available here.
A group of Grateful Dead fans are organizing a multi-pronged effort to thank the band for 50 years of music, including a group singing of “Not Fade Away” to the band each night of the upcoming 50th anniversary Fare Thee Well shows.
The group also wants fans to upload thank-you videos online to thank the band personally, as well as to donate to the Rex Foundation, a Grateful Dead-related charity.
The Not Fade Away effort is being organized — since April — by a group of Deadheads who decided they want to thank the Grateful Dead for providing them with decades of fun, love and music.
The group plans to start singing “Not Fade Away” just before the second set starts of each of the 50th anniversary reunion shows in Santa Clara, California this weekend, and Fourth of July weekend in Chicago. The decision about when to sing the song was a big one, but before the second set made the most sense to most of the organizers involved, according to the website’s FAQs.
Separately, they’re asking for short Youtube videos of fans thanking the band in their own way. They’re also collecting videos of individuals and groups performing their own versions of “Not Fade Away.”
The group also hopes to raise the largest-ever collective donation to the Rex Foundation. In order to participate, donors should give directly to the foundation, but make sure to include “#NFA” or “Not Fade Away” in the “special instructions to the seller” box.
The Grateful Dead, along with their friends and family, established the Rex Foundation in 1983, and it has a broad mission supporting everything from a healthy environment and the rights of indigenous people, to the arts, social services and education. The foundation was named after Rex Jackson, a Dead roadie and later road manager who died in 1976.
What a difference a year makes. For the weather at least. The band, Widespread Panic, was steady as always. But instead of tempting the dark ominous clouds by playing “Hatfield,” which resulted in a show-shortening electric storm at their Artpark show in 2014, 2015 was nothing but blue skies and sunshine.
The show was both the opening of Artpark’s summer concert series as well as the opening show of Widespread Panic’s summer tour. Both were dialed in like it was midseason. It is difficult for a venue to capture the full breadth of sound that the 6-member jam rockers bring, but Artpark was up to the task, presenting incredibly crisp sound all night, especially for an outdoor space.
As a fan of the band since the early 90’s, going into a show these days, I am hoping to hear the old Panic classics. Since I’m only seeing about one show a year, if that, the newer songs haven’t really entered my vocabulary. The boys delivered on that wish in spades with the first set they put together. The show opened “Traveling Light,” “Weight of the World,” “Can’t Get High,” “Ride Me High” and it wasn’t until a mid-set “Shut Up and Drive” that saw a song which was debuted after 2000. After that blip, it was right back in the saddle with a one two three punch to the jam gut with classics “Pilgrims,” “Space Wrangler” and a massive “Greta” that saw guitarist Jimmy Herring flexing his jazz and prog rock muscles. Playing flurries of time-shifting notes that were difficult to comprehend, the jam reached multiple peaks. Dave Schools reined it in, leading the band smoothly into the Jerry Joseph-penned anthem, “North.” John Bell appropriately sang, “I go North, the sun it hurts my eyes” as the crowd shielded their eyes with the burning orb setting slowly behind the stage. Paired with last year’s storm-predicting Hatfield, seems like the band is reading the weather report as closely as the fans. In one of the more surprising moments of the night, “North” included a get down and funky segment led by JoJo Herman on the organ, before a set-closing big rock finish.
Second set, on paper, was what I fear. Dreaded new songs. Even 15-year-old songs, like set-opening “Second Skin” is new in my mind. But “Second Skin” was a fine opener, with Herring again taking control and exploding through his solos while Bell kept his own, proving he is one of the more inventive rhythm guitarists on the scene. A stop-on-a-dime dropout into their funky “Rebirtha” got the crowd singing along in glee, while Herring again was the shining star on stage. That transitioned into “Cotton Was King,” another new-ish tune that actually didn’t stick out as such. The band finally stopped for a breather before kicking into “Henry Parsons Died,” the second song of the evening written by their Bloodkin pals Danny Hutchens and Eric Carter. A wonderful spacey jam then bled into a brand new tune, “Cease Fire.” This one took a journey that started in late-era Talking Heads, mixed in a little samba flare, moved into a segment that harkened early Genesis, before finishing off with a stretched out mellow jam reminiscent of the ending of “Layla.” Intriguing to say the least and amazing to see this veteran outfit, whom I wished only to see the classics, was still full of new and exciting surprises. But wait, Widespread Panic still had more “new” up their sleeve. “Cease Fire” ceased slowly and effortlessly into “Jamais Vu.” A slinky bass-led groover that melted into the spaciest jam of the evening, with Herring weaving drawn out notes in between Herman’s trickling clavinet playing. After the drums segment, a strong “Surprise Valley” gave them one last opportunity to show that they are the masters of the segue. “Rock” emerged and served perfectly in the requisite heavy-finish role.
After playing two by their buds from Bloodkin, Panic evened the score, encoring with “Chainsaw City,” the second Jerry Joseph tune of the night. On right at 6:30pm, off right at 10:00pm, they jammed Artpark with as much of their jam as they were allowed, making up for last year’s short show as well as they could.
Setlist:
Set 1: Travelin’ Light, Can’t Get High, Weight Of The World, Ride Me High > Shut Up And Drive, Pilgrims, Space Wrangler > Greta > North
Set 2: Second Skin > Rebirtha > Cotton Was King > One Arm Steve, Henry Parsons Died > Cease Fire > Jamais Vu > Drums > Surprise Valley > Rock
Encore: Chainsaw City
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moe. continued its 25th anniversary celebration with two shows at its hometown Saranac Brewery Friday and Saturday night. Old friends and new were on hand, as well as a brand new Saranac Double IPA named Hoppy Hour Hero in their honor.
moe. Saranac Brewery
Friday’s big surprise was the return of original moe. drummer Ray Shwartz. Shwartz left the band following the band’s Fatboy album in 1992. Current drummer Vinnie Amico graciously stepped aside while Shwartz sat in for the moe. classic “Don’t Fuck With Flo.”
Saranac brewed a special batch in honor of the hometown boys’ return to the brewery for a pair of shows June 19-20.
The weekend had a mini-festival vibe about it, with Twiddle opening Friday night and Cabinet and Kung Fu joining in Saturday. Additionally, Shnier and Amico’s side project Floodwood took to the Celtic Harp stage following Friday’s show, and the legendary Ha Ha the Moose did the same Saturday night. Ryan Montbelau was another post-show option for fans at Lukin’s just up Varick Street.
moe. Saranac Brewery
moe. spent little time getting to the down and dirty on Friday, opening with “Tailspin” into “Bearsong” followed by the introduction of their new beer and the tried and true Saranac theme song “Happy Hour Hero” (for the record, as an avowed beer snob, your author made sure to grab a growler of the Hoppy Hour Hero from the Tavern. This is one of Saranac’s best outings, in this reviewer’s humble opinion).
Friday night’s setlist
Set I: Tailspin > Bearsong, Hoppy Hour Hero, Mar-DeMa > Y.O.Y. > George > Lazarus
Set II: Don’t Fuck With Flo*, Tubing The River Styx > The Pit > meat., White Lightning Turpentine, Blue Jeans Pizza > Downward Facing Dog
Enc: Billy Goat, Low (Cracker cover)
Notes: * with original drummer Ray Schwartz
Saturday saw Cabinet kicking things off with its blend of bluegrass and jam. Truly appreciative of the Utica love, they made an appearance in the merchandise tent following their solid set.
Kung Fu followed and proved to be a formidable act to follow. They brought the funk promptly at 6:30 and proceeded to move many a booty in the Saranac crowd. If you haven’t had a chance to check out this fusion quintet, it is highly recommended. They blend Hancock’s Headhunter-era fusion with James Brown funk and some Zappa thrown in for good measure.
moe. hit the stage Saturday with a rousing “Captain America” to engage the huge Saranac crowd. Over several years of shows at this venue, this one ranked among the highest attended.
moe. Saranac Brewery
An easy ride through “Akimbo” was followed by “Not Coming Down” which seemed to mock the few sprinkles that started falling from the sky midway through.
By far, the highlight of the night was the guest appearance of Tim Palmeiri and Rob Somerville of Kung Fu during “Silver Sun.” The addition of the sax invigorated this newer song and Palmieri’s guitar battles with Garvey and Schnier were the stuff of moe. legend. Check out this YouTube clip for just a scant view of what was truly something to behold in person:
Following a quick set break, moe. returned with “Okayalright” which segued seamlessly into “32 Things.” The boys were on their game here. Aside from the Kung Fu sit-in, this segue ranked as one of the high points of the show.
If there were any doubt that twenty-five years in, these guys are tired of the game, this was quickly laid to rest with an epic “Recreational Chemistry” encore to finish the run. Derhak was at his best during this twenty-seven minute version of their classic and while some fans bemoaned the fact that this one has been frequently played on this mini-tour, it’s tough to argue with the intensity of the version played Saturday night.
Twenty-five years in and moe. is still playing with the energy and fervor they did back in their club days. A weekend such as this was a celebration of moe. A celebration of all that they have given their fans all these years. A celebration of their roots. It was evident that they had a grand old time in their old stomping grounds this weekend. What would you do for freedom?
Saturday’s setlist
Set One: Captain America > Akimbo, Not Coming Down > Wormwood > Skrunk, Loser >(nh) Silver Sun*
Set Two: Okayalright > 32 Things, Nebraska, Time Ed, Wind It Up
Encore: Do Or Die, Recreational Chemistry
* – w/ Tim Palmieri on guitar & Robert Somerville on sax from Kung Fu
I’ve come across a great number of Twiddle fans in the past year and found that a band I rarely see has far more fans than I expected. If you live in the Northeast, it’s highly likely that you know at least a few of them. There are a few reasons that Twiddle has blown up in the past year, with the main one being a vibrant, rabid and insane fan base of Twiddiots who resemble the larger fan bases among jam bands at earlier stages. In meeting these fans and seeing the band recently, I’ve found Twiddle’s music as comfortable and easy to access with a well-rounded sound, but more importantly, I have discovered Twiddle fans to be the next great fan base waiting to be tapped.
Twiddle
Having seen Twiddle three times in the past three months – Upstate Concert Hall in April, Rock n Roll Resort in May, and Disc Jam Music Festival in June – I have come to be amazed by the fans while enjoying the music. It’s not that I’m not interested in the music — I just find the fans hanging on every note of this band eerily similar to that of the fan bases of Phish, Widespread Panic, moe. and Umphrey’s McGee. It appears that Twiddle is a jam band for fans of the post-EDM explosion who grew tired of the music and scene but retained a desire for a larger community aspect of EDM, particularly PLUR – Peace, Love, Unity, Respect, things all found within the Twiddle community. While I can go to a Twiddle show and listen to the music and enjoy it to a degree, the fans are the main attraction – young, exciting, seemingly even male/female, in college and containing a desire to be a part of something larger.
There are those jam bands with strong fan bases that come out in droves for shows, buy all related merchandise (both fan made and official), focus squarely on all components of the band and intertwine it with their daily lives. Twiddle fans are similar to those of Phish, Widespread Panic, moe., and Umphrey’s McGee, just at an earlier stage – the Vermont-based band is only in its 10th year and the fan base, while far from fledgling, is supportive of the band and growing rapidly as each of these now established bands saw their fan base grow around the same point of their careers. They’re not the same musically, but they have their die-hard fans as well as their detractors, an annual music festival many consider to be the band’s own and offer up-and-coming bands a fan base that is as fertile for exposure to new music and brands as they are enthusiastic for every note Twiddle plays. Twiddle fans are a once in a great while occurrence – a fan base thriving around one band and everything they bring to the table.
Twiddle fans seek, and find, a more inviting environment and acceptance among a new community. They could be Phish fans first, but with Phish, you have an older group, some of whom have been closely following the band for 25 years or more, and with a greater amount of jaded fans and a larger degree of negativity and criticism compared to other fan bases, it makes sense that a 18 year old might go see Twiddle more often than Phish and find a home among the former’s community.
It may be that Umphrey’s might be over their heads, Widespread Panic too Southern-based and moe., like Phish, having an older fanbase that may not be as accessible to find space in as they do Twiddle’s. This is entry-level fandom with ease via a consistent and growing touring schedule, fan groups on Facebook, as well as Friendly Gathering this weekend, and a fan base that is welcoming for the most part. moe. is smart to bring Twiddle in for shows and festivals, knowing full well that their fans might become moe.rons, and vice versa.
This targeted marketing to the fan bases via performances at moe.down, Saranac Brewery in Utica in mid-June and Waterfront Park in Burlington this August, serve as testament to the viability of Twiddle through its fans; those who can harness that fan base will find great success.
Twiddiots (a term of endearment, much like moe.rons despite sounding negative upon first glance) were the driving force behind Twiddle’s Kickstarter campaign for their upcoming album Plump (due out later this year), which hit a goal of $20,000 in 24 hours, more than doubling that goal by the end of the campaign and catching the eye of outsiders, myself included.
The fans have uTwiddle, an online community with setlist stats and news on the bands, a growing fan art community and a plethora of pins that are highly sought after. Grassroots California could retire on sales the now iconic Twiddle hats alone. The fans are what makes the band, and seeing the band feed off the fans and vice versa is the connection between band and fan that is rare to find at such a nascent stage and one that is worth paying attention to. Watch their fans and you’ll see a swarm that look like they are having the greatest time ever while experiencing pure bliss during each song played. You might not get it, but they do. The music makes the fans happy and the vibe and pe/king (more on that in a minute) carries through and can make you want to enjoy the music or disregard it wholly.
Those who detract from Twiddle and make it a point to rip on them do so because of the fast rise of the band, the ascendance and coronation from their fanbase as ‘the next _____’ (insert notably large jamband here) without having heard a note, having seen the fans and not wanted anything to do with it. You’d be skeptical too if you heard some band was considered ‘the next ______.’ I read an article about The Jauntee being the next Phish – I enjoy The Jauntee but that label is always going to be there because of that article, and there’s a certain level of comparison that can make it hard to forget. Regardless of the fact no band is the next _____, there are the haters who simply don’t like the band or their fans.
Being in the Northeast and around Twiddle fans more than others, it can be easy to grow tired of peaking and the discussion of songs and shows at length, especially when a more established band may provide more content, musically and otherwise to lead to a more familiar conversation, one that is safer and doesn’t involve knowing a great deal about a new band, their musical mythology and all the inside jokes. Some find early Twiddle fans to be less receptive to new fans, ironic as fans of other jam bands are not as receptive to Twiddle in general. A cited lack of originality in sound paired with the inability of Twiddle fans to handle criticism echo other fans bases when something hot, new and exciting takes attention away from their current fixation. “I don’t want to learn new stuff” seems to be the mantra behind some of the vitriol, but that goes in lockstep with Deadheads hating Phish heads, Phish fans refusing to cross over to moe. or Umphrey’s, and now Twiddle fans finding ire among non-fans. Twiddle is Buzz Lightyear to the established and accepted Woodys of the jam band world – shiny, sleek, new, full of new features and immensely popular as of late – all valid reasons to question viability and scoff at the new sound.
Kevin Rondeau, Twiddle’s manager since 2011, is another factor in the growth of the band in the past few years. Rondeau began booking shows for Twiddle in 2010 then in 2011 became manager while continuing to book shows before the band signed with Madison House in 2013. Now with a growing staff including Kevin, road manager Dan Travis, Sam Johnson running sound, a lighting designer joining the crew soon, a well-respected publicist in Destiny Beck, as well as web designers and various artists part of the growing Twiddle Co., the band’s growth has led to changes in the behind the scenes for the band, a positive step as the band is not about to test the brakes anytime soon.
“I think Twiddle’s music right now is as good as if not better than any of the top jam acts. All of this growth that is happening, we all knew it would happen; it was just a matter of time. We have pushed a philosophy of friendliness and positivity and the fan base has embraced it,” cited Rondeau when asked about growth in recent years. “The fanbase is incredible and we have a lot of close relationships with fans. When I was walking around Disc Jam on Sunday, I saw fans I have known for many years now and it resembles a family in many ways. I try and keep a very steady presence in the fan base so that they are informed of what is going on.”
“I asked my wife if she thought we could get people to fly to Costa Rica for a Twiddle festival, and she said certainly. There are a lot of dedicated people now among the fans.”
Under Rondeau’s guidance, the band has moved from side stages at festivals to hosting its own festival, sort of. Frendly Gathering (yes, Frendly, no I), held this weekend at Magic Mountain in Londonderry, Vermont, is not the band’s festival, but rather promoted by professional snowboarders Jack Mitrani and Danny Davis, with Twiddle acting as the official unofficial host band. While Frendly Gathering is a separate event from the band, the two are connected and benefit each other – the festival has a headliner bringing a guaranteed crowd and the band has a festival identified as their own, increasing their visibility and building comparisons to bands such as Phish, moe. and Umphrey’s, where the band has a vested interest in a festival as well as being comparable to festivals of similar size bands – The Werks (The Werkout), The Mantras (Mantrabash), Lucid (Backwoods Pondfest) and Pigeons Playing Ping Pong (Domefest).
A recently formed fan-based charity, White Light Foundation, connects the band and fans together, giving back to local charities and gaining visibility thanks to generous donations from both Twiddle and Burton Snowboards. These and other donations will help to raise funds at Frendly Gathering for Love Your Brain and Kurn Hattin Homes for Children, both Vermont based organizations. Founded by Jay Segal and Steve Perlah, they cite inspiration from the charitable efforts of the Phish community who they herald as “amazing role models for a fledgling organization.” Fans looking out for each other and supporting their local community are a part of the growth of many bands and Twiddle and their fans seem to be on the right track in giving back to local communities of which they are a part.
Musically, a reggae jam seems to be the recurring theme of the music, and overall, it is very happy music, jams and compositions both. With more chances to watch the band members perform, their individual talents and position in the band are more apparent.
• Mihali Savoulidis has a voice similar to that of Dave Matthews but distinct in its own right. Wearing a Bob Dylan hat on his head and permagrin on his face, he looks like the happiest guitarist ever while playing and singing to the fans, whether shredding or noodling or anything in between.
• By evidence of wearing a winter hat on stage nearly all the time, bassist Zdenek Gubb is from house Stark; winter isn’t coming – winter is already here. Any given song and Gubb drops some serious meatballs and adds depth to compositions.
• Keyboardist Ryan Dempsey is talented in every capacity behind the keys but is a wild card otherwise, the oddball among oddballs in the band and off stage. Accessible and visible among fans, he revels among the fan base and doesn’t shy away from the spotlight.
• Brook Jordan is a clutch drummer and exciting to watch in every instance – he keeps the beat while the other three meander about a jam and serves as a point of reference for accessing the music.
Together on stage they dial in and flow together nicely, if without taking a great number of chances. This is not Buddy Mihali and the Crickets, with Mihali taking lead throughout, but his presence is undeniable whether on stage or off. He knows he’s a rock star but doesn’t come off like one. He’s the band frontman but seems to shy away from the spotlight.
Twiddle has two side projects, Gubbulidis, a duo featuring Mihali and Zdenek, and Best Good Frends, a new band that recently held their first three shows in early May of this year, featuring Mihali, Zdenek, Ryan Clausen and Josh Dobbs (Dead Set Tuesdays) and Ratdog saxophonist Kenny Brooks. The latter group has great potential for extended improvisational jams as witnessed at their second ever show at The Hollow Bar and Kitchen in Albany, where six songs were played over the course of two sets and an encore. If there is an exciting aspect of Twiddle’s music to pay attention to, this is the one.
Twiddle also offers a great deal of generosity and assistance in supporting up-and-coming bands, giving the next wave of bands and musicians a shot. At the three shows from the past three months, every show featured sit-ins from musicians who may not otherwise be introduced to the Twiddle fan base. Too many in total to list, but among them, I wouldn’t know who Honeycomb is without Twiddle, as he has sat in twice with the band and twice I’ve been blown away by this beatboxer out of Windsor Locks, Ct.
Then there is peaking, or pe/king as Twiddle fans type the term. The concept, developed by Twiddle fan Spencer Frank, with Sam Luke and Nick Cioffi, was conceived by the fans to make an otherwise bad day seem far better than it truly was – a way of pumping themselves up to events yet to come. Popularized via Gubbulidis shows in Burlington on Tuesday nights, when Ryan Dempsey asked about peaking, Spencer replied “Dude, its the next level,” and with that, it crossed from fan idea to band supported identification which fans therefore find greater participation with. In seeking a definition of peaking, Frank returns with “I would say that peaking is taking any situation at its current status and bringing it to the next level.” For Luke, peaking is used “as a fuel to inspire ourselves to maintain constant optimism and motivation.”
“I think peaking is awesome,” notes Rondeau. “Fans have little symbols and hand gestures, and it’s cool that fans have adopted something. There’s an obvious drug reference to peaking, but I don’t think that the way in which our friends use it. It could be any moment in life, at a concert, feeling bliss and something incredible, a great feeling of positivity and all those things can be experienced at a Twiddle concert with a bunch of friends. It’s a great way for the band to communicate to the crowd that they appreciate that the music is being appreciated, it’s an acknowledgement of feeling the same way, doing what we love.”
Added Rondeau, “Nothing is possible without the fans, the band is super aware of that.”
“What was really cool was when we realized that it’s different for everyone, but that we were organically sort of creating a community where people were supportive of each other’s /s (peaks)” Cioffi observed. “I think we are just taking concepts like mindfulness and positivity and rewording them in a way that is digestible and translates well to the medium of Facebook as well as the real world and it’s cool because there are people posting hikes they have taken, and their kids doing something awesome, or talking about how they have been sober for a few months, or how they are psyched for the upcoming shows its just pure positivity and support.”
For those who are finding Twiddle as an entry level band and fan base, peaking can be something that resonates with newcomers and established fans, a message of community and positivity and support, a well as a challenge to do better. Sure, it’s a cliquey concept, but Umphrey’s fans do that thing where they put their fists together and stick the pinkies and other fingers down to make a UM sign, but there is more to it than just saying ‘rock on’ in Umph-speak. Yet peaking is all inclusive, much like how the Twiddle fan base appears, although some older fans do retain a certain ‘OG’ status that can be off putting to some, something that can be found among every fan base of established jam bands.
In talking with Twiddle fans about highlights from Disc Jam Music Festival, the two that were offered up immediately were Turkuaz’s Craig Brodhead sitting-in on “Polluted Beauty” and the jam during “Apples” which saw Mister F’s Scott Hannay (keys), Formula 5’s Joe Davis (guitar) and James Woods (bass), Honeycomb (beatbox) and Michelangelo Carubba of Turkuaz (drums). I referred to the pair of songs as personal highlights of the weekend at Disc Jam and specifically stated that these two songs were ‘the tits.’ This, to Spencer, Nick and Sam is the equivalent of pe/king. There is a universality of pe/king that can provide an inroad to understanding what their fans are peaking about, and which also carries with it an outsider perspective of ‘what the fuck is that?’ Much like two languages having two words to describe the same thing, the peaking phenomenon is more familiar than outsiders may realize, despite being on the dork side of all things Twiddle.
Twiddle is definitely not for everyone, but those that identify with it are really into it. It brings to mind the Jerry Garcia quote about licorice and the Grateful Dead: “We’re like licorice. Not everybody likes licorice, but the people who like licorice really like licorice.” Twiddle isn’t the next Phish, but its fans may very well be the next Phisheads, Spreadheads, moe.rons or Umphreaks, and that is well worth paying attention to.
For someone only exposed to American music, the concept might be lost. That has always been the case with Consider the Source though who has always pushed global boundaries. Never before though has the band done it this masterfully and with such vision. This isn’t just food for thought, but a feast, with such lush sonic depth that can’t simply be explored in one pass. This is music that commands focus in a time when fans are more flippant than ever. You could say the band is fighting a natural progression, but I applaud the effort and what they force a willing listener to listen to. The continuity between songs is beautifully orchestrated and only possible with an overall delivery being kept in perspective from the onset.
Consider the Source continues to improve upon the layered depth the trio creates. Most bands employ a second guitarist or a keyboard player to fill in some of those aural gaps the ear senses. Consider the Source somehow rarely leaves those though, instead filling the air with enough character and integrity on both the individual level and collectively as the full body of work.
It’s difficult to break this album down like a typical review because it lends itself more to a movie score than an actual music album, weaving rhythm and melody like a story line. This certainly isn’t a movie for everyone though. Hell, it might not even be for most, but for those willing to spend the time, this album is certainly capable of hitting you places wouldn’t think music could.
Staying with the movie parallel, this is no comedy, but a serious drama. It’s the type of movie that’s meant to make you think and not entertain per say. While there are plenty of parts where the band digs into a danceable groove, the vast majority is a complex structure meant to unlock pieces of your imagination and brain that may have been untouched otherwise.
In terms of sound, the band has always had their Middle Eastern and Sci-Fi elements, and while I would say the former is true on this album, the latter has now been pushed outside of this galaxy. The Middle Eastern elements underscore all of these other directions the band is going in. You can hear heavy metal influences this time around and that’s not a bad thing as they use it tastefully for emphasis throughout. I also heard Latin rhythms and a tonal landscape that covers so many other cultures. To someone with chromesthesia, these guys are coloring with the big box of crayons. Again, it must have taken an impeccable vision to be able to weave a thread through all of this the way they do.
On the individual level, these guys are simply incredible musicians in their own right and have found a chemistry that allows them to have a musical conversation. Jeff Mann should be commended for his uncanny ability to keep these two explorers on track, while bassist John Ferrara pulls double duty holding the rhythm and providing a sturdy base for Gabriel’s melody lines. Ferrara isn’t just support though and steps out many times throughout to take the reins and lead with the low. On guitar, Gabriel’s tonal breadth is equal parts beautiful and haunting. His understanding of timbre and where and when a tone should be called upon is literally right at his fingertips with his instrument’s flexibility. For example, when he needs a xylophone, like the solo on “Up to, But Not to Exceed…Whoa,” he does and he makes that perfect call every time. The three have hit a stride on this like they’ve never hit before.
The album ends on a dream-like wave of layered tones. The beautiful blend has a very natural and earthy feel to it that slowly draws this masterpiece to a close. The play between the various instruments perfectly compliments one another and the gentleness of the track is a great counterpoint to some of the more aggressive playing that proceeds it. This is not a loose collection of songs, but a score. The tracks below were some gems, but it really deserves a full listen to understand the concept.
Key Tracks: This Dubious Honor, Up to, But Not to Exceed…Whoa, I’ll Fight for the Imp, You Are Disappearing
Life is good for Mike Gordon these days, with Phish coming off arguably one of the most creative years in its 32-year history and his solo band gaining steam across the country.
On top of that professional success, the 50-year-old bassist says he has a wonderful family life, one that allows his wife and daughter to travel with him when he’s on tour. This time spent with his 6-year-old daughter has changed his perspective on a bevy of things.
“I waited until I was older to have a child,” Gordon said. “And I was so ready for it. I spend time with her every day and I don’t tour as much as I used to. It’s cliché, but I get to see the world through young eyes. It’s a unique and whimsical perspective.”
Gordon, who is in the middle of a tour with his band, treks through New York this week, stopping in Buffalo on Tuesday and Syracuse on Thursday, before stopping at the Egg on Friday in Albany. Accompanying Gordon is Max Creek guitarist Scott Murawski, Craig Myers on percussion, Robert Walter on keyboards and John Kimock on drums. This is the second tour Gordon has done since he released Overstep, an 11-song LP featuring songs such as “Say Something,” “Yarmouth Road” and “Tiny Little World.” Gordon and Murawski wrote all the songs over a handful of trips to places in New England, such as North Adams, Mass., where Gordon’s mother, Marjorie Minkin, owns a loft.
“With Overstep, our goal was to rock and display a lot of raw energy,” Gordon said. “Moving forward, we don’t want to stop that, but we want to be more experimental, maybe a bit thrashy. We’re exploring all sorts of themes.”
Gordon added that his daughter has been a big inspiration for a lot of the lyrics he’s written lately, and added that Tessa also influenced some of the writing on Phish’s most recent album, Fuego.
This band has become Gordon’s personal artistic outlet. Trey Anastasio and Tom Marshall are the “chief” songwriters in Phish, and this band gives Gordon the ability to do what he wants. Full creative control, if you will. He spoke of seeing the Trey Anastasio Band recently.
“Trey is great about running a tight outfit and I admire it a lot,” Gordon said. “I saw them recently and the horns really work great in the band.”
Seeing as how Phish fans are highly critical of just about everything anyone in the band does, it’s easy to draw comparisons between Gordon’s band and TAB, but none of that seems to affect the bassist.
“I want to be edgy, to push the limits further,” he said. “I love it when we’re tight and loose at the same time. I don’t have much to prove — we take chances, especially with the strange, angular parts. We try to just live in the moment.”
Gordon has been a fan of Max Creek for many years, and recalled the first time he saw Murawski and the band.
“It’s pretty cool,” he said. “Not just his playing, but his whole vibe. Seeing Max Creek play a long time ago – people say they sound a lot like the (Grateful) Dead. I see them as a tweaked version of country rock. Scott smiles so much and is always in control, yet he’s humble at the same time. Before I knew him, I noticed that he always looked so comfy (on stage) and I really like that influence.”
So in his two bands, Gordon plays with two different guitar monsters in the jam band scene in Murawski and Anastasio. On the surface, both guitarists share some similar themes and styles in their playing, but Gordon did his best to explain the differences between the two.
“Scott is very clever about outlining chord changes as they happen,” he said. “Trey is the opposite. He’s good at flowing over the changes, creating textures. Sometimes he sounds like a movie soundtrack in the way he flows. But I definitely think there is some cross influencing going on between them.
“One week after I met Trey, we went and saw Max Creek. Not long after, Trey got his Ibanez. Maybe it was just a coincidence. And Scott now owns a Languedoc. Trey is great at melody, and I’ve noticed Scott bring some of that in. Every connection is based on another connection.”
Gordon went on to conclude the topic: “Scott and I spend so much time together, it’s just organic. Scott is the one who wants to jam as long as possible and stretch things out. So I guess it’s apples and oranges.”
While Phish is lauded for the light show that accompanies its marathon concerts, Gordon’s band takes stage production to the next level. He and Murawski had special guitars built for last year’s tour, and they are all black with sensors on them that reflect the light, making them appear luminescent.
Gordon also revealed that he is going to debut another new bass sometime soon, which he dubbed it the “2.0 version” of the bass he had been playing in his solo band. The concept was designed by Gordon, who said it looks like a Modulus, but is a hollow body, which gives the appearance of a 3D effect. He said it has an EMG/Modulus sound. The guitar was built by Ben Lewry of Visionary Instruments, which Gordon gave high praise.
“This is very organic,” he added, saying Murawski’s guitar has basically the same concept. He didn’t specify when he will be debuting the new bass, but said it will happen on this tour.
Back in 2011, Gordon played The Egg, a venue nearly universally applauded for its stellar acoustics, uninhibited sight lines and friendliness to performers. It ended up being one of the few official Mike Gordon Band releases, and Gordon said he is quite excited to return to the venue.
“I loved that show,” he said. “The sound at the venue is conducive to what we do and it’s very technical. A lot of times there are different challenges at venues like unpredictability and that can make a lot of things pretty hard. We already have enough to think about and the Egg is just so easy to play. I can hear it all, both the loud and the soft, and it all resonates in a very controllable way.”
As for his work with Phish, Mike Gordon said that he’s mostly focused on his work on this solo tour, but did give a glimpse into what Phish has been up to recently.
“It’s hard to think about, because I have so much going on with this band, but I’ll tell you this: The guys in Phish all got together two months before our tour is starting, and this is the first time in a long time I can remember us practicing so much, this early before a tour,” he said. “Who knows, we may even have a handful of new songs.”
He even shared a brief thought on the upcoming Fare Thee Well shows, celebrating 50 years of the Grateful Dead.
“The Grateful Dead have obviously been a big influence, and it’s really nice they feel proud enough to commemorate the 50th,” he said. “All four of them still have the fire.”
Over the past two years, Gordon has been sharing his own version of Couch Tour with fans via his Facebook page, posting photos of him on various couches, often with a funny look on his face.
Is the couch tour going to continue? More importantly, has Gordon settled on a couch?
“Yes, I am going to continue it and yes I found a couch, but … it needs a little work,” he said.
Gathering of the Vibes.
2015 lineup, including Weezer, Wilco, Ben Harper & The Innocent Criminals, and The Gaslight Anthem. Though you may plan to make your way into a crowd of sweaty, sprightly individuals to jam out to the newbies of the Vibes lineup, make sure you take part in the shows of those who came at the early stages of Vibes, including but not limited to Max Creek, Strangefolk, Warren Haynes, and Deep Banana Blackout.
The group also wants fans to upload thank-you videos online to thank the band personally, as well as to donate to the Rex Foundation, a Grateful Dead-related charity.
If pop music is reading at an elementary level, 
Gordon added that his daughter has been a big inspiration for a lot of the lyrics he’s written lately, and added that Tessa also influenced some of the writing on Phish’s most recent album, Fuego.
So in his two bands, Gordon plays with two different guitar monsters in the jam band scene in Murawski and Anastasio. On the surface, both guitarists share some similar themes and styles in their playing, but Gordon did his best to explain the differences between the two.
“I loved that show,” he said. “The sound at the venue is conducive to what we do and it’s very technical. A lot of times there are different challenges at venues like unpredictability and that can make a lot of things pretty hard. We already have enough to think about and the Egg is just so easy to play. I can hear it all, both the loud and the soft, and it all resonates in a very controllable way.”