Doom Flamingo's Thomas Kenney Reveals New Project OUKUO April 27, 2020 09:47

Interview by Jordan Kirkland: Live & Listen

Photo by Bain Stewart Media

For the past two years, we've had the great pleasure of watching Charleston's Doom Flamingo take off like wildfire in the festival scene. The dynamic six-piece's unique blend of "synthwave" provides something truly unique and fresh, which is a rare testament these days. Led by Umphrey's McGee bassist Ryan Stasik, the band's powerful sound is a product of an incredibly diverse pool of talent.

Last week, we had a chance to sit down with guitarist Thomas Kenney to learn more about his latest solo project: OUKUO. In this conversation, we learned all about Thomas's eclectic musical background, as well as what can be expected as OUKUO takes shape and grains traction. Check out the full conversation below, and make sure to stream the new single "The Blue City" while you're here.

Let's kick this off with some general background info. How did your musical journey begin?

Thomas: I started playing guitar about 16 years ago. I was in a heavy metal band in high school. As I got to college, my interests were leaning more towards blues, soul, and jazz music. I was studying a lot of jazz, as well as Brazilian and African music. I was always fascinated with anything that was "exotic sounding," whether it was Indian, African, even Caribbean music. I started college as a Jazz major, and I wasn't the most disciplined student at the time. My studies were mainly based on western classical theory. I would love to play devil's advocate with my teachers about western vs. eastern classical theory. One of my professors got frustrated and told me I should go back to the bar.

I switched my degree to English Rhetorical Studies, and I just always kept up with music. I always played in bands. Once you can read and write music, you don't need a degree to pursue it. It's an oral language. So, I moved back to Charleston after college, and I just started playing gigs. I kind of got tapped into this super rich Charleston scene here. Charleston is one of the birth places of jazz, gospel, and r&b. I'm super fortunate to play with some of the best jazz and r&b players on the planet. There's a church every 10 feet in Charleston. Every church has a band, and they're all killin'.

So yeah, I started playing with people like Mike Quinn and Ross Bogan (Doom Flamingo) about seven years ago. They were playing in a band called Wadata at the time. They were helping get the local funk scene started. After that, I started playing whatever full time gigs I could get. I kind of fell into teaching. I've always made digital music, whether it be house, hip hop, or ambient . I'd say I've been a full-time musician for about eight years now. Weddings, teaching, touring, gigging, whatever works. 

Very cool. One of the bands you play with is Terraphonics. I've always heard great things from friends in Charleston. Tell me more about that project. 

Thomas: Absolutely. Terraphonics is a highly collaborative concept. It's a blend of hip-hop, r&b, and jazz. The band an instrumental quartet, but we tend to work with various MCs and vocalists. We've played a lot of cover shows and rap cyphers. It's been a very fun experience to be a part of. 

Well I know that we want to focus on the latest project, OUKUO. So let's do that. Did I get the pronunciation right? 

Thomas: Pretty close, but it's pronounced "oo-koo-owe." This project has been brewing in the back of my mind for years and years now. It's really a combination of a ton of different influences of mine. A lot of my friends don't know this, but I'm really into euro-house music and EDM. Most people know me as a guitar player that plays blues, soul, Motown, and jazz. But I've always loved electronic music of all kinds. I love reggae and dub, and all of that late-night, grimy stuff. This project is kind of my way of expressing that side of my brain. Ideally, while it's going to begin as a DJ set, my idea is that once Doom Flamingo gets back on the road, I'll be able to hire on some of the guys to play with me. You know, similar to how Thievery Corporation does it. 

Check out OUKUO's debut single "The Blue City" here:

I'm glad to hear you say that. I've always enjoyed seeing electronic artists surround themselves with a live band. It naturally makes things that much more interesting.

Thomas: Yeah, and I'm really the sum of my environment. I'm really influenced by the sound of my friends. Especially my bud Ross (Bogan) who plays keys and synth in Doom Flamingo. He is just the sonic tapestry master when it comes to using effects. He has the absolute best tone, so I'm always drawing inspiration from him. I'm playing most of the parts on the OUKUO record: keys, bass, and guitar. I have my friend Shelton Dessasure on most of the tunes, who is one of my favorite local drummers. The rest I'm either sampling his takes or building drums from scratch in Ableton. I'm trying to compose it like most EDM/Hip Hop projects, but it will inevitably translate really well as a live performance.

You mentioned this has been in the back of your mind for years now. Do you feel that the experience of these last two years with Doom Flamingo has inspired you to finally bring OUKUO to life?

Thomas: Yeah, I would say it's been an influence in a really interesting way. Terraphonics tends to have this really intimate sound that draws really well in small theaters, smoky jazz bars, and places like that. Doom Flamingo has this massive sound, and it's led me to playing on some amazing stages. That's allowed me to play through some huge sound systems. I'm a believer that acoustic force; just the shear massiveness of a sound, it's almost like it's own scale or chord. It's going to affect you emotionally. 

I'm definitely composing this music with a large stage vision. This music is not for the 30-person, 55-and-up jazz crowd. It's way more bass heavy. It's way more sampling and electronic, and you'll see that Doom Flamingo uses a lot of electronics and triggering on stage. So. yeah, I'm always responding to my environment as a writer and I'm definitely composing this seeing it in the same acoustic environment as Doom Flamingo as well. 

Specifically for this release, as you begin introducing the world to OUKUO, what's the main message you'd like for people to hear?

Thomas: I would say that while it is an eclectic range of sounds, I would classify it as dance music. I'm trying not to filter out too many ideas, but my one criteria is you have to be able to dance to 90% of the tracks. There's also a mellow midnight smoke session track or two on the record, for some contrast.

That's a fantastic rule. 

Thomas: (laughs) Yeah, of course. I love dance music because it allows me to directly share with audience. It's the easiest way to take care of each other. If I can make you dance, you're going to reciprocate the energy to me. That just make's for a really great night. I would say one thing that really differentiates this from my other projects is this sound I've been working on for years by myself. It's the sample-heavy side of things. I'm a huge hip-hop fan, and I love producers like Mad Lib And Timbaland, and all of the producers in that vein. They are masters of taking sounds from around the world and contextualizing them in an EDM context. My travels to places like India, Morocco, Spain, Cuba... they have all made a massive impact on the way I produce and play guitar, and that's going to show up.  All of those experiences are going to melt into one world that I would describe as OUKUO.

I dig it man and really look forward to listening more. Remind me when we can expect to see the full album. 

Thomas: This is the first single, and it's part of a larger record called Gorilla. It's going to be an eight or nine track record. I'll be releasing the second single in about two months and releasing the album later in the summer.

Very cool. Well it's been a pleasure chatting Thomas. Can't wait for all of us to get back out on the road. The world needs live music right now. Thanks for everything you do.

Thomas: My pleasure. Thank you, man!

Photo via Tara Gracer Photography
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Check out OUKUO's debut single "The Blue City" here:

Umphrey's McGee and Spafford Deliver Sold-Out Sunday Special August 13, 2018 16:20

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Umphrey's McGee Reveals New Year's Plans in Atlanta July 23, 2018 10:21

Photo by Craig Baird: Home Team Photography.

Progressive jam rockers Umphrey's McGee have confirmed their new years plans, which include a four-night run at The Tabernacle in Atlanta. The news was confirmed earlier this morning via the band's social media outlets. The run kicks off on Friday, December 28th and concludes with a big night with three sets on Tuesday, December 31st. See below for the band's official press release.

"Umphrey’s McGee is heading back to The Tabernacle in Atlanta, Georgia for four nights to ring in the New Year. Be there December 28 through the 31st as UM fans from around the country descend onto one of the most racaus and enjoyable rooms we have the pleasure of playing. The Tabernacle offers accommodating sight lines, crisp sound, and an overall solid fan experience befitting of an Umphrey’s McGee New Year’s celebration.

Of course, partying is better with friends. That in mind, we have lined up some incredible special guests for the run. Who might you ask? Stay tuned, info dropping soon.    

umVIP is rolling out the red carpet to ring in 2019. As we take over the Tab, umVIP is offering several different packages to ensure you can roll in the manner that best suits your needs. Whether that’s early entry for rail riding or reserved balcony seating for settling in, we’ve got you covered. Every package includes a private soundcheck show, private bar and bathrooms, exclusive UM gear, autographed screen print and more. Check out packages, travel options and more here.  

UM ticket pre-sale and umVIP on sale will take place Wednesday, January 25th at 11am ET, with a public on sale Friday, July 27th at 11am ET.

Umphrey’s loves the Tabernacle, and so should you.  It’s gonna be a rock & roll marathon, people. Eat your Wheaties."

Watch the official announcement video here:

Umphrey's McGee Braves The Storm For Wild Night In Charleston June 4, 2018 13:40

Words & Photos by Nicholas Lintz: Live & Listen

While the weather tried to ruin what felt like a one-day festival last Thursday night, Umphrey's McGee and their supporting cast prevailed. Umphrey's was prepared to headline with two sets alongside opener Perpetual Groove at the Grove in Patriots Point down in the low country of Charleston SC, an area the Umphrey's frequently resides. Shortly after the gates opened, a massive storm crept up the coast and dumped what felt like a foot of rain on The Grove, forcing forced Perpetual Groove to end a little early. But a little rain wasn't going to stop this party. As soon as the storm passed, the staff quickly managed to get prepped for Umphrey's to take the stage, while folks continued to roll in by both car and boat.

While you could find some dry areas, I found myself stepping around in six inches of water all night. I have never been so excited get outside and dance in the rain. The stage was set for what was sure to be a special occasion with Umphrey's. I saw more kids jumping in puddles and more smiling faces than I've seen in quite some time. After the staff rebounded from the heavy storms, Umphrey's quickly took the stage and began delivering the funk. What was supposed to be two sets turned into a massive, nonstop 13-song set. The eventual triple encore included the debut of "What We Could Get," as well as a Pink Floyd "Comfortably Numb" cover. You can also find the full setlist + footage from the encore below. 

While the lights that Umphrey's travels with are always elite, the acoustics created by this unique tree-surrounded clearing by the water made the overall production that much more special. The teams from from Friends With Benefits Productions, known for events such as The Major Rager, as well as Charleston's WEmusic, were responsible for bringing us all the heat on this wild Thursday night. FWB focuses on community-driven events that help the surrounding areas. Thursday's event raised funds for two more than worthy, local causes: Communities in School Charleston and the Rockers 4 Knockers.

After the guys from Umphrey's shut down the Grove, much of the crowd progressed to the afterparty, which was just a short quarter mile walk away from the show. The afterparty was kicked off by a very a fresh rhythmic local group called The Artisanals. This would set the stage for the eventual debut of Doom Flamingo, a brilliant new all-star group of Charleston musicians including bassist Ryan Stasik, keyboardist Ross Bogan, drummer Stuart White, saxophonist Mike Quinn, guitarist Thomas Kenney, vocalist Kanika Moore. This group brought together some unprecedented, psychedelic fueled 80's jams that I have never seen in such fashion.

While each independent artist had something special to bring to the table, the lovely Kanika Moore stole the show with her alluring vibes and rhythmic melody. If there was anything I took away from this weekend, it was to not miss anything Friends With Benefits has a hand in, and that the 'Rise of Doom Flamingo' will continue to be an exciting, special evolution. We are excited to see what the future holds here at Live and Listen. 

Artwork by Kyndall Cooper

Setlist: Umphrey's McGee - The Grove at Patriot's Point - 05.31.18

Set: Make It Right, In The Kitchen^[1], Get In The Van, Mantis > Xmas at Wartime, You & You Alone, Sociable Jimmy > Puppet String, 1348 > Half Delayed > 1348, Day Nurse > Mantis

Encore: Miss Tinkle's Overture, What We Could Get^[2], Comfortably Numb

Watch a clip of "Comfortably Numb" here:

Check out 'Vicarious Views w/ Umphrey's McGee & Doom Flamingo' here:

SweetWater 420 Festival: A Weekend We Will Never Forget April 26, 2018 18:01

Words by Jordan Kirkland: Live & Listen

Photos by Craig Baird: [Home Team Photography] & Ryan Lewis [Rylewphoto]

Growing up in the southeast, I became accustomed to traveling to Atlanta to see my favorite bands at an early age. Weekend excursions to The Tabernacle became a regular occurrence by the time I was in high school, with plenty of trips to The Fox Theatre and Variety Playhouse mixed in as well. Just last year, I finally made plans to attend SweetWater 420 Festival, which was clearly becoming one of the premier festivals in the country. Following that weekend, it was clear that this would become my latest annual tradition. No excuses.

After a lineup which featured two nights of Widespread Panic, Trey Anastasio Band, moe., Ween, and Dark Star Orchestra (just to name a few), festival organizers had their work cut out for them. When the initial lineup dropped in mid-October, it almost felt like they were reading my mind. Umphrey’s McGee, Sturgill Simpson, and Tedeschi Trucks Band sat atop this lineup, along with Joe Russo’s Almost Dead, Vulfpeck, Papadosio, Anders Osborne, Spafford, and many more. The second wave would ultimately include The String Cheese Incident, Greensky Bluegrass, Ghostland Observatory, The Infamous Stringdusters, and the young phenom Brandon “Taz” Niederauer.

Once the schedule was released, plans were made to arrive early on Friday afternoon. Southern Avenue was rocking the Planet 420 Stage in full force, and The Record Company was getting started on the main stage shortly after. We made a point to catch a nice segment of both sets and couldn’t have asked for a better way to start the weekend. This was my first opportunity to see either of these bands live, and I’ll definitely be making a point to see both again.

If you follow the festival scene at all, you’ve surely seen the hype surrounding Spafford. This band has taken the jam world by storm, selling out just about every venue on the schedule. This would be my first live experience with them as well, and I was totally floored. The band came out swinging the “Backdoor Funk” and “The Remedy” and continued with killer takes on “Windmill,” “Lovesick Melody,” and “Minds Unchained.” They closed out the set with Tom Petty’s “You Don’t Know How It Feels,” and I think everyone was wishing we had a second set. I was fortunate enough to attend to Spafford’s late night show at Variety Playhouse, which seemed to be the hottest ticket in town. This set included some amazing takes on “Electric Taco Stand,” “All My Friends,” “Salamander Song,” “All In,” and a cover of Men at Work’s “Down Under.”

Watch Spafford perform "You Don't Know How It Feels" here:

Sturgill Simpson was up next on the main stage. This would be he and his band’s first performance since October 14^th, and it was clear that these guys were ready to rock. Highlights from this set included originals such as “Turtles All The Way Down” and “Keep It Between The Lines,” while the cover of Freddie King’s “Going Down” really got the crowd moving. While Sturgill has one of the most unique, powerful voices I’ve ever heard, his guitar playing is equally impressive. He’s one of the most talented performers I’ve ever watched, and it’s exciting to think about what the future holds.

The String Cheese Incident has been very kind to Atlanta in recent years. The past two summers have featured some amazing two-night runs at Chastain Park Amphitheatre, and expectations were high for Friday night’s headlining spot. The band got off to a hot start with “Sirens,” “Let’s Go Outside, and “Song In My Head.” The Motet’s Lyle Divinsky and Dave Watts, along with local Atlanta vocalist Rhonda Thomas, joined in on “Get To You,” before a cover of Jamiroquai’s “Space Cowboy” and “Believe” closed out the set.

Cheese returned to the stage with young star Brandon “Taz” Niederauer, who traded licks with Michael Kang and Bill Nershi throughout “Close Your Eyes.” Second set highlights also included “Beautiful,” “Joyful Sound,” “Rollover,” and “Restless Wind.” The crowd had a chance to sing “Happy Birthday” to drummer Michael Travis during the encore, and Taz + Rhonda Thomas would return for the closer, “I Saw The Light.”

Saturday may have been my favorite day of the weekend, and there are a number of reasons why. One of my favorite regional bands, Funk You, kicked things off with an amazing set on the main stage. The band welcomed The Brotherhorns for the entirety of the set, and the Augusta natives brought out an impressive crowd for the early set. Funk You delivered a number of killer originals before closing things out with The Village People's "Kung Fu Fighting" with a little help from three dancers dressed as Gumby. Why not?

Watch Funk You perform "Kung Fu Fighting" here:

Anders Osborne was up next on the main stage, and I could listen to this guy for days. Anders has one of the most soothing voices you will find, and his songwriting is tough to beat. As is the case at most festivals, you're forced to cut several sets earlier than you'd like, and I knew I couldn't miss a minute of Marco Benevento. As a longtime fan of the Benevento Russo Duo, it's been remarkable to watch Marco's career flourish. This was my first chance to see his solo band, and it was easily one of the weekend highlights. This set was jam packed with energy from start to finish, and I was floored by bassist Karina Rykman. They gave us an amazing cover of Butthole Surfers' "Pepper" and had the entire crowd going wild as they closed out with "At The Show."

Brandon "Taz" Niederauer was arguably the star of the weekend. While he made guest appearances with all three headliners, he and his band provided an incredible set on Saturday afternoon. The last time I'd seen Taz in Atlanta, he was tearing through a guitar solo as his mentor Col. Bruce Hampton tragically passed away on stage. Watching him perform "I'm So Glad" in Bruce's honor was a truly special moment. While his guitar playing is essentially indescribable, this "kid" can really sing too. 

While this weekend had many peak moments, Joe Russo's Almost Dead was my personal main event. Thankfully, the second wave of artist announcements included a second set for JRAD, which set us up for an unforgettable evening. A lengthy jam led into "Cats Down Under The Stars," while "Feel Like A Stranger" would follow. A beautiful take on "The Wheel" led into a rockin' "Estimated Prophet," which segued perfectly into "He's Gone" to close the set. The second set was as strong as anything I've seen from these guys. "Shakedown Street" set the tone right off the bat and moved straight into "I Need A Miracle." The set continued with "Ramble On Rose," and "China Cat Sunflower" > "I Know You Rider," before "Not Fade Away" and "One More Saturday Night" closed out the set on the highest of notes. I could go on for days about this band. Here's to hoping that they become regular performers at this festival.

While I hated to miss The Infamous Stringdusters and Ghostland Observatory, we solidified our spot front and center for Tedeschi Trucks Band. This was the most intriguing storyline of the weekend for me, as I knew this JRAD > TTB sequence would be outrageous. To no one's surprise, TTB came out firing with a downright spiritual set which included classics such as "Made Up Mind," "Part of Me," and "Midnight in Harlem." Susan Tedeschi led a beautiful combo of "Angel From Montgomery" > "Sugaree," and young Taz made his way onto the stage for a monster cover of "Statesboro Blues." Watching he and Derek Trucks trade licks on the Allman Brothers' classic was a moment I'll never forget. Taz would also join the band for the encore which featured Sly & The Family Stone's "Sing a Simple Song" > "I Want To Take You Higher."

Sunday's weather looked questionable all week, and the rainy forecast became a reality early on. This was a familiar situation for those who attended the festival last year, and a little dancing in the rain is good for the soul. Sister Sparrow & The Dirty Birds kicked things off with a super soulful performance. Greensky Bluegrass would follow with their wildly entertaining serving of jamgrass. This would give us yet another cameo from Taz, who took the lead on the Allman Brothers' "Midnight Rider." We then made our way to the Planet 420 Stage to catch the tail end of TAUK. This band is one of the most talented, dynamic bands on the scene, and we caught them just in time for an incredible cover of Rush's "Tom Sawyer." 

Watch Greensky Bluegrass perform "Midnight Rider" with Taz here:

The bouncing between stages continued as we prepared for Vulfpeck on the main stage. Frequent collaborators Antwuan Stanley, Joey Dosik, and Corey Wong were each on hand for the funky occasion. The set was highlighted by classics such as "Animal Spirits," "1612," "Funky Duck," "Back Pocket," "Christmas in LA," and even a cover of Stevie Wonder's "Boogie On Reggae Woman." Bassist Joe Dart would lead the way through "Dean Town" to close out a high-energy occasion with Vulfpeck. Meanwhile, Papadosio was closing out the Planet 420 stage in powerful fashion. We walked up just in time to catch a sequence which included "Cue," "Garden," and "We Are Water." The energy was palpable as the rain picked up, and the Papadosio dance party was a sight to see. 

The final performance of the weekend belonged to Umphrey's McGee, and they closed out a magical weekend in fine form. They kicked off the set with "Half Delayed" and "Remind Me," before "Booth Love" really got the party moving. "Preamble" would follow before what would become a massive "Mantis" sandwich. The sequence of "Mantis" > "Wife Soup", "Lenny" w/ Taz, "Draconian" > "Mantis" would definitely need to be on any list of weekend highlights. "Wappy Sprayberry" and "Ringo" would put an exclamation point on a wild, rainy set from Umphrey's. The encore began with a very fitting cover of Led Zeppelin's "Fool In The Rain," which was followed by "Ocean Billy" and "The Silent Type." While there were quite a few heavy hitters on this lineup, Umphrey's most certainly justified their spot in closing out the festivities.

As you would expect, there was wide variety of afterparties around Atlanta each night. While many made their way to Variety Playhouse for TAUKing McGee on Sunday night, our crew headed over to one of my favorite venues, Aisle 5. Local favorites Bird Dog Jubilee were set to perform 'A Picture of Hoist' which consisted of songs from the two Phish albums ('A Picture of Nectar' and 'Hoist'). From start to finish, these guys absolutely killed it and provided a perfect ending to our 420 Fest experience. It's always a pleasure catching a show at Aisle 5, and Sunday night was no different.

I've said more than enough at this point, but I'll conclude by saying that I truly believe this was my favorite festival experience to date. You couldn't ask for a better lineup, and Centennial Olympic Park is perfectly structured for a festival of this magnitude. There were a handful of sets that I really wish I could've seen, but it's impossible to catch them all. Festival organizers and the entire staff did an absolutely phenomenal job, and things couldn't have run any smoother. I'm not sure how they will top this year's experience, but I have no doubt that they will. 

SweetWater 420 Festival Reveals Stacked Afterparty Lineup March 1, 2018 17:11

Umphrey's McGee & Perpetual Groove To Join Forces In Charleston February 27, 2018 12:51

Photo by Abby Fox Photography

Proudly Presented by Friends With Benefits Productions (FWBpro) & WEmusic, rock stars Umphrey's McGee make their triumphant return to Charleston w/ Special Guests Perpetual Groove at The Grove at Patriots Point.  This unique and beautiful venue is nestled in a clearing surrounded by trees near the Yorktown Aircraft Carrier in Charleston Harbor close to the base of the Ravenel Bridge in Mt. Pleasant, SC. Come celebrate on Thursday May 31, 2018 at this space while you can— there are plans to develop the area. This will be one of the last big shows at The Grove in one of the world's top cities, Charleston, SC!

The music of Umphrey’s McGee unfolds like an unpredictable conversation between longtime friends. Its six participants—Brendan Bayliss [guitar, vocals], Jake Cinninger [guitar, vocals], Joel Cummins [keyboards, piano, vocals], Andy Farag [percussion], Kris Myers [drums, vocals], and Ryan Stasik [bass]—know just how to communicate with each other on stage and in the studio. A call of progressive guitar wizardry might elicit a response of soft acoustic balladry, or a funk groove could be answered by explosive percussion. At any moment, heavy guitars can give way to heavier blues as the boys uncover the elusive nexus between jaw-dropping instrumental virtuosity and airtight songcraft.

The conversation continues on their eleventh full-length album, it’s not us [Nothing Too Fancy Music]— Released January 12, 2018.

“It represents the band, because it basically runs the gamut from prog rock to dance,” says Brendan. “We’ve mastered our ADD here. The record really shows that.”

“No matter what you’re into, there’s something on it’s not us that should speak to you,” agrees Joel. “This is a statement album for Umphrey’s McGee. The sound is as fresh as ever. The songs are strong as they’ve ever been. We’re always pushing forward.”

It is also how the band is celebrating its 20-year anniversary. Instead of retreading the catalog, they turn up with a pile of new tunes.

The Official 21+ Late Night immediately following Umphrey's McGee's show is at nearby Omar Shrine and will host a brand new collaboration called DOOM FLAMINGO between Umphrey's McGee bassist and Charleston resident Ryan Stasik, and a slew of standout Charleston musicians including Michael Quinn [sax], Ross Bogan [keys], Stuart White [drums], Thomas Kenney [guitar] & Kanika Moore [vocals]! Local psychedelic rock outfit The Artisanals fronted by Johnny Delaware (formerly of SUSTO) will open the Afterparty festivities before DOOM FLAMINGO's synth-wave dance party! You'll need a ticket to the main event in order to attend this very special Late Night!

This concert, hosted by Friends With Benefits Productions (FWBpro), the group behind The Major Rager®, will give back to the Charleston community by partnering with the following local nonprofit organizations - Communities In Schools Charleston & Redux Contemporary Art Center! 

The mission of Communities In Schools is to surround students with a community of support, empowering them to stay in school and achieve in life. FWBpro is thrilled to be working with Redux Contemporary Art Center to activate the festival grounds. As the premier venue for emerging contemporary art in Charleston, Redux will be our exclusive art partner, providing interactive art installations and activities throughout the event.

Stay tuned for more information regarding this exciting live music experience and be on the lookout for some awesome fan-centric experiences available for purchase soon! This event will have a festival feel with delectable food vendors, multiple bars, art, and activities.  VIP Tickets include a VIP Lounge, Upgraded Private Restrooms, Preferred Stage View & Private VIP Bar (2 Drinks Included). 

Immediately following the event at the Grove, concert-goers can head a short ways down the road to the Omar Shrine for the Official 21+ Late Night with The Artisanals & DOOM FLAMINGO (Ryan Stasik of Umphrey's McGee + CHS all-stars), but the event is only open to those who purchase tickets to the main event!

Join us Thursday May 31, 2018 for one of the last big events at one of our favorite venues with some of our very favorite bands in support of Communities in Schools Charleston!

For Updates: Follow Friends With Benefits Productions on Facebook. (@FWBpro on Instagram & Twitter) & Join our mailing list at FWBpro.com!

Follow Us and RSVP on the Facebook Event Page/ invite your friends for your chance to WIN 2 FREE TICKETS to the show!  Facebook Event Page— https://www.facebook.com/events/2283766975183434/

TICKETS ON SALE FRIDAY MARCH 2 at 10am ET at www.FWBpro.com

Ticket Tiers:

EARLY BIRD GA - $30 (Extremely Limited)

w/ 21 + Late Night - $50 (Ticket to Main Event Required for Admission to Late Night)

ADVANCE GA - $35

w/ 21+ Late Night - $55 (Ticket to Main Event Required for Admission to Late Night)

DOS - $40

w/ 21+ Late Night - $60 (Ticket to Main Event Required for Admission to Late Night)

VIP - $99 - (VIP include a VIP Lounge, Upgraded Private Restrooms, Preferred Stage View, Private VIP Bar & 2 Drinks Included)

w/ 21+ Late Night - $119 (Ticket to Main Event Required for Admission to Late Night)

Watch Umphrey's McGee Perform "Shine On You Crazy Diamond" At Hulaween October 27, 2017 11:20

Photo by Craig Baird: Home Team Photography

Hulaween, the weekend so many have been waiting for all year, got its 'unofficial' start last night as its truly ridiculous 'pre-party' began. With the variety of Joe Russo's Almost Dead x2 , Greensky Bluegrass, Lettuce, Kyle Hollingsworth Band, Spafford, and Zach Deputy on tap, the vibe at Suwannee felt like the weekend was in full force. Oh yeah, did we mention two sets Umphrey's McGee, as well? Well, that happened too. One of the evenings many highlights came in the form of a 20-minute cover of Pink Floyd's "Shine On You Crazy Diamond" late during UM's second set. Fortunately, HD video footage has surfaced via Live For Live Music and can be watched in full below!

Watch Umphrey's perform Pink Floyd's "Shine On You Crazy Diamond via L4LM here:

Umphrey’s McGee: Suwannee Hulaween - Live Oak, FL - 10.26.17

Set 1: No Crying In Mexico > 40’s Theme > Wappy Sprayberry > All In Time > Push The Pig, Dump City > All In Time

Set 2:: Le Blitz > Remind Me > The Triple Wide > The Floor, Day Nurse > Shine On You Crazy Diamond > Day Nurse, Booth Love

SweetWater 420 Festival Reveals Stellar Initial Lineup October 19, 2017 10:50

Photo by Craig Baird: Home Team Photography

SweetWater 420 Fest will return to Atlanta’s Centennial Olympic Park on April 20th-22nd. SweetWater Brewing Company have  revealed the initial lineup for next year’s event, which is quickly becoming one of the premier music festivals in the country.

Today's announcement includes headlining act Umphrey’s McGee (two sets), as well as Tedeschi Trucks Band, Sturgill Simpson, Vulfpeck, Joe Russo’s Almost Dead, Papadosio, Anders Osborne, Spafford, Sister Sparrow & The Dirty Birds, Southern Avenue. Stay tuned for additional lineup announcements, including a second headliner, in early 2018.

SweetWater 420 Fest also features a 5K run, the Planet 420 Eco-Village, the 420 Disco, the 420 Lyrics & Laughter presentation of comedians and up-and-coming local acts, an Artist Market and Food Village. Terminal West, Aisle 5, and other local venues are known for hosting some heavy hitting late night parties as well. 

Watch the lineup announcement video here:

Sweetwater 420 Fest initial lineup announcement from HEP420 on Vimeo.

Umphrey's McGee Announces 2018 Tour Dates + New Album October 17, 2017 14:07

Photo by Craig Baird: Home Team Photography

Umphrey’s McGee launches into 2018 with a new album and an extensive tour to celebrate 20 years as a band. And they're coming to a town near you to celebrate the occasion. The new album, it's not us, will be the band's 11th studio recording and is scheduled for a January 12th release date. The band will issue a 12″ picture disc featuring two tracks from ‘it’s not us’ on Record Store Day Black Friday, November 24. Here’s more details from RecordStoreDay.com:

The first single, “The Silent Type”, is classic UM: it’s infections riff rock, the musical equivalent of the record’s unique shape, sawing through your turntable. Side B features “Looks”, an uptempo driving composition penned by virtuoso guitarist Jake Cinninger.

Album, tour, umVIP & on-sale info at www.umphreys.com. Support acts for the tour will be revealed at a later date. Pre-sale and umVIP tickets go on sale starting on Monday, October 23. General public onsale for tickets stats on Friday, October 27. See below for a graphic with the full list of tour dates.

Watch UM's official announcement video here:

Umphrey's McGee Will Return To Colorado For New Year's Run July 3, 2017 17:19

Umphrey's McGee Announces Webcasts For Red Rocks Weekend June 29, 2017 14:50

Watch BIG Something Jam With Jake Cinninger At Mountain Music Festival June 15, 2017 14:37

Summer festival season is clearly upon us; a time which brings together many of the most dynamic groups from across the musical spectrum. With the countless festivals across the country always comes many of the most memorable on-stage collaborations for both the fans and bands alike. Earlier this month, Mountain Music Festival was held in New River Gorge, West Virginia, with a lineup which included the likes of Umphrey's McGee, The Revivalists, Karl Denson's Tiny Universe, Twiddle, and one of our absolute favorite young bands, BIG Something.

The North Carolina-based six-piece had the opportunity to invite Umphrey's McGee lead guitarist Jake Cinninger to the stage for an extra fiery take on "The Flood," a tune from the band's latest album Tumbleweed. Check out the full performance below, and make sure to check out BIG Something via Facebook, Instagram, and their official website.

Watch BIG Something perform "The Flood" with Jake Cinninger here:

Dominican Holidaze Reveals Stacked 2017 Lineup May 9, 2017 13:27

Host bands Umphrey's McGee, STS9, and The Disco Biscuits have revealed the lineup for The 11th installment of Cloud 9 Adventures’ Dominican Holidaze destination concert event in Punta Cana, Dominican Republic. This year's festivities are scheduled from December 1st - 5th. Along with the host bands, this year’s Holidaze will feature GRiZ, Joe Russo’s Almost Dead, Lotus, The Motet, TAUK, Spafford, Sunsquabi and Wolf + Lamb, plus a poolside set from Umphrey’s McGee’s Brendan Bayliss.

All-inclusive packages for returning Holidaze guests go up for grabs on May 17. If rooms remain following the pre-sale, there will be a public on sale on Thursday, May 18 at 12 p.m. ET via Dominicanholidaze.com. Head to the festival’s website for additional details.

Watch the Dominican Holidaze (2016) official aftermovie here:

LOCKN' Festival Adds Jim James, Releases Official Daily Schedule March 31, 2017 14:42

Photo by Keith Griner: Phierce Photo

Earlier today, LOCKN' Festival completed a week of epic festival announcements by revealing its daily lineup and announcing performances by: Phil Lesh w/ special guest Bob Weir & The Terrapin Family Band perform Terrapin Station, John Fogerty, The Disco Biscuits, Jim James, Antibalas, Blackberry Smoke, Hiss Golden Messenger, The Record Company & more. These artists join a stacked LOCKN' lineup that includes The Avett Brothers, Widespread Panic, The String Cheese Incident, Umphrey's McGee, Gov't Mule, Joe Russo's Almost Dead, The Revivalists and many more.  

Today's daily lineup reveals some exciting surprises, with four rotating sets of Umphrey's McGee and String Cheese Incident on Thursday night, the addition of Jim James on Friday afternoon, confirmed late night sets from The Disco Biscuits and Joe Russo's Almost Dead, and a special "phil.moe." set on Sunday which will consist of Phil Lesh and members of moe.

See below for details on the official LOCKN' daily schedule.  For all of the latest updates and further details on LOCKN' Festival, head over to the festival's official website and Facebook page.

Watch the official highlight reel from LOCKN' 2016 here:

The Peach Music Festival Announces Monster 2017 Lineup March 1, 2017 11:49

Watch Umphrey's McGee & Greensky Bluegrass Join Forces In Asheville February 27, 2017 23:25

Progressive jam rockers Umphrey's McGee recently teamed up with jamgrass sensation Greensky Bluegrass for their 2nd annual Blue Ridge Rockway series at ExploreAsheville.com Arena in Asheville, NC.  To no one's surprise, there were several collaborations between the two bands, with Paul Hoffman (mandolin) and Anders Beck (dobro) joining Umphrey's on stage both nights.  Hoffman even lends a hand on vocals as the 'supergroup' performed the Marshall Tucker Band classic "Cant You See" during Saturday night's show. Thankfully, the fine folks at TourGigs were there to capture the magic, as can be seen in the pro-shot video below.

Watch Umphrey's McGee perform "Can't You See" with Paul Hoffman & Anders Beck here:

Jake Cinninger Will Miss Upcoming Umphrey's McGee Shows January 26, 2017 16:14

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While Umphrey's McGee is set to resume its winter tour tonight in New Haven (CT), the band will have to do so without lead guitarist Jake Cinninger. Umphrey's released a statement today via Facebook stating that Cinninger has "come down with a wicked flu and will not be able to play the next few shows." Saxophonist Joshua Redman will be performing with the band all week, and fans can expect a fair amount of improvisation. See below for the band's complete statement. Get well soon, Jake! 

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Official Facebook statement from Umphrey's McGee:

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While Umphrey's McGee is set to resume its winter tour tonight in New Haven (CT), the band will have to do so without lead guitarist Jake Cinninger. Umphrey's released a statement today via Facebook stating that Cinninger has "come down with a wicked flu and will not be able to play the next few shows." Saxophonist Joshua Redman will be performing with the band all week, and fans can expect a fair amount of improvisation. Get well soon, Jake! 

Umphrey's McGee Will Offer Free Live Stream Of Chucktown Ball September 22, 2016 21:26

Photos by Jordan Kirkland: Live & Listen

Umphrey's McGee and TourGigs have teamed up with Qello Concerts to offer a free live stream of this weekend's Chucktown Ball at North Charleston Coliseum.  The band made the formal announcement on Thursday night, much to the pleasure of the UM faithful.  Tune in at 8:00 PM EST each night and catch opening sets from Moon Taxi on Friday and The Floozies on Saturday night.  See below for the official announcement via Umphreys.com.

Watch the FREE live stream of Umphrey’s 2nd Annual Chucktown Ball, powered by TourGigs! If you can’t make it to South Carolina, just kick back and watch from your couch or on-the-go through Qello Concerts.

Steam link: http://qello.com/vip/chucktown-ball

Friday, September 23
with special guests Moon Taxi
Stream starts around 8:00pm ET (approx.)

Saturday, September 24
with special guests The Floozies
Stream starts around 8:00pm ET (approx.)

Umphrey's McGee's 'Chucktown Ball' Moving To North Charleston Coliseum September 21, 2016 14:36

Photos by Jordan Kirkland: Live & Listen

In the midst of preparation for the second annual Chucktown Ball, progressive jam rockers Umphrey's McGee has been forced to move this weekend's two-day event from Riverfront Park to North Charleston Coliseum due to recent heavy rains and water-logged grounds at Riverfront Park.  The band made the official announcement on Wednesday via Facebook and issued a full statement via Umphreys.com, which can be read below.  While this comes as disappointing news to many, rest assured that Umphrey's will adjust and rage properly, as they always do.

"The recent heavy rains experienced in the Charleston area have water-logged the grounds of Riverfront Park. With more rain in the forecast over the course of the next few days, conditions are likely to worsen. Thus, we will be unable to safely and expediently build the festival site as planned. With this in mind, Chucktown Ball is being moved to the North Charleston Coliseum. We take our fans’ safety very seriously and want to provide you with the best experience possible. All previously purchased tickets will be honored at the new venue and all bands will still perform as planned, with the exception of Dangermuffin, who are no longer available to participate. We intend to take the vision of Chucktown Ball and deliver an amazing experience alongside the accommodating staff of the the North Charleston Coliseum, who are thrilled to now be hosting our event. We hope you are ready for some arena rock!

Widespread Panic & Umphrey's McGee Rock The Tuscaloosa Amphitheater September 16, 2016 00:00

Words by Jordan Kirkland: Live & Listen

Photos by Craig Baird: Live & Listen

Thursday night in Tuscaloosa was one that won't be forgotten any time soon, as jam veterans Widespread Panic and Umphrey's McGee joined forces for one of the better rock shows one could ask for.  With Panic slated for two sets and Umphrey's getting a full 75-minute opening spot, the stage was set for a rowdy occasion at the Tuscaloosa Amphitheatre.  This would be the first of a two-night Umphrey's/Panic run, and the music couldn't start soon enough.

Umphrey's McGee Unveils New Mash-Up Album 'ZONKEY' September 7, 2016 12:24

Umphrey's McGee Is Returning To Chicago For New Year's Eve September 5, 2016 13:00

Photos by Keith Griner: Phierce Photography

Progressive rock band Umphrey's McGee made a major announcement over the weekend; one which many of the band's oldest fans can rejoice about.  While specifics have not yet been announced, Umphrey's will return to their home city of Chicago for the 2016 NYE run.  The band's first-ever New Year's Eve show was on December 31st, 2000 at The Cubby Bear, and they proceeded to play the city every year through 2010.  They then hit St. Louis and have rotated between Denver and Atlanta for the past four years. The band made the announcement via Twitter on Saturday, and keyboardist Joel Cummins confirmed the news on stage at North Coast Music Festival this weekend.

Past Umphrey’s McGee New Year’s Eve Shows

• 2015 – Fillmore Auditorium – Denver, CO
• 2014 – The Tabernacle – Atlanta, GA
• 2013 – Fillmore Auditorium – Denver, CO
• 2012 – The Tabernacle – Atlanta, GA
• 2011 – The Pageant – St. Louis, MO
• 2010 – The Riviera Theatre – Chicago, IL
• 2009 – Aragon Ballroom – Chicago, IL
• 2008 – The Auditorium Theatre – Chicago, IL
• 2005 – 2007 – Aragon Ballroom – Chicago, IL
• 2004 – The Riviera Theatre – Chicago, IL
• 2001 – 2003 – The Vic Theatre – Chicago, IL
• 2000 – The Cubby Bear – Chicago, IL

Watch Umphrey's McGee perform "Amazing Grace" > "Glory" with the Chicago Mass Choir on 12.31.08:

Looking Back On LOCKN': A Weekend In Review September 4, 2016 14:20

Now that I have had nearly seven full days to digest what I witnessed last weekend, it only seems appropriate to attempt to explain my LOCKN' experience.  This was something I planned to do earlier in the week, before coming down with a mild case of what many have called the "wook flu."  My friends and I set out out on the journey from Alabama to Virginia just before sunrise on Thursday, August 25th, slightly apprehensive and anxious about a four day festival in the heat of summer.  With arguably the best lineup of bands I've ever seen (extra stess on "arguably," as it's all relative), excitement was certainly abound.  Luckily, some friends hooked us up with a few extra forest camping passes, which proved to be a total game changer.  We managed to set up camp just in time to head to the concert grounds for Vulfpeck's opening set, which served as a perfect intro to the epic weekend ahead.

Vulfpeck has been one of the hottest bands in the festival scene for nearly two years, and their live show speaks for itself.  What you see is what you get with Vulfpeck. They keep it as simple as possible, playing real instruments with essentially no effects. This making for a a very raw, natural outcome.  This set was highlighted by several of their hits, such as "Funky Duck," "1612," and "Put It In My Back Pocket," as well as a cover of Steely Dan's "Peg" that nearly lit the crowd on fire.  As they finished up, the massive crowd had its first glimpse at the infamous "turntable stage," which Umphrey's McGee took full advantage of.  Within three seconds of Vulfpeck stopping, Umphreys cranked into full effect with "Nipple Trix" as the stage rotated, which quickly segued into one of my personal favorites, "1348."  

The set continued with "Attachments" and "The Triple Wide," one of the bands biggest jam vehicles.  The "2x2" > "Speak Up" > "2x2" sequence moved swiftly into a raging take on "Puppet String," ultimately leading into "Roctopus."  At this time, Brendan Bayliss called upon none other than Gene Ween, who performed an entire set with Umphrey's last summer known as "God Boner."  Being that ole Gene has an uncanny resemblance to Billy Joel these days, the decision to cover Joel's "The Stranger" was well received.  With little time to spare, the band then segued back into "Puppet String," before "All In Time" closed things out in powerful fashion.   

Next to take the stage was Ween, who was slated for the evening's headlining set.  It was clear early on that many in attendance did not know what to expect from these guys; myself included.  While I've casually listened to Ween over the last fifteen years, I never dove in deep, and I'd never had a chance to see them live.  While their were some very bizarre moments, I loved every minute of it.  These guys managed to pump out 26 total songs, including many I was familiar with such as "Transdermal Celebration," "Mister, Would You Please Help My Pony," "How High Can You Fly," "Beacon Light, "Baby Bitch," "Boys Club," "Fat Lenny," "Push The Little Daisies," "Ocean Man," and "Zoloft."  We've made it a full week since this set, and I'm still talkin' bout "Boys Club."  I can't help but think that Dean and Gene must be somehow related to Trey Parker and Matt Stone (creators of South Park), and last weekend further affirmed that assumption.  

After a truly exhausting two hours with Ween, there was just enough time for the first of many cool down sessions back at the car.  These sessions were critical, as we had a chance to turn up the A/C, charge the cell phone, and collect our completely scattered thoughts.  There wasn't much time to waste though, as Joe Russo's Almost Dead was up next at the Blue Ridge Bowl.  This was arguably my most highly anticipated performance of the weekend.  Like many others, I had been dying to see this band since its inception three years ago, but they don't tour extensively.  So, this was my first opportunity to catch their set, and I'll just say this.  JRAD uses the catalog of the Grateful Dead as a launching pad into something that is totally its own.  

I was absolutely blown away by my first JRAD experience, which kicked off with "Space" > "Truckin'," before moving into an absolute monster "St. Stephen."  "The Eleven" and "Brown Eyed Women" would follow, before "The Wheel" opened up another insane improv section.  The set continued with powerful takes on "Estimated Prophet," "Tennessee Jed," and "Viola Lee Blues," and a beautiful take on "He's Gone" would follow.  Right around 3:15 AM, the band busted into "Terrapin Station," and you better believe we got the full Terrapin Suite.  This was easily the best late night set I'd experienced at this point, and one of the best Dead sets I've ever witnessed.  Keep in mind that I'm a child of the late 80's.  

While it was already nearly 90 degrees upon waking up on Friday, the lineup ahead of us demanded our full effort and attention.  Turkuaz was scheduled for a 12:30 PM power funk lunch session, and that's something you just can't miss out on.  This is one of the most entertaining, high-energy bands in the festival circuit, and they've only scratched the surface.   These guys are incredibly tight, and the level of choreography that goes into each set can't go unnoticed.  The set ultimately closed with an amazing rendition of The Band's "Shape I'm In," to which the stage rotated with Vulfpeck in full effect.

As much as I hated to walk away from Vulfpeck, I knew that my next move was arguably my most critical decision of the weekend, and the "Infinity Downs" area had a live video stream of the main stage.  I made my way over to the almighty Vida-Flo RV, which treated me to an incredibly pleasant experience.  The fine folks at Vida-Flo spent their majority of time at LOCKN' helping others rehydrate and obtain a much needed second wind to fight through the outrageously hot and humid weekend.  "The LOCKN' Special" put me exactly where I needed to be, and I was able to enjoy Vulfpeck's covers of "Boogie On Reggae Woman" and "Tell Me Somethin' Good" during the procress.  I can't say enough about Jamey, Katie, and the rest of the Vida-Flo team for the service they provided to so many at LOCKN'.

The remainder of Friday afternoon was highlighted by performances from White Denim, Charles Bradley & His Extraordinaires, and Peter Wolf (of the J Geils Band).  With my new found energy and hydration, I made it back to the concert grounds and enjoyed a seriously rockin' set from White Denim, who I'd been looking forward to seeing for several years.  While I definitely haven't given White Denim the attention they deserve over the years, I have loved everything I've heard from these guys.  Songs like "Ha Ha Ha Ha (Yeah)" and "At Night In Dreams" have been staples in my regular rotation for some time, and the entire Corsica Lemonade album is simply brilliant.  

One lifesaving factor to my LOCKN' experience that I have failed to mention thus far is the hospitality that we experienced at Starr Hill Brewery tent, which was located at the back of the concert grounds.  Starr Hill, a craft brewery based in Crozet, VA, is the official beer sponsor of LOCKN', and I'm not sure how we would've survived without it.  Fortunately, a longtime childhood friend works for the brewery and granted us access to the tent the entire weekend.  Shade, fans with mist, cool beer, and most importantly water, were made available to all of Starr Hill's patrons this weekend, as well as a distant view of the main stage.  The luxury of watching White Denim and part of Charles Bradley's set from the Starr Hill tent was a perfect way to continue the afternoon.  Star Hill Brewery probably saved our lives last weekend.

As the sun began to set, Ween returned to the stage for it's second set of the weekend.  While this set was closer to 80-90 minutes, it was an absolute scorcher.  One of my top highlights from the weekend came in the form of "Roses Are Free" > "Your Party" > "Bananas and Blow" > "Voodoo Lady."  Several other classics, including "Mutilated Lips," "Spinal Meningitis," "Piss Up A Rope," and "Buckingham Green" helped make this set one that I'll never forget.  

The stage was now set for a moment that so many were waiting for.  Phish was slated for two full sets as the Friday night headliner.  While the 90-minute break in music felt like an eternity, this was soon forgotten as the band took the stage and ripped into the opening notes of "Wilson."  Despite a few miscues in "Wilson," as well as the intro to "Down With Disease," this set was off to a really hot start.  "Free" and "Wolfman's Brother" would follow, before we were treated to a "Tube" which featured that extended jam that has been somewhat rare in recent years.  Next up was "555," which even went further than it typically does with a next outtro jam.  

"It's Ice" was probably the highlight of the first set for me, as it's just one of those songs that I tend to miss by one show.  "Wingsuit," which may be the most underrated song in the Phish catalog, slowed the pace and ultimately led into one of the most beautiful jams of the weekend.  The transition into "Simple" pumped a new life into the massive crowd, and just when you thought the set was over, the lights shifted to one particular mic stand, indicating an acapella performance.  I was lucky enough to witness the debut of David Bowie's "Space Oddity" at Wrigley Field in June, and I was elated to hear it again on Friday night.  There's nothing quite like their spin on that classic tune.

After a brief intermission, Trey wasted no time busting into "Punch You In The Eye," and he didn't let off the gas once.  "Blaze On" and "Fuego" were perfectly executed, and the "Ghost" that followed was easily the biggest jam of the night.  The segue into "Bathtub Gin" was seemless, and "Backwards Down The Number Line" provided an amazing, nostalgic sing-a-long, as it always does.  Any set that ends with "You Enjoy Myself" is a treat, and this was the case on Friday.  The trampolines came out, and Trey even gave us a little break dancing expo during Mike's solo.  The "Ass Handed" tease during the eventual vocal jam was icing on the cake.  You can only do so much with an encore after "YEM," and this was a night where "Character Zero" was the perfect choice.  Just like that, Phish's first LOCKN' set was over, and we couldn't have asked for much more.

I won't get too repetitive when discussing the second late night set from JRAD, but goodness gracious, it was amazing.  Just the fact that our evening included Ween > Phish > JRAD was hard to believe.  "Good Lovin" kicked off the set, and "Shakedown Street," "China Cat Sunflower," and "I Know You Rider" would follow.  The band welcomed Nicole Adkins to the stage to add a little Donna Jean flare to "Dancin' In The Streets," "The Music Never Stopped," and "Turn On Your Lovelight."  I was not familiar with Adkins prior to this set, but wow...she's got some serious pipes.  Her involvement in this set was something that will always stand out when thinking back on this one.  Fortunately, she stuck around for harmony vocals on the "Franklin's Tower," "Thowing Stones," and "Not Fade Away" which closed out night two at LOCKN'.  Joe Russo's ability to command and lead this band from behind the drum kit is absolutely remarkable, and I've never seen anything like it.  We are talking about one of the most talented drummers on the planet though, so I guess no one should be surprised.

We were now halfway through our LOCKN' experience, and waking up knowing that there were two more days of this madness was hard to believe.  Just like every other day, the lineup was slam packed full of "must see" bands, starting with Keller Williams' Grateful Grass at the Blue Ridge Bowl, or at least what was left of it from the two nights of JRAD destruction.  The Grateful Grass experience features a rotating cast of bluegrass musicians.  It's gotten to the point that Keller looks at the Dead's catalog as it's own genre, similar to jazz, as musicians can simply jump on stage with very little experience playing with one another and just roll with it.  I'd highly recommend reading Live Music Daily's interview with Keller from LOCKN', where he goes in depth on the evolution of the Grateful Grass concept.  

Moon Taxi was first up on the main stage, and they had the farm rocking at an early hour.  It's been a true pleasure watching this band progress from the college bar scene to touring across the country playing many of the most prestigious venues.  Their ability to find a balance between jam and mainstream rock is brilliant, and I can only imagine the dividends that it is paying.  Twiddle was up next, and I can't say enough about this band.  I feel like I haven't stopped listening to Twiddle all summer, and I've been fortunate to attend two summer festivals (LOCKN' and The Werk Out) which featured two sets of Twiddle.  "Jamflowman" and "When It Rains It Pours" gave me my two favorite Twiddle originals, and Keller Williams' sit-in on "Best Feeling" was likely the top spontaneous collaboration of the weekend.  

Thanks to the champions at SiriusXM JamOn, nearly every major set at LOCKN' was broadcasted live, which you wouldn't think would impact those of us at the festival.  You have to take a break at some point though, especially amidst the extreme heat and humidity last weekend.  While I didn't watch the Galactic set with Lee Oskar, I was able to listen live from my car, which was a major luxury.  Galactic has been an anchor in the jam/festival scene for as long as I can remember, and they delivered once again.  Hard Working Americans were next on stage, providing me with my first chance to see this super group in person.  

While I've been a huge Widespread Panic fan for 15+ years, my eyes were glued to Neal Casal's guitar playing.  This guy is one of the best in the business, and easily one of the "hardest working" musicians around.  He was easily the MVP of the weekend, performing with HWA, Chris Robinson Brotherhood, Phil Lesh & Friends, and Circles Around The Sun.  Todd Snider's unique stage presence and style was a treat to watch, and it was a lot of fun watching Dave Schools and Duane Trucks jamming together with these guys.  

Saturday's Phil & Friends lineup was easily one of the most hyped moments of the weekend, and how could it not have been?  Who would have ever thought we would see Phil Lesh, Page McConnell, Jon Fishman, Joe Russo, Anders Osborne, and The Infamous Stringdusters play an entire set together?  How about adding Derek Trucks and Susan Tedeschi for two songs ("Mr Charlie" > "Sugaree")?  That is absolutely ridiculous, and yes, it really happened.  Seeing the stage rotate with this cast, while they busted into "Scarlet Begonias," was a memory I will always cherish.  I know I'll be listening to their renditions of "Dire Wolf," "Uncle John's Band," "Shakedown Street," and "Terrapin Station" (even if it wasn't the full Terrapin Suite) for the rest of my life.  

Most festivals would have probably featured that type of set as the night's headliner, but we weren't even close to that point.  The world class Tedeschi Trucks Band was up next for a super soulful ride into the evening.  Each night as the sun would go down, the crowd was able to breathe a little easier without the brutal sun beating down on us, and Tedeschi Trucks was a perfect way to ease into the night.  Joe Cocker's "The Letter", "Keep On Growing," and "Let Me Get By" rounded out this killer performance, setting the stage for the set that everyone is still talking about.

My Morning Jacket is no stranger to the festival scene, and it's no secret that they are one of the greatest rock-and-roll bands of our era.  That being said, I don't think anyone realized how dynamic this headlining set would be.  MMJ started in familiar territory with "Victory Dance," which flowed perfectly into a sequence of "Compound Fracture" > "Off The Record."  Next up was "Steam Engine," before a cover of Burt Bacharch's "What The World Needs Now" that had some true magic to it.  "I'm Amazed," "Spring," "Phone Went West, and Bob Marley's "Could You Be Loved" would follow and keep this set alive.  "Magheeta" would precede another epic moment, as James led the band through a well executed cover of Prince's "Purple Rain."  The set's closing sequence of "Wordless Chorus" > "Touch Me I'm Going To Scream (Pt.2)," David Bowie's "Rebel, Rebel" and "One Big Holiday" couldn't have been written up any better.  MMJ was headlining the jam scene's biggest festival of the summer, and they dialed up a list of songs that reflected that.  The hype surrounding this set is absolutely justified, and anyone who had already seen this band perform wasn't surprised in the least.  Is there a bigger modern rock star than Jim James?  

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Saturday's late night at Blue Ridge Bowl provided a much needed dose of funk as Lettuce took control of the party.  It's always a special occasion when Nigel Hall (keys/vocals) is on stage, adding an extra vocal element and opening up so many different options for this insanely talented group.  Prior to the set, drummer Adam Deitch and guitarist Adam “Shmeeans” Smirnoff promised fans the most psychedelic set of their career, and they delivered just that.  This set was specially crafted for LOCKN', and you can't help but tip your cap to these guys for such an appropriate approach.

For many, Sunday started off with a much needed church session, and luckily, Keller Williams was slated for his annual "Grateful Gospel" set.  Joining Keller on lead guitar was none other than John Kadlecick, who's known for co-founding Dark Star Orchestra in 1997, as well as joining Furthur in 2009. The female backing vocalists truly added a church-like gospel feel throughout the set, but I highly recommending watching the performance of "We Bid You Goodnight" below.  I can't imagine a better way to start your day at a festival than 90-minutes of Keller's Grateful Gospel.

I was unable to make it to the main stage for the afternoon's first two performers, The Dharma Initiative and Doobie Decibel System, but there was definitely a buzz about both performances.  As amazing as this year's lineup was, it can be painful when deciding which sets you have to take a break during.  Fortunately, our campsite was within listening distance for even these sets that weren't streamed live via JamOn.  I knew I couldn't miss Twiddle's encore performance.  It's amazing to watch this band continue to flourish and reel in new fans on the biggest stage.  Sunday's set started off with "Blunderbus, "Daydream Farmer," and "Beehop," before "Lost In The Cold" seemed to have the entire farm singing in unison.  "Carte Candlestick" and "Frankenfoote" ultimately closed out the short set, as the band was again slotted for just 60-minutes.  While most any band would kill for 60-minutes at LOCKN', you just want so much more once this band gets going.  I'll be shocked if we don't see these guys back on Oak Ridge Farm in 2017.

Every music festival could use a nice dose of reggae, and who better to provide that than the band who taught us about this genre, The Wailers.  These seasoned vets took the stage and laid down literally every Bob Marley / Wailers hit that you've ever heard.  This music always generates a notable energy amongst a crowd, but it was something really special on Sunday afternoon. You've got to love the planning and attention to detail with the placement of each band on this lineup.  There is absolutely a science to it, and Peter Shapiro knows it as well as anyone in the game.

Chris Robinson Brotherhood took the stage fairly late in the afternoon, and they had their work cut out for them.  Not only were they slated for 90-minutes of originals, but they would then join Phil Lesh for the weekend's second set of Phil & Friends.  The CRB set was highlighted by originals such as "Leave My Guitar Alone," "Forever As The Moon," "New Cannonball Rag," and "Ain't Hard But Fair," while Jackie Moore's "Precious, Precious" and Bob Dylan's "It's All Over Now, Baby Blue" rounded things out.  The band's latest hit single, "Narcissistic and Soaking Wet" would ultimately close things out.

While Saturday's Phil & Friends lineup featured the sexier lineup on paper, I personally thought Sunday's set had the true feel of a Dead set.  Perhaps it was presence of weekend MVP Neal Casal, who just knows how to play it like Jerry.  I've always been a fan of Robinson's vocals, and he really delivered for this one.  Just as the stage began to rotate, Phil, the boys from CRB, and Gary Clark Jr. began ripping into "Samson & Delilah."  "Good Morning Little School Girl" and "Wang Dang Doodle" were perfect choices, and the decision to play The Dead's version of Otis Redding's "Hard To Handle" was one of my favorite moments of the weekend.  This song might be the most commonly covered song in rock-and-roll, but hearing Chris Robinson sing it to The Dead's tempo was a fucking treat.  Do yourself a favor and watch the video footage below and see for yourself.  "Fire On The Mountain" and "New Speedway Boogie" opened things up for yet another monster "St. Stephen," and "The Wheel" wasn't going to slow down.  There aren't many songs in the Dead catalog better suited for a party than "Turn On Your Lovelight" (Bobby Bland), and Robinson crushed every note.  It was refreshing and reassuring to see Phil having such a great time, surrounded by so many world class musicians at LOCKN'  

Gary Clark Jr. might have been the most intriguing act on the lineup entering the weekend.  While I've heard "Bright Lights" and "Don't Owe You a Thing" as many times as I can remember on JamOn, I just haven't given this guy the attention he deserves. I've been well aware of his reputation and status across the scene in general, but I was way past due for a Gary Clark Jr. set.  He and his band came out swinging as they opened with "Bright Lights," and swiftly moved into "Travis County," "Next Door Neighbor Blues," "Cold Blooded," and "BYOB."  The crowd continued filling in, and the set eventually closed out with "Don't Owe You A Thing," "You Saved Me," and "Shake.  The sound that this guy has is out of this world.  There are moments where My Morning Jacket, Kings of Leon, Jimi Hendrix, and White Denim all come to mind, except that Clark compliments the heavy riffs with one of the most soulful voices you've ever heard. 

The stage was now set for one final time, and you couldn't help but stand up and look around at the scene that awaited.  The energy at Oak Ridge Farm on Sunday night was impalpable, with 30,000+ fans riding high on four days of music with two more sets of Phish to come.  Each day as the sun would set, we experienced significant release as the temperature seemed to instantly drop fifteen degrees, and this held true once again on Sunday.  Phish took the stage right around 8:30 PM, and "Sample In A Jar" was first up to the plate.  Page then cued the now infamous vocal tracking of "Martian Monster," much to the approval of the LOCKN' faithful.  I really wish they would jam this one out more than they do now, and it feels like more appropriate in the second set (Ex: Atlanta, GA - July 31st, 2015), they're typically throwing it in early and keeping it fairly tamed.

The first set stayed super hot with "Axilla" and "The Moma Dance," before "Halley's Comet" provided that absurd, silly sing-a-long that very few are capable of pulling off.  We were then given a double-dose of the band's 1986 cassette tape release The White Tape with "AC/DC Bag" > "Fuck Your Face."  The sequence of "Fuck Your Face" > "46 Days" is about as heavy rock-and-roll as you can ask for from Phish.  "The Line" was a bit of a curveball, as it tends to be, but "Limb By Limb," "Possum," and "First Tube" would follow and wrap up a very, very solid first yet.  

There were high expectations for a wave of heavy hitters in set two, and they were exceeded, as usual.  "Carini" lit a fire across the farm and flowed nicely into the "Chalkdust Torture" that you knew was coming as some point.  "Twist" seems to be one of the jams of 2016, and I don't think anyone is complaining.  I've been a sucker for "Light" since the release of Joy in 2009, as this tune has become one of the bigger jam vehicles of the Phish 3.0 era.  The "Light" jam ultimately landed into "Tweezer," prompting a mildly concerning glow stick war on Oak Ridge Farm.  Led Zeppelin's "No Quarter" was next, prompting McConnell to guide us through the classic cover.  I'm assuming the guy next to me promised his friends that he would do a headstand if Phish was to play "No Quarter," because he went ballistic during the opening notes, and his friends proceeded to lift his feet to the sky as he hit the deck.  Truly remarkable.

From here, we went into full "space jam" mode, as Fishman dropped into the opening beat of "Also Sprach Zarathustra," aka "2001 (Space Odyssey)."  That's a dance party that never gets old.  It was apparently Fishman's moment, as he then dropped into the opening notes of "Harry Hood," which seemed to be a likely place for the set to end.  As I've said before...just when you think you know, this band proves you wrong.  They tacked on a "Tweezer Reprise" just for safe measure and made sure that this crowd was still on it's toes.  After a brief exit, the band returned and broke into The Rolling Stones' "Loving Cup" and closed out the festival with everyone screaming "What a beautiful buzz!"  While it might not have been a shocking encore selection, it felt extremely appropriate.  

Sitting down and reliving this unforgettable experience over the past few days has allowed me to fully comprehend the remarkable journey we took just a week ago.  It's easy to get caught up in the fatigue, anxiety, and pressure to "get back into a normal" rhythm after these huge musical weekends, but it's equally important to reflect and cherish the moment.  As much fun as it was, it certainly wasn't easy.  I've never dealt with that type of heat, humidity, and pure exhaustion without access to "going inside."  In the long run, that makes the experience that much more unique, and it definitely makes for better story-telling.  There were twelve different bands on this lineup that I have travelled to see play on their own, and some on multiple occasions.  Top that off with the fact that this marked my 30th show with my favorite band: Phish.  What's left to say?  My ability to continue embarking on these musical adventures with so many of the world's greatest friends is an element of life that I'll never take for granted.  Until next time, LOCKN'...

Special thanks to Keith Griner of Phierce Photography for capturing this weekend for us and allowing us to share it with you all.