NYS Music 20​16

Tag: Joe Russo’s Almost Dead

  • Dance 2016 Away in the Big Apple

    New Year’s Eve and New York City go hand-in-hand. While the celebration and ball drop in Times Square receive the most attention from people around the world, there are also a ton of musical happenings in the city, with Phish’s storied Big Apple New Year’s Eve run at Madison Square Garden, December 28 to 31, 2016 being one of the big highlights. Here’s a rundown of the shows happening, some billed as Phish after-parties and some shows worth mentioning on their own accord. There’s something for Phish fans and non-fans alike in the city during the days leading up to 2017.

    American Beauty, just a block from MSG, is hosting several Phish-related events. They kick off the run on Dec. 27 with a free show by Phish tribute band Jibooty and a late set from Escaper. The show starts at 7 p.m. The following four nights, they feature Phish pre-parties and after-parties. Dec. 28 sees PEAK and Gang of Thieves playing a pre-party at 4 p.m. for $5 and Particle and J. WAIL playing the after-party at 11:55 p.m. for $20. Dead Sessions plays tribute to the Grateful Dead for both the pre-party at 4 p.m. and after-party at 11:55 p.m. on Dec. 29. These shows are $20 each. Phanart presents a free pre-party on Dec. 30 with Formula 5 starting at 3 p.m. Spafford and the Magic Beans play two nights on Dec. 30 and 31 after Phish. They start at 11:55 p.m. and are $25 for each night. The pre-party on Dec. 31 features the Stella Blues Band paying tribute to the Grateful Dead at 4 p.m. with a $15 cover.

    DROM in the East Village hosts two Phish after-parties on Dec. 28 and 29. Aqueous plays the 28th with Mungion. The show starts at midnight with tickets at $12.50 in advance or $17 at the door. The 29th sees lespecial with Chromatropic. The show starts at 11:30 p.m. with tickets going for $12 in advance or $15 at the door.

    The Cutting Room, a handful of blocks from MSG, is also hosting several Phish parties, all presented by CEG. Elise Testone brings her “Thankful for Amy” tribute to Amy Winehouse with several special guests for an early show at 8 p.m. and a Phish after-party at midnight on Dec. 28. Tickets for both are $15 in advance or $20 at the door. Kung Fu plays an after-party on Dec. 29 at midnight with tickets at $18 in advance or $20 at the door. Holly Bowling pays tribute to Phish and the Grateful Dead through her solo piano work at pre-parties on Dec. 30 and 31. The shows start at 4 p.m. with tickets running $15 in advance or $20 at the door. The Marcus King Band plays the after-party on Dec. 30 at midnight. Tickets are $15 in advance or $20 at the door.

    The Brooklyn Bowl has a series of shows leading up to the new year. Zeppelin Bowl, featuring Gene Ween, Scott Ian and John Medeski, takes place on Dec. 28 at 8 p.m. Tickets are $20 and still available. Joe Russo’s Almost Dead plays a sold out show on Dec. 29 at 8 p.m. Late night on the 29th is Talib Kweli performing a DJ set at midnight for $10. Kamasi Washington and the Budos Band are playing Dec. 30 and New Year’s Eve. Tickets are $40 for the 30th and $65 to $75 for New Year’s Eve. Both shows start at 8:30 p.m. Sleigh Bells is playing a DJ set late night at midnight on the 30th for $15 with Animal Collective doing the same on New Year’s Eve for $20 to $25.

    Being New York City, there are plenty of other shows taking place that are worth checking out. See below for a rundown.

    Wednesday, Dec. 28
    PEAK with Gang of Thieves @ American Beauty (Midtown) – 4 p.m. – $5 *
    Zeppelin Bowl feat. Gene Ween, Scott Ian, John Medeski @ Brooklyn Bowl (Brooklyn) – 8 p.m. – $20
    “Thankful for Amy” with Elise Testone @ The Cutting Room (Midtown) – 8 p.m. & 12 a.m. – $20 each #
    Aqueous with Mungion @ DROM (East Village) – 12 a.m. – $17 #
    Particle with J. WAIL @ American Beauty (Midtown) – 11:55 p.m. – $20 #
    Madaila @ Arlene’s Grocery (Lower East Side) – 11:55 p.m. – $10 #
    Hayley Jane and the Primates do Bowie @ Lucille’s at B.B. King’s (Times Square) – 11:59 p.m. – $10 #

    Thursday, Dec. 29
    Harlem Gospel Choir @ B.B. King’s (Times Square) – 12:30 p.m. – $30
    Dead Sessions @ American Beauty (Midtown) – 4 p.m. & 11:55 p.m. – $20 each * #
    Joe Russo’s Almost Dead @ Brooklyn Bowl (Brooklyn) – 8 p.m. – $40
    Dar Williams @ The Bell House (Brooklyn) – 8 p.m. – $25-$30
    The Skints with The Far East and Rude Boy George @ Knitting Factory (Brooklyn) – 8:30 p.m. – $20
    The Lone Bellow @ Bowery Ballroom (Lower East Side) – 9 p.m. – $30
    Start Making Sense @ Irving Plaza (Gramercy/Flatiron) – Doors 11 p.m. – $20
    lespecial with Chromatropic @ DROM (East Village) – 12 a.m. – $15 #
    Kung Fu @ The Cutting Room (Midtown) – 12 a.m. – $20 #
    Talib Kweli (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $10

    Friday, Dec. 30
    Formula 5 @ American Beauty (Midtown) – 3 p.m. – free *
    Holly Bowling @ The Cutting Room (Midtown) – 4 p.m. – $20 *
    David Wax Museum with Auld Lang Syne @ Mercury Lounge (Lower East Side) – 6:30 p.m. – $20
    Tower of Power @ B.B. King’s (Times Square) – 7 p.m. & 9:30 p.m. – $45 each
    Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 8 p.m. – $45
    Gov’t Mule @ Beacon Theatre (Upper West Side) – 8 p.m. – $50-$60
    Kamasi Washington with The Budos Band @ Brooklyn Bowl (Brooklyn) – 8:30 p.m. – $40
    The Lone Bellow @ Bowery Ballroom (Lower East Side) – 9 p.m. – $30
    Cymbals Eat Guitars with Haybaby @ Mercury Lounge (Lower East Side) – 10:30 p.m. – $20
    Pink Talking Fish plays Animals @ Gramercy Theater (Gramercy/Flatiron) – 11 p.m. – $29.50 #
    Spafford with The Magic Beans @ American Beauty (Midtown) – 11:55 p.m. – $25 #
    Sprocket with Kabina @ The Bitter End (Greenwich Village) – 12 a.m. #
    The Marcus King Band @ The Cutting Room (Midtown) – 12 a.m. – $20 #
    Sleigh Bells (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $15

    Saturday, Dec. 31
    Stella Blues Band @ American Beauty (Midtown) – 4 p.m. – $15 *
    Holly Bowling @ The Cutting Room (Midtown) – 4 p.m. – $20 *
    Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 8 p.m. – $60
    Rainer Maria with Snail Mail @ Saint Vitus (Brooklyn) – 8 p.m. – $25
    Kamasi Washington with The Budos Band @ Brooklyn Bowl (Brooklyn) – 8:30 p.m. – $65-$75
    Gov’t Mule @ Beacon Theatre (Upper West Side) – 9 p.m. – $65-$75
    Guided by Voices @ Music Hall of Williamsburg (Brooklyn) – 9 p.m. – $70
    The Lone Bellow @ Bowery Ballroom (Lower East Side) – 10 p.m. – $40
    All-Star James Brown Dance Party @ Gramercy Theater (Gramercy/Flatiron) – 12 a.m. – $35 #
    Spafford with The Magic Beans @ American Beauty (Midtown) – 11:55 p.m. – $25 #
    Animal Collective (DJ Set) @ Brooklyn Bowl (Brooklyn) – 12 a.m. – $20-$25
    Snarky Puppy @ Irving Plaza (Gramercy/Flatiron) – Doors 1 a.m. – $35 #
    The New Deal @ B.B. King’s (Times Square) – 1:30 a.m. – $30 #

    * Billed as Phish pre-party
    # Billed as Phish after-party

    [embedyt] http://www.youtube.com/watch?v=zJyf5NqiMNE[/embedyt]

  • Set Up Like a Bowling Pin: JRAD Knocks Down the Brooklyn Bowl Run

    If the Brooklyn Bowl ever decides to create a Hall of Fame, Joe Russo’s Almost Dead (JRAD) can be sure to add “Fall Ball 2” to their list of accomplishments. As Saturday night wrapped up the sold out three-show run for this incredible quintet, I will non-apologetically say that they are the most important “cover band” in the world and are potentially better than anything Grateful Dead related today. The Bowl was where they capitalized on their first run as a newly developed powerhouse and years later, this all-star side project has become nationally recognized and a force to be reckoned with.

    “Blues for Allah” welcomed the crowd to the show. The Dead rarely performed the spacey and complex composition live, which JRAD seems to greet as a challenge and ambitiously took the “Blues” to another level before stepping into a starry “Eyes of the World.”   A delicate transition into “Minglewood Blues” was highlighted by Scott Metzger’s fiery guitar solo turning into the first fist-pumping barn-burner of the night. The band slowly eased into “The Wheel” with an extended jam taken over by Tom Hamilton in between the first and second verses. I couldn’t help getting chills as the five pieces screamed out the lyrics “bound to cover just a little more ground.” Observing the usual peaks and valleys of “The Wheel” from a viewpoint that only JRAD could capture was truly a magical experience and one of the highlights of the first set.  The breathtaking transition into “Ramble On Rose” got the predictable crowd explosion as “just like New York City” was sung to their hometown audience. There was a Tom Hamilton lyrical mishap but with the room in a trance, nobody seemed to give a flying flub.

    Merle Haggard’s “Mama Tried” was technically the night’s first cover that this cover band covered (make sense?). The cowboy song gave the thirsty crowd a few short minutes to grab a beer before returning for the otherworldly “Morning Dew.” The unusually energetic intro to the tune made some Heads scratch their beards but the euphoric meltdown in the middle orchestrated by Joe Russo’s team-captain drumming leadership was as mellow as it gets on a Saturday night. The always-powerful refrain was given some extra juice by Dave Dreiwitz’s bass bombs shaking the rafters as the first set came to an impressive close.

    The second set got asses shaking right off the bat with “Crazy Fingers” and I am pretty sure you could actually smell the reggae influenced magic in the air. Another incredibly silky transition led to the monster “Truckin’” and once again the crowd showed some extra excitement in the lyrical reference to New York. The band also got a kick out the lyrics “set up like a bowling pin” which was evident by their ear-to-ear smiles as they exchanged glances. Joe Russo instigated a quick “The Other One” tease to keep the set list note takers on their feet, but the scribes weren’t disappointed with the next rarity, Donny Hathaway’s “Magnificent Sanctuary Band” popularly performed by the Jerry Garcia Band.

    “Help On The Way> Slipknot” was the jazzy cherry on top of the second set sundae and gave Marco Benevento a chance to have his wings spread bright on the organ. Where Hamilton vocally shined during the first section, Benevento added a haunting solo during the thick of the jam. While many came to expect a glowing and upbeat “Franklin’s Tower” to be the other piece of bread to this incomplete sandwich, Benevento and Russo teamed up to create an eerie transition into “Estimated Prophet” which was reminiscent of an early Pink Floyd sample. Benevento used an effect that sounded like a spaceship in Atari’s Galaga being abducted by a larger spacecraft and the retro noise was very suitable at this point in the night. The first guest appearance came during the set closer as Chris Harford (Band of Changes) joined the boys for Neil Young’s “Hippie Dream” off the 1986 album, Landing on Water.  The gritty and bluesy piece gave each member the instrumental spotlight for a moment before they stepped off stage.

    The encore was an unannounced nod to a long time friend and JRAD enthusiast that recently passed away. “He Was a Friend Of Mine”, a traditional folk song popularized by Bob Dylan was performed acoustically as the members displayed their first sorrowful tone on stage since “Morning Dew.” This version is not to be confused with the “He Was a Friend of Mine” cited in Grateful Dead set lists throughout the mid to late 1960’s and felt more like something you may hear off a Garcia/ Grisman compilation. While the somber acoustic tune mourned the loss of a loved one, “Not Fade Away” celebrated their friend’s life and memory. The boys were back on their electric instruments as half the crowd “air keyed” along with Marco. Seasoned Deadheads began the “Not Fade Away” ending clap-chant combo along with the band, which echoed for a solid five minutes even after they left the stage. Security opened the exits encouraging fans to leave, but the community energy was keeping everyone warm inside and sure enough, the group came back for a surprise second encore, “Bertha” to cap off an incredible evening.

    As the house music played and the audience finally began to exit the venue, I couldn’t help but stare at the vintage poster that has hung above the side doors since the early days of the Brooklyn Bowl. While the band’s title bares the description “Almost Dead” the words next to this mystical werewolf poster read “Real, Alive” and after a throw down like Saturday night, I think we can all side with the wolf.

    Joe Russo’s Almost Dead is covering a little more ground at the Brooklyn Bowl on December 29th before taking a short trip north for their two night New Year’s run at the Capitol Theatre on December 30th and 31st. Tickets are going fast and after this past weekend they are sure to sell out soon!

  • LOCKN’ Opens With Scorching Performances

    Last week the world’s greatest athletes wrapped up their quadrennial competition competing on the world stage in Rio de Janeiro. The Olympics showcased the greatest talent humans have to offer in achievements of physical performance.

    This weekend, on a farm in the middle of the Blue Ridge Mountains in central Virginia, the most talented musicians in rock are gathering to showcase the greatest talent humans have to offer in achievements of aural performances – it truly is like the Olympics of jam, or in LOCKN’ parlance, the Jam ‘Lympics.

    LOCKN’ pushed the festival into late August this year, up from early-mid September previously. If the move was made to ensure better weather, it is paying off, with hot and dry conditions that allowed for efficient entry to the festival grounds for the 25,000 fans arriving from Wednesday through Thursday.

    Who better than Umphrey’s McGee, back for their third straight LOCKN’ appearance, to carry the torch in to kick off this year’s festivities. Like any good opening ceremonies, Umphrey’s set provided a feast for the eyes, with sprays and splashes of lights constantly bathing the stage in a kaleidoscope of color. This year LOCKN’ is featuring a rotating main stage. So, as opening act Vulfpeck played the last notes of their set, Umphrey’s two guitar attack blasted immediately before the band was even visible. The stage fully rotated, and just like that, Vulfpeck had transitioned seamlessly into Umphrey’s McGee, without a wasted second of silence.

    Sometimes it is fun and games. #Umphreys #Lockn

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Between the opening notes of “Nipple Trix” and the closing sounds of “All In Time,” Umphrey’s set featured explosive guitar work and bombastic full band improvisations, a relentless assault of over-the-top rock theatrics. Like a DJ scratching on the turntable, the next band to turn around the table, Ween, got remixed into Umphrey’s set, as Gene Ween sat in for a cover of Billy Joel’s “The Stranger.”

    The opening ceremonies provided by Umphrey’s McGee was sandwiched between qualifying rounds by Vulfpeck and Ween. Both bands advanced to the medal rounds, and continued with sets Friday.

    Who’s ready for Ween? #WeenMe ?: @jayblakesberg #LOCKN #ween #theboognishrises

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Relative newcomers to the scene, and riding high over a year that has seen their popularity skyrocket, Vulfpeck properly opened up the performances for the 2016 edition of LOCKN’ with their infectious and slinky funk. At a festival that is sure to feature many sit-ins and a good share of covers, they delivered on both counts, with Antwain Stanley sitting in for a few tunes and secondly with their nifty cover of Steely Dan’s “Peg.” Bassist Joe Dart showed off his gymnastic skills quite literally as he cartwheeled across the stage while getting the crowd involved in a “Christmas in LA” singalong.

    Ween closed the main stage Thursday with a career ­spanning set that in typical Ween fashion completely disregarded rock convention. When at the Jam ‘Lympics, its best to show off your jamming chops, and Ween delivered with a whacked out free form romp through “Poopship Destroyer” that had the band completely bathed in red, with some perfect trippy echoed images being displayed on the big screens and Gene Ween’s voice getting spookily modulated. They segued right into a more spritely “Zoloft” before ending after midnight unceremoniously with “Pandy Fackler.” But as Ween reminded the crowd, “Tomorrow is game day.”  Even after the over two hour set, it felt like the show wouldn’t be complete without their impending Friday night set.

    The day’s competition may have concluded, but back at the ‘Lympic village the party was just getting started. In the secluded Woods stage EOTO was digging into their electronic groove while the forest flashed hypnotically in reds, greens and blues. Behind a wood door that bore Jerry Garcia’s unique hand print, Garcia’s Forest featured an endless stream of historic Grateful Dead jams. While at the Blue Ridge Bowl, Joe Russo’s Almost Dead reinterpreted the very same music to a packed audience of blissed-out groovers. The music never stops.

    Like a two-sport wonder, Dave Dreiwitz, who had just performed with Ween on the main stage, pulled off the magnificient multi-band feat as he immediately appeared on stage with JRAD,the first on stage in fact. JRAD’s set opened with a spacey jam that dissolved into a long drawn out take on “Truckin’,” and then the set just spiraled into a tie-dyed blend of Grateful Dead colors, mixing and remixing the Dead catalog to thrilling effect, with takes on “St. Stephen,” “The Eleven,” “The Wheel” and “Estimated Prophet” peppering the set before a night closing “Terrpain Station.” The band served as the bridge between the ancient Gods of jam and the more modern styles and techniques of today. A perfect summary of what the celebration continuing at LOCKN’ is all about; the perfect way to end the first night and a look forward to the next three jam packed days.

    JRAD #LOCKN

    A video posted by pete mason (@phanart) on

  • Festivalgoers Let Their Soul Shine During Second Half of The Peach

    Saturday and Sunday at The Peach Music Festival in Scranton, PA was more of the same weather wise with scorching heat, humidity and powerful storms that would delay several sets in the evening. Despite the elements, festivalgoers all across Montage Mountain appeared to be in better spirits for the later half, perhaps due to an acceptance and understanding of these factors, but more likely due to the outstanding music delivered to their eyes and ears. Headliners like Trey Anastasio Band and Umphrey’s McGee delivered top notch sets on Friday and Gov’t Mule and new supergroup “RB&B” brought the festival to a truly satisfying close on Sunday.

    Jim Houle Photography - Umphreys McGee - Peach Fest - NYSMusic-55

    New York’s own Sister Sparrow and the Dirty Birds swooped onto the main stage early in the afternoon. Arleigh Kincheloe and brother Jackson, along with the rest of the birds energized the mountain with their soulful yet funky performance fans have come to love.

    The afternoon also welcomed back Tom Hamilton to the Grove Stage with his band American Babies. Hamilton is a talented songwriter and although his presence in Thursday night’s Pink Floyd Electron set was nothing short of jaw dropping, the change of pace with the lively Americana feel to his afternoon set is exhilarating as well. Also during this time, metal rockers Brown Sabbath slayed over on the Mushroom Stage. Their frontman is as comical as he is talented, addressing the crowd as “motherfuckers” in between sets. As the name suggests, the Austin based band covers the catalog of Black Sabbath, but they do so with horns and Latin-style percussion for a unique experience both metal heads and hippies can appreciate.

    The darlings of the festival scene, Twiddle, brought a massive crowd to the Mushroom Stage mid-afternoon on Saturday. This would likely have been a massive pool party like that of Pigeons Playing Ping Pong the day before, but the wave pool was closed. No matter though as fans packed the area to witness the rising stars welcome Russ Lawton on drums and Ray Paczkowski on keys, both from Soule Monde and TAB, join the band for “White Light.” Bassist Zdenek Gubb proved himself to be MVP of the set with powerful and funky bass playing that could be felt at the very top of Montage Mountain.

    Jim Houle Photography - JRAD - Peach Fest - NYSMusic-24

    The highlight of Friday afternoon was Joe Russo’s Almost Dead. Because the Grateful Dead means so much to so many people in the community, it’s no wonder their set drew such a massive crowd to the main stage. Joe Russo and friends bring a thrilling and welcomed update to the classics so many of us have come to cherish. Their set included greats like “Eyes of the World,” “The Wheel” and a full and powerful “Terrapin Station.”

    As was the trend each evening at Peach, Mother Nature made her presence known with continuous flashes of lightening that would come with strong winds, rain and thunderstorms forcing The Lennon Claypool Delirium to prematurely end their predictably spacey yet original set. Fans took cover under the Pavilion as the first part of the storm passed overhead flooding the floors under their feet. Once passed it was finally time for the great Trey Anastasio Band to hit the stage. The pavilion, now packed with fans, housed tunes like “Cayman Review,” “Magilla,” “Gotta Jibboo” and “Money Love and Change.” As soon as “Sand” started to pick up, Anastasio was forced to tell fans to once again seek cover due to more severe weather. Once given the all clear, TAB returned to the stage to pick up “Sand” where they left off. Later in the set, Trey shared the story of how former TAB trombonist Jeff Cressman left the band to play with Santana. When Trey asked him who might replace him, Cressman suggested his daughter Natalie.  Jeff was then welcomed to the stage and the father-daughter team thrilled the crowd together during “Push on Til’ the Day” to close one of the best sets of the entire Peach weekend.

    Jim Houle Photography - Trey Anastasio Band - Peach Fest - NYSMusic-43

    Umphrey’s McGee gave the best musical nightcap of the weekend with their latenight set on the main stage Saturday night. The lightshow in the Pavilion was spectacular and the music was on point. The progressive rockers from Chicago played older songs from their catalog such as “Wappy Sprayberry” as well as a cover of Prince’s “Controversy,” a song they first covered in Minneapolis the day after the legendary singer’s death. “Puppet String” included Hall and Oates’ “I Can’t Go for That” and Pink Floyd’s “Another Brick in the Wall” teases. Fans beat on the back of the seats within the Pavilion; the sound dragging the band out for a thrilling encore of “In the Kitchen” into “Glory” and ending with a reprise of “Puppet String.”

    Sunday was the return to struggle city for many campers packing up their belongings to hike off the mountain and return home. Lines seemed to move faster and despite it being the fourth day of the festival, people were in good spirits.

    Sunday began with a special ‘Wake up With Warren Haynes’ acoustic set that featured Gov’t Mule numbers “Beautifully Broken,” “Raven Black Night,” and “In My Life.” The set would not have been complete without the delivery of some Allman Brothers Band tunes to commemorate the festival’s beginning. Haynes played “Old Friend” and “End of the Line,” two ABB songs he contributed to. Warren returned for a two-song encore beginning with Van Morrison’s “Into the Mystic” and Gov’t Mule favorite “Soulshine” to the delight of thousands.

    Jim Houle Photography - Govt Mule - Peach Fest - NYSMusic-38

    Not more than a year since the Black Crowes called it quits, founding member Rich Robinson is taking his solo career to new heights. The Rich Robinson Band performed Sunday at The Peach. In addition, Robinson was welcomed to the stage to join Blackberry Smoke and later on with Gov’t Mule.

    Blackberry Smoke is a southern rock group with bluesy guitar riffs and country music undertones not unlike that of the Allman Brothers Band. The set featured originals as well as a down home version of Led Zeppelin’s “Your Time is Gonna Come.” Robinson joined the quintet for The Black Crowes’ “Wiser Time,” in which he delivered a thrilling guitar solo.

    With Gregg Allman canceling a week prior to The Peach due to illness, a supergroup was formed to fill in the time slot he was scheduled for Sunday afternoon. The group consisted of Joe Russo, Marco Benevento and Oteil Burbridge. The trio delivered a unique set that was largely a jazz-fusion jam in which the talents played off one another with ease, a nice segue to the headlining guest packed performance by Gov’t Mule. After a few Gov’t Mule tunes including “Mule” and “Game Face” with a “Mountain Jam” tease, Rich Robinson was once again welcomed back to the stage for a Crowe’s signature song “Sometimes Salvation.” The encore included “Come and Go Blues” with Charlie Starr, Brit Turner and Brandon Still of Blackberry Smoke before Oteil Burbridge joined the stage once more to aid in Allman Brothers’ classic “Dreams,” before ending the festival with a triumphant “Whipping Post.”

    The fifth annual Peach Music Festival was legendary in its own right with world class musical acts, a stunning yet difficult venue, and memories fans would take with them for the rest of their lives. The spirit of the Allman Brothers Band was alive and well and we are happy to hear Gregg Allman is on the mend.

  • Peach Music Fest Returns to Montage Mountain, Gregg Allman Cancels

    In just one week, The Peach Music Festival will return to Montage Mountain in Scranton, PA for their fifth annual four-day celebration. The festival is slated for August 11 – 14. Jamband fans from all over the country will head up the mountain for headliners Trey Anastasio Band and The String Cheese Incident. Due to illness, Gregg Allman canceled his tour including his headlining performances at Peach Fest. Allman was scheduled to play his own set  as well as one with SCI known as “The Gregg Allman Incident. At this time it is unclear what the festival plans to do for a replacement.

    Originally an Allman Brother’s Band festival, the spirit of ABB  will live on with Warren Haynes’ appearance in Gov’t Mule as well as “Wake Up with Warren Haynes.” In addition, Les Brers is scheduled to perform at Peach Festival, created by Butch Trucks, founding member of the ABB.

    Festival goers can take advantage of the mountain for camping as well as the on-site waterpark to cool off. The site features three stages including The Pavillion at Montage Mountain, a unique and beautiful venue.

    In addition to the headlining acts, other anticipated performances include The Claypool Lennon Delirium, two sets of moe., Joe Russo’s Almost Dead, Railroad Earth, two sets of Dark Star Orchestra, Anders Osborne and more.

    Late night sets will sprawl across three stages including a special Pink Floyd set from moe. and a two-hour set with Umphrey’s McGee. The Floozies, Cabinet, Flux Capacitor and a Pink Floyd set by Electron will all tear up the after midnight scene.

    New this year, and in line what Front Gate Tickets did for Camp Bisco hosted at Montage Mountain in July, ticket holders were sent chipped wrist bands over the traditional cloth bracelets.

    Tickets for the Peach Music Festival are available at www.thepeachmusicfestival.com

  • Joe Russo’s Almost Dead Keeps Brooklyn Bowl Buzzing

    To an interloper who missed opening night, witnessing Joe Russo’s Almost Dead at Brooklyn Bowl on Friday, March 25, could have been a bit like waking up on top of Mount Everest without knowing how you got there. Usually concertgoers stay alert for the peak moments of concerts that become precious memories. Night two of this sold-out three-night run felt like one big peak of something larger.

    tkenna_jrad_bkbowl18

    As a general rule JRAD plays Grateful Dead songs with all the force of a careening steam engine about to jump the tracks. On this night the band proved that they don’t even require a recognizable song structure to reach that energy level, as the opening improvisation dialed right in to the crowd-animating zeal cooked up the previous night.

    Perfectly in line with the band’s signature ability to tear the Dead’s material away from its original context and invigorate it with original spirit, a five-piece horn section appeared at the start of “Hard To Handle” to add unprecedented texture and heat to the tune. Having set the tone for a night of “big band” Dead music, the dynamic of the Otis Redding-cover opener was balanced out with more Garcia flavor in “Franklin’s Tower”. “Feel Like A Stranger” took an abrupt dive into a spacey, bass-driven groove that quickly became the foundation of a jazz piano exposé by Marco Benevento. A spicy hot trumpet solo was a highlight of “Help On The Way,” which gave way to a particularly outlandish and adventurous “Slipknot!” A very carefully executed transition brought “Althea” to the fore in place of “Franklin’s,” which had already appeared in inverted position earlier in the set.

    JRAD really showed Brooklyn Bowl what they’ve got as an original musical collective in the ensuing extended group improvisation, which called to mind Bitches Brew-era Miles Davis and was shaped by contributions from all band members. Lightning-fast fingerwork from Scott Metzger and trippy guitar skwonking by Tom Hamilton finally coalesced into an incredible whirlwind of a set-closing “The Other One”.

    The second set began with a pair of punchy rockers, the mid-’60s novelty “Cream Puff War” kicking things off and “I Need A Miracle” regaining that steamrolling momentum established in set one. The gentle majesty of “Lady With A Fan,” embellished on this evening by beautiful flute parts, asserted itself at this juncture. The presence of the horn section recalled the orchestral flourishes on the studio recording of “Terrapin Station,” but the arrangement was something new and in harmony with JRAD’s high-intensity approach to this anthemic song. The cathartic, celebratory mood prevailing at this point was given some funky motive force with “Dancing in the Street”. A full-throttle “Cumberland Blues” brought the set to an end. A “Sugar Magnolia” encore inspired both daydreaming about springtime sunshine and anticipation of the third and final show to come.

    The middle night of this Brooklyn Bowl run was notable for its expansive variety of soloists, with members of the guest horn section frequently stepping into the spotlight. Dueling exchanges of riffs between JRAD members heightened the ferocity of certain jams. Russo seemed determined to bolster every one of his nine fellow musicians onstage with muscular and relentless drumming, often accompanied by ecstatic facial expressions. The audience responded approvingly, to say the least, to this group as it payed homage to a legendary band with both humor and finesse. After an opening night featuring cover song debuts from outside the Grateful Dead repertoire and a follow-up show embellished with brass, it’s anybody’s guess what’s in store for round three.

    Setlist:
    Set 1: Hard To Handle > Franklin’s Tower > Feel Like A Stranger > Help On The Way > Slipknot! > Althea > The Other One
    Set 2: Cream Puff War > I Need A Miracle > Terrapin Station > Dancing in the Street > Cumberland Blues
    Encore: Sugar Magnolia

  • Joe Russo’s Almost Dead Freaks Ball XVI at Brooklyn Bowl

    49-atlgJoe Russo’s Almost Dead will kick off three sold-out nights at The Brooklyn Bowl on Thursday, March 24 for Freaks Ball XVI. This constitutes the band’s fourth run of shows at the venue where the world first heard former Furthur drummer Russo lead a new cast of characters through two raging sets of Dead tunes back in January 2013. Tom Hamilton (American Babies), Marco Benevento (The Benevento/Russo Duo), Scott Metzger (WOLF!) and Dave Dreiwitz (Ween) complete the quintet.

    JRAD is a band that is as unpredictable as it is unforgettable. The band’s Facebook profile contains the deceptively simple proclamation, “We’re a Grateful Dead cover band.” Anyone who has seen them or even heard a recording knows that their true nature is that of a daring group of close collaborators who project their musical friendship onto the Grateful Dead songbook in a way that no other band has. Their carefully crafted setlists defy expectations about how the songs can be interpreted and linked. As the frequency of their appearances in the live music world has increased over the past two years, JRAD has consistently delivered fresh, stellar performances of this music that means so much to so many people.

    These Brooklyn gigs are sure to be precious as JRAD performances become somewhat more rare going forward in 2016. All five band members are incredibly busy with diverse projects, and as Russo has revealed in a recent interview, he will be taking extra time off mid-year when his first child arrives. Those with tickets will be privileged to see Joe Russo’s Almost Dead lay it down at The Brooklyn Bowl this weekend.