Space Was The Place For Widespread Panic At The Orion Amphitheater In Huntsville June 2, 2022 19:19

Words by Monica Dean 

Photos by Craig Baird: Home Team Photography

Widespread Panic kicked off the Memorial Day run with a cover of Neil Young’s, “Keep on Rockin in the Free World”. John Bell delivered the timely message, “Here’s one more kid that will never go to school / Never get to fall in love, never get to be cool” after the recent school shooting in Texas that took the lives of 19 students and two teachers. Then it was down to business with a blow of Sunny Ortiz’s whistle into Coconuts, before Dave Schools gleefully welcomed the crowd “to space camp.”  A body shaking “Worry” before JoJo Hermann set fire to his piano with “Big Wooly Mammoth” to close the set.

Panic paid respects to several influencers and mentors Memorial Day weekend, especially to Col. Bruce Hampton. They started the second set with “Fixin’ To die,” a song Colonel Bruce loved to cover. JB's voice resonated in our soul on “Mercy,” before hurling the crowd back into outer space with a playful rap between JB and Schools on “Going Out West.”  Panic slides backwards through space and time into  “Barstools and Dreamers” with a super rare and much missed “Thank You For Lettin’ Me Be Mice Elf” rap that hasn’t been played since 2015.  Second set closed out with a tribute to Tom Petty with “Honeybee.”  Panic raps up their first night in Huntsville with JB getting growly on “Pigeons.”

They were back at it on Saturday night; sipping on a “Tallboy” served up with some “Ribs and Whiskey” to start the first set and closed out with Jojo getting rowdy on “All Time Low”.  Buffalo Springfield’s “For What It’s Worth” opened the second set. There was a long “Fire on the Mountain” tease during “Stop/Go,” and Neil's Young's "Walk On" was up next. “Driving Song” runs into “Surprise Valley,” takes a break for drums and a jam before Panic orbits back around into “Driving Song” and “Surprise Valley” again. The crowd had “an ass kicking time” during “Postcard” to end the second set. A hard hitting “Halloween Face” and “Flat Foot Flewzy” ended night two.

Things got real when a backwards hat JB walked onstage Sunday night for more Memorial Day tributes.  The set started with Link Wray’s instrumental “Rumble” before giving us all a “little bit of room to fly” with “Conrad”. Panic returns to tributes with Willie Dixie’s “Weak Brain, Narrow Mind”, Billy Joe Shaver’s “Chunk of Coal,” and Vic Chesnutt’s “Sleeping Man” and “Morally Challenged” which was played for just the third time ever. JB flows through Danny Hutchens’ (Bloodkin) “Trashy” before grabbing the keys and taking a ride on “Love Tractor” to end the first set. 

Memorials continue in the second set with “Down,” a song written by founding Panic drummer Todd Nance who passed away in 2021. Coming back to Col. Bruce once again for a Zambi inspired jam, “Time is Free'' with a nice “Space is the Place” rap from JB.  When asked about what Zambi meant, Col. Bruce once said in an interview that “the principal of Zambi is when in doubt, go completely out”.  Panic did just that Sunday night with an encore honoring founding Widespread Panic members, guitarist Michael Houser and drummer Todd Nance with “Blue Indian”, “Travelin’ Man” and “The Waker”.

Next up, Widespread Panic makes the yearly pilgrimage to the land of sunny rocks June 24-26 at Red Rocks Amphitheater in Denver.

The Road to Mountain Music Fest: Kanika Moore of Doom Flamingo June 1, 2022 21:51

Photo and Music Video by Paul Chelmis

Interview by Jordan Kirkland: Live & Listen

Nashville's Tom Galloway Salvages Gold With New Album 'Wreckage' June 1, 2022 21:04

Photo by Middle TN Films

Words by Jordan Kirkland: Live & Listen

Nashville-based singer/songwriter Tom Galloway has been grinding his way through the world of music since his teenage years. After leading various groups through his time as a high school student, Galloway founded the jam/rock band Mama's Love during his college years in Athens, Georgia. Quickly becoming one of the Southeast's most popular touring acts at that time, it was immediately clear that he was on to something special. The band remained active and toured regularly all the way up through 2014, when Galloway and his bandmates began pursuing other musical endeavors. 

After relocation to Nashville, he would join up with former Mama's Love bandmate Whit Murray's band Maradeen. Shortly thereafter, Galloway would also begin focusing on his solo career as a singer/songwriter. After releasing his debut EP Cross Currents in August of 2018, Galloway followed with his sophomore EP, Rearview, in October of 2020. While so many were familiar with Galloway's work playing electric guitar and singing in Mama's Love and Maradeen, these releases allowed him to showcase a completely different, more personal side of his songwriting. 

As you will read in the Q&A below, there was a collection of songs that Mama's Love started recording back in 2014 which had never seen the light of day. While many of these tunes had become fan favorites in the band's later years, even Galloway himself had almost forgotten about them. This material was extremely personal and held a special place in his heart. They were rediscovered back in 2020, and thanks to the help of Nashville-based producer Dan Davis, they're now available on all major streaming platforms as of Friday, May 27th.

Just a few days ago, I was fortunate enough to catch up with Galloway and hear all about the story of Wreckage. I learned that this release is truly as important as any other collection of music he has released, and after listening to these tracks, I can totally see why. Check out the Q&A below to learn a little bit more, and make sure to give this album a full spin as soon as you can find the time. 

Tell me about the lineup you assembled for this project. What's your history with these guys?

Tom: The original group in the studio was the Mama’s Love lineup from 2013-14: Bill Baker, Ross Bogan, Richard Chamberlain, & Doyle Williams. This was set to be the fourth Mama’s Love record but was left unfinished. Most of these songs were the new favorites of our live shows around that time. This group was full-time on the road for years. We had ourselves a time all up and down the east coast and frequented the west in a treacherous converted red shuttle bus we named Bunny Wheeler. 

The Nashville sessions included Dan Davis behind the board, with guitar overdubs from Stephen Taylor (Tom Galloway Band), Whit Murray (Maradeen, Mama’s Love), and Daniel Donato (Daniel Donato’s Cosmic Country). Davis also recorded and sang background vocals with Cy Simonton (CBDB), Willow Scrivner (Willow & Wood), and percussion from John Rodrigue.  If you are familiar with all these guitarists, it’s really cool to try and guess who is playing where. The mix of all these guys makes for a dynamic listening experience for sure.   

What's the backstory on these seven tracks? Is this all previously unreleased material?

Tom: A lot of these songs were written during a transition in my life when things were uncertain. The lyrics deal a lot with isolation and searching for love and meaning. The opener, "Land of the Midnight Sun," and the single "Missouri," were written on the same day. We always paired these songs together as openers for our live shows, so it felt natural to have them back to back at the beginning of the album. "Levees of the Heartland" deals with dropping emotional barriers to the power of love. "Hey Little Angel" was brought to the table by keyboardist, Ross Bogan, and it was always a rowdy song to play live. After hearing Angel again I had to call him up and ask if I could release it. "Times of Trouble" touches on broken dreams mixed with unhealthy distractions. "Stone Farm" is a story of desolation, a farmer haunted by lost love praying for redemption. "Broken Blues" is a heartbreaker and an ode to the healing power of music. 

Tell me about the recording process for Wreckage.

Tom: We started the record in ‘14 with songs I’d been writing since ‘12, and now 10 years later, here we are. In the process of moving to Nashville and getting involved in different projects, the foggy idea of releasing these songs kept getting pushed and for a while, I had forgotten about them entirely. But when I recovered the basic tracks in 2020, I was reminded of how important these tunes are to me. The true hero in this is my good friend and producer, Dan Davis, who was able to take these raw scattered tracks and transform them into worthy releasable songs. I don’t think either of us knew what we were getting into trying to piece this all together. We had several guitar overdub sessions in Nashville, and we recut all the lead vocals, harmonies, and percussion, while Bogan sent us some fresh overdubs from Charleston. Slowly but surely, we got the tracks to a place where we felt comfortable releasing. It wasn’t easy, and I’m truly grateful for the time and energy spent by Dan and everyone else on this project, and it feels good to say we salvaged the gold from the wreckage.     

What do you hope people take away from this recording and these songs?

Tom: I realized halfway through the re-recording process that putting this out was really more for me than anything else. And as we struggled to get this right, the more I needed these songs to come out. Because it’s not just seven old songs being released, it’s a part of my life I can now revisit through this music; a collision of the musical family of my past with the musical family of my present. It’s really cool to listen through and hear the different parts from everyone. The album melts into an amazing sentimental and satisfying piece of personal history and I’m grateful to everyone that made it happen.

Stream Wreckage in its entirety via Spotify here:

The Road to Mountain Music Fest: Rich Vogel of Galactic May 26, 2022 10:13

Photo by Marc Pagani

Interview by Jordan Kirkland: Live & Listen

Great to speak with you today, Rich. Galactic has been going at it for nearly 30 years now. I think you guys started back in 1994. The lineup has seen so many collaborations. I was hoping you could tell me a little more about when this band started to take off.

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Rich: Yeah, you got it right. We started playing together back in 1994. I think that's when I started playing with them. Rob (Mercurio), Jeff (Raines), and Stanton (Moore) already had something going. They wanted some keyboards, so I volunteered my services (laughs). They invited me to a rehearsal, and the rest was history.

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We played a few gigs around town. We'd open for guys like George Porter Jr & The Runnin' Pardners. Played a bunch of uptown clubs. It was really in 1995 that we met Dan Prothero. He was an engineer / record producer who had done things on a label called Ubiquity out in San Francisco. They were putting out some old school, rare groove stuff from the 50s and 60s. Some of the underappreciated and unreleased stuff.

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Back then, all of music wasn't available like it is now. There was so much music that hadn't ever been released, especially in that world. They were rereleasing some things and really creating a scene out there on the West Coast.

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Dan came to New Orleans and was looking for a local band to record. Somehow, he got in touch with us. We ended up doing one track in our apartment, which was kind of the band house at the time. Stanton, Rob, and Jeff lived there, and I lived a few blocks away. We did all of our rehearsing there. We set up make shift recording gear. Dan had a DAT, which is a digital audio tape. It was pretty cutting edge at the time. No one was recording on computers yet.

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He was able to set up a make shift studio. We ended up cutting one song, which was "Black Eyed Pea." That appeared on a compilation record that Ubiquity put out. I remember the title of the record was Is That Jazz?  It was an interesting title, because it was a bunch of instrumental music with solos and everything, but it was more so based in funk.

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It was really that collaboration with him and making a recording of any kind that made things start to gel with us. We made plans with Dan to make a record. He came back in the summer of 1995. We booked two days at Sea-Saint Studios, which is a legendary studio in New Orleans. Sadly, it's no longer here post-Katrina. It was Allen Toussaint's studio where so much incredible music was recorded there in the 70s.

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Pretty much everything The Meters did was recorded there. We really wanted to work there, because it was the source of so much music we loved. We figured out we could record two days there (laughs). That was about how much analog tape we could record at the time as well (laughs). We were recording on 24-track analog tape. We also set up at the house so we had a few more days to fine tune some other stuff.

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We ended up making Coolin' Off, our first record. That was really it for us. That really turned the corner for us. We had an album, and we got accepted to play New Orleans Jazz & Heritage Festival for the first time in 1996. That was when we really hit the road and never looked back.

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That's amazing. I feel like the mid-late 90s was when so much was happening in that scene that Galactic fell in place with. Bands like Phish, Widespread Panic, Dave Matthews Band, and moe. were really taking off. Now you see the emergency of Galactic, Medeski Martin & Wood, Sound Tribe Sector 9, and Keller Williams. It seemed like a really special time to be a part of that movement.

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Rich: It really was. I completely agree with you, especially looking back now, It seemed like there was a handful of bands, you know? It seemed like we ended up knowing all of them within about a year or two of being out on the road. The bands were just really getting out there and playing shows.

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We were kind of used to playing for hours, late into the night around New Orleans. That was just how things went around there. We were trained up to go out and do whatever. These festivals were coming together. We were kind of designed for that with our history in New Orleans.

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I have a vivid memory of Medeski Martin & Wood coming into town. They playing a tune on WWOZ, our radio station in New Orleans, and I knew I needed to go see them. They had a keyboard player who plays organ and all of the old keyboards that I love. These weren't really in vogue prior to this era that you mention. Guys like Medeski, JoJo from Panic, and I were bringing out old Wurlitzers, Leslies, and Hammonds that had fallen out of vogue in the 80s and early 90s.

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I went to an MMW gig at the old Howlin' Wolf. It was fantastic. I was mesmerized by their whole evening of music. It's just three guys playing instrumental music. I'd never seen anyone who played music like that. They were so talented. They were improvising. Playing a lot of groove stuff with hip hop beats. It was so cool, and the 12-15 people who were there with me completely agreed (laughs).

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I think they came back 6-9 months later, and there were a few hundred people there. Then I they opened for Phish at some point, and when they came back, they were about ready to headline Tipitina's. That was right when we were getting to. The same type of thing happened. We went out in '96 and hit a bunch of clubs on the West Coast. Thanks to Dan and Ubiquity, there was already a little buzz about us out there.

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We had some pretty solid shows, but we played a bunch of clubs. There might be 30-50 people in one room, but those people really dug it. So, we kept coming back, and it kept growing and growing. And you're right, that was really the beginning of that era. There was such a synergy with all of these bands. That really lasted into the early 2000s.

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We were riding that wave and didn't even realize it at the time. It was a great time to be on the road, and it feel like a special thing. We always wondered why there weren't more bands out there doing what we were. There were some older bands, such as Dirty Dozen Brass Brand, which certainly had been doing it. It was a great time for us to be interested in what we were naturally interested in. We loved all of this old school funk, soul, R&B, and rock.

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We were in New Orleans, and we love The Meters. They have the same instrumentation as us. Those groove-based rhythm sections that were so good. That's why i was so taken with Medeski. We just wanted to hone those skills. A rhythm section that can really groove. Everything feels good and you develop it from there.

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Absolutely. Whether you knew it or not at that time, Galactic really did help pave the way for what would become such a huge scene. It's damn near impossible to keep up with all of the new acts emerging these days. Being a teenager in the early 2000s, I have such vivid memories of the era of music.

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I remember stumbling across the Coolin' Off back in middle school. I can't tell you how many times I listened to songs like "Something Wrong With This Picture" and "Church" back then. Definitely an interesting era for music with what was going on with modern rock at the time. The grassroots movement that Galactic was a part of really became the modern jam era.

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Rich: Yes, you're absolutely right.

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I know there has been plenty of evolution within the band over the years. While y'all are predominantly instrumental, House Man (Theryl DeClouet) added a major element with the vocal material. Later on, you've had so many special guests join the band for various projects. Who have you guys been working with on vocals lately?

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Rich: That's kind of been our mode ever since House Man had to stop touring. For a minute, we searched around for another vocalist. Ultimately, we decided that we weren't going to "replace" House Man. We felt that we should focus on collaborations. We knew so many talented singers. When it comes to making records, you can do anything. Why not collaborate with the best people who were interested?

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While we had that strong instrumental side, there wasn't going to be a new "lead singer" of Galactic. For a band like us, this overgrown rhythm section, as I like to say sometimes, it kind of made sense. Then when you go out on tour, you want to present these songs, and you want to have someone who can do them justice. It's a tall order when you've recorded songs with Irma Thomas, Cyrille Neville, Allen Toussaint, and Jon Boutee.

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These are the kind of vocal artists we were collaborating with. And with that, you need a pretty heavy hitting singer to come out and help you represent your history and material. We've had tremendous luck to find the right person at the right time. Some of them have joined us on the road for a year, two years, or whatever it may be.

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Right now, we're in as great of place as we've ever been with Jelly singing. We call her Jelly, but her name is Angelica "Jelly" Joseph. She's just amazing. Her presence is amazing. Her take on all of the songs is fantastic, while uniquely hers. They live up to the original while bringing something different, which is kind of what you always want.

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You want the music to stay fresh and get reinjected with something that feels fresh. Not regurgitating your old records. She totally brings that. We also have Eric Gordon playing trumpet with us, who is equally amazing. He rounds out our horn section. We get to call it a horn section since we have two players (laughs). We already had Ben (Ellman), who also amazing playing tenor, bari, and harmonica. Ben and Eric together are just perfect.

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We're really just having fun. Being on the road again is great. We took a forced hiatus like everyone else, and I think that makes you come back with fresh eyes and ears. A new appreciation for being able to get out and do this for a living.

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I'm sure it comes with a rejuvenated sense of appreciation for it all.

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Rich: It definitely does. As we're talking about these festivals coming up, it's just great to have a real summer festival season again. We just had the first Jazz Fest since 2019, and it felt so good to be out there. You could feel the joy around the whole event. It had been three years without the festival. It just feels so good to be back playing.

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Didn't you guys go on right before The Who at Jazz Fest?

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Rich: Yeah, that was a fantastic slot. We sure did. You can't beat that. It was an incredible day.

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You really won't find a better spot than that. I didn't make it to Jazz Fest, but I was at SweetWater 420 Fest that last weekend of April. Atlanta also had another festival called Shaky Knees that weekend, and they were both sold out. I hadn't been to anything with that many people in several years, and it was incredible to know that both of these major festivals in Atlanta were sold out. People can finally feel safe doing these things again.

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Rich: Absolutely. It feels so great to be back to this point. Like Jelly always likes to say on stage, "We back, baby!" She means all of us, not just the band!

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Well before we wrap this up, I wanted to talk a little bit about Mountain Music Festival on June 2-4 in West Vrigina. Galactic is the headliner on Friday. Starting right at midnight, which feels so appropriate for y'all.

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Rich: (laughs) They still give us those late spots. We can still do it!

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Oh, I have no doubt about that. It's been way too long since I've seen Galactic at all, much less in that perfect time slot. Can you share a little bit about what the West Virginia can expect that night, and how you're approaching the rest of the festival season in general?

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Rich: Yeah, i really like those late-night sets. If you have a shorter set during the day, you're pretty strategic about it. You have to hit all of these certain notes within an hour or maybe hour and fifteen. The late ones sometimes prove to be the most fun. I think the attitude is a little different, and it takes us into interesting directions.

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Sometimes you're just the right combination of up but also laid back from the end of the day. It's always fun to play outside at night. Playing outside at night in West Virginia sounds nice to me. We love New Orleans, but we do look forward to summer festivals. Getting out of town and going anywhere sounds a little more comfortable (laughs).

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Could not agree more. I'm in Birmingham, Alabama and I was looking at the weather forecast yesterday. Anything in the 70s sounds like a dream. We're already cracking well into the 90s here.

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Rich: Oh yeah. We're all for it. You know what a Gulf Coast summer is like.

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We're off to another scorching summer. That's for sure. I can't tell you how much I appreciate your time today. I've been a Galactic fan for what feels like majority of my life now. I haven't been able to see y'all near as many times as I would like. It's been way too long since the last one, and I know that I'm not the only one who is stoked for Friday night at Mountain Music Fest.

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Rich: Oh definitely. We're really excited about it. We're primed for this festival season. And like Jelly says, "We're back, baby!"

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Love to hear it. Well thanks again, Rich. Hope to have a chance to say "hello" up on the mountian.

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The Iceman Special Confirms Phish After Parties in Orange Beach May 20, 2022 16:42

The Road to Mountain Music Fest: George Norrell of The Talismen May 20, 2022 13:12

Photo by Nicholas Jude Photography

As countless music fans prepare for this year's Mountain Music Festival at ACE River Resort in Oak Hill (WV) on June 2-4 (2022), we're sitting down with a number of this year's performers to get a better feel for what fans can expect this year. This festival was established in 2014 and has proceeded to solidify itself as one of the most anticipated jam-focused events of the year. While MMF features major national acts such as Galactic, Cory Wong, Big Something, & Spafford, one of the Southeast's hottest up-and-coming acts, The Talismen, will close out The Lake Stage at 4:00 PM on Saturday, February 4th.

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Since their formation as teenagers in 2015, The Talismen have evolved into a four-piece, progressive rock powerhouse. Hailing from Montgomery, Alabama, their days as popular college band have come to an end, and they're hitting the road as hard as anyone in 2022. Fresh off a recent run with Papadosio, this band is poised to continue building momentum and solidifying their place in the jam/festival circuit. 

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Earlier this week, we had a chance to sit down with George Norrell (drums) just ahead of Mountain Music Fest. As you will read below, George and his bandmates have an incredibly unique bond as lifelong friends. Their musical talent and professional work ethic knows no boundaries, and the ceiling is incredibly high for this group. Check out the full conversation below and make sure to follow the band on Instagram and Facebook to stay in tune with all of the latest happenings. 

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Alright George...This has clearly been a big year thus far for The Talismen. The band has been playing just about every weekend, with a few more extended runs mixed in the schedule. Tell me about how things have been going for you guys thus far.

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George: It's been really great to have these opportunities to do what we love on a regular basis. We sure hope that things do not slow down anytime soon. It's been especially great to hit so many new markets in the past few months. Going into a new city and playing a venue for the first time can be a bit of a toss up, but the reception continues to be really positive. That's something we are super grateful for. I think all of us are just focused on carrying that momentum into the summer.

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We were right at that point of taking the next step as a professional, touring act when the pandemic hit in early 2020. Our EP, Extra Vehicular Activity, was weeks away from the release date, and things were really moving in the right direction. We were able to get in the studio with Kevin Scott and Jason Kingsland, who recorded and produced the EP. Everything seemed to be falling in place for a big year, and we all know the rest of that story.

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That time allowed us to really get in the practice room, focus on our original song-writing, and continue building our chemistry. Things seem to be getting back to normal this year, and we're just stoked to have the opportunities in front of us. We've had a busy spring, and our summer calendar looks promising. Definitely excited to share more on that here soon.

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I bet. I know that y'all just wrapped up a run of shows with Papadosio. That had to be an exciting opportunity for you guys. How did those shows go?

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George: Yeah, it was great to get to meet and share the stage with those guys. They've already seen so much success, and it was pretty special to play a few shows with them. Anytime we have the opportunity to get to learn from a band of that caliber is invaluable. Definitely hope to cross paths with them again at some point.

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I'm sure that made for some great exposure. When you look back at the year thus far, are there any other highlights that stick out?

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George: We've had a bunch of really great shows. Earlier this year, we played our first true theatre gig with Big Something in Knoxville. We really look up to those guys and appreciate the opportunity to share the stage with them. We had another great night at The One Stop in Asheville a few weeks ago. That's a place that we really love playing. We've had a lot on fun the road so far, and we're going to keep hitting it hard.

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That's great to hear. Mountain Music Festival is coming up in just a few weeks. This takes the band all the way up to West Virigina. I'd imagine the excitement level is mighty high for this one.

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George: Absolutely. You look at the lineup and see Galactic, Big Something, Spafford, Cory Wong, and the list goes on. This is exactly the type of lineup and atmosphere that we want to be involved with. We just finished up a few shows in Virginia, and we couldn't be more excited to see what West Virginia has to offer. 

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For those in attendance who will be seeing The Talismen for the first time, what would you say that they can expect from this performance?

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George: Mostly original music that is based is progressive rock, with elements of jam, funk, jazz, and a healthy dose of improv. We definitely strive to provide a totally unique show every time we step on foot on stage. I can tell you that our level of excitement for Mountain Music Fest is through the roof. Those who catch our set will definitely be able to feel that energy. We're hoping to maybe even have a special guest or two join us for a tune. We'll have to wait and see how that plays out. 

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Love to hear all of that. I know that the band has released a few new singles in recent months. What can you tell me about these latest tracks?

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George: We decided to take on an exciting project at the beginning of this year. We converted our guitarist Jack Bennett's basement into an incredible rehearsal space and recording studio. We've already spent countless hours practicing and down there, so it made since to take on the challenge of recording and producing our own music.

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Thus far, we've released two singles: "Savage Road" and "Lockwood." These are two originals that have been in the live rotation for a few years now. Bringing them to life in the studio was such a special process. Our friend Casey Cranford from Big Something even stopped by to lay down some EWI on "Lockwood." We're shooting to have a total of 6 new singles by the end of the year. Stay tuned, because we're currently working on the next one. 

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That's exciting news. I know your fans will be excited to hear there is more new music coming soon. Before we wrap this up, what else is the horizon for The Talismen in 2022?

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George: Well, we're dropping our summer tour dates early next week. In terms of festivals, we're stoked to be playing CBDB’s Deebs Day Festival, Kampout at Cave Springs, Alex City Jazz Fest this summer. We have our first headlining gig at Druid City Music Hall in Tuscaloosa. We’re hitting several more new markets. I know we have at least one more festival to announce, and we're hoping to add a few more along the way. It's going to be an exciting year. That's for sure. 

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I'm glad to hear it and hope everything continues moving in the right direction. Thanks for taking a few minutes to chat today, George. Looking forward to the set at MMF.

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George: Absolutely. Thank you sir!

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The Road to Mountain Music Fest: Casey Cranford & Jesse Hensley of Big Something May 17, 2022 20:53

As countless music fans prepare for this year's Mountain Music Festival at ACE River Resort in Oak Hill (WV) on June 2-4 (2022), we're sitting down with a number of this year's performers to get a better feel for what fans can expect this year. This festival was established in 2014 and has proceeded to solidify itself as one of the most anticipated jam-focused events of the year. As the festival has continued to evolve and grow over the years, there's been one clear constant. That's the powerhouse known as Big Something.

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They're back for an eighth consecutive year, and this time, they're headlining Saturday night. I was lucky enough to discover this band nearly ten years ago (Thanks again, Sirius JamOn), and it's been an incredibly fun ride watching them grow. Festival season is already in full swing for these guys, and they've only scratched the surface.

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Earlier this week, I had a chance to sit down with Jesse Hensley (guitar) and Casey Cranford (EWI/saxophone) in preparation for MMF. They've been back to the grind, touring across the country, and simply loving that they're allowed to perform on a regular basis. You won't find a more genuine, hard-working group of guys, and they've most definitely earned every bit of their continued success. 

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Sam Holt Band Pays Tribute to Michael Houser & Todd Nance in Birmingham May 16, 2022 13:14

Words by Monica Dean

Photos by Craig Baird: Home Team Photography

Sam Holt Band closed out a special three night run on Saturday night.  They band stepped on stage as the sun was beautifully setting at Avondale Brewing Company in Birmingham, Alabama. A perfect background for a celebration of the lives of founding members of Widespread Panic: guitarist Michael Houser, who succumbed to pancreatic cancer in 2002 and drummer Todd Nance who passed away suddenly in 2020.

Sam Holt, who was Houser's guitar tech, paid tribute to his mentor and friend on Houser’s rig, sharing the quintessential Houser-style lingering leads with the crowd. Holt was joined onstage by Adam Grace (keys), Ross Parker (bass guitar), and Jeremy Ward (drums).

The first set started with a tribute to Houser with his song, “Can't Change The World Past."  Two Widespread Panic instrumentals “A of D” and “E on a G” followed, before flowing seamlessly into “Sandbox”, a Houser tune not played by Widespread Panic since the guitarist's death. A lingering transition into a “Diner” jam leaves the crowd yearning to hear the rest, but Holt slips into “Counting Train Cars” before coming back to the Outformation catalog for “90”. A jubilant “Walkin'” is next with a jam into “Gunner,” which ultimately led into a heartfelt “Gimme.” This tune included the haunting lyrics “give me a hand here, Michael.” The set ends with “Ain't Life Grand,” a song Houser wrote reminding us to celebrate the mundane of everyday life, and it sure felt good.

After a quick, light rain, the second set begins with the reminder “where there is love there is hope” with a pristine “This Part of Town.”  Houser’s song named and written for his son, “Waker” is next. You couldn't ask for a more beautiful tribute of Houser’s own. Holt then pays his respects to Bloodkin with a cover of “Mercy Train to Bogart,” before diving into a “Hatfield” jam. Holt digs deep for the seldom played “Burned Faceless,” followed by two instrumentals, “Happy” and “L.A.”  Keyboardist Adam Grace jams into “You Should be Glad” with beautiful harmonies by drummer Jeremy Ward. “This is for all of you,” Holt announces before leading the way into “Airplane.”  A crowd rousing favorite, “Porch Song” would then close out the second set.

Holt points to the back of his Home Team shirt which says “In Todd We Trust” for an encore tribute to Nance. These are the first Remembering Mikey shows since Nance’s death, and Sam Holt Band decided to close the show in his memory with a pair of Nance’s own songs: “Cynic Clinic” and “You’ll Be Fine.” Holt & Co. played this show with love, and the result was a heartfelt celebration of Houser and Nance that the Birmingham faithful was so clearly honored to experience.

Setlist: Sam Holt Band - Remembering Mikey & Todd: Saturday, May 14th [2022]

Set 1: Can’t Change the Past, A of D > E on a G > Sandbox>Diner Jam > Counting Train Cars, 90, Walkin' > Gunner, Gimmie, Ain’t Life Grand

Set 2: This Part of Town > Waker > Mercy Train to Bogart > Hatfield Jam, Burned Faceless, Happy > LA, You Should be Glad, Airplane > Porch Song

Encore: Cynic Clinic, You’ll Be Fine

Watch Sam Holt Band performing "Porch Song" at Avondale Brewing Company here:

The Road to Mountain Music Fest: TAUK's Matt Jalbert Discusses TAUK Paper Scissors May 11, 2022 16:08

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Great to speak with you for a few today, Matt. I know it's been an exciting year for TAUK thus far. You've been to Iceland with Umphrey's McGee. Played shows with Pigeons Playing Ping Pong & lespecial. TAUKing McGee at 420 Fest. How's everything played out thus far?

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Matt: Yeah man. All of those bands are friends of ours. We've known the Pigeons guys for a while. We played DomeFest back in the day. Hit if off with them immediately. Playing their festival was a huge help for us to get down to that part of the country. We're always appreciative of them for that. Opened up some doors for us.It's been great to get back out and play some shows. We're doing a bunch of sit-ins. Playing a bunch of songs together, which is always super fun. So yeah, those shows were really great and high energy.

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The set with Umphrey's in Atlanta was really cool, because we just went to Iceland with them. That was postponed from early 2020, when the pandemic was really starting. Needless to say, everyone was bummed when that got cancelled, but we still made it happen. We just did those shows a little while ago. We did a TAUKing McGee set in Iceland. We did a late-night set and a TAUKing McGee set while we were there.

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It was so much fun. It felt like a huge celebration amongst everyone who was there. So when the lineup at 420 Fest was shifting around, Umphrey's hit us up last minute to see if we wanted to do it again down there. Anytime we get to play with those guys is great. We're actually doing it again at Summer Camp.

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And yeah, we're fresh off a few nights with lespecial. We played two nights in Buffalo with them. We did our first shows together in Philly earlier this year, and we've loved what they've been doing for a while. Been trying to link up with those guys to do some shows together. We finally made that happen. Buffalo was amazing. The crowd was great. lespecial killed it. Good times all around. Just getting back out and playing music with our friends. It's been a lot of fun.

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Photo by Dave Vann

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That's so great to hear. I know how tough it's been on so many different levels over the past two years. It's great to see so much musical action happening thus far in 2022. It was brutal seeing things shut back down at the end of last year. I guess that was the Omicron variant?

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Matt: Yep, that was Omicron. We had to cancel our New Year's run in Charleston.

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That's right. Well, I love hearing that things are going so well. I'm sure it's been a challenge to keep the momentum going throughout at the last two years. I know we aren't out of the woods yet, but it seems like thus far, we're moving in the right direction.

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Matt: Yeah man. We're taking it as it comes. Everyone is still in that same ballpark. There are more shows happening. You'll still see some cancellations as someone tests postivie for COVID. I think everyone is on the same page at this point. If something has to be cancelled, it's a bummer. Luckily, it seems like it's happening less and less. It's really out of our control. Everyone's just trying to do what they can.

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Absolutely. I know that festival season is fast approaching. I guess it already started for TAUK at 420 Fest. Mountain Music Festival is right around the corner. I'm sure you're fired up about the TAUK Paper Scissors yet. You've assembled an incredible lineup with Antwaun Stanley, Clyde Lawrence, Jennifer Hartswick, and James Casey, to name a few. Without spoiling any surprises, what can you share about this upcoming performance?

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Matt: Yeah, absolutely. When we played Mountain Music Fest last year, that was our first show back from COVID. We were stoked to play, and you could just feel it in the air. The energy was just insane. Needless to say, our set was wild. So much fun. After that, the festival reached out to see if we could come back this year. They asked if we wanted to try something different. We were all for it and thought it was a fun idea.

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The idea was to not just to "TAUK & Friends" or "TAUK Superstars." Come up with something a little more unique. We started working on a list of names, playing with the band name, and TAUK Paper Scissors seemed to be the one that stuck. We're still working out how this is gonna operate, in terms of the "rock, paper, scissors" concept. We have some cool ideas though.

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In terms of the band, we started working on a list of people. Some we had played with previously, and others that we've been watching and really admire. We started putting out feelers to see who would be into it. You can see now what the band looks like, and we're stoked. Like you said: Antwuan, Clyde, Kanika, the horn players, Jason Hann from String Cheese. We're so stoked. The only issue we're running into is fitting all of the songs into the setlist. We're thinking about all of these cool opportunities with a band like this. We have a list going, and we're narrowing it down. It's going to be such a cool experience.

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Watch TAUK's official music video for "Make Your Move" here:

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I'm sure it is. When you look at that list of players, you have several from bands already on the lineup. You also have some heavy hitters coming over just to be a part of this performance. This is the staple "super jam" for this festival, if you will. I know there's already a lot of excitement surrounding it all.

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So, Chaos Companion is the latest studio release, right?

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Matt: Correct.

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Before we wrap this up, is there any other exciting news happening within TAUK that your fans should know about?

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Matt: We definitely have some exciting festival appearances coming up. Summer Camp & Peach Fest are two big ones. Festival season is definitely underway. In terms of new material, we wrote a ton during the pandemic. Not to give too much away, but people should definitely keep an eye out for a new release. Maybe even something that people won't be expecting. We have a lot to be excited about.

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That's fantastic news. I can't tell you how much I appreciate your time today, Matt. Thanks for chatting for a few, and I look forward to catching the TAUK Paper Scissors set in person next month.

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Matt: Thank so much, Jordan. Look forward to seeing you there as well!

Wilmington Widespread: A Celebration of The Ones Who Shaped Us May 10, 2022 12:56

Words by Erika Rasmussen: Rasmusic

Photos by Neil Peek

Like all true Southern gentlemen, Widespread Panic takes the time to pay homage to the great influences in their lives. During May 6-8 (Mother’s Day weekend) in Wilmington, NC, Panic created a foot-tapping, heart-warming, gut-wrenching tribute to some of their greatest influences: the literal mothers in our lives, the rough-and-ready character of the “Panic Mama”, and the musical influences in their careers. Most especially highlighted was their friend, mentor, and songwriting influence: the late, great Danny Hutchens. Sunday brought the emotional one-year anniversary of Danny’s passing. I was friends with Danny, and not only did I get to interview him, but we also collaborated on an article about his own late mother and the inspiration she provided for his song “American Country Ghosts” during her struggles with dementia. I consider Danny’s words that he so poignantly shared in that article as much a work of art as the song he composed. I share the same reverence for the musical influences that Widespread Panic works to continually expose us to and remind us of. I truly enjoy weekends like this past one, when I get a refresher of the playlists and pop culture that created their sound.

Panic launched an all-original set one on Friday with “Jack”, which hasn’t opened a show since 9/18/91! Song two, “Goodpeople”, kicked off the “mom” theme of the weekend with “The ones your mama warned you about”. Stay tuned for more of those references. The band then ebbed and flowed through “Pilgrims >”, “You Got Yours”, and “Pickin’ Up the Pieces >” like the Cape Fear River running behind their backs. In honor of Willie Mays’ birthday that day, the band obviously had to cover “One-Arm Steve” (“Well, say hey, Willie Mays, what's in your suitcase full of wonders?”) The return of the mom is seen in “Steven’s Cat >” during “Mama tried to protect my soul yes, she did bit by bit save me from sorrow”. “Bear’s Gone Fishin’ >” then rolled out with its supposedly scandalous song origin in New Orleans, reminding us of the band’s raucous roots, despite their sweet love of their mothers. Speaking of, “Love Tractor” prompts us that “Mom said that I'm alright…” and ended set one. Thanks, Mom.

Set two led with two Bloodkin songs: “Henry Parsons Died >”, into “Sleepy Monkey>”. Remember this lyric - “It' could be a déjà vu, Cognition coming true” for a couple songs, mmm-kay? “Diner >” cites the quintessential idea of a Panic Mama – “She's beautiful - natural.” We peacefully settle into “Cease Fire >” and then are taken into “Jamais Vu >”, which is the opposite of déjà vu. See what they did there? “Bass And Drums >” satisfied a primal urge to just converse with the rhythm, as always. “Tie Your Shoes >” carries the ageless lesson to “Love your girl, you’ve got to love your girl”. Take note, y’all. Perhaps one of the sweetest images of mothers is represented in “Papa’s Home >” with the line “Mom's holding sister in the chair, sharing stories and forgetting time.” The band’s friend and sometime lyricist, Jerry Joseph, is highlighted in “Climb to Safety” to end set two. 

The encore kicks off with the seemingly shelved “Flicker >”, which hasn’t been played since 8/31/18. The hauntingly beautiful “This Part of Town >” took us into “Travelin’ Light” by the formidable J.J. Cale, whose influence on the rock world cannot be overestimated.

Watch footage of "Diner" via whereshaynes on YouTube:

Saturday’s set one led with the always poetic “Surprise Valley >” and the geographically appropriate “Mother talkin' the waters; Spirit moves in all things...” Easily one of my favorite musical influences, and perhaps yours, too, is David Byrne. When the band went into Byrne’s “City of Dreams >” before diving back into “Surprise Valley >”, I was as pleased as ever. “Rock” and “Heroes” then took us into “Airplane >” and the trademark oath of love, “Got me a pilot, she's going my way; If she's got wings, if she's got wings.” As they so often do, Panic went from “Airplane >” into “Take-Off Jam >” (teehee). Coming back ‘round to their great influences, we heard “Rebirtha >”, which once debuted as an instrumental in ’93 with "Apologies to George Porter" (of the Rebirth Brass Band). It is our great fortune that Widespread, and JoJo Hermann especially, have such a love of New Orleans music that shows in their work and that we get to boogie to. There was an interesting “Not Fade Away” tease after “Rebirtha” for the 76th birthday of Grateful Dead member, Bill Kreutzmann. Our musical influences then swing over the Atlantic to everyone’s favorite Irish rabble-rouser, Van Morrison, and “Send Your Mind”. Some technical or vocal issues popped up during “Blackout Blues” but the band ended set one strong, nevertheless. 

We crashed into set two of the night like a wave, starting with the Vic Chesnutt pair of “Protein Drink >” and “Sewing Machine”. Even Vic is makin’ Mama references – “Mama makes a dress on the sewing machine…” As is required by a coastal setting like Live Oak Bank Pavilion, they covered “Vacation >” and then “Disco >” and then a freakin’ cross-country roadtrip of a “Drivin’ Song >”. The tune bookended “Ain’t No Use >” (last played 8/31/19 and originated by New Orleans’ The Meters), “Saint Ex >”, J.J. Cale’s “Ride Me High >” (with “Sewing Machine” reprise), “Zambi Jam >”, back into “Ride Me High >”, and then back to “Drivin’ Song >”. Whew. It makes me tired just typing that set out because it spun us around and shook us up, for sure. “Space Wrangler” ended set two as sweetly as ever. Skål, as my Norwegian family would say (that’s “skol”, to y’all). 

The encore began with “Sometimes >”, by Ed Crawford of fIREHOSE. This band is of the Camper van Beethoven scene and that in itself just warms my heart, much less the line: “But now April's turning to May.” The closer of “Action Man” brought up an interesting mom reference – “Willie said ‘he was the mostest horse’; Mahubah, Fair Play, desert mama's boy.” I just learned in researching this article that Fair Play was Man o’ War’s mother (dam) and Mahubah was his father (sire). The more you know…

Sunday can be summed up in one word: cold. But we loyal Spreadheads filed into the venue wearing everything from Patagonia to hotel robes to warm up. JB’s greeting of “We can play, we can dance, we can snuggle up" added a lightheartedness to the weather as the sun started to set and the band began to play. “Little Kin” brought the ever-loveable “He's got his mamma's eyes, He's got his daddy's younger hands” in honor of Mother’s Day that day. “Ain’t Life Grand” went into “Greta >” and the always-amazing chorus “Mother Nature's come to arms, She's in a fighting mood. Greta's got a gun, This ain't no flowerchild.” This aptly depicts not only the band’s friend, Greta, but also once again brings up that Panic Mama ideal – a tough hippie that you don’t mess with, despite her sweet exterior. “Radio Child” bounced along into “Aunt Avis >” by the beloved wordsmith, Vic Chesnutt, who is again recalling his mom – “Help me mama, for I have grinned; Save me daddy from where I'm goin'.” Perhaps to remind us not to gripe about the cold so much, we were then served “You Should Be Glad”. “Hatfield >” was a timely choice with the story of how "’Charles always kept in touch’, swears his mother; ‘Always had the touch’". We were then treated to the wise words of New Orleans’ Allen Toussaint’s “On Your Way Down >” (last played 12/31/11). In what JB has jokingly referred to as "A tender little love song” the band busted out Bobby Rush’s “Bowlegged Woman” in the kind of love anthem that Panic couples could most easily identify with. We all love our mamas, but Bridgerton characters we ain’t. 

Watch footage of "Greta" via Loma Deren on YouTube:

Set two of Sunday kept everyone warmed up with an "I Trusted You" tease, which has only been played twice before. Riffing on this “song” of Andy Kaufman’s is one of the reasons why this band is so loveable. They aren’t afraid to make a joke or even be the punchline of their own joke. See the Halloween ’19 performance of this song by Schools and the Kaufman video, if you’re unfamiliar with the skit. The set then officially started with David Bromberg’s “Sharon >”. “Bust It Big” brought back the Panic Mama / Panic Daddy down & dirty love vibe with “She's my little salt lickin', agave guzzlin', worm eatin', lime suckin' girl, I love her so.” Next, we cannonballed into “PAYMH/That Thang >” and Robert Johnson’s “Stop Breakin’ Down”. It should go without saying that Robert Johnson is an influence on anyone and everyone who ever played the blues or rock. He, too, was a sucker for a pretty lil’ mama: “Every time I'm walkin', Down the streets. Some pretty mama start breakin', Down with me.” “Sundown Betty” then took us into another couple of New Orleans references in “Gradle >” (“A blind New Orleans painter man, Doesn't get many straight lines”) and “Fishwater >” (“Drink more fishwater there, Than any whale's mama ever seen. " JB has said this is a tune about “just excess and the nature of New Orleans".) For only the second time ever, the band went into “Dear Prudence” by Paul McCartney and John Lennon and ended the set with “Porch Song”. 

To aptly wrap-up the Mother’s Day weekend dedicated to their lost friend, Danny Hutchens, the encore started with Bloodkin’s “Trashy” and a line that summed up Danny, the band, and many of us so well – “Wild eyed love and getting high and trucks and cars and my guitars; That’s my recipe for life so far.” In what could not be a more perfect closer, the band played George Clinton’s “Red Hot Mama”. Did you know that George Clinton is from good old Kannapolis, NC? Thanks for bringing it all back to the Old North State, fellas. 

At the end of the weekend, I was left with a feeling of overwhelming gratitude. I’m grateful that I still am lucky enough to have my mom around, that I’m the mom of two amazing little girls, that I have an extended Panic family who always surprise and delight me on tour, that I have had the chance to see this band for the past 27 years who has introduced me to music and experiences I never would’ve had otherwise, and mostly I’m grateful to have met amazing people like Danny Hutchens. I’m so very grateful to have heard his music, read his words, laughed at his jokes, played with his beloved pets, and just generally know the man. Thank you, Danny, for the mother of all songbooks and the colorful stories that you’ve left behind. You are greatly missed but your legacy lives on in your own children and your musical contribution to the world. 

Thanks to Steven Ziegler, Bennett Schwartz, Curtis George, PanicStream, and Brown Cat for their tapings, resources, and support.  

Jam Cruise Reveals Massive Lineup For 19th Year In 2023 May 4, 2022 15:26

Photo by Jesse Faatz Photography

Press Release via Cloud 9 Adventures

CBDB Reveals Lineup For Inaugural Deebs Days Festival in Birmingham April 28, 2022 12:37

CBDB

Brass Against

Daniel Donato

Mungion

Sicard Hollow

The Shady Recruits

Dave Hause & The Mermaid

The Talismen

The Mountain Grass Unit

LadyCouch

Audiophile

Andy Lyle Hall

Little Raine Band (Artists at Large)

Wildeyes Premieres Single "Open Your Eyes" From Forthcoming Album 'Shut Up And Dance' April 25, 2022 13:28

Press Release + Photo via Wildeyes

Nashville, TN -- When Wildeyes was born, life was simple. Emily and Daniel Kohavi were living a few doors down from guitarist Max Hoffman, where they would gather in one of their Madison, Tennessee backyards to create an initial catalog that would land them on NPR’s Tiny Desk On The Road and FireFly Music Festival before they had even stepped foot in a recording studio. 

The first time they put pen to paper, Beauty & Sadness blossomed, with the debut album peaking at #9 on the Billboard HeatSeekers chart. The phone rang non-stop with agencies promising to turn the trio into industry darlings, and it seemed like something small had the chance to make it big.

But as life wants to do, things got complicated. Emily’s reputation as the touring community’s ultimate hired gun earned her touring spots with Hozier, Phoebe Bridgers, Kacey Musgraves and more, until she was gone so often it almost seemed like the band was set to burn out before they really caught fire. Two years after the release of their chart-topping debut, Wildeyes felt the pressure to create another album— one that diverged from the folk-filled box the industry seemed to want to jam them into, and one that would expand their lineup to a full band with a deeper, psychedelia-infused Americana sound. 

With Emily’s multi-instrumentalist prowess in high demand, Wildeyes understood how precious their time with their leading lady was. The band booked a two day session at the legendary Sound Emporium, working with Grammy award-winning producer Ed Spears and bringing in bassist Calvin Knowles (Katie Pruitt, Muddy Magnolias) and Terence Clarke (Robert Cray Band, Keith Urban) on drums. Originally intended to be a session for demos, the core members laid the groundwork for their second album. Knowles and Clarke immediately picked up the framework, building some of the biggest riffs the project would become shaped around. Wildeyes tracked seven original songs from what would become Shut Up And Dance in one take— a tried and true specialty from the band that thrives on live performances in remote places. 

“The core performances (bass, drums, guitars, lead vocal) were all just that,” says Daniel Kohavi. “Performances in a room with no click track. This matches the way the first record was made, and is a big part of the ethos of the band. Capturing a moment, a performance, with all of its imperfections is what we have built Wildeyes on. For us, it’s all about the performance and the real musical interaction that happens within a collective of musicians."

Even with the bulk of the work done, bringing an album to fruition is complicated. Add in a front woman who spends the majority of her year globe trotting on other artist’s world tours, and the process is downright painful. Add in a global pandemic, and it is sheer torture. 

“We’d spent two years on a recording hiatus between [Emily’s] tours with Hozier and Phoebe [Bridgers], and then covid added all of this extra uncertainty,” says Daniel. “The band wasn’t playing any shows, sitting on an unfinished record with no future release dates in sight.

They say idle hands are the devil’s playthings, and that is especially true for career musicians. With an abundance of free time, Wildeyes was forced to sit with an unfinished album, nitpicking every aspect to what felt like the point of no return. The Sound Emporium session had brought them one step forward, and the pandemic took them two giant leaps back. 

In an effort to see through the fog, Wildeyes reached out to Hozier musical director Alex Ryan, stepping back into the studio with Spears in mid 2021. In that time, Wildeyes was able to record two brand new additions, “Angels” and “Let’s Talk,” and add thematic string elements that breathed new life into already existing tracks.

“Alex brought a new energy and excitement to some songs that we had been in the studio with for far too long,” says Kohavi. “[The album] gets her name from the title track. Shut Up And Dance is a sentiment that has been building up in the band’s ethos, and seemingly in the world it inhabits.”

The album finds the Kohavi’s and Hoffman writing about personal matters— their frustrations with a lack of touring (and therefore purpose), loneliness felt within a relationship, questions on self-identity as both a band and as individuals— as well as musings on the modern world outside. The songs are laced with layered strings, entwined electric guitars, and warped feedback, driven forward by ethereal hooks that lend a touch of nineties nostalgia. Gluing everything together is the band’s collective pent up energy, a palpable reminder that for Wildeyes, the time for talking about it whatever it is has come to a close. It’s time to Shut Up and Dance before the music shuts off and there's no one left on the dance floor.

Shut Up And Dance tracklisting: 

1. Shut Up And Dance
2. Who’s Gonna Love You 
3. Lone Wolf 
4. Heartbeat
5. Everchanging
6. Let’s Talk
7. Open Your Eyes
8. American Made
9. Angels

More on Wildeyes: 

Wildeyes began in the heart of Madison, Tennessee, where neighbors and founding members Emily and Daniel Kohavi and Max Hoffman bonded over an undeniable love for the stage. Continuously receiving praise for their music, the band has peaked at #9 on the Billboard HeatSeekers chart, received placements in Rolling Stone, and been featured on NPR’s Tiny Desk On The Road. Wildeyes front woman Emily Kohavi is also recognized by established artists in the industry for her talents, grabbing the attention of Hozier, Phoebe Bridgers, and Kacey Musgraves and earning touring positions on their world tours. 

Prior to the release of Wildeyes’s debut album Beauty & Sadness in 2018, the band spent two years touring together, earning coveted plays at Firefly Music Festival before even stepping foot in a recording studio. The band enjoys capturing live performances of their songs in some of the country’s remote places, including the Grand Canyon, Joshua Tree Park, and the flats of New Mexico. The struggle of getting the gear, instruments, and video equipment to the location, along with the possibility of sudden weather or temperature changes fits the bands ethos of fighting for genuine performances and capturing real moments. 

Get social: @wildeyesband 

Little Raine Band Discusses New Album 'Beyond The Cave' April 7, 2022 15:49

Phil Lesh & Friends Leads Massive Lineup For Debut Sacred Rose Festival March 24, 2022 10:14

It's a fairly rare occasion when you see a brand new festival stop everyone in their tracks with their debut lineup announcement. In a world where there seems to be new festivals popping up left and right, it's easy for some of them to get lost in the mix. Sacred Rose Festival certainly caught the entire music world's attention last week, as the debut festival dropped one of the heaviest hitting lineups in recent memory. 

Sacred Rose will take place at SeatGeek Stadium Campus in Bridgeview, Illinois on August 26th-28th (2022). The first year festival will feature the likes of Phil Lesh & Friends, Khruangbin, The War on Drugs, Black Pumas, Umphrey's McGee, Joe Russo's Almost Dead, Goose, STS9, Greensky Bluegrass, The Disco Biscuits, Kamasi Washington, St. Paul & The Broken Bones, Punch Brothers, Dawes, Animal Collective, Hiatus Kaiyote, The Wood Brothers, City And Colour, Yves Tumor, Lettuce, Moon Taxi, Cory Wong, Lotus, The Infamous Stringdusters feat. Molly Tuttle, and so many more. Check the official festival graphic below for a look at the full lineup. 

Sacred Rose’s name pays homage to the festival founder Michael Berg’s Grandfather, a professional and pianist, and the music and the Grateful Dead. The festival will welcome Grateful Dead founding member Phil Lesh, as well as beloved Grateful Dead cover band leader Joe Russo to the newly renovated stadiums, seven new astroturf fields and interactive art installations. 

Sacred Rose will host three genre-specific stages, each with a defined daily lineup organized, so each stage feels like its own nonstop concert. The nascent event wants festival-goers or “#RoseBuds” to have the option to truly choose their experience from psych-rock and jamband to Americana.

Make sure to stay tuned for further details on this exciting first-year festival. You can click here for further details on tickets and weekend passes. For all of the latest updates on Sacred Rose, make sure to follow the festival on Facebook and Instagram. 

Click Here: Watch The Official Sacred Rose Lineup Announcement Video 

Peace in the Valley: Widespread Panic at Virgin Hotels Las Vegas - March 11-14 (2022) March 17, 2022 09:15

Kendall Street Company & Underground Springhouse at Avondale Brewery: Official Preview March 15, 2022 09:55

Great to speak with you today, Louis. I figured we could start off with a little background on the band. Tell me a little bit about how Kendall Street Company got started.

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Louis: Yeah man. We all met at University of Virginia in Charlottesville. We started playing around town: Greek life events and the local bars. We kept at it, and when we graduated, we decided to keep going at it. We've been doing this full time for several years now. We started by traveling up to DC and doing the regional tours. Eventually, we were playing in New York City, Charlotte, and other markets like that. That's pretty much the story. Just keeping at it. That's what you have to do.

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Absolutely man. Build your regional market and expand from there. I know that the past two years had plenty of COVID-related challenges. How would you say KSC was able to keep the momentum going through these challenges?

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Louis: It was really tough for us. We're definitely a "live" band. Not being able to play live was really a big thing to be taken from us. First, we were totally isolated from each other. Then, we got to a point where we felt safe getting together. We did a live stream series called "Containment Entertainment," and we focused on getting The Stories We Write For Ourselves out there, as well as The Year The Earth Stood Still project. We just dug away in the studio doing a lot of writing and recording. It was a really stressful time, not really having an income. Not being able to fund these records, but we figured it out. 

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Those band meetings and business were tough. Some people really wanting to play shows, and others not feeling comfortable at the time. You know...it was definitely stressful on the band and the business. As soon as the vaccines came out, we had this fraternity date in Texas that had been postponed a few times. We finally got to go play that show in April of 2021. We've been trying to get back out there, as safely as we can, since then.

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I'm sure that was a great feeling to get back on stage. Never hurts when it's that type of private gig that you know is going to be a super rowdy occasion.

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Louis: It was amazing. We booked the gig and blasted down to Texas. I think we had a few other shows booked along the way, but you couldn't really make a well routed run at that point. We just wanted to go play the show. They had already paid a deposit, and we were ready to make it happen.

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Right on. Well, I'm glad you mentioned The Year The Earth Stood Still. I noticed that this wasn't the band's first double album / multi part album. How has this particular concept worked for KSC?

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Louis: It's worked pretty well. The first time we did it was by design. We had about 17 songs, and we figured we could divide those into two releases, which both had their own vibe to them. With The Year The Earth Stood Still, the whole preface behind that record is that we went into the studio with nothing written. We wrote and recorded the double album in six days in the studio. We did some overdubs and things like that afterword. 

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Everything, pretty much, was captured and written over those six days. I believe this was back in July of 2021. We hadn't been playing live, and we felt there was a lot to create. So, it wasn't not intended to be a double album, but it also wasn't intended to be a double album. It was kind of ambiguous as to what the project would be until we got out of the studio and evaluated the material.

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So, you guys went in the studio with nothing, and ultimately wrote and recorded close to 20 songs?

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Louis: We did. I think it ended up being 16 or 17 total songs.

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That's one hell of a brainstorming session!

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Louis: It really was. We really didn't know what we were going to get. Maybe we'd get a full record. Maybe we wouldn't. We recorded at White Star Studio, where we recorded Space For Days several years ago. It's in Louisa, Virginia. It's out in the country, with places to sleep and stay for a bit. So that's what we did. That isolated atmosphere really helped get the creative juices flowing.

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I'd imagine so, man. That sounds like a really ideal situation for what you guys were hoping to accomplish.

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Louis: It really was. They had some goats out there. We released a video for "Say Hey" which featured some of the goats (laughs).

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I'll check that out. I noticed you released a studio cover of The Beatles' "Rocky Raccoon" back in January. Was this a cover that's been in the live rotation for a while?

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Louis: Yeah, pretty much. We had a few days off in Nashville, and we figured we'd try to get in the studio and record something. We've been doing that cover for many years. It seemed like the right one to record, and it's actually a first take. We knew what we were doing, which helped us knock it out pretty quick. We had two days in the studio, and we also recorded a couple of songs for an upcoming project called "The Untitled California Project." We're trying to coordinate that with a West Coast run later in the year.

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Sounds like you guys are really keeping the studio momentum rolling this year.

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Louis: Yeah, it's nice because we have a lot of great songwriters in the band. We don't really tether ourselves to a certain sound, so with anything that someone is inspired to write, we can generally find a place for it. The Untitled California Project, in particular...it's pretty silly. It's almost a bit of a joke, in a way, but we're putting the effort in to make it sound great. Hopefully people will get the joke. It's kind of similar to The Nautical Aquatical, which is the nautical themed album. We have some other themed releases that we're working on as well.

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I'll be looking forward to that. I know you're gearing up for a big run of shows, which includes Saturday, March 19^that Avondale Brewing Company in Birmingham. This is one of many with Underground Springhouse. Atlanta's Bird Dog Jubilee is also on this show. Tell me a little bit about the band's history in Birmingham and the Southeast in general.

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Louis: We have played in Birmingham a few times. It's always been a great time. I know we've played WorkPlay in the past. We've also done Tuscaloosa several times. I believe we have another private gig in Tuscaloosa in April. We love playing in the South. The energy is great. The traffic is bearable, with the exception of Atlanta. You can cruise around the southeast a lot easier than the northeast. I'm really stoked to be heading down there this time of year. Our old keyboard player, Andrew King, lives in Birmingham.

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You guys will love playing Avondale Brewery. It's such a well-run venue. The staff is amazing. There should be a really nice turnout for a Saturday show in March. I know plenty of people are really excited about this particular show.

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Louis: Woo-hoo! That's great to hear man. We are excited about it.

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Well before we wrap this up, what else is coming up for KSC that the band and your fans can look forward to?

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Louis: We're hitting the Southeast markets over the next few weeks. Next month, we're heading up to the Northeast. We'll be back in New York City. We have our first show in Portland, Maine. It's our first show ever in Maine. I'm a big fan of Maine. We're hoping to play as many festivals as we can this summer. Hitting up the West Coast in the fall. We're planning to make our way back out to Colorado as well. There should be an announcement for an official live release coming up soon. We will be announcing a new studio album pretty soon. We're still deciding on a final name for it. As I mentioned, we also have The Untitled California Project as well. Lots of studio releases and live releases. Lots of shows too.

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That's incredible man. New releases are equally exciting for the band and your fans. I'm sure you'll have the KSC fanbase fully engaged, while also reaching plenty of new fans this year.

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Louis: That's right. I also wanted to mention that we have Repsy and Relix Magazine presenting this March & April tour, which is really exciting. We have a full page in Relix Magazine, which people can pick up at our merch table. That was really cool to be featured in Relix.

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That's incredible. I'm sure it will be a successful tour. Really enjoyed chatting with you today. We're all looking forward to seeing y'all on Saturday, March 19th in Birmingham.

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Louis: Absolutely. Thank you, Jordan!

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Interview with Charlie Haas of Underground Springhouse

Click Here: Listen to Underground Springhouse on Spotify

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We've finally progressed into a year in which the COVID climate seems to be headed in the right direction. Tell me about how the course of 2021 treated Underground Springhouse in general. How did you guys manage to stay the course?

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Charlie: It was certainly a big bump in the road for us, considering our busy touring schedule. Like all bands, we’ve had plenty of shows cancelled over the past two years, but we still managed to be pretty productive as a group. Writing new music and playing whatever shows we were able to at the time. We definitely improved a lot through that period of time, and it ended up being a nice break to regroup. But now we’re back at it and ready to hit the road again full speed.

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With the calendar seeming to have more promise and consistency in 2022, what is the band most excited about this year?

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Charlie: We’re super amped for our upcoming tour with Kendall Street Company. We’re hitting most of the Southeast, and they should be some of our most exciting shows yet. We’ve also got new music coming very soon, so we’re really excited to release some new tunes.

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It's been nearly a year since the release of your self-titled album Underground Springhouse. This was the band's first studio release sinceTom Fooleryin 2019. What was this recording process like, and how was it unique from those of the past?

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Charlie: Our first few singles and EP,Tom Foolery, were recorded in a home studio in a friend’s basement. The studio had decent equipment, but it was also pretty bare bones. After our first EP, we recorded our next singles and debut album at 1093 in Athens, which is a great and affordable studio space. That was really fun to be in a real studio and have access to a lot more gadgets and gizmos.

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On Saturday, March 19th, you guys return to Birmingham's Avondale Brewery for a big Saturday night show with Kendall Street Company. What type of history does the band have in Birmingham? How is this run of shows with KSC shaping up?

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Charlie: It seems we’ve played every city in Alabama except for Birmingham. This will be our first show there, and I can’t imagine a better way to do it than at such a great venue with such a great lineup of bands. This run with Kendall Street is shaping up quite nicely, and it sounds like both bands are gearing up for a hell of a time. We’re super excited.

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Let's say you were speaking with someone who is planning to attend their first Underground Springhouse show in Birmingham on March 19th. What should they expect from the moment you take stage until the encore concludes?

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Charlie: I’d tell them to expect some groovy original tunes, one or two surprise covers, and some saucy improvisation making for a funky tropical rock show.

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When you look at this year as a whole, how would you summarize the band's overall vision and goals for the course of 2022?

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Charlie: Our goal is to keep making the best music we can, both in the studio and on stage. We’re aiming to keep the train rolling and play as many shows in as many places as we can.

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Right on man. Well, thanks for taking the time to speak with me. Looking forward to this show. Best of luck with the entire tour.

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Charlie: Thanks so much for having me!

The Wild Feathers Return To Avondale Brewery On Thursday Night March 8, 2022 10:36

Our friends at Big Friendly Productions have another exciting week ahead for Birmingham music fans, as Nashville-based Americana outfit The Wild Feathers returns for another performance at Avondale Brewing Company on Thursday, March 10th. Fresh off the completion of the Big Friendly Takeover, the local production company brings their show back to the main stage on Thursday night.

Just as you would expect with any nationally touring act, the past year was full of plenty of ups and downs for The Wild Feathers. While a number of COVID-related reasons presented multiple setbacks throughout the year, the band spent much time on the road with acts such as The Allman Betts Band and Blackberry Smoke, including a performance at Red Rocks Amphitheatre in late October. 

In preparation for Thursday night, we caught up The Wild Feathers' Joel King (bass guitar) to get all of the latest info about the past year, as well as what lies ahead in 2022. Check out the full conversation below, and head over to Avondale's ticketing page to secure your tickets in advance!

We've finally progressed into a year in which the COVID climate seems to be headed in the right direction. Tell me about how the course of 2021 treated The Wild Feathers in general. How did you guys manage to stay the course?

Joel: We just try to do anything and everything possible to stay busy and sane. Going out with Blackberry Smoke and The Allman Betts Band was a lot of fun. There were a few set backs, positive tests, and delays, but overall, it was a blast. Then we put put out Alvarado and did a headlining run. It was such a relief to be back in a regular club playing as long as we wanted for our most die-hard fans. The crowds are not fully back to 100%, but it’s only getting better as people are getting braver.

With the calendar seeming to have more promise and consistency in 2022, what is the band most excited about this year?

Joel: We're most excited about enjoying what we have. We’re always looking ahead too much and trying to milk every situation. I just want to relish in a good old fashion rock and roll show. There’s a pretty good variety of club, theater, and festival dates that will keep us on our toes. One of our favorite places to play, The Mercy Lounge, is closing, and we will be playing a very special show in April to say farewell. I’m also really excited about playing Pappy and Harrietts near Joshua Tree. We have been patrons there many times but have never played a full set.

It's been nearly six months since the release of your most recent album Alvarado. This was a rather quick turnaround from your 2020 release Medium Rarities. What was this recording process like, and how was it unique from those of the past?

Joel: Alvarado is our most unique record to date. We have always went to a cabin to work out songs for a new record, but this was different. Usually, we would get a voice memo, then go track a demo at my studio, and then go into the studio with a producer. We decided to streamline the process and scraped together all the sweetest recording gear we could find. On this session, we were going for a vibe and performance. There’s nothing like playing a song for the first time. Not hammering it down to where you don’t even like it anymore. Most the time, you’re not set up to record while jamming, so that’s the point. Capturing it. It really does sound like a band just having fun making music.

Later this week, you guys return to Birmingham's Avondale Brewery for what is sure to be an exciting show. What is it about the energy in the deep South that makes shows like this so special?

Joel: Birmingham has always been one of our favorite spots to play anywhere. We love the city, the people and the food. To me, it’s always had a little bit of a Nashville vibe. Most people in Birmingham have a little better taste in music, art, food and history than some of the surrounding scenes. It’s a special place.

Let's say you were speaking with someone who is planning to attend their first Wild Feathers show in Birmingham this week. What should they expect from the moment you take stage until the encore concludes?

Joel: If you are coming to see us for the first time ever, I am jealous of you (laughs).I love when people don’t expect who is singing or what’s coming next. We trade off lead vocals then into harmonies, then into guitar solos, then into outer space. Everyone in the band has a distinct personality and talent that keeps everyone in the audience and on stage guessing. As far as an overall vision or goal for the year, just one word: Enjoy!

Stream The Wild Feathers' latest album Alvarado here:

Recharged And Ready To Rock: An Interview With Spafford March 3, 2022 17:27

Photo by Paul Citone Photography

Interview by Jordan Kirkland: Live & Listen

After a three month hiatus from the road, Arizona-based jam band Spafford is gearing up for what looks to be their strongest year to date. We all know the toll that the ongoing pandemic has taken on the music industry. This band is certainly no exception. Spafford was one of many who were forced to shut down their New Year's plans due to heightened COVID concerns in December.

We've now landed in much more encouraging times, and the band is looking ahed to next week's run through the great state of Colorado with much enthusiasm. This will be followed by a major national tour across the East Coast and Southeast, which ultimately culminates with a performance at SweetWater 420 Festival in Atlanta in late April. 

If that wasn't enough, fans can also rejoice in the release of a brand new live Spafford compilation titled Hindsight, which is set for release on all major streaming platforms on Friday, March 4th. Hindsight will feature a collection of live material recorded over the course of 2020. 

We recently sat down with all four members of the band (Brian Moss: Guitar/Vocals, Andrew "Red" Johnson: Keyboards/Vocals, Nick Tkachyk: Drums, & Jordan Fairless: Bass/Vocals) to discuss how they have managed to overcome the challenges of a global pandemic, a beautifully positive outlook on 2022, and much more. See below for our full conversation with the band, and make sure to follow Spafford on Facebook and Instagram for all of the latest info. 

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Little Feat Releases New Recording Of "Fat Man In The Bathtub" December 9, 2021 19:01

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Press Release via JamBase

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Little Feat’s current lineup released a new version of the legendary band’s classic song, “Fat Man In The Bathtub.” The single was recorded in celebration of the 45th Anniversary of their landmark 1978 live album, Waiting For Columbus.

Written by late Little Feat co-founder Lowell George, “Fat Man In The Bathtub” first appeared on the band’s 1973 album, Dixie Chicken, and again on Waiting For Columbus. The new version features longtime members, keyboardist Bill Payne, guitarist Fred Tackett, bassist Kenny Gradney and percussionist Sam Clayton, along with recent additions, guitarist Scott Sharrard and drummer Tony Leone.

In addition to the current lineup, the new recording features guest vocalists Amy Helm and Catherine Russell as well as The Midnight Ramble Horns consisting of trumpeter Stephen Bernstein and saxophonists Jay Collins and Erik Lawrence. The track, which premiered via Relix, was recorded remotely and completed by engineer Charles A. Martinez.

Check out the official 45th Anniversary Tour graphic below, and make sure to head to the band's official Facebook page for more details. 

With Payne on lead vocals, the updated “Fat Man In The Bathtub” can be streamed below:

 

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