Load remaining images A full gallery of Steve Rose Photos images can be seen below: Umphrey’s McGee wrapped up their winter tour with a stop at The Wiltern in Los Angeles, CA, bringing along TAUK for one final night of mayhem. The show was absolutely packed with smokin’ hot UM jams, but a section in set one certainly stands out for obvious reasons.The band called on bassist Arthur Barrow, who worked extensively with Frank Zappa in the 70’s and 80’s, to lend a hand for two debut Zappa covers. With Barrow replacing Ryan Stasik, the band went into “Soul Food I” before playing Zappa’s “Treacherous Cretins,” to the immense delight of fans of both Zappa and UM. Barrow stayed on for “Glory,” an Umphrey’s original, before Stasik closed out the set with “Piranhas > Wizard Burial Ground.”Leave it to Umphrey’s McGee to host a legend like Arthur Barrow for two debut songs for a tour closer. The remainder of the show was just as hot, with a second-set opening “40’s Theme” and a “Puppet String” that began in set two and concluded as the last song of the encore. Umphrey’s McGee are off until April 6th, where they’ll perform once again in Oxford, MS. They’re also playing an “All Night Wrong” set at the Major Rager, coming up on April 7th, with help from horn players Natalie Cressman and Jennifer Hartswick. More details about that here.You can see the full setlist below:Setlist: Umphrey’s McGee at The Wiltern, Los Angeles, CA – 3/26/16:Set One: Le Blitz > Educated Guess, The Crooked One > Example 1, Attachments, Soul Food I** > Treacherous Cretins** > Glory*, Piranhas > Wizard Burial GroundSet Two: 40’s Theme, Puppet String > Daffodils, Wappy Sprayberry > The Bottom Half, Hurt Bird Bath, HindsightEncore: Ignition (Remix), Upward > Puppet StringNotes:* with Arthur Barrow on bass** Debut (Frank Zappa) with Arthur Barrow on bassCheck out images of both bands from this great performance, courtesy of Steve Rose Photos:
Cream formed in 1966 as a “power trio” project featuring Eric Clapton, Ginger Baker, and Jack Bruce. The three landed on the name “Cream” because they were considered the “cream of the crop” amongst blues and jazz musicians in the exploding British music scene. While the project was short-lived, Cream proved to be one of the most influential rock bands in history. Primarily active for all of two years, with minor reunions in 1993 and 2005, the eccentric sound of Cream is defined through a blues rock/hard rock hybrid that combines the psychedelic themes of the late ’60s with Clapton’s unique guitar playing, the bass-thumping notes and vocal extremities of Jack Bruce, and the jazz-infused percussive snaps of Ginger Baker. They came out with songs like “Strange Brew,” “Crossroads,” and “Badge” in their first year together, and went on to continue their fame with tunes like “Sunshine of Your Love,” “I Feel Free,” and “White Room.”On November 26th 1968–48 years ago today–Cream played their farewell show at London’s Royal Albert Hall. The final show–and the previous night’s performance–were recorded and broadcast by BBC in 1969. Selections from the gigs were later included on Goodbye, the band’s final release, along with previously unreleased studio material. You can watch video of the final show below courtesy of YouTube user Roger The Engineer:Cream were apparently unhappy with those final shows, and even die hard fans admit it wasn’t the band at the peak of their powers. “It wasn’t a good gig; Cream was better than that,” Baker said in the documentary Cream: Classic Artists. “We knew it was all over. We knew we were just finishing it off.”The “disappointing” goodbye, while perhaps not the band’s high water mark, represents an interesting time in their trajectory. Cream would go on to play together a few more times, with critically and commercially successful reunions in 1993 and 2005. You can watch “White Room>Crossroads>Badge” from the 2005 “redemption” show below courtesy of YouTube user AZLiveVideo:
Returning to Montage Mountain in Scranton, PA, the annual Peach Music Festival has just revealed a fantastic initial lineup. From August 10th through the 13th, festivalgoers will get the opportunity to see headlining sets from Widespread Panic (2 nights), My Morning Jacket, Gov’t Mule & Friends, and Joe Bonamassa.The party doesn’t stop there, as the lineup continues with Umphrey’s McGee (2 sets), Joe Russo’s Almost Dead (2 sets), Lettuce ft. Chaka Khan, Mike Gordon, Les Brers, Jaimoe’s Jasssz Band, Dark Star Orchestra, The Magpie Salute, God Street Wine, Rusted Root and more. The lineup continues with great jam groups all the way down, including Papadosio, Dopapod Orchestra, Steve Kimock & Friends, The Record Company, The Marcus King Band, The Soul Rebels, Pigeons Playing Ping Pong, The New Mastersounds, and Fruition. The lineup features even more great artists, like The Werks ft. The Shady Horns, Eric Krasno Band, Whiskey Myers, Pink Talking Fish, Giant Panda Guerilla Dub Squad, Aqueous (2 sets), The Hip Abduction, Moonalice, Butcher Brown, Spafford, Tom Hamilton’s American Babies, Holly Bowling, The Jauntee, Mungion, lespecial, Ghost of Paul Revere, Scott Sharrard & The Brickard Band, Gabriel Kelley, Caverns, The Steppin Stones, Elise Testone, and Bobby Lee Rodgers.Sounds like a fun weekend to us! Check out the full announcement below, and head to the Peach Fest website for details.
Over this past weekend, Joe Russo’s Almost Dead played three nights at the Brooklyn Bowl in NYC with Oteil Burbridge. Burbridge was there to sub for the band’s bassist Dave Dreiwitz, who was playing with Ween in Chicago. While the Dead & Company bassist is certainly well-versed in the Grateful Dead repertoire, the style and character of Almost Dead is its own animal. The 2017 version of Grateful Dead music has become redefined by Joe Russo, Marco Benevento, Scott Metzger, Tom Hamilton, and Dreiwitz – for their freedom from the guidelines has provided a platform for absolutely anything to become possible.The second weekend of Joe Russo’s Almost Dead’s six-night, sold-out residency was certainly highlighted by Burbridge’s presence. The band did not hold back from incorporating out-of-left-field covers and incendiary jams and mash-ups. From the second song of the weekend, JRAD “Let Oteil Sing” Dark Star. The trust was made clear from the beginning, as fans whispered amongst themselves to buckle their seat belts for an exciting weekend of firsts. With Fool’s Paradise coming up in St. Augustine, FL, with both Joe Russo’s Almost Dead (with Jeff Chimenti) and Oteil on the lineup as an artist-at-large, the whispers got louder as the words “Joe Russo’s Almost Dead & Company” spread like wildfire. If this weekend was the test-run for the ride of what’s to come, consider the ticket bought.Now named one of Bass Player Magazine‘s Top 100 Bass Players of All Time, we caught up with Oteil after this exciting weekend to get his perspective on things.Live For Live Music: You’ve become a student of Grateful Dead music. What did you know about Joe Russo’s Almost Dead before heading into the weekend? Had you seen them play before?Oteil Burbridge: I’d seen them play a couple of times. Jam Cruise was when I got to see them up close and really zero in on what they were doing. Plus I knew most of the songs by then and could really tell what set them apart better than before. [John] Mayer and I had talked about how much we both dug them. It was nice to see the fans really embrace a band doing almost all GD music but not really trying to copy their sound. Initially I felt very hesitant to put my own stamp on this music. Of course, if you really have found your voice, then it’s impossible not to anyway – but it was a process getting to the place of being uninhibited about it. JRAD is a much more high energy show too, I think the fans really love that. It was something that I heard over and over again from the fans.L4LM: How would you describe their approach to the Grateful Dead canon? Obviously, they take things a step further than just playing the songs–there are unexpected surprises, twists, and turns, at least for the fans (like when Marco turned “Black Throated Wind” into “Royals,” etc.) Were you aware of song changes, mash-ups, unrelated song covers, ahead of time, or does the band arrive at them organically? How did having you there affect the way they approached things? It was clear from the audience that they were all having a blast jamming with you.OB: I actually didn’t recognize a lot of the mash ups. I could only tell it was happening because of the fan reaction. I did recognize when Marco went into “Fame” by Bowie but I think I was quoting “Skin Tight” by the Ohio Players at the same time. Or maybe it was Parliament Funkadelic. Talk about crazy three way mash ups! The whole point is that if it’s unexpected to the band, then it’s gotta be unexpected to the audience. Their whole thing is to not pre-plan. Even planned things are apt to veer off course at any moment. You would have to ask the other guys in the band how it was different with me in the mix. I can’t be very objective about that kind of thing.L4LM: I’d imagine that playing with JRAD is much like taking pop quiz—except there are thousands of eyes on you and you’re plugged into an amplifier. You know the material, but this tests how you apply it and adapt it in real time. Describe this type of musical experience.OB: It’s impossible to describe but I’ll try. First of all, you have to be out of your mind to keep putting yourself under that kind of pressure. It’s much safer to play only what’s written down. On top of that, if you’re doing it right you tend to feel like you’re onstage with no clothes on. And it’s really cold….. Very few people would enjoy that feeling. But all of this is Col. Bruce [Hampton] 101 so it’s not something new to me. It does finally explain to me why Dead Heads were the biggest Col. Bruce fans and why they adopted us into this scene. It’s that sense of earth without borders.L4LM: Overall, how did playing with JRAD compare to playing with Dead & Company?OB: Well the tempos are a lot faster! No but seriously, you can’t really compare things like that. How does BBQ chicken compare with honey chicken? One’s BBQ and the other is honey. I like chicken all kinds of ways.L4LM: How did you feel about playing an Allman Brothers cover in the midst of all the Dead music? Was it your call to work that in? Had you ever thought about how Allmans and Dead songs might mix together while working with Dead & Co?OB: Joe put that one on the list, not me. Normally I don’t have any different feeling about playing an ABB cover in the set than any other cover really. We do so many covers that are not GD anyway. They’re usually related too. Doing “The Weight” for instance wasn’t that different because the ABB covered that regularly too. Now, doing “Born To Run” in a Grateful Dead set, THAT was a trip! But that particular night when we started “Liz Reed” reminded me that I was usually at the Beacon with the ABB during this exact time frame. It was hard not to cry for a minute there. Especially with Butch Trucks‘ recent death. I haven’t really thought about doing any ABB tunes with Dead & Co. I sometimes quote “Blue Sky” in “Franklin’s Tower” but beyond that it’s not something that I have asked them to do.L4LM: At the JRAD shows, you went back and forth between your 4- and 6-string basses. How did you/how do you usually decide when to play the four string bass versus the six string?OB: I would play my 6 string all the time but I know Joe really loves old 4 strings. That was HIS bass I was playing. People were asking me on social media why I was playing Dreiwitz’s bass. I wasn’t, I was playing Joe’s bass. In the future, I’ll probably be doing it on 6 string a lot more. There are so many things I am working hard on in this music and it’s all on 6 string. The music of the Grateful Dead and where I want to take it personally is going to be a lifelong pursuit. That means 6 string.L4LM: You’re used to playing in two drummer bands with the Allmans and now Dead & Co. Did the music feel any different performing it with only Joe Russo?OB: Honestly I don’t think about it. Comparison destroys contentment. I let go of all preconceptions and just try to respond to the moment. It always feels different when you’re playing with different people. It would have felt just as different if Joe had another drummer.L4LM: Given all your recent involvement with several of its different facets, what’s your perspective on the contemporary moment of the Dead Head culture?OB: It’s really thriving. This music is bigger than the band if you know what I mean. It’s the same with the ABB. It’s really beautiful that all the original members are intentionally passing it on to the next generations’ musicians. It’s such a thrill for all of us younger guys to get to play with them. My buddy Jason Crosby does a lot of stuff with Phil [Lesh]. He was in my solo band The Peacemakers forever ago before I knew any of this music. It’s such a trip to play Grateful Dead music with him now all these years later! I know he feels just as fortunate as I do to be included in this family. I think he knew a lot more Dead tunes than I did though!L4LM: You were just named one of the top 100 bass players by Bass Player Magazine. What an honor! Any words of wisdom to the young musicians following their dreams?OB: I still can’t believe it. Honestly I could name 20 players that should replace me. There’s not anyone under 60 years old that would be on my list other than Victor Wooten. He is a true innovator. When you do something that has never been done before, and that in turn changes the way a large number of people approach the instrument, then you get to be on my list if you’re under 60.Victor Wooten Discusses Music As An Art Of ExpressionAdvice? Don’t give a crap about what you think other people think about you. You don’t know what they really think about you anyway. If you are brave enough to be yourself then you are automatically giving people something that they can’t get anywhere else. I think what Jim Carrey said at a commencement address was dead on. He said that his father failed at doing a job that he hated and it taught him that since he might fail anyway he was going to take the chance at failing doing something he loved.L4LM: We’re psyched to see you later this month as an artist-at-large at Fool’s Paradise, with Lettuce, JRAD (with Jeff Chimenti), and your late-night “Infinity Jam” with Eric Krasno. What are you most looking forward to? OB: I’m most looking forward to not being so damn cold, (I live in Florida now) another day upright and healthy, and the chance to jam with my friends. As far as future collaborations, I did hear the name Joe Russo’s Almost Dead & Company floated out there by a fan last weekend…….Join Lettuce, Joe Russo’s Almost Dead (with Jeff Chimenti), The Motet, The Floozies, Manic Science (Manic Focus x Break Science), The Main Squeeze, Organ Freeman, with Oteil Burbridge and Antwaun Stanley as artists-at-large at Fool’s Paradise next weekend, March 31 & April 1 in St. Augustine, FL. More information can be found here!
The 15th annual Bayou Rendezvous took over the Howlin’ Wolf on Friday, May 5th, after the official festivities for New Orleans Jazz & Heritage Festival had come to a close for the day. It was a massive musical affair, with nine bands performing across the two stages. The event is a perfect example of how charity and music go hand-in-hand, with a portion of the event’s proceeds going to the New Orleans Musician’s Clinic & Assistance Foundation, a charity that helps secure health care for the city’s many musicians.As is the Jazz Fest way, Bayou Rendezvous this year was jam-packed with special collaborations, sit-ins, and all-star groups that can only be brought together when hordes of world-class musicians flock to New Orleans during this time of year. One of the supergroup’s topping the Bayou Rendezvous bill this year was the Bayou Rendezvous All-Stars, tapping noted musicians Johnny Vidacovich (Astral Project), Ivan Neville (Dumpstaphunk), Oteil Burbridge (Dead and Co., Allman Bros.), Kofi Burbridge (Tedeschi Trucks Band), Stanton Moore (Galactic), and Eric McFadden (P-Funk, Anders Osborne) to round out its lineup.Building an “All-Star” band is more than just grabbing the best players available who happen to know the same handful of songs and throwing them onstage together. Matching playing styles and personalities is a big part of the equation. Luckily for all involved, the drumming duties were carried out by Galactic‘s Stanton Moore and ‘Nawlins drum legend and elder statesman Johnny Vidacovich. Their symbiotic style of play is born from countless hours of jamming between them, and this familiarity created an almost family-like vibe as the base of the performance.Not that Allman Brothers and Dead & Co bassist Oteil and Tedeschi Trucks Band’s organ and flute wizard, Kofi Burbridge, needed anymore of a familial connection—with the two brothers together, the energy skyrocketed. Add Ivan Neville, a man whose surname is one of the most evocative and synonymous with the sound of the New Orleans, and you have a supergroup sprung from the deepest of shared roots. This focus on family—musical and blood—fits perfectly with the charity beneficiaries of the evening, the New Orleans Musician’s Clinic & Assistance Foundation.Since 1988, the Foundation has helped the under and uninsured part of the city’s extensive musician population get the health care they so desperately need. Dedicating yourself to making music for the world to enjoy can be rewarding, but not as lucrative as one would hope. By providing a safety net to New Orleans’ many musicians, the clinic allows them to keep doing what they love (and sharing it with us grateful folks), and also provides a sense of well-being to their families as well.As such, when given the chance to help out other struggling musicians, players come in a little sharper and ready to give their all. Before we get to the sharing portion of the piece, we wanted to remind you that the caring part of this article never stops. The Clinic is always in need, and donations can be made HERE to this wonderful and necessary charity that keeps the music we love for nice and healthy.We’ve already seen some lovely photos from the Bayou Rendezvous from Chad Anderson and some fun videos from Dr. Klaw‘s set from our own Rex Thomson, but now let’s check out a few high lights from the epic set from this collection of top talent of The Bayou Rendezvous All-Stars giving their all for the twin causes of funk and family.“Get Back>Sing A Simple Song”“Will It Go Round In Circles”Jam
The post, captioned with a #PiratesLife, gives a glimpse of McCartney’s character. While E Online reports that McCartney plays a jail guard, his swashbuckling wardrobe gives us a funny feeling that “Pirate Paul” will be more than just a glorified security guard in the film. We can’t wait to him in action. The Pirates of the Caribbean franchise has been a Hollywood juggernaut since The Curse of the Black Pearl, the first installation of the series, made waves (and grossed $654M worldwide) following its release in 2003. The Jerry Bruckheimer-produced tentpole franchise follows the swashbuckling misadventures of Captain Jack Sparrow, played with rockstar swagger by Johnny Depp. From the his wardrobe, to his physical mannerisms, to his generally mischievous devil-may-care attitude, the charismatic pirate has an entertainingly familiar rocker vibe–and that is no accident. From the earliest days of the series, Depp has been public about his inspiration for the role: The Rolling Stones guitarist and ageless purveyor of badass-ery Keith Richards.Depp has spoken frequently about using Richards’ persona as the basis for Sparrow on several occasions, and the Stones icon has taken the homage in stride, even coming on for featured cameos as Jack Sparrow’s father in the later films. Watch Richards and Depp talk about their personal and cinematic rapport ahead of the release of the fourth “Pirates” film, Pirates of the Caribbean: On Stranger Tides, in 2011 (via ScreenJunkies News):As anticipation builds for the release of Pirates of the Caribbean: Dead Men Tell No Tales on May 26th, former Beatle and endlessly cool musical and cultural icon Paul McCartney has shared a sneak peak at his cameo in the upcoming film, assuring fans that the old-school British rocker swagger is alive and well in the series’ newest installment. Check out a photo of “Pirate Paul” in full regalia below, via his Instagram:
After years of waiting–and a slew of James Murphy Facebook soliloquies about recording status and ticketing controversies—LCD Soundsystem has officially announced their new album, American Dream, and a substantial run of worldwide tour dates in its support. American Dream will be released on September 1st, 2017 via DFA/Columbia Records. It marks their first new studio release since 2010’s This Is Happening, and will include the previously released singles “call the police” and title track “american dream.” You can listen to “american dream” and “call the police” below:Watch LCD Soundsystem Perform Two New Songs On Saturday Night LiveIn addition to the official plans for their album, the Brooklyn band has announced a lengthy international tour behind the album, adding to their ongoing run at Brooklyn Steel (which was announced last week with little notice and assured by Murphy to be “just some gigs“). The tour will see the band play extensively throughout the fall and winter following the album’s September release, This summer, they’ll headline festivals like Ottawa Bluesfest, Pitchfork Music Festival, and Forecastle Music Festival, in addition to their previously announced set at Fuji Rock Festival. You can see a full list of LCD tour dates below:LCD Soundsystem 2017 Tour Dates:06/19 – Brooklyn, NY @ Brooklyn Steel06/20 – Brooklyn, NY @ Brooklyn Steel06/21 – Brooklyn, NY @ Brooklyn Steel06/23 – Brooklyn, NY @ Brooklyn Steel06/24 – Brooklyn, NY @ Brooklyn Steel07/12 – Ottawa, ON @ Ottawa Bluesfest07/14 – Chicago, IL @ Pitchfork Music Festival07/15 – Louisville, KY @ Forecastle Festival07/23 – Byron Bay, AU @ Splendour in the Grass07/28-30 – Niigata Prefecture, JP @ Fuji Rock Festival09/08 – Copenhagen, DK @ Vega09/09 – Copenhagen, DK @ Vega09/11 – Amsterdam, NL @ Paradiso09/12 – Amsterdam, NL @ Paradiso09/13 – Paris, FR @ L’Olympia09/14 – Paris, FR @ L’Olympia09/16 – Manchester, UK @ The Warehouse Project09/17 – Manchester, UK @ The Warehouse Project09/19 – Glasgow, UK @ Barrowland Ballroom09/22 – London, UK @ Alexandra Place10/17 – Washington, DC @ The Anthem10/21 – Atlanta, GA @ Roxy Theatre10/22 – Atlanta, GA @ Roxy Theatre10/25 – Miami, FL @ James L. Knight Center Theater10/27 – New Orleans, LA @ Voodoo Music Experience10/30 – Dallas, TX @ The Bomb Factory10/31 – Austin, TX @ Austin360 Amphitheater11/03 – Detroit, MO @ Masonic Temple11/09 – St. Paul, MN @ Roy Wilkins Auditorium11/11 – Broomfield, CO @ 1st Bank Center11/14 – San Francisco, CA @ Bill Graham Civic Auditorium11/17 – Los Angeles, CA @ Hollywood Palladium11/18 – Los Angeles, CA @ Hollywood Palladium11/19 – Los Angeles, CA @ Hollywood Palladium11/20 – Los Angeles, CA @ Hollywood Palladium11/21 – Los Angeles, CA @ Hollywood Palladium12/02 – Montreal, @ QC @ Bell Arena12/03 – Toronto, ON @ Air Canada Centre12/05 – Philadelphia, PA @ The Fillmore12/06 – Philadelphia, PA @ The Fillmore12/08 – Boston, MA @ Agganis Arena12/11 – Brooklyn, NY @ Brooklyn Steel12/12 – Brooklyn, NY @ Brooklyn Steel12/14 – Brooklyn, NY @ Brooklyn Steel12/15 – Brooklyn, NY @ Brooklyn Steel12/17 – Brooklyn, NY @ Brooklyn Steel12/18 – Brooklyn, NY @ Brooklyn Steel12/19 – Brooklyn, NY @ Brooklyn Steel12/21 – Brooklyn, NY @ Brooklyn Steel12/22 – Brooklyn, NY @ Brooklyn Steel12/23 – Brooklyn, NY @ Brooklyn Steel
If you’re a sports fan living in New England, chances you know Tom Caron, sportscaster and news anchor for New England Sports Network (NESN), the primary broadcaster for both the MLB’s Boston Red Sox and the NHL’s Boston Bruins. Yesterday, he was honored at the annual “Champions of Mentoring” ceremony at Fenway Park, where he’s worked for over 20 years.What you probably didn’t know was that Tom is a big music fan. Last night, during a rain delay in the Red Sox vs. Twins game broadcast on NESN, Caron and the other TV took some questions from their Twitter followers to fill the unplanned bonus time on camera. When it came time for Caron to name his favorites, he name-dropped two bands: Red Hot Chili Peppers, and, “for new bands, Twiddle. They’re kind of a new kinda ‘Dead’ type of band out of Vermont. Watch for them, they’re going places.” You can watch footage of the on-air exchange below, courtesy of iTwiddle member Nicholas Kenneth: After name-dropping the Vermont quartet, Tom also took the chance to give love to his 20-year-old son Jack Caron‘s young band, Spunhouse, who you “can’t see anywhere” yet but is “coming soon to a place near you.” Of course, it’s not all that surprising that Tom Caron knows the Northeast live music scene. He was born and raised in Lewiston, Maine, studied journalism at St. Michael’s College in Vermont. From there, he worked his way up through the ranks of the sports media world with various broadcasters and sports franchises throughout the region before landing with NESN in 1995.However, while it helped spawn a successful broadcasting career, Caron’s time in Vermont taught him to love more than just sports media. As Tom’s son Jack Caron explains to Live For Live Music, “He and my mom got me into the Grateful Dead and Phish when I was growing up because they were both deadheads who went to school in Burlington when Phish was first starting out.”Later, Jack returned the favor, introducing his dad to Twiddle, another young Burlington jam band. While Jack says his dad has not yet seen the band live, they did go together to see Dead & Company last summer at Fenway–a venue with which the Red Sox TV personality particularly familiar. “One story in particular comes to mind about,” Jack recalls, “He told me the first song he ever saw live at a concert was ‘Sugaree’ at the Cumberland County Civic Center in May of ’79 [listen to Tom’s first show here]. When my parents and I were at Dead & Co at Fenway last year, where he’s worked the last 20-odd years, they played ‘Sugaree’ and my dad said he felt like he had come full-circle.”[Cover photo via @TomCaron on Twitter]You can see three nights of Twiddle as well as an extensive lineup of exciting late-night shows during Phish’s upcoming 13-night “Baker’s Dozen” residency at Madison Square Garden in New York. Check our our guide to Baker’s Dozen late-nights for all the info.
One of the things we all love about Phish is their ability to surprise. That effect was in full force on this day in 2000, when the band took the stage at the Allstate Arena in Rosemont, Illinois. The Vermont four-piece opened the show with the debut of “Come On Baby, Let’s Go Downtown,” a tune originally written by Danny Whitten (the original guitarist for Crazy Horse) and made famous by its appearance on the 1975 Neil Young album, Tonight’s The Night. To date, after its debut on September 23rd, 2000, Phish has only ever played it one other time—a week later during the group’s performance at Verizon Wireless Amphitheater on October 5th of the same year.Fortunately, you can watch a video of Phish debuting their cover of “Come On Baby, Let’s Go Downtown” below.[Video: romanb99]“Come On Baby, Let’s Go Downtown” was built through to a nicely jammed rendition of “The Moma Dance,” which you can also watch below.[Video: romanb99]After “Frankenstein”, the band broke into a first-set “Halley’s Comet” for the ages, taking the funky tune past the fourteen-minute mark with some excellent jamming. Dig the video below.[Video: telekinetica]The video footage from Phish performance at the Allstate Arena back in 2000 continues with this great first set-closing version of “Stash.”[Video: telekinetica]You can also check out the full audio from the show, courtesy of fromtheaquarium. The band really dug deep in the second half, playing “Tweezer” with a rare die-down ending and also taking “Piper” deep into funk jam territory. The full stream and setlist can be seen below.Setlist: Phish | Allstate Arena | Rosemont, IL | 9/23/00Set 1: Come On Baby, Let’s Go Downtown > The Moma Dance, Frankenstein, Halley’s Comet > Fee > StashSet 2: Birds of a Feather, Tweezer > NICU > Scent of a Mule, Fast Enough for You, Piper > Character ZeroEncore: Sleeping Monkey > Tweezer Reprise
Make sure to pack your purple, Jazz Fest-goers, as an all-star tribute to Prince will hit New Orleans on Sunday, May 6th, featuring members of Prince‘s band, Turkuaz, The Main Squeeze, The Motet, Snarky Puppy, Thievery Corporation, Allen Stone, The Magic Beans, and Mama Magnolia. This stacked tribute set, known as the Purple Party, will close out Jazz Fest with a late-night dance party on Sunday, May 6th at the Maison on Frenchmen Street immediately following Joey Porter‘s tribute to Herbie Hancock.Without question, Prince is one of the most revered artists of our time. His huge catalog of mega-hits and ultra-funky deep cuts is lionized, and will provide the ultimate musical platform for this one-off supergroup to let loose. Without question, the band is an embarrassment of riches: vocalist Corey Frye of The Main Squeeze, guitarist Ryan Jalbert and vocalist Lyle Divinsky of The Motet, bassist Dwayne “MonoNeon” Thomas Jr. of Prince’s band, drummer Robert “Sput” Searight, saxophonist Chris Bullock, and trumpeter Mike “Maz” Maher from Snarky Puppy, vocalists Sammi Garett and Shira Elias of Turkuaz, keyboardist Steve Swatkins of Allen Stone’s band, percussionist Jeff Franca of Thievery Corporation, and Megan Letts of Mama Magnolia will all take part in this special tribute set. Casey Russell, keyboardist for up-and-coming Colorado jam band The Magic Beans, will act as musical director, steering the ship as this 13-piece super group delivers the best of Prince’s extensive catalog.Russell is excited to bring this tribute set to life, explaining to L4LM that he “cannot wait to play some of my favorite music, in my favorite city, at my favorite festival with some of the baddest musicians around.” He went on to express that “for me, the late night scene is the heart of Jazz Fest, there’s so much musical energy flowing all throughout the city!” A proud Minnesotan, Russell promised to “bring the Purple funk from my hometown of Minneapolis, all the way down the Mississippi River to New Orleans to close out Jazz Fest with a bang!”Everyone in attendance is encouraged to get into the theme and wear purple in celebration of Prince!Tickets for this show go on sale Friday, March 16th at 12:00 PM EST at this link. Find all of the information you’ll need for this show, along with art by Jimmy Rector (@jimmyrector), below.–SHOW INFO–Date: Sunday, May 6th, 2018 (technically early AM May 7th)Time: Doors – 1:30 am // Show – 2:00 amArtist: Live For Live Music & NolaFunk Present: Purple Party – A Tribute To Prince Feat. Members Of Prince, The Motet, Turkuaz, Snarky Puppy, The Main Squeeze, Thievery Corporation, Allen Stone, The Magic Beans, & Mama Magnolia.Venue: Maison – 508 Frenchmen St., New Orleans, LA 70116Tickets: Early-Bird – $25 // General Admission – $30 // VIP – $50 (VIP ticket gains access to VIP balcony, private bar and expedited entry into the venue) — [Buy Tickets]