Beloved soul rockers The Nth Power are bringing an Abundance of music to New York this weekend, hitting the Highline Ballroom on June 12th. The show comes as part of the Blue Note Jazz Festival running throughout NYC in the month of June, and it wouldn’t be a proper Jazz Festival without some top tier collaborations.Fortunately for fans, the show will feature two great musicians, as funk legends Bernard Purdie and Ivan Neville will be on hand to lend their talents to the Nth Power grooves. Purdie is a pioneer of funk rhythms, keeping the beat steady behind the drums for Aretha Franklin, James Brown and countless others throughout his career. Meanwhile, Neville is NOLA royalty, keeping himself on the road with his uber-funky ensemble, Dumpstaphunk.The two will meet up with The Nth Power, who are fresh off their first full length album release, Abundance. The group is bringing it harder than ever, and we can’t wait to catch this show on Sunday! You can find more details here. Animus Rexx (ft. James Casey of Trey Anastasio Band) and The Reign of Kindo will be on as support.Want to win a pair of tickets for the event? Enter the contest below! The promotion, so there’s no time like the present!
Recently, The Wood Brothers were forced to postpone and cancel a series of performances, with an unknown health issue plaguing one of its members. Today, Medeski Martin & Wood have followed suit, postponing a planned run of performances in New York, NY due to the hospitalization of bassist Chris Wood.Wood, a member of both bands, was hospitalized on tour with an intestinal blockage. He underwent surgery just last week, and, while the operation was successful, it means that the MMW shows will not happening as planned.The three night run at Le Poisson Rouge in New York, NY was scheduled for this week, October 18-20, but will now be rescheduled to January 16-18, 2017. The shows were meant to celebrate the band’s 25th anniversary, as they formed in 1991 in New York City.We wish Chris Wood all the best on his road to recovery. You can see the band’s full statement below.
This weekend, moe. will hit the Capitol Theatre and Garcia’s for their first ever “Famoe.ly Holiday Concert” series. The band will play The Cap on Saturday night and will move to Garcia’s on Sunday for a special acoustic brunch set. You can find all of the details here.In anticipation of this holiday run, we sat down with moe.’s guitarist and songwriter extraordinaire, Al Schnier. Al’s holiday spirit was in full effect, and he discussed a wide range of topics, covering the upcoming holiday shows, his work on moe.’s new album and their forthcoming live record, how he got involved writing music for films, and a great story about his musical collaboration with Keyboard Cat at The Puppy Bowl. See below for a full transcript of this interview, and get excited for this weekend’s double header at The Cap!Live For Live Music: This weekend, moe. is putting on a special holiday show at The Capitol Theatre called “A Famoe.ly Holiday Concert.” What was the inspiration behind putting that show together?Al Schnier: We’ve sort of dabbled in doing a holiday show in the past, but we’ve never really done a proper holiday show. It’s something we’ve talked about for a while, and the timing was right, it’s just something we wanted to do. Last year we did a run around this time of year in San Francisco, and we just got to bust out a couple of our holiday songs from our Seasons Greetings record, but that was about the extent of it. Vinnie [Amico] and I had done a bunch of holiday shows with Floodwood, our Bluegrass group, it became a cool tradition that we were doing, so it’s nice to put together a show this time of year, so we thought we’d give it a shot with moe. It’s been about a year since we played the Capitol Theatre, so all the stars aligned, it was perfect.L4LM: I know that everyone here in New York is really excited for the shows. Usually, when moe. plays this kind of special shows, be it a Thanksgiving run, a New Years run, a Halloween run, the band has a few tricks up their sleeve. What can we expect from moe. at these special holiday concerts this weekend?AS: That remains to be seen! I can tell you this much, we are together right now working on new material. We haven’t gotten to the holiday portion at all yet, although that’s our intention. We’re playing Saturday night at the Capitol Theatre, and Sunday we’re doing something a little bit different, we’re doing a brunch show, an acoustic brunch in Garcia’s, which is sort of like the Sunday brunch shows we used to do at our snoe.down event. Those are always so much fun, and we wanted to do something similar to that. I think what we’ll do is spread out the holiday music over both events. But, right now we’re just focused on working on new songs, and I have no idea what we’re going to play this weekend.L4LM: That’s great that you guys are working on new songs. Is there a new moe. album in the works?AS: I guess that’s always the case. There’s always a new album in the works. Right now, my head is just kind of spinning because I’ve been working overtime trying to get our Fillmore record finished. When we were out in San Francisco in the Spring we recorded a show at the Fillmore, and we’re going to be releasing that on Record Store Day, we have a really great double album that will be coming out on vinyl. So, we’re just finishing that up now. It’s a pretty involved process to go through that whole thing and get it ready to be released on vinyl, and trying to do that, at the same time we’re on tour prepping the two-night Halloween show and prepping the Holiday show and working on new material, there’s just been a lot on our plate right now. But, it’s all been good.L4LM: With 2016 coming to a close, I was wondering what were some of the best shows that you’ve seen, or that you’ve been a part of, in 2016.AS: Wow. OK, so, right away a standout show is Bruce Springsteen and the E Street Band in Philly at the Citizen’s Bank Park. I went to the first night of those shows, and it was just amazing. I mean he played for over four hours, it was one set over four hours, and the first two hours of it were songs from his first two records and unreleased material, it was just phenomenal. Another standout show from this year, or a pair of shows actually, was Pearl Jam at Fenway Park, I get chills just thinking about it, those shows were amazing.Our Halloween show, again, I love the Fillmore in Philadelphia. Doing the Quentin Tarantino Halloween show was so much fun, we put in a lot of work and it was so much fun to do. I really have to tip my hat to our crew for doing such a great job on those shows. For some reason, another thing that stands out was when we went out to play Red Rocks this past summer. While the Red Rocks show was fantastic, we played with Gov’t Mule and Blackberry Smoke, but our show at the Boulder Theater was really, really good. There was something about that night was really special, it was just one of those things where there was something really special about it. I don’t know if it was because we were jetlagged, or exhausted, or just having all of our fans there, but it was one of those really good nights.L4LM: Speaking of Tarantino, I know that you recently released a track that you wrote for Django Unchained, I was wondering how you got involved with that and if you’ve written any other music for use in film or TV?AS: moe. had been working with a publishing company, and that was the intent. They were supposed to be bringing those opportunities to us so we could do stuff like that. That was about the closest I had ever gotten to doing anything like that. We would get these e-mails from time to time from our person there, saying “hey, this is a unique opportunity, do you think you’d have anything that could work for something like this?” I happened to have this piece that I was working on that would sort of fit with the Tarantino project, and they actually liked it. They said “Hey, this kind of works, but could you tweak it a little bit, make it sound like this, or that” and I said “sure, yes, anything for you!” I did, and I re-submitted it, and then I was just waiting and waiting. And then I started thinking, “well, if this works, then maybe I’ll fly out to LA, and maybe I’ll do the music for the Guy Ritchie movie, and then I can work with Wes Anderson, maybe the Cohen Brothers will call!” But yeah, it never happened. And, of course, the song they ended up using for the theme song was entirely different from the one that I had submitted. But, it’s cool, I was just excited to be a part of it.There were a few other things too. There was some weird Ryan Seacrest show at one point that I had submitted some music for. There’re a few things that I’ve actually written music for but, again, they’ve never gotten used. So I have all these weird theme songs that I’ve written music for they’ve just never gotten used.Listen to Al Schnier’s song “Django Unchained” below.L4LM: Sounds like you have some good content for a future moe. bonus record.AS: Oh yeah, it’s really strange. One of the things that I actually did get to do that is still one of the funniest things was for the Puppy Bowl. This was two or three years ago, I did a bunch of the music for Puppy Bowl. I had to make up a bunch of the fight songs for Puppy Bowl, and I did the music for the halftime show. Their halftime show “guest superstar” was YouTube sensation, Keyboard Cat. Keyboard Cat was gonna be out there, and I had to re-create a Bruno Mars song as if Keyboard Cat had created it. So basically the Keyboard Cat version of the Bruno Mars song, as if the Cat was being backed up by a ripping band of puppies. So I had to go and reproduce the Bruno Mars song as if Keyboard Cat was playing the melody. And they were like “So this is good, but can you make it sound…worse? somehow? Have you seen the Keyboard Cat before? Make it sound more like he’s just hitting the keyboard with his paws” and I was like “OK!”. So I had to go back and make it sound like the keyboard was being played with fake paws, and they ended up using it in the halftime show. It was one of the most surreal things.L4LM: I don’t know if any story can top writing music for Keyboard Cat and being asked to make it worse. Wow. Well, I have one more question for you, I know you mentioned that moe. is working on new music, and I know you are making your return to Jam Cruise this year, and I’m sure you have a lot of plans that are lining up, so I’m wondering what you’re most looking forward to in 2017?AS: Ya know, I guess, there’s still so much work that we have to do. I feel like, it’s funny because we’ve been doing this for 26 years now, and I feel like we’ve been afforded the opportunity to do that work, and I’m actually really looking forward to, sort of, rolling up our sleeves and doing some of that work. 2017 is probably going to be a busy year for us, we’ve got a lot on deck. There’s a lot of stuff that we’re going to be announcing, and I can’t say anything about any of it now, but I’m really looking forward to 2017.We’ve already made a lot of positive changes within our organization, and everybody in the band has just been really focused on our work. It’s been great the last couple of months. We’ve been getting a lot of good work done, and 2017 is only going to be better. We’ve already got a lot of good shows on deck, and we’re about to roll out some more tour dates, and we have some more big announcements coming, and 2017 is just going to be a great year for moe.
This Spring, coinciding with the 20th anniversary of The Notorious B.I.G.‘s untimely death in a 1997 drive-by shooting, Biggie’s widow, singer Faith Evans, will release an album of duet tracks with her late husband, dubbed The King & I. The album features Evans singing paired with unreleased B.I.G. verses, as well as some of his most memorable rhymes.Life After Death: Remembering The Notorious B.I.G. With Three Classic FreestylesLast month, Rhino Records released a pair of songs from the upcoming album (due out May 19th). Today, they shared a brand new single from the album: “10 Wife Commandments,” a play on Biggie’s iconic track “10 Crack Commandments.” The re-worked tune takes a chopped-and-screwed approach to the classic tune, flipping the drug dealing rule book into a “step-by-step booklet” on how to maintain a relationship with your significant other by cleverly repurposing Big’s bars. Check it out below:Says Evans of the reimagined take on the classic Biggie track: “‘Ten Wife Commandments’ was the first song I started recording for The King & I. Excited and optimistic about the new deal & the opportunity to bring my idea to life, I started looking for Big’s acapellas on YouTube while in Detroit rehearsing with my band. With “Ten Crack Commandments” being one of the songs I had always wanted to redo, I found it and got to work! It took a few different sessions to get the commandments to be meaningful and clever, but I do feel these are points that both men and women can appreciate.”In addition to Evans, The King & I features guest spots from a who’s-who of talented MCs including Busta Rhymes, Lil’ Kim, Sheek Louch, and Styles P. Biggie’s mother, Voletta Wallace, also makes a significant appearance, narrating skits and interludes throughout the LP along with Evans and Biggie.[h/t – Pitchfork]
One of the biggest breakout acts of 2016 was The Claypool Lennon Delirium, the unanticipated but fully appreciated collaboration between Les Claypool and Sean Lennon that produced one of the best albums of the year, Monolith of Phobos. While there’s no telling how long Claypool’s side-projects will ever stick around, we do know that there’s more coming from the band in 2017 – as they detail a new release for an upcoming covers EP, Lime and Limpid Green, out August 4th.The new EP includes psychedelic covers of “Astronomy Domine” by Pink Floyd, “Boris the Spider,” by The Who, “The Court of the Crimson King” by King Crimson, and “Satori” by Flower Travellin’ Band. While the band has played these songs over the past year in their live concerts, this release will newly feature studio versions. The EP was previously issued for 2017 Record Store Day and will become available as a limited-edition run of 3,000 on clear vinyl (with green and double-mint splatter, of course).Rolling Stone has shared the first taste of the new release with a music video for the 1971 “Satori” by the Flower Travellin’ Band. Watch it below:“I think the genesis of this band began with Les and I listening to old records together and feeling like our universes were uncannily intertwined,” Sean Lennon told Rolling Stone. “We were both feeling and hearing something that we wanted to do that was deeply inspired by those people who were the most peculiar in their time, like Syd [Barrett]. Since we only had one album as a band, we wanted to add songs to the live show that would illustrate and elaborate upon what the Delirium were all about.”Les Claypool added, “The thought was to play songs that we hadn’t interpreted in the studio prior. Most of these tunes were played extensively live, so they had time to evolve and develop their own greasy little personalities.” Read the full spread here.
The Wood Brothers delivered a stellar headlining set for their first visit to the Spirit Of The Suwannee since being forced to cancel last year’s Suwannee Roots Revival headlining spot. The trio joined a collection of Roots music legends like Béla Fleck & Abigail Washburn and Peter Rowan, park favorites like the Steep Canyon Rangers, Donna The Buffalo and Rev. Jeff Mosier as well as new comers like River Whyless and Chatham County Line. By the time the sun had set and the eager audience had packed in the area in front of the stage, the excitement for the long delayed show was sky high.Fans concerned about Chris Wood’s health issues that kept the show from proceeding last year were relieved to see him back in fighting form as the insanely talented bassist more than made up for it with his joyous return to the beloved Amphitheater stage. If his artful playing and limber dance moves with partner, the stand-up bass, was an indicator, it is obvious that his recovery was successful.As is their tradition, the show started with multi-instrumentalist Jano Rix out front and center alongside the titular Wood brothers for the first couple of tunes. Rix mixed percussive taps and slaps on an acoustic guitar and even some melodica to help give listeners a truly rich and diverse sound and unique energy to show openers “Just Might Pass” and “Keep Me Around.” Watch the fun begin in the clips below.“Just Might Pass”“Keep Me Around”Up next was a newer tune, “River Takes The Town,” a song played only a few times previously that carries a relevant message about the state of the world. Noting how it was apropos to both the physical devastation of the recent hurricanes and the mental devastation of the contentious political climate, Oliver Wood introduced one of the most moving moments of the evening with the new song, which you can watch below:“River Takes The Town”“Jam”The passing of Col. Bruce Hampton earlier this year stunned all sides of the music community, including The Wood Brothers. Oliver Wood took a few moments to talk about his love for the late Col., who they were scheduled to share the bill with the previous year. Noting that the band would be missing the tribute scheduled for Sunday to be led by the Rev. Jeff Mosier, The Wood Brothers still wanted to pay their respects. Oliver, who had spent much time with the Col. and performed at Hampton 70, seemed to use the inspiration and emotion to give his impressively honest vocals even more emotional weight. You can watch the stunning rendition of “Postcards From Hell” they played in his name below:“Postcards From Hell”After such a moving testimonial, The Wood Brothers decided to close on a cheerful note, delivering another excellent new tune, “Happiness Jones,” before closing the night down with fan favorite “Honey Jar.” The sheer energy from the set closers had the packed crowd dancing in pure jubilation. Chris Wood uses the Wood Brothers to showcase his more straight-forward bass skills but he managed an explosion or two during the final songs that left jaws dropped and minds melted. Watch the fun below:“Happiness Jones>Honey Jar”Attendees of Roots have a long tradition of acknowledging greatness when they see it and the ovation for The Wood Brothers was long and vigorous. For their part, the band seemed truly honored to receive such a warm reception and pleased to have so perfectly made up for their previously scheduled appearance. If the new tracks debuted are any indication they will have good reason to return to this beloved venue very soon to share the rest of what is sure to be a stellar release.
It comes as no surprise that Umphrey’s McGee would lead off it’s not us with “The Silent Type”, a song that has grown out of several of the band’s patented “Jimmy Stewart” improvisation segments. The band actually released a timeline to show just how “The Silent Type” has evolved out of (what was known by fans as) the “Cig Stew” starting back in 2011, which hardcore fans can check out below. The deliberate choice to open this record with a song that reflects years of hard work shines a light on the band’s overall theme of evolution on it’s not us.Evolution of Umphrey’s McGee’s “The Silent Type”[Video: Umphrey’s McGee]Umphrey’s McGee’s sound has certainly shifted towards a heavier, more hard-rock feel in the past few years, and the relentlessly work-shopped “The Silent Type” is a perfect encapsulation of the hard work and effort that the band has put into this active shift in their sound. The song itself—a pulsating rocker with a synth bass lead and aggressive vocals from Bayliss—continues the 1980s-era sound that the band has trended towards over the past few records. Brendan Bayliss’ strong vocals match Kris Myers’ driving drumbeat, while guitar wizard Jake Cinninger leaves his mark all over the track, filling in the blanks tastefully throughout with epic runs up and down the neck of his guitar.The evolutionary feel that flows throughout it’s not us continues on track two, “Looks”. This track marks a huge shift toward industrial rock, a sound that is cemented by tribal-sounding drums and the use of a Nine Inch Nails-esque filter over Cinninger’s vocals. This track has Cinninger’s fingerprints all over it, specifically the trademark guitar squeals and scratches he implements to add to the track’s overall dissonant feel. His off-center solo towards the end of the track cements this as one of his best contribution to the Umphrey’s McGee catalog. “Looks” works in a big way, and one can only imagine that it will soon become a live favorite.The band swings from industrial to blues with the album’s third track, “Whistle Kids”, which quickly settles into a dream-state groove. The song’s looped whistling harkens back to the band’s “Off The Hip” improvisational set with Joshua Redman back in January of 2016. Umphrey’s McGee has always shown a knack for nailing complicated harmonies on their records, and “Whistle Kids” is another moment where the band’s hard work has paid off in that department. “Whistle Kids” shows the band taking a restrained approach, and it serves as a nice breather before the real progressive meat of the album kicks in.The groove-centric power-ballad “Half Delayed” qualifies as the go-to example of the mature songwriting featured on it’s not us. The song is concise and has an ethereal, groove-centric vibe that shifts up a few gears during a soaring bridge and syncopated chorus. Bayliss’ restrained vocals and Cinninger’s short-but-fiery solo bookends the three-minute-and-thirty-six-second stand-out track. While “Half Delayed” may be short, it packs a serious punch, with Kris Myers delivering the goods in a starring role on the drumkit, helping to create the song’s interesting and ever-shifting vibe.While “Half Delayed” is short and to the point, the album’s fifth track, “Maybe Someday”, wastes no time stretching things out and getting down and dirty. “Maybe Someday” is this album’s progressive-rock classic, with a shapeshifting time signature and multiple unique sections flowing into each other, combining wailing guitar, catchy hooks, and a perfectly-utilized, frenetic string section. Like many other songs on this album, “Maybe Someday” contains elements that have been road-tested at live shows from year’s past, with the lyrics over the song’s wild bridge appearing at the band’s “Making Lemonade” show in St. Augustine, FL on 4/11/2015. “Maybe Someday” is an expansive journey that will surely provide many nooks and crannies for the band to stretch out and improvise in the live setting. This song simply sounds like the total Umphrey’s McGee experience, especially the intense closing stanza, complete with an absolutely raging guitar solo from Cinninger. This is likely to be the fan-favorite off it’s not us.When fans saw that “Remind Me”—a song that’s been in the band’s live rotation for several years at this point—had made the cut for it’s not us, they rejoiced, as the bi-polar funk/metal rager has become a live staple since its debut in 2015. The song opens on a funky rock guitar, which locks in with a bouncy groove and some great underlying tones from keyboardist Joel Cummins. The song has a very poppy sound with accessible vocals, guitar, and drums, but that quickly dissolves away into extreme dissonance, with Cinninger once again utilizing scratching and screeching guitar sounds to transform the song into what is easily Umphrey’s McGee’s most intense metal that they have ever put on to record. The double-bass-pedal-laden drums drive the section forward, while Cinninger and Bayliss go absolutely crazy on their guitars, locking in for an unprecedented and prolonged take on speed metal. The relentless attack goes on for several minutes before the band mercilessly drops down to half-time and locks in for a slick (but still heavy) ending harmonized guitar part.After such an intense moment, Umphrey’s McGee shifts gears once again with a long-forgotten Brendan Bayliss solo acoustic song, “You And You Alone”. This song shows Bayliss at his most vulnerable, as he sings about his respect for and relationship with his wife and family. The touching number is given the “treatment,” and is very Beatles-esque with its use of a gorgeous string section that brings out the emotion of the track.“Forks” is an older, Cinninger-penned song that fans first heard on a four-track demo released as part of the album Mantis’ extensive bonus content. The song has been performed a number of times since 2011, however, the version on it’s not us shows that “Forks” has clearly gone through its own evolutionary process. On it’s not us, The track is marked by synth bleeps and guitar runs over a charging drum beat and harmonized vocals. The song’s “search for a light” refrain builds into a euphoric guitar explosion that is sure to delight listeners.“Speak Up” heavily features iconic modern jazz saxophonist Joshua Redman. Redman has maintained a healthy relationship with Umphrey’s McGee over the years, performing with the band several times per year for consistently can’t-miss shows. His contribution to “Speak Up” is prominent—harmonizing and soloing over the song’s intro and trading solos with Cinninger throughout. This track is a throwback to old-school Umphrey’s McGee, with Cummins anchoring the rhythmic melody while Cinninger and Redman do their deed. The song also features one of the Umphrey’s McGee’s most interesting vocal parts, with a full band harmony leading into a syncopated anthemic chorus from Bayliss.“Piranhas”, another road-tested Umphrey’s McGee song that will be familiar to fans, is dark and punchy from the get-go. The song’s ominous synth-bass and echoed piano lays a foundation for a great rock song—one of the most straightforward on the record. Riff lovers will adore the song’s chunky guitar part, and Bayliss’ catchy hook bleeds into an atypically restrained solo from Cinninger. This is simply a great rock song.If “Remind Me” has the heaviest metal sound of any Umphrey’s McGee’s song on the record, “Dark Brush” comes in at a very close second. Heavy and distorted right out of the gates, the intensity of this track centers on sinister guitar, anthemic harmonies, and another filtered Cinninger vocal. It’s an intense track with lots of guitar wizardry from Cinninger, who puts his exclamation mark with “Dark Brush”.In total, Umphrey’s McGee delivers another chapter in their long-and-winding musical career on it’s not us. The result is one of their best records yet; certainly one of their most ambitious. While the band has cemented itself as one of the biggest bands in the so-called “jam band scene”, this record is anything but a “jam band” record. it’s not us showcases Umphrey’s McGee at the height of their powers, seamlessly mixing familiar genres and sounds into their own unique and complicated musical stew—one that is now reaching perfection after twenty years of dedication to their craft.To honor their 20th anniversary and the release of it’s not us, Umphrey’s McGee will hit New York City for a three-night run at the Beacon Theatre from January 19th through 21st, 2018. In addition to these highly anticipated shows, Live For Live Music is presenting two official after-shows featuring members of Umphrey’s as well as longtime collaborators of the band. Following the run opening performance on January 19th, Umphrey’s own Ryan Stasik and Joel Cummins will team up with Matt Jalbert and Isaac Teel of TAUK for a very special “Tauking McGee” show at the Highline Ballroom.Ryan Stasik & Joel Cummins To Replace Brownie & Magner For Show With TAUK MembersThe second after-party on January 20th will showcase a one-off super jam formed by DJ and longtime Umphrey’s McGee pal Wyllys. Dubbed “The Will To Live,” the band will find Rob Compa from Dopapod leading the charge on guitar, while Mike “Maz” Maher from Snarky Puppy lays down his impressive trumpet skills. Those familiar with Wyllys’ NY Hustler Ensemble will recognize three alumni: former Trey Anastasio Band & New York Hieroglyphics man Peter Apfelbaum will be on percussion for the evening, while guitarist Chris Cartelli from Newton Crosby and keyboardist Zac Lasher from U-Melt will round out the all-star cast.Wyllys Taps TAB, Dopapod, & Snarky Puppy Members For Umphrey’s McGee Afterparty[Cover Photo: Shervin Lainez] eAs a band, Umphrey’s McGee has always attempted to push the proverbial envelope. Emerging as a powerhouse jam band from the Midwest in the late 1990s, the band has worked hard to circumvent the trappings of their genre. Their now-famous live shows whip the audience from one genre to another, from alternative rock to jazz, to metal and funk, and then back again. They fuse their wide-ranging influences to form one of the most unique sounds in modern improvisational music.Through the years, this growth has shown in the band’s recorded output, with each new record a reflection of their ever-evolving sound. With their new record, it’s not us, released Friday, January 12th, Umphrey’s McGee—who are celebrating their 20th anniversary as a band in 2018—delivers another musical statement. The album successfully captures their contemporary live sound and the world-class musicianship that defines the group while also showcasing a new level of maturity in their songwriting, weaving back and forth between genres while remaining centered on the progressive sound that they’ve honed over their twenty-year career. it’s not us offers up some of the best and most versatile songwriting that the band has ever laid down on tape. UM’s ability to mix dynamic sounds and vibes with ultra-tight instrumentation, intricate harmonies, and, of course, soaring guitar solos is ultimately quite similar to their live show.You can take a listen to Umphrey’s McGee’s new album that dropped today, it’s not us, below. Read on after the break for a full review and full thoughts on the album.
This summer, Daryl Hall and John Oates are teaming up with Train for a co-headlining North American tour. Both bands will perform full sets before joining forces for a third final set. The tour will kick off in May at the Golden One Center in Sacramento, CA and extend through August 11th at the KeyArena in Seattle, WA.“This is going to be a tour filled with fun as well as great music,” Hall explains in a statement. “I love Train and have a close relationship with Pat Monahan, going back to our Live From Daryl’s House show together.” “Looking forward to an amazing tour with our buddies from Train and seeing all our fans around the country in 2018,” Oates adds.“I’ve known Daryl Hall and John Oates for a few years now and after being their fan my entire life, we now get to tour with them and spend time with legends in the world of music,” Monahan expressed in a statement. “This will be a career highlight for all of us in Train and a show that you won’t want to miss.”Tickets to the upcoming Daryl Hall and John Oates and Train tour will go on sale this Friday, January 29th at 10am local time in most cities via Live Nation. Daryl Hall and John Oates and Train Tour Dates5/1 – Sacramento, CA @ Golden 1 – Center5/4 – San Jose, CA @ SAP Center5/6 – Anaheim, CA @ Honda Center5/8 – Salt Lake City, UT @ Vivint Smart Home Arena5/10 – Denver, CO @ Pepsi Center5/12 – St. Louis, MO @ Scottrade Center5/16 – St. Paul, MN @ Xcel Energy Center5/18 – Chicago, IL @ United Center5/20 – Detroit, MI @ Little Caesars Arena5/22 – Cleveland, OH @ Quicken Loans Arena5/24 – Columbus, OH @ Nationwide Arena5/26 – Philadelphia, PA @ HoagieNation Festival6/5 – Toronto, ON @ Air Canada Centre6/7 – Boston, MA @ Xfinity Center6/9 – Pittsburgh, PA @ PPG Paints Arena6/11 – Washington, DC @ Capital One Arena6/14 – New York, NY @ Madison Square Garden6/18 – Charlotte, NC @ Spectrum Center6/20 – Atlanta, GA @ Infinite Energy Center6/22 – Tampa, FL @ Amalie Arena6/24 – Ft. Lauderdale, FL @ BB&T Center6/26 – Orlando, FL @ Amway Center6/28 – New Orleans, LA @ Smoothie King Center6/30 – Nashville, TN @ Bridgestone Arena7/13 – Montreal, QC @ Bell Centre7/15 – Grand Rapids, MI @ Van Andel Arena7/18 – Omaha, NE @ CenturyLink Center7/20 – Kansas City, MO @ Sprint Center7/22 – Oklahoma City, OK @ Chesapeake Energy Arena7/24 – Dallas, TX @ American Airlines Center7/26 – Houston, TX @ Toyota Center7/28 – Austin, TX @ Frank Erwin Center7/31 – Los Angeles, CA @ The Forum8/4 – San Diego, CA @ Viejas Arena8/7 – Oakland, CA @ Oracle Arena8/9 – Portland, OR @ Moda Center8/11 – Seattle, WA @ KeyArena[via Rolling Stone]
The trailer video also contains a brief clip of music, in which Black sings “…Apocalypto, this is our time to shine.” That little snippet is in line with the “hypothetical” info Black recently divulged about their upcoming album. In an interview with Kerrang!, Black referenced the plans for a new Tenacious D project, saying, “We’ve been working on it for years. It’s a post-apocalyptic musical comedy that’s an animated series that no one wanted in Hollywood but we’re making it anyway. And it’s very cheap, and it looks cheap, but that’s what makes it funnier.”He goes on to liken the animation style (drawn by Jack himself) to those of Beavis & Butthead, “So that’s the plan, we’re making this album called Post-Apocalypto, and it’s all a story, like a rock opera like Tommy or The Wall….just like those.” Watch the Tenacious D tour trailer video below:Tenacious D 2018 Tour Trailer Video[Video: Tenacious D]You can see a full list of Tenacious D’s upcoming tour dates below. For more information, head to the band’s website.Tenacious D Upcoming 2018 Tour DatesJune 14 -16 – Montebello Rockfest – Montebello, CanadaOctober 06 – Cal Jam – San Bernardino, CANovember 03 – Kings Theater – Brooklyn, NYNovember 05 -House of Blues – Boston, MANovember 07 – The Anthem – Washington, DCNovember 08 – The Fillmore – Philadelphia, PANovember 09 – Stage AE – Pittsburgh, PANovember 10 – Express Live – Columbus, OHNovember 12 – The Fillmore – Detroit, MINovember 13 – Riviera Theater – Chicago, ILView All Tour Dates Tenacious D is back in full force! After announcing an upcoming sequel to their cult favorite 2006 film, Tenacious D: The Pick of Destiny, during their rare headlining set at Shaky Knees Music Festival, the comedic rock duo has announced their first full-length tour in five years. The tour will support an upcoming new album, reportedly a rock opera set in post-apocalyptic times.The announcement came along with an animated tour trailer video, which sees crudely drawn versions of band members Jack Black and Kyle Gass freaking out about being able to pay the rent–”Dude, we are FUCKED,” laments the cartoon Black, worrying that it would take “like five years” to write another album. “Or are we…?” counters Gass, before text pops up across the screen:
Will John Mayer be co-hosting the 9pm ET edition of HQ Trivia on Sunday, June 17th? The signs point to yes.On Wednesday afternoon, the popular quiz show app posted a pair of tweets that seem indicate the Dead & Company guitarist will be joining host—and noted jam band aficionado—Scott Rogowsky on the program. Check them out yourself: If you didn’t notice, the song playing that second tweet is Mayer’s new single, “New Light”. It’s also worth mentioning that Dead & Company will be playing a pair of shows at New York’s Citi Field on Friday and Saturday, so it’s no stretch to assume Mayer will be sticking around the Big Apple, where HQ Trivia is filmed, on Sunday.A Mayer sit-in would be a huge coup for Rogowsky, who hasn’t been shy about his jam band fandom during his stint as HQ Trivia’s host. The comedian even dropped by the Governor’s Ball Music Festival earlier this month to bombard crowds of adoring fans with hilarious jam band references that most of them almost certainly did not understand. It’s a tactic Rogowsky also puts to use during his main gig, where he regularly drops Phish references despite being fully aware that they’re going over most HQ Trivia users’ heads.“Most people don’t even realize what I’m doing—they probably think I’m being fanciful with my word choice when I say, ‘I’m broadcasting live from Gamehendge,’” Rogowsky told Relix back in February. “Sometimes I wonder, ‘Are people Googling that and trying to figure out what Gamehendge is? What is the land of the big baboon? What is he talking about?’ So to me, it’s funny. And I just love that people get a kick out of it.”Anyway, here’s a hilarious video of Rogowsky doing his thing at Gov Ball: