STS9 Releases Unexpected, Fully Improvised Album 'Wave Spell' January 24, 2018 11:51

Rebirth Brass Band To Play Montgomery's 5th Annual Mardi Gras Block Party January 24, 2018 11:14

Montgomery’s Downtown Business Association (DBA Montgomery) will celebrate the 5th Annual Mardi Gras Block Party and Cajun Cook Off on Saturday, February 3rd on the 100 block of Commerce Street from NOON - 4pm. Addressing the recent Entertainment District suspension, the City is allowing alcohol to be purchased and consumed on Commerce Street within the Entertainment District during the hours of the event. According to Mayor Todd Strange, “We are excited that the spirit of Mardi Gras will be thriving in downtown Montgomery. The special event permit for this occasion allows the open container portion of our City ordinance to be lifted for six hours. We look forward to a festive, family-friendly celebration that is enjoyed responsibly. Laissez les bons temps rouler!”

Performing at the event is New Orleans’ undisputed leader amongst brass bands, Grammy award winning Rebirth Brass Band who will bring their signature brand of brass funk to the streets of Montgomery starting at 1:30pm. Bringing in a high caliber group such as Rebirth was a priority while planning the 5th Annual event. “Having a 5th year anniversary in anything is a milestone these days. We wanted to celebrate this achievement of bringing people together for a free Mardi Gras event in downtown Montgomery and we couldn’t have dreamed of a more exciting band from New Orleans to mark the occasion than Rebirth Brass Band.”, says Clay McInnis, President of Montgomery’s Downtown Business Association (DBA).

While the Block Party is free and open to the public, tickets are required to experience the Cajun Cook Off that will be NOON - 2pm and will feature some of Montgomery’s premiere restaurants such as Wintzell’s, Itta Bena, Saza, Central, Capital City Club, Touch of Soul Cafe’, Peppertree Steaks, Montgomery Biscuits, Cahawba House, Wishbone Cafe and D’Road. Advanced tickets can be purchased for $20 each at https:// www.freshtix.com/events/cajunmgm. Any remaining tickets will be sold at the door for $25 each. It is strongly encouraged to purchase tickets in advance as the event is always a sell out. 100% of proceeds will benefit Valiant Cross Academy whose scholars will be on hand to perform their morning ritual to the crowd. In addition to the check presented from proceeds of the Cook Off, Wind Creek Montgomery will also present a check as a part of their “Make a Change” program.

Mark Bullock and Tonya Terry from WSFA will be King & Queen and serve as masters of ceremony. The event is family-friendly and will go on rain or shine. No outside alcohol is allowed. In true Mardi Gras fashion, costumes and dancing shoes are encouraged. Click here to join + follow the event on Facebook..

Entertainment is sponsored by the Poarch Band of Creek Indians. Other sponsors include City of Montgomery, Wind Creek Montgomery, Alabama Power, Bama Budweiser, Beasley Allen, City Councilman Arch Lee, Serquest, Goodwyn Mills & Cawood, AALOS, Starke Agency, WSFA, Rushton Stakely, Servis1st Bank, Sandra Nickel Hat Team Realtors, Guardian Credit Union, Escapology and Raycom Media. Special thanks goes to Stamp Agency, Cumulus Broadcasting, Alley Bar, Aviator Bar, Saza, RSVP and Whole Foods.

Watch Rebirth Brass Band perform at Springfield Jazz & Roots Festival (2017):

About Rebirth Brass Band:

Simply put, The Rebirth Brass Band is a New Orleans institution. Formed in 1983 by the now infamous Frazier brothers, the band has evolved from playing the streets of the French Quarter to playing festivals and stages all over the world. Their persistent production of the rich, New Orleans Brass Band sound won the band a Grammy on their 2011 release, “Rebirth of New Orleans.” Rebirth is committed to upholding the tradition of brass bands while at the same time incorporating modern music into their show. Their signature brand of brass funk has won over several generations of music lovers, and in a post-Katrina world, their name and music have become the soundtrack to their musically rich hometown. In the wake of the sometimes-stringent competition amongst brass bands, Rebirth is the undisputed leader of the pack, and they show no signs of slowing down.

About Montgomery’s Downtown Business Association:

Montgomery’s Downtown Business Association (DBA) works to promote and encourage the creation and expansion of businesses and professional organizations in the downtown Montgomery area. DBA was organized and incorporated in 2010. DBA has a steadily expanding membership of downtown businesses and professional organizations. The Downtown Business Association of Montgomery, Alabama is an independent, non-profit organization established under the laws of the State of Alabama. Their mission is “To promote the growth and vitality of the downtown Montgomery business community.” For more info on DBA Montgomery visit www.dbamontgomery.org.

About Valiant Cross Academy:

Valiant Cross Academy is an all-male private school based on Christian principles with an intentional culture of structure and discipline. The school is located in the heart of downtown Montgomery, Alabama on Dexter Avenue. http://www.valiantcross.org

Phish Confirms 2018 Summer Tour Dates January 23, 2018 13:18

SunSquabi Announces Extensive 'Just A Little' Tour Dates January 19, 2018 11:38

Photo by Brady Cooling Photography

A stand out force in the crossover jam and dance worlds, SunSquabi stands amongst the likes of STS9, Umphrey’s McGee, GRiZ, Pretty Lights and Gramatik in their quest to pay homage to classical funk, jazz and electro.  Appropriately named ‘Just A Little Tour’ is just a sliver of what Sunsquabi has in store for the future as they continue on in their musical odyssey. Joining the band on support will be friends Exmag and Beak Nasty. SunSquabi is fresh off their headline sell out show at the Fillmore Auditorium in Denver, CO this last November. The show solidified the band into a headliner position in Colorado as they recently announced a co-headline appearance at Red Rocks with Opiuo on April 21^st.  ‘Just A Little’ Tour is the largest headline run to date for the trio. Catch them in a city near you.

Tickets on sale now -> https://www.sunsquabi.com/tour/

Stream Sunsquabi's "Just a Little" here:

About SunSquabi

A three-piece suit, live electronic experience.  Hailing from Colorado, SunSquabi has been picking up steam after breakout years in 2016 and 2017, marked by their debut release on GRiZ’s All Good Records. The bands 7-track EP “Odyssey” takes listeners through a laidback electronic, funk fueled journey.   The band has collaborated with Big Gigantic & GRiZ to deliver the best product possible for the fans of the genre. Continuing to shatter expectations of what a “Live-Electronic” band should be, SunSquabi effortlessly transitions between synth-bass heavy vibes to smooth jam-like grooves.

Follow Sunsquabi

https://facebook.com/sunsquabi

https://twitter.com/sunsquabi

http://www.soundcloud.com/sunsquabi

http://sunsquabi.com/

SUNSQUABI TOUR DATES

Mar 10 – Riviera Theatre – Chicago, IL

Mar 16 – High Noon Saloon – Madison, WI

Mar 17 – Cabooze – Minneapolis, MN

Mar 21 – Rose Music Hall – Columbia, MO

Mar 22 – Exit/In – Nashville, TN

Mar 23 – Variety Playhouse – Atlanta, GA

Mar 24 – Asheville Music Hall – Asheville, NC

Mar 25 – 1904 Music Hall – Jacksonville, FL

Mar 28 – 123 Pleasant St. – Morgantown, WV

Mar 29 – The Foundry – Philadelphia, PA

Mar 30 – Rex Theater - Pittsburgh, PA

Apr 4 – Madison Live – Covington, KY

Apr 5 – The Mousetrap – Indianapolis, IN

Apr 6 – The Magic Stick – Detroit, MI

Apr 7 – The Intersection – Grand Rapids, MI

Apr 21 – Red Rocks Amp – Morrison, CO

Apr 22 – Backwoods Music Fest – Ozark, AR

Jun 21 – Electric Forest – Rothbury, MI

Jun 28 – Electric Forest – Rothbury, MI 

Find Tickets HERE    

Suga Grits Releases Groovy Debut Single "House Party" January 18, 2018 12:57

Press release via Suga Grits

Dead & Company Confirms 2018 Summer Tour Dates January 18, 2018 09:25

Dead & Company has once again partnered with CID Entertainment to offer VIP Experiences & Seamless Packages on tour including a premium concert ticket with early venue entry, a limited edition, screen printed poster and a commemorative concert ticket and case beginning Monday, January 22 at 10 AM local time. For full package details, click HERE.

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Dead & Company Summer Tour Dates:

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-5/30/18 – Mansfield, MA @ Xfinity Center++
6/1/18 – Camden, NJ @ BB&T Pavilion++
6/2/18 – Camden, NJ @ BB&T Pavilion++
6/4/18 – Cincinnati, OH @ Riverbend Music Center
6/6/18 – Noblesville, IN @ Ruoff Home Mortgage Music Center++
6/8/18 – Atlanta, GA @ Cellairis Amphitheatre at Lakewood++
6/9/18 – Raleigh, NC @ Coast Credit Union Music Park at Walnut Creek
6/11/18 – Saratoga Springs, NY @ Saratoga Performing Arts Center
6/13/18 – Hartford, CT @ XFINITY Theatre
6/15/18 – New York, NY @ Citi Field**
6/16/18 – New York, NY @ Citi Field**
6/19/18 – Darien Center, NY @ Darien Lake Performing Arts Center
6/20/18 – Cuyahoga Falls, OH @ Blossom Music Center
6/22/18 – East Troy, WI @ Alpine Valley Music Theatre
6/23/18 – East Troy, WI @ Alpine Valley Music Theatre
6/29/18 – Quincy, WA @ Gorge Amphitheatre
6/30/18 – Eugene, OR @ Autzen Stadium
7/2/18 – Mountain View, CA @ Shoreline Amphitheatre++
7/3/18 – Mountain View, CA @ Shoreline Amphitheatre++
7/6/18 – Chula Vista, CA @ Mattress Firm Amphitheatre++
7/7/18 – Los Angeles, CA @ Dodger Stadium
7/11/18 – Albuquerque, NM @ Isleta Amphitheater++
7/13/18 – Boulder, CO @ Folsom Field**^
7/14/18 – Boulder, CO @ Folsom Field**^

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All dates, otherwise noted, on sale Friday, January 26 at 10AM local time
**Tickets are not available through Ticketmaster for these concerts
++Tickets go on sale Saturday, January 27 at 10AM local time
^Verified Fan Presale not available for Boulder, CO performances

Runaway Gin Announces 21-Date 'Winter Melts' Tour January 17, 2018 10:16

Photo by Ellison White Photography

On the heels of a busy 2017 Runaway Gin - a Tribute to Phish, the world's most active Phish Tribute (w/ 260 shows performed) announces a twenty-one date 'Winter Melts' Tour which includes debut performances in in Orlando, FL and Chattanooga, TN, returns to Atlanta, GA, Nashville, TN, Philadelphia, PA, Baltimore, MD, Richmond, VA, Washington, DC, Augusta, GA, Athens, GA, and Charlottesville, VA, a 420 Block Party headlining slot in Roanoke, VA, and a 2-night run in their hometown at the Charleston Pour House. Runaway Gin also celebrates their 4 anniversary on January 19th, the first date of this tour. 

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Friday, January 19th - Terminal West - Atlanta, GA

Saturday, January 20th - Exit/In - Nashville, TN
Friday, January 26th - Charleston Pour House - Charleston, SC* 
Saturday, January 27th - Charleston Pour House - Charleston, SC

Friday, February 2nd - Shaka's Live - VA Beach, VA

Saturday, February 3rd - the 8x10 - Baltimore, MD

Friday, February 16th - the Social - Orlando, FL

Saturday, February 17th - Crowbar - Ybor City, FL

Saturday, March 10th - the Firmament - Greenville, SC

Friday, March 16th - Visulite Theater - Charlotte, NC

Thursday March 29th - the Foundry - Athens, GA

Friday, March 30th - Salvage Station - Asheville, NC

Saturday, March 31st - Workplay Theater - Birmingham, AL

Friday, April 6th - Lincoln Theatre - Raleigh, NC

Saturday, April 7th - the Broadberry - Richmond, VA

Friday, April 20th - Martin's 420 Block Party - Roanoke, VA

Saturday, April 21st - the Southern - Charlottesville, VA

Friday, May 11th - Union Stage - Washington, DC

Saturday, May 12th - Ardmore Music Hall - Philadelphia, PA

Friday, May 18th - Sky City - Augusta, GA

Saturday, May 19th - Revelry Room - Chattanooga, TN

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*Special Concept Show "We've got Saxophone"

Attached are photo and tour banner.

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For tour dates, videos and live recordings visit Runaway Gin's website here complete with videos, posters, photos, and setlists.
On Facebook: https://www.facebook.com/runawaygin

Twitter and Instagram: @runaway_gin

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Watch Runaway Gin perform "Carini" here:

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SlossFest Will Feature Chris Stapleton, Arcade Fire, & Jason Isbell January 17, 2018 09:55

Photo by Craig Baird: Home Team Photography

These is no question that the music scene in Birmingham, AL is currently thriving as much as any city in the country. Sloss Music & Arts Festival is undoubtedly a major factor in that equation. The fourth year event, which has featured the likes of Widespread Panic, Sturgill Simpson, Alabama Shakes, The Flaming Lips, and Primus, revealed its 41-band lineup earlier this morning. This year's performers include Chris Stapleton, Arcade Fire, Jason Isbell & The 400 Unit, GRiZ, St. Paul & The Broken Bones, Vance Joy, The War on Drugs, Moon Taxi, and many more on July 14th-15th. Tickets go on sale this Friday, January 19th at 10:00 AM CST and can be purchased by clicking here. See below for a complete list of this year's performers.

Watch highlights from SlossFest 2017 here:

JoJo's Slim Wednesday Is Hitting The Road In April January 16, 2018 12:09

Photo by Craig Baird: Home Team Photography

Widespread Panic's JoJo Hermann has announced a handful of spring tour dates with his latest side project, JoJo's Slim Wednesday. This run of shows kicks off on April 4th at The Basement East in Nashville, and continues with stops Oxford, MS (4/5), Birmingham, AL (4/6), New Orleans, LA (4/7-4/8), Atlanta, GA (4/10), Charlotte, NC (4/11),  Raleigh, NC (4/12), Charleston, SC (4/13-4/14), and Asheville, NC (4/15). This New Orleans style jazz funk group features the cast of JoJo Herman (keys), Greg Bryant (bass), Kevin Mabin (drums), Jonathan Jackson (saxophone), Ben Clark (trumpet), and Bill Elder (guitar/vocals).  

JoJo's Slim Wednesday creates a sound that keeps listeners dancing all night. The band focuses on the sound of New Orleans that was pioneered by artists like Professor Longhair, Dr. John, and The Funky Meters, all of which were a huge part of JoJo's musical background. John “JoJo” Hermann is known for his lead vocals on many New Orleans style jazz and blues covers and originals along with gospel-style organ playing. In capturing the quintessential sound of New Orleans, The Slim Wednesday Band will be sure to provide a night of dancing, partying, and great entertainment.

We had a chance to catch up with JoJo prior to last year's show at Zydeco. Click here to read the full interview!

SweetWater 420 Festival Reveals Major Lineup Additions January 11, 2018 09:47

The Yellow Dandies: Not Your Average Bluegrass Band January 10, 2018 13:27

Interview by Jordan Kirkland: Live & Listen

Let's start off by talking a little band history. You guys officially started The Yellow Dandies back in 2016. Was there much history amongst the four of you? How did the band come to life?

Bailey: So, me and Ben kind of started this project...I think it was back in November of 2015. We hung out and played a gig in Sewanee, Tennessee with a good friend of ours. After that, we decided that we wanted to put some of our originals onto an album. We sat down over a weekend and just hung out, recorded, and wrote. 

After we got done with our project, we thought it would be really interesting to hear how it would come together with a full band. So how we originally approached it, Ben and I did all of the instrumental recordings on the album with a lot of help from our friends. 

Around February or March, we got together with two of our dawgs, Dr. Wink and Nasty Nate, who we frequently jammed with out at Rockin Tree and decided we'd throw a band together. We did our first show at The Nick around the last Wednesday of March in 2016. That's kind of how it all got started.

Ben: We originally had five total members, but the one...we found out he liked The Beatles, so we fired him. We don't like that new music. Bluegrass only.

Bailey: Now we have Aerin de Russy and Ryan Brown. They have responded to our propaganda well. You know, the reeducation.

So you mentioned recording these originals onto an album. Was this the 2016 release, The Fun of Reckless and Indiscriminate Merry Making?

Bailey: Yeah that's it.

When was that album actually recorded?

Ben: Umm...from January 1st to January 2nd. (laughs) 

Bailey: (laughs) Over the course of about two to three days. In a bedroom.

So the album was released prior to the official 'launch' of the band... 

Bailey: Yeah...the band was something that was in the back of our minds but didn't really become a full-fledged thing until the album was over. We didn't really seriously consider it until we had seen the finished product of the album.

Ben: So, we recorded for two or three days, then there was about a month of obsessive, neurotic Pro Tools tweaking. Overdubs and a bunch of weird things. After that, we finally got the album and said, "Hey...this isn't half bad. Maybe it's not just a present for grandma." 

Bailey: (laughs) It's definitely not a present for grandma!

Ben: Actually, my grandma loves our album. 

Bailey: We sold out of our first run of albums, and now we’ve almost sold out of our bootleg copies. That’s the second edition. We autographed ‘em and shit. They’re gonna be worth a lot of cash.

 Watch The Yellow Dandies perform "Food In The Wintertime" here:

There you go. There's always a unique story for early stages of every band. A lot of times, you hear of bands playing gigs for a year or two before getting into the studio.

Bailey: Yeah...we're a pretty backwards group, in general. Me and Ben have been playing together since high school, so there is a long history there. This was the first time that we actually sat down and decided to create something together.  

Ben: We have a long, “Will they? Won’t they?” kind of dynamic. The tension has kept things going for a while. We're like Ross and Rachel, but with bluegrass.

That's great. First time I've heard that analogy. I'd imagine you guys have now written a fair amount of originals since 2016. Are you looking to get back into the studio this year?

Bailey: Yeah, we actually are. We've been writing for the past two years and have a fairly large catalog of new material that hasn't been recorded. It's something that has been in the back of our mind that we've been discussing as a group for the last few months. We're finally starting to get some concrete plans and get the wheels turning. We're going to hopefully be running a fundraising scheme soon. We're currently planning a 24-hour live stream to raise some money to get things going. We have a bucket full of songs that we're gonna be picking from. It's gonna have a much more live feel than the previous album. It's gonna be a bit more professional, as well.  

Right on. I've read that you guys have been best described as a "commanding, absurdist string band." That obviously contains elements on bluegrass, folk, and plenty of other influences. How would you best describe your overall approach to your music and performances?

Ben: Hmm...well, usually, we get up on stage and take a traditional song, or we take a song that we wrote, and then halfway through, I'll start yelling chords at our bassist. Some random words will come to Bailey’s mind like, "It's football time," or "Who's the boss?" or something. We just start rolling from there and see what happens.

Bailey: (laughs) It's a weird, improv approach, in a way, to a fiddle tune or traditional tune. But a lot of times, it's not how you would typically expect a band to improv. So, there are a lot of newgrass or jamgrass bands out there today, and they'll do their own original thing with a fiddle tune. They'll put a hefty amount of improv into it, and it sounds beautiful. It's really cool. I like how a lot of these bands approach that. We try to have more of a rhythmic and overall approach to changing the way that the fiddle tune sounds...to keep it sounding original. We also try to throw in some weird, improv comedy onto it as well.  

Ben: We're really just trying to think...”What would the Lion of Zion, Haile Selassie, do?” And Bob Marley, you know.

Bailey: We try to have a really Bob Marley, Rastafarian approach to the bluegrass experience. There's kind of a good football mix to it also. We're trying really hard man. (laughs)

Ben: We're trying so hard, dude. (laughs)

I would imagine that no song and no show is ever going to be quite the same.

Bailey: Yeah.... (laughs).... it's kind of impossible for it to be at this point, which is kind of the fun aspect of it.  We don't even know what the hell is gonna happen half of the time. We'll go in with a plan that we're going to follow. That's the thing that I love about playing with this group so much. You can go in there with a plan, but if something gets thrown off, someone wants to do something different, the group does a hell of a good job following. For someone as ADD and sporadic as I am on stage, it's really nice to have a group that's ok with taking a drastic turn into another direction in the middle of a tune.

Ben: We're trying to figure out how to make the album different every time someone plays it, but that technology doesn't exist. 

Not yet. That seems like a wild, complex idea, but you never know these days.

Bailey: Science, man.

Ben: You can get an app on your phone that wakes you up. It's like an alarm clock. I don't know. Things are so crazy now.

Bailey: Dude, you can get an app now...when a song comes on the radio and you don't know what it is, you can use the app, and it will tell you what the song is. That's crazy. That's the kind of shit that just blows my mind.

Ben: They have these pianos now that play themselves. It's got a little roll. I don't know. It's a rolling pin or something. The piano just plays itself. They don't even need us anymore. We're going extinct. 

Bailey: A lot of this technology has reshaped the way that we approach listening to music. Man...we're trying to reshape the way people look at music, in a live show. We're trying to do something different every time with it. There's nothing more fun than sitting down in a good bluegrass jam and playing some old tunes. But we're trying to bring something a little more fresh to the genre. Not just in listening and instrumental sense, but a lyrical sense, too. That's where I feel that you find the least amount of variation. In most bluegrass, in general, you don't find as many lyrical songs that really get out there and push limits.

I love that.  So, the Birmingham music scene has really taken off in recent years. Not just with local acts, but new venues, the overall culture, and willingness of the community to support a wide variety of music. What type of impact would you say that this local scene has made on the band? 

Bailey: The cool thing that I've found about the Birmingham music scene is that it's a very supportive scene, which is nice, and it's also very goofy. There's a lot of participation found in Birmingham with different groups hosting jams, or people from different bands getting together and playing. You find people in all other sorts of rock bands that also like to sit down and play some bluegrass or jazz.

I feel like Birmingham isn't just a good scene for a new band like us, but also just a good community for new musicians to start getting involved with. That, in a lot of ways, has helped us. We've gotten a lot of help from friends in other bands. They've helped us find gigs and get our name out there. I haven't played in a lot of other cities, but that's something that I've very much appreciated about how bands in Birmingham approach shit around here. 

Ben: It's kind of like The Giving Tree. We're the little man, and the Birmingham scene is like the tree. They just keep on giving, and we just keep taking. It's great. I've played around in the bluegrass scene in Nashville a little bit. Everybody is nice to your face, but they're out to get you...and you're out to get them. It's like espionage. 

Bailey: Which is fine...and kind of fun.

Ben: But then you come to Birmingham, and everybody is so nice and supportive. They just don't see it coming...that you could take everything from them and give them nothing. It's great. They do not see the betrayal coming. It's very easy to take advantage of people here. 

Bailey: (laughs) So you can see kind of the balance we have here. 

Ben: I would say in the Birmingham music scene, that's the way we're most innovative. It's not that we like to play goofy bluegrass, it's that we're the first people to really show them how to screw over other bands and that type of thing.

Well, you never know. Maybe that can develop into a successful blueprint for you.

Bailey: (laughs) Musical espionage...the new way to progress as a band.

Mastered and produced by The Yellow Dandies. 

Ben: Yeah...we've got a great system. If I get caught, I just blame it on Bailey. If he gets caught, he just blames it on me. If both of us get caught, we just blame it on our manager, Cammie.

Bailey: We usually just blame it on Cammie. 

There's always something to be said for accountability.

Bailey: That's right, and we don't have much of it.

Well one more thing, before we wrap up. It's obviously a brand new year, and everyone has their resolutions and goals for 2018. What are you guys hoping to accomplish as a band, and what are you most looking forward to?

Ben: Obviously, we're really hoping to get out there, get touring, spread the message, and spread the great love of L. Ron Hubbard. Get this album done, and also just to let people know that Jeffrey Dahmer was framed. That's our big goal. 

Bailey: Yeah, it's a message that needs to get out there. We have a few points that we're gonna try to hit pretty big things year. We've got a show over Memorial Day weekend at the Horse Pens 40 Bluegrass and Crafts Fair that we're really excited about. It’s a special weekend for us because it’s the same weekend as the former Acoustic Café Festival that, after 21 years, is no longer a thing. We hope to get a lot of that crowd out to Horse Pens 40 in May. It's such a beautiful area.

This summer, hopefully we can hit the road with some out of state touring. Spread our wings a little bit. It's new territory for us, but we're looking forward to doing some adventuring. Pushing forward on more of the creative side too. Getting more of these songs going, working on our stage show; getting more of a concrete idea for where this album is gonna be going, and getting some hard information soon for people as to when it is coming and what they can expect.

And the whole Jeffrey Dahmer thing too is very important to us. We've been working for a while to try and make sure it’s understood that he didn't do what people think he did. He was definitely framed by the government.

We'll have to look into that one a little further and see what we can do to help. 

Bailey: Cool. 

Ben: Plus just getting people into bluegrass around here. 

Bailey: It's a genre of music that while its so prominent in our culture, a lot of people don't know much about its roots. Especially its comedic roots, in general. Ben always brings up a good point that if you look at old time music, in the early days it had a steep comedic element to it. People didn't take the lyrics too seriously. It's what people did to relax and laugh. It's gotten a lot more serious over the years in the way lyrics are viewed. People are a lot more general with their lyrical approach to the music. The comedic element and originality lacks some times, while the traditional element remains very strong. 

We strive to behold and respect the traditional roots of the music, while lyrically maintaining originality, and a comedic story telling aspect.  I think there is a lot of fun to be had when you can add that element of entertainment and comedy, while loving and beholding the beautiful, traditional roots that make the genre what it is. In a way, it's weird, because it feels like a kind of aggressive approach, but, in a lot of ways, it's trying to bring it back to where it used to be. We’re trying to bring it back to the goofiness that it once maintained. Sometimes your art is meant to be laughed at to be enjoyed. 

Ben: Here's a fun fact. The first time that Earl Scruggs, who's kind of the father of bluegrass banjo, the first time he was on the Opry, he went to play with Bill Monroe, and someone went backstage and asked Uncle Dave Macon what he thought about it. He said, "He sounds ok, but he's not a bit funny." We're taking the Uncle Dave approach. We're like 'woke' Uncle Dave Macon.

For all of the latest updates on The Yellow Dandies, make sure to follow the band on Facebook and check out their official website.

The Ghost of Mr. Johnny Cash Dumped Out My Cocaine: The Story Behind the Song January 8, 2018 15:34

Erika Rasmussen: Danny and I share many mutual friends and came to know each other as an Athens certainty. We’ve gone back and forth for a while on ways to combine our love of writing in a collaborative project. We cooked up the idea of a series of writings, each featuring a different song and a different musician. When I got a chance to work on this project, of all the songs in Danny's amazing library, this was the first song I jumped on. And I’m so glad to know the backstory and appreciate the song even more now. No story of the South is complete without some of our seniors appearing as old growth trees in this ever-changing landscape. And getting the input of my beloved Dave Schools about this amazing song? Well, that’s the ice cube in my drink.

Sometimes the opening line to a song makes you do a double take and take stock of the band all over again. Try this one on for size: “The ghost of Mr. Johnny Cash dumped out my cocaine, At least my Mama told me he did…” I was enjoying another raucous night in the Classic City, watching Bloodkin do what they do best. This was at their annual “Bloodkin & Friends” show, this year burning down the house at The 40 Watt Club. I thought I knew Bloodkin's songs and their style by this point. I wasn't the only one who did a double take at the opening line of this song, either. It’s an attention-grabber. This song has a different twang to me that is irresistible. It doesn’t hurt that Danny sprinkled some of my musical heroes throughout the song’s lyrics. “Waylon Jennings says I’ll go to hell, if I don’t change my evil ways…Waylon Jennings ought to know mighty well.” I may lean towards this song because “American Country Ghosts” has the driving heartbreak sound of some of my favorite bittersweet ballads. Danny's poetic imagery and authentic Southern angst are reminiscent of a Patterson Hood rant or a Sarah Shook tale of woe. This is the kind of song that you find yourself walking around singing and, more importantly, contemplating, for days afterward.

So pull up a chair. Pour a finger (or two) of whiskey. And sit back for the story behind the song.

Click here to stream/purchase Daniel Hutchens' album, The Beautiful Vicious Cycle of Life. Catch Bloodkin in Birmingham at The Nick after both nights of Widespread Panic at the BJCC in February!

Daniel Hutchens: Toward the end of her life, my mother, Frankie Irene, developed dementia and was no longer able to live on her own. In previous years she seemed to anticipate what was coming, and was fearful about the idea of being placed in a “nursing home.” (Modern and politically correct terminology is “assisted living”, “senior living”, etc., but Mom called these places “nursing homes.”) Mom and I had a deep bond, always emotionally close, though we disagreed about plenty and could certainly do our share of bickering. I think I inherited some of her pure Appalachian stubborn. But anyway, some years back, she and I came to an agreement: she told me, “Danny, when the time comes, I want to live with you. Keep me out of those places as long as you can.”

So I did. Mom moved down from West Virginia to live with me in Athens, Georgia in 2011, and stayed with me for 3 ½ years. Until finally my siblings and a small army of doctors convinced me her condition had deteriorated to the point where I couldn’t provide the kind of 24 hour care she needed. That was a judgment call I just couldn’t bring myself to make, and Mom fiercely protested the idea too, when I’d try to.

Mom developed “sundowning” (a condition where moods are extreme and strongly influenced by changing light), and some days she would alternate between bleak depression and fits of rage. And her overall condition intensified; eventually she had zero short term memory, would eat a meal then stand up from the table and ask when we were going to eat, etc. She was also delusional and often asked when we were going to be leaving on some imagined journey, or insistently tried to find a person who had been dead many years. She sometimes woke me by leaning over my bed and asking where one of her long-dead husbands had wandered off to, saying, “I was just talking to him a few minutes ago.” It was a chilling jolt, waking up that way.

But during that sorrowful chaos of Mom’s last year in my house, I really didn’t get much sleep anyway. I stayed up with her all hours, trying to calm her fears. She was often worried and downright scared of something nameless, and wouldn’t drift off to sleep til sunrise. So I sat there in her room and talked with her through many a long night.

Songwriting has always been, among many other things, my form of therapy. And some pretty dark songs worked their way out of me during those distressing days, watching Mom’s decline. One day she walked into the living room in tears and told me, “Danny, I can’t find myself!” That phrase shook me, and I wound up writing a song with Todd Nance called “Can’t Find Myself” (still unreleased).

Another time, I was asleep and dreamt a cinematic version of what later became “American Country Ghosts.” I saw the story in that dream first, and it played out like I was watching a spooky old movie: a dream version of Mom’s old house in West Virginia, and I was living there with her again, but she was still lost in her dementia and slowly dying. And she was relaying messages to me which she said she’d received from the ghosts of great Country Music stars passed: Johnny Cash, Hank Williams, Patsy Cline, and Waylon Jennings. It was a rotten, sad dream emotionally, but the imagery was so strong I had to write it down as soon as I woke up. 

At the same time Mom was struggling, my marriage was fraying, finally leading to a divorce. These events plus the deaths of some dear friends took their toll on me, and I think contributed to some physical ailments. I finally had a minor stroke in 2016, but a few years before that I wound up in an emergency room in San Francisco due to extreme high blood pressure, which ended a Bloodkin acoustic tour of the West Coast. I flew back to Athens to recuperate, and that’s when Dave Schools came to town.

Dave was camped out in John Keane’s studio, mixing the first Hard Working Americans album, and he had invited me to drop by. So one afternoon I meandered over to say hello, and sat with Dave and John awhile and listened to a few mixes. Which were sounding great, and prompted my offhand remark, “Man, this makes me want to make another record.” To which Dave replied, “Well…let’s make one.”

It was that simple. That’s what started the ball rolling for what became my third solo album, The Beautiful Vicious Cycle of Life. I already had a good crop of songs ready to go, which were my stories and confessions about the rough patch I was living through. A few of the songs directly referenced the situation with Mom, including the title song, and most specifically, “American Country Ghosts”.

It was a country song, probably alt-country would be the working category, and I already heard it pretty full-formed in my mind before we began recording over at David Barbe’s Chase Park Transduction studios. Dave Schools produced, Barbe engineered, and we found some great musicians to bring it all to life:

Duane Trucks brought a great sense of vitality and fun to the sessions, and his drumming was rock solid. (This was right before he got the call to step in as Widespread Panic’s drummer; to my knowledge, “Wings and A Walking Cane” is the only recorded track both Duane and Todd Nance play on.) Schools had told me, “Duane’s 24, but don’t worry. He doesn’t play like he’s 24.” Schools himself, as always, brought raw power and creativity with his bass playing. Then we were lucky enough to get finishing touches from brilliant players like Jesse Aycock (a Tulsa native turned Nashville multi-instrumentalist who has played with the likes of Hard Working Americans and Elizabeth Cook), Frank MacDonnell (guitarist for the iconic Athens band The Glands), Coley Duane Dennis (guitarist for the extraordinary instrumental band Maserati), William Tonks (Mike Mills Rock Concerto, Barbara Cue and many others), and Eric Carter (my longtime partner in Bloodkin). Plus Thayer Sarrano layered her keyboards, pedal steel and beautifully ethereal vocals (besides her solo work, she has collaborated with Hope For Agoldensummer, of Montreal, T. Hardy Morris, Cracker and many others).

We wanted to catch a whiff of that original dream essence on the take for “American Country Ghosts”, and I think we did. Jesse’s pedal steel and Thayer’s keyboards provided some of that elusive midnight mood, while Dave and Duane laid down a groove that left me wide open to drop my vocal in the pocket.

These are the people who made Beautiful Vicious happen. (Along with some dear friends at Havin’ A Ball Productions out in Houston, who came through with the financing.) When it comes to songwriting, after all the life experiences and philosophical meandering and dreams, none of it matters if you don’t bring the blueprints to the studio or stage and finally turn on the juice. And these folks cranked it up. Their talents blended into the soulfully haunted “Southern Gothic” rock that Schools and I were looking for. It’s a record I’m particularly proud of, but it was shortchanged in terms of its release and promotion, and I’m currently looking to add bonus digital tracks and rerelease the whole project in the future. Hey, that’s the music business.

“American Country Ghosts” has become one of the most-requested songs I’ve ever written. People always ask for it at live shows, and I get a lot of questions about it on social media. I’m glad it’s turned into such a positive; it came from such a dark place, but that’s the alchemy of music. Just like the Blues. Hearing songs about bad luck and depression can become powerfully uplifting, because you think to yourself, “Hey…someone else out there felt the way I’m feeling. I’m not the only one.”

I like to think of the song as a kind of collaboration with my Mom. A last little gift she was able to give me despite the obstacle of her dementia, her pain and terror and confusion. Like a cool radio station breaking through the static. She was a grand example of unconditional love and put-your- money-where-your-mouth-is country Christianity; she really did think about the welfare of others, always. She’d tell you in no uncertain terms when she thought you were sinning or acting the fool. But then she’d take you in and feed you and help you along your path, any way she could.

“American Country Ghosts” is her song, alright. Same with “Can’t Find Myself”. The sad stories of her last days. But then I also think of a song I wrote back in 2008 that wound up on the Bloodkin record “Baby, They Told Us We Would Rise Again”. That song is called “Rhododendron”, and Patterson Hood honored me by writing, “As a lover of fine Southern literature I can put the [lines of the song] alongside the finest writing I’ve ever seen.”

“Rhododendron” is more a celebration of Frankie Irene’s life overall, and that’s probably what Mom would have preferred. Focusing on the positive. Which I’ve certainly been trying to do this last year, and I happily report that I’m on the mend, and receive encouraging reports from my doctor. Maybe I learned a couple lessons while I was down there in the trenches. Again, the credit goes to Mom.

“God’s own little wildflower. My wild Rhododendron.”

Dave Schools: It was quite an honor when Daniel Hutchens tapped me to produce a solo album for him. I was well aware of the power of his writing as Widespread Panic has recorded many of his tunes and I have witnessed the palpable responses of audiences far and wide when we perform Danny’s music. The impact of his songwriting is undeniable.

One of the bullet points that Danny and I discussed before recording was the idea of creating a core backing band that was of Athens yet unlike anything that listeners had ever heard before complementing his songs. As producer I wanted to be able to sonically represent the emotional impact of these highly personal and often biographical songs and I felt that the disparate backgrounds of the players would help us achieve the goal.

It was a stylistic roll of the dice but it paid off immediately because all of the players understood and adhered to my favorite studio mantra: SERVE THE SONG. And what songs we had to serve.

“American Country Ghosts” was one of the lynchpin tracks in a stack of excellent songs that Danny and I had selected to record and I was further excited by the fact that we had assembled a crackerjack band to back him up: David Barbe (who was also engineering the recording at Chase Park), Duane Trucks, Thayer Sarrano, and myself. Featured on this track is also Tulsa native Jesse Aycock on pedal steel. Danny himself was the constant rock solid foundation of all the tracks as he patiently held the rudder while the band learned the arrangements on the fly. His steady rhythm playing on acoustic perfectly matched the sometimes snarling and always spot on vocal performances. More often than not Danny’s performances are one take masterstrokes.

Having known Danny personally for decades and knowing the struggles he has weathered I felt it was important to insure that the music the group created was an emotional compliment to these highly personal lyrics and that it would in no way cloud the impact of the story told. In this respect the band soared, waiting for the right moments to unleash their personal best on the tracks.

“American Country Ghosts” was also one of the first tunes we cut and was the first time I heard Thayer Sarrano perform. Watching her leave her body while consumed by the gravitas of the song during her piano outro remains one of my favorite studio moments. The restraint of the band until the emotional build at the end of the track is a great example of how we served the contemplative nature of the lyrical content. 

More importantly, “American Country Ghosts” is a unique slice of personal songwriting in the canon of Americana music. Written from the perspective of a man who is dealing with the impending mortality of his mother and the onset of her dementia, he questions the choices he has made in his life as his mother is visited by spirits of country music greats, like Johnny Cash who dumps out his bag of cocaine, and Patsy Cline who reminds him that his mother is a saint. A perspective that seems more and more rare in today’s world of phony sentimentality and self-aggrandizing music.

Here is a songwriter who isn’t simply willing to let his own blood for the listener. Here is a songwriter that has no choice but to pour his inner demons as well as his personal victories out through his art for all to hear and feel. This is something we could use a lot more of in this crazy world.

-Dave Schools: January 6, 2018

Click here to stream/purchase Daniel Hutchens' album, The Beautiful Vicious Cycle of Life

"AMERICAN COUNTRY GHOSTS"

The ghost of Mr. Johnny Cash dumped out my cocaine

At least my Mama told me he did

She’s 90 years old, she’s seeing ghosts again

I shouldn’t have brought that shit in her house but I was hurting so bad

Watching Mama coming to an end

(Chorus)

American Country Ghosts

I can’t see ‘em but my Mama can she tells me what they say about me and how I wrecked my life again

Hey, tell me something I don’t already know American Country Ghosts

Now if you can

Patsy Cline says my Mama’s a saint and I should show her more respect

Like apple pie and the 4th of July

Them shiny medals I could never quite hang around my neck Hank Williams says my wife and kids they miss me

But then he drinks my whiskey and he rips up my alimony check

(Chorus)

(Bridge)

Mama says they wanna talk to me I’d rather hear their sad old songs Mama says they’re pissed off at me

They say I’ve been the outlaw all along

Waylon Jennings says I’ll go to hell if I don’t change my evil ways

Waylon Jennings ought to know mighty well I hear he had his share of evil days

I don’t know why these ghosts give a damn anyway but I’m staying here til Mama leaves

So I’ll listen to what they say

(Chorus)

American Country Ghosts

I can’t see ‘em but my Mama can...

Written by Daniel Hutchens

From the record The Beautiful Vicious Cycle of Life

Released April 2016

"CAN’T FIND MYSELF"

I can’t find myself

Who was I supposed to be

I don’t know who you’re talking to I don’t know if you know me there’s frost on my window glass I think this is July

And I can’t find myself there’s something in my eye my friend

And I can’t find myself tell me what to do

Should I just sit here or wash some clothes this house is turning blue

There’s something I was gonna ask there’s something on my mind but I just can’t turn it over

It’s leaving me behind my friend

(Chorus)

Did you see me just the other day I was laughing and I felt okay

I saw a bluebird in the backyard

Then he flew off and I took it pretty hard my friend

I can’t find myself

I’m not sure if I’m there

There’s a full moon in my mirror there’s an echo everywhere

I guess I could take a little walk

And find out where I go

I’ll start down by the bluegill pond i’ll start off nice and slow

My friend

(Chorus)

(Bridge)

All you’ve done for spite I ain’t gonna tell on you

All the times you wanna fight I’ll stand toe to toe with you I’ll be true I’ll see it through my friend

I can’t find myself where do you think I am

I used to live up in New Mystic then I moved back to West Virginia so smile when you think of me happy times we used to know I don’t know who you’re talking to I don’t know if you know me now my friend

(Chorus)

Written by Daniel Hutchens and Todd Nance Unreleased

"RHODODENDRON"

Life's a mystery

But it's fragrant as an apple tree swelling her blossoms in July

In the Ohio River valley

The sky's distorting with the heat a kiln-slicked glaze of baby blue

And there's always hard work to be done in the Ohio River valley

She grew up in Silverton drew well water for her family

Laid silverware by the breakfast plates and reckoned she was happy

On a little farm not far from here where the hillsides and the valley

Were tangled thick with summer's blazing fireworks bouquets

(Chorus)

Of wild rhododendron wild rhododendron

Wild rhododendron

wildflower wild rhododendron

Wild rhododendron Wild rhododendron wild

And her daddy was a bus driver and her mama was a teacher

And they worked backbreaking hard to raise their children

With a touch of Old Testament iron and a whiff of wild rhododendron

Life's a mystery

But it's tempting as an apple pie cooling a November windowsill in the Ohio River valley

The skies are low and concrete grey the countryside's bare and brambly

But there's always hard work to be done in the Ohio River valley

She grew up in Silverton drew well water for her family

Laid silverware by the breakfast plates and reckoned she was happy

On a little farm not far from here where the hillsides and the valley will soon be drifted deep with snow while seeds wait down below

To bring springtime's rhododendron

(Chorus)

Life's a mystery

But it's beautiful as she is god's own little wildflower my wild rhododendron

Written by Daniel Hutchens

From the record Baby, They Told Us We Would Rise Again

Released February, 2009

All songs © Wet Trombone Music BMI

Trey Anastasio Adds Dates In Birmingham, New Orleans, + More January 8, 2018 14:13

TAUK Taps Naughty Professor Horns For Fresh Take On Tunes January 7, 2018 20:59

Interview by Brett Hutchins: Brett on Bands

The live music scene of Atlanta was booming this New Year’s Eve, but if it’s exploratory instrumental virtuosity you crave, Variety Playhouse certainly had you covered. Rising heavy jam rock band TAUK combined with New Orleans-based psychedelic jazz and funk band Naughty Professor for a horn-driven take of their tunes. Prior to the show, TAUK keyboardist Alric “A.C.” Carter chatted with us from the road about the magic of the South, the art and science of improv, and what to expect from Sunday night's mammoth collaboration.

The South has been good to you guys. What's so special about it?

AC: It’s all about the vibe.  There’s a lot of live music lovers around the country and around the world, but down in the South, it seems like people take the time and have the patience to appreciate it a little differently than other places. They’re very welcoming. For us, that’s been something we’ve noticed from the start. We feel like we need to give back that appreciation. It’s always fun.

It’s cool you guys can notice that difference from up on stage.

AC: Every state and every venue is different, but you can definitely see it in a positive way.

What's the preparation process like for these shows with horns? It seems like a workout, especially with some of the tighter compositions you guys have.

AC: Naughty Professor are great players. Their style fits our sound and how we approach music.. We’ve done a couple shows with them before and we enjoy them immensely. We emailed them some of the tunes and gave them the freedom to take it where they wanted. It’s nice to allow bands to add their own voice independently. They came back and killed it with the arrangements. It’s better than anything I could’ve come up with.

Do rehearsals happen or is it just a back and forth email conversation?

AC: They didn’t have to send it back. There’s more of a trust factor going on there. They have a high level of musicianship so there’s an understanding and they delivered. We ran some things in soundcheck about one time each and they nailed it. That’s what happens when you have a pro section.

What's the New Years format going to be? Fun covers in store?

AC: Their whole band is opening and then the horns will come out for a number of tunes throughout our set, both originals and covers.

Your tours with Umphrey's really put you guys on the map, but you've done some odder bills as well. I've got the Railroad Earth shows in mind. How did that come about and what's the common ground there?

AC: A bunch of those guys are from Jersey, close to us in New York. They were kind enough to invite us out to Hangtown, a festival they curate. One of their guys came out and watched our set and they had a lot of positive feedback for us. They reached out when they did the Capitol Theatre and had us open. For us, that’s an awesome venue. It was a no brainer. It’s a different genre of music, but they’re great at what they do. Railroad Earth plays a different genre of music than us, but their fans were receptive to our set. It wasn't awkward at all.  Their fans were respectful of what we were doing.

How do you stay sane doing so many shows a year?

AC: We’ve toned it down to 110 this past year, because we are recording a new record, but yes, it’s still a lot of shows. We try to be as honest with each other as possible on the road to make sure we keep each other in check. We’re always writing, whether it’s in Ableton or Logic or other music notation programs. Or just jamming. There are definitely things we do outside of Tauk. It’s who we are as people and as musicians.

What's the atmosphere like in the van when you guys are going from town to town on tour? Are you all nerding out on music together or just looking at Facebook memes like the rest of us?

AC: Right now, it’s nap time after two ragers in Charleston. I was just watching There’s Something About Mary. We’ll write, watch movies, laugh together, and of course there’s the Instagram and Facebook scrolling. It all depends on how bored you are in the van.

What do you listen to that might surprise us?

AC: Boyz 2 Men? There’s some cheesy stuff in the mix for sure.

Why were you drawn to instrumental music?

AC: I don’t differentiate between the two. It’s just about what feels good and what sounds good. I do understand that’s completely subjective. I started out doing classical music. In the context of TAUK, we started as a high school band and had vocals. As our sound matured, we found that melody is an important tool to make our music accessible. We still design our songs to be accessible and melody is our main tool in doing that.

Talk about about the art of improv for TAUK. How much of the shows are dedicated to “going there”?

AC: Every show we try to go there. By going there, I’m assuming you mean take it to a high level. That’s something we’re conscious about. We want every show to be unique and find cool ways to change it up. When you’re doing so many shows a year you have to do that, both for your listeners and for yourself. It gets boring for everyone otherwise.

Do you listen back to the shows for ideas on future compositions?

AC: Absolutely. There’s a lot of times where we will try new ideas within a song and listen back to see  both how the crowd reacted and how we felt. And we’ll take notes. It’s kind of like writing a paper in a way. There are multiple drafts before you get a final draft submitted. We make edits and listen to suggestions on how to change it.

That’s an interesting balance between the romantic, free-flowing idea of improv and then the actual work you have to put into it.

AC: Right. It’s not something that’s always exact in certain songs. Certain songs have a different feel and require different approaches and make you look at things differently.

Are there times where you listen to yourself and cringe?

AC: Absolutely. I try to remove myself from that because the bias is inevitable, but the more you listen and pay attention, the better you become.

For all of the latest updates on TAUK, make sure to follow the band on Facebook, Instagram, and Twitter.

Watch TAUK perform "Waver" at Terminal West in Atlanta (2016) here:

Win Tickets To Funk You's New Year's Eve Throwdown At Aisle 5 December 28, 2017 08:03

Here's How You Can Help Tragic City Finish Its Latest Studio Album December 22, 2017 15:12

Summer Camp Music Festival Announces 2018 Initial Lineup December 21, 2017 13:25

Photo by Keith Griner: Phierce Photo

It's that time of the year again, when all of our favorite summer musical festivals are confirming lineups and beginning to roll out their initial lineups.  Summer Camp Music Festival, hosted annually by moe. and Umphrey's McGee, has certainly solidified itself as one of the jam scene's premier annual events over the years. Earlier today, festival organizers revealed the initial 2018 lineup, which is looking as strong as ever before. 

In addition to multiple sets from moe. and Umphreys, next year's festival will feature performances by Phil Lesh & The Terrapin Family Band (two sets),  STS9, Tipper, RL Grime, Greensky Bluegrass, Action Bronson, Beats Antique, Cherub, EOTO, Everyone Orchestra, JJ Grey & Mofro, Keller Williams, Kyle Hollingsworth Band, Leftover Salmon, Lettuce, Mija, OOKAY LIVE, SOJA, Spafford, BIG Something, Aqueous, and Yonder Mountain String Band. See below for the complete initial lineup. Additional performers will be added to the lineup in the coming weeks. Tickets to next year’s event are available now and can be purchased at the festival’s official website.

The Summer Camp Music Festival is a multi-day music festival created by Jay Goldberg Events & Entertainment and held annually on Memorial Day Weekend at Three Sisters Park in Chillicothe, Illinois. The event typically attracts around 20,000 visitors, of which between 8,000 and 10,000 arrive before gates open. In 2014, it was listed as one of the top 40 music festivals in Rolling Stone.

The first Summer Camp Music Festival was held in 2001 at Three Sisters Park in Chillicothe, IL. About 1,000 attended the festival that year, and enjoyed over 20 bands on 2 stages over the course of 2 days. Since then, Summer Camp Music Festival has grown to more than 20,000 attendees, hosting more than 100 bands on 7 stages over 4 days.

Check out the 2017 Summer Camp highlights here:

Phish Confirms Webcasts For Upcoming New Year's Run December 20, 2017 14:31

Veteran jam rock band Phish has confirmed that all four nights of the band's upcoming New Year's run at Madison Square Garden will be broadcast in full 1080p HD.  Each of the four shows (12/28 - 12/31) can be purchased individually or as a group bundle via LivePhish.com.  If you've never experienced an evening of Phish "couch tour", it's something we highly recommend.  The band offers an experience like no other from the comfort of your own home, with live multi-angle HD footage and soundboard audio.  Considering this band's traditions for unpredictable, unique "gags" on New Year's Eve (see video below), this is should be another exciting run to say the least.

Click Here: Place Your Order Today

Watch Phish perform "Petrichor" > "Auld Lang Syne" > "Suzy Greenberg" on 12.31.16 here:

The Vegabonds Bring The 'New South Rock' To Zydeco On Friday December 13, 2017 22:39

Riding the wave of a highly successful year, Alabama natives The Vegabonds are returning home on Friday night. The band will bring its unique, 'new south rock' show to Birmingham's Zydeco, with a little help from supporting acts Dirty Girl and The Mammoths. This run has seen the five-piece throughout the East Coast with remaining stops in Jackson, MS (12/14), Birmingham, AL (12/15), Atlanta, GA (12/16), Augusta, GA (12/18), Raleigh, NC (12/19), just to name a few.

We're giving away a few pairs of tickets via Facebook and Instagram, so make sure to head over to our social channels for a chance to win. Simply share our Facebook post + tag a friend and/or like our Instagram post and tag a friend for a chance to win. Make sure your Facebook settings are on 'public' so we can see your shared post. Feel free to double your chances and participate in both giveaways, if you feel so inclined.

The Vegabonds bring their own flavor of the the americana/country movement with each performance, and this homecoming is sure to be a special occasion. Click here to join the official Facebook page. Click here to purchase tickets in advance!

Watch the band's music video for "Long Haired Country Boy" here:

Official Bio: The Vegabonds

BIG Something Confirms 25-Date Winter Tour December 13, 2017 21:58

Photo by Craig Baird: Home Team Photography

Few bands have been have the type of impact on us that BIG Something has this year. The North Carolina-based six-piece finds a way to blend the best elements of 90's rock with the perfect amount of psychedelic improvisation. Earlier today, the band announced an major winter tour, which see's the band down the east coast and across the southeast. This run kicks off in serious fashion with a two-night stand with The Werks, with the remaining dates leaving plenty of speculation for some serious supporting acts. This is a band / tour you don't want to sleep on in 2018: plain and simple.

If you're still looking for New Year's plans, BIG Something has a big three-night run scheduled at Raleigh's Lincoln Theatre on Friday, December 29th - Sunday, December 31st. Supporting acts include Maradeen, Travers Brothership, Urban Soil, and Dr. Bacon. See below for complete list of winter tour dates, and make sure the follow the band on Facebook and Instagram for all of the latest updates.

2/9 - Burlington, VT @ Higher Ground Showcase Lounge*
2/10 - Boston MA @ Brighton Music Hall*
2/11 - Buffalo NY @ Mohawk Place
2/14 - Syracuse NY @ Westcott Theater
2/15 - Philadelphia PA @ The Foundry @ The Fillmore Philadelphia
2/17 - Morgantown WV @ 123 Pleasant Street
2/18 - Columbus OH @ The Basement
2/21 - Ann Arbor MI @ Blind Pig
2/22 - Indianapolis IN @ HiFi Indianapolis
2/23 - Chicago IL @ Lincoln Hall
2/24 - Kalamazoo MI @ Bell’s Eccentric Cafe - Back Room
2/28 - Louisville KY @ Zanzabar
3/1 - Lexington KY @ Cosmic Charlie’s 
3/2 - Nashville TN @ Exit In
3/3 - Chattanooga TN @ Revelry Room
3/17 - Roanoke VA @ Martin’s Downtown
3/23 - Telluride CO @ Sheridan Opera House
3/24 - Telluride CO @ Sheridan Opera House
3/29 - Denver CO @ Bluebird Theater
3/30 - Fort Collins CO @ Hodi’s Half Note
4/3 - Bozeman MT @ The Eagles Ballroom
4/4 - Missoula MT @ Top Hat Lounge 
4/5 - Sandpoint ID @ The Hive
4/6 - Sandpoint ID @ The Hive
4/7 - Seattle WA @ Tractor Tavern
-
* w/ The Werks

Listen to BIG Something's "Song For Us" here:

David Byrne Announces First Solo Tour Since 2009 December 13, 2017 16:07

Talking Heads frontman David Byrne has announced a small amount of shows on the American East Coast and South America, as well as European festivals including Inmusic in Croatia and Roskilde, Denmark. While it's a rather brief tour, he's describing his new stage setup as "the most ambitious show I’ve done since the shows that were filmed for Stop Making Sense." Byrne is said to be testing out new material from his recently completed solo album, while mixing in the Talking Heads classics as well. See below for a complete list of dates! 

David Byrne Tour Dates:

March 3: Red Bank, NJ, USA – Count Basie Theatre
March 4: Wilkes-Barre, PA, USA – F.M. Kirby Center For The Performing Art
March 6: Buffalo, NY, USA – Center For The Arts
March 7: Hershey, PA, USA – Hershey Theatre
March 9: Waterbury, CT, USA – Palace Theater
March 10: Kingston, NY, USA – Ulster Performing Arts Center
March 16: Santiago, Chile – Lollapalooza Chile
March 18 Buenos Aires, Argentina – Lollapalooza Argentina
June 25: Zagreb, Croatia – Inmusic Festival
July 06: Roskilde, Denmark – Roskilde Festival

Watch David Byrne perform "Once In A Lifetime" at Austin City Limits (2007) here:

Dark Star Orchestra Returns To Birmingham On Sunday Night December 13, 2017 14:03

Photo by Craig Baird: Home Team Photography

Dark Star Orchestra is returning to the Birmingham's Avondale Brewing Company on Sunday, April 8, 2018.  Using entire shows from the Grateful Dead’s decades of touring as a launching pad, Dark Star Orchestra recreates song for song performances straight from historic set lists. Not merely mimicking the Dead, DSO instead seeks the individual style of each era and offers its own interpretations and improvisations for a group famed and loved for their interpretations and improvisations. Click here to purchase your tickets in advance. 

Having toured worldwide to the tune of over 2000 shows, Dark Star Orchestra’s determined commitment to ‘raising the Dead’ has drawn them much critical acclaim. Dark Star Orchestra isn’t a cover band. Its shows are not even meant as tributes. What Dark Star Orchestra achieves is a continuation of the spirit of what has now become over forty years of the Grateful Dead’s timeless music.

This will be a rather unique show for DSO, as guitarist Rob Eaton, who plays the role of Bob Weir, will not be with the band due to unforeseen health circumstances. The band issued the following statement as to what fans can expect from this run of shows without Rob:

“Due to unforeseen family health circumstances Rob Eaton on rhythm guitar and vocals is unable to join us for shows March 30 – April 12,” reads a note from DSO. “During this time period, Dark Star Orchestra will perform the Music of Jerry Garcia Band plus songs from the Grateful Dead Repertoire. We wish Rob Eaton and his Family the best and we look forward to his return to the stage with DSO on April 13.”

Watch a clip of Dark Star Orchestra performing "St. Stephen" at Avondale Brewery in 2017 here:

Watch Dark Star Orchestra perform "Playin' In The Band" at Gathering of the Vibes here:

Win VIP Package To 9th Annual Bloodkin & Friends Celebration In Athens December 13, 2017 01:18

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Perpetual Groove Announces Extensive 2018 Tour Dates December 12, 2017 12:54

Photo by Ryan Lewis Photography

Georgia-born jam veterans Perpetual Groove have announced a 21-date tour for early 2018. This run of shows kicks off at Sky City in Augusta, GA (1/26), and continues across the southeast and up the east coast. Alabama dates include Bourbon Street Bar in Auburn (2/23), Zydeco in Birmingham (2/24) and Soul Kitchen in Mobile (3/9). See below for a complete list of dates, and stay tuned for future updates, ticket giveaways, and much more from PGroove!

Based in Athens, GA, Perpetual Groove is a long time well established touring act with an enthusiastic fan base and international critical acclaim. PGroove's music has been described by their fans as anthemic arena rock. Their large catalog of original music offers something for everyone. The addition of an intense, retina burning, intelligent light show creates an atmosphere unlike any other, assuring fans they'll get a highly polished, yet different show each night.

Watch the band's entire set from Purple Hatter's Ball (2017) here:

Perpetual Groove - 2018 Tour Dates

1/26 - Augusta - Sky City

2/1 - Asheville - Salvage Station
2/2 - Greensboro - The Blind Tiger
2/3 - Raleigh - Lincoln Theatre
2/23 - Auburn - Bourbon Street Bar
2/24 - Birmingham - ZYDECO
2/28 - Baton Rouge - Varsity Theatre - Baton Rouge, LA

3/1 - Houston - Last Concert Cafe
3/3 - Austin - Antone's
3/8 - New Orleans - The Howlin Wold New Orleans
3/9 - Mobile - Soul Kitchen

4/13 - Washington DC - 9:30 Club
4/17 - Rochester - Funk 'n Waffles Rochester
4/18 - Syracuse - Funk 'n Waffles Syracuse
4/19 - Saratoga Springs - Putnam Den
4/20 - Jay, VT - Jay Peak Resort
4/21 - NYC - The Gramercy Theatre
4/27 - Newport News - Boathouse Live
4/28 - Winston-Salem - Second and Green Tavern

5/4 - Nashville - The Basement East
5/5 - Knoxville - The Concourse at The International - Knoxville