Iconic San Francisco musician Paul Kantner died Thursday, Jan. 28, of multiple organ failure and septic shock.
A founding member of the Jefferson Airplane, Kantner, 74, suffered a heart attack earlier this week, reported the San Francisco Chronicle, adding that he had experienced many health problems in recent years.
With Jefferson Airplane, Kantner defined the mid-1960s psychedelic sound and created hits like “Somebody to Love” and “White Rabbit” featuring Grace Slick’s narcotic vocals. Most notably, the band was the first headliner at Bill Graham’s legendary Fillmore Auditorium and performed at Woodstock. Kantner and Slick transformed the group into Jefferson Starship in 1974; Kantner departed 11 years later, although the couple had a daughter together.
In 1996, Kantner was inducted into the Rock and Roll Hall of Fame, and he continued touring up until his death. Most recently, Steve Malinski witnessed Kantner perform with several bandmates for a 50th anniversary celebration at the Ridgefield Playhouse in Connecticut this past August:
The Starship’s presence on stage was bold and cohesive – original members of the Airplane Paul Kantner and David Freiberg kept the sound true and original to the Airplane along with longtime Starship drummer Donny Baldwin, keyboardist Chris Smith and guitarist Jude Gold. The animated and exhuberant Cathy Richardson fulfilled the big-shoes role created by Grace Slick’s powerful vocals, to whom she gave a tip of the hat to near the end of the set. Together they made the performance feel engaging to the audience with down to earth, unscripted banter and humor between songs, which has been a consistency for the group through the past several years.”
Paul Kantner at the Woodstock 40th Anniversary Concert, Bethel Woods Aug. 15, 2009
Paul Lorin Kantner is survived by three children: sons Gareth and Alexander, and daughter, China. At press time, funeral arrangements had not been released.
Thunder 106 brought up – and – coming country artist Kelsea Ballerini to Starland Ballrom in Sayerville, NJ, for what promised to be a rocking night of female country artists. Kelsea Ballerini was supported by North Dakota’s Hailey Steele and NJ native Madeline Smith. Starland Ballroom has been hosting a slew of talented country artists in the recent months including Kip Moore and Michael Ray on the Wild Ones Tour and the upcoming show on February 14th with Dustin Lynch and Chris Lane.
Madeline Smith opened up the evening with a mix of her own songs and various covers of popular country songs to get the crowd engaged and involved. Among the covers played by Smith were “We Were Us” by Keith Urban and Miranda Lambert, a good choice for a local artist to catch the attention of the crowd with a song they could sing along to, and her closing song, another by the extremely talented Miranda Lambert, “Mama’s Broken Heart”.
Hailey Steele was up next after travelling from North Dakota to play two shows with Kelsea Ballerini, this show in NJ and the show the next day in Boston, MA. Steele took the stage with nothing but her guitar and strong vocals to captivate the crowd. She too played a good mix of songs including some of her more popular music from 2014 and 2015. “Another Like You”, an original by Steele was one of her most popular of the evening drawing strong favor from the crowd. The other song that seemed to stand out most with the crowd was “I Want Your Boyfriend” with a catchy chorus and highly relatable lyrics.
By the time Kelsea Ballerini was set to take the stage the crowd was more than ready to see what the 22 year old, up – and – coming country artist would bring to the stage. Ballerini took the stage with command and confidence of someone well beyond her years. She has a stage presence and charismatic personality that sets her apart from many other rising artists and will enable her to continue to grow as a musician.
Ballerini kicked things off with “Looking at Stars” off her first full length release, The First Time (2015). She continued on with a mix off songs off that record that had the crowd engaged and singing along including “Sirens” and her most recent single “Dibs” which was clearly a fan favorite from the crowd’s strong reaction. She carried on into “Peter Pan” which she introduced as a song for all of the girls who have encountered a guy that refuses to grow up and act his age, which is entirely relatable to the demographic of her fan base and the song “Stilettos, another relatable song for young girls about moving on from heartbreak and carrying on with your life. Ballerini is one of the stand out female artists in country currently that have been making a splash on country music radio with her strong willed, confident lyrics that resonate very strongly with the younger generation of country fans which is why she will continue to amass a dedicated fan base.
A highlight of the evening was her cover of Little Big Town’s “Girl Crush” in which she enlisted the help Hailey Steele and had the entire crowd singing along emphatically as the two young women commanded the stage together. Ballerini ended the night on a very strong and memorable note with the spunky “XO” once again showing off her confident and spunky flare, and her most recognizable song, “Love Me Like You Mean It”. Ballerini took the country music world by storm with this song reaching gold as well as number one on the Billboard Country Airplay with her debut single. She is among ten other women in history to achieve such a feat including Carry Underwood most recently in 2006. Ballerini has had a lot going for her since her start and has capitalized on the many opportunities she has earned including her most recent nationwide tour opening for Jake Owen and Dan + Shay.
The night was a memorable concert with three talented young women looking to make a name for themselves in country music. Each showed great potential to carry on and further their careers. It will not be long until Ballerini, especially, is preforming on much larger stages much like the ones she was on during her fall tour.
Robert Plant is back on the road soon with his band The Sensational Space Shifters. The former Led Zeppelin singer is embarking on a short tour in the South, kicking off at the Okeechobee Music & Arts Festival in Florida, but made no hint of a reunion.
“I’m always eager to return to the hospitality of the Southern states,” Robert said in a statement. “Towns and cities that hold fond memories for me personally, places that gave birth to so much of the music I love.”
He continues, “Our recent travels have taken this wild whirlwind of a band though many incredible and inspiring places. Having just begun work on our new album, we thought we’d take time out to raise a little sand and welcome springtime with one more adventure, another celebration of life and song.”
Plant’s most recent solo album Lullaby and the Ceaseless Roar was released Sept. 8, 2014.
Jimmy Page had confirmed late last year that he will do some sort of tour this year, leaving out further details. At the same time, he suggested that he had hoped for more Led Zeppelin shows after the 2007 reunion at the O2 Arena; whether or not the two are open to more reunion shows would be speculation at this time.
Check out the full list of tour dates for Robert Plant and the Sensational Space Shifters below.
March 4-6 – Okeechobee, FL – Okeechobee Music & Arts Festival
March 6 – St. Augustine, FL – St. Augustine Amphitheatre
March 7 – Mobile, AL – Saenger Theatre
March 9 – Jackson, MS – Thalia Mara Hall
March 10 – Baton Rouge, LA – River Center Theatre
March 11 – Shreveport, LA – Shreveport Municipal Auditorium
March 13 – Cain’s Ballroom – Tulsa, OK
March 15 – The Bomb Factory – Dallas, TX
March 17 – San Antonio, TX – Tobin Center for the Performing Arts
March 18 – Midland, TX – Wagner Noel Center Performing Arts Center
March 20 – Austin, TX – ACL Live at Moody Theater
Dino Dimitrouleas, bassist from The Werks, announced he will take a hiatus from the band and will not join them for their upcoming tour.
Dino The Werks
The Werks, whose former keyboardist Norman Dimitrouleas recently passed away, will head out on tour this week with a change to their lineup. Bassist — and older brother of Norman — Dino Dimitrouleas will be temporarily replaced by Jake “Baby Hands” Goldberg. Through a message posted to The Werks’ Facebook page, the elder Dimitrouleas announced that he will be taking a hiatus from the band.
I hope to return after this tour but at this junction in my life I am taking things one day at a time.
I want to thank Jake for keeping the show on the road as well as thank my family, friends, band mates and fans for being so supportive during this difficult period in my life. I also want to encourage all of our fans to support The Werks in my absence as this is a very difficult time for them as well.
The Werks tour will take them through parts of the Midwest, the Northeast and Colorado, ending in the South. Their one New York date is Feb. 6 at the Bowery Ballroom in New York City. Other Northeast dates include Feb. 4 at Brighton Music Hall in Boston and Feb. 5 at Stage One in Fairfield, Connecticut.
This past December, Twiddle celebrated the release of PLUMP. Fans of the band are now getting a unique glimpse into the story behind the music. The Vermont-based quartet has released an hour-long documentary that focuses not only on the music of PLUMP, but also a peek into the Twiddle fan culture.
Filmed by Collective Visions, the documentary mixes footage from their two sold-out shows at the Paradise Rock Club in Boston this past December, as well as interviews with the band and fans. The PLUMP documentary is currently available to view via YouTube:
Twiddle hits the road in support of PLUMP on Feb. 18 in Portland, Maine. The Plumperdump Tour includes 10 shows in the Northeast as well as a stop at the Aura Music Festival in Florida. Additional spring dates are expected by the end of the month.
Twiddle Winter Tour Dates
Feb. 18 – Portland, Maine (Port City Music Hall)
Feb. 19 – Providence, Rhode Island (Fete Music Mall)
Feb. 20 – Syracuse, New York (The Wescott Theatre)
Feb. 25 – Buffalo, New York (Town Ballroom)
Feb. 26 – Clifton Park, New York (Upstate Music Hall)
Feb. 27 – New York, New York (Irving Plaza)
March 10 – Washington, DC (9:30 Club)
March 11 – Philadelphia, PA (Theatre of Living Arts)
On January 8, 2016, Chase Rice brought his Jack Daniels and Jesus Tour to the nearly sold out Fillmore in Philadelphia, PA. The Cadillac Three and young, up-and-coming artist, Tucker Beathard joined him on the road to help get the crowd ready for what promised to be an incredible night. Each of the three acts brought their own unique flare to the stage, captivating the audience from beginning to end.
Tucker Beathard, one of Big Machine Label Group’s youngest artists, and son of heralded songwriter Casey Beathard took the stage first. The 20-year-old, like his father, has shown a penchant for songwriting, and blends country elements with a rock influenced sound. In addition, Beatard was recognized as a hot new country artist when he was recently named one of CMT’s Listen Up artists for 2016. After seeing him perform, it is no wonder that he has already captured the attention and recognition of the country music world. While it seems that he is still finding himself as an onstage performer, his passion for music and love for his craft comes across very clearly to fans and makes his set memorable. From the beginning, Beathard did a good job of connecting with the audience with songs like “Better Than Me” and the very catchy, radio-ready “Rock On”. Big things are coming for Beathard with his rebellious lyrics and growing stage presence.
Next up was another artist off of the Big Machine Label Group roster, The Cadillac Three. By the time the group consisting of Jaren Johnston, Kelby Ray and Neil Mason, took the stage the crowd had grown considerably larger and more energetic thanks to Beatard’s exciting opening performance. The country trio with a serious southern-rock flare captivated the crowd with their unique sound, stage presence and eclectic style. Johnston, Ray, and Mason, are skilled writers, having penned hits both for themselves and for other country stars, including Keith Urban, Tim McGraw, Jake Owen and Dallas Smith. They performed a variety fan favorites including, “The South,” “Party Like You” and “Girls on Fire,” but their most recent hit “White Lightning” drew the strongest reaction from the crowd. Also included in their set was “Days of Gold,” a top 20 hit for Jake Owen written by Johnston and Mason. The group’s spirited rendition of the song had the entire crowd singing along emphatically.
The last time Chase Rice was in Philadelphia he sold out The Theater of the Living Arts (TLA) with ease. So while it was a natural progression to step up to a bigger venue, it was astonishing that he came as close as he did to selling out the 2,500 capacity Fillmore. This feat truly shows how much he as progressed as an artist and performer since this time last year. Rice opened his set with the funky rock tinged “How She Rolls,” from his 2014 album Ignite The Night.
Rice turned the heat up during his set with performances of the “50 Shades of Crazy,” and the sensual “Ride.” During the latter, which has fast become one of Rice’s signature songs despite not being a single, the North Carolina born singer brought a swooning fan onstage to the delight of the crowd to sing the somewhat explicit lyrics to her up close and personal.
Rice also performed numerous notable covers spanning multiple genres including Puddle of Mudd’s “She Fucking Hates Me,” Blink 182’s “What’s My Age Again!?’ and Garth Brook’s Friends in Low Places,” in addition to a collection of tracks inspired by his college partying days: “Smoke A Little Smoke,” “Living On a Prayer,” “Free Falling,” “Dust on the Bottle,” and “Pour Some Sugar on Me.” Some of Rice’s own party songs, such as “Do It Like This,” and “We Goin Out,” had the crowd dancing early and often. Slower, more intimate tracks like “Carolina Can,” inspired by his father, and “Jack Daniels and Jesus,” a track highlighting Rice’s inner battle and struggle to be a better person, as well as faith that has helped him keep pushing forward, showcased his writing ability and more serious side. The hypnotic top 10 hit “Gonna Wanna Tonight” had fans singing along emphatically, even carrying the chorus on their own.
Towards the end of the show, The Cadillac Three and Tucker Beathard rejoined Rice on stage for a joint performance of Florida Georgia Line’s smash #1 hit “Cruise,” one of the most popular country songs in recent memory. Rice co-wrote the song with the the duo, Joey Moi and Jesse Rice. The collaborative performance was one of the most memorable parts of the show, and it had the crowd reacting thunderously to one of their favorite tracks. Rice closed the show with his own top 5, certified platinum hit, the hard driving and edgy “Ready Set Roll,” an incredibly catchy song that brought fans to their feet and had them singing along.
Each of the performers at The Fillmore left a lasting impression on the audience, and left them eager for more. The Cadillac Three and Beathard both illustrated why they’re making a splash in the country music, while Rice displayed the charisma and ever growing star power that has him shooting up the ranks as a performer and and artist. There is no doubt that the best is still yet to come for each of these three talented acts.
Radiohead won’t leave some fans high and dry summer 2016.
The English alt-rock band has officially booked headlining slots for three European festivals — OpenAir S. Gallen (Switzerland), Primavera Sound Music Festival (Spain) and NOS Alive Festival (Portugal) — and is rumored to be playing three North American festivals, including Lollapalooza (Chicago), Outside Lands (San Francisco) and Osheaga Music Festival (Montreal), according to Consequence of Sound. More dates are speculated to be released after the band debuts their much-anticipated ninth studio album.
In October, the band quietly established the company Dawn Chorus LLP, fueling rumors that a new LP was on its way, as it’s been typical Radiohead fashion in the past to uniquely distribute their work. Let’s not forget when the band let the public pay what they wanted for 2007’s In Rainbows and incorporated Xurbia Xendless Limited beforehand, or when they set up Ticker Tape Limited before releasing The King of Limbs in 2011.
Most recently, Radiohead recorded a song for the latest James Bond film, Spectre; however, the band noted on their website that “it didn’t work out” and instead shared it as a free download on Soundcloud (hear below) because the tune “became something of our own, which we love very much.”
Radiohead, consisting of Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O’Brien and Phil Selway, has sold more than 30 million albums worldwide since coming onto the scene with their debut single “Creep” in 1992 and is always ranked high by Rolling Stone and others as one of the greatest artists of all time.
This marks the band’s first live performances since 2012, when the five-man group toured in support of The King of Limbs. Radiohead will share the bill with other headlining acts Mumford and Sons, the Chemical Brothers, the Pixies, Tame Impala and LCD Soundsystem, while abroad this June and July. Most of the festival tickets are available for purchase now; stay tuned for more updates on Radiohead’s next album drop date.
There’s something to be said about bands that continue to perform to throngs of devoted fans who turn out no matter the venue or date. When Assembly of Dust, Strangefolk and God Street Wine perform individually, their well-honed crowds come out in support, even though some shows are less frequent these days. But bringing together these three bands that defined the ’90s jam scene is no small feat, yet a two-night run in Portchester, NY, at the Capitol Theatre and in Boston, MA, at the Paradise Rock Club, led to packed houses, marathon jams and plenty of dancing each night with Assembly of Strange Wine.
At the Cap, Assembly of Dust started the night with a short set that featured Scott Metzger on guitar, filling in for Adam Terrell who was on assignment in Mexico. The first big jam of the night opened up in “Revelry,” giving Metzger a chance to flex his ax for the crowd. “Whistle Clock” and “All in Time” brought out Jon, Luke and Erik from Strangefolk to join Assembly of Dust for the first of many superjams this weekend, while “Filter” swapped in God Street Wine for the members of Strangefolk and continued the loosely planned, well-executed jam session.
Assembly of Dust setlist: Bootlegger’s Advice, Man with a Plan, Revelry, Honest Hour, Whistle Clock$, All in Time$, Filter^, Head on Straight*
$with Strangefolk ^with God Street Wine *Reid solo
The bands were warmed up and the audience dialed in for Strangefolk, the second act to take to the stage. Opening with “Rather go Fishin,” I felt a light nod to those who opted to head to Mexico for Riviera Maya, but there was no other place I’d rather be than seeing Strangefolk perform this evening. Jason Crosby shone on “In Deep” and added just the right touch of fiddle on “Goin’ Down the Road Feeling Bad.” All of God Street Wine joined Strangefolk for “Sometimes” and “Westerley,” two songs patiently shared among the nine musicians. From the audience it seemed that taking the stage with friends you’ve played music with for nearly a quarter-century amid a focused and receptive audience has to be nearly utopian in terms of live performance.
Strangefolk setlist: Rather go Fishin’, Udderly Addled, Furnace, In Deep, Goin Down the Road Feelin’ Bad*, Roads*, Sometimes^, Westerley^, Songbeard*
*with Assembly of Dust ^with God Street Wine (entire set with Jason Crosby on keys/fiddle)
God Street Wine took the stage last and made their presence known with “Life on Mars?” in tribute to the late David Bowie. A clean segue into “Molly” kept the energy high and the crowd danced well into the set. An extended “Goodnight Gretchen” > “Goodbye Oklahoma” were just getting things started, but it was during “Borderline” when the line between stage and audience blurred, as the energy spilled over with raucous approval (see video below). There was a chemistry onstage during GSW’s set that built off the sit-ins during the previous sets. Whether the bands had practiced together or planned anything in advance was unimportant; onstage everything meshed together well with only the few hiccups that come with having nine musicians onstage at the same time. A “Golden Years” encore paid tribute to Bowie once again (this was a recurring theme of the weekend to come). Night one was in the books and the bar was raised even higher for the sold-out show at Paradise.
God Street Wine setlist: Life on Mars? > Molly, Bring Back the News > Goodnight Gretchen > Goodbye Oklahoma, Hellfire > Wall, Borderline*, A Good Dream, Sweet Little Angel, Cheap Utah Blues > Ballroom > 6:15 Encore: Oh Wonderful One, Golden Years
*with Strangefolk
The Paradise Rock Club in Boston is, in stark comparison to the Capitol Theatre, a small music club that holds about half as many people. As the crowd filed into the small room, there was an air of excitement that could be felt from each attendee for the second of what would be two very special nights of music. The room hadn’t quite filled up by the time Assembly of Dust took the stage only 15 minutes after the ticket time. They immediately got the crowd moving when they opened with “Paul Henry.” The lineup featured the noteworthy additions of Scott Metzger on guitar and Jason Crosby on keyboards and organ. As they pushed through the set, they showed that this would not be a simple three-band show; it was truly an Assembly of Strange Wine. As AoD finished their set with “Harrower” and with eight musicians onstage, the audience knew the night was just beginning.
Assembly of Dust setlist: Paul Henry, All That I Am Now, Cluttered, Lost & Amazed, Whatever, Ophelia, Telling Sue, Harrower
After a brief set break, God Street Wine took the stage with “Epilog.” After moving through a few of their tunes, Crosby came back onstage and joined them on fiddle for “Chop.” Reid Genauer and Jon Trafton then came out for a handful of songs, including the newly penned “Oh Wonderful One” and Genauer on vocals for “Get on the Train,” into which he infused Strangefolk’s “Rachel” in the middle. GSW moved through the remainder of their set, which included crowd-pleaser “Imogene” and ended with “Into the Sea.” As they left the stage, the now completely packed room was waiting with bated breath for the third act.
God Street Wine setlist: Epilog, Light My Candles > Stranger > Chop#, Oh Wonderful One*, Driving West*, Get On The Train* -> Rachel* -> Get On The Train*, Lighthouse > Imogene, Waiting For The Tide, Into The Sea
#with Jason on fiddle * with Reid and Jon (entire set with Dave Diamond on percussion and Jason on keys except Chop and Lighthouse)
Another short breather allowed the audience to cool down and relax before Strangefolks’s night-ending set. Opening with “Valhalla,” they sent a message that they meant business. They saw a rotating cast of musicians throughout their set, and for “Mama,” there were 10 musicians onstage, including four percussionists, to which Genauer commented, “There will be a lot of notes.” Their energetic set ended with “Burned Down.” As they came back out for the encore, those in the crowd who had heard the GSW cover of “Life on Mars?” from the previous night wondered if there would be another tribute to David Bowie. Sure enough, the notes for “Space Oddity” were played, and as the band moved from that to Strangefolk’s “Speculator,” the entire crowd was repeating “Can you hear me, Major Tom?” along with the band. The encore came to a finale with more repeating of those lyrics at the end. Walking back out to the cold streets of Boston was quite welcome after leaving the heat from the small room and the incredible music.
Strangefolk setlist: Valhalla, Poland, So Well, Diary, Stout Hearted Man, Mama, Take it Easy > Memory of a Free Festival, Burned Down
Phish capped off their first Mexican excursion to Riviera Maya on Day 3 with a heavy hitting show that was packed to the brim with solid song selection and adept improvisation. After letting off the gas pedal the second night, Phish came back for the third night blazing from all cylinders. From the opening note of “Mexican Cousin” to the last note of Led Zeppelin’s “The Ocean” in the encore slot, the band wasted no time crafting a creative setlist.
During the day fans were showing no signs of fatigue as the large crowds congregated on the beach or at the pool for a DJ set. The energy was contagious and in full swing all the way up to show time. Walking inside the venue area there was a notably larger spread of food and drinks on the last day. The beach was absolutely beautiful and standing in the water as the sun was setting was nothing short of breathtaking.
When the band took the stage the crowd stretched as far back as the eye could see. The cooler temperatures however didn’t discourage fans to jump in the water and it was common to see people in and out of the water for the duration of the show. There was a collective celebratory splash from fans in the water as the opening notes of “Mexican Cousin” came through the speakers. Fan favorite “The Curtain With” was well executed and kept the applicable word play relevant given how far south the band and fans had to travel. The “With” section of the song was gorgeous and the band patiently moved through this section with grace. After a quick “Sample In A Jar” Trey used this time to explain that the band was going to be taking some time off and going back into the studio. This ignited an outcry of confusion and emotional questions and it wasn’t uncommon to overhear different conversations about the future of the band looking into 2016. Personally, I believe not much will change except possibly a lighter summer tour. The fact the band is going into the studio is a sign that the best is yet to come. Rumor around the camp fire is that Phish has locked in a three year contract at the Barcelo and Wrigley Field in Chicago in June is all but a sure thing. However, the term “hiatus” hit everyone hard.
After “Yarmouth Road” the band busted out “The Landlady” which came out of left field completely unexpected. “Army Of One” found its way into “Kill Devil Falls” before a monstrous “Bathtub Gin.” Nobody knew it at the time but the band was setting the stage for some serious heat as they delivered “Funky Bitch” > “The Moma Dance” > “Saw It Again,” which featured a lot of deep and thick improvisation from the band as they closed the first set.
When the band returned Trey teased “The Rover” before Mike played the opening notes to “Down With Disease.” After an extended jam which took the crowd deep into parts unknown, the band used “Roggae” as the perfect landing gear out of “Disease” before shifting gears to the beloved Talking Heads cover “Crosseyed and Painless.” “Farmhouse” was a stepping stone into “Mike’s Song” > “Bug” > “Weekapaug Groove.” Just as it looked like the band was going to close out the last set of the run, the opening notes of “Slave To the Traffic Light” came as a nice surprise as the band wasn’t done yet. This was an especially beautiful version that really hit home. What happened next was a swift reminder just how much power and authority the band has when they debuted Led Zeppelin’s “The Ocean.” I immediately flocked to the water with hundreds of other fans who were dancing so hard like it was their last night on Earth. Page took the driver seat for “The Ocean” and his voice is perfect for covering Led Zeppelin and it’s fitting that he also commands “No Quarter” as well for the band. The debut came as a shock and whiplashed the crowd into a frenzy as if they were possessed by something not of this earth. These are the moments that make everything worth it.
Phish bookmarked a chapter in 2016 that was nothing short of legendary. The best is absolutely yet to come and the news of the band going into the studio should be enough security to fans aching to see more live shows.
When the Phish Riviera crowd finally finished navigating the queue to proceed into the venue at Barcelo Maya, they were met with a full buffet of food, drinks to drown a pirate, Mayans dressed in full traditional garb, and a full feeling of how on Earth Phish was going to follow the previous night’s magic. However, within moments of them walking out onto the stage it was obvious that the momentum from the night before hadn’t left their souls.
From the first measures of “Camel Walk” it was an all out beach dance party. Phish failed to disappoint as they navigated through the first set, following the opener with “555” and “Rift” and satisfying many phans with a cover of Talking Heads’ “Cities.” The vibe was simply electric as “Cities” led into “Light”, which made way for “Simple” and “Timber.” The emotions really took hold as the first chords of “Wading in the Velvet Sea” could be heard. The exodus to the water was breathtaking and so few people had realized at that point how badly they wanted to indeed be wading in the sea to such a powerful song, which since Coventry has always hit one’s heartstrings. The first set wrapped up perfectly with a “Reba” that no one could stop talking about at set break and capping it off with a short “Chalkdust Torture.”
Second set started off with the same explosive energy that fired up the crowd in the first. TV on the Radio’s “Golden Age” was the preamble to another major flocking to the water so people could finally float upon the waves to “Prince Caspian.” The seaside dance party continued as the second set progressed, with the energy reaching insurmountable levels. Moving into an ever-impassioned “Joy” brought everyone down to earth, but a string of “46 Days” > “Twenty Years Later” > “Julius” caused huge amounts of splashing in Jeff Waful’s bright white lights that seemed to replace the always common glowstick wars at past shows. The set was finished, creating full crowd participation with “Harry Hood,” followed by a very quick break and Phish coming back out to encore with “Character Zero.”
As the flocks of phans exited the venue after night 2 of this amazing destination festival, everyone was buzzing. People walked back to their rooms or shuttled to their respective resorts to finish out their nights with poolside parties, dancing in numerous resort bars, and for a lucky few staying at the festival resort, some very welcome fireworks. After everyone caught their breath, the realization started to set in: the Sunday show is next!
Filmed by 
At the Cap, Assembly of Dust started the night with a short set that featured Scott Metzger on guitar, filling in for Adam Terrell who was on assignment in Mexico. The first big jam of the night opened up in “Revelry,” giving Metzger a chance to flex his ax for the crowd. “Whistle Clock” and “All in Time” brought out Jon, Luke and Erik from Strangefolk to join Assembly of Dust for the first of many superjams this weekend, while “Filter” swapped in God Street Wine for the members of Strangefolk and continued the loosely planned, well-executed jam session.
From the first measures of “Camel Walk” it was an all out beach dance party. Phish failed to disappoint as they navigated through the first set, following the opener with “555” and “Rift” and satisfying many phans with a cover of Talking Heads’ “Cities.” The vibe was simply electric as “Cities” led into “Light”, which made way for “Simple” and “Timber.” The emotions really took hold as the first chords of “Wading in the Velvet Sea” could be heard. The exodus to the water was breathtaking and so few people had realized at that point how badly they wanted to indeed be wading in the sea to such a powerful song, which since Coventry has always hit one’s heartstrings. The first set wrapped up perfectly with a “Reba” that no one could stop talking about at set break and capping it off with a short “Chalkdust Torture.”
As the flocks of phans exited the venue after night 2 of this amazing destination festival, everyone was buzzing. People walked back to their rooms or shuttled to their respective resorts to finish out their nights with poolside parties, dancing in numerous resort bars, and for a lucky few staying at the festival resort, some very welcome fireworks. After everyone caught their breath, the realization started to set in: the Sunday show is next!