Grammy-nominated duo The Milk Carton Kids were among the multitude of hosts at the Americana Music Awards in Nashville on September 20th. In addition to their co-hosting duties, the duo took the stage alongside Noah Kahan for a cover of Paul Simon’s “American Tune.”
Formed in 2011, The Milk Carton Kids are an American folk duo hailing from California. Nominated for Best Folk Album at the 2013 Grammy Awards, the group’s new record I Only See The Moon released this past May on LA-based ANTI- Records.
Noah Kahan, the New-England native singer-songwriter, rose to global fame with the release of his third full-length album, Stick Season. Taking the stage with The Milk Carton Kids, he and the duo offered smooth vocals against a lone acoustic guitar.
The Milk Carton Kids are set to embark on a US tour this fall, stopping at Kingston’s Broadway Theatre at UPAC, as well as New York City’s Beacon Theatre. Both New York dates will be in support of fellow folk artist Gregory Alan Isakov.
The Milk Carton Kids Upcoming Tour Dates
October 8—Los Angeles, CA—Los Angeles Folk Festival
October 10—San Francisco, CA—The Independent*
October 12—Portland, OR—Aladdin Theater*
October 13—Seattle, WA—St. Mark’s Episcopal Cathedral*
Josh Schwartz, well known in the jam scene as the tall baritone saxophone player and occasional singer from Turkuaz and Cool Cool Cool, has announced his solo project, JOSCH. Pronounced like his first name, JOSCH debuts with his soulful debut single, “Icarus In Motion.”
“Icarus in Motion” features Schwartz alone on all vocals and instruments, with the entire track his brainchild. With pre-production support from producer/songwriter Rob O’Block, Schwartz makes a grand entrance as a solo performer, channeling the likes of James Blake and Hosier.
A modern day reimagining of the ancient Greek myth of Icarus – who ignored his father’s warning and flew too close to the sun, melting the wax that held his wings together and plummeting him to his death into the ocean – Schwartz was inspired by “The Power of Myth” by Joseph Campbell, and spoke to NYS Music, sharing deeper insight into the lyrics of the track.
The lyrics are basically a modern-day retelling of the classic Icarus myth. I was partially inspired by Trump’s rise and (hopefully eventual) fall. The character in the song supposedly pulled himself up by his bootstraps (“You come from such humble beginnings/rough hands and dirty shoes/stranger to silver spoons”) but similarly to how some people in this country seem to think Trump did that, the details often tell a different origin story.
I was also envisioning the main character, Patrick Bateman, from American Psycho and typical Wall Street bros in general. I grew up with and went to college with lots of those types and was always amazed at the degree of materialism they had.
With the legend of Icarus taking on a deeper meaning, JOSCH presents “Icarus in Motion” has a departure from the high-energy power funk that Josh Schwartz is known to deliver on stage. “This song and the other tunes I have ready under JOSCH are more in the vein of electro-pop. Lots of synths, lots of emotions. If you’re expecting horn-driven funk, you’re certainly in for a surprise!”
Over hard-hitting drums and droning bass, behind-the-beat vocals on “Icarus” sing of a man with a hard upbringing (“rough hands and dirty shoes/stranger to silver spoons”) who rises to great financial success (“you soar on guilded wings/keep score with gods and kings”); in the process, he becomes addicted to and obsessed with the material goods and pleasures he can now afford (“hungrily grasp for more/the endless spoils of war”). Will the man in the song succumb to his own hubris and greed or will he realize the folly of his ways and get a grip on his dangerous habits? You’ll just have to listen to find out.
JOSCH is available on all streaming platforms now. Listen on Spotify.
In addition to the single, JOSCH will release an accompanying music video shortly after. Shot on 8mm film and directed by longtime collaborator Dani Barbieri of Two Truths Production, the video brings the imagery of Schwartz’s lyrics to life.
“Icarus in Motion” Lyrics
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
You come from such humble beginnings
Rough hands and dirty shoes
Stranger to silver spoons
And now you’re drowning in your winnings
You soar on gilded wings
Keep score with gods and kings
No time for self-reflection
When striving for perfection
Ambition suits you like the labels that you wear
(Labels that you wear)
On the way up, it’s all so thrilling
‘Til you remember nothing is under you but air
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
The universe just keeps on giving
Hungrily grasp for more
The endless spoils of war
They say that life is for the living
You’ve burned through twenty lives
Almost as many wives
The same universe that gave you wings
Can snatch them back before you blink
Your narcissism is a dangerous affair
(Dangerous affair)
On the way up, it’s all so thrilling
‘Til you remember nothing is under you but air
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
It’s always sunny when you’re flying high above the clouds
Syracuse-born, Nashville-based artist Mick Fury dropped his latest project earlier this summer titled 1981-1996. In a popular music landscape congested with hollow lyrics, cheap sentiments, and reused sounds, the album stands out for its conceptuality and thematic elements. Focused on the trials and tribulations of millennials across the United States, the album touches on topics and ideas usually avoided by mainstream stars.
We’re the most open-minded, hard-working-for-beans, thoughtful generation yet, and we’ve watched the American Dream be snatched away from us like bullies taking a kid’s lunch money
Mick Fury
Takeaways
The album’s Nashville influence is inescapable: from Fury’s country-rock tone, to the up-tempo and twangy guitar patterns, and even to the country references of dirt, whiskey, roads, and rust. Despite 1981-1996’s country leanings, Fury, along with Max McKee (bass, guitar) and Nate Felty (drums, percussion), also incorporates elements of rock, alt-rock, and even post-grunge into the project. While the instrumentation and arrangement on the album is not the centerpiece, the trio do a good job at giving space for Fury’s lyricism to shine.
With ten songs and a 33-minute runtime, 1981-1996 wastes no time getting into the topic of the project. The album opens with a 42-second recording of sensationalized claims about millennials in the style of a cable news broadcast titled “The Perception.” Angry voices yell out phrases like “snowflakes” and argue that “they want to demand respect that they don’t deserve” or that “they have traded achievement for victimhood”. The track helps tune the listener in for what Fury wants to address in the ensuing songs.
Fury begins the music by inspecting his childhood and the innocence of youth with the song “Bright Eyed Dumb Kid.” The tune is reflective in nature and touches on a topic that many listeners can relate to. Its palatable drums and calm country guitar strums make the song an easy listen. Despite the track’s clear focus, its lyrics differ from the harsh and poignant sentiments espoused on “The Perception.”
Highlights
As the album continues, Fury finds his groove with “Can’t Let Go” and “State of the Union.” The former perfectly demonstrates the singer’s smooth and comfortable delivery, helping to lull the listener into a foot-tapping trance. Fury’s lyrics about being lost and stuck without a purpose match perfectly with the songs’ alt-rock rhythm. “State of the Union” on the other hand is a fast paced track filled with attitude and frustration. The song is arguably where Fury is his most critical and thoughtful on the album. The artist highlights many of the flaws in American society with lyrics like, “Go to school for years to get your degree, get out and get a job then hopefully, we’ll get you out of debt and get you out of this town, you’ll be paying that off until you’re in the ground.”
“We go looking for hope, some kind of savior, pills, presidents, conspiracies, creators, trying to find the way through the dark but it keeps getting later”
Mick Fury on “State of the Union”
“Broken Highway” is most likely Fury’s most ambitious song on 1981-1996. The track features a blend of rock, country, psych-rock, and alt-rock to create a sound that channels the atmosphere of early 2000s radio anthems. The song is ripe with layered production and features some of the best instrumentation on the project.
Following up “Broken Highway” is “Burnin’ It Down,” which is a pleasant return to Fury’s country-rock sound. The track showcases the artist’s creativity as Fury plays with the idea of a traditional country song. Positioned as a classic “America-first” hit, the track takes aim at many of the problematic elements associated with the nation. Mick Fury sings, “Everyday there’s another threat, from some enemy I ain’t never met, we got money for missiles and fuck-all for the vets.” The artist goes on to critique the narrow-minded view that many Americans have. He writes “nothing’s wrong and nothing’s right, you ain’t looking past your own life.”
1981-1996 is conceptually profound and highlights the ingenuity and creativity of Mick Fury. While the album doesn’t reinvent the wheel sonically, Fury sounds right at home on just about all the tracks. The singer’s lyricism and writing is ultimately what drives the project. What the album lacks in nuance and specificity, it makes up for in digestibility and familiarity. In all, the album is a breath of fresh air as it looks to address a topic often untouched by others in the same lane.
As Rolling Loud Miami came and went, fans got to enjoy a host of performances by over 100 of hip hop’s best acts. Likewise, there were those unable to take part for various reasons. Notably, Lil Durk did not perform due to his recent hospitalization for dehydration. Likewise, Sheff G did not take part but due to his recent legal troubles. The troubled-but-talented Brooklyn native was to make his much-awaited return at Rolling Loud Miami after serving nearly two years behind bars for gun possession. However, the “We Getting Money” rapper got himself in hot water after he and close friend Sleepy Hallow were part of a large-scale gang indictment.
Winners Circle Entertainment/ Sleepy Hallow – Rolling Loud Miami 2021 (Show Recap)/Youtube
As for Sheff G in particular, the indictment accuses him of offering up money and expensive jewelry in exchange for the commission of violent acts. In one alleged incident, Sheff G organized a crew of three shooters, drove them to a crime scene, and then acted as the getaway driver.
“Sheff G became a prominent member of this gang and became central to our investigation,” said Brooklyn District Attorney Eric Gonzalez. “Sheff G used a lot of the money that he earned to facilitate further gang activity. He encouraged gang members to participate in violent crimes.”
Sleepy Hallow Puts Sheff G on The Phone
While Sleepy Hallow was able to bail out and make his Rolling Loud dates, the latest charges were a major setback for Sheff G who was initially scheduled to be released sometime in June and had teased his return to the stage at Rolling Loud. In light of his close friend’s circumstances, Sleepy Hallow bridged the gap between Sheff G and the fans by putting the incarcerated rapper on the phone, to much fanfare from the crowd.
In the short clip, Sheff G gets the Rolling Loud crowd amped by telling them to “turn the f**ck up.” With the drill scene’s recent stagnation Sheff G’s presence woud’ve been a major boost for New York hip hop. The Brooklynite is one of the most talented young rappers from the new-age and is one of the key figures that helped spark the drill scene in New York.
Rock The Bells, AfroFuture, AfroVerse and Sixthman festivals have announced the first-ever AfroCruise which will sail from Miami, Florida to Nassau, Bahamas. The cruise will depart on March 29, 2024 and will arrive on April 1. The multi-day event will feature performances from some of the biggest African artists and will also showcase African and diasporic culture through food and fashion.
Linking together travel, live music, and a cultural celebration, the AfroCruise is one of the first events of its kind. Hosted on the Norwegian Pearl, the celebration still possesses all of the amenities and elements normal to an extravagant cruise ship. Attendees will have access to the boat’s fully stocked bars, dining options, pools, casino, spa, fitness center, and more.
Amongst the hustle and bustle of a standard cruise, the event also boasts an impressive roster of performing artists. Headlined by Nigeria’s Adekunle Gold and Ayra Starr, AfroCruise gives guests the opportunity to experience some of the best music from all over the world. The aim is to fully immerse attendees into the sounds and sensibilities of Afrobeats and Amapiano music.
Ayra Starr
AfroCruise will also feature multiple different cultural events and workshops. In addition to traditional cruise ship tournaments and activities, there will also be an event focused on the African rice dish Jollof, a West African BBQ, and several different themed parties.
Rock The Bells was founded in 2018 by acclaimed rapper LL Cool J and Geoff Yang. The organization creates content and experiences within hip-hop culture. Together, with their partners Afrofuture, AfroVerse and Sixthman festivals, the collective looks to create an event that celebrates and encapsulates contemporary African and Disaporic culture. Click here for reservations and more details
For some fans, The Allman Brothers 1971 live double-disc, At Fillmore East, was the pinnacle of the band’s career and artistry. It was the culmination of years of relentless touring, a door-to-door musical missionary work that sold fans on bandleader Duane Allman’s unique fusion of blues, rock, big band styled melodic harmony and extended jazzy improvisation into a form that, more than any other, gave birth to the still-thriving jam band idiom. While At Fillmore East remains one of rock’s most revered live albums, it was another crafted after Duane’s death, 1973’s Brothers and Sisters, which was their commercial highpoint.
With over seven million copies sold, Brothers and Sisters was their best-selling album. It was also the one that generated a level of fame that would find them swaying a Presidential election, headlining the world’s largest rock festival, ushering in the commercial juggernaut of Southern Rock and, yes, even becoming the subject of a steady stream of Hollywood tabloid fodder.
In 2015, Paul penned the definitive title on the band, the New York Times best-selling oral history, One Way Out: The Inside History of The Allman Brothers Band. He is also co-author of another comprehensive biography of an American blues master, Texas Flood: The Inside Story of Stevie Ray Vaughan.
To set the scene for this latter chapter of the band, Paul begins with a compact, pre-fame history of each of the original Allman Brothers players. There is Duane and Gregg’s early days as the Allman Joys and the underrated Hourglass, Duane’s time as a session musician and in Derek and the Dominoes and guitarist Dickey Betts’s experience pioneering dual lead and melody in the Second Coming alongside Larry “Rhino” Reinhardt. His description of Betts as “Zen Charles Bronson” is worth the cover price of the book alone. The preamble takes us up to their breakthrough days after At Fillmore East, when all should have been well but really wasn’t. The entire band, minus drummer Butch Trucks, were addicted to heroin. Duane would die in a motorcycle crash a couple of months after its release; bassist Berry Oakley would be dead by the same cause a year later.
Paul’s book captures the Allmans at a time of uncertainty — of rebuilding a band and a shifting in their creative power balance. The addition of young Chuck Leavell on keys and Lamar Williams on bass would help usher in a new style, in studio and on the stage. Williams would bring more of a solid groove to the rhythm section, one propelled with a pick made from a Clorox bottle by the seasoned bassist (my favorite bit of weird trivia in the book). Twenty-one-year-old Leavell would add a depth of harmony, honky tonk swing and a new, virtuoso lead voice to complement the Allman’s new, one guitar lineup.
That one guitarist, Dickey Betts, would emerge from Duane’s shadow to be the leader of the band during Brothers and Sisters. He would pen four of the six originals on the disc, including “Ramblin’ Man,” the Allman Brothers’ first and only Top Ten hit. The tune would feature one of late bassist Berry Oakley’s final contributions and harmony guitar by Les Dudek. The author also shares how Betts, unhappy with the tempo, asked for the song to be speedup, then changed his mind. In a mix up, the speed up version was released, with Betts’s voice in a higher than wanted range, infuriating the mercurial guitarist. This tune ushered in an old school country feel to the Allmans’ sound and even spurred a mighty accolade from Bob Dylan who called it “one of the best songs ever written.” Guitarist Dudek would also be featured on another Betts’ standout from the album, “Jessica,” a tune the author adds was written as an exercise inspired by the work of two-fingered jazz great Django Reinhardt.
One reason Betts assumed leadership was Gregg Allman’s dividing his time between recording Brothers and Sisters and his first solo disc, Laid Back. Here, Paul delves into Gregg’s love of Laurel County folksingers, his own desire to be viewed a part of the creative community of his onetime roommate in L.A., Jackson Browne.
Paul’s book provides a balanced perspective on Phil Walden, the man who served as both manager and record company for the band through his Capricorn Records. Walden would have an up then way down history with the band and would, via their success, build an empire largely around Southern rockers like The Marshall Tucker Band, Charlie Daniels and others. There are some colorful descriptions of Walden’s annual Capricorn Picnic and Summer Games, which drew strange bedfellows like Andy Warhol and boxing promoter Don King to rub shoulder with the rowdy Southern rockers.
Author Alan Paul – photo by George Lange
One of the more interesting chapters is how the Allman Brothers help revive the Presidential campaign of Jimmy Carter, something covered in great detail in the wonderful 2020 documentary “Jimmy Carter: Rock and Roll President.” Paul also spends a great deal of time exploring the history of The Allman Brothers’ on-going touring partnership with the Grateful Dead, something culminating with Summer Jam at Watkins Glen, the 1973 festival which attracted a world record 650,000 attendees. For the gossip minded, there’s a detailed look at the star-crossed union of Gregg and Cher, a relationship which, like the band itself, was severely compromised by Allman’s addictions. Another factor compromising the band was guitarist Betts’ dependence of cocaine and alcohol, something which made his stage performances, and the bands, more unpredictable as time passed. By 2000, Betts would be out of the band for good and The Allman Brothers would never play “Ramblin’ Man” again.
Like his earlier book on the Allmans, Paul’s latest is an honest and very in-depth assessment of the most commercially vital era of the band. In creating it, Paul had access to hundreds of hours of never-before-heard interviews with the band and its confidants, including Dickey Betts and Gregg Allman, from ABB archivist Kirk West.
Paul will be supporting the launch of the book with a variety of events around the country featuring a reading, Q&A and performance by his band, Friend of the Brothers. Paul ensemble will feature former members of Dickey Betts’ Great Southern, Jaimoe’s Jassz Band and the Phil Lesh Band and special guests including Duane Betts. The lineup includes a July 30 events at New York’s City Winery and August 4 and 5 at Daryl’s House in Pawling, New York.
The final Dead & Company tour, stopping in Saratoga Springs on June 17-18 and Citi Field June 21-22. will include a traveling charity auction featuring ten one-of-a-kind D’Angelico guitars designed by contemporary rock music artist AJ Masthay.
Each guitar features designs using images from Masthay’s Dead & Company poster art, creating an anthology of his work with the band, dating back to 2016.
The auction is part of the “Participation Row” activism village organized by HeadCount, a non-profit organization that promotes voter registration and civic participation, along with REVERB, which promotes environmental responsibility. Since 2015, Participation Row has raised more than $2.8 million dollars for nearly two dozen “Dead Family” charities through auctions and activity at over 180 concerts. Participation Row’s impact also includes over 25,000 fans registering to vote or signing up for election alerts, and over 100,000 single use water bottles being eliminated.
Masthay has this to say about his collaboration with HeadCount:
I’m a firm believer that if our democracy is going to function as intended, we all as citizens have an obligation to be informed and participate in said democracy, that’s why I am and will continue to be a supporter of HeadCount and their mission. My relationship with HeadCount started over a decade ago and out of our partnership has come some of the most cherished pieces in my portfolio.
Masthay is most well known for his unique style of reduction block printing in the concert art arena. His blend of traditional techniques and love of live music has made him one of the most prominent figures in the rock art industry. Masthay established his own letterpress studio in 2001 and is currently based out of Hartford, CT. He has also done work for Black Sabbath, Foo Fighters, South Park, Queens of the Stone Age, Umphrey’s McGee, Widespread Panic, and many more.
The prog/jam sounds of Baked Shrimp will be found across the Midwest, South and Northeast this summer, with six July shows lined up across New York State. The Long Island power trio will perform in Alexandria Bay, Rochester, Cortland, Patchogue, Manhattan and Schtagatoke, including festival appearances and a Phish pre-show.
Baked Shrimp’s Summer Tour runs for 40+ shows and pushes the workhorse trio to west of the Mississippi for the first time in their six-year career. The band will perform at major festivals including Peach Music Festival, Summer Camp Music Festival, Strange Creek Camp Out, Northlands Live, and more. An additional round of dates will be announced in June.
After three years of pandemic cancellations, Jam Cruisers were excited to sail again, and anticipation was high even before we got on board the Divina, as we met friends on land to plan our “must-see” performances while at sea on Jam Cruise.
Sunday Feb 5 – preparty show at the Citadel
The Jam Cruise preparty was at The Citadel the night before, hosted by GMP Live (founded by Gideon Plotnicki of Brooklyn Comes Alive, who recently created the Miami’s North Beach Music Festival). Karina Rykman’s power trio headlined, with Butcher Brown and Tand supporting. Rykman’s unique punk-flavored rock blew the roof off of The Citadel, preparing us for a wild week. Butcher Brown, a 70s style jazz-fusion mixture of funk and hip-hop got the crowd going, with local south Florida favorites Tand opening the night.Â
Monday Feb 6 – Embarkation
Getting on the MSC Divina was fairly easy this year, in spite of pre-boarding concerns about delayed cruise documents. While in line, I asked Reed Mathis about his Electric Beethoven plans, since his long-time cohort Brian Haas was playing his first Jam Cruise. Reed said he invited five different drummers, and was looking forward to the experiment.
On the Pool Deck, it was heart-warming to see Captain Toast, Cloud 9, and fans hoist our glasses in solidarity. Joined by Cloud 9’s Founder Mark Brown and Director of Artist Programming Annabel Lukins Stelling (along with other Cloud 9 top staff), the Sailaway Toast prepared us for the opening band, George Porter Jr. & Runnin’ Pardners. A zesty “Cissy Strut” was launched, as fans dressed up for the Three Years of Sparkles (fan-voted costume theme) erupted. Jam Cruise Lifer extraordinaire, Karl Denson, surprised us on sax for Bill Wither’s “Ain’t No Sunshine”, with an island vibe.
I left to see Jason Crosby play a breathtaking solo piano set in The Atrium (majestic 5-story central lobby of the ship boasting opulent Swarovski crystal staircase). I soaked in Crosby’s fountain of notes, then hopped over to the Black and White Lounge to catch the fun psychedelic Jersey Shore rock band, Dogs in a Pile, a fun, relatively new band.
I caught a sample of the much-talked-about Vulfpeck/Cory Wong offshoot, The Fearless Flyers, in the Pantheon Theatre, including a flawless cover of Steely Dan’s “Reelin’ in the Years”. I went topside to catch our favorite funkmasters, Lettuce, on the Pool Deck, who met gale-force winds head-on with largely old school classics, adding a handful of new masterpieces, like “Vamonos| from Unify. As the wind lashed the stage, techs frenetically gaffed down mic stands, as expert riggers took down the huge speaker banners that were now dangerously flapping in the extreme winds.
Neighbor was another new band I’ve seen recently, another fan favorite on the boat. I caught Neighbor in the Black & White Lounge, then slipped back topside for on the best performances of the week, by Toronto’s finest, The New Deal. Weeks prior, TnD tapped Scotty Zwang, a talented drummer from Dopapod, Ghost Light, & RAQ, who clicked like clockwork with their unique form of livetronica.
I swung back to the Theatre for a little SunSquabi before going topside again for The Word, a superband comprised of John Medeski, Luther & Cody Dickenson, and Robert Randolph. Medeski played fiercely, with Robert & Luther trading off slide solos with southern heat. I ducked into the Jam Room for Cool Cool Cool, with many sit-ins (Kanika Moore and dozens of others – but I could barely see, being completely packed by 3am).
Around 4 am, I took the glass elevator up to the Galaxy Disco for DJ Brownie’s first night, with a surprise sit-in on vocals by Karina Rykman. Brownie thumped the disco until almost 5:30 am, but I wasn’t sleepy, so I wandered the upper decks searching for signs of life. I heard music, where I found a fellow Jam Cruiser, Ethan Alpert, who somehow got his DJ rig on the boat to mix a surprise pop-up set on the balcony above the Pool Deck. That was one of many random pop-ups that happen on Jam Cruise. My first night ended at 7:15am.
Tuesday Feb 7 – Day at Sea – Costume Theme: Decade You Were Born
Pixie & the Partygrass Boys opened the pool deck with their infamous “Appreciate Where You Came From”, as fans yelled, “Go Vaginas!”. Afterwards, The Lil Smokies imported Montana bluegrass to the Pool Deck, who Annabel announced them as “her favorite band”, hugging the band’s dobro player, Andy Dunnigan, then dancing with fans.
Bad Boy Bingo by Little Stranger ensued in La Luna with a hilarious diversion from music. At 4pm, Amy & Dave had their wedding in the Atrium. Having met on a past Jam Cruise, they invited friends and Jam Cruisers, and Annabel announced it over the ship’s intercom. The sound crew delivered a cordless mic to the couple, whose speeches invoked tears and laughter across the Atrium. Laughter & congratulations greeted the newlyweds afterwards on the Pool Deck.
Several friends got their 4th-year Repeat Offender robes, so I joined the robe ceremony happy hours on the back of the pool deck at the Garden Bar (a smaller stage & bar next to an infinity pool). Drinks and appetizers flowed, as old friends and Lifers hugged after years of separation.
The most anticipated band, Cymande, from the UK & founded in 1971, had not played in roughly 30 years. Cymande drove classic 70s pre-hip-hop funk to our eager ears, but their set was cut short by winds, and the pool deck stage closed for the rest of the day & night. Like before, Cloud 9 staff deftly rescheduled & rearranged bands throughout the ship.
The Fearless Flyers’ pool deck set was moved to the Atrium, where fans packed the house, since some of us missed their Theatre set the first night. Doom Flamingo was a blast, another recent band many hadn’t seen until Jam Cruise. They’re fronted by the powerful vocals of Kanika Moore, who deserves the MVP award for most appearances, bringing her intense energy & poise to every performance. Doom’s bassist Ryan Stasik delivered the low end, with fans packing in the B&W Lounge as music schedules realigned.
I caught The Sweet Lillies in the Atrium, who also hosts “The Spot” (a pop-up stage started by Nathan Moore, then handed over to the Sweet Lillies as caretakers, on Promenade Deck 7). The Spot is an acoustic jam circle, assisted by fans who boisterously sing along to popular favorites and occasional originals.
Fruition in the theatre was joined by the legendary Mike Dillon, who’s performed on every Jam Cruise but one, taking every band he plays with into another dimension, with his punkadelic-driven vibraphones and manic energy. Andy Frasco & the UN in the theatre were joined by Kanika Moore on vocals and Richard James on keys from Neighbor, with the band and fans erupting at peak moments, as band members ran all around stage.
Jam Room that night was hosted by Shira Elias and Lamar Williams, Jr, with Nikki Glaspie on drums, D.J. Williams on guitar, with horns from various bands, as well as Adam Deitch on drums, among many others. My night ended with DJ AirWolf in the Disco – another fulfilling day & night of fun!
Wed Feb 8 – Puerto Plata, Dominican Republic
I brunched on the ship, then strolled off the docks to check out local port facilities, finding tiki bars, squawking parrots, mischievous monkeys, then wandering further until finding the ginormous pool with swim-up bars. I ran into D.J. Williams, Brownie, and Dan Kelly (bassist for Neighbor), along with other artists and friends.The pool party was lit, and I got invited up to dance w/ Dan & friends in the middle of the pool to cheesy DJ music, partying just enough to not drown in the pool and make it back to the boat in one piece.
The Bamboos, a funk & soul band from Australia fired up the Pool Deck stage as everyone got situated back on the boat, and we sailed away from the DR, bound for Grand Turk. Just before this, Doom Flamingo had their new album preview at the back Garden Bar & pool. I caught Chris Spies on piano in the Atrium, joined by George Porter Jr, and many others.
Karl Denson’s Tiny Universe, another one of my all-time favorite bands, fired up the Pool Deck that evening. I caught a little more New Deal in the Theatre, then set camp on the couch right next to Reed Mathis in the Atrium for the most inspiringly creative “planned improv” on the ship, Electric Beethoven. Brian Haas, a friend of Reed’s for thirty years, was elated to be on Jam Cruise for his very first time.
Five masterful drummers, including Nikki Glaspie, Mike Dillon, Dave Watts, and Stanton Moore, all joined Reed on different Beethoven songs. I was lucky to catch the full set, sitting right next to Reed, watching the magic & mystery unfold in front of me. I caught the tail end of lespecial, another recent add to Jam Cruise, and another favorite of mine who I’ve seen a few times, even recently in DC.
Trouble No More is another new superband who tore up the Pool Deck around midnight, with deftly-delivered Allman Brothers classics by the young guitar prodigy Taz & his brother on bass, Daniel Donato on guitar, Jack Ryan and Nikkie Glaspie on drums, Peter Levin on keys, and the masterful pedal steel fury of Roosevelt Collier. They were also one of the favorite bands on the boat and had a big crowd topside.
However, George Porter Jr. & Dumpstaphunk were playing a full Meters set in the Theatre, and Trouble No More also had a Theatre set on Friday, so I cut over to the Pantheon for some Meters magnificence. I zoomed all the way to the back of the ship for a little Delvon Lamarr, but came back to The Theatre for another incredible Lettuce set, with better sound (vs the wind storm topside the first night). I got to the Jam Room very late for Shawn Eckels, but being packed again, I listened from the perimeter and called it an “early” night around 4:30 am.
Thu Feb 9 – Day at Sea – Mardi Gras – Dogs in a Pile, Mihali, Fruition, Everyone Orchestra, Butcher Brown, Dumpstaphunk, Punkadelic, Peter Levin piano, Galactic Pool Deck, The Lil Smokies Theatre, Joe Marcinek’s Dead Funk Summit, Doom Flamingo Pool Deck, Neal Francis Theatre, George Porter Jr. Jam Room, DJ Brownie
Purple, Green and Gold blazed in the wonderful sun for Dogs in a Pile on the Pool Deck to kick off day 4, followed by Mihali’s band’s repertoire of reggae-flavored originals. Matt Butler’s Everyone Orchestra performed an inspired set in the theatre with a wide cast of musicians & singers, while Lebo played acoustic at the back Garden Pool.
Fruition played a lovely set in the afternoon on the pool deck, followed by Butcher Brown, with a sit-in by Nigel Hall. Inside, Eric Benny Bloom treated us to humor and music with his Really Really Tacky Show. Honey Island Swamp Band played their rescheduled “Dark Side of the Swamp” in the Pantheon Theatre during the slot destined for The Broadband (which was unfortunately canceled).
After their smoking set, Dumpstaphunk performed a Mardi Gras style second line march off the pool deck main stage, out into the crowd, then down around back into the cafeteria, much to the delight of diners. Galactic then played, followed by Doom Flamingo on the pool deck, with The Lil Smokies and Neal Francis in the theatre. I strolled over to the Black and White Lounge to catch some of Joe Marcinek’s Dead Funk Summit, with George Porter Jr. on bass & vocals, who then hosted the Jam Room after. It was super packed, so I caught some of it, then headed up to the Galaxy Disco to see DJ Brownie’s 2nd set, who met with a comically ginormous bottle of champagne that was shared by friends.
Fri Feb 10 – Grand Turk – Andy Frasco and the UN, phoffman, Trouble No More, Ivan Neville piano Atrium, Dogs in a Pile Bikini Bottom Jam, Honey Island Swamp Band, Fackin’ A, Oteil & Friends Pool Deck, Cymande Theatre, Umphrey’s McGee Pool Deck, Karl Denson’s Tiny Universe Theatre, Taz Jam Room, DJ Yesmann
A jaunt off the dock brought us to pristine beaches in Grand Turk, where we swam with tropical fish 100 yards out. Vendors sold marginally cold beers, playing Biggie Smalls and other hip-hop legends, while catamarans patrolled the shore blaring cheesy dance classics. Some cruisers took taxis to find other bars & food at the Sand Bar and other local hangs, while a family of blue whales swam near the boat.
Back on board, Andy Frasco & The U. N. kicked off more insanity on the pool deck, while another catastrophe hit the Atrium in the form of Dogs in a Pile Bikini Bottom Jam, with a mixture of stunts, songs, and random acts of humor in a spin-the-wheel game show format, with Karina Rykman playing bass on Ween’s “Ocean Man”.
Ivan Neville packed in the Atrium for heartfelt solo piano set, followed by Greensky’s Paul Hoffman and his band on the pool deck. Taz’s superband Trouble No More fired up in the Theatre, while Honey Island performed “Dark Side of the Swamp”, with Pink Floyd classics, reimagined. Lespecial joined forces with Mike Dillon for Facn’ A in the Jazz Lounge.
Oteil and Umphrey’s closed out the pool deck Friday with inspired sets, while Cymande and Karl Denson’s Tiny Universe rocked the Theatre, with Taz hosting the Jam Room, and Little Stranger on the Brews at Sea Stage.
Saturday Feb 11 – day at sea – Neighbor, Karina, Yacht Rock, Dave Watts Super Jam, Umphrey’s McGee, Oteil & Friends, Butcher Brown, Costume Contest w/ Sammi & Shira, Silent Auction, SunSquabi, Galactic, lespecial, Roosevelt Collier Jam Room
Rising at 6 am, I fueled up, strolling to the back of the boat to find Touch of Class hosting the final winner-takes-all Kickball Championship, a yearly fan ritual. The Sports Deck was empty, so I searched the Garden Bar, finding another pop-up jam, Chris Sgammato’sDisplace, a jazzy 4-piece delivering tasty funk to early-risers and up-all-nighters. After Safety gave Displace a half hour notice, we grabbed frozen drinks, heading up to the topmost deck to play kickball.
Neighbor opened the pool deck, debuting Burt Bacharach’s “What the World Needs Now Is Love”, then Karina Rykman played her best set on the final day as we soaked in the last rays of the tropical sun on board. During and after Karina, Paul Hoffman (Greensky Bluegrass) and Mihali played their own acoustic sets by the backside Garden Pool.
Dan Lebowitz’s Yacht Rock was the most fun set, playing Rupert Holmes’ “Pina Colada”, The Doobie Brothers’ “What a Fool Believes” (Jenn Hartswick), “Hey Nineteen” with Joel Cummins on lead vocals, “Somebody’s Baby” (Jackson Browne), Magic (Olivia Newton-John), Ivan Neville & Nigel Hall on George Benson’s “Give Me the Night”, “Lowdown” (Boz Scaggs) w Karl Denson on flute & vocals, with The Horn Section on all songs. Dave Watts Super Jam hosted 46 musicians, possibly a new Jam Cruise record. Judith Hill and Kanika Moore brought their vocal prowess to “Higher Ground”. Midway through, Watts’ super jam covered Led Zeppelin’s “The Ocean” (appropriately) and “Trampled Under Foot”, but “Grease” was the crowd-pleaser, with Shira Elias singing lead vocals, backed up by Sammi & Josh, Mike Dillon on percussion, Adam Deitch and Scotty Zwang, and others.
The last night, Umphrey’s McGee played another two-hour-long set on the pool deck, with irreverent humorous banter and a song for Andy Frasco’s birthday (joking that his body’s ashes we’d line up to smoke later, briefly teasing B.O.C.’s Don’t Fear the Reaper). A pinnacle of their set was Radiohead’s “Creep”, with Kanika Moore adding her mournful voice.
One of the biggest jam conflicts, Oteil and Friends played around the same time as Umphrey’s in the Theatre, treating loyal fans to the ARU staple, “Fixin’ to Die” (Bukka White), with “Blue Sky” into Franklin’s Tower, Allman Brothers covers “Dreams” and “Hot ‘Lanta”, with Vaylor Trucks joining on guitar and Karl D on sax, finishing up with The Peacemakers’ original, “Rooster”. Galactic closed out the Theatre, while SunSquabi played their hottest set to close out the Pool Deck.
Roosevelt Collier hosted the last three-plus-hour-long Jam Room with his talented friends, including Taz, Shawn Eckels, D.J. Williams on guitar, with Adam Deitch on drums & percussion, Nikki Glaspie on drums, who also flexed her rap skills, along with Shira Elias and other vocalists, The Horn Section as well as members of KDTU horns, and many others.
DJ AirWolf closed out the disco, thumping us into dawn. Over-satiated and exhausted from seven days and nights of reckless abandon, we crawled to our rooms to pack and catch a few z’s before rising at 8:30 am to amble back to the vastly overrated land society that we sometimes call “civilization”.
Each year, I exclaim that this Jam Cruise was the “best one yet”, and this year was no exception. From the superb planned performances to the surprise sit-ins and random pop-up jams, there is really nothing like it on land or sea.
Just two weeks after his very special appearance at moe.’s New Year’s Eve performance in Philadelphia, founding guitarist Chuck Garvey has announced that he will be returning to the road full-time for the band’s 21-date winter 2023 tour.
Chuck Garvey projected onto the walls of The Capitol Theatre, Port Chester, NY – photo by Filip Zalewski
The tour will kick off on Long Island with the January 19th performance at The Paramount in Huntington, recently named the top club worldwide, by PollStar.
Thank you for your well-wishes and your donations, without which my recovery would not have happened, This year has been a really long, difficult one for me, but a rewarding one, in that I learned what a person needs to do to achieve goals. Some are basic, everyday things like speech, and some are more about universal things that I noticed about family, friends, and community that keep us all afloat.
Garvey in a letter home to fans, in November
The long-awaited announcement comes 13 months after Garvey suffered a stroke, just after the band’s Halloween 2021 performance, which would not have happened without the support of the moe. community, according ot the band.
Bassist Rob Derhak, who himself battled cancer and took time away from moe. in 2017, gave perspective to Chuck’s return to the band:
This past year has been a trying time for moe., as a band. We were faced with an unthinkable decision of replacing our brother Chuck with another guitarist. Suke stepped in and stepped up. He brought his unique style, unparalleled talent, and hyper-focused work ethic into the group. Without his help, we wouldn’t have been able to survive the last year, and I think I speak for all of us when I say that we are eternally grateful. Thank You Suke Cerulo.
Rob Derhak
See Chuck Garvey on tour with moe this winter, which covers much of the Northeast and Southeast. Get tickets at moe.org.
moe. 2023Winter Tour Dates
Thursday, January 19 – The Paramount – Huntington, NY Friday, January 20th – 9:30 Club – Washington, D.C. Saturday, January 21st – Wellmont Theater – Montclair, NJ Friday, February 17th – State Theatre – Portland, ME Saturday, February 18th – State Theatre – Portland, ME Friday, February 24th – Palace Theater – Albany, NY Saturday, February 25th – Palace Theater – Albany, NY Thursday, March 9th – Brooklyn Bowl – Nashville, TN Friday, March 10th – Mars Music Hall – Huntsville, AL Saturday, March 11th – Minglewood Hall – Memphis, TN Sunday, March 12th – Vinyl Music Hall – Pensacola, FL Wednesday, March 15th – Music Hall – Charleston, SC Thursday, March 16th – The Plaza Live – Orlando, FL Friday, March 17th – Culture Room – Ft. Lauderdale, FL Saturday, March 18th – Jannus Live – St. Petersburg, FL Sunday, March 19th – PV Concert Hall – Ponte Vedra Beach, FL Tuesday, March 21st – Lincoln Theatre – Raleigh, NC Wednesday, March 22nd – Jefferson Theatre – Charlottesville, VA Thursday, March 23rd – The Orange Peel – Asheville, NC Friday, March 24th – Variety Playhouse – Atlanta, GA Saturday, March 25th – Variety Playhouse – Atlanta, GA
