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Widespread Panic Bestows Ultimate Trust in New Orleans November 8, 2019 14:44

Words by Jordan Kirkland: Live & Listen

Photos by Craig Baird: Home Team Photography

Now that I’ve had several days to regroup, it seems fitting to sit down and revisit last weekend’s Halloween festivities with Widespread Panic. After 18 years of seeing this band, I finally had the opportunity to make this special tradition a priority. Halloween is always amongst the biggest annual events for any major touring act, and Widespread Panic never fails to deliver to its fervent fan base. 

Speculation was rampant, as expected, leading into Thursday night’s show. Upon entering UNO Arena, fans were introduced to an elaborate stage setup, which included Christmas decorations, a taxi cab, a wrestling wring, and what appeared to be the back drop of a comedy club. We began wondering if these props could somehow be tied to Andy Kaufman, and this would prove to be the case later in the night. The band took the stage, and immediately invited NOLA’s own George Porter Jr. to join them on stage. Bassist Dave Schools let George take the lead on bass, while he focused his efforts on the rubber chicken, and the band appropriately kicked into The Meters’ “Chicken Strut.” They proceeded to get the entire room singing along for “Hey Pocky Way,” another Meters’ classic. 

The first set continued with The Talking Heads’ “Papa Legba,” and originals such as “One Arm Steve,” “Love Tractor,” “Hatfield,” “All Time Low,” and “Pilgrims” would follow. It had been two and a half years since the last cover of James Taylor’s “Knockin’ Round the Zoo” (JazzFest 2017), which made this set closer that much more raucous. The second set began with the theme to Mighty Mouse playing over the PA, before the band dropped into Bloodkin’s “Henry Parsons Died.” This was followed by a powerful “Surprise Valley” > “Arleen” > “Surprise Valley.” We stomped around the “Old Neighborhood” just before a rockin’ take on “Holden Oversoul.” The next bust out came in the form of Howlin’ Wolf’s “Spoonful” (LTP 10/08/14 Montgomery, AL), and “Tallboy” had the whole place going wild. 

The Halloween antics really began taking shape from here. John Bell welcomed REM’s Mike Mills to the stage, and the debut of Lou Reef’s “Perfect Day” was a beautiful surprise. At some point, a man posted up at a small table on stage left, where he proceeded to eat a meal and drink wine. Two more debuts then surfaced in the form of David Bowie’s “Starman” and REM’s “Man on the Moon” both with the help of Mills on guitar/bass and Paul Agostino on keys. “Porch Song” was an absolutely perfect way to close out this set.

The encore was without a doubt one of the more interesting live music experiences of my life. The band returned to the stage with Mills and Agostino, while drummer Duane Trucks was on bass and Dave Schools front and center. I had absolutely no idea what was going on at the time, but Schools proceeded to inform us all that “I Trusted You” for the better part of five minutes (see video below). Two more highly obscure Andy Kaufman nods followed with “This Friendly World” and “Volare,” before tour manager Steve Lopez took the stage to ask the audience to please stop smoking in the building.  This is when things got really bizarre.

John Bell invited the infamous Tony Clifton to the stage. I will go ahead and admit that I didn’t realize this was keyboardist JoJo Hermann until the following day. He began singing about “Tacos” being cheap, before a “heckler” started screaming obscenities at him. Clifton appeared to be fed up with said heckler, told her to suck one, and she jumped on stage to throw multiple drinks at the band. At this point, the band exited the stage, security escorted the woman off stage, the lights came on, and we all wondered, “what the fuck just happened?” The band would immediately offer an emphatic apology to the fans via social media, which proved to be all part of an extensive Andy Kaufman inspired Halloween gag.  Like I said, it was an interesting night, but it was also pure genius, in my humble opinion.

Watch Widespread Panic perform "I Trusted You" here:

The Panic faithful had plenty to discuss leading into Friday night’s show. Was this the last of the shenanigans, or would this be a common theme throughout the weekend?  We wouldn’t see any gags on night two, but Jesus Christ, did we get a hot show. The first set was one big “Bowlegged” > “Chilly Sandwich,” with tunes such as “”Little Lilly,” “Visiting Day,” “Walkin’ (For Your Love),” and “You Got Yours” thrown in the middle. JB had a slight technical malfunction during “Christmas Katie,” which left the frontman singing without his guitar for the first half of the song. The highlight of the set had to be the first “Entering a Black Hole Backwards” since 2014 dropping back into “Chilly Water,” which would then segue back into “Bowlegged.” That is Widespread Panic at its finest. 

 Everyone’s got their own opinion, but for me, the perfect Panic set begins with “Disco" > "Diner.” This smokin' set continued with “Blackout Blues,” “The Last Straw, and “Mercy,” before we got our first “Drums” of the weekend. They came back out guns blazing with “Chainsaw City” and “Four Cornered Room,” then “Jack” led straight into a “Red Hot Mama” from Louisiana that nearly brought the house down. The band revisited the 2017 Halloween show with The Dillards’ “There is a Time,” which was originally performed on the Andy Griffith Show, and Tom Petty’s “You Wreck Me” would put the finishing touches on a damn near flawless show.

I think we were all convinced that it was Sunday at this point, but fortunately, this run began on a Thursday night. What was left in the tank for Saturday? We were in for a treat…that’s for sure. We started with a flashback to Pulp Fiction when guitarist Jimmy Herring ripped into “Rumble,” an instrumental by Link Wray & His Ray Men. The set continued with Tom Waits’ “Goin’ Out West” and “Greta,” and “Climb to Safety” would follow. Being that this song has become somewhat of a Panic anthem (even though it’s Jerry Joseph’s song), it’s reputation is somewhat controversial. I, for one, will never get tired of hearing it. On this night, I experienced one of the more euphoric body highs of my life during the first chorus. Every hair of my body was standing on edge, and it felt really fucking good.

“Junior” and “Makes Sense to Me” were next on the list, just before one of the weekend’s most exciting moments. Dumpstaphunk’s Ivan Neville joined the band for an amazing sequence of “Sleepy Monkey” > “I Walk on Guilded Splinters” (Dr. John) > “Cream Puff War" (Grateful Dead). Does it get any hotter than that?  The second set was equally as impressive. We were off to the races with “Radio Child” and “Thought Sausage.” Another bust out surfaced with John Lennon & Yoko Ono’s “The Ballad of John & Yoko.” “Honkey Red” set a super heavy, serious tone, before an absolutely perfect “Driving Song” was played. “Breathing Slow” led into another rager, “Impossible,” and Vampire Blues came next. “Pigeons” is always a treat, especially when “Papa’s Home” is looming in the distance. Trucks and percussionist Sonny Ortiz led us through another impressive “Drums,” which landed back into “Papa’s” just in time for a set closing “Action Man.” 

While I’ve seen several nods to the late Col. Bruce Hampton, it had been about eight years (02/14/11) since I had seen Panic play “Basically Frightened.” This would begin the encore and lead perfectly into “Blue Indian.” It then appeared that “Postcard” would close out the weekend. Per usual, the entire building was ready to shout, “This town is nuts. My kind of place. I don’t ever wanna leave.” Not so fast, y’all.  We were treated to a reprise of “I Trusted You,” and I’m not sure I’ve ever laughed so hard. Are you kidding me?

There were high expectations for my first Halloween with Panic, and this band never lets me down. What almost seemed like a page out of the Phish playbook made this weekend as unique as any I’ve experienced. These musical journeys always seem to leave us feeling recharged and grateful for this fortunate life we live. There is nothing I’d rather do than embark on a weekend of mayhem with some of the best friends you could ever ask for, along with one of the greatest bands to ever take the stage.


All Things Equal 5 of 7: An Interview with Jimmy Herring & Kevin Scott September 18, 2019 12:11

Interview by Jordan Kirkland: Live & Listen

Photo by Craig Baird: Home Team Photography

Interviews and artist spotlights have always been the "bread and butter" of Live & Listen. Over the years, I've had the opportunity to talk with so many amazing artists, in an effort to learn more about their current endeavors and share these stories with as many people as possible. Earlier this week, I was asked if I had interest in chatting with famed guitarist Jimmy Herring, who just kicked off a major tour with his latest project, The 5 of 7. That was obviously an easy decision. 

Many know Jimmy's work as lead guitarist for Widespread Panic, Aquarium Rescue Unit, and Jazz is Dead. This conversation focuses on The 5 of 7, which features the likes of Kevin Scott (bass), Matt Slocum (keys), Rick Lollar (guitar/vocals), and Darren Stanley (drums). The group shares one common thread: they're all students of the late Col. Bruce Hampton. As you'll read below, this commonality continues to shape and influence their approach to music and life in general. 

The 5 of 7 continue their tour tonight in Iowa City and will continue trekking across the United States through early October. After a month long break, which allows Jimmy to reunite with his Widespread Panic band mates for weekends in Milwaukee & New Orleans, the 5 of 7 will continue through the Southeast, before closing things out with a multi-night run in Tokyo, Japan. See below for our full conversation with Jimmy and Kevin Scott!

Let’s get right to it. Your latest project, The 5 of 7, kicked off the tour in Colorado over the weekend. What did you take away from this band’s first official performances?

Jimmy: Yeah man. The whole idea was, in my mind...I wanted to work with some younger musicians. I'd already been working with Kevin (Scott) from the last band. Matt Slocum too, of course. They had another band, King Baby, that just blew me away. I loved Rick (Lollar) and really wanted to work with a singer. I couldn't imagine anyone else. As soon as I heard him, I thought, "This guy is great. Let's work with him." Darren Stanley (drums) had been working with Bruce (Hampton), and I'd heard him a few times. I was just knocked out by him. Kevin told me that they had a real chemistry together. So, that seemed like a no brainer. We just got together, with no gigs on the books, just to see how it felt. Nobody wanted any money. No one needed a hotel room or a flight. We just got together for fun, and we knew the first day, you know? I was like, "This is gonna be blast." 

What did I take away from the first gig? Nothing's ever perfect. We know that. Every gig has gotten better so far though. The first night was Denver, then Fort Collins was better, and then Boulder was even better. So...I'm really looking forward to Iowa City tomorrow night. We're having a lot of fun out here. 

Now you've had two days to hopefully rest and regroup. What does an off day look like for you on this tour?

Jimmy: You'd be laughing. Sleep 'til 2:00 PM. (laughs) The other guys don't do this. I'm older now. Sleep 'til 2:00 PM. Wake up. Stumble into the lobby. Drink coffee. Laugh at everybody. Go back to the room and make a phone call. Come back. Laugh again. Get another cup of coffee. Tell some Bruce stories. Laugh some more. Then, maybe talk about...I don't know man. That's all we've done so far. (laughs). 

Has there been a particularly good Bruce story that you guys have relived this week?

Jimmy: There's probably been several. The one just we told five minutes before we called you was how he said he didn't want us to be skinny. He wanted us to get fat. He said we sounded better when we were fat.

Kevin: Always. 

I suppose there may be some truth to that. 

Kevin: B.B. King. Albert King. 

Jimmy: That's right. The fatter the better. 

Kevin: Bernard Purdie. Fat. 

Jimmy: The fatter you get, the better tone. (laughs)

Incredible. I'm sure it's been amazing to see this band come to life. We've covered some of this already, but what else can you tell me about how this lineup fell into place?

Jimmy: One thing I didn't say is that Kevin is the conduit between the worlds. He has had his finger on the pulse of what's happening in the Atlanta music scene for years. He's who I went to and said, "Let's try something different. I want to work with a singer. Who else is in Atlanta?" Man, I've lived in Atlanta since 1986. I got in Bruce's band three years later. And since then, I haven't been to Atlanta. (laughs)

You know what I mean? We're touring all the time. I really didn't know what was happening in Atlanta. These younger people started coming into my life, like Kevin and Duane (Trucks), and they'd tell me, "You've gotta hear this guy." I started meeting guys like Kebbi (Williams) who plays in Derek Trucks' band (Tedeschi Trucks Band). All the things he has done on the side. Kevin had that jam going on in Atlanta. I may not have been there for every one. I went to a few. I really enjoyed it a lot. I like to play with people with enthusiasm. He knows them all, and he's got that enthusiasm. He's kind of the architect of the band. 

That's a great architect to have. You've had the opportunity to be a part of countless projects. How does the dynamic of this particular group continue to push you as both a guitarist and a person?

Jimmy: We have a great variety of music. It never gets boring, because it delves into all of the music we play and the spontaneity that might happen. The thing I love about playing with these guys, well, there's a lot. One of them is that they won't take you to that place at an inappropriate time. You know? Inappropriate is subjective. We could be playing a ballad, and there might be a few things that happen in the music that take us toward a Zambi direction. I don't have to worry that it won’t come back. These guys are young, but they're mature. They follow and listen to each other. 

If you hear a guy play something a little left of center, the other guys will react, but if the person with the ball doesn't continue in that direction, then it's just a little funny moment, and then it goes back. There's always the threat that it might completely ascend into a spontaneous moment that might last longer than a moment. You know what I mean? I've played with a lot of other people when it might go to that place and never come back. And that's cool too, but this is not that. 

We're trying to play songs without putting ourselves in prison of being stuck by the song. A song shouldn't be pre-thought out, and it shouldn't just do one thing in one certain spot. I think we're walking that line pretty well, don't you Kevin? 

Kevin: Oh yeah. For sure.

Jimmy: That's the hope. That keeps me going, man. The youth and exuberance of these guys… Everybody wants to be here, and everybody gets to play. Nobody feels like they're just the background band and I'm gonna take every solo. We don't want to do that. We want everyone to get to get a chance play and interact with one another. Part of that is being able to write music that makes that possible. Hopefully, we'll write more music together. We've got some, but we want more. 

We're playing some of my tunes from the past. Some of King Baby's tunes. We're doing a few covers. It's still interesting, and there's everything from ballads to funk and blues. Leanings towards jazz, but I wouldn't call it jazz, per say. We have R&B music in there. All of the things we love are a part of what we're doing. We try to pace the set where it's not too many of the same things in a row. We have a lot of tunes with extended improvisation for each band member. We're trying not to put those all in a row. That way it's not the same thing for 35-40 minutes. You know what I mean.

Absolutely. I'm sure you're well aware that you have one of the more attentive audiences around, and you've got to keep them guessing.  

Jimmy: Man, it's amazing how wonderful they are. They are perfectly willing to go anywhere you want to go. It's really wonderful.

Have you noticed that this is a pretty common thread with your fans with both ARU and Panic as well?

Jimmy: Yeah, I would say that. Absolutely. Panic fans are just up for anything. They don't get bored if you go on an extended improvisation. They're loving it. And when they come to these these shows and support what we're doing, I'm so grateful. It goes all the way back to the ARU days. We started playing with Panic back in those days. We were opening them with Bruce's band, and it gave us a whole new audience. Through playing with Panic, we met the guys from Phish and Blues Traveler, and we toured with them, opening for them back in the day. It's really still with us today.

It's funny. The world seems to want to put you in a category or genre, and we don't really think about music that way. We just like music. We don't really draw a line in the sand and say, "This is jazz. This is blues. This is improvisation. This is bluegrass." We don't really think in those terms. Everyone is really stylistically diverse, and it just seems like the audience loves all of it. It's just a gift to give, to be able to blow down the walls between genres with no apologies. We're lucky. 

I can only imagine how rewarding that is on your end. So, how about you, Kevin? What type of impact has building this relationship and playing with Jimmy had on you? 

Jimmy: Don't make me cry, Kevin. Don't make me cry!

Kevin: I've always had a weird way of putting something in my head and saying, "I'm gonna do this." When I was younger, obviously Bruce's influence on me as a person and musician was huge. But one of the first times I heard Jimmy play guitar, I was 16 years old, and I was like, "I'm gonna work with that guy one day. It's gonna happen." The difference between what Jimmy does versus any other guitar player on the planet, and I've worked with a lot of them in the jazz/fusion realm, the way he plays is who he is. Sure, when it comes down to musicianship or guitar playing, he's number one, but as a person, he's number one. That's why people are drawn to him. That's why we go play clubs, and there are 800 people in Colorado. He appeals to people because of who he is. That's something you really can't teach somebody. 

The impact of as a musician, for me, a guy like him giving everyone in the band equal opportunity. That just does not happen. A lot of other bands that I've worked with, I've essentially had to answer to someone in a certain way in terms of my playing or personality. Jimmy has given everyone the opportunity to be in a band where are no side men. That's the big difference. He gives everyone complete freedom to be themselves, just like Bruce did. That's the biggest impact I've experienced. That's the way I try to lead a band too. 

Working with Jimmy has definitely had the biggest impact on me as a person and my career. He's kind of set a bar that's impossible for people to get to. In this band in particular, it's the first time I've ever been in a situation on the road where on the stage, I'm completely confident. I don't have any kind of blockage to being myself. In every other project I'm in, there is essentially a certain hat that I'll have to put on, and that's good. I love all of the projects I'm a part of, and I think the music is great. In this particular band though, I'm 100% myself. I see other people who have to be someone else when they go to work for someone. I'm saddened by that. 

Jimmy: I mean, why would you hire a guy who beautifully plays his or herself, but yet you're gonna say, "No. Put that in a little box over here. We'll use that only doing certain parts of the show, or not at all." I don't understand that. We're all in this thing together. You can't do it any other way, in my opinion. We're all on the stage. Everyone's voice is combined together, and that's what makes the big picture. Why would you want to stifle that in any way?

I'm blessed, because I'm lucky enough to have a great life in music. This thing we're doing here, this is just cake. It really is. It's so easy to go out and do this. It might be a rough tour schedule, but when we get on stage and get to playing, that's the easy part. It's all that easy stuff that makes it hard. The food wasn't good, or you didn't get a good night of sleep. Whatever. With those kinds of things entering the picture, why would anyone want to complicate it more by telling someone that they can't be themselves?

You mentioned that there are at least a handful of new originals in the mix. I was curious to know how the songwriting process is playing out with this band in particular.

Jimmy: You want to take this one, Kevin?

Kevin: Sure. Someone brings a sketch to the table, and then we all comment on it. That's what is so beautiful about it as a band. Obviously, there are songs with pre-written parts that have been around for a while. In terms of a new song, Jimmy might say, "Alright. I've got this progression. What can we do with it?" Rick might suggest lyrics over it. It's just open communication, which is the basis of success of anything. 

Jimmy: Absolutely, and we had the luxury of getting together without gigs on the book. The first time we got together was last November, so it's been almost a year, but with no pressure. That's what I wanted more than anything, to work with some young, enthusiastic musicians who were like, "Let's see what we can do with this. Let's see where it goes." There was no pay for the rehearsals. There were no hotel rooms. 

Kevin: I've gotta tell him the story of the load-out. 

Jimmy: Oh yeah.

Kevin: We basically had to load out all of the gear for the tour from a box truck with no lift. We had the (Hammond B3) and a case that weigh 400 pounds. We did all of this as a band. There wasn't a single person that left. We all could've said, "I don't want to do this. This isn't my job." Everyone was in there, in the trenches, lifting this heavy ass shit and getting it done. Everyone took responsibility and said, "Let's knock this out as fast and safe as we can." It was actually a good moment to begin the tour. 

Jimmy: These guys wouldn't let me help with the B3. I wanted to, but they wouldn't let me do it. We've got all these strong young people. I'll say this though. I can't imagine doing a gig without a B3 organ. It's heavy. It's a game changer. It changes your travel plan. If it weren't for the B3, we could rent a cargo van, stuff the gear in there, and we would be just fine. We could save tons of money. But you know what? Without the B3, where is the Earth? We need the B3. The B3 is critical to what we're doing. And Matt Slocum is a master of it. 

Kevin: An absolute master. 

Jimmy: The idea of touring without a B3 is just not an option. So yeah, I'd get down there and lift that damn B3, because I don't want to go to the next town without it. Even guys who aren't playing the B3 know how important it is. 

You really can't replicate the sound of the B3. So Jimmy, this tour puts you back on the road a bit more; hopping from one city to the next. It can be a grueling lifestyle, but I know there's some excitement about getting back out there as well. What do you enjoy most about touring and playing the more intimate venues?

Jimmy: I would say that the camaraderie is probably number one. You're in the trenches together. And let's face it, a lot of people have it a lot worse. We've all had it a lot worse. There are people calling me that I've known for 30 years going, "What are you doing to yourself? You're 57 years old!" There's just a rhythm you get into with a band playing a schedule like this. You don't have a twelve man crew. You have a three or four man crew. The musicians help each other. Setting each other’s rigs up, you know? 

It's hard to tear down your own rig, because people are still in the room screaming at you. "Kevin! Kevin!" 

Kevin: They aren't screaming my name.

Jimmy: Oh yeah they are. They're screaming everybody's name. If they see you on stage after the show, they'll be screaming at you. But setting up your rig when no one’s around, that's easy to do. We all take part in that. It makes things easier for the four crew members we have, which are wearing five hats a piece. One guy is the tour manager, merch guy, spiritual leader, and God knows what else. You've got a guy who is guitar tech, bass tech, and keyboard tech. Then you've got another guy driving the bus. He’s out there lifting gear, and he shouldn't be. That's not his job, but everybody wants to help. I like that, and that's one of the things I take away from a tour like this.

That's not to say that I don't love when there's a twelve man crew. You show up, and everything is already done when you walk in the door. That's great. This is a different thing. I feel like with the smaller venues, well, "small" is relative. If we can't fit on the stage, I don't like that. If we're playing a venue that is too small for our footprint on stage, I'm not happy about that. When I say small, I mean any place that has a big enough stage for this five-piece band's equipment, and we do have a lot of equipment. The reason is because in this day and age, you've got Kemper and ax effects for guitar players where they plug into a computer, and it goes to the house. There are no speakers on stage. Bass player is playing through computers. Keyboard player is playing through jack-of-all-trades keyboards, or a computer. 

This whole mass castration of rock and roll; where you can't play louder than we're talking right now without offending someone. I don't know what to say to those people. I think I would say, "If our band is too loud for you, I'm sorry. Don't come here." We're playing with 40 watt guitar amps. Kevin's got a SVP bass amp. It's only the sound of a generation, you know? This is the music that made us want to play. So why would we be worrying about offending someone? That's what we love. As long as we can fit on the stage, we're gonna set up close together, where we can feel each other’s sweat and communicate better with each other. 

I guess I cut my teeth with Bruce in these little rooms. There is a thing that you get there that you just don't get in the bigger venues. You can call it more intimate. That's one thing. It is more intimate. The people are literally like five feet in front of you. I love that, and I don't want to hurt anyone with volume. You know, it is weird sometimes to look at the front row and realize someone's face is right in your speaker cabinet. I'll tell people to put their ear plugs in. We'll cover up the speakers with something to help keep from hurting anyone. We certainly don't want to hurt anyone, but I don't want to play through a 12-watt amp. You know what I mean?

I don't think your audience would want that either.

Jimmy: They probably wouldn't, man. But you've got to have a room that can contain these five people. If you're in a room that's too small that can't contain the sound of these five people, that's probably not good. I mean, I know that we'll be in some rooms like that. Those first three gigs we did, none of those rooms were that small. They aren't too small for our sound. We had The Gothic in Denver, The Aggie in Ft. Collins, and The Fox in Boulder. What does The Fox hold, like 700 people?

Kevin: Probably.

Jimmy: But it has a real stage, and we can fit on it. That room is big enough to contain our sound. We're in heaven. 700 people. That's perfect. That's what I take away from all of this. It's just fun, and it gets you back to what made you want to play in the first place. 

Love hearing that. Just one more thing before we wrap this up. I know it's early, and you guys all have busy schedules, but what do you see for the 5 of 7 beyond this fall? Is this a project we could see continue and evolve?

Jimmy: The idea of it was that we would play this tour and see how we all felt about it. Having played three shows, I can say that if keeps going like this, yes it's happen again. As long as everyone in the band wants it to, and they feel like doing more. From what I've experienced thus far, I want to play more. But I'm older now. This is part of the problem. I'm older, and I love to play, man. Sometimes touring can be tough. It's not really the touring though. It's that commitment you have to make a year in advance, where you see your whole life laid out on a calendar. 

It's like someone picking your clothes out for you and saying, "Here's what you're wearing on Tuesday, Wednesday..." Sometimes it's hard to make that commitment. Now that people don't buy albums like they used to, touring is a crowded place to be. I mean, we've always toured. That's our thing. We've always made records, but it's not like the records have sold enough to stay at home. We weren't Steely Dan, you know what I'm saying? 

The point being, I'm just older now. You’re at the end of a tour, and people are already looking to book dates 12 months out. I'm like, "What? Wait a minute. I just want to go fishing. I don't want to think about this right now." Sometimes I just want to hide for a little bit after a tour. If I have some time, I want to see my family, go out in the woods, and do some things I didn't get to do when I was younger. 

I'll probably be holding it back from being all it can be. If we were to tour 180 shows a year...oh my God, it might be able to get bigger if we toured that much. That's what it would take to make it really take off. You've got to be on the road all the time. I don't want to do that. I hope the other guys can be patient with me. 

Having said all of that, after this tour, if I feel like I feel right now, I'll be willing to talk about the next batch of dates within two months after we finish. I mean, I still play with Panic, and we don't tour anymore, but we will play a lot of shows. That's the number one priority. I can't do anything that gets in the way of that. Sometimes I have to wait and see what the Panic plans are before I can do anything else, and that's fine. I love those guys, and I love being in that band. I'm sure we will play more though. So far, everybody loves each other, and we're having fun.  

Watch Jimmy Herring & The 5 of 7 performing in Denver here:

Video by Coloartist


An Intimate Weekend of Classics in the Capital with Widespread Panic March 20, 2018 17:25

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Words by Erika Rasmussen: Rasmusic
Photos by Jeff Fernandez: Seascape.rocks
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We kicked-off this last Panic weekend in DC in the best possible way, with a cozy little JoJo show at The Pearl Street Warehouse. This family reunion environment set the tone for the rest of the weekend. Big shout out to the sound guy for hooking me up with the setlist. Though certainly bigger than Pearl Street, the MGM Grand at National Harbor only seats 3,000 people. Everyone dedicated enough to head into town got a ticket (as far as I know) and we all got to settle into a weekend of running into your favorite people and your favorite songs. The location within the harbor also kept us bumping into each other all weekend and I, personally, really enjoyed the proximity. We were all united in solidarity.
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Thursday, March 15, featured 6 songs they’ve played less than 100 times. For a band on the run for 32 years, those are fun songs to catch. “Hope in a Hopeless World” was especially fitting during this time and place. We were all treated to “Travelin’ Man”, which hasn’t been played in almost four years and was a FTP for Duane. He killed it, of course. Set 1 closed with two songs from The Band, so I was grinning pretty wildly, considering Levon Helm is my historical man crush. First we got “The Shape I’m In”, which they’ve only played about 28 times and then we got good ole “Ophelia” right before we closed the set with “Porch Song”. The second set was highlighted by “Come Together”, which they’ve only played 7 times before and they haven’t played since ‘05, so clearly Jimmy and Duane hadn’t had a chance to showcase this for us yet. And the song was amazing. I almost gave myself a cardiac arrest running to and dancing at the rail. (Note to self: stop that.) Night 1 closed with “For What It’s Worth”. Interestingly enough, this was a part of their very first show ever at the A-Frame house in ‘85 and they didn’t play it for almost 23 years (‘88-’11). They’ve only played “FWIW” two dozen times before and I’ve been fortunate enough to see 1⁄4 of those performances out of sheer luck. Music gods be praised.
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Friday, March 16, rocked it straight outta the gate with “Chainsaw City”. This song will always remind me (and many, many people on tour) of our beloved Richard Todd and I was thrilled that his memory was a part of our weekend. We were also treated to “Travelin’ Light”. Fun fact: did you know that it’s been played exactly 1013 times before? Little “Arleen” magic for ya.... Many people found “Gradle” to be a big high point for them, considering we hadn’t gotten that song in over a year and it’s just a beautiful song. “Sleepy Monkey” was another popular favorite because, well, it’s “Sleepy Monkey”. The boys came out strong at Set 2 by opening with WAR’s “Slippin’ into Darkness” featuring tour manager, Steve Lopez, on percussion. The song and the manager are fan favorites and when Lopez joins them occasionally onstage for this, it’s a huge treat for everyone involved. A HUGE surprise for me was hearing them break out Robert Johnson’s blues classic “Love in Vain” for the first time ever. But, then again, how many Robert Johnson songs do you NOT like?
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Saturday, March 17, was quite a St. Panic’s Day for all of us. Of course they had to play “Bust it Big”. How can you not play “beware of the man, who builds monuments to himself” in DC right now? A rare song they pulled out for us was “One Kind Favor”. This is a beautiful song and if you don’t know the lyrics, you should go check them out right now. Saturday saw the second ever “Sundown Betty” and it’s nice to see that join the rotation. The most Irish moment of all came in the middle of the encore, sandwiched between “Saint Ex” and “Love Tractor”. JB busted out  “Toura Loura Loura”, the Irish lullaby, with all the heart and soul of Dublin’s finest.
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The weekend accomplished exactly what I’d think the band would  want. We all came together, whether it was pulling last minute tickets for your friends, sharing lodging, or phoning a friend to come spring you out of the hotel basement that you got locked into (long story). I left town with my heart full and my spirit content. I actually spent almost the entire ride home chatting with my new tour bestie (thanks, Jimmy!) and planning my next shows. Let’s carry that love and unity into the year with us. I can’t wait to see all of your smiling faces in Charleston for my Cinco de Birthday show, but I trust you’ll represent the Home Team well in Wanee without this ole girl. It was cold and windy in DC, but I think we’re all feeling the warm fuzzies after this weekend. “Tell me, brother, can you see the sun; From where you’re standing now?”
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Watch video footage of "Come Together" here:
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Watch video footage of "Slippin' Into Darkness" > "Machine" here:
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Watch video footage of "Driving Song" > "Disco" > "Driving Song" here:
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Widespead Panic In The Magic City: Trouble Set Me Free February 20, 2018 11:26

Words by Erika Rasmussen

Photos by Clay Carroll: Carroll Production

This past weekend at the BJCC in Birmingham, AL, was a time of reflection and a time of healing. Widespread Panic’s songs and face-melting jams provided some much needed therapy. This is a time of violence and culture clashes. We've seen it in the form of mass shootings nationally and the nitrous mafia scene right on Shakedown. But tour time also includes the greatest examples of people helping each other out. I watched the kindest vendor take time to sit and talk with a guy who’d had a little too much, too fast. He kept this tall fella from falling to his feet and from wandering into trouble. I saw my friends rallying to find those last minute tickets for everyone seeking a night of solace. I stopped by Avondale Common House, owned by fans and packed by other happy fans. I got to take part in a big carpool since my poor engine is struggling and we all threw in on a hotel room together. Again. It’s this family spirit that keeps us coming back to the shows. It’s the therapy of listening to JB pour his heart and soul out into the mic. It’s the chance of getting to see the people that you love from all over the country, even if just for a quick hug in the hallway. (Lookin’ at you, Sweet Melissa…)

Night 1, Set 1 opened with “Pleas > Makes Sense to Me” followed by “Little Kin”. And then, did we get to catch a breath? Nope. Straight into “Action Man”. I don’t think anyone had a breather until JoJo slowed it down with “Street Dogs”. And THEN, we got a “Red Beans Cookin’”. And I mean, COOKIN’. We haven’t sampled that tasty dish since 9/24/16. Yum. “Red Beans” went into “All Time Low” and I asked a friend if they, too, always sing the Dottie Peoples part during this song. They agreed that they did, pretty much every time.


Set 2 was full of currently relevant references. “Greta’s got a gun, this ain’t no flower child…”. My personal favorite political commentary of the night came during “Flicker”. “Talking it to death, Just because you mean it, Doesn’t mean we’ve seen it…”. That’s a beautiful way to sum up the feelings of the country right now and our frustration with inaction. But, “I’m Not Alone” says, “And then I turn a little bit scared, Well I feel a little bit easier, Knowing that you’re all here…”. Don’t you always feel better when you’re surrounded by a crowd full of your friends and people like you? And bonus points to me for having carried my custom “This clearly isn’t me” clear vinyl bag to follow the new BJCC bag policy. Which they later retracted. Sigh.

The three-song encore kicked off with “Gimme”, not heard since 5/4/17. Everything seems like a news commentary to me right now, so “Throw myself at the ground, Look away before I hit…” feels especially timely. We closed the night with the staples of “Red Hot Mama” and “Chilly Water” (and where in hell did y’all find water at the end of the night, people?!?).

Night 2, Set 1 started with a “Ribs & Whiskey” opener, which will never get old to me. Of course, I was wearing a Jack Daniels tank top at the time, so I may be a wee bit biased. We got to revel in “B of D” and if you can’t get down to that, man, lemme refer you to a dance therapist. My favorite delight of the set was the “Lawyers, Guns, & Money”. Not only is this the theme song of our badass friend, Rayner, but it’s also one we haven’t heard since 8/12/17. And hasn’t the shit hit the proverbial fan? Hmm?


The second set jumped right off with a “Let’s Get This Show on the Road”, which I like for the final night’s final set. According to Panic Stream and Everyday Companion, we haven’t gotten this show on the road since 10/26/16? What?!? About time. After a tear-jerker of a “Mercy”, we had a hot “Stop-Go” that hasn’t been around in almost six months. And did anyone else hear a “Fire on the Mountain” tease in there?

The final encore began with “Trouble”. Whew. Let me sing you the song of my people, I tell ya. Next up was a beautiful “Honey Bee” that’s only the third ever. This began as a touching tribute to Tom Petty at Halloween ‘17 and again at NYE.

The boys wrapped it all up with a “Rockin’ in the Free World”. Panic has only covered this Neil Young classic four times before, the last of which was 10/25/15. The entire crowd was screaming along to “There’s one more kid that will never go to school, Never get to fall in love, Never get to be cool”. But isn’t that all you can do now? Keep on rockin’ and bein’ the good people? The ones your mama warned you about?

Setlist: Widespread Panic - The BJCC - Friday, February 16th 2018

1: Pleas > Makes Sense To Me, Little Kin, Action Man, Street Dogs For Breakfast > Red Beans, All Time Low > Jam > Space Wrangler > Bowlegged Woman
2: Greta > Jam > Walk On, Tortured Artist > Flicker > Driving Song > I'm Not Alone > Jam > Driving Song > Tie Your Shoes > Jam > Drums > Diner > Sleeping Man, No Sugar Tonight/New Mother Nature
E: Gimme > Red Hot Mama > Chilly Water
['In Memory Of Elizabeth Reed' jam before 'Walk On']



Setlist: Widespread Panic - The BJCC - Saturday, February 17th 2018

1: Ribs And Whiskey, Send Your Mind, Proving Ground, Walkin' (For Your Love), Holden Oversoul > Jam > The Last Straw, B of D, Lawyers, Guns, And Money, Ain't Life Grand
2: Let's Get The Show On The Road, Blackout Blues, Who Do You Belong To? > Jam > Mercy > Weight Of The World, Big Wooly Mammoth > Papa's Home > Drums > Stop-Go, Blight, Climb To Safety
E: Trouble, Honey Bee, Rockin' In The Free World

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Watch a clip of "Rockin' In The Free World" here:

Watch a clip of "Big Wooly Mammoth" here"

 

 


Widespread Panic Donates $176K In Instruments To Tennessee Schools August 17, 2017 09:48

 

Photo by Craig Baird: Home Team Photography

Two Shelby Country (TN) band programs are now fully equipped to play music thanks to a generous donation from Widespread PanicThe band’s 'Tunes For Tots Foundation' donated $176,898 in brand new instruments to both Cummings School and Raleigh-Egypt Middle and High School. Each year's 'Tunes For Tots' show is held the night before Panic's New Year's run, typically at a much more intimate venue with a premium ticket price (i.e. Ryman Auditorium, The Fillmore Charlotte). Stay tuned for further info on the band's New Year's + Tunes For Tots plans this year!

The official Tunes For Tot's Facebook page describes its mission as the following: "Widespread Panic believes that art education, and in particular music education, is integral to the overall education and advancement of children. Art allows for personal expression, appreciation of ideas, celebration of cultural awareness, sharing emotions, and gives purpose to life. Widespread Panic agrees with research findings that art education supports more traditional academic subjects as well as being a worthy pursuit in its own right." 

Watch the video shared by Shelby County Schools here:



 


Jimmy Herring & The Invisible Whip Add Summer Tour Dates May 10, 2017 15:11

Photo by Craig Baird: Home Team Photography

Back in January, famed guitarist Jimmy Herring announced the formation of a new all-star group, "The Invisible Whip." This group will feature a cast of long time friends, including Jeff Sipe (Aquarium Rescue Unit) on drums, Jason Crosby on Wurlitzer and Rhodes, Matt Slocum (Aquarium Rescue Unit) on B3 organ and clavinet, and Kevin Scott on bass. After announcing the initial bulk of summer tour dates, today the band has added a handful of dates which will bring the band's debut tour to a total of 22 shows. 

The tour kicks off at Minglewood Hall in Memphis (TN) on July 19th, and continues with stops across the southeast, up the east coast, through the midwest, and out to Colorado. Later in the year, Herring and company will join forces with John McLaughlin for 'The Meeting Of The Spirits Tour'. See below for a complete list of dates, and make sure to head to Herring's Facebook page and official website for all of the latest updates.

Official Tour Dates: Jimmy Herring & The Invisible Whip

July 19th - Minglewood Hall - Memphis, TN

July 20th-21st - Duling Hall - Jackson, MS

July 22nd - WorkPlay Theatre - Birmingham, AL

July 23rd - Revelry Room - Chattanooga TN

July 25th - Terminal West - Atlanta, GA

July 26th - Georgia Theatre - Athens, GA

July 27th - Cox Capitol Theatre - Macon, GA

July 28th-29th - Isis Music Hall - Asheville, NC

July 30th - Neighborhood Theatre - Charlotte, NC

August 1st - Headliners Music Hall - Louisville, KY

August 2nd - Park Street Saloon - Columbus, OH

August 3rd - The Kent Stage - Kent, OH

August 4th - Mr. Small's Theatre - Millvale, PA

August 5th - Jefferson Center - Roanoke, VA

August 31st - Tobin Center For The Performing Arts - San Antonio, TX

September 1st - Trees - Dallas/Ft. Worth, TX

September 3rd - 2720 Cherokee - St. Louis, MO

September 7th - Gothic Theatre - Englewood, CO

September 8th-9th - Fox Theatre - Boulder, CO


Widespread Panic Announces Three-Night Run In St. Augustine May 8, 2017 09:59

Photo by Craig Baird: Home Team Photography

Southern jam veterans Widespread Panic have added a three-night run at the St. Augustine Amphitheatre in St. Augustine, FL  to their consistently growing tour schedule. These three shows are scheduled for September 15th - 17th. For what was thought to be a "lighter" year, the band now has well over 20 scheduled dates for 2017, and it's dedicated fan base will have yet another opportunity to catch multiple shows. Tickets are scheduled on go on sale this Friday, May 12th at 10:00 PM EST.  For further details and all of the latest Panic updates, head over to the band's official website.

Watch Widespread Panic perform "Postcard" in St. Augustine (2016) here:


Hampton 70: A Musical Celebration Like No Other May 4, 2017 15:45

Photos by Dave Vann  -  Words by Jordan Kirkland

When I heard that there would be a 70th birthday celebration for Col. Bruce Hampton at The Fox Theatre, I knew that I had to be there. After reading through the star-studded lineup, there was no doubt that this would be one of the most unique musical experiences of my life. With members of Widespread Panic, Phish, Aquarium Rescue Unit, The Allman Brothers Band, Gov't Mule, Blues Traveler, and so many more scheduled to perform, the possibilities for this show were endless. This lineup was a true testament to the immeasurable influence that Col. Bruce Hampton made on the world of music, and the ultimate experience was one that no one could prepare for.

The show got started just after 7:30 PM, with the evening's emcee introducing a cast featuring many frequent Col. Bruce collaborators, such as Darren Stanley, Matt Slocum, Carter Herring, and Ike Stubblefield.  The Colonel was eventually brought to the stage, wearing a blue blazer, and led the group through "There Was A Time."  The show's first featured guest was Oliver Wood, who was backed by Slocum, Darick Campbell, Duane Trucks (Widespread Panic) and others. As soon as Wood began working through two originals from The Wood Brothers catalog ("Sing About It" and "Postcards From Hell"), it became apparent that anything was fair game. Before long, Susan Tedeschi was on stage trading lines with Wood.  San Diego Padres' pitcher Jake Peavy and 14-year-old guitar prodigy Brandon “Taz” Niederauer were then introduced and led the charge through "Oh Pretty Woman" and "Shake Your Hips."

Next up was a serving a blues and jamgrass royalty, as Rev. Jeff Mosier took the stage alongside John Popper of Blues Traveler and Vince Herman and Drew Emmitt of Leftover Salmon. This combo, backed by Trucks, Kevin Scott, Emil Wrestler, Matt Slocum would eventually be joined by legendary drummer Jeff Sipe, aka Apt. Q-258 for a rousing take on "She Caught The Katy." It wasn't long before Kevin Kinney, Hardy Morris, Todd Snider, Peter Buck, Dave Schools were brought out to continue the magic. At this point, it was nearly impossible to keep up with who we had seen versus who was yet to come, but we would be quickly reminded as Warren Haynes (Gov't Mule), Chuck Leavell (Allman Brothers Band / Rolling Stones), Jon Fishman (Phish), and saxophonist Karl Denson took the stage. The energy reached a new level during "Rip This Joint," and the combo of Fishman and Sipe during "Compared To What" and "Good Morning 'Lil School Girl" was as heavy as it gets. 

Duane Trucks stepped in for Sipe and joined Fishman behind the kit for "More Trouble Everyday," which would lead up to one of the evening's many highlights. The cast of Derek Trucks, Haynes, Leavell, Schools, Buck, Fishman, and (Duane) Trucks played the Allman Brothers Band's "Jessica" to absolute perfection. John Bell of Widespread Panic made his first appearance for "Time Is Free," and would stick around for "Don't Cry Not More," which would also feature Tedeschi on vocals.  

Watch the performance of "Jessica" here:

 

As the show proceeded into its third hour, the Colonel returned to the stage for the evening's final performances. After leading the way through "Yield Not To Temptation," Hampton took the microphone for one of his long-time staples, "Fixin' To Die."  Watching the Colonel turning, pointing, and singing those words to so many of his oldest friends and collaborators will forever be a surreal memory.  He would remain on stage for the final three songs of the nearly four hour set: "Don't Go In The Room," "Space Is The Place," and a cover of Cream's "I'm So Glad" that had an especially spiritual feel to it.

After the stage briefly cleared, nearly forty performers returned to the stage for one last nod to the godfather of jam. The encore began with in classic fashion, as ARU drummer Jeff Sipe led the massive group through "Zambi Military Ensemble," creating the feel of am early 90's Aquarium Rescue Unit Show. This epic celebration would end with none other than "Turn On Your Lovelight," with Tedeschi, Wood, and Hampton rotating verses.

As Colonel walked over to young Taz (Brandon Niederauer) and signaled him to solo, we would all witness the unthinkable. Col. Bruce appeared to take a knee, as if giving praise to the young prodigy, and proceeded to slowly, peacefully lay down behind him (with an arm propped onto a monitor). This was a man known for his wild theatrics, giving no reason for initial concern as he lied motionless on the stage. Video footage shows those surrounding him smiling and laughing at each other, waiting for his dramatic rise for the song's conclusion. But as several minutes passed with no movement, a feeling of concern was felt throughout the theatre, and it became evident that this was no joke. Several people rushed from the side stage to check on Hampton, the music abruptly stopped, and Billy Bob Thornton quickly addressed the crowd as the curtains were frantically closed.  

Those closer to the stage could see the immediate medical attention being applied to Col. Bruce, as the majority of us exited the building in total shock and confusion. Multiple ambulances were on the scene within minutes, and many witnessed Hampton being taken away in a frenzy to the hospital. Within the next two hours, the news began to spread that world had lost Col. Bruce Hampton. I can honestly say that this was a wave of emotions that I'd never dreamed of experiencing. The entire evening was surreal; witnessing so many musical heroes on stage together.

Watching the Colonel get carried off stage is an image that I'll never forget. But as the tributes and memoirs have piled in this week, this ending does seem beautifully poetic in many ways. Col. Bruce left this earthly life during the closing moments of his own musical celebration. His final act was showcasing and praising one of music's brightest young stars, while surrounded by 30+ world class musicians who considered him one of their greatest influences. Hampton 70 was truly a celebration like no other; honoring one of the most unique souls to ever walk this planet. While his presence will be missed by so many, we should all take comfort in knowing that his influence will be felt across the musical spectrum far beyond our time.

Setlist: Hampton 70 - A Celebration of Col. Bruce Hampton - 05.01.17

Set: There Was A Time, Postcards From Hell, Sing About It, Feelin’ Good, Oh Pretty Woman, Shake Your Hips, She Caught The Katy, Working On A Building, Put Down That Cane, Play A Train Song, Stupid Preoccupations, When You Come Back, Rip This Joint, Compared To What, Good Morning Little Schoolgirl > Trouble Every Day, Jessica, Time Is Free, Trondossa, Smokestack Lightning > Cry Cry Cry, Basically Frightened, Fixin’ To Die, Space Is The Place, I’m So Glad

Encore: Zambi > Turn On Your Lovelight

 


Widespread Panic Announces Three-Night Halloween Run In Vegas April 7, 2017 10:59

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Photo by Craig Baird: Home Team Photography
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While Widespread Panic won't be touring quite as extensively in 2017, there continues to be plenty of opportunities to catch the southern jam veterans on the road.  Following the band's three nights in Milwaukee the week before, Panic will travel to Las Vegas, Nevada for another three-night run on October 27th-29th at the Park Theater.  This will be the band's first Halloween run in Vegas since 2005 and 2006.  Tickets for all three shows go on sale April 14th at 10AM PST via Ticketmaster.com.  
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Watch Widespread Panic perform "Soul Kitchen" & "Paranoid" from the 2016 Halloween run in Broomfield, CO here:
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Celebrating 31 Years Of Widespread Panic [Audio/Video] February 6, 2017 16:02

On this day in 1986, local Georgia musicians John Bell, Michael Houser, Dave Schools, Todd Nance took the stage at The Mad Hatter Ballroom in Athens (GA) for the first official performance as Widespread Panic.  The band was opening for Strawberry Flats, and the show was said to be an Aid For Africa benefit.  Just two years later, the band would release its first album, Space Wrangler, which also featured the addition of Domingo "Sonny" Ortiz (percussion).  Keyboardist John "JoJo" Hermann would be added to the full-time roster in 1992.  Panic suffered the devastating loss in the death of Michael Houser in August of 2002, who was initially replaced by George McConnell, before Jimmy Herring took on the long-term duties as lead guitarist in the fall of 2006.

Since their inception in Athens, Georgia, in 1986, Widespread Panic has risen to elite status among American jam bands. Following in the steps of other Southern rock jam bands such as The Allman Brothers Band, they draw influences from the Southern rock, blues-rock, progressive rock, funk and hard rock genres. They are frequently compared to other jam band "road warriors" such as the Grateful Dead and Phish.  Widely renowned for their live performances, as of 2016, they hold the record for number of sold-out performances at Red Rocks Amphitheatre at 54 and Philips Arena at 20.

Click here to listen to Widespread Panic's first performance via PanicStream.net

Watch Widespread Panic's complete show from 03.12.88 in Atlanta here:

Watch post-show footage from Widespread Panic in 1988 here:


Jimmy Herring & John McLaughlin Announce "Meeting Of The Spirits" Tour January 31, 2017 10:56

Photo by Jordan Kirkland: Live & Listen

Just last week, guitar wizard Jimmy Herring revealed his plans of forming a new all star group known as The Invisible Whip.  Earlier this morning, Herring announced that the new band will be hitting the road with legendary guitarist John McLaughlin during November and December of this year for "The Meeting of the Spirits" tour. McLaughlin has said that this will serve as his farewell tour through the U.S., and that he will be performing music from his work with the Mahavishnu Orchestra.  

Each musician will perform a set of his own, respectively, followed by a collaborative and improvisational encore performance.  This tour will span from November 1st through December 9th, starting in Buffalo and ending in Los Angeles. Stay tuned for future updates on Jimmy Herring & The Invisible Whip's spring tour dates.  See below for a complete list of tour dates.

Watch Jimmy Herring & John McLaughlin jam with the Aquarium Rescue Unit here:

John McLaughlin & Jimmy Herring “Meeting Of The Spirits” Tour

11/1/17 Buffalo, NY, University at Buffalo Center for the Arts
11/2/17 Albany, NY, The Egg
11/3/17 New York, NY, Town Hall
11/4/17 Port Chester, NY, Capitol Theatre
11/5/17 Cranston, RI, Park Theatre/Rhode Island Center for the Performing Arts
11/8/17 Boston, MA, The Wilbur Theatre
11/9/17 Philadelphia, PA, Keswick Theatre
11/10/17 Newark, NJ, Prudential Hall,New Jersey Performance Art Centre
11/11/17 Washington DC, Lincoln Theatre
11/12/17 Durham, NC, Duke Performances at DPAC
11/15/17 Ann Arbor, MI
11/17/17 Chicago, IL, Vic Theatre
11/19/17 Indianapolis, IN, Clowes Memorial-Hall-Butler University
11/21/17 Nashville, TN, Schermerhorn Symphony Center-Laura Turner Concert Hall
11/22/17 Atlanta, GA, Atlanta Symphony Hall
11/24/17 Jacksonville, FL, Florida Theatre
11/25/17 Clearwater, FL, Ruth Eckerd Hall
11/27/17 New Orleans, LA, The Joy Theater
11/30/17 Austin, TX, Paramount Theatre
12/5/17 Seattle, WA, Moore Theatre
12/6/17 Portland, OR, Revolution Hall
12/8/17 San Francisco, CA, The Warfield
12/9/17 Los Angeles, CA, Royce Hall-UCLA


Jimmy Herring Announces Formation Of New Group 'The Invisible Whip' January 27, 2017 09:24

While we won't be seeing quite as many shows from Widespread Panic in 2017, lead guitarist Jimmy Herring shows no signs of slowing down.  Earlier this morning, Herring announced the formation of a new all-star group, "The Invisible Whip."  This group will feature a cast of long time friends, including Jeff Sipe (Aquarium Rescue Unit) on drums, Jason Crosby on Wurlitzer and Rhodes, Matt Slocum (Aquarium Rescue Unit) on B3 organ and clavinet, and Kevin Scott on bass.  While no official dates have been announced yet, Herring's announcement mentions, "Coming soon to a town near you in 2017 and beyond."  Stay tuned for further details on this exciting development! 

Click Here: Follow Jimmy Herring on Facebook


Widespread Panic Shares Pro-Shot Footage of "Burning Down The House" January 23, 2017 13:47

Photo by Clay Carroll: Carroll Production

Veteran jam group Widespread Panic was one of many bands who closed out 2016 with a massive New Year's Eve celebration.  After many years of rotating the event between Atlanta, Denver, and Charlotte, this year's location was Bridgestone Arena in Nashville, TN.  As is tradition on New Year's Eve, the band would call on many friends and special guests to make this an unforgettable experience for the Panic faithful.  Love Sponge String Quartet (strings), Randall Bramblett (saxophone), The Megablasters (horns), The McCrary Sisters (voclas), and David Davidson (fiddle) would all make appearances throughout the night.  

After three sets full of Panic originals and covers from the Paul Simon, Joe Cocker, and Van Morrison catalogs, the band took the stage for an encore for the ages.  The McCrary Sisters would lend a hand on Buffalo Springfield's "For What It's Worth," before Bramblett and The Megablasters would return for the band's second ever performance of the Talking Heads' "Burning Down The House."  Fortunately, Widespread Panic has shared pro-shot HD video footage of "Burning Down The House," which can be watched in full below. 

Watch Widespread Panic and friends perform "Burning Down The House" on 12/31/16 here:

Complete setlist via EverydayCompanion.com:

12/31/16 Bridgestone Arena, Nashville, TN
1: Blue Indian, Holden Oversoul, May Your Glass Be Filled*, Her Dance Needs No Body*, Crazy*, Still Crazy After All These Years**, Expiration Day*
2: Pigeons, Henry Parsons Died, Rebirtha, Sharon***, Tail Dragger***, Tall Boy***, Can't Get High****, Ain't Life Grand*****
3: Disco, A Little Help From My Friends******, Hope In A Hopeless World******, Up All Night****** > Moondance******, Bust It Big****** > Drums > Chilly Water, All Time Low****, Red Hot Mama******
E: For What It's Worth****, Burning Down The House******
* with Love Sponge String Quartet on strings
** with Love Sponge String Quartet on strings, Randall Bramblett on saxophone
*** with The MegaBlasters on horns
**** with The McCrary Sisters on vocals
***** with David Davidson on fiddle, The McCrary Sisters on vocals
****** with Randall Bramblett on saxophone, The McCrary Sisters on vocals, The MegaBlasters on horns
[Only 'Still Crazy After All These Years'; Set 1 seated; Last 'Burning Down The House' - 12/31/13, 219 shows; Last 'Moondance' - 12/31/09, 472 shows]

Members Of The Meters & Widespread Panic Announce Jazz Fest After Show January 10, 2017 13:43

It's that time of the year again, when all of the pieces for the annual New Orleans Jazz & Heritage Festival (Jazz Fest) are beginning to fall into place.  Foundation of Funk, which features George Porter Jr. and Zigaboo Modeliste (The Meters) teaming up with a rotating cast of musicians, has just revealed arguably its most exciting lineup to date.  The supergroup will headline an official Jazz Fest after show at NOLA Republic on Thursday, May 4th with the help of Widespread Panic's Jimmy Herring and JoJo Hermann.  This group of performers are certainly no strangers to the annual New Orleans celebration, as Porter and Zigaboo have been staples in the scene for decades, and Widespread Panic has performed at the festival a total of nine times.  

This Foundation of Funk set will follow a previously announced Mardi Gras performance (Friday, February 24th) at Tipitinas, a night where the lineup will feature Anders Osborne and Jon Cleary.  Tickets for Foundation of Funk with Jimmy Herring and JoJo Hermann will go on sale to the general public this Friday, January 13 at 11am. Fans can get a code for pre-sale tickets by signing up for the Nolafunk email list (those tickets will go on sale Wednesday, January 11 at 11am).

Watch Foundation of Funk (feat. Eric Krasno & Neal Evans of Soulive) perform at The Rex Theatre on 05.19.16 here:


Watch Widespread Panic Cover Nirvana's "Lithium" In Broomfield November 2, 2016 11:12

Jam veterans Widespread Panic just wrapped up an unforgettable Halloween run in Colorado, and footage from special occasion is starting to surface.  Halloween season is a time where bands must get as creative as possible, as they know that their counterparts will be doing the same at their respective shows.  This run saw Panic perform a Black Sabbath tune during the encore at eight consecutive shows.  They also included a tune by The Doors during all three nights of the Halloween run in Broomfield.  While Sunday night's "Halloween" performance was full of highlights, the biggest surprise of the night may have come in the form of a cover of Nirvana's "Lithium," which ultimately closed the second set.  Video footage from "Lithium" can be watched below courtesy of YouTube user MrTopdogger.

Watch Widespread Panic perform Nirvana's "Lithium" on 10.30.16 here:

10/30/16 1st Bank Center, Broomfield, CO
1: Waitin' For The Bus > Jesus Just Left Chicago, Happy, Angels on High, Goodpeople, Heaven, Angels Don't Sing The Blues, Hallelujah, Tall Boy, Ain't Life Grand
2: Slippin' Into Darkness*, Machine > Barstools and Dreamers, Vampire Blues, Henry Parsons Died, Beat On The Brat, I Wanna Be Sedated, Chilly Water > I Walk On Guilded Splinters > Bust It Big > Chilly Water, Lithium
E1: Soul Kitchen, Paranoid
E2: Postcard, End Of The Show
[Only 'Lithium'; Last 'Beat On The Brat' - 10/31/03, 882 shows; Last 'Paranoid' - 10/31/87, 2811 shows; Last 'Soul Kitchen' - 10/28/00, 1142 shows]

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 took the stage promptly at 6:30 PM, opening up with "Similar Skin," the title track from the band's 2014 studio release.  "Wappy Sprayberry" opened things up for some extensive jamming, before ultimately moving into a newer tune "Speak Up." Ryan Stasik then busted into the all-too-familiar opening notes of "Puppet String," one which always draws a strong reaction from the UM faithful.  It was then time for Jake Cinninger (guitar) to take the lead on "Glory," one of the most peaceful, beautiful songs in the band's extensive catalog.  "Educated Guess" provided another heavy-hitting rocker from Similar Skin, and "Women, Wine, and Song" made for one of the biggest sing-a-longs of the night.  
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Umphrey's McGee at Avondale Brewery - July 7th 2016
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Next up was "Bad Friday," which quickly turned this occasion into Alabama's biggest dance party.  Many of us felt like that might have been the end of the set, and thankfully, this was a false assumption.  This band tackles cover tunes as well as any band in history, and David Bowie's "Let's Dance" was no exception.  Cinninger handles Bowie's vocals with fine form, and you would be challenged to find a better rendition of this classic tune.  A seamless segue back into "Puppet String" would bring this scorching opening set to a close.
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After about 30-minutes of turnover, the lights went down, and Widespread Panic took the stage, much to the delight of the lively Alabama crowd.  The Panic faithful was paying extra attention on this night, as the band had not repeated a song in its first six shows of the tour.  Would they continue this trend and make it seven shows?  It sure seemed that way as the set kicked off with Vic Chesnutt's "Le'ts Get Down To Business", "Travelin' Light," and "Little Kin."  The trend continued with Bloodkin's "Henry Parsons Died," which always seems to light a fire in the set.  Another nod to the late Chesnutt came with "Sleeping Man," before "Up All Night" brought about the first repeat of the tour.  
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While this was an entertaining and impressive streak, so much more was now on the table, and no complaints were issued on this night.  The first taste of Street Dogs came in the form of "Cease Fire" > "Jamais Vu," a pairing that has become pretty consistent in the last few years.  The party shifted into high gear as Jimmy Herring hit the first licks of The Guess Who's "No Sugar Tonight / New Mother Nature."  Panic is known for their unique spin on countless covers, but this one is up there with the best of them.  John Bell thanked and assured the crowd that they'd be right back, and that was it for the first set.
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Set two kicked off in explosive fashion with a cover of The Talking Heads' "Papa Legba."  Next up was "Happy," which JoJo Hermann ultimately took straight into "Greta," one of the bigger highlights of the night.  Is there a better sing-a-long in the Panic catalog?  I guess that's up to the individual, but "Greta" just never gets old.  The segues continued and this time it was into a scorching take on "Solid Rock," which was proceeded by "Tall Boy."  It's safe to say that JoJo brought his a-game to Tuscaloosa, and thankfully there was much more where that came from.
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I'm not sure if there is a more quintessential Panic tune than "Surprise Valley," and the boys proved that yet again.  That song defines the sound of the band for me, and I'd honestly be fine with hearing it at every show.  A brief take on "Drums" came next, which moved swiftly back into "Surprise Valley."  The darker, bluesy "Me and The Devil Blues" and "Holden Oversoul" would follow, before "Porch Song" closed out the second set in epic fashion.  After a brief exit, the band returned to the stage and gave another nod to Bloodkin with "End of the Show."  Everyone knew this would lead into another rocker, and JoJo took the lead on this one with "Blackout Blues."  This one always seems appropriate at the end of a set or in the encore, and just like that, this massive occasion in Tuscaloosa had come to an end.
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This was only my second opportunity to catch a show at the Tuscaloosa Amphitheater, and I can't say enough about this venue.  In my opinion, this is the premiere outdoor venue in the state of Alabama.  While Oak Mountain and The Wharf have plenty to offer, there truly is not a bad seat in the house in Tuscaloosa, and the overall design maintains an intimate element that can't be argued.  Being able to catch Umphrey's and Panic on the same night was really special, and the fact that we get to do it all over again tonight is extremely convenient.  One can only wonder what type of collaborations we can expect in Alpharetta tonight, and fortunately we only have to wait a matter of hours to find out.
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Karl Denson's Tiny Universe Announces Mini-Tour With Jimmy Herring September 12, 2016 22:54

Karl Denson’s Tiny Universe has announced a four-show run with guitarist Jimmy Herring scheduled for November 30th – December 3rd. The mini-tour kicks off at Georgia Theatre in Athens on November 30th.  The following shows will take place at New Mountain Theatre in Asheville on December 1st, Neighborhood Theatre in Charlotte on December 2nd, and Terminal West in Atlanta on December 3rd.  This mini-tour has obviously created much excitement, as Denson and Herring have become two of the biggest names in the jam/festival.  Tickets go on sale Friday, September 16th and can be purchased by clicking here.  Stay tuned for further details, as well as exclusive coverage/footage from each show of the run.

Watch Karl Denson's Tiny Universe with Jimmy Herring at Tipitinas in May of 2015 here:


Watch HD Video Footage of Widespread Panic & Tedeschi Trucks Band in Birmingham August 4, 2016 11:03

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Photo by Jordan Kirkland: Live & Listen
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Just four months ago, Legacy Arena in Birmingham was treated to an extra special evening of music featuring Widespread Panic and Tedeschi Trucks Band.  While Widespread Panic is typically known for performing two sets of music, this was a unique occasion featuring far more than "just another opening band".  Tedeschi Trucks Band kicked things off with a set full of hits such as "Made Up Mind", "Bound For Glory", "Let Me Get By", and Derek and the Dominos' "Keep on Growing".  The highlight of the set came when the band took "Don't Know What It Means" directly into an emphatic cover of Joe Cocker's "The Letter" to close out the set.

After a 45-minute intermission, Widespread Panic took the stage, and "Ain't Life Grand" kicked off the set.  Panic continued with originals like "Weight of the World", "Better Off", "Proving Ground", "Sell Sell", "Airplane", and "Papa's Home".  Drummer Duane Trucks and percussionist Sonny Ortiz provided the always entertaining "Drums" before the band busted back into "Papa's Home".  Pianist JoJo Hermann led the band through a rocking take on "Blackout Blues", which ultimately led into a cover of Vic Chesnutt's  "Protein Drink" > "Sewing Machine" to close out the set.

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Photo by Jordan Kirkland: Live & Listen
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As many expected, this particular night's encore was an instant classic.  Panic returned to the stage with special guest, Derek Trucks.  This would be the first time Derek has performed with Panic since his younger brother, Duane Trucks, became the band's new drummer.  "Gimme" kept a mellow vibe and allowed Trucks to "warm up" a bit before a rousing take on "Surprise Valley".  John Bell then welcomed Susan Tedeschi back to the stage for a flawless cover of Robert Walter's "Me and the Devil Blues".  Many would think that a three song encore would be enough, but the band then welcomed Alecia Chakour and Mark Rivers (Tedeschi Trucks Band) to the stage for a massive family jam on The Rolling Stones' "You Can't Always Get What You Want".  Forunately, Widespread Panic has shared pro shot footage of "You Can't Always Get What You Want," which can be watched in full below.

Watch Widespread Panic and members of Tedeschi Trucks Band perform "You Can't Always Get What You Want" here:
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Setlist: Tedeschi Trucks Band - Birmingham, AL - Legacy Arena at BJCC - 4/23/16

Set: Made Up Mind, Laugh About It, Keep On Growing, Bird On A Wire, Idle Wind, Sticks and Stones, Bound For Glory, I Pity The Fool, Let Me Get By, Don't Know What It Means, The Letter

Setlist: Widespread Panic - Birmingham, AL - Legacy Arena at BJCC - 4/23/16

Set:  Ain't Life Grand*, Weight of the World, Honky Red, Better Off, Proving Ground > Bust It Big, Sell Sell, Airplane > JAM > Papa's Home > Drumz > Machine Gun Jam > Papa's Home > Blackout Blues > Protein Drink > Sewing Machine (103 mins)

Encore: Gimme^ > Surprize Valley^, Me and The Devil^^, You Can't Always Get What You Want^^^ (49 mins)

* JB on Tiny Gitar (mandolin) / ^ Derek Trucks on Guitar / ^^ Derek Trucks on Guitar, Susan Tedeschi on Vocals & Guitar / ^^^ Susan Tedeschi on Vocals & Guitar, Derek Trucks on Guitar, Alecia Chakour & Mark Rivers on Vocals


Col. Bruce Hampton and the ARU: A Family Affair in Atlanta August 20, 2015 12:33

Written by Taylor Pack - Live & Listen Contributing Writer
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Col. Bruce Hampton and The Aquarium Rescue Unit’s homecoming at The Buckhead Theater was a family and friends affair of outstanding proportions. The guys blew through a two night run in their home-state of Georgia that featured a Friday night show in Atlanta and a Saturday show in Athens at the acclaimed Georgia Theater as part of their first extended tour in 18 years. Kofi Burbridge, Carter Herring, Efram Townes, and Kebbi Williams all made appearances and celebrated in the spirit of making damn fun music.

The tour was part of the 26th anniversary celebration of when Col. Bruce originally formed Aquarium Rescue Unit in Atlanta back in 1988. Col. Bruce had already established himself on the Atlanta music scene befriending and sharing the stage with the likes of Frank Zappa, The Grateful Dead, The Allman Brothers Band, and many more. Known for his out-of-this-galaxy performances and erratic free spirit, The Col. had been spreading his mad influence across Atlanta for the better part of two decades. He linked up with musicians Oteil Burbridge and Jeff Sipe at the Little Five Points Pub and when the newly created band needed a lead guitar they reached out to their friend Jimmy Herring. They played in clubs around Georgia and the Southeast and built a reputation for their outward performances and unpredictable on stage antics, as well as respect for their impeccable chops and world-class style. In 1991, Hampton and ARU teamed up with other notable jam bands, including Phish, Widespread Panic, and Blues Traveler, to join forces on a mega tour along the eastern seaboard. They named it The H.O.R.D.E. Tour and it allowed the bands to break into large venues such as amphitheaters and arenas as well as grow their fan bases in new regions of the country. Over the years ARU came to embody the essence of The H.O.R.D.E Tour through their spirited playing, respect for the music and musician, and incredible skills. Col Bruce continued to influence many young musicians while on the tour, earning himself a reputation as the godfather of jam bands. ARU would eventually disband and the members would go on to continue their journey as musicians in even bigger acts but their inspiration was never forgotten.  

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Packing into a sold-out show in the heart of Buckhead, the collective anticipation of the audience was manifesting itself in eager grins on what seemed to be EVERYONES’ faces. It was as if everyone knew each other, not personally, but in the sense that everyone shared in knowing that what was about to take place on stage tonight would not only be one of the greatest demonstrations of musical skill and talent, but also the highest understanding of what it truly means to communicate using music and improvisation.  

“Phantom on the Curb” kicked things off, giving Matt Slocum and Herring an early chance to speak their minds. Herrings voice would be prominent throughout the night, and rightfully so. The man is a true guitar master and was really feeling it from the get-go, offering up dazzling guitar play and perfect timing. The classic Hampton cover tune “Fixin to Die” was followed by another in “Yield Not to Temptation” which featured Efram Townes of the Dirty Dozen Brass Band delivering a warm golden solo on trumpet. The band ran through Hampton songs “Elevator to The Moon” and “Jack the Rabbit” as well as “Another Man” before Oteil stopped and welcomed his older brother Kofi (from The Tedeschi Trucks Band) to the stage. Next they kicked off “Rampage” giving the audience their first taste of some new material for the evening. This tune, featuring a slick baseline by Oteil, is an awesome jam vehicle that allowed everyone to chip in and add to the conversation… including Kofi whose flute swayed tastefully along as the musical discussion ebbed and flowed.  The classic ARU ballad “Time Is Free” would close the set as Jeff Sipe fiercely drove this jam on as the guys got a few more things off their chest. Col. Bruce preached and to the audiences delight managed to channel the spirit of the jam through himself as he regurgitated his signature nonsense rap into the microphone. Herring and Oteil responded assuring The Col. they were on the same page delivering impeccable solos featuring immaculate taste and control. When these men play together they exhibit an obvious intent to share positive energy with each other and the audience.

Photos © Ian Rawn Photography - PlayinDead.org  

The second set commenced with “Brothers House” and then “Isles of Langerhan”, before the guys stopped to welcome Herrings son Carter to the stage. They moved into the Bobby Bland cover “Heartache”. Carter delivered a VERY refined solo and showed great patience during his jam not rushing his notes and allowing his voice to develop over time. Whether he was shaking off the nerves or not, it was impressive enough for Col. Bruce to tease the elder Herring that he had no chance of topping his son. In a show of tough love Jimmy reminded everyone who the man of the house was by rattling off a sweltering solo before playfully trading licks with Carter. Another Hampton staple “I’m so glad” followed. This Skip James cover really gave Col. Bruce’s abilities as a soul and blues singer a chance to shine as he baptized the audience in its joyous melody. Carter took the first solo in this number and did not hold back in the least, demonstrating superb technique and touch. Looking from face to face of the band members, hearing father and son trading licks on stage, Oteil had not stopped smiling all night, Sipe hammering away gloriously on his kit, and Hampton just basking in the freedom - I was really “so glad” I could be there to witness it. “Space is the Place” came next, followed by the super catchy ARU song “Working on the Building” featuring Oteil on vocals. Two new songs surfaced next as the band broke into a particularly hard hitting “1911” and hot blues number “The Dragon” to close the set. The encore featured a jam featuring Kofi, Sipe, Oteil and Kebbi Williams of The Tedeschi Trucks Band that segued into a resounding “Compared to What”

Photo © Ian Rawn Photography - PlayinDead.org  

When speaking of Hampton’s impact on others, John Bell of Widespread Panic said that “he knows there is something more… other folks catch the wave off of his movement through this world”. ARU is truly the product of “The Hampton Effect”. Not only do these guys physically kick your ass with amazing technicality and ability, but they are in touch with that “something more”, giving them the freedom to channel energy from different sources and put spirit in a room full of bodies. As we all filed out of the Buckhead Theater into the Georgia summer night, I certainly left a richer person because of my experience with The Aquarium Rescue Unit. Experiencing organic musical synergy, with no barriers or restrictions, featuring some of the greatest musicians of our generation will put a little pep in anyone’s step. Now I know why bands like Phish, Widespread Panic, and Blues Traveler were willing to split their H.O.R.D.E. Tour profits evenly with this little crazy band from Atlanta: because they wanted in on the magic too.


VIDEO: Jimmy Herring Playing Jerry Garcia's Travis Bean TB 500 Guitar April 14, 2015 21:29

-Today, Widespread Panic shared a longer video of the musicians jamming on the Grateful Dead song, “He’s Gone” prior to their March 15th show in Spokane, WA. Jimmy Herring can be seen playing Jerry Garcia's Travis Bean TB500 guitar.  This six minute video showcases Herring's uncanny familiarity with Jerry's style, having toured with The Dead and Phil & Friends in years past.

-Many will recall that 1998 and 1999 found Herring, with bassist Alphonso JohnsonDixie Dregs (and former Widespread Panic) keyboardist T Lavitz and jazz drummer Billy Cobham touring as Jazz Is Dead. Jazz Is Dead released three albums; the material was fusion jazz-rock, largely instrumental-only cover interpretations of classic Grateful Dead songs.