The Freaks Action Network (“FAN”) has released Fandemic, Vol. 1, with proceeds from album sales going to the FAN Musicians Relief Fund. The fun directly benefits NYC-based musicians through grants to support them through these no-gig days of the COVID pandemic.
Freaks Action Network is a non-profit, 501(c)(3) dedicated to using the positive energy of live music to create positive change in the world. FAN was born in 2018, out of the NYC Freaks, a longstanding extended community of music lovers and tastemakers in NYC and beyond.
While the pandemic has shut down most live music opportunities, many artists in the NYC Freaks community have been writing and making their own original music at home. Like the NYC music scene and the Freaks, the album features a variety of styles and genres, capturing the homespun spirit of the lockdown with an eye toward the days when we can all catch a show together in NYC again.
NYS Music spoke to Aaron Stein, one of the producers of Fandemic, Vol. 1 and founder and NYC Freaks about the album and FAN’s efforts during the music industry shutdown.
PeteMason: Who came up with the project concept and when did you get to work on it?
AaronStein: I came up with the idea after the NYC Freaks had our annual talent show — called “The Freak Show.” We’ve done this for many years, obviously virtually in 2020. It’s always struck me that in addition to being incredibly passionate and knowledgeable music fans, that the Freaks have some serious musical talent. This year’s event happened earlier in the lockdown had a real strong sense of community. I wanted to capture the talent and that community energy and the idea of putting together an album entirely by the Freaks came to mind.
PM: How did you solicit tracks for the album?
AS: I enlisted a couple friends to help — Jesse Guglielmo and Brian Mundy — and we basically asked the community who wanted to participate. I wasn’t sure what the response would be, but we had nearly 20 volunteers, from people who have played in their own bands before to bedroom amateurs. The range of styles and genres and nature of writing and recording these original songs really shows the depth and breadth of the Freaks musical backgrounds. We couldn’t be happier with how the finished, mastered product came out. These are great songs played and recorded with love and hopefully that shines through on the album. There’s something for everyone, I hope people will check it out.
PM: How has FAN been working with artists this year to assist those most in need?
AS: Proceeds from the album are part of a larger fundraising campaign by the charity arm of the NYC Freaks — the Freaks Action Network or “FAN.” During the COVID pandemic, FAN has been raising money for our Musicians Relief Fund which assists professional musicians, and helps make up for lost gigs and income by providing one-time grants to eligible artists. To date, the Musicians Relief Fund has awarded $40,000 in grants and is currently accepting applications for Phase V of the program.
Fandmic, Vol. 1 was engineered and mastered by Josh Van Dyke, with artwork by Alex Anastas, and produced by Jesse Guglielmo, Brian Mundy, and Aaron Stein. Pick up a copy on Bandcamp. Visit Freaks Action Network for more information on the Musicians Relief Fund, including how to donate and to apply.
A surprise for anyone who caught any of the eight weeks of The Beacon Jams – “What Calls You Home” – a 17-minute short documentary featuring interviews and behind the scenes footage was released on Thursday, December 10. .
Created by the MSG Entertainment team, “Whatt Calls You Home” features exclusive performance highlights and in-depth conversations with Trey Anastasio and members of the production who helped bring the virtual residency to life.
The Beacon Jams was an overwhelming success – held at the historic Beacon Theatre, Trey along with his band and several special guests performed 151 original songs (with no repeats) and more than 20-hours of live music. Over eight weeks, hundreds of thousands of fans tuned in for the live streams, and in turn helped raise $1 million in donations for the Divided Sky Fund, part of Phish’s WaterWheel Foundation, which will help fund a drug treatment center in Vermont.
“What Calls You Home” is a fascinated look at how this unique residency came together at such a critical time in the music industry and across the nation and world, a true tribute to the power of live music.
Read NYS Music’s reviews of each weekend of The Beacon Jams here.
Named for Chilean street dogs, the music of Quiltro is a tribute to the street dogs living in the Andes village of Farellones. Hearing howls during nights spent in those high Chilean mountains is birthplace of Quiltro’s music.
The trio collaborated with Eric Segalstad at Sabi Sound in Colchester, VT to record their debut, which has the feel of a soundtrack for a dystopian sci-fi film that has yet to be made.
The emotional journey found through the album will set you at ease, wake you up, drive you into a groove and leave you looking to replay the debut immediately after. Peaks and valleys are found throughout the nine-track album, fitting perfectly into the ups and downs of the real world.
Quiltro brings together a range of sounds, influences, and emotions through band members Mark Taylor (guitar, keyboard), Mike McKinley (bass) and JD Hoffmann (drums), creating a psychedelic wall of sound that brings to mind Neal Casal’s Circles Around the Sun. Quiltro is quite simply excellent modern psych rock.
The tracks flow into one another, with an overall ambient, lo-fi feel – with a touch of Reznor & Ross sprinkled in. “Knight Riding” channels Pink Floyd’s “Astronomy Domine,” while “Apollo” has a haunting presence in the vein of Lespecial.
Bassist McKinley, a native of Albany, sets the tone on “Dark Matter” with a driving bass intro, then shifts into a melodic groove on “In Reverse” with Mark Taylor’s ambient guitar shining. The two final tracks, “Antilla” and “Field of Cities,” build up slowly from their valleys to peaks. You don’t realize you were climbing until you summit. The journey that Quiltro’s debut takes you on is one that Circles Around the Sun fans will find easily accessible and keep you coming back another round.
Connecticut-based Goose have announced plans for their seventh annual Goosemas holiday celebration, this time with a live stream concert from Rockefeller Center in New York City. On Friday December 11 at 7pm ET, Goose will offer an exclusive Twitch stream on the new Relix Channel, with proceeds benefiting Save Our Stages and Conscious Alliance.
A first of its kind livestream, Goose will perform more than seven stories high in the Manhattan skyline. Goosemas is an annual year end celebration, having grown from small clubs to the Wall Street Theater in Norwalk, CT over the past six years. Peter Anspatch recalls his first show with the band:
Goosemas 4 was my first gig playing with Goose so the annual show has a big place in my heart. I’m bummed we can’t be with our family and friends in person for this one, but the location is going to make it that much more exciting to stream. I’m beyond stoked we were able to pull that together in such a chaotic year. Big shout out to our whole team for always crushing it, Peter Shapiro, and thanks to Rockefeller Center for hosting what will be a very special night.
As with annual tradition, Goosemas will also include a charitable aspect during 2020’s most important giving month. Proceeds from the benefit will go to two separate organizations; NIVA’s Save our Stages — a national charity that provides support to independent live event venues and promoters throughout the United States in these trying times; and Conscious Alliance — a nonprofit that connects a network of creatives to collect large-scale donations in order to combat hunger in historically underserved communities.
photo by Scott Harris
Donations from Goosemas at Rockefeller Center will help keep Conscious Alliance on the road this winter delivering 200,000 meals to kids and families in need. Every $1 donation = 2 meals to someone going without food this holiday season.
Goose has amazing momentum right now and we are so excited to be working with them on this incredibly special performance at Rockefeller Center– one of the most iconic locations in the world. There isn’t a more epic way to ring in the holidays than with a rock show in the sky.
Peter Shapiro, Publisher of Relix Magazine and Twitch Relix Channel.
Donations are now being accepted at GOOSEMAS.com. Those who make donations through the Goosemas website will receive early access to the Goosemas Merch Store on Wednesday, December 9th at 10 am ET, and opening to the general public at 1pm ET. For more information, visit GOOSEMAS.com.
The final two solo recordings from the late Neal Casal – “Everything Is Moving” and “Green Moon” – have been released across all digital music platforms. The accompanying video for “Everything Is Moving,” directed by Ray Foley, features footage of Casal from throughout his career, has also been released.
The songs were initially written as early as 2013, but Casal, never completed them prior to his passing in August 2019. Over the course of 2020, Casal’s close friends and longtime musical collaborators Jeff Hill, Jon Graboff, John Ginty, George Sluppick, Jena Kraus, JP Hesser and Jim Scott came together to add additional parts and complete mixing on the tracks.
Working on these songs has been truly cathartic for me as I continue to process the loss of my dear friend. Neal writes in ‘Everything Is Moving,’ ‘I am just a shadow on the wall, you won’t even think of me at all.’ As much as Neal’s lyrics can be eerily prophetic of the tragedy to come, he was wrong. So many of us will be thinking of Neal for decades to come
Jeff Hill
The two songs are also featured on a limited edition 7-inch vinyl that will be released on February 26, 2020, by the Neal Casal Music Foundation (NCMF) in collaboration with Royal Potato Family, who released Casal’s final solo album, ‘Sweeten the Distance,’ in 2012. Pre-order for the vinyl edition is available now.
All proceeds from the sale of the album will benefit the non-profit formed in Casal’s name, which will provide instruments and lessons to students in New Jersey and New York state schools, where Neal was born and raised, and will also make donations to much needed mental health organizations that support musicians in need.
NCMF is being spearheaded by Casal’s longtime manager Gary Waldman and a team of the late musician’s friends. A first round of funding for the foundation was raised through a Kickstarter campaign earlier this summer comprised by two primary packages: a coffee table photography book, ‘Tomorrow’s Sky: Photographs by Neal Casal’ produced by Jay Blakesberg and edited by his daughter Ricki Blakesberg, along with a 30-plus song tribute album, ‘Highway Butterfly: The Songs of Neal Casal,’ tentatively planned for release in Spring 2021.
Casal began recording “Everything Is Moving,” which in hindsight hints at some of the struggles he was facing, at The Stable at Studio G in Williamsburg, Brooklyn, around February 2013. The band on these initial sessions featured Casal on acoustic guitar and vocals, Jon Graboff on acoustic guitar, Jeff Hill on bass and Joe Russo on drums. Additional parts were cut in July 2020 w/ Graboff returning to play pedal steel and electric guitar, John Ginty adding piano and Hammond B-3 organ and harmony vocals contributed by Hill and Jena Kraus.
With Casal beginning to envision a new album of solo songs, he started work on “Green Moon” at Castaway 7 Studios near his home in Ventura, CA in the summer of 2016, laying down lead and background vocals, acoustic and electric guitars and piano. Jeff Hill and George Sluppick would add bass and drum tracks respectively to the original recording in October 2020 to complete the song.
Neal Casal was a songwriter, singer, guitarist, record producer, photographer, surfer and friend. Over the course of a 30-plus year career, he appeared on multiple recordings as a member of bands like Circles Around the Sun, Ryan Adams & The Cardinals, Chris Robinson Brotherhood, Beachwood Sparks, The Skiffle Players and Hard Working Americans.
With the formation of the Neal Casal Music Foundation, the body of work he left behind, including an extensive archive of unreleased material, will be reimagined to further shine a light on his artistry, while providing resources to raise money for positive change. Neal Casal brought joy to so many and, in his absence, the foundation created in his name will further that purpose. It also hopes to reflect back to Casal the beauty he brought to this world in pursuit of a life dedicated to music and art.
As Lespecial points out regarding their third full-length album, Ancient Homies, the number three figures prominently into the band’s ethos – for instance, as a power trio and with their tri-face logo.
The new album also features three “Homie Improvs” (incidentally, tracks 3, 6 and 9) whose musical scale “is based around an unstable tonic, containing small chromatic groupings of three notes and has a cryptic, ambiguous and almost mystical quality.” These tracks feature all three members flexing their chops and stretching in new ways: Luke Bemand (bass, synth, samples), Rory Dolan (drums, sampler) and Jonny Grusauskas (guitar, keys, sampler, vocals).
Interspersing the Homie interludes as they do throughout Ancient Homies also has the effect of pairing the remaining eight songs with each other. The track list born from that decision just flows excellently.
The first couplet pairs the album’s first single “Snell’s Fleet” with a new remix of the long standing fan favorite “The Vessel.” At Lespecial’s October 9, 2020 drive-in show in Falmouth, MA, they opened the second set with this one-two punch and it was breathtaking. “Snell’s Fleet” evokes that timeless, mystical quality the band is known for. Up tempo with heavy, scuzzy guitar riffs, driving bass line and bombastic drum play, “Snell’s Fleet” crashes right into track two. “The Vessel” then shifts gears into a much more futuristic vibe. The combination of synth bounce, driving drums and funky bass can move an entire room, pulsing and pumping in a great wave. “The Vessel” debuted live onstage in 2012 and has finally found its way to vinyl.
The second grouping of songs, at first glance, appear to be the most curious on the album in that the songs are quite dissimilar. “Repeater” slows down the tempo and features lilting, ethereal vocals. The synth work drives the song forward, but has an altogether different feel to it than most of Lespecial’s music to date. And Rory’s fast, frenetic drumming in latter portion of the song is pure magic. Bringing us right into “Tonberry,” which made its live debut at Lespectacle IX in November 2019. Starting with a slow building eeriness that explodes into thunder around the one minute mark, then into the scale bending this album explores in the following passage. Around the halfway point of the song, Lespecial brings us into a funky, groovy movement and then circles right back to bombastic fury that bring the song home.
The next pairing is a synth heavy, fun filled duo. “Machine Elf” bounces back to futuristic sound that grooves with Luke’s bass tones anchoring things. Released as a single in January 2019, it slides perfectly right into this slot on the album. The latter half of this pairing is “Egg Time” and it wastes little time grinding into the funkiest, filthiest groove. Impossible to sit still to, this one is going to be a staple of Lespecial set lists for years to come. An instant classic.
The final pairing of songs on the album are quite engrossing, and will be unexpected to many fans. “Boundary Dissolution” slows things down again. With a more stripped down arrangement and hauntingly introspective vocals from Jonny, this one stays with the listener long after it ends. And “Tritome” (yet another “three”) features beautiful piano work from Jonny that reprises “Snell’s Fleet,” ending this amazing album with a wow.
Lespecial really delivers on the promise of adventure and exploration here. It feels like the band is still growing and defining who they are. It is a pleasure to witness their evolution. Ancient Homies is hands down my favorite release of 2020. Give it a listen and see what you think.
Key Tracks: Snell’s Fleet, Tonberry, Egg Time
Ancient Homies is available for purchase on Bandcamp and for streaming on all platforms.
All good things must come to an end. For Phish fans, these eight weeks of Trey Anastasio and the Beacon Jams have been a shining light in the darkness deep. The previous seven shows had featured all sorts of stories, guitars, guests and strings and the eighth and final week of this journey was no different.
The finale was highlighted by an explosive “Carini,” beautiful versions of “Pebbles and Marbles” and “Slave to the Traffic Light” and a touching “Liquid Time.” Over 48,000 viewers flocked to Twitch for this final, free, live–streamed performance as donations poured into The Divided Sky Fund, which focuses on delivering quality care and compassionate treatment for those suffering from addiction, through Phish’s Water Wheel Foundation.
photo by Jake Silco
Earlier in the evening, Trey posted on Twitter for fans to tune in again at 7:50p EST for another installment of his pre-show video series with Page McConnell. This time they treated us to a brief but truly beautiful rendition of “Brian and Robert.” McConnell’s Wurlitzer added considerable depth to this duet as Trey’s acoustic guitar danced around the notes that Page played. The song choice couldn’t have been more appropriate as we’ve all been staring at our walls for the last three seasons and this past month and a half’s worth of shows has certainly been a welcome relief for phans around the globe.
Deviating from the usual opening, the show started in the stairwell of the Beacon Theater with Trey Anastasio playing acoustic guitar, accompanied by James Casey, Natalie Cressman and Jennifer Hartswick. The foursome sang the first part of “Just A Touch,” before moving with the camera onto the stage to join the entirety of the Trey Anastasio Band to end this debut with the new way to end any song these days: “Science!” The energy of the show ramped up immediately as the opening notes of “Carini” filled everyone’s living rooms. Harnessing the power of every second set opener ever while adding the intensity of both horns and Cyro’s energy knocked this song into 12th gear.
photo by Jake Silco
Trey started his audience participation portion by reading a “thank you” on behalf of firefighter fans, a comment about one fan’s dog being scared by that monster of a Carini, and a comment about Cyro perhaps playing an empty pie tin from Thanksgiving as an instrument. This segued perfectly into “Mozambique.” This short TAB favorite was followed up by “Burn That Bridge,” a song written by Anastasio and his “Hands On A Hardbody” partner, Amanda Green.
It was only 30 minutes into the show when the donations hit $100K and Trey was visibly blown away by all of the support that had been shown, not only so far this evening, but throughout the entire Beacon run. Showing his gratitude to all those watching, the band went into a marvelous version of “Cayman Review,” featuring Cyro jamming away on the washboard. The conversation then moved back to spatchcocking, to which Ray mentioned that he always hears his name when the topic comes up. (I think we’ll be hearing him referred to as “Ray Spaczkowski” for years to come.) We also learned that Cyro is now officially a grandfather and that Trey now has a picture of his cat Joey on the headstock of his guitar. After these revelations, the band dove into “Speak to Me,” a song that Trey says might be about organic chemistry, which became reality thanks to some new lyric changes.
photo by Jake Silco
After a few heartfelt dedications and fan group donation shout-outs, Trey improvised a mini-song about Buzzetta before going into “Love Is What We Are,” as the donations for the night surpassed $200K. Trey’s chair and acoustic guitar came out as the Rescue Squad Strings arrived on the stage for the first time of the evening and the hearts of everyone watching leapt as Trey began to play “Pebbles and Marbles.” This gorgeous rendition of the classic Phish song showcased the incredible level of detail that string arranger, Don Hart, has shown over this entire concert series.
As the Rescue Squad left the stage, Trey wished Jimi Hendrix a happy birthday and shared that Tony Markellis had seen the guitar legend not once, but twice. This sort of banter has been just as exciting as the music that has been shared these last two months and will surely be missed by everyone who has tuned in. Trey led the band into classic versions of “Drifting” and “Night Speaks to a Woman” before going back into the fan comments and retelling a tale of a TAB performance in Utica at the Stanley Theatre where they had rocked so hard that part of the balcony fell, ending the show early. That infamous show was Cyro’s first performance with the band and certainly speaks to the intensity of this lineup that we’ve grown to know and love.
photo by Jake Silco
Trey interrupted “Liquid Time” less than a minute in to share that he wrote this particular song while under house arrest following his 2006 incarceration, reiterating to anyone that needs help to ask for assistance and thanking everyone again for donations for his treatment center before restarting the song. This was followed up by “Fast Enough for You,” which was amplified by the backup singers that we’ve all been enjoying these last few weeks. By the time this song had completed, the nights donations had passed $300K, and after a couple more fan comments, the band jumped into “Shine,” after which Trey came clean that it shared the ending to a Badfinger song. There’s truly nothing better than Trey coming clean.
“Show of Life,” another great example of a Phish song that’s intensified by the horn players on stage, was dedicated to their drummer, Russ Lawton. This fantastic version segued beautifully into “Ether Sunday” and then a shred-full version of “Simple Twist Up Dave”. Seemingly out of breath, Trey took to his acoustic guitar once more in order to dive into a phenomenal “Slave to the Traffic Light” with the Rescue Squad Strings before soaring into the ending of that masterpiece on his electric guitar.
photo by Jake Silco
Before closing the night, Anastasio belatedly thanked the entirety of the lineup over the last eight weeks as well as the countless people who helped make this entire aural experience possible. The Beacon Jams were capped off in the best way possible, with “First Tube.” The entire band and the Rescue Squad Strings were bathed in the mirror-ball light as Trey gleefully danced around, never missing a beat. Finishing the song with his guitar over his head, Trey ended the night with elbow-bumps to his band before walking out into the Beacon Theater seats to congratulate the staff with facemasks that said “LOVE.”
But the percussion didn’t end as the camera followed him into the Beacon Theatre lobby where over a dozen dancers grooved to the beat as Trey walked out the doors onto the New York City streets where the venue’s marquee showed the immortal words: “Thank You Heather McDougal and to our Frontline Heroes for Everything You Do!”
Set 1: Just A Touch [1], Carini [2], Mozambique, Burn That Bridge, Cayman Review, Speak to Me, Love Is What We Are, Pebbles and Marbles [3], Drifting > Night Speaks to a Woman, Liquid Time [4], Fast Enough for You[2], Shine, Show of Life > Ether Sunday > Simple Twist Up Dave, Slave to the Traffic Light [5], First Tube [6], Jam [7]
[1] Debut; began with Trey on acoustic guitar accompanied by James, Jennifer, and Natalie on vocals in a stairwell in the Beacon and finished with them on stage. [2] Full TAB debut. [3] Began with just Trey on acoustic guitar with The Rescue Squad Strings and the TAB horns before switching to electric guitar and the rest of the band joining in. [4] Stopped for Trey to talk and restarted. [5] Full TAB debut; began with just Trey on acoustic guitar with The Rescue Squad Strings and the TAB horns before switching to electric guitar and the rest of the band joining in. [6] With The Rescue Squad Strings. [7] Percussion jam with Trey exiting the Beacon.
We set up in the lobby of one of our favorite venues, the Palace Theatre in Albany, NY, during rehearsals for our Fall Drive-in Tour and recorded the whole thing. Along with our playthrough of Not Normal, we recorded a full 2 set show that will premiere on December 11.
With venues across New York State being severely impacted by closures related to COVID-19, the need for assistance for these businesses to continue to remain open is greater than ever.
Join moe. on Friday, December 11 at 8:30PM for a special performance to benefit the Palace Theatre. Pick up Broadcast tickets and poster bundles here – a portion of every ticket and ticket bundle sold will be donated to the Palace Theatre.
photo by Frankie Cavone
The Palace has been Albany’s iconic downtown landmark for more than 80 years, bringing the biggest names in entertainment to the Capital Region. The history and programming of the Palace is a unique and often untold story with roots dating back to the period of the Great Depression.
The Palace Theatre was built in 1931 and originally presented vaudeville acts, feature films and later became a civic auditorium before closing its doors in 1969. The theatre maintains its original beauty and design and is a historical landmark in the City of Albany.
The Palace Performing Arts Center was established in 1984 and incorporated as a nonprofit organization in 1989, created to operate the Palace Theatre. The Palace brings world-class arts and entertainment to New York’s Capital Region, greatly enhancing the area’s cultural and economic development.
Read more of NYS Music’s past coverage of shows at The Palace Theatre, and tune in for moe. on December 11.
In honor of its 10-year anniversary, NYC band Consider The Source is selling a limited edition vinyl of their album That’s What’s Up.
CTS’s That’s Whats Up Album Art
On Friday, November 13, Consider The Source made a limited 250-copy vinyl pressing available for pre-order on their online store. The $30 record ships in April 2021. Besides the vinyl, the band’s store includes “Sourceror” shirts, the name for CTS’s fanbase. Their third effort, That’s What’s Up was their last studio album to feature former drummer Justin Ahiyon before he was replaced by Jeff Mann in 2012. On the day of the vinyl release, they did a Facebook and YouTube livestream concert, the first time they performed most of That’s What’s Up since Ahiyon left. In addition to the new vinyl, the eight-track album is available for streaming on Bandcamp.
Consider The Source formed back in 2004 as a jam band consisting of John Ferrara, Gabriel Marin and Justin Ahiyon. Their style is hard to pin down, but they’ve described it as “sci-fi Middle Eastern fusion.” They released their self-titled EP in 2005, and their debut album Esperanto in 2007. They’ve since toured internationally to Israel, Turkey, and Germany.
Consider The Source released their most recent studio album last year, called You Are Literally a Metaphor, featuring the lead single “Enemies of magicK.” Back in July, they did a Radiohead-themed livestream with covers of “Paranoid Android” and “Reckoner.” In late October they did a short series of socially-distanced live shows spanning across Virginia and the Carolinas. Consider The Source also released F**k It! We’ll Do It Live, Vol. 3, their latest live album. Unlike the first two volumes, this release is 100-percent improvised.
Phish’s now monthly installment of Dinner and a Movie will revisit a classic Fall ’97 show from Hampton Coliseum. On Saturday, November 28 at 8:30 pm, Phish will offer a free stream of November 22, 1997.
Part of the Phish Destroys America tour, the show ranks as the 11th highest rated show according to Phish.net, and for good reason. The show begins with a 17-minute “Mike’s Song,” and 18-minute “Harry Hood” and closes with Hendrix’s “Izabella” – and that’s just the first set. Set two opens with 26 minutes of “Halley’s Comet” and blasts off from there.
Released as part of the Hampton/Winston-Salem ’97 box set, just before Set 2 started, the audience made a group effort to sing “Destiny Unbound,” a song that had been shelved for six years at that time, in an effort to have the band bring the song back into rotation. The banter from Trey in response is hilarious and well worth hearing, and now seeing, on this week’s Dinner and a Movie.
For the dinner portion of the evening, lighter fare is offered, courtesy of Nashville-based chef Ryan Poli, formerly of the famed Catbird Seat restaurant. Butternut squash soup with chipotle chiles and popcorn, a brussel sprouts salad, and a sticky toffee pudding with a spiced caramel sauce are on the menu. Recipes can be found here, and fans are encouraged to tag photos of their creations with #phishdinnerandamovie.
The beneficiary for this weekend’s Dinner and a Movie is The Food Empowerment Project (F.E.P.), a non-profit organization that seeks to create a more just and sustainable world by recognizing the power of one’s food choices. F.E.P encourages healthy food choices that reflect a more compassionate society by spotlighting the abuse of animals on farms, the depletion of natural resources, unfair working conditions for produce workers, and the unavailability of healthy foods in low-income areas. Donate at phish.com/waterwheel.
Setlist via Phish.net
Set 1: Mike’s Song -> I Am Hydrogen > Weekapaug Groove, Harry Hood > Train Song, Billy Breathes, Frankenstein > Izabella Set 2: Halley’s Comet > Tweezer > Black-Eyed Katy > Piper > Run Like an Antelope[1] Encore: Bouncing Around the Room > Tweezer Reprise [1] Lyric changed to “Michael Esquandolas.”
