Alanis Morissette has announced a 2020 tour celebrating the 25th anniversary of her album Jagged Little Pill. Fellow ’90s classmates set to join the tour are Garbage and Liz Phair. With a kick-off June 1 in Portland, OR, the tour is set to make 31 stops. Two of which will be in New York. They will take the stage on June 26 at LiveNation’s Northwell Health at Jones Beach Theater. On July 8, the alt-rockers will perform at SPAC in Saratoga Springs.
Ticket presales will start on Dec. 10 at 11 a.m. local time. The regular sale will follow on Dec. 13 at 11 a.m. local time. Fans can sign up here to be included in the presale if signed up by Dec. 8. All sales will include a digital download of Morissette’s newly released single “Reason I Drink.” Ticket holders also will receive a copy of the brand new album Such Pretty Forks in the Road, her first album since 2012.
Jagged Little Pill was Morissette’s third studio album and the first released worldwide. It went on to sell 33 million copies and win five Grammys and was recently turned into a Broadway musical.
Alanis Morissette 2020 Tour
Dates:
June 2—Sunlight Supply Amphitheatre—Portland, OR June 3—White River Amphitheatre—Seattle, WA June 5—Concord Pavilion—Concord, CA June 7—USANA Amphitheatre—Salt Lake City, UT June 9—Hollywood Bowl—Los Angeles, CA June 10—Ak-Chin Pavilion Phoenix, AZ Jun. 12—Austin360 Amphitheater – Austin, TX June 13—Walmart AMP—Rogers, AK June 14—Dos Equis Pavilion—Dallas, TX June 17—Midflorida Credit Union Amphitheatre—Tampa, FL June 18—Coral Sky Amphitheatre—West Palm Beach, FL Jun. 20—Ameris Bank Amphitheatre—Alpharetta, GA June 21—PNC Music Pavilion Charlotte, NC June 23—Coastal Credit Union Music Park at Walnut Creek—Raleigh, NC June 26—Northwell Health at Jones Beach Theater—Wantagh, NY June 27—Xfinity Theatre—Hartford, CT June 28—BB&T Pavilion Camden, NJ July 1—PNC Bank Arts Center—Holmdel, NJ July 2—Merriweather Post Pavilion—Columbia, MD July 3—Veterans United Home Loans Amphitheater—Virginia Beach, VA July 6—Bank of New Hampshire Pavilion—Gilford, NH July 8—Saratoga Performing Arts Center—Saratoga Springs, NY July 9—Xfinity Center—Mansfield, MA July 11—Budweiser Stage—Toronto, Ontario July 16—Ruoff Home Mortgage Music Center—Noblesville, IN July 17—Hollywood Casino Amphitheatre—Tinley Park, IL July 18—Hollywood Casino Amphitheatre—Maryland Heights, MO July 21—DTE Energy Music Theatre—Clarkston, MI July 23—Blossom Music Center—Cuyahoga Falls, OH July 24—Riverbend Music Center—Cincinnati, OH July 25—Bridgestone Arena – Nashville, TN
December is here, and that means Phish’s annual four night run at Madison Square Garden is right around the corner. And with those four nights of Phish come… Phish after-parties! CEG Presents has put together an incredible slate of post-shows that you’ll be looking to check out after emptying out on 7th and 8th Avenues following Phish. See below for details on all the great shows you’ll find starting late, December 28-30, plus a special NYE show from The New Mastersounds!
John Medeski and Billy Martin (Medeski Martin and Wood) will come together with Scott Metzger (JRAD) and Nels Cline (Wilco) for the first time, one night only, for an evening of improvisational music after Phish performs at Madison Square Garden on December 28.
An eclectic jam/funk band, infusing deep psychedelic grooves with improvisational techniques. The ambitiously crafted keyboard mastery, expressive saxophone and immaculate guitar shredding meld into a dynamic fusion. Lean more about The New Motif.
Pink Talking Fish provides their own original musical concept by combining the songbooks of Pink Floyd, Talking Heads and Phish to create a unique experience for live music fans. The band has added to this concept over the years by adding a 4th Act such as David Bowie, Grateful Dead, Michael Jackson and more. They have also performed complete albums while intertwining songs from the other 2 Acts into the mix. On December 29 at Gramercy Theatre, PTF will unleash one of the most exciting concepts to date: Pink Talking Fish Are Beastie Boys! This will be a fusion of Pink Floyd, Talking Heads, Phish AND Beastie Boys.
Joining the band will be DJ Logic, who will be assuming the duties of Mix Master Mike and also adding his flavor to songs from the other 3 Acts. PTF will also be performing ‘Dark Side Of The Moon’ for a NYC Phish After-Party on December 28th, also at Gramercy Theatre. This will be a full rendition of the Pink Floyd album with Phish and Talking Heads songs intertwined through the album cuts.
Anybody who’s seen Marco Benevento perform will attest, with eyes closed, smile wide across his face and fingers free-flowing across the keys, he’s a satellite to the muse. With a devout and growing fan-base, Benevento is an artist whose story is only beginning to unfold..
– Sunday December 29 – Hill Country
The music of The Grateful Dead transcends time, age and space. Their high energy, soul-touching jams, and family-like environment were central to the counter-culture experience. Over the past 19 years Dead Sessions has grown to become one of the favorite Grateful Dead experiences in the Northeast. Playing since 1998, the collective is known for their authentic but unique renditions of Grateful Dead classics, thick with spiritual connectivity and heartfelt jams that make the most jaded Deadhead rejoice. Dead Sessions is composed of a rotating cast of musicians throughout the country, but the roots of origin are easily traced to the Green Mountain State. With an unmasked joy that pours off the stage and blurs any boundaries with their audience, the Sessions are beloved by all from the casual fan to the dedicated Terrapin warrior.
Monday December 30 – (le) poisson rouge
On December 30, Greenwich Village venue (le) poisson rouge will host Electric In The Village: Ryley Walker, Chris Forsyth, and Garcia Peoples. Guitarist/songwriter Chris Forsyth got his start in Brooklyn’s experimental circles in the early 2000’s, and as the bandleader of Chris Forsyth & the Solar Motel Band, channeled both the psychedelic jamming of the Grateful Dead and the precision of art-punk guitar acts like Television. Illinois-based fingerstyle guitarist and singer-songwriter Ryley Walker adds new flavor to the series; his music has been described as fingerstyle ballads, psychedelic waltzes, and raga-inspired blues. Garcia Peoples is the Brooklyn Sextet blasting through residencies and new songs and sessions and collaborations, leaving a trail of live tapes in their wake, and scaling ever upwards.
– Tuesday December 31, 2018 – Gramercy Theatre
The New Mastersounds have been delighting audiences with their infectious brand of funky soul-jazz since they formed in Leeds in 1999. For the first five years of the band’s career they were regulars at the Jazz Café in London, before they began to turn heads on the funk scene in the US, where guitarist/producer/bandleader Eddie Roberts now lives. For over a decade they have been a staple act of the late-night scene during New Orleans’ annual Jazz Fest.
Though they have collaborated over the years with such musical luminaries as Maceo Parker, Fred Wesley, Corinne Bailey Rae, Art Neville, Bernard Purdie and Lou Donaldson, they are at their best on stage as a tightly-packed quartet – bass, drums, guitar and keyboards – firing scorching grooves off each other and feeding on the energy of the dancers in the front row.
A documentary capturing the final years of Blind Melon frontman Shannon Hoon is slated to be released in 2020, per Variety. Both Double E Pictures and Live Nation Productions were recently added as executive producers for the film, which was created using more than 200 hours of the late singer-songwriter’s home videos from Grammy-winning videographer and acclaimed photographer Danny Clinch. Hoon and Clinch were close friends, and Clinch co-directed the documentary alongside Taryn Gould and Colleen Hennessy. Find out more info here.
“We realized that we basically had all these videos of a guy who was videotaping himself obsessively for five years from before he was famous up until really the day of his death,” Clinch told Variety. “It was the dawn of technology where people started to film each other, and he was way ahead of the curve in a way. It’s kind of one of the earliest moments of someone who was self-archiving his own life.”
Hoon died from an overdose at age 28, following the monumental success of Blind Melon’s 1992 eponymous debut.
“He was really an endearing character,” Clinch told Rolling Stone in 2015. “He could just become your best friend right away. His energy was great. He was really creative and super friendly. He definitely liked to have a good time and he enjoyed the rock and roll lifestyle for sure.”
A Kickstarter was launched in 2015 for the documentary, which has been in the works since then, and has been screen at Tribeca Film Festival and the International Documentary Film Festival in Amsterdam.
Crumb played some of their classic songs and sold out the Music Hall of Williamsburg on Friday. The show opened with sets from the groups of Shormey and Divino Niño. Both had a similar wavy, indie sound similar to Crumb. Divino Niño delivered a spectacle of a performance with an excess of dancing and tossing roses; their showmanship rivaled that of the headliner.
Crumb donned the stage to “Sweet Escape” and kicked off the show with “Cracking,” the opening song to their full length album Jinx. Lila Ramani delivered her signature sweet vocals and dreamy guitar licks. At some point, she brought balloons to the front of the stage and emptied a water bottle on the crowd. For their encore, Crumb played one of their most popular hits, “So Tired.” When the song picked up, everyone from the opening acts burst on stage to play and dance together.
When you think of a band still touring and releasing new music nearly 30 years since their debut, you might think there is a lengthy discography behind them. That is not the case for Tool, who have just released their fifth studio and first new album in 13 years, Fear Inoculum and performed at Barclays Center. When asked by BBC Radio 1 why it took so long for Tool to follow-up 10,000 Days, Maynard James Keenan cited “crippling self-doubt” about living up to the expectations placed on the band and “paranoia” that the album would not be as good as it could be. After all, their four preceding albums make up one of the most highly regarded discographies in metal.
On Tuesday night, the Fear Inoculum tour hit Barclays Center in Prospect Heights, Brooklyn for a sold out and much anticipated show. Tool have been touring steadily the past five years (this was the first stop in NYC since their headlining Governor’s Ball set back in 2017), but for the first time in more than a decade, the band was directly supporting a new LP.
UK post-punk band Killing Joke provided the support, playing to less than a half-filled room when the took the stage, but by the time the opening set finished, the arena was packed and the buzz in the room had hit a fever pitch.
Fans were made well aware of the band’s strict “No Camera” policy via notices taped to seats and security guards carrying signs echoing the rules. The intention was to prevent fans from distracting from the live experience and forcing us to live in the moment; a sentiment that should be more commonplace at modern shows. The policy was heavily enforced by security as a steady stream of fans were ejected throughout the night and flashlights constantly scanning rows of seats for phones. The enforcement in some sections turned out to be more of a nuisance than its intention, and was ultimately undermined during the last song of the night, “Stinkfist” as Maynard told security to “stand down” to allow fans take some photos.
As far as shows at Barclays Center, the sound tends to be an issue. Much like the NY Islanders had great trouble adapting the arena to a hockey stadium, sound engineers frequently struggle with the mix, especially in the upper bowls. This was not the case whatsoever for Tool on Tuesday. The engineers came up with a perfect mix that was crisp and had a lot of depth, even in the upper bowl. Every element of Dan Carey’s massive drum set was as clear as it could be, and the deep, boomy bass filled the air. I have never experienced better sound in that arena, and with Tool’s detailed and complex music, it was certainly necessary to achieve perfection.
Drummer Dan Carey is one of the more influential drummers in modern music. His vast drum set is the centerpiece of the stage and he plays with an ease and style that is mesmerizing. Tool are known for odd and complex time signatures, all of which are glued together by the percussionist. The encore began with Carey commanding the stage all by himself. A long gong solo served as a prelude, followed by Carey layering the frenetic and dystopian electronic loops of “Chocolate Chip Trip” before sitting back at the drum kit and ripping off a tight solo. This small part of the show by itself was an intense prog journey that reflects the complex history of Tool.
It was also abundantly clear that the band was very happy to be touring and playing new music again. During “Jambi,” guitarist Adam Jones crossed the stage to give bassist Justin Chancellor a big hug and a quick laugh and during new song “Invincible” the two leaned against each other as they jammed away. Maynard, who is known to dress in concealing costume and hide in the shadows behind the drum kit, was now on well-lit and elevated platforms; still keeping towards the back but in plain view the whole time. At one point, he went over to Adam Jones’ set-up, unplugged one of the Marshall amps, and carried it across the stage and up the stairs to his platform to be used as a stool.
Tool delivered a career spanning set, playing songs from all of their releases except Undertow (which was represented at other stops nearby). Before playing “Part of Me” off the 1992 EP Opiate, Maynard told the crowd that the song was written before anyone 30 years old and younger “were even sperm yet.” The new songs off Fear Inocolum seamlessly mixed with their classics and it cannot be understated how full and crisp everything sounded. The light show was also impressive, with massive LED screens showing imagery from their groundbreaking music videos, and well timed lasers to amplify the experience. A curtain made of long individual threads was at times in front of the band while a secondary light show was projected onto it. This added another layer of depth to the staging, but also cast interesting shadows onto the band members.
Before playing “Stinkfist” to end the night, Maynard welcomed longtime collaborator and artist Alex Grey onto the stage to received a warm ovation from the crowd. Alex designed Tool’s iconic album covers and his art is a fundamental part of the live stage show.
The Fear Inoculumtour continues through the New Year, with west coast dates in January and Australia/New Zealand dates in February. This show should not be missed. A band that many thought would not release another album have proven again that they are still one of the most formidable bands in the world.
Setlist: Fear Inoculum, Ãnema, The Pot, Parabol, Parabola, Pneuma, Schism, Jambi, Vicarious, Part of Me, 46 & 2.
The folk, acoustic-pop siblings from Maine, Oshima Brothers, dropped their new single “Lost at Sea,” Friday, November 22. Inspired by the vastness of the ocean, the song plays like rolling waves, rocking you into a peaceful state with their beautiful harmonies and gentle guitar playing. It’s a lovely song to unwind to, to listen to the verses as they tell a story of love and loneliness.
In a recent show at Caffè Lena, the two brothers spoke of how their music is greatly influenced by the natural world around them, and they marvel at the fact that we are all connected underneath the same night sky, the same constellations linking us to one another.
Oldest brother, Sean, effortlessly tackles opposing roles of the band’s songwriter, publicist, business manager, stylist and chef, while his younger counterpart, Jamie, handles all producing, engineering and filmmaking. Sean sings, plays harmonica, rhythm guitar and cajón, while Jamie plays electric guitar, bass, drums, keys, mandolin, banjo, and fiddle, all while harmonizing vocals. This makes the pair a true statement of DIY music – making what they love on their own terms.
Fast-rising indie-rock band Goose kick off 2020 with two sold out NYC shows, and then fly west to join Pigeons Playing Ping Pong for 13 shows on their first ever West Coast tour. The Norwalk, CT based group has taken flight this year, with notable performances at Peach Fest and sold out shows throughout their Fall Tour.
Not only will Goose open for Pigeons to start 2020, they’ll be on the Rock Legends Cruise, setting sail in late February, then head to Pelham, TN to perform at The Caverns for a PBS special.
January 24 — New York, NY January 25 — Brooklyn, NY February 5 — Tempe, AZ* February 6 — Solana Beach, CA* February 7 — West Hollywood, CA* February 8 — West Hollywood, CA* February 12 — San Luis Obisbo, CA* February 13 — Santa Cruz, CA* February 14 — San Francisco, CA* February 15 — San Francisco, CA* February 16 — Crystal Bay, NV* February 19 — Eugene, OR* February 20 — Bend, OR* February 21 — Portland, OR* February 22 — Seattle, WA* February 28-March 1 — Rock Legends Cruise March 27 — Pelham, TN April 16 — Asheville, NC April 17 — Raleigh, NC April 19 — Baltimore, MD April 22 — Syracuse, NY April 23 — Philadelphia, PA April 25 — Boston, MA April 26 — Boston, MA
Confessional indie rock musician Roan Yellowthorn (aka Jackie McLean) has released her new holiday single, “I’ll Be Home For Christmas.” Listen on all platforms here or below via Spotify.
Photo courtesy of roanyellowthorn.com
Having released her debut studio album Indigo on Blue Élan Records in 2018, “I’ll Be Home For Christmas” follows her previous holiday single, “River” (featuring Car Astor), which was released on November 1.
‘I’ll Be Home For Christmas’ was recorded at Clearlake Studios in North Hollywood, CA. Accompanied by Ty Bailie (Katy Perry), this indie reworking of the classic is ethereal, moody, and melancholy, evoking at once both the wonder and nostalgia often felt during the holiday season.
Roan will celebrate the release of her new singles with a showcase at Rockwood Music Hall on November 23 and will perform an Official Showcase at SXSW in Austin TX in March 2020. Full tour dates can be found below
Philadelphia indie-rock trio, Moonroof, will officially release their new music video for “Trojans,” tomorrow – Friday, November 22. The band has set their sights on conquering the music scene, recently winning Radio 104.5‘s 12th Birthday Show, sharing the stage with The Lumineers, Death Cab For Cutie and Grouplove. The 2016 Bloomsburg University inception wrote “Trojans” this past spring and debuted the single in August.
Unlike the Greek folklore, Moonroof’s release is more synonymous to a lego-horse, or one dressed in vibrant-drag. “Trojans” music video flips the famous tale inside-out, as if the trio is mocking themselves, unconcerned with its reception; they’re focused on their target.
As lead vocalist Dave Kim walks his band into a movie theater, prior to “Trojans” taking the screen, there is a clear smirk and airiness of joy across his face. After prompting the audience, it is comical that the band does not care if their video is well-received.
Guitarist, Danny Walsh, and Drummer, Dan Rendine, carry the airy-spring groove the against a white-windowed, underwhelming backdrop. How long did it take you to figure out the trio is missing a bassist? The track release, onset of winter, is ironic but refreshing. As the movie-theatre crowd moves out one by one, the band continues to groove on the pop-electronic narrative, increasing with feeling.
According to the press release, “‘Trojans’ entails a story of betrayal and heartbreak through a personal experience…the anthem that gets you hyped to finally break off that toxic relationship that’s holding you down.” However, Moonroof is onto something bigger here; Make fun of yourself when nobody else will (deliberately) – have fun – be happy – live. And most importantly – follow your dreams.
Legendary art rockers The Residents, in collaboration with celebrated video artist John Sanborn, will perform their epic 1988 album, God In 3 Persons, at The Museum of Modern Art in New York City on January 24 and 25, 2020. The performances will include eleven performers, featuring a live seven-piece music ensemble. Audiences will witness the terrifying gospel of Mr. X and The Holy Twins, brought to life by legendary SF-based art rockers.
The story of God In 3 Persons will be told using lurid multi-layered video projections created by Sanborn while The Residents provide live accompaniment with vocalist Laurie Amat.
God In 3 Persons will be directed for performance by Travis Chamberlain with musical direction by Joshua Raoul Brody and puppetry and background design by Leigh Barbier. Steve Saporito produces.
In this propulsive and brooding rock oratorio, The Residents’ anonymous lead singer, performing as Mr. X, preaches of his encounters with a pair of ambiguously gendered conjoined twins (portrayed on video by noted genderqueer porn star Jiz Lee). Their physical union has magical healing powers…or so he claims! A confession of faith-mongering complicated by a crisis of desire, God in 3 Persons functions as a darkly twisted cautionary tale about the risk of losing yourself in the process of refusing to accept others in their entirety.
God in 3 Persons is sung in rhythmic spoken word fashion, similar to the talking blues, and driven by a bombastic and dynamic score derived entirely from the first few bars of the hymn “Holy, Holy, Holy,” along with the melodic hook from the Swinging Medallions 1966 hit “Double Shot of My Baby’s Love.” Despite being one of their most critically successful albums and a fan favorite, God in 3 Persons has never toured as a concert or live performance.
Performances are January 24 and January 25m with tickets $12 for the general public and free for museum members. Tickets will go on sale at MoMA’s website on January 10 at 9:30 am (for the Jan. 24 show) and January 11 at 9:30 am (for the Jan. 25 shows).
Special merchandise is available through an IndieGoGo set up by The Residents for the upcoming performance at MoMA.
Since their first official release, Santa Dog, in 1972, The Residents have released over sixty albums, numerous music videos and short films, three CD-ROM projects, and ten DVDs. They have undertaken ten major tours and scored multiple films and are considered pioneers in exploring the potential of CD-ROM and similar technologies, having won several awards for their multimedia projects.
Ralph Records, a record label focusing on avant-garde music, was started by the band. Throughout the group’s existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails — a long-lasting costume now recognized as its signature iconography.
In addition to their groundbreaking work in the areas of trance, world fusion, electronica, punk, industrial and lounge music, the group has also been credited with being among the originators of performance art and music video. Two of their videos are in the permanent collection of the Museum of Modern Art and their Freak Show CD- ROM has recently been featured in MoMA’s “Looking at Music 3.0” exhibition. The Theory of Obscurity, a documentary about The Residents, premiered at SXSW in 2015.
