Category: Jam/Progressive

moe. to Play Children’s Benefit

moe. will be the featured artist at an annual benefit for the Children’s Health Fund at Jazz at Lincoln Center’s Frederick P. Rose Hall.

The June 1 benefit features tickets that range from $1,250 to $100,000, but a limited number of $75 balcony tickets are available for moe.rons who want to attend. Concert goers will have to adhere to a business casual dress code.

The evening starts at 8 p.m. with an awards presentation, then moe. will play for a half-hour. A dessert and cocktail reception will follow.

The Children’s Health Fund provides health care to the nation’s most disadvantaged children with 51 mobile health clinics serving more than 80,000 kids throughout the U.S. Those who can’t attend can still help.

[youtube http://www.youtube.com/watch?v=hYvMpsyFgIA]

moe. also announced Tuesday that they’ll re-release a limited vinyl run of their first studio album “Fatboy,” in honor of the band’s 25th anniversary this year. The record will be on sale this weekend at Summer Camp, and it will be available in stores May 26. The run is limited to 3,000 copies, so get it while you can!

moe Children’s Benefit

May 20, 2015
Hearing Aide: The McLovins ‘Beautiful Lights’ and ‘Funk No. Uno EP’

New lineup, expanded sound, refined digs. 2014 was a big year for Hartford-based jam band The McLovins, releasing their fourth full length studio album Beautiful Lights earlier in the year, with a CD release party at Garcia’s shortly after. A coming-of-age album for The McLovins, Beautiful Lights gives us sounds that are an entry into the mid-leagues of regional jam bands with followings in various reaches of the country. To top off Beautiful Lights, The McLovins have released a funky four-song EP this past summer, Funk No. Uno.

The McLovins had already released three full-length albums prior to Beautiful Lights, which are good listens and made for awesome live sets but were largely based off the jam-and-shred platform which made for a better live presentation. On their newest full-length album, the band steeped the tea for just the right amount of time and built off their foundation to refine their sound and focus on the songwriting aspect. One of the great things The McLovins have demonstrated with this album is their ability to write and record a solid four to six minute studio track that can render into a longer jam when performed live.

After guitarist Jeff Howard left the band in late 2011, founding members Jake Huffman (drums, vocals) and Jason Ott (bass) welcomed Justin Berger on guitar and added Atticus Kelly on keys. Not only did the urge to record new material fall into place after that, according to Huffman, but the change-up also brought in some new ideas and influences which possibly drove some of the tighter song structure we see on Beautiful Lights.

With twelve songs totaling a little more than what would fit on a typical LP record, the album is laid out in a way that gives it that feel of an A and B side. As far as influences, Jake Huffman attributes them in two takes, which shapes that album-side feel. Huffman told NYS Music, “There are two different vibes, this really old school Grateful Dead-y type sound, and then you have this other type of sound like Lotus or Disco Biscuits. The first half of the album and the second half of the album have two totally different types of vibes.”

The difference is pretty clear too, listening to the album from start to finish. The first five tracks fit well with a summer party groove and the flip side renders, for the most part, an Americana-rock experience. Several of The McLovins’ influences shine through as well with occasional Trey Anastasio style licks that sing, soar and don’t snore and other throwbacks to The Band (particularly on “Yankee Rose”) and The Grateful Dead, with a very brief, maybe accidental, tease of the start of a verse from “St. Stephen” on “Shivers.”

Instrumentals can sometimes make or break a record, or might just be there like too much water added to a can of condensed soup. The title track and only instrumental track off Beautiful Lights particularly caught our attention. A cohesive, open-to-interpretation instrumental, this song is in some ways like an aural Rorschach test. Dim the lights, close your eyes and let it take you to your city’s evening star-lit overlook or in a sunny field running toward the next big thing on your horizon. If the jam band world had its version of “Eye of the Tiger” it would be this song. Paired with the following a capella tune “Cold Cold Iron” these two songs jet up as the divider between the two halves of the album.

The Funk No. Uno EP also marks a new strut for the McLovins. It is, after all, only an EP but features four tracks built off their native style blended and molded with an added horn section and heavy influences of jazz, fusion, R&B and plenty of funk. Unlike the complete 360 in sound Mumford & Sons pulled on their latest Wilder Mind, the sounds of Funk No. Uno are like a side of sriracha to kick up the main course – there’s no ditching the old here. It would certainly be awesome to hear more of this from the band down the road.

Beautiful Lights and Funk No. Uno are a far cry from a disappointment to the ears and worth adding to your library. If you’re not familiar with The McLovins, we’d suggest checking out their earlier releases and bootleg soundboard/live recordings as well.

Key Tracks: Beautiful Lights, Yankee Rose, Birthday

May 12, 2015
Seven Day Music Marathon Day 7: Tulip Fest, Upstate Concert Hall and The Hollow

Why see one show to end a week-long Music Marathon when you can see three? That was the plan on this final day of seeing music of all varieties across the Capital District over the course of a week. And being Tulip Fest weekend, what a better way to start things out than music in the sun with hundreds of fans in Washington Park?

Show 1: Even though I didn’t really have intentions to go to Tulip Fest this year, you couldn’t beat the weather today and I was in need of some fresh live music that I had been introduced to by 102.7 WEQX. If I’m doing a Music Marathon, I may as well hit the first free city-wide music event of the year.

Hitting the WEQX stage, I missed Flagship but caught Joywave and The Kooks. Even though the Kooks were the headliner, I found Joywave to be way more intriguing and appealing overall. Joywave has a bassist who sounds like and has an on stage persona akin to Flea, a keyboardist and drummer who give a Pet Shop Boys meets Duran Duran base for guitarist Joseph Morinelli and singer Daniel Armbruster (who sounds like Bono) to build a song from. It was Nine Inch Nails with post-hipster vocals, especially on “In Clover”. Joywave is one of the best discoveries this week and being from Rochester doesn’t hurt either.

The Kooks, from England, took the stage at 4pm with what passes for pop rock in the UK, and while I’ve heard it on the radio and enjoyed it, hearing them live was just like listening to the radio. Maybe we all had too much sun, but it felt like snooze rock for the first half hour, then picked up quite a bit with “Westside” and “Junk of the Heart”. The first track off their latest album Listen, “Around Town” was the highlight of the set, coming late when it should have led. Hints of Beck, INXS, Talking Heads and even Michael Fitzpatrick (Fitz and the Tantrums) were found throughout, but overall it felt like good but not great inspirational pop rock.

Show 2: Flat tire and car issues = drove back home after only making it 2 miles towards Upstate Concert Hall. I was pissed to be missing this show, especially a metal show with 4 bands would really round out the music I saw this week. Bummed to miss Dark Matter and Crown the Empire in particular. Ah well, something was bound to go wrong.

Show 3: Taking the bus to The Hollow for Kopecky, the post-Tulip Fest show was good poppy American rock from Nashville, but the real draw tonight was the second show from Best Good Frends, a group made up of Mihali Savoulidis (guitar) and Zdenek Gubb (bass) from Twiddle, Kenny Brooks (sax) from Ratdog, Ryan Clausen (drums) and John Dobbs (keys). This is a new side-project of Twiddle and the venue was packed with great anticipation. Best Good Frends took a song to launch a jam from, explored that jam without rushing before returning to the original number. Kenny Brooks took the lead on an early funk jam that kicked off the night, while Justin Henricks (Beau Sasser’s Escape Plan, Groovestick) joined on guitar for “Boogie on Reggae Woman” and the jam that ensued. Sublime’s “What I Got” started the second set and Mihali and Kenny went back and forth to build the jam to a head. “Folsom Prison Blues” led into a weird circus calliope like jam with many asking “What was the name of that song?” yet it was all improv, right down to the really weird lyrics that seemed to come out of nowhere. The encore of “Brown Eyed Woman” found more fun inside the framework of the song and continued the dancing that had only paused for setbreak. This was a real treat and hopefully more shows are planned in the future in the Northeast.

Final tally: Nine shows at eight venues seeing a total of 17 bands, all in seven days time. There’s a ton of music in the greater Albany area, and some very pleasant surprises in store if you just go out and see live music!

May 10, 2015
Hearing Aide: Lucid ‘Dirt’

Lucid’s newest release, Dirt, could not be released at a more ideal time. As we emerge from a winter that destroyed many of our spirits, to warm weather that has seemed like a great reward in recent weeks, this is the perfect soundtrack. This north country sextet, from Plattsburgh, NY, brings a smooth blend of jazz, reggae, soul-filled rock with tastes of different flavors of world music together on a record that shines with overwhelming positive hope and all around feel-good vibes. This will surely be the summertime soundtrack to many sunrises, afternoons in the outdoors with a cold beverage and warm nights fireside with friends.

The opening track “Cuerpo” is warm and inviting, a perfect start to the album. With beautiful harmonies from not only the voices of Lucid but a guest female voice as well. This song feels a bit lighter for the band as it’s soothing and beautiful with only small hints of the horns that will fill the rest of the album. A great introduction to what is going to be a ride through genres and styles that feels as good as sipping a cup of coffee on a north country morning with a mountain view.

From there the album kicks up the tempo a bit, reminding us why Lucid has been found on so many festival lineups throughout the past few years, they know how to get people moving. On the fourth track “Skippin’,” an uplifting song with great grooves accented by saxophone lines in all the right places, they sing such memorable lines in the chorus’ that you’ll be singing along by the song’s end. These guys can jam in a live setting but on record the longer tracks are just long enough. They move along to a new sound and a new track when the time is right, likely keeping those less accustomed to extended songs feeling good without getting bored. Though you will likely get lost in many of these tracks and feel an appreciation for Lucid’s musicianship and message, giving you time to appreciate the sounds and also your surroundings. As mentioned before, this is truly a perfect soundtrack for this hot spring that Upstate NY is enjoying right now. Some of the songs have a strong island feel and who doesn’t want that when sitting lakeside, or cruising around with the windows down a summer day?

The only downside to the record is perhaps a song or two where lyrics get a bit repetitive, or a part is carried on only just a bit too long. Even on the third track “People” when the words may lean a bit cheesy. They do it in a way that is quirky and and adorable, think a troop of Muppets jamming out, heads bobbing along. This is a band that knows how to make a listener smile. Especially on goofy interludes where they find themselves in a mess of clucking chickens, yes, that’s a real thing on this album, and it’s a perfect reminder that even with a sometimes more thoughtful message that this band never takes themselves too seriously for their own good.

Later in the album they incorporate a bit of blues harmonica on “Break A Man,” that is followed by big soulful vocals. Then the harmonica drops out, letting the keys and saxophone take charge with melodies that dance with one another, this is a track that will surely bring on hoots and howls in the live setting. Throughout the record the combination of smooth yet strong vocal harmonies, great musicianship and their ability to sway from style to style so naturally makes this a great listen start to finish. Lucid has been doing what they do for years, and it shows, growing their sound from the dirt up to places that are inspirational, uplifting, and also all around feel-good fun.

Bottom line, get this album as soon as you can and it will naturally weave itself into the fabric of your summer.

Key tracks: “Skippin’” “Psychedelic Circus” “Simmer on Down”

For tour dates and information on the album’s release, follow Lucid online at: rulucid.com and facebook.com/RuLucid

May 9, 2015
Seven Day Music Marathon Day 6: Mister F and ELM at The Hollow

It’s Day 6 of this Music Marathon and for the first time this week, I am seeing a band that I have seen before and am quite familiar with – Mister F. It’s roughly Mile 20 of this marathon and I hit a smooth flat stretch this evening with excellent new music from ELM and Mister F’s themed ‘White Lightning’ show.

The idea for the show was hatched in the van while Mister F thought of a theme for their first hometown show since February. Keyboardist Scott Hannay explained that the theme for the show arose from band members tossing out colors and words to see what would stick to develop a theme for the evening, and based on the propensity of songs with ‘white’ and ‘lightning’ in the band name or song title, ‘White Lightning’ turned the show into a unique event. The band even wore white shirts and had pictures of Whitey Ford, Barry White, Vanna White, White Chicks (the movie), Betty White, Jaleel White and the White Power Ranger around the venue, but alas, no Golden Girls theme song teases. (A complaint has been lodged with management.)

Opening the night was ELM (Electric Love Machine) from Baltimore, an electro-jam band with truly impressive drumming from Steve Gorsuch who lead the way for the one of the best discoveries of the week. How has ELM skirted the radar thus far? This is beyond the formulaic jamband I have grown accustomed to seeing and one with intense potential. A cover of “When the Levee Breaks” was an extended highlight that rolled into a well crafted jam, followed by Scott Hannay sitting in with ELM on “Dance Floor Politics.” This was ELM’s second trip to Albany and a must see at any festival this summer.

Mister F’s ‘White Lightning’ set began with “Lightning Strikes” with a clean segue into original “On and On”. The first real treat of the night was a mashup of “Everything You Say” and The White Stripes “Seven Nation Army”, a true test of playing one song while singing another, then switching those two up without missing a beat. I guessed early that “White Room” would be included in the show simply because of the familiarity and general excellence of the song, and was rewarded with a fantastic version that hopefully isn’t the only performance for the band. Hannay’s vocals and Andrew Chamberlaine’s guitar didn’t copy the original – they made it their own, which gets far more mileage than a straight cover of a song. I did not expect “White Wedding” to work into the setlist, but given that fans and band alike were wearing white clothing, it was a perfect fit. An encore of “Octo-Puss-E” by Rock Candy Funk Party ended the night around 2am and a well planned and received theme show from Mister F.

Setlist: Lightning Strikes* > On and On, Don’t Lose Your Watch, Everything You Say/Seven Nation Army^ mashup, ‘New Song’, The Machine, Keep Your Pimp Hand Strong& > Hedgehog, Answer the Dog, Oasis > White Pickle# > Oasis > White Pickle > Oasis > White Room@, Inside, Vocoder, White Wedding$ > Unisex Collider, White Lightning§ > Greased Lightning¶ > This One Goes to 11µ
E: Octopus-E
* first time played, Cypress Hill, intro only
^ first time played, The White Stripes/Mister F song mashup
& first time played, Consider the Source, intro only
# first time played, Umphrey’s McGee, unfinished
@ first time played, Cream
$ first time played, Billy Idol, unfinished
§ first time played, George Jones
¶ first time played, Grease
µ w/First Tube (Phish) and Gone Gone Gone (The New Deal) teases

Next up: The musical equivalent of Heartbreak Hill. Why see one show when I can see three? Tulip Fest this afternoon in Washington Part, followed by Dark Matter, Adhara, Volumes and Crown the Empire at Upstate Concert Hall, and finally Kopecky at The Hollow.

May 9, 2015
Flashback: Aquarium Rescue Unit at the Pump House, May 6, 1993

May 6, 1993. I was a high school junior, two weeks out from my 17th birthday. It was a Thursday night and Colonel Bruce Hampton and the Aquarium Rescue Unit were playing a gig in Syracuse at the Pump House, a semi-dive bar in a semi-seedy area of town. I had been introduced to ARU through their association with the first H.O.R.D.E tour the summer prior. I was already a Phish fan at the time, having been to seven shows already.

I missed the H.O.R.D.E. tour, however, so had not seen any of the other bands, but probably owned all of their CDs at the time. Somehow I was alerted to this ARU show in town (pre-Internet I can’t even recall how that might have been), and somehow I convinced my parents to let my friend and I go out to a bar on a school night. Just the “bar” part of that equation alone was enough to warrant a solid “no,” so not sure how I managed that, but I am forever thankful.

So my friend and I headed down to the Pump House with no idea of what we were getting into, musically or physically. We got there probably earlier than even the listed time, completely unaware how bar shows operate. We had no fake IDs. The bouncer understandably balked. We pleaded with him to let us in, promising we wouldn’t try to drink, we just wanted to see the band… which was true. I don’t remember it being all that hard, a little convincing and he let us through. We got in the bar, and it was empty. Completely dead. We took a seat at a table and waited. And waited. And waited. And waited for what felt like an eternity, and likely was well over an hour. Finally a band appeared on stage. But it wasn’t ARU. It was the (unlisted) opening band. Ugh. We were restless. Lucky for us, the opening band was pretty freaking great. They were a band from Syracuse University named Sons of Papaya. I would end up being one of their biggest fans, seeing them quite often a year later, when I went to school there. But that is a story for another time.

Finally the Aquarium Rescue Unit would take the stage. Jimmy Herring (guitar) Oteil Burbridge (bass) Apt. Q258 (on Earth known as Jeff Sipe (drums)), Matt Mundy (mandolin), and Count Mbutu (percussion), played a short intro jam before their unkempt leader, Col. Bruce Hampton, ambled on and led the band into “Payday,” off their then new release, Mirrors of Embarrassment. At this time there was still just about 20 in attendance, four of which were the opening band and two of which were my friend and I.

Listening back to the show now, I can’t even imagine what the younger me was thinking. It still sounds fresh and mind-blowing different today. They were an all-star band in reverse. We all now know their names, and know them to be some of the best at their respective instruments, but at the time they were just a young rag-tag bunch being led around by this eccentric uncle-type. It was most certainly a mind and taste-expanding experience for me. Their unique blend of bluegrass, blues, lounge, rock, jazz and everything in between filtered through the bizzaro lens of Hampton’s vision was enough to send even the most educated music fan’s head spinning.

The Colonel wasted no time getting into his antics. “Jimmy Herring, born right here in Syracuse, returning for the 2nd time to his hometown!” (Every stop on tour was his hometown…) My friend and I, none the wiser, ate it right up. Amazing! He’s from here?! “Oteil, from Egypt!” (Again, not true…) He does look kind of mysterious… “Apt. Q258!” OK, that’s just weird. (After the show they handed out signed promo posters promoting the new album, and Jeff Sipe’s signature was a drawing of a house with Q258 written on the door.)

Toward the end of the set, Hampton beckoned for Bela Fleck. Out walked the dorkiest looking musician I had ever seen, playing an electric banjo, what the?! Sadly I had no idea who he was, and as such, had no clue how great he could make the banjo sound. Meanwhile, we couldn’t quite hear what his name was and my friend continually joked how great it was that we saw Roberta Flack. I don’t even remember when it was I realized that I had seen Bela Fleck then.

Over a year later, my tape trading buddy (that was such a thing back then) re-introduced me to him when he sent me a recording of the Flecktones (which I would eventually wear thin) and was forever hooked. But at the here and now of this particular story, I was still completely clueless. Through the beauty of the internet I can now confirm that the Flecktones had a show in Syracuse that same night as well. If only I knew. Fleck would join them from Trondossa through the end of the set. On memory alone, I would say my impressions were that he was surprisingly good considering he was, I had assumed, a local musician. But listening back now, I was a fool to think that he was anything short of spectacular, shining on a solo in “Too Many Guitars” and completely owning ARU’s tribute to Sun Ra’s “Space is the Place” in particular.

The band would come back for a rather lengthy encore, as the “Aquarium Flecktones Unit” with Fleck and Futureman joining the band. Futureman would play the real drums as opposed to his usual Drumitar. But I was none the wiser. Hampton said it best, “that’s one hell of a drum section there” with Futureman, Apt. Q258 and Mbutu all together. He also called out Victor Wooten before the night closing “Jack the Rabbit,” though he was just hanging out on the side of the stage, not playing, unfortunately.

https://www.youtube.com/watch?v=bId4TxH5Q2U

This was one of those out-of-the-way random-weekday playing-in-front-of-no-one special shows. And I was there. But in this case, I was the “unsuspecting crowd”; unknowing and under-appreciating of just how unusual it was. Ending the night “past curfew” according to the stage announcement, leaves me wondering again exactly how I pulled this trick off on a school night and underage, not even a year of driving under my belt.

After the show I headed for the bathroom. Who was that at the urinal next to me? None other than Jimmy Herring. He washed up and headed out. He left the water running and I went to wash my hands. Yow! Just like his guitar playing, the water was scorching hot. My soft unworked 16-year-old skin was nearly burned. In addition to his wizardry on guitar, the fact that he could wash his hands so casually under boiling hot water had me shaking my head. Was he of this earth? No, he was from Zambi, just like the rest of them.

The show was like nothing I had seen. The Aquarium Rescue Unit put on one hell of a unique live performance, unmatched in its combination of musicianship, utter disregard for convention, and creation of its own alternate universe, without the use of over the top theatrics… pretty much on attitude alone. This original lineup would soon after dissolve, first losing Mundy and later Hampton. The band would never be the same. But with their impending reunion, the magic may be reignited.

I gave the one taper there my information in hopes of hearing that amazing music again someday. I never heard back from him, or got the tapes, but thanks once again to this internet thing, I can listen at the touch of a button now. The recording is very high quality, and as stated the music is quite incredible. I definitely recommend giving this one a listen. Take a trip to Zambi-land.

Setlist: Intro> Payday, Compared To What, Time Flack, Dead Presidents. Same Old Thing. Basically Frightened, Lost My Mule In Texas, No Egos Underwater. No Reason To Complain, Time Is Free, Yield Not To Temptation, New River Train, Trondossa*, Too Many Guitars*, Two Truckloads*, Zambi*> Space Is The Place* > Drums > Rocket #9/Space Is The Place*, Workin’ On A Building*

Encore: Swing**, I’ll Go Crazy**, Fixin’ To Die**, Shoeless Joe**, Jack The Rabbit**

* with Bela Fleck, ** with Future Man

May 6, 2015
Phish to Release Amsterdam 97 Box Set

Much like World War veteran grandfathers in the 1940s, Phish completed two tours of Europe in 1997, including three shows at the famed Paradiso in Amsterdam, Netherlands. The three shows from February 17, July 1 and July 2, 1997, will be featured in an 8-disc box set to be released in June through JEMP Records.

Amazon notes on the show include: An all new 8-CD Box Set from Phish’s infrequent European shows. Full shows from 2/17/97, 7/1/97 and 7/2/97 at the Paradiso, Amsterdam, The Netherlands. On February 17, 1997 Phish first played Paradiso, a converted former church turned rock-club/cultural center with a capacity of about 1500. Over the next four months, Phish logged three breakthrough shows at this historic venue where the intimate setting pushed the music to new heights again and again. From the Soul Shakedown party opener and fluid, psychedelic improvisation-clinic-of-a-set II (Down With Disease > Carini > Taste > Down With Disease) on 2/17/97 to the “back of the worm” Ghost opener, Reba and another peak transcendent Set II [Fish Keyboard Jam > Timber (Jerry) > Bathtub Gin > Cities] on 7/1/97 through the Mike’s Groove Sandwich and must-hear Stash > Llama > Wormtown Jam plus the double encore of 7/2/97, these three shows spread over 8 CD’s comprise some of the most experimental music Phish ever played. The three shows on the Amsterdam box, the only Phish shows to-date at Paradiso, combine to deliver the full impact of a shared peak experience in an exotic locale seamlessly integrated and sizzling with creative intensity. The shows were recorded by Paul Languedoc to multitrack tape, mixed by Jon Altschiller and mastered by Fred Kevorkian. Pick up this set and prepare for transport to the canals of Amsterdam…to the back of the worm.

May 6, 2015
Illumination Festival to Highlight RHCP-themed set by Aqueous

Coming off a strong Cake-themed performance in Buffalo, Aqueous announced it will play a Red Hot Chili Peppers-themed show in Toronto at Illumination Festival.

Aqueous plays both Friday and Saturday night of the Illumination Music and Arts Festival. The first night will be a normal Aqueous show, then Saturday night will feature the band doing their best to channel Flea, Anthony Kiedis and the rest of the legendary alternative rock band.

No word yet whether the members of Aqueous will don strategically placed tube socks for the occasion.

[youtube http://www.youtube.com/watch?v=_2Bw2AQzVrA]

The festival also features Particle and DrFameus as headliners, and runs June 12-14 at the Cage 292 in Toronto. It’s normally an outdoors camping event, but organizers had to move it inside for a year after getting last-minute news that their normal site couldn’t host anymore due to zoning issues.

May 4, 2015
Photo Gallery: ShwizZ at Garcia’s, April 18

On Saturday, April 18 ShwizZ played to a full house at Garcia’s as the official after show for Jeff Beck at The Capitol Theatre. The progressive funk outfit played in support of their new 2 disc album My Good Side/My Bad Side, which will go on sale May 16 with a late night release party at Knitting Factory in Brooklyn, NY.

ShwizZ at Garcia’s Setlist: 12, Duggan, Orange Wreck, Pomegranate, City Of Tiny Lights, Bad Side, Zone, Doorbell, In The Bag, Good Side, Slop Cream, Slow Down, Tax Man, MGF

Photos and Review by: Nick Irving

Upcoming shows:
May 23, Arch Street Tavern, Hartford CT
May 29, Good Times Getdown, White Haven, PA
May 30, Domefest Terra Alta, WV

May 2, 2015
The Disco Biscuits Invade Higher Ground for Late Night Dance Party

The Disco Biscuits officially set the record for the fastest sellout show at Higher Ground ever, when they announced a late night after party for their UVM Springfest show Saturday in Burlington, Vermont. They hauled all their gear a few miles across town for a late night show starting at 11pm and going all night. Given the small size of the venue and the fast sellout, anticipations were high and the band certainly did not disappoint the lucky few who managed to get a ticket.

The band wasted no time, jumping into a nice version of “Aceetobee” which segued into “Bombs”. Bass player Marc Brownstein was really prominent, ironically dropping what some would call “bombs” during the song, before leading the band back into the end of “Aceetobee”. “The Very Moon” followed, and was stretched to almost 15 minutes long, but remained unfinished. It was a rather standard version, but the segue into the Grateful Dead’s “Crazy Finger’s” must be heard. Guitarist Jon “The Barber” Gutwillig really nailed the segue and had the crowd cheering and singing along to the classic tune with a modern electronic twist. They ended the first set by finishing off their own classic song “Mr. Don” from April 16 in Denver,CO.

The second set started things off with fan favorite “Trucker’s Choice”. The time was after 1am, but nobody in attendance showed any signs of letting up, the band included. “Mindless Dribble” followed, and was almost 17 mins in length. The band jammed on several themes through this version, a nod to their older style of jamming, called “rotation jams.” This was a common theme throughout the night, and the band was clearly enjoying it. “Mindless Dribble” segued into “Sound One” which features weird lyrics and a standard jam. The highlight of the night was next in “Crickets”. This 20 minute version was a monster and featured some major jamming across different styles and themes.

Approaching 2am, the band closed the set with “Hope”. A rather unique choice to close the night, but very welcomed by everyone in attendance, many signing along with the band. They quickly returned, and Brownstein gave a huge thanks to the crew for hauling all their gear across town and setting it up again with only a few hours to spare. “Pilin’ it High(er)” closed the night off, and isn’t played very often. This version was great and was a great end to an amazing day and night of music.

The Disco Biscuits. Higher Ground, Burlington VT. 4/25/15

Set I: Aceetobee-> Bombs-> Aceetobee, The Very Moon (unfinished)-> Crazy Fingers-> Mr. Don (completes 4/16 version)

Set II: Trucker’s Choice, Mindless Dribble-> Sound 1, Crickets, Hope

E: Pilin’ it High(er)

*Editor’s Note: Check out Dave’s coverage of the UVM Springfest Disco Biscuits show from 4/25/2015

April 30, 2015