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Watch Tedeschi Trucks Band Perform "Mountain Jam" With Trey Anastasio October 18, 2017 14:32

One of our favorite things about the jam/live touring scene is the sense of family; not just amongst the fans, but the artists as well. While the juggernaut that is the Tedeschi Trucks Band has welcomed many special guests over the years, this past weekend at The Beacon Theatre was certainly special. TTB's roots with The Allman Brothers Band clearly run deep, and Phish frontman Trey Anastasio gives much credit to Duane Allman for his early guitar development. 

Trey joined TTB last weekend for a monster cover of the Allmans' classic "Mountain Jam," and thankfully, pro-shot footage has now surfaced. TTB released footage of the final eight minutes from the 30-minute cover today, and it can be watched below. Keep your fingers crossed for a future release of the entire performance.

Watch the final third of TTB's 30-minute "Mountain Jam" with Trey Anastasio here:


Tedeschi Trucks Band Shares Backstage Footage With John Bell August 31, 2017 15:46

Tedeschi Trucks Band brought the 'Wheels of Soul Tour' to the famed Red Rocks Amphitheatre on July 30th, and this was certainly a night to remember. The band was joined by Widespread Panic frontman John Bell for three songs, and footage from backstage rehearsals has now been shared. Bell joined TTB for covers of Leon Russell’s “Delta Lady,” James Carr’s “Dark End Of The Street” and Bob Dylan’s “Down Along The Cove.”

While footage of the "Down Along The Cove" rehearsal was previously released, today's video revealed some amazing footage of the group working on "Dark End Of The Street." See below for the official footage, and head over to TTB's Facebook page for all of their latest updates.

Watch footage of the "Dark End Of The Street" rehearsal here:

Watch footage of the "Down Along The Cove" rehearsal here:

 


Tedeschi Trucks Band Returns To Birmingham On September 15th June 05, 2017 16:21

Tedeschi Trucks Band is returning to the Alabama Theatre in Birmingham on September 15th. TTB's pre-sale begins tomorrow, Tuesday June 6 at 10am CT with no code/password needed. Tickets are available to the public starting on Friday, June 9 at 10am CT.  The Tedeschi Trucks Band is an American blues rock group based in Jacksonville, Florida. Formed in 2010, the band is led by married couple Derek Trucks and Susan Tedeschi. Their debut album, Revelator (2011), won the 2012 Grammy Award for Best Blues Album. The band has released three studio and two live albums.

Watch Tedeschi Trucks Band perform "Keep On Growing" at The Fox Oakland here:


Derek Trucks & Susan Tedeschi Go In Depth On Guitars With Rig Rundown March 22, 2017 23:06

Photo by Jordan Kirkland: Live & Listen

One of rock and roll's most powerful couples, Derek Trucks and Susan Tedeschi, seem to be everywhere these days, and the Tedeschi Trucks Band has easily become one of the hottest touring acts in the country.  The two, along with TTB bassist Tim Lefebvre, recently sat down with Premier Guitar's John Bohlinger before their 3-show residency at the Ryman in Nashville. While this might not be a gear-heavy band, there’s plenty of soul, groove, and vibe.

Derek Trucks is not one to switch guitars. A longtime SG man, his current No. 1 is a prototype of a 2013 Gibson Dickey Betts signature custom shop SG—but with actual vintage PAF pickups. Trucks keeps a similar SG as a backup, but only plays it when he breaks a string, and then he usually switches back as soon as the string has been replaced.  Susan Tedeschi’s No. 1 is a stock 1970 Stratocaster that was a gift from Derek after he inquired about what her dream guitar would be. She keeps it strung up with D’Addario (.011–.049) strings. Tim brings a pair of basses on the road with Tedeschi Trucks. Here is his custom CallowHill bass nicknamed the “asshole bass” by the late luthier Tim Cloonan. Hidden underneath the pickguard is a sopabar pickup that can be mixed in.  

See below for the full 30-minute session with Tedeschi, Trucks, and Lefebvre, and make sure to visit the band's Facebook page and official website for all of the latest TTB news.

Watch Derek & Susan's 30-minute rig rundown with Premier Guitar here:


Tedeschi Trucks Band Announces Early 2017 Southern Tour Dates September 12, 2016 14:04

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Photo by Jordan Kirkland: Live & Listen
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Tedeschi Trucks Band has announced a handful of shows for early 2017. They will be joined by former Allman Brothers Band guitarist Jack Pearson in Knoxville and Chattanooga, as well as Leon Russell in Savannah and the opening night at the Ryman in Nashville. Pre-sale tickets kick on 9/13 at 10AM EST. Further details an all official ticketing information can be found at the band's official website.
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Tedeschi Trucks Band Tour Dates:
January 13 Mobile, AL—Saenger Theatre
January 26 Knoxville, TN—Tennessee Theatre
January 28 Chattanooga, TN—Tivoli Theatre
January 29 Savannah, GA—Johnny Mercer Theatre
March 2 Nashville, TN—Ryman Auditorium 
March 3 Nashville, TN—Ryman Auditorium 
March 4 Nashville, TN—Ryman Auditorium
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Watch Tedeschi Trucks Band perform "Anyhow" in-studio here:
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Looking Back On LOCKN': A Weekend In Review September 04, 2016 14:20

Words by Jordan Kirkland: Live & Listen
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Photos by Keith Griner: Phierce Photography
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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.   

Watch Umphrey's perform "The Stranger" with Gene Ween here:
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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.  

Watch JRAD perform "He's Gone" > "Terrapin Station" here:
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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.

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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.  

Listen to the entire Grateful Gospel set here:
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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.  

Watch Twiddle and Keller Williams perform "Best Feeling" here:
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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.

Watch the "Moonlight Midnight" > "We Bid You Goodnight" sequence from Keller's Grateful Gospel here:
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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.

Watch Twiddle perform "Daydream Farmer" at LOCKN' here:
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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.

Watch Chris Robinson Brotherhood perform "Narcissistic Soaking Wet" at LOCKN' here:
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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'  

Watch Phil Lesh & Friends perform "Hard to Handle" here:
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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. 

Watch Gary Clark Jr. perform "Bright Lights" at LOCKN' here:
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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.


Watch HD Video Footage of Widespread Panic & Tedeschi Trucks Band in Birmingham August 04, 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


Watch Gregg Allman & Luther Dickinson Sit-In with Tedeschi Trucks Band in Charlotte July 25, 2016 15:03

Tedeschi Trucks Band continued it's Wheels of Soul summer tour over the weekend, bringing their world class live performance to both Atlanta and Charlotte.  With both Los Lobos and North Mississippi Allstars currently on tour with TTB, the collaborations have come early and often this tour.  Saturday night in Alpharetta saw the likes of Col. Bruce Hampton and Luther Dickinson (North Mississippi Allstars) join TTB for a cover of Howlin' Wolf's "Spoonful," before Hampton exited and left Dickinson on stage for both "Leaving Trunk" and "Midnight in Harlem."

Shortly after, Widespread Panic (and Aquarium Rescue Unit) guitarist Jimmy Herring took to the stage and traded licks with Trucks on "I Want More." Dave Idalgo, Steve Berlin (Los Lobos), and Cody Dickinson (NMA) would then help TTB close out the set with "The Storm."  Luther (Dickinson) would appear once more in the encore for a cover of Joe Cocker's "With A Little Help From My Friends."

The epic sit-ins would continue on Sunday night at Charlotte Metro Credit Union Amphitheatre.  Gregg Allman would unite with his Allman Brothers bandmate Derek Trucks (with a little help from Dickinson) for a powerful performance of the Allman Brothers Band classic, "One Way Out."  Thankfully, youtube user Josh Daniel was there to capture the magic.

Watch Tedeschi Trucks Band perform "One Way Out" with Gregg Allman & Luther Dickinson here:

Setlist: Tedeschi Trucks Band at Uptown Amphitheatre, Charlotte, NC - 07.24.16

Set: It Ain't Easy, Don't Know What > The Letter, Something, Within You Without You > Just As Strange, One Way Out*, Color of the Blues, Keep On Growing#, That Did It, I Want More, Let Me Get By

Encore: Going Down To Mexico, Let's Go Get Stoned

* = w/ Gregg Allman and Luther Dickinson
# = w/ David Hidalgo

[Setlist via Tedeschi Trucks Band Fans Post]


Widespread Panic and Tedeschi Trucks Band Join Forces in Birmingham April 25, 2016 10:48

Photos by Jordan Kirkland: Live & Listen

Jam veterans Widespread Panic joined forces with the ultimate modern day supergroup, Tedeschi Trucks Band, on Saturday night for a double bill like no other at Birmingham's BJCC Legacy Arena.  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 promptly at 7:30 PM, featuring tunes like "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.

Watch Tedeschi Trucks Band perform "Bound For Glory" here:

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.

Watch Widespread Panic perform Vic Chesnutt's "Protein Drink" here":

 As many expected, Saturday 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".

The Panic faithful showed up in strong fashion on Saturday night.  Expectations for a Birmingham show are always high, because this band always finds a way to exceed them.  While the band plans to lighten their schedule in 2017, it's hard to imagine that Birmingham won't make it onto the list of "special occasion" shows that will surface in years to come.

Watch Widespread Panic and members of Tedeschi Trucks Band perform The Rolling Stones' "You Can't Always Get What You Want" here":

Tedeschi Trucks Band | 04.23.16 | Birmingham, AL

Made Up Mind, Laugh About It, Keep on Growing, Bird on the Wire, Idle Wind, Sticks and Stones, Bound for Glory, I Pity The Fool, Let Me Get By, Going Down to Mexico, Don't Know What It Means > The Letter

Widespread Panic | 04.23.16 | Birmingham, AL

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^ > Surprise Valley^, Me and The Devil^**, You Can't Always Get What You Want^

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


Flashback: An Interview with Tim Lefebvre of Tedeschi Trucks Band October 23, 2015 09:32

Over the holidays, we had a chance to speak with Tim Lefebvre, bassist of Tedeschi Trucks Band. Tim joined TTB in 2013 and was kind enough to elaborate on that experience, as well as share some insight on his elaborate musical background. Learn a little more about Tim's journey below, and look out for another monumental year from Tedeschi Trucks Band.

You’ve been involved in just about every facet of music business: recording, producing, movies, television, and multiple bands. At what age did you begin playing music, and when did you realize that this could be a career?

TIM:  : I started playing saxophone in fourth or fifth grade in my school band program in Foxboro, Massachusetts. My dad was a music teacher in middle school, so I was obviously surrounded by music as a kid. It was always kind of in the back of my mind that I wanted to do it. I went to college and double majored in Economics and Political Science. I really liked Political Science, but it wasn’t ‘lighting me on fire.’ I went to a few job interviews, and then I got a call to play a gig on a cruise ship. So I played this gig on a ship for about four months. That’s when I decided that I really wanted to pursue it. Also, the band members I was playing with on the cruise ship were all grizzled, 40-50 year old musicians. They were lifers, and they thought I sucked. I was in my early twenties, fresh out of college. I kind of made it my mission to improve. After that, I vowed to stay hungry, pursued a lot of opportunities, and always said yes to anything I was available for.

What has been your approach towards playing with such a diverse variety of musicians over your career?

TIM:  I think without knowing it, I’m kind of injecting my sound into it. It’s not a conscious decision where I think, “I’m just going to play my shit,” you know what I mean? I think with Tedeschi Trucks I am doing a little of that. But more or less, I’m trying to serve each genre correctly. Trying to play like James Jamerson, where it’s appropriate, or at least my version of it. It’s just trying to do the right thing with each genre in order to sound legitimate, or genre-correct. The only genre that scares me is Latin music. I can’t ever say that I would be good at that. But with everything else, I give it a shot and try to make it sound legitimate. It’s a fun ride. That’s part of the joy of it.

In October of 2013, you began touring full time with Tedeschi Trucks Band. What led to this opportunity, and how has your life changed since joining a group of such magnitude?

TIM:  I think what happened was I did a one-off with Donald Fagen on the David Letterman Show. I think it was the idea of the producer to get me, Keith Carlock, and Wayne (Krantz) back together on stage. John Leventhal was the other guitarist. John came to a gig of ours (me, Wayne, and Keith) at The 55 Bar in New York City. I think John planted the bug in Derek’s (Trucks) ear about my connection with Wayne, and that it might work. I was also out in Austin, Texas at one point playing music, and one of my friends was playing music at a bar with JJ Johnson, one of the drummers for Tedeschi Trucks, which was totally random. So we ended up playing together that night. I had met JJ in LA a few times, so there was familiarity. It ended up being a nice hook up. I think those two situations together led to five-gig audition with Tedeschi Trucks in August of 2013. Apparently, I played well enough to get the gig.

The experience has been incredible thus far. It’s also made me very visible to an entirely different scene of people. It has led to me being on the cover of Bass Player Magazine, which never happened before; doing so much obscure, avant-garde music. Being a member of this band, my public profile has become much bigger. It’s a great group of people to work with. I’m trying to keep my other projects going too. It’s been an incredible ride though. It’s a seriously amazing band to be a part of. I was familiar to playing with a band of that size, because I used to play about four times a year with the Saturday Night Live band. So it wasn’t something that I was finding daunting or anything. It is a collection of really great musicians, and it’s really fun to play that music all of the time. I really look forward to being on stage at every show.

TTB is clearly in high demand and a staple in the major music festival scene. Did you have much experience playing festivals prior to joining the band? What are a few of your favorite experiences thus far?

TIM:  Yeah, I played a bunch of festivals, but it was always with jazzier type groups, that tended to lead more towards dub and electronica. There have been several jazz festivals with Tedeschi Trucks that I have already played before. With the Jam festivals, no, I was never a part of those. That’s been really cool; playing in front of so many huge audiences and seeing a lot of great bands. I haven’t personally done much on-stage collaboration at the Jam festivals. I sat in once with The Black Crowes and once with Gov’t Mule, but that’s about it. I try to be respectful. I like to stand in the background, and if anyone ever invites me to play, sure, I’ll go play. It’s quite exciting to watch it all go down though. People lose their mind when they see all of the different collaborations.

What albums end up getting the most play when you guys are on the road? Are there any young up-and-comers that you’ve been a particular fan of lately?

TIM:  I don’t know how many of the bands are up-and-comers, per say, although there are some that are pretty damn good. JJ (Johnson) always knows about them, at least more than I do. But I try to stay pretty current. My taste is so eclectic. I’ve been really into this band called Fink, from the UK, for quite a while. It’s singer/song-writer-ish, but it’s really hooky and dubby. For some reason, it really speaks to me. Junip is another one. They’re a Swedish folk rock duo. What else…? I’ve been into a lot of psychedelic, analog kind of shit. Whatever projects Nigel Godrich has been producing; which has included Here We Go Magic, Ultraistic, and of course Radiohead. I haven’t been listening to as much jazz, although I’ve been playing on a lot of jazz records. I’m a big fan of Ambrose Akinmusire, who’s a trumpet player that is a really special talent. In terms of bass players, there’s so many guys that I like. There’s jazz bass player from New York named Linda Oh, who is pretty incredible. There are so many that I could go on and on about.

Over the years, you have experienced first hand how much the music business has evolved. What are your thoughts on the digital music revolution, and what would your advice be to a young artist just beginning their career?

TIM:  I think it’s a lot tougher now. I really don’t know what to say to any of them. Traditionally, the places to be have been New York and Los Angeles. I can still vouch for LA in terms of being affordable. But I don’t think New York City is anymore. I don’t really ever advise someone to move to New York, unless they really want to play cutting-edge jazz, and they have saved some money. It’s pretty hard to pull it off in New York, because it’s just so expensive to live there. So there’s that, and I know people aren’t selling records like they used to. That has really changed everything. I think playing live, you keep trying to build audiences. I think that’s the case with Tedeschi Trucks. We’re building up the audience slowly. We aren’t trying to dive into anything that is too much. It’s very smart on the bands’ part. It’s like a slow burn, and I think it’s been working. I’ve been at home basically one week a month for the last year, so obviously things are going well on that front. Whatever revenue there was in records, hopefully it’s making its way over to the live performances. At least that’s what I am gathering. I think it’s still something to look forward to.

Are you familiar with Snarky Puppy? Michael League is a friend of mine. At one point, my band and Snarky Puppy were on tour together. For years, he took Snarky Puppy on the road and put it all on his credit card. They were just sleeping on people’s floors, playing all over. It finally paid off and turned around for them. They just toured their asses off for years. I’m not sure if I know anyone who has worked harder than Michael League. He’s the leader, bassist, and composer of the band. And that’s not a small band. It’s a huge band. And they’re very successful now. Those guys are selling out huge venues now. People love it. The live energy is great. They’re a really fun band to listen to. I’m really happy for those guys.

My theory on all of that is that if you’re good at something, you’ll eventually get paid for it. You know what I mean? The taste always comes around. I think that’s a thing you can sort of cling to. If you’re good at something, it will happen for you.

The tour dates are filling up quickly for 2015. What are you most excited about entering a new year with the band?

TIM:  Well, selfishly, I have one project going on that I can’t really tell you about, but it’s huge. I’ll have to wait to announce it when the record comes out. This band I have in New York, we’re recording with a really big artist. It’s very much on the down low, but it’s gonna be huge. That will come out sometime during Spring or Summer. I’m not sure yet. That’s all I can say about that. I’m excited about that.

Tedeschi Trucks is working on a new record, and I’m also extremely excited about that. A lot of the songs are being co-written by the band. We’ve been doing a lot of collaboration, which has been really fun. I think the band really has it’s own sound now and it’s behooving us to make a new record, so we are working on it. It should be finished before the end of the year. I think we will do some sort of live DVD at some point too. I’m sure we will be pretty busy. Life is good, and I am really glad to be a part of this whole scene.


VIDEO: Tedeschi Trucks Band & Friends: Mad Dogs & Englishmen - Lockn' September 14, 2015 08:39

Over the weekend, many of the greatest bands from across the country came together for the 3rd Annual Lockn' Festival on Oak Ridge Farm in Arrington, VA.  Amongst the star studded lineup was the Tedeschi Trucks Band, who performed an elaborate tribute set to the late, great Joe Cocker.  TTB performed a nice chunk of Cocker's live album, Mad Dogs and Englishmen.  The band took their concept of a "super jam" to the next level, having the help of some of Cocker's original crew, including bandleader and keyboardist Leon Russell, keyboardist Chris Stainton and singers Rita Coolidge and Claudia Lennear. Also pitching in will be former Traffic guitarist and solo act Dave Mason (whose "Feelin' Alright" was part of the Mad Dogs set), guitarist Doyle Bramhall II and one-time Black Crowes frontman Chris Robinson, who grew up with the double album.  Widespread Panic's John Bell even made a cameo appearance for lead vocals on "Delta Lady."  According to Trucks, the idea for the concert started a few years ago, when he reached out to Cocker to see if the twitchy, soulful Brit rocker would join the Tedeschi Trucks Band for a special set at Lockn' featuring songs from Cocker's entire career. 

Watch HD footage of the Joe Cocker Tribute from Lockn' Festival: