Bowlive VIII rolled on at the rustic Brooklyn Bowl with Soulive and legendary Meters funk bassist George Porter Jr. sitting in. The setlist had no shortage of covers, including songs from The Beatles, The Meters and The Grateful Dead. Soulive’s current line up includes Eric Krasno (guitar), Alan Evans (drums) and Neal Evans (organ, bass keys, clavinet).
Eric Krasno
Soulive began the first set as a trio, delivering the band’s signature jazz-funk. Originals “So Live” and “Steppin’” got the crowd ready to party with Krasno’s delicious guitar work. A rocking instrumental version of The Beatle’s “Eleanor Rigby” was up next, followed by a new Soulive original, “Waves”.
George Porter Jr.
Alan Evans addressed the crowd with ,”Is it time?” The crowd responded with a resounding approval and the King of Bowlive, George Porter Jr., joined the funky party. Drawing from his time with The Meters, Porter led covers of “Pungee” and “Africa” and took the lead on vocals. The set wrapped up with the tasty New Orleans classic “Iko Iko,” by The Dixie Cups.
Set two continued with more of The Meter’s catalog, starting with “Look-Ka Py Py” from the album of the same name. The funk classic “Keep On Marching” from the Fire on the Bayou album was up next. The funk single “I Need More Time” had the crowd dancing like no one was watching. Rejuvenation‘s “What’cha Say” then proceeded and “He Bite Me”, also from Fire on the Bayou, closed out this delightfully funky sequence.
This talented group of musicians then switched gears and doubled down on one of Porter’s favorite songs to cover, The Grateful Dead’s “Sugaree.” Porter’s soulful voice and eclectic bass skills brought new life to this beloved classic. The frequent Dead cover and Bobby Bland original “Turn On Your Love Light” lit up the room and was the jam of the night. The set wrapped up with another Meter’s classic, “It Ain’t No Use.” This electrifying group then closed out one hot night with another Rejuvination tune for an encore with “Just Kissed My Baby.”
Setlist
Set One: So Live, Steppin’, Eleanor Rigby, Waves, Pungee*, Africa*, Iko Iko*
Set Two: Look-Ka Py Py*, Keep On Marching*, I Need More Time*, What’cha Say*, He Bite Me (The Dragon)*, Sugaree*, Turn On Your Love Light, It Ain’t No Use*
Vermont’s jam loving rock band, Phish, graced the stage of the woodsy meets urban Merriweather Post Pavilion in Columbia, MD, as they blazed on their 2019 summer tour. The June 22, 2019 show included a debut from Trey Anastasio side project, Ghosts of the Forest. Phish consists of Trey Anastasio (guitar), Mike Gordon (bass), Page McConnell (keyboard, organ) and Jon Fishman (drums).
MPP is located in the heart of Symphony Woods, a woodland preservation designed by famous architects, Frank Gehry and N. David O’Malley in 1967. It was originally built as a summer stage for the National Symphony Orchestra. The venue has won over popular music acts because of its natural surroundings and excellent sound.
Set one kicked off with “Undermind,” from the album with that name. Two funky fan favorites followed, “Tube,” with a delicious jam from McConnell, and the Son Seals’ cover, “Funky Bitch.” The fire-and-ice jam vehicle “Steam” was up next, followed by phish classics “My Sweet One” and “NICU.”
Phish slowed the set down with the debut of “Friend,” from Anastasio’s side project Ghosts of the Forest. This band was created to play songs honoring Anastasio’s long time friend, Chris Cottrell, who lost his battle with cancer in 2018. Meaningful lyrics pierce hearts: “why do we have to wait until it’s gone to know what love is?”
The boys pressed the gas pedal for “No Men in No Man’s Land,” off their album Big Boat. Classics “The Horse” > “Silent in the Morning,” from the album Rift, had the crowd with arms in the air. Jam monster “David Bowie” was played next, and for the first time in 2019. The set closed out with “Squirming Coil,” from Lawnboy as the sun set behind the venue.
The second set was full of segues and jamming, starting with “Ghost,” from Story of the Ghost. “Ghost” transitioned to the a jam sandwich with high energy “Axilla,” then into new tune, “Set Your Soul Free.” The Pink Floyd-esque “What’s the Use?” and finally “Billy Breathes” followed suit.
“Death Don’t Hurt Very Long,” from their new album Kazvot Vox, started the second segue sequence. The next layer in the jam triffle was “Backwards Down the Numberline” from the 2009 release, Joy. The perennial Phish favorite “Harry Hood” was up next, and Anastasio’s on point guitar work had the crowd feeling good. The boys transitioned into “Rise/Come Together,” another new song. The final layer was the classic “Golgi Apparatus,” ironically last played almost one year ago at Merriweather Post Pavilion.
Phish sent their fans home happy with “Bug” > “Character Zero,” including an electrified closing jam. Phish fans await what night two has in store for them. Tickets are sold out, but can be obtained through CashorTrade.
Set 1: Undermind, Tube, Funky Bitch, Steam > My Sweet One > NICU, Friend[1], No Men In No Man’s Land > The Horse > Silent in the Morning, David Bowie, The Squirming Coil.
Set 2: Ghost > Axilla > Set Your Soul Free > What’s the Use? > Billy Breathes, Death Don’t Hurt Very Long > Backwards Down the Number Line > Harry Hood > Rise/Come Together > Golgi Apparatus.
The original Woodstock Music and Arts Festival almost never happened. From changes in mass gathering policies requiring a change of venue to epic traffic jams, Woodstock experienced some seemingly insurmountable problems. Under different circumstances, this festival would have been canceled.
The Road to Woodstock details the plight of one man who used his super powers to overcome these struggles and put on the biggest mass gathering ever at the time. Michael Lang’s abilities as a negotiator and communicator enabled him to bring a sense of calm to almost any chaotic event. The concept behind Woodstock was entirely Lang’s vision. He knew that if conditions were right, a beautiful, peaceful festival would grow. Lang’s perseverance through extreme adversity is unfathomable, and the cornerstone of the Woodstock Festival. More recently, Lang has encountered similar problems for the Woodstock 50 festival, but continues to engage his talents in an effort to make this festival happen.
Woodstock Visionary Michael Lang (photo by Dion Ogust)
Lang’s skills as a master communicator and negotiator started at a young age. While in school at NYU, he dropped out, moved to Miami and opened a head shop in Coconut Grove. This store was under constant scrutiny and police busts, but was never shut down by the authorities. He was able to put on the 1968 Miami Pop Festival in three weeks time based on his negotiating abilities.
These skills later enabled him to turn the powerful Billy Graham from a competitor into a team member, when Graham threatened to pull the plug on Woodstock. He also convinced Max Yasgur to have the festival on his farm. Max’s wife Miriam commented, “It takes Michael about 20 minutes to charm you.” As the preparations at Max’s farm proceeded, Lang was able to recruit almost every able bodied person to help build the festival and provide goods and services. Lang also stopped gunfights and kept everyone who was owed money from insisting violence.
In addition to being a master communicator, peacekeeper and negotiator, Lang was the visionary behind Woodstock. He could feel the peaceful vibe and knew a large mass gathering centered around music and arts would be successful. A random call from a Bethel resident led Lang to Max’s farm. He saw the bowl and knew this was the place.
He had the vision to know that a police presence was needed, but in a peaceful way. Security was handled by unarmed NYC police officers and The Hog Farm, the longest running hippy commune based in California, founded by activist Wavy Gravy. They convinced Lang to let them build a free kitchen, which was always stocked for people who are hungry. Lang made it clear that people who aren’t hungry or thirsty are happier and less prone to fighting. This was unconventional thinking at that time, but Lang was right. Who knew granola equaled crowd control? The sentiment continued at Woodstock ’99. When Lang found out water was four dollars per bottle, he ordered a truck load of it to be distributed for free.
Lang’s visionary skills were accompanied by an unwillingness to give up on this vision. The two sites prior to Bethel did not want the festival to happen. Saugerties never approved anything, but Wallkill did. As the authorities realized the festival’s intentions, extreme county laws were passed requiring a sign off from the town sanitary inspector to the State Department of Transportation. These requirements were insurmountable in the time remaining before the festival. Rather than give up, he immediately started looking for a new site. He knew all money invested in Wallkill was lost, but that didn’t matter in the grand scheme.
Lang’s ‘never give up’ attitude has stayed with him into 2019 for the 50th anniversary Woodstock Festival. Lang has struggled to secure permits at Watkins Glen. This led to his sponsor, Dentsu Aegis Network, backing out and officially “cancelling” the festival. A judge ruled that Dentsu Aegis Network had no right to cancel, and thus, preparations continue.
The Road to Woodstock paints a rosy picture behind the man who broke social barriers to bring about a festival that many believed wasn’t possible. He opened the door for our beloved modern festivals and showed the world how to embrace the growing youth counter culture. And he’s still continuing to use his skills to bring music to the masses in 2019.
Colorado’s The String Cheese Incident graced the tri-state area with a 3-night run at the storied Capitol Theatre in Port Chester, NY to celebrate twenty-five years as a band. This run featured numerous rare covers, the spirit of Jerry Garcia, NOLA style marching into the crowd, and special guests. The band includes Michael Kang (electric mandolin/fiddle), Michael Travis (drums), Kyle Hollingsworth (Keyboards/Synth), Billy Nershi (electric/acoustic guitar), Keith Moseley (bass) and Jason Hann (percussion).
Night one started out with a bang, despite the band and crew travelling through the night from Del Fest and arriving at 8 a.m. that morning. The set started with “Believe,” from their 2017 album with the same name. The boys brought a piece of Del Fest to the Capitol Theatre with bluegrass tunes “So Far From Home” > “Cedar Laurels” and energized the crowd with an incredible segue. “Laurels” was last played at Red Rocks in July 2018. “Gone Crooked” is a new tune by Moseley, written with Raymond Baxter, and had a nice old timey feel. Rounding out the set was “BollyMunster” and the psychedelic “Peace of Mine” > “Let’s Go Outside.”
Michael Kang on the fiddle
Set 2 began with a SCI classic, “Smile,” played for Nershi’s wife Jillian who was celebrating her birthday that night. Nershi announced that the song was originally written for her. Fan favorite “Desert Dawn” segued into two tunes from The Beatles’ Abbey Road, “Polythene Pam” and “She Came In Through The Bathroom Window.” “Pam” was last played 15 years ago, on 04/04/2004, with six total live appearances in all. While not as rare, “Bathroom Window” was last played two years ago on 08/13/2017.
These rarities continued the high energy segue chain into the traditional bluegrass tune turned jam monster, “Rivertrance.” A rocking drum segment followed, with only Travis and Hann on stage. The new Dead-influenced Hollingsworth song “Big Reveal” > “All We Got” closed the set, but the show was far from over. SCI encored with their latin classic “San Jose” and then finished “Desert Dawn.”
Keith Mosely and Michael Kang jam together
Night two picked up where night one left off. Set one started with “Vertigo” and the segue sandwich of “Black and White” > “Can’t Wait Another Day” > “Midnight Moonlight,” the latter being a cover of Peter Rowan for the Jerry Garcia side project, Old and in the Way. The party then went into high gear as the band dove into “Valley of the Jig,” a SCI dancehall beast that is a reworked version of the traditional bluegrass tune, “Red Haired Boy.” The set closed out with Untying the Not’s “Sirens” > the quintessential “Restless Wind.”
SCI covers The Talking Head’s “Burning Down The House”
Set two continued with jam vehicles “Just One Story” > “Rosie.” “Song In My Head” then proceeded, from the album of the same name, followed by their debut of the Jerry Garcia Band cover, “Tore Up Over You.” “45th of November,” from the album One Step Closer, started a funk and psychedelic sequence that reminded the Northeast who SCI is. This began with a segue into the Talking Head’s “Burning Down the House.” The walls of the Capitol Theatre were filled with projections of fire. This cover was last played on 10/29/16 at Hulaween. The jazz-jam monster by The Weather Report “Birdland” > “Wheel Hoss” > “Birdland” > “Just One Story” closed out set two. Apparently, the band was also supposed to play “Jellyfish,” but scrapped the song based on time constraints. Capitol Theatre owner and jamband promoter Pete Shapiro was in the crowd tonight and addressed the audience before the boys returned for the encore. Nershi’s timeless bluegrass tune about rekindling lost love, “Bar Stool,” ended the show.
Pete Shapiro, owner of the Capitol Theatre, addresses the audience
Night three began with the band announcing, “Never miss a Monday night show.” The venue was half full, and those in attendance were in for a cheesy treat. The show started on a high note with “You’ve Got The World” and Believe’s “Sweet Spot.” The perennial fan favorite plus bluegrass tune “Little Hands” included a tight jam and segue into “Don’t It Make You Wanna Dance,” a Jerry Jeff Walker cover. Kang’s “Beautiful,” also from Believe, led into the introduction of their friend, guitarist Scott Sharad. He joined the band on stage for a rocking version of “Outside And Inside” > “Hot’ Lanta.”
Billy Nershi
SCI seemed determined to top each setlist, and the last set was no exception. All six members started the second set by marching into the floor NOLA style, and played an acoustic version of “Dark Hollow.” This song was last played almost 13 years ago at the Tweeter Center on 07/15/2006. “Into The Blue” preceded the always inspiring “Joyful Sound” > “Rumble” and got the crowd moving again. The Keller Williams cover “Best Feeling” launched into a dark reggae jam and segued into The Police’s “Walking On The Moon.” This is the third time they have played this unique cover. “Moon” went back into “Feeling” and then transitioned into Song in my Head’s “Colliding.” Another quintessential String Cheese Incident classic and jam beast, “Texas,” closed out this sensational set. Peter Gabriel’s “Shaking The Tree,” last played 03/18/2017, ended the run and sent the hard core fans home happy. The Northeast awaits the return of this gouda band.
Set One: Believe, So Far From Home > Cedar Laurels, Gone Crooked, BollyMunster, Piece Of Mine > Let’s Go Outside
Set Two: Smile, Desert Dawn > Polythene Pam > She Came In Through The Bathroom Window > Rivertrance > Drums, The Big Reveal > All We Got
Encore: San Jose > Desert Dawn
Sunday, May 26, 2019
Set One: Vertigo, Black and White > Can’t Wait Another Day > Midnight Moonlight, Valley Of The Jig, Sirens > Restless Wind
Set Two: Just One Story > Rosie, Song In My Head, Tore Up Over You, 45th of November > Burning Down The House, Birdland > Wheel Hoss > Birdland > Just One Story
Encore: Barstool
Monday, May 27, 2019
Set One: You’ve Got The World, Sweet Spot, Little Hands > Don’t It Make You Wanna Dance, Beautiful, Outside And Inside1 > Hot ‘Lanta1
Set Two: Dark Hollow2, Into The Blue, Joyful Sound > Rumble, Best Feeling > Walking On The Moon > Best Feeling > Colliding, Texas
Encore: Shakin’ The Tree
Notes 1 with Scott Sharrard on electic guitar, 2 Unplugged, Acoustic
Griz’ Ride Waves: Season One tour rolled into Brooklyn’s Kings Theater last week. Griz is an electronic music producer and saxophonist from Southfield, MI who combines the saxophone with his self described “future funk,” electro-soul, hip-hop and funk beats.
Griz
Ride Waves is Griz’ fifth album, and came after a prolonged hiatus from social media and music. Griz used this time to hone his craft and travel the country while recording new music. He was able to recruit talent such as Snoop Dogg, Matisyahu, Bootsy Collins and Dram, as well as address social issues like gun control. He also recorded his first rap verse.
King’s Theater warmly welcomed Griz and his openers, Dwilly and Yung Bae. LA-based DJ and producer Dwilly took the stage first and delivered urban pop beats and remixes that got the crowd moving. Yung Bae, the Portland-based producer who has amassed millions of streams on Spotify, followed with his disco-centric funky beats.
Fans enjoy the Yung Bae set.
The crowd was on their feet as Griz took the stage. His setup included a raised area for his DJ equipment and saxophone, and an area to perform near the front of the stage, with a huge LED display illuminating with positive messages. Griz was accompanied on stage by guitarist Muzzy Bearr, vocalist Chrishira, and horn/trumpet players.
“Can’t Get Enough” featured Griz’ first rap verse, and showed his depth and talent. He sounded great and the crowd was loving it. The lyrics pulsated in bold letters behind him, and the light show was incredibly well timed.
Guitarist Muzzy Bearr, Griz, and vocalist Chrishira
The saxophone and guitar combination in “Caught Up” has a classic disco funk meets reggae feel. It’s hard to not start dancing, and that is exactly what the crowd did.
“It Gets Better” emanated with positivity, and combined elements of hip-hop, jazz and funk into one danceable tune. The LED screen displayed the lyrics and was a positive reinforcement of the chill vibe. The crowd enjoyed the song, and was singing along in unison by the end.
Griz seamlessly intertwines his funk and hip hop beats with positivity and the saxophone, creating pure musical bliss in Brooklyn. This show was an enjoyable party, from start to end, that is not to be missed.
Future funk and electro-soul artist, Griz, continues to Ride Waves on tour, promoting his new album of the same name across the East Coast. The lineup includes electronic and urban pop producers, Yung Bae and Dwilly, for most of the May shows.
Ride Waves was produced over a two year hiatus that Griz took from electronic music, in which he addresses socio-cultural issues like gun violence. The DJ, producer and saxophone player recruited talent from Bootsy Collins and Matusyahu to Snoop Dogg and Wiz Khalifa for his 5th studio album that emanates with positivity. The album contains elements of funk, rap, reggae and soul, including moments of reflection from Griz’ life. The track “It Gets Better” is an uplifting collaboration with DRAM that showcases Griz’ saxophone skills, and sends a message of perseverance.
Join Griz at the Palace Theatre in Albany and King’s Theater in Brooklyn, NY this week for the Ride Waves tour, as well as his signature electronic beats and organic saxophone-funk.
Upcoming Shows:
May 6th – Worcester, MA – The Palladium* May 8th – Albany, NY – Palace Theatre* May 9th – Buffalo, NY – Buffalo Riverworks* May 10th – Brooklyn, NY – Kings Theatre* May 11th – Philadelphia, PA – The Met* May 14th – Louisville, KY – Iroquois Amphitheater* May 15th – Columbus, OH – Express Live!* May 16th – St. Louis, MO – The Pageant* May 17th – Minneapolis, MN – The Armory* May 17th-19th – Gulf Shores, AL – Hangout Fest May 18th – Kansas City, MO – CrossroadsKC* May 27th – Detroit, MI – Movement June 9th – Chicago, IL – Spring Awakening June 14th – Manchester, TN – Bonnaroo June 21st – Heber City, UT – Bonanza Campout June 23rd – Dover, DE – Firefly Music Festival July 5th – Liempde, NL – We Are Electric July 10th-14th – Dour, BE – Dour Festival July 12th – Bristol, UK – Nass Festival August 2nd-4th – Montreal, QC – Osheaga Festival August 9th-11th – Salmo, BC – Shambhala Music Festival
Lotus unleashed high energy into the Brooklyn Bowl on Friday night, with two sets of their eclectic, instrumental, dance multi-genre sound. The band members include Mike Rempel (guitar), Jesse Miller (bass/sampler), Mike Greenfield (drums), Luke Miller (guitar/keyboards) and Chuck Morris (percussion). Originally from Goshen College in Indiana, the band is now based out of Philadelphia and Denver.
Jaw Gems opened for Lotus, and successfully warmed up the crowd. They are an electronic band from Maine that is creating beat music in a more organic live setting. Friday’s lineup included bass, drums and synthesizer, and delivered dark grooves that flowed into one another.
Lotus took the stage in front of the packed crowd, and picked up where they left off on Thursday night, which included a rare Talking Heads Deconstructed set with Gabe Otto at the Brooklyn Bowl. The flawless transitions combined with powerful electro-pop beats of “Intro into a Cell” > “E” > “Trip” > “Stranger Danger” had the floor dancing and excited almost instantly. Other notable songs include the hip-hop based “Golden Ghost” > “Intro” and the electronic groove “Anti-Gravity” > “B” > “Comptroller”. Throughout the set, Rempel delivered intense guitar riffs, and had excellent synergy with both Jesse and Luke Miller.
Lotus emerged after the break with “Nematode,” a fan favorite from their Gemination album. The dark “Bellwether,” another classic Lotus tune from their Hammerstrike album, and the newer hip hop tune “Gunk,” from their recent Frames Per Second album, both showcased Greenfield’s drumming versatility and skills. The jam of the night was undoubtedly “Arupa” > “½” > “Bubonic” > “B” > “Flower Sermon” and included elements of Lotus old and new. “Arupa”’s organic feel was great contrast to the edgy “Flower Sermon.” The band closed out the night with the cohesive, funky dance tune “Sift.”
Lotus brought their signature jamming to the sold out Brooklyn Bowl on Friday night, and sent their fans home exhilarated after a night of intense dancing.
Jaw Gems Setlist: Parch, Graymalkin, Ohio, Sap Flow, Young Pulp, Sweet Egg, Liquid Purchase, (INTERLUDE//MPC SWITCH), Rvil, Sleep arena, Peace Pipe, Narrows, Party Slave
Lotus Setlist:
Set 1: Intro into a cell > E > Trip > Stranger Danger, Golden Ghost > Intro, Turquoise, Anti-Gravity > B > Comptroller, 72 Hours
Set 2: Nematode, Invincibility, Bellwether, Gunk, Arupa > ½ > Bubonic > B > Flower Sermon
Widespread Panic kicked off their sold out 3-night run at The Capitol Theatre with a traditional tribute to the Grateful Dead, playing “Let it Rock,” an occasional feature of setlists, off 1974’s Mars Hotel. From there the band performed a show of originals with a few choice covers thrown in late in the second set.
Set 1 highlights included “C Brown,” a 10 minute “Shut up and Drive,” “Pleas” > “Henry Parsons Died” and “B of D” > “Conrad” to close the set out. Set 2 opened up with “You Got Yours” that segued very tightly into “Up All Night,” which has been taken out for excellent stretched out jams as of late. Fan favorite “Ribs n Whiskey” was met with huge cheers from the crowd, and Panic tour manager Steve Lopez hopped on percussion with Sunny Ortiz for War’s “Slippin into Darkness,” which paired with J.J. Cale’s “Travelin’ Light” to close the set. An encore of “Pilgrims” and Funkadelic’s “Red Hot Mama” closed out Night 1 of Widespread’s first show at The Capitol Theatre since 1991, and fans are pumped for what Saturday and Sunday night will bring. Stream last nights show courtesy of Panicstream.
Friday, March 22
Set 1: Let It Rock > Radio Child, C Brown, Dyin’ Man, Shut Up And Drive > Pleas > Henry Parsons Died, Sundown Betty > B Of D > Conrad The Caterpillar
Set 2: You Got Yours > Up All Night > Blackout Blues, Party at Your Mama’s House > Ribs And Whiskey, Steven’s Cat > Fishwater > Drum Solo > Drums And Bass > Fishwater > Slippin’ Into Darkness* > Travelin’ Light
Encore: Pilgrims > Red Hot Mama
Saturday, March 23
Set 1: Wondering > Mr Soul, Hope in a Hopeless world > 1×1, Christmas Katie > Good Morning Little Schoolgirl > Who do you belong to?, Though Sausage, Bowlegged Woman > Action Man > Bowlegged Woman
Set 2: Saint Ex, Hatfield, Ride me High, Stop Breaking Down, Machine > Barstools > You Should be Glad > Contentment Blues > Goin Out West, Chilly Water
Encore: Puppy Sleeps > Flatfoot Floozy
Sunday March 24
Set 1: Holden Oversoul > Makes Sense to Me, Let’s Get Down to Business, Little Lilly, Airplane, Jaded Tourist, Blue Indian, The Last Straw, Life During Wartime
Set 2: Lawyers, Guns and Money, Little Kin, Love Tractor, I’m Not Alone, North > One Kind Favor, Bust it Big, Mercy > The Other One Jam > I’m So Glad, Postcard, Ain’t Life Grand
Encore: This Part of Town, Low Spark of High Heeled Boys > Disco > Low Spark of High Heeled Boys, No Sugar Tonight/New Mother Nature
Phish bassist Mike Gordon brought his brand to Jersey City, NJ for a rocking St. Patrick’s Day’s show. The current lineup includes Gordon, guitarist Scott Murawski, drummer John Kimock, keyboardist Robert Walter (JJ Grey, Robert Walter’s 20th Congress) and percussionist Craig Myers.
Gordon’s band is nearing the end of a March tour that started in Atlanta, GA and moved up the East Coast. Upcoming dates include Buffalo, NY and Cambridge, Mass. The band will also play at Jazz Fest in April.
Jersey City’s White Eagle Hall was the venue for this rocking event. Originally built as a community center, this restored historic building is in the downtown area. On this night, White Eagle Hall was sold out and at capacity.
Set 1 began with the band entering to a roaring packed crowd. Mike showed off his matching illuminated bass with Murawski’s guitar. His funky, slappy bass playing transcended these songs, creating a rocking dance party. A cool multi-colored light show accompanied the music. The set ended with the high energy “Crazy Sometimes.” Set 2 picked up where set 1 left off. “Sweet Emotion” was the notable cover from the set. Elizabeth Nestlerode sat in with the band during the encore for “If You Want Me.” Nestlerode is a Broadway star in The Other Josh Cohen. The show ended on a high note with Jersey City anxious for more of the Mike Gordon Band.
Galactic brought their deliciously funky Already Ready Already Tour of NOLA Funk to Brooklyn Steel in Brooklyn, NY on Saturday, February 9 to promote their new album with the same title. The New Orleans-based group is one of the original jam bands from the mid-nineties. Their style is often described as a fusion of rock, funk, jazz, hip hop, r&b and electronica, and has evolved over time.
They often tour with a talented vocalist, and Erica Falls is no exception. The native New Orleans singer has a style that is rooted in vintage soul, channeling an earlier era. Erica reminders her fans that, “Vintage soul is not about bringing the listener back to a time of authentic music, it’s about reminding them that it never went anywhere.”
In addition to Erica Falls, Galactic brought their funky NOLA friends The Motet to open the show. The Motet released an album last month titled Death or Devotion as well. Singer Lyle Divinsky raised the band’s energy even higher with his exceptional stage presence at Brooklyn Steel, and got the crowd ready for Galactic.
At set break, the High and Mighty Brass Band entertained fans with marching band renditions of TLC favorites like “Waterfalls” and “Creep.” The High and Mighty Brass Band is still currently on tour opening for Galactic.
After the serendipitous first set and set break music, Galactic and Erica Falls took the stage with a bayou-flavored vigor that only Louisiana natives can possess. They played several tunes off of their new album, including “Ready Already,” “Clap Your Hands,” “Going Straight Crazy,” “Touch Get Cut,” and “Everlasting Light.” Ms. Falls lit up the stage with her dynamic and authentic vocals. Galactic showed their incredible improvisational skill with everything from saucy sax solos to funky guitar solos.
The High and Mighty Brass Band joined Galactic on stage again during the encore for “Buckit Like a Horse,” raising the level of funk just one more time.
Setlist
Ready Already* Higher and Higher* Heart Of Steel* Clap Your Hands* Fabuloso Going Straight Crazy* Hey Na Na* You Don’t Know* Doomed>Tiger Roll>Touch Get Cut* Coolin Off Medley Everlasting Light* Right On* Big Whiskers Tuff Love Dolla Diva* Buckit Like A Horse** Never Called You Crazy*
