From September 2-4, Backwoods Music Festival will take over Tatanka Ranch in Stroud, OK for an incredible weekend of music. Today, the festival has made a number of staggering additions to their lineup, including headlining sets from moe. and a live set from Nero.The full lineup includes sets from Big Gigantic and Nahko & Medicine For The People as headliners, as well as Autograf, Audient, Big Chocolate, Chill Harris, Coleman Hell, Elephante, Fractal Sky, George Acosta, Goldfish, Haywyre, Hippie Sabotage, Illenium, Liquid Stranger, Manic Focus, Marian Hill, Meridian Lights, Michal Menert & The Pretty Fantastics, Pierce Fulton, Prince Fox, Stick Figure, Styles Complete, Solstis, TAUK, Tritonal and so many more!The festival has also added a number of stages and activities for festivalgoers, including the Island Stage, Giant Slip-N-Slide, Hay Maze, Treehouse Improvements, new Main Stage Design, Additional Art Installations, Sacred Fire, Ultimate VIP Woods Camping inside the venue, and more. These join all the awesome things that made Backwoods unique last year such as the lake for swimming and water float activities, Laser Fire Tower climb, Ferris Wheel, Poi Towers, and more.For more about the festival, enjoy their recap video from 2015’s festivities:You can catch the full lineup below, and head here for tickets and more information.
Even Joey Dosik was there, touring in support of his recently released Game Winner EP. Enjoy his cover of The Beatles‘ “Don’t Let Me Down” with Jack Stratton and Theo Katzman. Joe Dart sped things up in his esteemed “Beastly” solo, via Gili Dailes Photography:Woody Goss jammed out a symphonic “Mean Girls”, while Jack Stratton orchestrated the madness, via Steve Barby:Another beautiful snapshot memory was made backstage, as guest vocalist Antwaun Stanley led Theo Katzman and crew through a rendition of Al Green‘s “Simply Beautiful”:Then they delivered… Vulfpeck will release their newest full-length LP, The Beautiful Game on October 17th. As far as we know, only one of the ten tracks have been played live: “Cory Wong”, named after the brilliant guitarist featured on several Vulf recordings and frequent live performances. More about the new album here.[photo via Instagram User @cathaldenis1138] And the crowd goes wild…. Antwaun goes wild…. After three sold-out shows at the original New York Brooklyn Bowl, beloved funk band Vulfpeck flew across the pond for a string of European performances. After one night in Dublin, the quartet played another three sold-out shows at the Brooklyn Bowl in London.Vulfpeck is the first band to play three consecutive sold-out shows at both Brooklyn Bowl locations. They did so within a two week period, giving them full authority to do whatever the duck they want.With little to no proof of these performances, a few snippets have emerged that surely showcase just what’s going on over there. While it is nice to think that Europeans are spending their concert experiences fully “in the moment,” we are grateful to those who have shared these clips with those not able to be there. It is abundantly clear, from these videos, just how energetic and enthusiastic the crowds have been. Any fan of Vulfpeck can appreciate these precious moments!Singer Antwaun Stanley was along on the road, and shared this touching video of the Dublin crowd singing along for an Earth-shattering “1612”:Vulfpeck shared two live clips from London, while the crowd voluntarily sang the guitar notes of “Fugue State” and the Rhodes notes for “The Birdwatcher”:
Just as he promised, guitarist John Mayer has been releasing songs from his new album, The Search For Everything, at a pace of four per month. After gracing fans with four songs in January, Mayer has doubled the length of the album with four additional releases.Fans can now stream “Still Feel Like Your Man,” “Emoji of a Wave,” “Helpless,” and “Roll it on Home” from Mayer’s new album! Check it out in the Spotify player below.“It’s beyond a break-up record,” John Mayer told Rolling Stone. “It’s about my impression of loss. It’s about the ghost in the room. Proudly, it is, as my therapist says, a study into the metaphysics of absent love.” He continues, “I actually, for the first time in my life, believe I recorded exactly what I was feeling,” describing his 2014 break-up with Katy Perry. “It was the only time in my life that sadness was like a lucid dream, like, ‘Oh, I’m here. I got no business trying to get out of this, because it won’t work.’ It was like learning to live in the wilderness.”About the new track “Still Feel Like Your Man,” he explains: “This is my little engine that could” because “the title itself had lyrics blowing out of it from every corner.” For this tune, the lyrics came first and the music after – his favorite being “I still keep your shampoo in the shower, in case you want to wash your hair.”About the funkier “Helpless,” he goes on: “Pino is so inventive without trying that this track is his track. You get disco overtones but it’s all implied.” Mayer describes the tune as “wish fulfillment recording,” because “it straddles a lot of different vibes at once,” allowing him to go in any direction from playing the song.“Emoji of a Wave” is “about sitting in a feeling.” He continues,”There are two levels to the song. One of them is the beautiful destination I go to whenever I hear it, which is Santa Barbara on a rainy, cold day. The other level is just about this part of life and love that my brain doesn’t understand: wanting to act to resolve a situation but knowing there’s no resolution.”“Roll it on Home” is inspired by The Murray Bar in Livingston, Montana – “that’s the room I’ve always pictured this playing in.” He continues, “It’s like the singer in the jukebox is putting their arm around you, like, ‘You did not get what you wanted tonight. Tomorrow’s another chance.’” H notes, “It’s supposed to be like a worn-in pair of jeans. It reminds me of JJ Cale or Eric Clapton, and those unsung great records like Clapton’s ‘Promises,’ which sounds like it’s performed in a reclining chair, with a cigarette burning in the headstock of the guitar.” Read more about the four new tracks here.Later in the day, he announced 32 new dates in North America. See below for full schedule:John Mayer Tour DatesMarch 31 – Albany, NY @ Times Union CenterApril 1 – Montreal, QC @ Bell CentreApril 3 – Toronto, ON @ Air Canada CentreApril 5 – New York, NY @ Madison Square GardenApril 6 – Washington, DC @ Verizon CenterApril 7 – Philadelphia, PA @ Wells Fargo CenterApril 9 – Boston, MA @ TD GardenApril 11 – Chicago, IL @ United CenterApril 12 – Columbus, OH @ Schottenstein CenterApril 14 – Kansas City, MO @ Sprint CenterApril 15 – St. Paul, MN @ Xcel Energy CenterApril 17 – Edmonton, AB @ Rogers PlaceApril 19 – Vancouver, BC @ Pepsi Live at Rogers ArenaApril 21 – Inglewood, CA @ The ForumApril 22 – Las Vegas, NV @ T-Mobile ArenaMAY 3 – Ziggo Dome – Amsterdam, NetherlandsMAY 5 – Jyske Bank Boxen – Herning, DenmarkMAY 7 – Ericcson Globen Arena – Stockholm, SwedenMAY 8 – Oslo Spektrum Arena – Oslo, NorwayMAY 9 – Royal Arena – Copenhagen, DenmarkMAY 12 – The 02 arena, London – London, United KingdomJuly 18 – Albuquerque, NM @ Isleta AmphitheaterJuly 19 – Denver, CO @ Pepsi CenterJuly 21 – Quincy, WA @ Gorge AmphitheatreJuly 22 – Portland, OR @ Moda CenterJuly 25 – Anaheim, CA @ Honda CenterJuly 27 – Sacramento, CA @ Golden 1 CenterJuly 29 – Mountain View, CA @ Shoreline AmphitheatreJuly 30 – Los Angeles, CA @ The ForumAugust 1 – Phoenix, AZ @ Talking Stick Resort ArenaAugust 3 – San Antonio, TX @ AT&T CenterAugust 5 – Dallas, TX @ American Airlines CenterAugust 6 – Woodlands, TX @ Cynthia Woods Mitchell PavilionAugust 8 – Nashville, TN @ Bridgestone ArenaAugust 9 – New Orleans, LA @ Smoothie King CenterAugust 10 – Atlanta, GA @ Lakewood AmphitheatreAugust 12 – Fort Lauderdale, FL @ BB&T CenterAugust 13 – Tampa, FL @ Amalie ArenaAugust 15 – Charlotte, NC @ PNC Music PavilionAugust 16 – Raleigh, NC @ Coastal Credit Union Music ParkAugust 18 – Camden, NJ @ BB&T PavilionAugust 19 – Holmdel, NJ @ PNC Bank Arts CenterAugust 20 – Hartford, CT @ XFINITY TheatreAugust 22 – Syracuse, NY @ Lakeview AmphitheaterAugust 23 – Wantagh, NY @ Northwell Health at Jones Beach TheaterAugust 25 – Bristow, VA @ Jiffy Lube LiveAugust 26 – Cincinnati, OH @ Riverbend Music CenterAugust 27 – Darien Center, NY @ Darien Lake AmphitheaterAugust 29 – Toronto, ON @ Budweiser StageAugust 30 – Cuyahoga Falls, OH @ Blossom Music CenterSeptember 1 – Clarkston, MI @ DTE Energy Music TheatreSeptember 2 – Tinley Park, IL @ Hollywood Casino AmphitheatreSeptember 3 – Noblesville, IN @ Klipsch Music Center
This weekend, the People’s Climate March descended upon the White House, where thousands of climate activists sent a resounding message that were going to have their voices heard by President Trump and his administration. However, it was not just in Washington, D. C., where temperatures were above 90 degrees, that protestors marched; rather, similar marches occurred across the world. While there were a diverse number of causes that protestors gathered for, as has been the case with many of the large protest marches that have occurred regularly since Trump took office, many came out after the Environmental Protection Agency removed two decades of climate change research from its website on the eve of the march, under the leadership of Scott Pruitt.Across the march, protestors advocated for moving away from fossil fuels, protecting the Earth’s natural water supplies, addressing and acknowledging climate change, and adhering to the U.N.’s Paris Agreement, which lays out a plan for countries across the world to curtail greenhouse gas emissions. The People’s Climate March also brought in support from some big household names, including former vice president Al Gore, actor Leonardo DiCaprio, and more. In a recently released video, a number of musicians, activists, artists, and academics under the banner Pathway To Paris say thank you to protestors who marched the streets on Saturday and leave encouraging or inspiring words for viewers to keep fighting for the planet. Flea of the Red Hot Chili Peppers, Michael Stipe of R.E.M., and Patti Smith are all featured in the short video compiling fifty relevant voices of those who support the cause.“The majestic mountains that I hike in; the deep, clear rivers that I swim in; the deserts that I trip out in; the oceans, which I surf and swim in, that throws me around like a little rag doll . . . without that, I am nothing. Without that, we are nothing,” said bassist Flea in video.Patti Smith’s quote was similarly reverent of the planet, “”The land is our heritage. It is sacred, and to see the people out on the streets unifying to preserve and protect, it is such a beautiful thing. And then, tomorrow we continue, and the next day and the next day and the next day, we continue. Thank you. People have the power.” The video ends on Michael Stipe thanking protestors for marching, and then noting, “I’ll see you out on the streets.”Other faces in the music world who appear in the video supporting the People’s Climate March include Rick Kelly, the guitar craftsman behind Carmine Street Guitars, cellist Rebecca Foon, guitarist Lenny Kaye of Patti Smith, and composer Jesse Paris Smith. You can watch the full video below supporting this weekend’s march below. Last summer, many of the musicians involved in this most recent video, including Flea, joined together to perform and create an album that highlights the importance of the Paris Agreement. This also included a performance by Thom Yorke of Radiohead, where he debuted two new songs. You can go here to watch the many musical performances from July 27th in Paris, as well as the more recent album and performances supporting the International Women’s Day this past March.
Load remaining images Weekend two of the Baker’s Dozen is under way, and Phish is refusing to take their foot off the gas pedal. This has been a sensational run of shows so far, and, at this point, is starting to earn a comparison to the band’s famous 1997 fall tour, affectionately remembered by fans as “Phish Destroys America.” Forget about comparisons though, as one of the beauties of Phish is that the group is always evolving and exploring new territory. They are always willing to push themselves to be different, to change, and, most importantly, to be themselves musically. With that in mind, Phish has been absolutely destroying Madison Square Garden each and every night. While Friday night’s “Double Chocolate”-themed affair didn’t reach the levels of Tuesday’s already-legendary “Jam-Filled” night or Wednesday’s “Powdered”-themed show, the band delivered yet another top-rated show on night 6 at the Baker’s Dozen.Four of the six shows have started with an a capella opening number, and Phish continued this trend on Friday night, as they offered up a comedic take on the YouTube classic viral video “Chocolate Rain” by Tay Zonday. The band had a good time with this one, with Page McConnell using a mini-keyboard to create the song’s cheesy, digitized beat. The band mimicked Zonday, who leans away from the microphone in the song’s video to breathe off-mic, for several laughs from the amped audience. After finishing up the song, the band returned to their normal spots on stage, save Jon Fishman, who curiously remained in front of the a capella microphone. The mystery was quickly solved, as Fishman launched into the solo vocal intro to the fan-favorite rocker, “Ass Handed.” It was a typically zany opening for Phish, and a sign of the wackiness that was to come throughout the rest of the evening.Trey Anastasio kicked off “Free,” and the band locked in for a confident start to the Phish classic. Lighting designer Chris Kuroda started tilting his new light rig during the song’s funk breakdown and helped usher the band into an extended jam. The lights have been incredible, almost transformative, and have added an exciting new element to Phish’s ever-changing production. Just as “Free” finished up, the band kicked into the modern rarity “Weigh,” performed for the first time since August 2015. The song was well received, and the band worked through it with ease before dropping into “Undermind.” McConnell delivered a nice solo during “Undermind,” while Kuroda continued his wizardry with the lights. Anastasio picked up where McConnell left off, moving the funk jam into a more driven type I territory. Eventually, the band dropped out as Trey started up “The Oh Kee Pah Ceremony,” which was performed for the first time this year and only the third time since 2013. The beloved and playful composed track is usually paired with another song—typically “Suzy Greenberg” or another high-energy classic—but this time acted as the exclamation mark on several moments of first set improvisation.McConnell started up the sample for “The Dogs” from the Chilling, Thrilling Sounds of the Haunted House, and the band turned in a raging version, inspiring many in the audience to howl at the moon. However, the real howls came when Phish busted out the beloved Mike Gordon-fronted favorite, “Destiny Unbound.” This was only the third time the track has been played since 2014, and the thirteenth time overall that the band has busted the number out since reuniting back in 2009. Even though the song—which once went unplayed for 796 shows—is now performed with some level of frequency, it still gets a huge, rapturous reaction from a fanbase that just can’t seem to get enough. This version of the track was a little rough around the edges, but the band made up for it in kind with a short-but-sweet jam.“Divided Sky” was up next, and Phish delivered an absolutely gorgeous rendition of the song. The band nailed the song’s composed section, milked its silent moment, and moved on to a beautiful and blissful jam that brought the Garden to its knees. “Divided Sky” is one of Phish’s most iconic pieces, and it was a true treat to hear it on Friday night. Following a quick run through Big Boat‘s “Things People Do,” Phish shifted into high-gear with an uproarious “Sand,” which they augmented with an ambient, synth-based jam. Kuroda continued his master-class on lights, while Anastasio took over the jam and moved it into a blissful space, using twinkling arpeggios and psychedelic guitar stabs to full effect before completing the song, taking a bow, and walking off stage for set break.Phish started off set two with a shocker, as “Have Mercy” by The Mighty Diamonds was busted out as a standalone opener for the first-time ever. Since 1993, “Have Mercy” has only been played eleven times, and all of them except for this version came in the middle of an extended jam. “Have Mercy” is typically a surprise that appears out of the ether of ambitious improvisation, so to say that fans were caught off guard by the song’s placement as set-opener would be an understatement. The Baker’s Dozen has been all about breaking down pre-conceived notions, so, in retrospect, “Have Mercy” in the opening slot makes perfect sense.A raging “Chalkdust Torture” followed, and the band linked up for a twenty-four-minute exploration that stands out as the type II improvisational highlight of the evening. The jam was driven and focused, with the band delivering a space-jazz vibe as they settled into a nice groove. Anatasio’s playing was exploratory and exciting, while the rest of the band zeroed in on some bouncy, rhythmic elements. The funky vibes transformed into a psychedelic speed-rock jam, which was followed by a glorious peak.All of a sudden, the band made good on their “Double Chocolate” theme by dropping into “You Sexy Thing” by Hot Chocolate. The Garden simply erupted with excitement as the band started up the soulful cover. Gordon was tasked with singing the song, and he struggled mightily with the song’s high notes, but the fans at MSG seemed too excited to care. Phish took the song out into exploratory territory, with a patient, synth-and-bass-focused jam that wound its way into “Mercury.” The multi-sectional new favorite was down and dirty, as the band found even more places to explore before dropping back into “You Sexy Thing;” Call me crazy, but this second appearance of the Hot Chocolate classic seemed like a play on the “Double” part of the evening’s “Double Chocolate” theme.The familiar opening chords of “Backwards Down The Numberline” rang out, and the band performed the song with passion and excitement. “Numberline” isn’t everyone’s favorite at a Phish show, but the band sure knows how to jam it out, and that’s exactly what they did last night, bringing the song to a huge and exciting peak before moving into a joyous, set-closing cover of “Rock And Roll” by The Velvet Underground. The band and crowd alike were all smiles as set two came to a conclusion.To start the encore, Fishman started up the hi-hat-laden beat for “Fee” while Anastasio went to his guitar rig, pulled out his old megaphone, and delivered the song’s vocals with perfection. He augmented the song’s lyrics towards the end of the track to tell fans to “have a chocolate donut and catch your breath,” which got a huge applause from the appreciative crowd. For the evening’s final song, the band moved back over to the a capella microphone and performed their emotional cover of “Space Oddity” by David Bowie.The funny part about this show is that it will likely be remembered as one of the bottom-tier shows of the Baker’s Dozen. Don’t get me wrong, it was a great night. The first set featured bust-outs of “Weigh,” “The Oh Kee Pa Ceremony,” and “Destiny Unbound;” beloved classics like “Free” and “Divided Sky;” and a raging “Sand.” Then, set two offered a twenty-plus-minute “Chalkdust Torture,” an absurd cover of “You Sexy Thing,” and plenty of ambient and blissful jamming. On any other tour, this would be a standout show, but after five consecutive classic nights at Madison Square Garden, this might be the first show of the Baker’s Dozen to be considered “standard.”However, if this show is considered standard, then we are truly enjoying Phish at a modern peak—certainly their highest level of playing since their return in 2009. If you are a hardcore Phish fan and you don’t have plans to hit any of the remaining seven Baker’s Dozen shows, you would be foolish to miss out on this opportunity to witness them as they harness their powers to the best of their abilities in an attempt to destroy Madison Square Garden.HOT TAKES:Repeat Watch: No songs have been repeated, and by now it doesn’t look like that will happen. We are almost 50% of the way through the Baker’s Dozen—set break of tonight’s show marks the halfway point of the run—and Phish hasn’t shown any signs of slowing down.Today’s Donut: Double Chocolate [“Chocolate Rain,” “You Sexy Thing,” “Fee”]We Tired Yet: It’s Saturday night, let’s rage! Seriously though, does anyone have any Advil?Setlist: Phish | Baker’s Dozen Night 6 | Madison Square Garden | New York, NY | 7/28/17Set One: Chocolate Rain, Ass Handed, Free, Weigh > Undermind > The Oh Kee Pa Ceremony, The Dogs, Destiny Unbound, Divided Sky, Things People Do, SandSet Two: Have Mercy, Chalk Dust Torture, You Sexy Thing > Mercury -> You Sexy Thing > Backwards Down the Number Line > Rock and RollENCORE: Fee, Space Oddity Phish debut; a cappella, with Page on a midi controller keyboard. Unfinished. Phish debut. Lyrics changed to “have a chocolate donut and catch your breath.”If you’re in town for Phish’s 13-night Baker’s Dozen run at Madison Square Garden, don’t miss all the incredible late night shows going on in the City during the run! Check out Our Official Guide To Baker’s Dozen Late-Nights for all the info.Live For Live Music Phish Baker’s Dozen Run Late-Night ShowsJuly 29 – Dopapod @ Gramercy (tix) *July 29 – Perpetual Groove @ BB King Blues Club (tix)Aug 2 – Matisyahu @ The Cutting Room (tix) *Aug 3 – Greensky Bluegrass w/ Marco Benevento @ Ford Amphitheatre At Coney Island Boardwalk (tix) **Aug 4 – “Kraz & Taz” – Eric Krasno Band w/ Brandon “Taz” Niederauer Band @ The Cutting Room (tix)Aug 5 – Spafford @ BB King Blues Club (SOLD OUT)* (L4LM & CEG Presents)**(L4LM & Live Nation Presents)Photos by Andrew Scott Blackstein:
Future-funk pioneers Lettuce are heading to Portland, Maine next Friday, and they’re serving up more than just music. On September 15th, Lettuce will host a very special concert at the Maine State Pier to benefit Full Plates Full Potential, an organization whose mission is to eliminate child hunger in Maine. Featuring special guest Chali 2na with support by Percy Hill and Armies, the night will certainly be one to remember. Lettuce and Full Plates Full Potential have teamed up to offer VIP packages that include access to a preferred viewing area during the concert, as well as a VIP after party with a menu curated by top Portland chefs and restaurants. The Super VIP option includes both the preferred viewing area and after party, plus a limited edition concert poster and a pre-show meet-and-greet with the band. Tickets for all can be purchased here.The idea for the benefit concert stemmed from Lettuce saxophonist and Maine resident Ryan Zoidis, who first heard about Full Plates Full Potential on the radio when he recognized the voice of Chef Ilma Lopez (owner of Portland restaurants Piccolo and Chaval) discussing the astonishing statistics behind child hunger in Maine. As a local father, the message especially resonated, so Zoidis made the moves to get the band involved.Full Plates Full Potential’s mission is to end child hunger in Maine where 87,000 kids struggle to access the reliable, nutritious meals they need to thrive. 15.8 percent of Maine households, or nearly 200,000 individuals, are food insecure. It’s estimated that about 1 in 5 kids in Maine don’t know when or where they will get their next meal. By removing barriers that keep these children from benefitting from the proven, effective, efficient nutrition programs for which they are eligible, Full Plates Full Potential connects Maine kids with existing nutrition programs and builds new ones when needed across the state. They support proven initiatives like the school lunch program and seek to expand lesser accessed programs like breakfast and summer meals programs.“Food has a direct effect on performance, behavior, attitude, and long-term health,” Zoidis, who embarks on Lettuce tour today, explains about the importance of bringing food to classrooms. “The results of Full Plates Full Potential have already shown increase in attendance, better grades, and less behavioral outbreaks at the local schools. The numbers impressed me so much that I knew I had to get involved.”Lettuce’s September 15th VIP after-party will take place at Boone’s Fish House & Oyster Room restaurant on the water, where some of the best chefs in Portland will gather for the Full Plate Full Potential event. “The menu will be luxurious,” explains Zoidis, who is an international foodie himself, “with several James Beard Award winning chefs contributing their finest, most badass dishes to friends, family, and fans alike.” The lineup includes Chef Rob Evans of Duckfat, Chef Harding Lee Smith of The Rooms (Boone’s Fish House & Oyster Room, Front Room, Corner Room, Grill Room, Mountain Room), and Chef Jason Loring of Nosh Kitchen Bar, Slab Sicilian Street Food, Rhum Food & Grog, Big J’s Chicken Shack.Lettuce’s involvement comes as part of their continuous Lettuce Give charity initiatives. The band promises to donate $1 per concert ticket sold, and all proceeds from the VIP and Super VIP food experiences will go directly to the cause.“Music and food bring people together. It’s a common denominator,” explains Zoidis about how he decided to connect Lettuce with Full Plates Full Potential. “Making music is a lot like making food. They both require skill and depend on creativity to deliver a tasteful/consumable product. When you consider what goes into making a band—creating good music together—it’s similar to making a dish with various elements to create a composition of food. Similar to how the elements of the lights, sound, and each instrumentalist’s flavor comes together in a concert experience, the same approach is made in creating the perfect dish—everything is better with the appropriate amount of herbs and spice.”Known for their incendiary live shows, extensive touring, die-hard fans, and massive two-decade career, Lettuce brings forth a new vitality to classic funk music. Comprised of a stellar group musicians—drummer Adam Deitch, guitarists Adam Smirnoff and Eric Krasno, bassist Erick “Jesus” Coomes, keyboardist and vocalist Nigel Hall, saxophonist Ryan Zoidis, and trumpet player Eric Bloom—the band continues to earn their name as a can’t-miss live act. Chali2na was a natural choice for a special guest, “because tuna and lettuce, come on.” Percy Hill and Armies are both choice picks for Zoidis too, who grew up with the players in the Northeast and urges all fans to check them out ahead of the show. Tickets for all can be purchased here.Full Plates Full Potential has taken major steps to end child hunger in Maine. And yet, 1 out of every 5 kids in Maine struggles with hunger and aren’t getting the resources they need. That accounts for nearly 50% of all public-school-aged children in the state. Childhood hunger is a major problem in our country and in Maine – but it is solvable. Learn more about the organization here, and join Lettuce on their mission on September 15th.“We really hope that by bringing our fans together to celebrate music, Lettuce will help make a difference in Portland, and beyond,” says Zoidis.
This weekend, Telluride Blues & Brews took over Telluride Town Park, bringing the likes of Bonnie Raitt, Steve Winwood, Taj Mahal and Keb’ Mo’ Band, Anders Osborne, Drive-By Truckers, Benjamin Booker, The Blind Boys of Alabama, Tab Benoit, The Magpie Salute, Eric Lindell, and more to the charming town nestled in Colorado’s San Juan Mountains. Telluride frequently plays host to a number of internationally renowned music festivals, such as Telluride Bluegrass and Telluride Jazz, and Telluride Blues & Brews is no different, with its lineup celebrating blues, funk, jam bands, indie, rock, gospel, and soul regularly drawing huge names. Across the festival’s four nights and three days—this year falling from September 14th through September 17th—Blues & Brews saw consistently top-notch performances, with the shows eventually spilling over into the town’s intimate Sheridan Opera House, which only has a capacity of 240 people, after the main music of the day was over.You can check out photos from this year’s Blues & Brews festival below, courtesy of Andrew Rios. Load remaining images Telluride Blues & Brews 2017 | Telluride, CO | Photo: Andrew Rios
Photo: Bill McAlaine Load remaining images The kings of jam rock finished out their three-night run at Red Rocks Amphitheater in Morrison, Colorado with a heroic conclusion. To follow Saturday night’s three-set show, Widespread Panic shuffled back onstage to hammer home another one of a kind show. The music was delayed due to a heavy hailstorm during the day and some scattered thunderstorms during the afternoon.The band kicked the first set off with a cover of the fan favorite “Let’s Get The Show on the Road” by Michael Stanley. Panic played this last in Birmingham, Alabama only a half dozen shows ago, so it was a surprise to hear it played it again so soon. Dave Schools led the jam on a bass-heavy “Bear’s Gone Fishin’” from Til’ The Medicine Takes.The boys nailed a blues cover of Willie Dixon’s “Weak Brain, Narrow Mind” with a standout performance by John Bell on vocals and a constant barrage of lightning guitar notes from Jimmy Herring. JoJo Hermann’s dancing keys faded as Herring’s guitar sawed out the opening notes to “Cotton was King” the last track on Dirty Side Down. The high-energy was maintained with an aggressive cover of David Bromberg’s “Old Neighborhood” from Night of Joy notoriety. John Bell aced the vocals with his incredible range and power.With the announcement of Panic en la Playa Ocho returning to Riviera Maya in Mexico, Panic fittingly played another cut from Night of Joy, a rowdy version of “Bust It Big.” As the song intensified, JoJo and most of the audience heartedly sang, “Gonna pour my shots and ride my ticket down…. To MEXICO!” The slow kick of Duane and Sonny’s kits revealed “Diner” to be the next song. Always coveted by the hungry fans, John Bell absorbed all spiritual energies from this mystical venue to annihilate this tune from Everyday with all the salacious raps included.The still-smoldering musicians transitioned directly into the instrumental jam “Take Out” from their debut album Space Wrangler. The calm, upbeat tone of “Take Out” was abandoned for and replaced with the psychedelic fury of “Pigeons”. From the band’s self-titled second album, this track exploded with chaos and uncontainable ferocity. After several breakdowns and build-ups, the band drove the energy to a breaking point and ended the first set with the audience still enraptured by the lingering echoes of the tune.Upon returning from set break, the boys appropriately dove into a delicious rendition of Vic Chestnutt’s “Let’s Get Down to Business.” The band opened with this song on the first set of New Year’s Eve, and the audience reacted fanatically. To follow, they cut a sharp cover of Jerry Joseph’s “Chainsaw City.” John Bell was on lead vocals, Dave Schools supported with backup vocals, JoJo scorched the organ, and Jimmy Herring transmuted notes of gold like an eternal alchemist.JoJo led a visionary musical quest with heartfelt vocals on “Visiting Day” from Dirty Side Down. Jimmy Herring electrified with a wicked solo, and JoJo danced all over his multiple keyboards. John Bell dazzled with a version of “Up All Night” from Free Somehow. The percussionists shared a few minutes alone to molly-whop their kits before the rest of the band returned to play their necessary tribute to Colorado with “Surprise Valley” from Til’ the Medicine Takes.Another obligatory ode to the west followed with the boys playing a dirty cover of Tom Waits’ “Goin’ Out West.” Schools punished the bass-line with his powerful hands, and John Bell’s gritty voice–as if he was raised solely on muddy water–exemplified the swampy nature of this band. For only the second time ever, the musicians played an unbelievable cover of Bill Withers’ “Ain’t No Sunshine”, marking the second WSP performance of the song ever, following its debut cover in 2014 at Charlotte’s NYE show. Like flicking a switch, John Bell was able to clean up his voice from Tom Waits’ razor-sharp jagged rasps to Bill Withers’ pristine crystalline soulfulness. The boys knocked this out of the park with ease like the Incredible Hulk playing T-ball.For only the third time in five years, Panic played a version of War’s “Four Cornered Room” which many fans have been chasing for their entire lives. The band sizzled and captivated as most of the audience stood transfixed with incredulity. To close out the second set of music, the boys hammered an appropriate “Ain’t Life Grand” from the self-titled album. Panic hit all the right notes by giving the audience a chance to shake and dance to JoJo’s flawless piano playing, Herring’s ripping guitar riffs, School’s consistent thumpin’, and John Bell’s emotionally distraught vocals.To encore, the band gave a nod to Union Station during a captivating rendition of “You Should Be Glad” from their album Earth to America. A heavy, psychedelic bounce provided everyone in attendance and streaming with a reason to “Be glad; to be happy just being alive.” To conclude the epic three-night run, the boys paid tribute to Tom Petty with a version of “You Wreck Me” that they have only played once before in Milwaukee of last year.Next weekend, Widespread Panic will be at Mud Island Amphitheatre on June 29th and June 30th in Memphis, TN. Until next time: stay happy, stay safe. Life is grand, you should be glad.Let’s Get This Show On The RoadLet’s Get Down To BusinessSetlist: Widespread Panic | Red Rocks Amphitheatre | Morrison, CO | 6/24/18I: Let’s Get The Show On The Road, Bear’s Gone Fishin’ > Weak Brain, Narrow Mind, Cotton Was King, Old Neighborhood, Bust It Big, Diner > The Take Out, Pigeons (79 mins)II: Let’s Get Down To Business, Chainsaw City, Visiting Day, Up All Night, Drum Solo > Surprise Valley > Goin’ Out West > Ain’t No Sunshine > Four Cornered Room, Ain’t Life Grand (80 mins)E: You Should Be Glad, You Wreck Me (16 mins)Notes: [‘Highway to Heaven’ and ‘In The Garden’ raps during ‘Diner’; ‘Ain’t No Sunshine’ LTP 12/31/14 Charlotte (191 shows) – 2nd time played]Widespread Panic | Red Rocks Amphitheatre | Morrison, CO | 6/24/18 | Photos: Bill McAlaine
[Video: Jar-Jar]SH: And it was against the Titans too! Maybe you can perform the national anthem on guitar for a game this year.Derek Trucks: That would be fun, man. We’ve talked about it. I have to think about the right way to do it. It’s a tough one. I’ve heard so many bad versions on guitar that I’d really have to get my head right for it.SH: What are you most excited about for a tour like this, especially in regards to being on the road with the same bands, the Drive-By Truckers and Marcus King Band, throughout?DT: This is kind of the first time we’ve gone on the road with the Drive-By Truckers. We’ve done a show or two with them years back with the Allmans, but I don’t really know them that well. It’s more being an admirer from afar and just knowing them by reputation and through their songwriting and reading an article or interview here and there and feeling like it’s going to be a good fit. I’m excited for it.We’ve gotten to know Marcus pretty well the last handful of years from playing on his record and sitting in and being a part of shows together. I’ve never really seen his band do its thing, so I’m excited for that. I know how talented he is and what he can do.It’s always nice to get out on the road with groups for a month or so. You really get to see what people are capable of. You see the growth as it goes. I’ve noticed on this tour especially that it’s always brought out the best in each band. You watch one do their thing and they’re just lighting it up and everyone in the band goes, “Oh, shit. We better serve it up tonight.”It just puts a fire under all the other bands. I feel like our band has the ability to do that, too. It brings the best out in everybody. It’s never a competitive thing. You just do what you do. It does add a little edge to the thing and it makes you want to pull out more tunes and just do your thing. This tour we always look forward to for that reason. I feel like it brings out different parts of what the band can do.SH: These days you’re NOT the young talented guy looking up to everyone else, is it strange for you to see someone else on the road, in this case Marcus King, in that spot you were once in? DT: It totally is. It’s a strange thing. For the longest time, I was always the youngest guy in the room and the youngest guy in the band by a decade. Then all of a sudden, you’re like, “Oh, that’s done. That’s not the case. You have kids that are almost their age now.” Yeah, it’s a different feel. This band was the first time I was ever in a band with somebody younger than me.That was the first time it dawned on me that I wasn’t a child anymore. But yeah, having Marcus out, there’s definitely, there’s some of that. It’s I think the same feeling I had when I was his age is you find people you connect with. For me, it was people like Jimmy Herring and Doyle Bramhall and a few other people where you’re just instant friends.You feel like you grew up together and you’re contemporaries. I feel like with Marcus, he’s probably of that mindset, too. You can still respect somebody who’s playing and look up to them and admire them. You don’t feel like you’re worlds apart. At a certain point, you’re all just in it trying to make it happen. I feel like that’s where we are and I know that’s where he is.SH: Are there any other younger players besides Marcus King you admire or would like to be a help to? Or already enjoy helping out?DT: There’s guys that I certainly admire. There’s that guy Blake Mills who I met through Eric at the Crossroads. Not that he needs my helping out. He’s a full-on producer and crushing shit out there. I think he lives on the West Coast. He’s a really interesting player, just the way he hears things, and he’s an amazing producer. I feel like he’s a bit younger. I met him when he was even younger. He’s great.I just got a chance to play with Taz for the first time when we were in Atlanta. That was a good hang. I’ve known him for a long time, but that’s the first time he ever sat in with us. I feel like with him, especially through the Colonel, we’re forever connected. We’re all part of the same alumni at this point. That was fun. I look forward to seeing what he ends up doing.Tedeschi Trucks Band With Taz – “Statesboro Blues” – SweetWater420 Festival 2018 Tedeschi Trucks Band’s Wheels of Soul tour kicked off over the weekend in Jacksonville, Florida—hometown of band leaders Derek Trucks and Susan Tedeschi. 2017 had its share of lows for Derek Trucks personally and professionally: The passing of Gregg Allman, the passing of Derek’s uncle and Allman Brothers bandmate Butch Trucks, and the passing of Colonel Bruce Hampton, a guiding light, musically and spiritually, to Derek and several of Tedeschi Trucks Band members. Bandmate of nearly 20 years, Kofi Burbridge, had a serious health scare. Kofi has since made a recovery, rejoined touring with the band, and is making key contributions to the band’s upcoming album.However, 2017 also had its share of high points as well. Last year, TTB gave birth to a psychedelic free-jazz side project: Whose Hat Is This? featuring TTB drummers Tyler ‘Falcon’ Greenwell and JJ Johnson, bassist Tim Lefebvre, and saxophonist Kebbi Williams. Tedeschi Trucks Band had a successful summer tour; epic stands at legendary venues such as Red Rocks, The Ryman, and six nights at the Beacon Theatre, culminating with a legendary sit-in from Phish’s Trey Anastasio.TTB has wasted no time in 2018 with a run at the Chicago Theater in January featuring some of the band’s best playing yet and a full spring tour. All the while, Derek has been overseeing the creation of the band’s forthcoming album. I had a chance to speak with Derek Trucks about the band, the Wheels of Soul tour, the album, honoring the memories of loved ones, and more.Scott Horowitz: First things first. How’s the new album coming along? How far into the process are you?Derek Trucks: We’ve been writing and working towards this record for probably close to a year now. In between tours, you try to get a few days here and there just to throw down ideas and write, and then you work towards it. Some of the tunes we started playing live—”Shame” and “All the World” and there’s a few others that we’ve tried—you want to save most of the tunes because once everyone’s heard it, if you release a record, nothing feels new. I think the band’s chomping at the bit to hit them, but we’ll save it ’til the release.Tedeschi Trucks Band – “Shame” – Count Basie Theatre – Red Bank, NJ – 2/13/2018[Video: Sean Roche]SH: Are you working with a producer on this one?Derek Trucks: We brought in Jim Scott, who worked on the first few records with us. This is the first one we’ve recorded everything to 24-track two-inch tape. We’re just going about it a little differently. It feels pretty amazing. The sounds feel right. It feels warm, and it’s a slower process, but it certainly feels like the right way to go.SH: Where have the songwriting contributions for the album come from?DT: It’s all in the band. Mike had a few tunes, and Susan had a few tunes. Some of them were songs that Kofi or the band came up with in rehearsal or sound check. Me and Doyle wrote a few tunes together. Oh, and Oliver Wood. He came down for a day and me, Sue, and Oliver wrote one tune. There’s probably 16 or so tunes that we wrote and recorded, and we’ll probably trim it down to a dozen or so that will end up making the record.We just had Kofi down the last two days, and he wrote these amazing string charts. We had a string quartet from the Jacksonville Symphony Orchestra come over yesterday, and we recorded them. That was pretty special getting to see Kofi out there with his conductor’s hat on. Oh man, it was so good. He has such amazing ears, and he has the knowledge and the ability to articulate exactly what he wants to hear. It was a cello and a viola and two violins. They sounded just amazing.It was great to hear ideas that he had come up with on a program on his laptop with these shitty string sounds. Then you hear it right, and it’s a pretty beautiful thing. You could feel it. It was a proud moment for Kofi. He was out there in his element, and it’s not something you get to do very often. It was a special day. It was. There were a lot of smiles in the studio.SH: Its rare for a band of four or five people to stay together for more than several years. Tedeschi Trucks Band has 12 members, the roster has stayed consistent for several years, and the majority core of the group has been the same from the very start. How does that happen, and how do you keep the momentum going? DT: It has to be a personality fit, first of all. You got to be able to survive and function in tight quarters with a lot of people. With a band this big, it has to be a selfless thing. Everyone has to step back at times. And a lot of it is just chemistry. Everyone’s lives, you’re dealing with different things. Some people are in their twenties, and they can just float around and do whatever they want. There are other people in the band that have children—teenage children or young children. Being on the road as much as we are, it can be stressful.With any group, at least a group that’s on the up, you’re constantly trying to figure out what’s going to make it better musically and what’s going to make it feel better. We’ve spent a lot of our time together, and you want to really enjoy it. You want to show up to work and see people that want to be there. You do everything you can to make that happen. We’ve been incredibly fortunate. To have a group this big and even to have the small amount of turnover that we’ve had has been pretty amazing; that it’s been as steady as it has. The group now is a pretty amazing place.SH: And how about the band within your band: ‘Whose Hat Is This’?DT: Oh, yeah. That’s fun! When we were in Berlin, they had a gig on one of the off days. Me and Susan went and saw them. I’ve been down to the 55 Bar in New York City when we do the Beacon Run to see them. It’s a great outlet for those guys. Any time you get full Kebbi, it’s a good day. I’m always happy to see him do his thing. When you get Kebbi in his element, there’s nothing quite like it.SH: The Wheels of Soul tour is kicking off in Jacksonville Florida at the Daily’s Place Amphitheater, as it did last year and was the venue’s first concert. Though that must have been exciting opening up a hometown venue, it was also the day Gregg Allman passed away. What was that day like for you and what’s bringing you back to the venue?DT: When we did Daily’s last year for the first time, I didn’t really know what to think. I mean, the idea of a theater connected to a football stadium. I’m a Jaguars season ticket holder, I love it down there, but it didn’t fully make sense to me. It was such a good show and such a good audience. But yeah, it was a tough day. When we found out Gregg passed, there were mixed emotions, but it was a pretty magical gig. It sounded really good in there. You never know until you set up and play how a room’s going to sound. It felt really good. We had such a good feeling there last year, we thought it’d be a good place to kick off the run this year and maybe turn that into a tradition. We’ll see.SH: I’m a Jaguars season ticket holder too, so I have to ask: are the Jags winning the Super Bowl this year or what?DT: Man, I got my fingers crossed and a small wager placed on it.SH: Maybe Susan can help? The Jaguars are 2-0 when she sings the national anthem DT: I know. She has a good track record. 2 and 0 here. One of the games that she sang for, it was the only home win of the season. That was heavy lifting that time.Susan Tedeschi Sings “The National Anthem” [Video: nugs.tv]SH: What did you learn from those you leaned on when you were younger that you’ll be sure to pass down to the next generation? Do you go out of your way to dispense wisdom, or do you just make yourself available in case someone wants to reach out?Derek Trucks: It’s a little bit of both. With someone like Jimmy Herring, he felt like a sibling, even when I was a kid, but in the best sense. There were certain things that I learned from him, just straight musical things. He’s a great teacher. Any questions you had musically, he would answer without it ever feeling condescending. He was always wide open and still, Jimmy’s just a wealth of knowledge and a total badass.I think, for me, it was Colonel. He was the teacher. He was to everybody in a lot of ways. When I see someone like Marcus or I see Taz, he’s the one I always think about—the lessons that I learned from the Colonel when I did and just about making sure your head’s on right and you’re listening to the right stuff. Your intention is right, always asking why are you doing it. Why are you making music? What are you trying to convey to people? Just making sure you keep things in check.I think what would the Colonel’s one-liner be, or what would his general sense of things be? In a lot of ways, he’s the musical moral compass for a lot of us in this band. Certainly, I know Falcon from playing with him for years and Susan and me. The Colonel is very much our compass and is pointed at a true Hampton. North is H.SH: When you’re thinking about Colonel Bruce and missing him or other recently departed loved ones like Butch Trucks or Gregg Allman, what are ways you feel best honors your memories of them? DT: I think the most direct way is the way you play and the way you protect the integrity of what you try to do. When I think about Butch at his best, I think about him on the drum kit, just giving it every ounce that he had. To me, that’s him at his best. Just wide open, totally tapped into the thing and just giving it. He would just as soon drop on stage. That’s the feeling I always got from him.Gregg just had that thing, man. He was a part of this Southern gothic story. He kind of was the keeper of the mojo in a way. When he went, it was kind of the last chapter in a lot of ways. He was such a gentleman. He was a quintessential rock star in a lot of ways, and there’s thousands of stories about him, but I think about the way he was with my kids on the tour bus when they were young, and the way he always was around my wife or the way he was around my mom. He was always such a gentleman.The Colonel’s thing is more all-encompassing, where you just think about certain things with a certain kind of depth. It’s uncompromising. I’ve known him so long, and he was such a part of the family that when I think of him, it’s his presence and just his humanity. When I think of him, that’s the feeling I always get where you just miss him. There’s the outlandish stuff certainly, when you first meet him or when you’re around him, the things that just kind of blow your head open. There’s tons of those, but it’s really all the stuff underneath that that I really think about all the time.Those are the things that when I think about those guys, you try to implement those things. You try to carry those parts of them, the best of who they were. You try to keep that stuff intact. When you do, if you do play their music, you try to do it with the right amount of gravity. You want to make sure that you mean it and you’re not doing it because the crowd wants to hear it. You just never want it to be cheap. I feel like anytime you touch certain things, there needs to be some reverence. It always needs to have that whiff of sacred, and I don’t want to ever overdo it. I feel like that gets done more often than it should a lot of times. But, yeah, it’s an ongoing thing, it’s not a picture you can put on your amp or something. You got to mean it. It’s a practice.SH: I’ve heard you mention before that one of the more important things Colonel Bruce turned you onto was the teachings of Jiddu Krishnamurti. What is it about Krishnamurti’s teachings you value so much, and what is the common ground between him and someone like the Colonel? DT: I think the thing that originally struck me about Krishnamurti, and still does when I jump back into it, is he never lets you off the hook. There’s never this thing you can do and then you’re just fine, you go about your business. You have to constantly be on it, and you have to constantly be present and in the moment. You have to constantly reinvent yourself. You can’t get hung up on whatever it is, status or any part of it.I feel like his thing was just setting fire to all the dogmas, and everything that a lot of people end up basing their life on. I feel like with almost any religion, any great music, there’s this seed that gets you into it. There’s these moments that you have, these great epiphanies, and it’s really pure in the beginning. And then you just hang your hat on the fact that that’s there. You get further and further away from the whole point, you don’t realize the piece of shit that you turned into.I feel like with Krishnamurti and with the Colonel and those people of that mindset, you’re never realized. You always have to do it. You’re not a good guy and then you’re always good. You have to work at it. I appreciate that sentiment. You got to get up every day and you got to make it happen every day. You have to re-tap in.With a band, you have to think about that all the time. There’s times where this band gets to a place where you know it’s really good, but you can’t just assume that it’s going to remain that way. You have to change it up. You got to shake it up. You got to do things here and there. It’s constant work. You have to remind yourself that doesn’t stop. If it did, well, you can tell when that happens. You can feel when people throw in the towel.SH: Shifting gears a bit, last year, Trey Anastasio sat in with TTB at the beacon. How did that come about, and what prompted choosing a mammoth tune like “Mountain Jam” for the occasion?DT: He’s always been great to be around and just a super, super humble guy. I remember when he sat in with the Allman Brothers, it was a good hang. When we talked about having him come and sit in at the Beacon with us, I think we had the notion of doing “Mountain Jam” early on. I was just waiting to pick out the right time to do it. He seemed into the idea. Knowing his pedigree and what he does and knowing he had just gone through the Grateful Dead ringer and all that stuff, it felt like it’d be the right guy to step in and do it. I knew he’d give it a hard listen and give it the respect it deserved.It was fun. We rehearsed maybe parts of it at sound check and just let it fly. That was a pretty special show and definitely that moment was great. We thought about breaking it back out again, but I feel like that’s one you got to pick and choose. Like we were talking earlier, you got to be ready for it and you got to mean it. He certainly showed up.Tedeschi Trucks Band With Trey Anastasio – “Mountain Jam” [Video: TTBFromTheRoad]SH: Finally, what music have you been listening to and loving lately? Derek Trucks: I think the last six months, we’ve been so far down the making-a-record rabbit hole that I’ve been listening to that pretty exclusively. When I do step away from it, it’s been a lot of classical music just for a change of pace in melody and sound. There’s some pretty amazing stuff. Any of the Mahler Symphonies, especially 4 and 5 are great. I’ve been listening to a lot of the masses. There’s a Schubert mass that’s just beautiful.Really, any of the great composers, they usually wrote a few masses. For some reason, that’s some of my favorite stuff. I guess it’s a little more languid. It’s religious—those guys were trying to stay employed—but they were just writing great melodies. Some of that stuff is amazing, man. That’s what I’ve been listening to the last handful of months when I have to step away from this. They’re worth checking out for sure.
The fourth-annual Brooklyn Comes Alive will return to Brooklyn’s beloved Williamsburg neighborhood on September 29th for an all-day music marathon at Brooklyn Bowl, Music Hall of Williamsburg and Rough Trade. Inspired by the vibrant musical communities of Brooklyn and New Orleans, Brooklyn Comes Alive brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes, and collaborate in never-before-seen formations. For more information, ticketing, and to see the full list of performers scheduled for Brooklyn Comes Alive 2018, head to the festival’s website here. In 2018, Brooklyn Comes Alive will host a unique collaborative set featuring five of the most talented musicians and improvisers from the live music community. Cory Henry (Snarky Puppy, Cory Henry & The Funk Apostles), Nikki Glaspie (The Nth Power), Scott Metzger (Joe Russo’s Almost Dead, Wolf!), MonoNeon (Prince, Ghost Note), and Skerik will join forces for a highly anticipated performance that is sure to be one of the most memorable sets during the Williamsburg, Brooklyn-based event. It’s anyone’s best guess what these virtuosos will play during their set, but whatever they do play, it is sure to feature powerful, ambitious improvisation from all five band members.Following several standout collaborations during this past year’s Jazz Fest, it became clear that Skerik and Nikki Glaspie would be the perfect team at Brooklyn Comes Alive. The pair’s relationship runs deeps and formed the foundation of this unique band. Skerik is one of the best improvisers in the game, having made a name for himself as one of the most unique saxophone players in the world. His confident and experimental approach to his instrument sets him apart, and he has carved a place for himself as one of the live music community’s go-to sax players. Similarly, Glaspie is a highly sought-after musician within the improvisational world. She is also powerhouse performer in her own right, expertly leading her band, The Nth Power, on tour and through their trademark tribute sets.MonoNeon is an artist that should be on your radar by now. After gaining notoriety on the internet with his hilarious videos, the former Prince bassist has made a name for himself in a big way by joining the rising fusion act Ghost-Note, fronting incredible Jazz Fest late nights like Neon-Medeski and Purple Party: A Tribute To Prince, and performing with amazing artists such as Eric Krasno, John Medeski, and others all over the world. The in-demand bassist is certainly an enigma, but his quiet persona is no representation of his deep and in-your-face playing style.Making his first appearance at Brooklyn Comes Alive, Cory Henry is primed to leave his mark on the event. In fact, during his time in Snarky Puppy, the ultra-talent keyboardist stood out. Henry now fronts his own internationally touring project, the Funk Apostles, and has become one of the standout names in jazz and funk over the past half-decade. His expansive musical IQ makes him one of the best players in the game, whether he’s playing a Hammond B3 Organ, drums, or his unique harpejji.Henry expressed his excitement to Live For Live Music, saying, “I’m looking forward to playing music with this amazing lineup. It should be fun, exciting and fresh! Brooklyn has a way of reinventing itself. This event is right in line with the Brooklyn times. Come out and enjoy a new musical creation!”Similar to Glaspie, Scott Metzger has a longstanding relationship with Skerik that dates back over a decade. Metzger, the mild-mannered guitarist from Joe Russo’s Almost Dead and his improv-centric project Wolf! has established himself as one of New York City’s brightest musical talents, keeping a constant presence in the city’s vibrant underground music scene, even after the national success of JRAD.Metzger will certainly add an interesting element to this band, and he spoke to L4LM about his excitement for the project and for BCA:Seeing how I’ve lived in Brooklyn and NYC for 18 years now, this year I’m super psyched to play my third Brooklyn Comes Alive. Because of its unique collaboration nature, some of my favorite sets have happened at BCA, and I’m sure this one will be more of the same. I’m just as excited to hear the dudes and lady I’m playing with as I am to play with them—Cory Henry, MonoNeon, Nikki Glaspie, and Skerik are all monster musicians. Solid crew!Solid crew, indeed.To get hyped to see this crew light up the Brooklyn Comes Alive stage, check out this video from Skerik and Glaspie’s Jazz Fest late night with Medeski and Chris Wood, also known as Fiya Bomb.[Video: RexAVision]