The album Cash Cabin Sessions, Vol 3, which features vocals by Jason Isbell on one track, goes back to Snider’s more quiet, folk-based roots. While he composed the lyrics for the songs in Stinson Beach, California, the melodies to the songs came to him behind Cash Cabin.
Todd Snider
The album as a whole can be attributed to a list of things that are happening in the world, told in the form of satire with songs about reality TV, the government and just the conspiracy of it all. Calling this album a nod to the world we live in is perfectly conveyed throughout in songs like “Talking Reality Television Blues,” “The Blues on Banjo” and “Framed.”
With the influence of Johnny Cash on his side and, of course, his recording studio, courtesy of Cash’s son John Carter Cash, Todd Snider really taps into the essence of the legendary musician with his Cash Cabin Sessions, Vol. 3.
Snider cites working in the studio and actual reoccurring dreams of Johnny Cash that he had that led him to record in this studio in 2016 and 2017 with his supergroup Hard Working Americans. This, however, is his first solo album produced here.
NYC alt pop duo, BHuman, have shared their stunning video for “Goodbye,” which premiered exclusively on Billboard this week, who highly noted the “whimsical, avant-garde” nature of the video.
“Goodbye” is a playground loaded with giant puppets, massive wigs, a bunch of costume changes and a whole lot more. While the duo looks stunning in their own right, the addition of dance group Visceral Abstraction and the bold puppet outfits from Chromatico, takes the glamor to a whole new level.
“Goodbye” is a breakup song turned 180. Billie Lloyd, a musician, composer and producer, and one half of the power duo, said she channeled her feelings of frustration with the emotionally charged lyrics, while Harrison Scott helped turn the song on its head and create an anthemic, confident statement.
Bhuman’s work is an emotional journey through absorbing melodic hooks, intimately hushed vocals, chill-step beats and chiming synth tones. Not straying far from their interwoven message of sexuality, gender and self-acceptance, “Goodbye” is universally relatable to fans no matter what their specific situation might be. BHuman emphasize the human experience and remind fans that, no matter what they are going through, it is this human quality that keeps them interconnected and never alone.
“Even if you’ve never transitioned or questioned your gender before, you can still understand the themes of what I’m going through or what Harrison is going through,” Lloyd explained.
BHuman kicked off 2019 with NewNowNext including them in their list of “6 Transgender and Non-Binary Acts to Add to Your Playlists.” As the lead single off their self-titled first EP, “Goodbye” is the follow up to “Safe” and continues the process of carefully unveiling BHuman’s musical vision.
When you’ve won four Blues Music Awards, been inducted into the Blues Hall of Fame, nominated for a Grammy, and are a W.C. Handy Award recipient, your mark on the world of blues is pretty much set. Add a close friendship with B.B. King, James Cotton and Willie Dixon, and you get a glimpse into the life and career of a Blues Master: Mr. Joe Louis Walker.
Named “A legendary boundary-pushing icon of modern blues” by NPR, Walker started playing the guitar as a young boy, growing up in the Fillmore District of San Francisco in the early 60’s. Now living in the Hudson Valley for the last 10 years with his wife Robin, Joe has a non-stop schedule traveling the world; touring, writing, recording, and producing. I sat down with Joe after sound check at The Towne Crier in Beacon, N.Y. The band had just gotten in from Buffalo N.Y. and was wrapping up a few dates in the U.S. before heading off to a remote island in the Caribbean for a blues festival.
Charles Sullivan the promoter, he would give us free tickets. So we got to see the Temptations, the real Temptations. We got to see James Brown when he got a brand new bag. I got to see Little Richard with Jimi Hendricks on guitar. I got to see all of that sh#t for FREE! And plus, I got to play the Fillmore.
Mickey Deneher:Your career, over 50 years?
Joe Louis Walker: About 53 years. I’m 69 now. I turned 69 on Christmas (2018). I’ve been playing since about ’61. I joined the union in 1964. I joined the musician’s union. Been a union man all my life. Been living on my own since I was 16.
Joe Louis Walker
MD: You started playing music at a young age. What brought you to the guitar?
JLW: Well the guitar, when I was a kid, was the most accessible instrument, as it is now. The guitar was, when I was 12, 1962, only something you could look at. I went to a catholic school and at that time, you could check instruments out. If you had an aptitude, a little bit of an ear for the talent, they would nurture it. If you really had a talent, you would make a deal with your parents and they would rent you an instrument. Rent you an instrument. Not buy you one. Rent you one. With renting the instrument, come lessons. So I first rented, I checked out the violin when I was about 9, cause I could carry that home. But I really couldn’t make too much (out of it) when you’re fixated on that sound; that electric sound.
My parents had a temporary split and we ended up moving to the Fillmore District, and my world began. We moved to the projects, me and my mom and all of five kids, all of us. One project over, one housing (project), my cousins. I hadn’t seen or hung out with my cousins too much. But the first day I go there, they are on the 3rd floor of the projects; 3rd floor! I walk from the first floor. I am going to walk up three floors. You don’t want to catch the elevators. That’s where a lot of stuff goes on. All the way on the 3rd floor, all the way, the first floor to the third floor, wall-to-wall girls. Just standing and listening to my cousins play. I’m like; I am definitely going to do this now. [Laughing] Wall to Wall!
Dorian Randolph, Bruce Bears, Joe Louis Walker, Lenny Bradford.
MD: Ulterior motives!
JLW: But just to know, that there was something that we could do as young guys and make a few bucks. Buy our school clothes. Become popular without being jocks. Without being serious gang guys.
We literally, had the whole thing for ourselves. Of course there were bands all in the area. There was Sly’s (Sly and the Family Stone) brother Freddy Stewart who had a band with my cousin Ted Weisinger; Freddy Stewart and the Stone Soldiers, one of the big bands in San Francisco. This was before the hippies came to San Francisco. The hippies didn’t come till ’62, ’63, ‘64. I was in the Fillmore district in ’61, ’62. I was 12 years old in ‘62. I was lucky because there was this convergence among all the soul groups. The Fillmore at that time was like Harlem in the Renascence. It was, I would say, 75% African-American, huge amount of Japanese, a nice amount of Chinese and different, various people.
When the hippies came in to the Fillmore Auditorium, in it was sort of interesting because me and my cousins and all of us had been playing the Fillmore since we were young. That’s where we would have our battle of the bands. I went to junior high school a block from the Fillmore Auditorium. So we used to have our rehearsal there, battle of the bands there. Then, if we clean up some times, Mr. Sullivan who owned the Fillmore, Charles Sullivan the promoter, he would give us free tickets. So we got to see the Temptations, the real Temptations. We got to see James Brown when he got a brand new bag. I got to see Little Richard with Jimi Hendricks on guitar. I got to see all of that sh#t for FREE! And plus, I got to play the Fillmore.
J. Geils, Joe Louis Walker
So when the hippies came there it was like ok, you know, I am cool with this. But as somebody said, very adroitly, they said “you know one of the best things to happened for a lot of the old rock and roll and blues guys was the English invasion, because they brought back interest in them.” But it was also one of the worst things to happen. Cause they put all their heroes out of work. The English guys did not mean to do that. That is not what they started for. There was like maximum R&B. That was, their heroes. That is not what they were about. Period. To note that it turned out that way, was a real drag. That is not what John Lennon and Mick Jagger and all those guys were about. They just weren’t about that. The Yardbirds, they just weren’t about all that. But that’s what it sort of turned into.
But, be that as it may, I was fortunate to be able to see all the Fillmore stuff, then play at the Fillmore. When Graham owned it; Bill would let me come any time I wanted. So I got to see all the shows.. I was fortunate to becoming up in all that stuff. It wasn’t just that; it was the young guys who were finding their musical paths.
MD:At 16 you had a name in the San Francisco music scene. Who were you were playing with?
JLW: Lowell Fulsom, Troyce Key, Percy Mayfield, Erle Hooker. You name it, I backed everybody. Katy Webster, Sly, (Mike) Bloomfield. John Lee, Earl, just on and on, and on and on. I played with all the hippie groups. I was in Blue Cheer, The Oxford Circle. We did a little fusion stuff with some other groups later. The coolest thing about that time, and that place, was that everything was progressing at the same time. What people wore, what people thought, the way the people responding to old mores, the Vietnam war, Richard Nixon, interracial marriage. Everything was happening at the same and the biggest thing I think, was what we invented in the United States in the San Francisco area, was FM radio. That was the biggest thing. Cause without FM radio we’d still be listening to The Monkees, 2 minutes, 40 seconds.
MD:You’re right. Wow, I did not think of that.
JLW: And jam bands.
MD:It wasn’t just blues, experimental, psychedelic.
JLW: It was so much. Oh my God. You could literally go out every night, hit three spots a night… You go to the Avalon Ballroom, The Family Dog (Ballroom), go see John Mayall with Mick Taylor and Muddy Water’s with his band, Big Mama Thorton. Go to the Fillmore, maybe see an Airplane with Quick Silver and Charles Lord Quartet, and Howlin’ Wolf. Four acts, that’s all in one night. That’s all in one night! Then you go to clubs after that.
Joe Louis Walker
The 60’s counterculture movement brought hippies, flower power and alternative life styles to the bay area. While the 70’s found San Francisco awash in a psychedelic haze. Walker made a conscious decision to take a detour from the 70’s status que and attended San Francisco State University, where he earned degrees in both English and Music. “It (was) important for me. Because it was something I started and didn’t finish.” Joe says. Applying his personal growth directive to music, Joe joined the gospel group The Spiritual Corinthians, in 1975.
MD:You went into Gospel. You did that for 10 years?
JLW: Longer than that.
MD:When I think about gospel, to me there is a blues base, a bluestone, that feeling.
JLW: Look at it like this: Gospel, Blues, and Soul music. Just take a for instance. For instance, in blues I mean B.B. King. I don’t mean Eric Clapton. No disrespect to Eric Clapton, ok. In blues, that is the template. Or Howlin’ Wolf. Say B.B. King, cause B.B. to me always was, and I used to have fun telling him this, “you’re just a gospel singer in a blues singer’s body.” When he was young, cause he hit all the high notes, his range was limitless.
JLW on B.B. King, Blues and Soul:
So you take a B.B. King for blues. So you take for soul music (pauses for a second), Sam Moore. Just a voice that’s just wicked, or Al Green. And say in gospel music, you take somebody like my friend, Clarence Fountain (Blind Boys of Alabama). When you have those three, all those three guys are cousins. I could take Bobby Blue Bland and interject him into soul, he wouldn’t miss a step, wouldn’t miss cause he helped invent it. I could take Sam Cooke and interject him into blues. Sam Cooke had a number 3 record; hit record with “Little Red Rooster.” A lot of people don’t know that and it’s cool. I could take Sam Cooke and interject him into soul, wouldn’t miss a step. I can take Sam Cooke, of course, interject him into gospel, wouldn’t miss a step. I can interject B.B. into gospel, wouldn’t miss a step.
Joe Louis Walker, Lenny Bradford
But now I could not interject Eric Clapton into gospel. No disrespect. I could not interject Joe Bonamassa into soul music. I can interject him as a player. But I couldn’t interject him in like Bernie Worrell or Catfish (Collins); Bootsy Collin’s brother; or someone like Jimmy Nolen who played with James Brown; or Freddy Stewart, Sly Stones brother; or Bobby Womack. I’m sure he could play all that, don’t get me wrong, but that style of playing within itself is the total opposite of this (Joe motions moving fingers all over a guitar neck at rapid speed.) Cause when you playing soul music and gospel, you are playing as an accompaniment to the voice. The lyric of the song is the star. Everything else is secondary. With blues now, and I should say blues rock, because its changed. It used to be, which it just blows your mind, go home and put on any record you like. Put on “Little Red Rooster” by Howlin’ Wolf, put on “Boom, Boom” by John Hooker, put on “Baby What You Want Me ToDo” by Jimmy Reed, put on “Got My Mojo Workin’” you will not hear one solo. You might hear four, five notes; but you are not going to hear (Joe makes sounds like a cacophony of notes played at lightning speed.) That is sort of what a lot of stuff has morphed into now. So when it’s morphed into that, and it’s morphed into screaming as loud as you can, singing as loud as you can, with a lot of fake ass emotion. I’m sorry I grew up in the same project with Etta James, I grew up in the same projects man. She never screamed on “I’d Rather Go Blind.” In that particular song she doesn’t scream. She really doesn’t.
Joe Louis Walker
So I guess we all have our points of reference. We all have what we feel moves us. The same things, it moves me all my life. Once I heard the Wolf, I loved it. I loved it just as much now. When I heard “Satisfaction” I loved the song then, I love it now. But blues has morphed, you know it’s just morphed into more of a me thing, as apposed to a we thing. Muddy Waters was great. But he sounded really good with Little Walter, he sounded really good with Otis Spann, you know what I mean. He sounded really freak’n good with Willie Big Eyes Smith. When he didn’t have Willie, when he didn’t have Otis Spann what did he do? He got Pinetop Perkins!
Those guys could literally solo over each other and not step over each other. They could solo a little during the song, but not step on each other. That it was all about we. A lot now is about me. It’s about the individual. That’s sort of the way the music business has morphed.
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While attending the New Orleans Jazz and Heritage Festival with The New Corinthians in 1985, Joe had an epiphany that the blues were his calling. He realigned his musical direction and has not looked back. His resume of musical accomplishments include 25 albums to date and countless guest appearances supporting the likes of B.B. King, James Cotton, Branford Marsalis, Peter Green, Elvin Bishop, Issac Hayes.
Joe’s latest project is Journeys to the Heart of the Blues. An acoustic blues album nominated for two 2019 Blues Music Awards (Album Of The Year, Acoustic Album.) Joe recorded with renowned keyboard player and fellow Hudson Valley resident Bruce Katz (Greg Allman Band,) and next-generation British harmonica ace Giles Robson. The album is out on Alligator Records throughout North America, Australia, New Zealand and Japan. Munich Records, a division of V2 Records Benelux, will release it in all other territories. The sessions were recorded at NRS Studios in Woodstock.
Joe Louis Walker, Bruce Katz, Giles Robson
Mickey Deneher:You are recording now, correct?
Joe Louis Walker: My album. We are about three quarters finished. A double album.
Joe’s upcoming album is chock full of his friends who he’s has played with over the years. The list includes: Juma Saltan, Mitch Ryder, Jesse Johnson (The Time), John Sebastian, Dion DiMucci, Ray Walker (one of the last living Jordanaires), David Bromberg, Carla Cook (Sam Cook’s daughter), Bobby Will, Charlie Harper (UK Subs,) Waddy Wachtel, Keb’ Mo’, and Jorma Kaukonen.
MD:I saw one of your recording credits is as a primary artist on William Shatner’s “Shatner’s Claus: The Christmas Album”
JLW: Yeah. We are getting ready to make a blues album next year. Going to beam us up baby. For me it’s sort of a double-edged thing. Because it’s amazing that now the blues are so popular, that literally, Captain Kirk, he done run out of universe, but he’s into blues music, and who’s he talking to? Joe Louis! I’m trying to give him a little bit of insight cause he’s very serious.
I just tell anybody that asks me; this is not about the notes. It’s not about the vintage guitar. It’s not about the tour bus. It’s not about the $5,000 Armani suits, with the $500 shades at the Royal Albert Hall. It’s not any of that. It isn’t. This here, comes out of suffering and what it is, its the social studies in survival and how to deal with adverse circumstances that are state sponsored and you have to deal with it. That’s what the blues came out of.
Catch this legendary bluesman and his band at The Egg in Albany on March 13th with The Robert Cray Band; March 21st at City Vineyard, in NYC; and March 22nd at Live at the Falcon, in Marlboro N.Y.
Lenny Bradford, Joe Louis Walker, Bruce Bears, Dorian Randolph
Vignettes of heartache, redemption, hometown joy and drama fuel Anything, Everything, the sophomore album from the Connecticut-based pop-punk band Say What You Will. Hailing from New Haven, the band is Christine Sabol on bass guitar, Shane Emery on vocals and lead guitar, Chuck DeFilippo on drums and Ethan Griffeth on lead vocals. Amongst changes in personnel and other identity shifts since 2017’s Seconds to Home, the new album is a work of passion and exploration, sure to excite longtime fans and attract new ones. The band supported the album release by debuting their music video for the feature track, “Southbound,” in late February.
Drawing from the likes of State Champs, Grayscale, Sleep On It and others, Say What You Will found a way to create a distinctive, unique sound while paying homage to their influences. Recorded with Chris Piquette at No Boundaries Studios in Rhode Island, the record marks a new age of growth and maturation for the band. Anything, Everything is set to release on all platforms next Friday, March 15.
“We’ve always tried to incorporate so many influences into our music, and I think that this time around we were more focused on making something that sounded like us.”
Shane Emery
From the start, “Break Away” pulls listeners in, skipping casual orbit and launching them directly into the fiery atmosphere of Anything, Everything. The restrained, energy-building intro showcases the band’s chemistry by allowing Griffeth’s expressive voice to sit on top of the rhythm, culminating in a quick stop and explosion of layered melody sure to get peoples’ bodies moving.
Moving on, it’s clear that a key strength of the album is how it dynamically shifts between the blasting, yell-along, triumphant choruses and the sensitive, yearning reprieves. “Carolina” stands apart as a pop-punk ballad, an ode to a specific place and time, displaying Emery’s journeying, skilled guitar and the interplay between drums and Sabol’s bass. The record picks up the pace again in “Lake Zoar,” filled with jump-along moments.
Distinct from the instrumentation of each song, there are the stories Griffeth shares through emotive vocals and heart-wrenchingly piercing lyrics. “Summer Haze” ends the album with a story of a woman who’s struggled with helping her significant other with drug addiction. Inspired by heroin epidemics in Griffeth’s hometown, the song is the band’s plea to shine a light on dark moments.
Anything, Everything has all the elements of what makes a great pop-punk record, though it doesn’t stop there. The album represents a refined and redefined sound identity for the group. Listeners will always find their way to the catchy hooks, the grooves and breakdowns in the songs that feature boundary-pushing infusions from other genres. Say What You Will has put all their cards on the table, successfully creating something unique and inspiring. Pop-punk fans will find plenty of value and perspective from picking up this album.
*Anything, Everything Release Show*
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[accordion title=”April 6: Pauly’s – Albany, NY” load=”hide”]April 15: Encore Live Room – Dayton, OH
April 16: Evolution Music – Downers Grove, IL
April 17: Laundry Room – Nashville, TN
April 18: The Depot – Baltimore, MD
April 26: Ralph’s Diner – Worcester, MA
May 3: Cianfano’s – Elizabeth, NJ
May 4: The Barbary – Philadelphia, PA[/accordion]
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Photo: Megan Greer
Listen to Anything, Everything and learn more here.
Marco Benevento’s performances are a lively experience to watch in any setting. Alongside bassist Karina Rykman and drummer Andrew Borger, Marco puts on an unpredictable show with a range of originals and unique deconstructed cover choices. With a history of performances with Garage a Trois, Benevento Russo Duo, G.R.A.B., Joe Russo’s Almost Dead and Bustle in Your Hedgerow, Marco is a master on the keys and a treat to see live, and today you can see a performance from Marco in 360 degrees.
So get your Virtual Reality headset on (or your tablet or smartphone) and get ready to bust out some dance moves with Karina and rock out on stage with Marco and drummer Dave Butler. This 360 experience comes courtesy of C&C Media Group, Marco Benevento, Royal Potato Family, and Ardmore Music Hall who collaborated as a way to say THANK YOU to fans by giving them an immersive 360 concert for free.
Watch “Bus Ride” from Marco’s September 22, 2018 show at Ardmore Music Hall in Ardmore, PA. Want more? Subscribe below to see the full show and tune into Set 1 and Set 2! (360 videos are best watched in 1440p on a tablet or mobile device, but are available up to 4K! If you have Google Cardboard, click on the Cardboard icon in the lower right.)
March 9 – Woodstock, NY – Levon Helm’s Barn (SOLD OUT) March 29 – New Orleans, LA – Hogs For The Cause April 26 – New Orleans, LA – Blue Nile April 27 – New Orleans, LA – Tipitina’s May 1 – Wilkes-Barre, PA – River Street Jazz Cafe May 2 – Ardmore, PA – Ardmore Music Hall May 3 – Jersey City, NJ – White Eagle Music Hall May 4 – Greenfield, MA – Hawks & Reed May 10 – Washington, DC – Pearl Street Warehouse May 11 – Harrisburg, PA – The Abbey (Free) June 13 – Bethel, NY – Mountain Jam July 13 – Marshfield, MA – Levitate Festival
The Felice Brothers have released “Poor Blind Birds” from their upcoming album Undress , set for release on May 3 via Yep Roc Records. Brothers Ian and James Felice grew up in Palenville in the Catskills, and are joined by Will Lawrence and Jesske Hume and other Hudson Valley musicians from time to time.
Reflecting on the current political climate and general uncertainty in the world, Undress finds the group in a very different place than their last album, 2016’s Life In The Dark. Between personnel changes, families growing and the political landscape, the result is a tighter, more pared-down release. “Every song is a story,” said James Felice. “On this album everything was a bit more thoughtful, including the arrangements, the sonic quality and the harmonies.”
photographs by lawrence braun
Ian and James Felice are self taught musicians, inspired as much by Hart Crane and Whitman as by Woody Guthrie and Chuck Berry, they began in 2006 by playing subway platforms and sidewalks in NYC and have gone on to release nine albums of original songs and to tour extensively throughout the world. Following the release of Life in the Dark, The Felice Brothers served as the backing band for Conor Oberst’s 2017 release Salutations and the subsequent tour.
Tour Dates: April 27 – Skyloft – Albany, NY April 28 – The Westcott Theater – Syracuse, NY April 29 – The 9th Ward at Babeville – Buffalo, NY
April 30 – The Legendary Horseshoe Tavern – Toronto, ON
May 2 – Sleeping Village – Chicago, IL
May 3 – On the Rail Roots Festival – Lexington, KY
May 4 – Rumba Cafe – Columbus, OH
May 6 – Club Cafe – Pittsburgh, PA
May 7 – Tellus 360 – Lancaster, PA
May 9 – Johnny Brenda’s – Philadelphia, PA May 10 – The Bell House – Brooklyn, NY May 11 – BSP Kingston – Kingston, NY
May 12 – Hopewell Theater – Hopewell, NJ
May 15 – 35 Artspce – Portsmouth, NH
May 16 – Columbus Theatre – Providence, RI
May 18 – The Sinclair – Cambridge, MA
May 23 – Elevation 27 – Virginia Beach, VA
May 24 – Richmond Music Hall – Richmond, VA
May 25 – Wolf Trap – Vienna, VA (with The Avett Brothers)
June 6 – Grey Eagle Tavern – Asheville, NC
June 7 – Eddie’s Attic – Decatur, GA
June 8 – Exit/In – Nashville, TN
June 9 – Avondale Brewery – Birmingham, AL
June 10 – Gasa Gasa – New Orleans
June 12 – Barracuda – Austin, TX
June 14 – Tumbleroot – Santa Fe, NM
June 15 – 191 Toole – Tucson, AZ
June 16 – The Casbah – San Diego, CA
June 17 – Bootleg Theater – Los Angeles, CA
June 19 – The Chapel – San Francisco, CA
June 21 – Doug Fir Lounge – Portland, OR
June 22 – Tractor Tavern – Seattle, WA
June 24 – Visual Arts Collective – Garden City, ID
June 25 – Urban Lounge – Salt Lake City, UT
June 27 – Bluebird Theater – Denver, CO
Now in its 15th year, Mountain Jam will be taking place at Bethel Woods Center for The Arts, home of the original 1969 Woodstock Festival. Bethel Woods is one of New York State’s most pristine amphitheaters located in a picturesque setting in the Catskill Mountains. The event will feature on-site camping and offer car camping as well. There will be 3 stages: a covered amphitheater, a 2nd stage on the lawn area & a terrace stage in a Greek- style amphitheater. The festival will also offer on-site activities including walking tours of the 1969 Woodstock site each morning, daily yoga, free entry to the The Museum at Bethel Woods and more. The VIP Program has been enhanced for 2019 with the addition of CID Entertainment. Learn more about VIP offerings here. There are new hotels in the area, Resorts World Catskill and The Kartrite Resort & Indoor Waterpark are two of the new accommodations. There will be shuttle buses running from both.
The 2019 Mountain Jam is going back to it’s roots, getting “Back To The Jam.” Tickets available now online.
After the recent news of the Bethel Woods Woodstock Anniversary show being scaled back, fans have turned their attention to original Woodstock co-founder Michael Lang’s anniversary event for what may feel more like a Woodstock 50th anniversary celebration with headliners recently leaked.
Billboard has recently reported that after a brief delay, Woodstock festival organizer’s have wired a “full payment” to most artist appearing at the festival in advance. Some of those artist leaked include Dead & Company, The Killers, Imagine Dragons, Chance the Rapper, and Bethel Woods celebration-announced artist, Santana, who has expressed his desire to play both anniversary shows.
The reason for the delayed payments was due to the financial backers of the festival, Dentsu, trying to resolve possible attendance issues at the Watkins Glen site where the festival is being held, expecting over 100,000 fans. Considered a first year event, and Dentsu not being a major promoter like Live Nation or AEG, artists require 100% of their fee paid upfront before the lineup was announced.
Representatives for the main headliners told Billboard that they were paid weeks ago, but some of the other 80+ artist have not received payment making some fear the festival would be scrapped, and now pushing the February lineup announcement to sometime in March.
The day after reports surfaced that the event was having financial problems, Woodstock representatives confirmed that organizers had wired several million dollars to various major talent agencies that represent acts appearing at Woodstock 50. One agency boss even confirmed that all their artist have been paid in full, and festival camping organizers Superfly, has also been paid in full for the event.
Woodstock co-founder Michael Lang recently stated: “There’s always been lots of rumors around Woodstock. We have excellent partners and an incredible talent lineup of over 80 artists which will be announced within the next couple of weeks. We’re preparing a once in a lifetime event.”
Woodstock 50 will take place at the Watkins Glen International Speedway on Aug. 16-18.
After the release of the new single “All Out Life,” in advance of the release of their upcoming sixth studio album, We Are Not Your Kind, due on Aug. 9, Slipknot has announced to the NY Maggots and nation the band’s touring plans for their 2019 North American “Knotfest Roadshow” live tour.
Packing up and hitting the road with Slipknot on July 26 in California, are special guests Volbeat, Gojira, and Behemoth.
Tickets go on sale to the general public March, 8 at 10 a.m. Slipknot fan club members and Citi card holders will have access to pre-sale tickets on March 5. Each pair of tickets purchased online will come with a digital copy of the band’s new album.
Knotfest Roadshow Tour Dates:
Jul. 26 – Shoreline Amphitheatre – Mountain View, CA
Jul. 27 – San Manuel Amphitheater – San Bernardino, CA
Aug. 01 – USANA Amphitheatre – Salt Lake City, UT
Aug. 03 – Isleta Amphitheater – Albuquerque, NM Aug. 04 – Ak-Chin Pavilion – Phoenix, AZ
Aug. 06 – Pepsi Center – Denver, CO
Aug. 08 – Pinnacle Bank Arena – Lincoln, NE
Aug. 10 – Iowa State Fairgrounds – Des Moines, IA*
Aug. 11 – Hollywood Casino Amphitheatre – Tinley Park, IL
Aug. 12 – DTE Energy Music Theatre – Clarkson, MI
Aug. 14 – Veterans United Home Loans Amphitheater – Virginia Beach, VA
Aug. 16 – Ruoff Home Mortgage Music Center – Noblesville, IN
Aug. 17 – Providence Medical Center Amphitheater – Bonner Springs, KS
Aug. 18 – Hollywood Casino Amphitheatre – Maryland Heights, MO
Aug. 20 – Budweiser Stage – Toronto, ON Aug. 21 – Saratoga Performing Arts Center – Saratoga Springs, NY
Aug. 23 – KeyBank Pavilion – Burgettstown, PA
Aug. 24 – The Pavilion at Montage Mountain – Scranton, PA Aug. 25 – Darien Lake Amphitheater – Darian Center, NY
Aug. 27 – The Xfinity Center – Mansfield, MA Aug. 28 – Northwell Health at Jones Beach Theater – Wantagh, NY
Aug. 30 – PNC Bank Arts Center – Holmdel, NJ
Aug. 31 – BB&T Pavilion – Camden, NJ
Sep. 01 – Jiffy Lube Live Amphitheatre – Bristow, VA
Sep. 04 – MIDFLORIDA Credit Union Amphitheatre – Tampa, FL
Sep. 06 – Austin360 Amphitheater at Circuit of The Americas – Austin, TX
Sep. 07 – Dos Equis Pavilion – Dallas, TX
Sep. 08 – The Cynthia Woods Mitchell Pavilion – The Woodlands, TX
Life has been full of surprises for Sarah Eide. She captures the twists and turns of her journey in “Dreams on Hold,” the title track of her next album. In this song, Eide brandishes her flair for dramatic storytelling. The song ebbs and flows like a soundtrack. It starts off with straightforward acoustic Americana, culminates in a jazzy whirlwind, and ends on a high note full of curly-cue flourishes of trumpet, piano, and fiddle. The biographical story line takes the listener along as Eide holds a conversation with her childhood self, then her own children.
Eide grew up in Rhode Island, where she started playing at age 3. Classically trained during childhood, Eide became exposed to jazz, Americana, and world music at Berklee College of Music. Her dreams of scoring films in LA were waylaid when she took a detour and found herself as a mom in the Midwest.
The song is about the disparity between ambition and priority, with the ultimate resolution being the underlying foundation of unconditional love: “I’m still believing and I’m still scheming/ Good things come to those who wait/ So for now, I’ll put my dreams on hold for you.”
“Dreams on Hold” features Chicago musicians Shane Jonas of Low Down Brass Band, Joe Camarillo of The Waco Brothers, and fiddler Jess MacIntosh. Eide produced this album herself. Dreams on Hold comes out May 6th.
Newly relocated to Rochester, New York, Eide is already making waves in the local scene with her unique spin on Americana. Her next show is on March 14 at Abilene Bar and Lounge, a homey little spot on Liberty Pole Way in the heart of the city.
“Goodbye” is a breakup song turned 180. 
Packing up and hitting the road with Slipknot on July 26 in California, are special guests Volbeat, Gojira, and Behemoth.