An In-Depth Look at Little Raine Band's 'Dreamwalker' March 19, 2019 16:15

Words by Jordan Kirkland: Live & Listen

The state of Alabama has long played an integral role in the development of American music, most notably blues and country. The groundwork of a rich musical culture was laid in the early 20th century, and the resulting influence can be felt more than ever today. This culture continues to serve as a hotbed for diverse, vibrant music from across the musical spectrum. Somewhere between the realm of jazz and psychedelia, you'll find Birmingham's Little Raine Band, who have been grinding across the Southeast for the better part of a decade. 

It's been nearly four years since the release of Liveheart, LRB's first full length album. As you might expect, the band has accumulated an arsenal of new originals since 2015. To the excitement of many, rumors of a new release began circulating over the last year. These rumors became a reality on March 8th when the band released their sophomore album, Dreamwalker. While live recordings have their own unique appeal, there's nothing quite like hearing those studio cuts for the first time. It's always exciting getting your hands on an album you have anxiously awaited, and Dreamwalker was worth every minute of anticipation.

This album has the feel of a concept piece, ultimately telling a story as one track leads into the next. It's never a bad idea to start off with a heavy hitter, and that's exactly what they did. The title track, "Dreamwalker," sets the tone immediately as Daniel Raine (keyboards/vocals) subtly lures you in. The rhythm section couldn't be tighter on this one. Drummer Justin Sledge drives the band straight into the opening verse, and there you get your first taste of Isaiah Smith's unmistakable slap bass lines. Davis Little (guitar) is a master of his craft, and "Dreamwalker" features an impressive balance of heavy riffs and scorching solos. These elements are complimented by Raine's soft, raspy vocals in what truly feels like a stroll through one's dream. 

As "Dreamwalker" peacefully dwindles, the transition into "Fiery Hoop" begins. The soft, tasteful clapping which precedes Little's opening guitar riff is the perfect touch. LRB has always done a phenomenal job showcasing the vocals of both Raine and Little, who takes the lead on "Fiery Hoop." I find myself coming back to this track several times a day. The lyrics are clever, powerful, and inspiring. The guitar work is uplifting and nostalgic, and the tune as a whole is pretty damn catchy. These are the characteristics of a great song. I expect this tune to stay in heavy personal rotation for the foreseeable future. 

The dream-like state is revisited as the band works its way into "Trying to Fly." The lyrics allude to a struggle in which we can all relate to: "Here I am, just trying to fly. Just can't get my feet off the ground. Too many things, keep fogging my mind. Just can't figure it out." There is a very ambient vibe which ultimately drops into a killer jazz section. Another beautiful showcase of the skill that all four members bring to the table. Sledge and Smith keep things tight and creative, making way for Little and Raine to work their magic. 

"Fooling Around" drifts back towards the upbeat, danceable melodies that you feel during "Fiery Hoop." I find myself following Sledge's every move behind the kit here. You're gonna want to get up dance to this one. Maybe do a little "Fooling Around" yourself? Little once again delivers an inspiring message, and it's one of those songs that puts a smile on your face. Any time you have Taylor Hunnicutt lending a hand on vocals, you're in for a treat. She adds a special component that very few are capable of. 

Things calm down a bit with "No Man's Land," and the band steers back into that dream-like state. The versatility of this group is what makes them so special, and this song proves that as much as any. Little is best known for his complex riffs and mind-bending solos, but he's equally impressive on the pedal steel. "No Man's Land" makes that perfectly clear, while making room for some blissful harmony vocals as well.

I experienced some serious deja vu when the opening notes of "Artificial Love" hit. While a handful of these songs have a familiar sound, this is an LRB original that I've grown to know and love over the years. You'll hear that classy, elegant jazz sound that the band has perfected in their young career. Tragic City's Desmond Sykes takes you to church on the sax, while Raine attempts to guide you to another galaxy. Smith digs deep on the low end, and things get nice and weird before you know it. The band ultimately lands back in that familiar jazz-driven bliss that is sure to make you dance.

The synth vibes are strong with "Other Side." I can't decide whether this tune feels more like a scene from Stranger Things or an early 90's video game, but I dig it. You really get a taste of Raine's entire arsenal here. Sledge shines on each transition, and Little never fails to deliver some tasteful licks. 

The final track comes in the form of "Settled Sun." I'm not sure if the band ever really leaves the dream-like state, but you can definitely feel it throughout this tune. Smith's graceful playing stands out from the opening notes. They couldn't have finished in more appropriate fashion. A multi-layered, complex tune on all fronts. This band has a lot of jazzy moments, but "Settled Sun" might take the cake. 

As I mentioned earlier, this release has been on my radar for some time. LRB would be the first to tell you that this was past due. At the end of the day, some great things take time, patience, and persistence. The band's loyal fans now have another serious piece of music to sink their teeth into. "Dreamwalker" was every bit as impressive as we've come to expect from this band. The Birmingham-based four-piece seems poised for its biggest year year. This album will stand the test of time as a pillar of the band's existence.

Stream the album in its entirety here:

Sermons of Suwannee: Jeff Mosier on the Healing Power of Music March 19, 2019 16:03

Interview by Brett Hutchins: Brett on Bands

It shouldn’t surprise you that a man nicknamed “Reverend” has a lot to say. Rev. Jeff Mosier, the longtime right hand man of spiritual jam forefather, Col. Bruce Hampton, is a jamgrass pioneer in his own right. But more important than that is his uniquely purposeful approach to live music. Here, he speaks with Live & Listen about the brain of the improviser, the magic of the Spirit of Suwannee Music Park, and how the lessons of music align with everyday life. Mosier’s words are like his playing. They weave and wander, but in the end, they hits home in an intentional, powerful way.

Let’s jump right in with this ensemble you’re so excited about. What’s the format?

Jeff: It’s banjo, fiddle, mandolin, bass, drums, and electric guitar. The music is very open. We do a lot of improvising and we write. The magic is in the way we present it, almost like chamber music. We sit in the round where we can see each other. We do normal songs too, but it’s the way we play them that makes it different.  It’s the best thing I’ve done and I’m really excited about it. I can’t wait to do a live album.

I’d bet you prefer playing with groups versus solo.

Jeff: As I’ve gotten older, I’m doing both. I have a solo set planned for Suwanee this weekend. It forces me to use my brain and language more when I’m by myself to do some storytelling mixed with music. When I’m in an ensemble, I use the improvisational Grateful Dead-affected, Col. Bruce nutcase run through the woods naked brain. That’s the brain of a child. The brain of imagination. It’s where all the things he taught me reside - that a band is people yielding their ears one to another in the hopes of becoming bigger than the sum total of their parts.

You can rehearse something and pull it off or you can get up there and make the donuts, take chances, risk, and do it in front of a live audience. I prefer that. I like having some structure, but improv is what really moves me these days. Now I’m playing with musicians who are all comfortable with improv. I don’t get scared looks on the stage anymore. Anyone I play with knows that anything might happen at any given moment. And nobody ever looks surprised.

Is that part of the brain something that needs to be developed or does everyone have an inkling of it from the get-go?

Jeff: It’s more of a philosophy that you apply to your ears. Improvising is not something you can learn. It is feel and how you respond to your environment. That’s how I define it. Feel is how you relate to The One or The Beat. It’s what you leave out. It’s what you put in. As has been said many times - John Hartford said it and many others - style is based on limitations. It’s what you can’t do that defines you, not what you can do. A lot of people who fill up their bucket with skills are people who think they have more to offer than they do. Sometimes, having less to offer affords people opportunities, meaning that musicians who are really good at what they do and don’t reach beyond that are better to play with because they are comfortable with who they are.

From a spiritual point of view, it’s your philosophy that makes you a good improviser, not your skill set. If you love the concept of improvising, then it lets you get to the point where, as Bruce used to say, you let The Invisible Whip take over. You’re getting to the point where you aren’t playing music, the music is playing you. That’s what I learned when I was in the Aquarium Rescue Unit. Even though I was in a band that could play circles around me, I was an equal with them as far as how open I was. It changed my life at 30 years old. I’ve never been able to go back to formulary music.

It sounds like a lot of those lessons you’ve learned through music, via Col Bruce or otherwise, translate to the real world and everyday life as well.

Jeff: They really do. If you keep your expectations low in life and you raise your tolerance for frustration, that space in the middle is mental health. A lot of times, if you raise your expectations too high in music, you miss the point. You want to bring too much to the table. You want to reinvent the wheel. Sometimes it’s the simplest of notions that will hit a listener right between the eyes, bring a tear to the eyes, chill bumps to their arms, make them move, dance, think, emote, and realize something. I play music as a spiritual activity. I know it’s entertainment, too, but in my mind, I am playing it as a healing point in the universe. That’s what Albert Ayler called it.

Right now more than ever, people need that healing aspect, they need it live, and they need it together in a crowd. Festivals are serving a need that we never imagined we’d need. The elephant in the room I don’t even have to mention, but we do need that community. Music is color blind and culture-blind. And is a beautiful reminder of what makes us human.

Circling back to that communal experience you were talking about. I know you have a theology background. What similarities do you see between the experience of church and that of live music?

Jeff: Live music creates community very much like the church does. A lot of people that come into music or are at Suwannee are also involved with church. I had to step out of that mold because I was overloaded. I saw the first Moral Majority meeting in Atlanta. I was involved in the hardcore Christian Right growing up.

When I got into music, it became my new family. I could believe, cry, feel, think, have friends, have ritual, have all the things church provided me, in and around performing and listening to music. We had something in common and the music became the belief system. My biggest belief is that art equals life. No matter what you have to do as a parent, a spouse, a worker, your life is in some way, a creative activity, Hopefully, we are all working to leave a legacy of something that will survive in perpetuity after you’re gone.

We’re really good at making something out of nothing. We can do it. Sadly, we’re really good at bad ideas as well. We’ve yet to achieve viability as a species. We are only viable to ourselves right now. We’re not doing a good job being viable to the system that spawned us. Music can do that.

We can do it without being political and playing green songs and all that stuff. We prove ourselves simply by being out there under those trees together, dancing, joking around the fire,  hearing the music and seeing our friends. We sleep. We watch the days go by. We see the weather. We’re in the weather. All that stuff reminds us that we are a part of nature, not apart from it. The more apart from nature we become, the more miserable we are. That’s why we focus on money and government. We’ve lost our way.

Music holds our hand and brings us back to our senses. That’s why I still do it. For myself, my family, and all the people that enjoy what I do.

Great stuff, Jeff. Anything else you’d like to add?

Jeff: Live Oak is the balm. It heals me from missing Bruce, missing Vassar. It gives me a chance at 60 to keep it going as long as I can. So far, so good. That’s all you can do - keep writing, creating, doing interviews with folks like you and you doing your writing, that’s what life is - keeping the ball rolling.

That’s one of the things I love about these Suwannee roots festivals - you can feel the musical history floating through the air and you have people full of intention, both onstage and out in the crowd that are there with respect for the past but also there for the now.

Jeff: It’s a special place and it made a huge difference in my kids’ lives. They’re in their 20s, but they started going when they were babies. It taught them everything they needed to know without us having to teach them. It taught them how to be. They decided to be people like the people of Suwannee. And now they’re good people. My little boy used to say, “Why can’t the world be like Suwannee?!”. That’s really it. Why not? I think it can.

I go there every year in hopes of keeping that going, though it seems like the world’s gone down and that the message has lost its meaning. It’s easy to go there, but I can’t. Gratitude is the attitude.I keep my chin up and post more about the things I believe in and less about the things I don’t.

The Jeff Mosier Ensemble is scheduled to perform at Suwannee Spring Reunion Festival in Live Oak, FL this weekend. This group features Mosier, Mark Nelson (bass), Leah Calvert (fiddle), Adam Goodhue (drums), Neal Fountain (electric guitar), and Michael David Smith (mandolin). 

Photo by Andy Estes

JoJo Hermann Discusses James Booker, New Orleans Piano Influences March 19, 2019 15:13

Words by Josh Hettermann
Photo by Craig Baird: Home Team Photography
For an audiophile and music junkie such as myself, there is undoubtedly no greater high than discovering an artist you had never heard before. I may not remember much of my childhood, but I can vividly recall when my father put on a tape cassette of Little Feat’s Waiting for Columbus album as we took a drive through the bucolic Shenandoah Valley on the way to one of my older brother’s college basketball games in 1999. I was 8 years old. To this day, the album remains one of my favorites of all time. While I have grown up and changed in many ways, one of the few constants in my life has been my insatiable desire to discover new music.
When I recently came upon the innovative and self-proclaimed “Best damn record club” and website Vinyl Me, Please a few months back, I was cautiously optimistic that it would introduce me to some hidden gems that I may have missed over the years of my intense and far-reaching musical exploration. Little did I know that the service would open my eyes to, what I now consider, one of the greatest and most underrated artists I have ever listened to. After receiving James Booker’s The Lost Paramount Tapes and spinning it a few times, I was shocked and humbled that I had never heard his legendary piano-driven sound steeped in New Orleans’ rich musical roots.
The more I researched Booker’s The Lost Paramount Tapes in conjunction with his enigmatic and tragic life, the more serendipitous this story became for me. I discovered that John “JoJo” Hermann, one of my musical icons and the longtime keyboard player and key contributing singer/songwriter of the legendary Athens, GA outfit Widespread Panic, was not only heavily influenced by Booker but also devoted a whole episode of his podcast Key’d In to the album.
After being linked up through the always-welcoming Widespread PR team, JoJo was kind enough to have a quick conversation with me this past week about Booker and elaborated on how Booker and other NoLa greats influenced him. A common theme early in the conversation was the significance of the “family tree” of New Orleans pianists that legends such as Professor Longhair and Fats Domino cultivated, which inspired both Booker and Hermann alike. JoJo elaborated on these influences further by stating, “Booker was one of the biggest limbs off that whole tree that was Fats, the Professor... but he took it to another level with his syncopated left hand playing and by adding some of these unique, funky notes in there.” He followed this with a humble observation, one that shows his respect for the late Booker, saying, “To tell you the truth, I don’t consider myself really good enough to play him! Not as much as guys like Josh Paxton, (legendary Allman Brothers Band keyboardist) Chuck Leavell and Dr. John, of course.”
While he is not a born and raised Cajun musician like all the aforementioned artists, JoJo’s reverence and respect for the incredibly rich musical history of New Orleans is apparent throughout the conversation as well as in his play with Widespread Panic and his side projects such as Slim Wednesday. “Street Dogs for Breakfast,” the title track of WSP’s most recent album is a boogie-woogie tune carried by Herrmann’s vocals and keys. While JoJo is modest about his abilities compared to Booker’s, his powerful, clean work on the keys in Panic staples such as their fan-favorite cover of JJ Cale’s “Ride Me High” are most definitely reminiscent of Booker’s similarly strong finger-work on what I think is The Lost Paramount Tapes’ best track in “African Gumbo.” Upon being asked about his playing style and prose, he answered, “It’s all connected to New Orleans and Fats with Little Richard, Doctor John, Huey “Piano” Smith, Art Neville, ya know? It all comes out of that.”
After trading a few minor anecdotes about Booker’s enigmatic life, including the fabled story of the pianist giving a young Harry Connick Jr. piano lessons in exchange for leniency on drug charges from legendary New Orleans district attorney Harry Connick Sr., JoJo strongly recommended watching the critically acclaimed Lily Keber documentary on Booker’s Life, Bayou Maharajah which premiered to rave reviews at the 2013 SXSW Film Festival. “If you see that, you’ll get it!” I’ll take JoJo’s word on that one!
Discovering James Booker’s music and the readily apparent legacy and influence he continues to have on many prominent artists in the modern music landscape has been an incredible experience. It blessed me with the opportunity to discuss “The Gulf Coast Conundrum” with one of my all-time favorite musicians in JoJo Herrmann. Diving deep into the rhythmic anomaly that is James Booker will forever be one of my most cherished memories as a journalist and music fan. It feels as if I’ve unearthed a time capsule buried in the swampy waters of the Louisiana bayou many years ago, and I have no doubt that there is more to uncover on this enigmatic but supremely talented musician whose influence can be felt all over today’s live music landscape. Circling back to my anecdote about the pure, unadulterated joy of discovering music, I can honestly say that uncovering and dusting off the legendary sounds and story of James Booker has been one of the most rewarding musical and journalistic endeavors of my life. Despite this satisfaction, I have a feeling I’ve only just started to dust the cobwebs off the long forgotten treasure that is Booker’s music and story, and I can’t wait to dig a little more.

Watch Little Raine Band Cover Cake's "The Distance" March 2, 2019 15:34

Photo by Craig Baird: Home Team Photography

The world needs more Cake. We've been saying it for years. They've been one of our favorite bands over the last twenty years, and their tour dates are few and far between these days. Fortunately, we've noticed a handful of our favorite bands working Cake tunes into rotation, including a recent take on "Short Skirt / Long Jacket" by The String Cheese Incident last fall (check it out here).

The latest example surfaced this morning from Little Raine Band's recent take on "The Distance," the hit single from the 1996 release Fashion Nugget. It's not a true Cake experience without a little brass, and Tragic City's Tommy Bowen added a fantastic touch on this one. Check out the complete performance below, and keep an eye out for LRB's new album Dreamwalker, which drops on Friday, March 8th!

Watch LRB cover "The Distance" at WorkPlay Theatre here:

Listen to Bird Dog Jubilee's Latest Single "Take Your Breath" March 1, 2019 11:07

Bird Dog Jubilee’s latest release, “Take Your Breath”, was recorded live at Aisle 5 in Atlanta Georgia. It is a follow up to their previous release “Tabby’s Playhouse” which was also recorded by Andre Griffin on August 31, 2018. “Take Your Breath” will be available on Spotify and everywhere music streams on March 8th, 2019. In the meantime, we're pleased to offer you the exclusive release of the band's latest release. 

BDJ’s homecoming at Variety Playhouse February 17th, supporting Spafford, established their position in Atlanta’s budding music scene and cemented them as a jovial act here to stay. They have been gaining steam by steadily notching off clutch plays last year including BIG Something support at Terminal West, CBDB support at Georgia Theatre & Song Birds, SweetWater 420 Music Festival, and SweetWater 21st Anniversary Party. They now have their sights set on touring the Southeast.

They released Album Art, their inaugural 3-song EP, at 420 Fest last year. It was recorded at Prana Studios with Will Clark of Funk You’s and Andy just outside the Atlanta city limits. Whether they are blending old ballads or hashing out new grooves, this is act is always a sight to see at their crux.

These guys are a collection of instrumentalists that blur the lines between structured songs and improvisational jams.  This is encapsulated by their ability to seamlessly meld tunes while encouraging impromptu collaborations with fellow musicians live on stage.

Each member has an eclectic set of influences in which they draw inspiration from, but they can always agree on The Band, The Dead, Phish, Allman Bros or My Morning Jacket while on the road. The synergy of each member’s experiences culminate live on stage providing a unique take each time you attend a performance.

Check out the exclusive stream of "Take Your Breath" here:


Mandolin Orange Swims Against the Current in 'Tides of a Teardrop' February 26, 2019 15:48

Words by Josh Hettermann

Long gone are the days where most musical artists could be defined by a specific genre. To that point, it is no new phenomenon for musicians to straddle the lines between a far ranging sphere of sound and influence. You would be hard pressed to find passionate music fans that could pigeonhole icons such as Pink Floyd into one musical category. The same could be said for legendary artists such as John Prine, Fleetwood Mac and cult favorites like Ry Cooder. That being said, since founding Mandolin Orange in 2009 in Chapel Hill, NC, mandolinist Andrew Marlin and multi-instrumentalist Emily Frantz have created as unique and enigmatic a sound as any band we have seen in the modern music landscape. The group’s standout record Tides of a Teardrop, released earlier this month, is a shining example of the sheer talent and versatility as artists.

Due to the great success of their dynamic and critically acclaimed album Blindfaller in September 2016, which featured standout tracks such as “Hey Stranger” and “Wildfire,” there was reasonably high hopes and expectations for their newest output Tides of a Teardrop upon being announced in late Fall 2018. The duo’s remarkable vocal and instrumental harmonies and seamlessly effortless blending of folk, bluegrass and Americana in their past output justified said hype; it is no overstatement to say that Tides of a Teardrop meets these expectations and more.

Tides of a Teardrop’s first two tracks were two of the singles released over the months prior to the album’s release. The opening track, “Golden Embers,” was one of these singles. A somber, pensive track, its lyrics speak to a wounded soul reaching out to an old flame. The track features excellent use of a stand-up bass interlude towards the end of the song. “The Wolves” follows, and is undoubtedly a highlight of the album. Andrew Marlin’s vocals and virtuoso mandolin playing seem so effortless and organic that it transports the listener to a peaceful place. Circling back to the opening anecdote of this review, Marlin’s tone changes significantly from the track’s first chorus to its third and final one. He sings the first confidently and steadily, and transforms the third and final chorus with an uptick in his voice, expressing comfort and ease.

“Into the Sun” is a standout track that showcases Frantz’ beautiful, melodic range. The group’s lyrics range from heartbreak to hope, as Frantz sings, “Just a bird with a broken wing, longing to fly.”

“Lonely All the Time” displays their roots in traditional bluegrass, with a beautiful harmony between Marlin and Frantz. The supporting honky-tonk guitar provides a refreshing break from the twangy strings of the band’s two leads. Frantz and Marlin’s symmetrical verse to end the song recall the connection that legends George Jones and Tammy Wynette shared on their 1976 collaboration “Golden Ring.”

There is no doubt that the final track of any album is integral to its perception and legacy amongst fans and critics alike. More importantly, it allows the artist to nail down the ethos and tone that they wish to get across in their art. Tides of a Teardrop’s finale “Time We Made Time” absolutely cements this notion. Frantz’ fiddle carries a somber yet hopeful tune. The song evokes the memories of a distant romance where the participants can hope to always count on each other in times of need. A strong slide guitar and a heavily distorted finish call to mind psychedelic, exploratory rock. Marlin croons of discussions with a strained lover with the lyrics, “Softly, tenderly, using delicate voices.”

To put it simply, Tides of a Teardrop is a prolonged love letter. It is one full of hope, heartbreak and vulnerability. All of these themes carry discomfort and self-consciousness. By nature, these imperfect aspects of the human condition are undoubtedly difficult to address; this is why Mandolin Orange is so unique as an artist. They create an undeniably original sound, supported by the firebrand that is Frantz’ and Marlin’s virtuoso musicianship. It is refreshing to hear music so heartfelt and sensitive in this day and age, and Tides of a Teardrop is a perfect encapsulation of this true display of human emotion.

Stream the album in its entirety via Spotify here:

The Gulf Coast Conundrum: James Booker and The Lost Paramount Tapes February 25, 2019 16:21

Words by Josh Hettermann

As technology and society have evolved, art has become increasingly omnipresent in our daily lives. Regardless of whether the audience is millions of fans or a mere few hundred, 21st century technological platforms such as Facebook, Instagram and Spotify allow musicians and visual artists a constant opportunity to promote and share their work. Its easy to forget that as recently as 20 years ago, artists had to rely on traditional grassroots methods to get their work out to the public. Robert Johnson is considered the King of the Delta Blues and had a profound influence on musical deities such as BB King, the Rolling Stones and Jimi Hendrix. The remarkable aspect of Johnson’s legacy, though, is that his now fabled raw recordings were released to the public for the first time in 1961, close to 25 years after he unceremoniously passed away. Other famed artists such as Blaze Foley, Johann Sebastian Bach and Vincent Van Gogh belong in the same category by the sheer nature that their work became widely celebrated well after their time.

James Booker undoubtedly belongs in this category of artists whose work flew well under the radar during their careers. Unlike the aforementioned creatives, though, Booker has yet to achieve the due credit he deserves. The August 2018 vinyl release of his criminally underrated record The Lost Paramount Tapes should be celebrated as a monumental musical achievement.

Born in 1939 in the historically African American and poverty stricken 9th ward of New Orleans that has produced musical legends such as Fats Domino and the prominent Batiste family, James Carroll Booker III showed an early knack for the piano and honed his skills by playing in local Baptist churches and also as an understudy of the iconic blues pianist Tuts Washington. After a decade of working tirelessly as a session musician, Booker recorded his first studio album The Lost Paramount Tapes at the famed Paramount Studios in Hollywood in 1973 with a talented supporting cast that included band members of New Orleans’ own icon Dr. John. Somehow, the master tapes for these sessions were lost soon after these sessions. Fortunately for us, the recordings were unearthed in 1992 and released in CD form the next year without much fanfare or publicity. At the time, Booker had been dead for close to 10 years after succumbing to heart failure due to years of chronic alcohol and heroine abuse in 1983 at the relatively young age of 43.

Listen to JoJo Hermann's podcast on The Lost Paramount Tapes here:

Forgive my wordy preamble. I’ve only included it because it is almost unfathomable to me that someone as mercurial and supremely talented as James Booker could possibly be so underserved and undiscovered in today’s music world. The recent resurgence of vinyl record production has blessed music fans all over the world with the opportunity to discover music they may have never had the chance to listen to before. The Lost Paramount Tapes is a perfect example of this. It was remastered and released on vinyl in August 2018 and is without a doubt a musical masterpiece. By blending elements of boogie-woogie, blues and roots rock, in conjunction with Booker’s visceral and impassioned efforts on the keys, the record is a standout production from start to finish and is Booker’s magnum opus. The second track, “Feel So Bad,” utilizes sturdy percussion and scintillating piano playing from the man himself to create an infectious groove. “Junco Partner” is undoubtedly influenced by the cajun rhythms of Booker’s hometown. The highlight of the disc, though, comes in the instrumental track “African Gumbo.” Booker pays homage to ragtime greats like Scott Joplin with a sustained, funky rhythmic sequence highlighted by excellent guitar work and irresistible saxophone playing by fellow NOLA legend David Lastie. While every single track packs a substantial punch, Booker and his band contributed their own take on the epic T-Bone Walker blues standard “Stormy Monday,” a piece immortalized just two years prior on the Allman Brothers Band’s iconic 1971 Live at Fillmore East record.

Records like James Booker’s The Lost Paramount Tapes will never top the charts and will undoubtedly never get the credit they truly deserve. “Junco Partner #2,” the most popular track from the disc, has an unremarkable 65,000 plays on Spotify. Despite this, the legacy and influence of artists like Booker is palpable. John “JoJo” Hermann, celebrated by fans and keys enthusiasts alike as the longtime pianist and contributing vocalist for Widespread Panic, recently dedicated a whole episode of his podcast Key’d In to the record. His influence on Hermann’s prose and sound is readily apparent even to novice fans of the group. Plato once said that “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” James Booker embodied those incredibly wise words on The Lost Paramount Tapes, and it is a shame that he is not around to witness his art’s profound impact that continues to this day.

Stream The Lost Paramount Tapes here via Spotify:


Bailey Ingle Discusses Debut Single "In Love With The Memories" February 24, 2019 21:22

Photos + Interview by Craig Baird: Home Team Photography

Bailey Ingle is a native of Hoover, AL and a singer/songwriter known for her warm, soulful voice and charismatic stage presence. At 19 years old, many consider her to be an old soul. Just last week, Bailey held her hometown release party in celebration of her debut single "In Love With The Memories," which is now available on all major streaming outlets. Prior to the show, we sat down with Bailey to learn a little bit more about her journey thus far. See the full conversation below, and make sure to stream the new single.

When did you first start playing music and what led you to the guitar? 

Bailey: I started singing when I was three. As soon as I could talk, I was singing. My grandmother can sing and my dad play's guitar, so we come from a really musical family. I sang with Keith Urban, and he asked me if I wanted to play his guitar. I was like, “I don't want to touch your guitar,” because it's amazing. From then on out, I knew I wanted to get to a point where I'm good enough. That way, if he ever asks me again, I'd be able to say, "Heck yeah. I'll play your guitar!" That's essentially what lead me to having a better drive for it.

I remember when you performed with him at Oak Mountain. You were only about 15 years old. 

Bailey: Yeah that's right (laughs).

At what point did you realize this was the career you wanted to pursue?

Bailey: As soon as I stepped on stage at the Oak Mountain Amphitheater with him. It was as if there was nothing else that I could ever do. I really don't think there's any other calling out there for me.

Your new single “In Love With The Memories” was released today (Feb. 15th). Tell me about the song and how it reflects on you as an artist.

Bailey: "In Love With The Memories" is something I wrote with Emily Brook in 2017. It was our first time meeting. It was just one of those things where we thought it would be a trial run. Our chemistry worked great, so we wrote the song in just a few hours. For me, I usually take a lot of time to write. It usually takes me about four hours, but this song flowed perfectly. I feel like it's a good reflection of this side of me. I know I'm nineteen, but I feel like there's a lot of depth to what I can write. It makes you realize you shouldn't stay with someone just because you're in the comfort zone with them.

How was the studio experience?

Bailey: It was crazy. I recorded it at Cash Cabin, which Johnny Cash built in Hendersonville TN. Dave Schools produced it. Dave brought in all these musicians that I've idolized the records they've played on from Elvis Presley, Marty Stuart and Aretha Franklin. It was crazy. It was one of those things where it was exhilarating and so exciting but it was also terrifying cause I was eighteen year old and I was like there's no way I'm supposed to be in here this is crazy but it was amazing. 

Listen to Bailey Ingle's "In Love With The Memories" here:

You've had the opportunity to work with some great people including some guys from my favorite band Widespread Panic: Steve Lopez and Dave Schools. How did you guys meet and how special has this been?

Bailey: I met Dave through Steve. I met Steve where I played at an event in January of 2018. A few weeks later, I got a call from my aunt, who knows Steve's wife Ginny basically just saying we were going to be put in touch. We met at a Widespread Panic show and I met Dave. They were just going to pitch me for a project. I didn't know what was going to come from it. They called me the next week and said that Blue Rose wanted me to come up to the cabin and record five songs that I had written. I still really didn't know what was coming from it. I thought it was like a project they were gonna have fun. Like a development kind of thing but then it lead to a record deal with some pretty cool people.

How is the rest of the year shaping up post-release and what do we have to look forward to from Bailey Ingle?

Bailey: We have another single coming out pretty soon after this and another music video will come with it. Then we'll have an EP or an album. Then I'll be hitting the road the rest of the year. I think we're gonna try and go the festival route this summer and do as much touring as we can.

Do you know what festivals?

Bailey: Not yet. We have some in mind but haven't confirmed any yet.

I'll be looking forward to those announcements. Before we wrap things up, I'd love to get a little insight from you, Steve. Your track record as tour manager for Widespread Panic is well documented. What ultimately lead to your decision to take on this management role for Bailey? 

Steve: Before I started tour managing Widespread I managed a couple of other bands. Fast forward to Widespread Panic. I've been with them for nineteen years. Then recently in the past year I decided to potentially start managing again and I picked up a band out of Austin TX. I believe everyone in Bailey's family and their friends kept telling me about her. It was a funeral that actually led me to listen to her. The way she held herself and her composure singing was quite beautiful to the point I left there thinking, "Wow. This girl has something."

Then a couple of opportunities fell in my lap. I called her on my way to Mexico last year, asked if she wanted me to manage and if so, we could sit down and talk. We did, and I explained to her how I do things. We agreed on something and now, fast forward again, we're here, releasing her new single. It's a pretty cool story and I'm excited to see what she has in store for us. I think she's going to be around for a long time.

I think you're right. 

Steve: Yes. For sure.

Thank you Steve.

Steve: Thanks Craig.

This Weekend: Montgomery’s 6th Annual Mardi Gras Block Party February 20, 2019 15:26

Montgomery’s Downtown Business Association (DBA Montgomery) will once again bring the Mardi Gras funk to the 100 block of Commerce Street from Noon - 6pm on Saturday, February 23rd for the 6th Annual Mardi Gras Block Party and Cajun Cook Off. This year, we are proud to partner with the Alabama 200 and Montgomery 200 as part of this event. The Block Party is free, family-friendly and open to the public. Tickets are required to experience the Cajun Cook Off that will take place 12pm - 2pm and will feature some of Montgomery’s premiere restaurants showing off their best cajun dish.

Advanced tickets for the Cajun Cook Off are currently available for $20 each on the Mardi Gras Block Party & Cajun Cook Off Facebook event page or by going to clicking here. Any remaining tickets will be sold on site for $25 each. It is strongly encouraged to purchase tickets in advance as the event is always a sell out. All proceeds will benefit Valiant Cross Academy and That’s My Child, two local nonprofits that are improving our city by educating and empowering our youth.

Headlining this year’s Block Party is one of the elite brass bands from New Orleans, Stooges Brass Band who will take the stage at 3pm. The Stooges consistently provide a welcome blast of true Big Easy spirit by engaging audiences with their innovative blend of traditional New Orleans brass sounds, contemporary jazz and hip hop beats. They have gained notoriety as a full-blown musical party immersing the crowd in a cut-loose vibe that is contemporary yet deeply rooted in the culturally rich musical legacy of New Orleans. Also performing is Montgomery’s own, The Avant Garde Creative League who will kick off the party starting at NOON. Followed by the Outlawz Brass Band from Mobile.

Mark Bullock and Tonya Terry from WSFA will once again serve as masters of ceremony. The event will go on rain or shine. No outside alcohol is allowed. In true Mardi Gras fashion, costumes and dancing shoes are encouraged. Follow the event on Facebook by clicking here.

Entertainment is sponsored by the Poarch Band of Creek Indians. Other sponsors include City of Montgomery, Alabama Power, Bama Budweiser, Willie Durham State Farm, Goodwyn Mills & Cawood, City Councilman Arch Lee, Serquest, AALOS, Starke Agency, Alabama State Grad Program, Robert D. Reynolds, LLC, WSFA, Rushton Stakely and others.

Check out Stooges Brass Band on 'Jam in the Van' here:

Check out additional video footage of Stooges Brass Band here:


All Things Synthwave: An Interview with Doom Flamingo's Ross Bogan February 14, 2019 15:47

Photo by Nicholas Lintz

Interview by Jordan Kirkland

It's not everyday that you're introduced to an entirely new genre of music. Upon hearing of a new Charleston-based band called Doom Flamingo, I had no idea what to expect. It wasn't long before I learned of Ryan Stasik's (Umphrey's McGee) involvement, as well as some serious Charleston musicians, including keyboardist / synth master Ross Bogan. After hearing Doom's first few releases and getting my first taste of synthwave, I sat down with Ross to learn a little more about the overall vision for this project. Check out the full conversation below, and see below for details on the Doom Flamingo's free live stream from Brooklyn Bowl on Saturday, February 16th via The Relix Channel!

Let's start off with the original idea for Doom Flamingo. What sparked the original idea? How did you guys bring it to life?

Ross: Ryan (Stasik) moved to Charleston a few years ago, as did Vince (Iwinski), who is Umphrey's McGee's manager. Umphrey's was playing a show here that Friends With Benefits, who our manager (Hank Wharton) was putting on. Ryan reached out about putting together a group of local musicians for an afterparty. He and Brendan Bayliss (Umphrey's) have another band, Omega Moos, that couldn't make it. Hank reached out to me with a few ideas for potential band members. I was driving back from Grand Canyon with Amy, my girlfriend. We were driving the van cross country. I remember getting the text and being blown away. Stasik wants to start a band. Amy looked at me and said, "Don't get in a wreck." 

I had been listening to a lot of Synthwave at the time. My friend Jon Black had been sending me playlists. I really fell in love with that music, so I pitched the idea to Ryan and Mike (Quinn), and they were on board immediately. Within about thirty minutes, I think we had figured out the concept of the band and the name, Doom Flamingo. We were tossing some ridiculous names back and forth. Ryan really liked the idea of using Doom in some fashion. I wasn't so sure about Doom Flamingo initially, but I rolled with it. Afterwords, things were just starting to warm up, and I was noticing flamingos everywhere. 

So we embarked on this Synthwave journey, and it was something we really didn't have much experience with. Just from working with each band member in the past, I know that all we need is a set goal for the show. We'll figure out a way to pull it off. Whether it's an Earth Wind & Fire tribute, Black Sabbath tribute, or even re-scoring The Exorcist, we've been able to pull off quite a few concepts. Doom Flamingo encompasses all of our different skills and puts them into one band. Musically, we're sort of all over the place. Several of the guys are deeply rooted in jazz, as well as funk. I've been in the jam and reggae scenes for a while. It's cool that we're going with this concept. 

Synthwave is usually coming from one person. It's interesting to approach this music with six people. We took it into the studio to nail down some tracks for the first show (May 31st, 2018). I had a few demos, and we worked on the instrumental parts. Kanika (Moore) came in and already had three songs completely written. She went in the other room and started singing "F-16" with one of the instrumentals. She really blew us away. We were just like, "Holy shit. This has insane potential." We all saw it then and there. Since then, we've been going pretty balls-to-the-wall with it. Constantly sending each other music and ideas. 

It's definitely a unique concept. What do you guys hope to accomplish here in year two?

Ross: As far as goals, the idea is to get as many gigs as possible. We're getting into some festivals to be announced soon. There are some other offers on the table, which we're really excited about. When we were first starting, I wondered how much we could actually play around the Umphrey's schedule. How often would Ryan want to play? He's got two young children now. Seeing how stoked he is about it, and how much he pushes us to try new things. It's been a really cool experience. 

It's been amazing to watch this band come to life. I remember hearing about this idea last Spring and wondering what would come from it. Once I heard that first recording of "F-16," I think I had the same reaction that you guys did. 

Ross: Oh yeah. It's interesting. I've never dabbled in pop music. When I was previously playing with this reggae band, I was making beats and instrumentals. I took that same approach, and once we got in the studio, the tracks really came to life. Kanika's writing really blew me away. I believe this is the first original project that she has recorded with. It's pretty wild to see what a raw talent she is. I've wanted to get this group of musicians together for a while now. We've all played multiple gigs together. To have all of this come together is pretty phenomenal. I'm really excited and want to play as much as possible. 

Watch Doom Flamingo performing in Richmond, VA here:

I would imagine so. I'll be honest, I wasn't familiar with synthwave at all prior to this band. For the sake of anyone else who's wondering what the genre is all about, how would you explain the band's take on it?

Ross: I've heard it described as what 80s synthesizer musicians thought music would sound like in the future. It's kind of retro-futuristic. Obviously, the technology has changed since the electronic scene of the early 80s. We have a few more tools to apply to it. While it does have the 80s reference and aesthetic, it also has a futuristic vibe as well. We've been working with this (visual) artist named Iron Skullet. He has a really nice synopsis of what synthwave is on his site ( He wraps it up pretty nicely, if you're ever looking to learn more about it. It's really interesting. There are so many genres within synthwave. There's darksynth, which is rooted in heavy metal music, but with synthesizers. There's Outrun, which is sort of driving music. There's dreamwave, which is poppier, dreamy synthesizer music.

There's quite a few elements that fall under the umbrella. Most synthwave artists are rooted in one of those styles. We're trying to tackle all of them, while playing with a live band. Obviously, we're all improvisational musicians at our core. We play gigs where we just roll with it for three hours all the time. That comes out in our live show. You've got Ryan's background with Umphrey's McGee... Those guys are some of the craziest improvisational musicians in the game. The way they play together as a band is pretty special. They're unlike any other band I've ever seen.

That's a fact. They're a freakin' machine.

Ross: That's a great description. It's a machine. 

You guys have how many shows under your belt at this point?

Ross: We just did our sixth show in Richmond. 

How is the calendar shaping up the band? I know there are some nice opportunities with Umphrey's afterparties. Is there a specific game plan or forecast that you guys have in mind?

Ross: Right now, we have shows around Umphrey's schedule in New York City at Brooklyn Bowl, Nashville at Mercy Lounge, Denver at Cervantes' Masterpiece, and more in the works.  We also headline French Broad River Festival outside of Asheville in May, and have more festivals soon to announce... We're trying to hit as many of the major markets as we can. We're going full speed ahead and hope to make it as big as we possibly can. There are big hopes and aspirations for Doom. Seeing the feedback after having 600+ people at a show, it's been pretty mind blowing for all of us.

The way people have been receiving us has been crazy. There's so much that you can do with this concept. I've seen people dressed in Doom Flamingo costumes. It's pretty cool. We have this comic book coming out as well. We just got the script from our buddy Jordan Noir, who we met on Instagram. We're really excited about that. The more the comic grows, I believe we can incorporate more musical characters from other bands and friends. It's such a conceptual thing. There's really no limit to it, as far as creativity is concerned.

You've been releasing the originals as singles thus far. Is that the formula the the band plans to stick with?

Ross: The reason we've been releasing singles is so we could get some initial material out there. Something for people to actually listen to. We had shows in place, and I think people were wondering, "What is this?" We wanted to get some material out there as quickly as possible. I think the single is definitely becoming more common, with people's attention spans dwindling in the music scene. Creatively, we do want to release a full album. Right now, we have an EP in the works which should show more of the overall vision. 

The Unpredictable Journey of Drivin N Cryin's Kevn Kinney February 4, 2019 14:58

Interview by Jordan Kirkland: Live & Listen

Celebrating their 33rd Anniversary together, Atlanta-based folk rock act, Drivin' N Cryin', have spent most of their career on tour. In October 1985 Drivin' N Cryin' played their first show at Atlanta’s famed 688 Club. The band quickly gained attention for their blistering live shows, and amassed a rabid fanbase in the fertile soil of the late-1980s Southeast music scene. Now, 33 years later, and after releasing four full length albums on Island Records and one on Geffen Records, founding members Kevn Kinney and Tim Nielsen find themselves enjoying a milestone anniversary for the band, having survived the pressures of fame, a shifting musical landscape, multiple lineup changes, and miles of back roads and highways to arrive here.

With a gold record, 10 full-length albums, and a handful of EPs to their credit, the band still refuses to rest. In 2012, a documentary about the band, entitled Scarred but Smarter: Life n Times of Drivin' N’ Cryin’, was produced. In 2015, a collection of 10 choice cuts from the band’s 4-EP “Songs” series, entitled Best of Songs, was released on Nashville’s Plowboy Records. Additionally, the band was inducted into the Georgia Music Hall of Fame that same year. The following year, Drivin' N Cryin' released a vinyl-only album, entitled Archives Vol One, with a collection of basement recordings from the years 1988 to 1990. With Dave V. Johnson as their drummer, and the band's newest member, Laur Joamets (formerly of Sturgill Simpson's band), now being added to the lineup, Drivin' N Cryin' continues to tour the U.S. to great acclaim.  

Montgomery, Alabama is in for a treat on February 21st, as Kevn Kinney comes to town for a rare solo performance at the Capri Theatre. We recently sat down with Kevn to get the full story on how this band came to life, the journey from building sewage plants to touring the country, and details on what the band has planned for the future. See below for the full conversation.

Purchase Tickets: An Evening with Kevn Kinney

I typically start these interviews off with a general history lesson. Let's hear the story of Kevn Kinney, as well as Drivin N Cryin. You were born and raised in Milwaukee, correct?

Kevn: Yes. I was raised in a hardworking, Irish-Catholic, middle class family. Five children in a 1000 square foot house. Music was everywhere. We had three pianos and several guitars in that little house. All of my sisters played instruments. Piano, guitar, flute, clarinet. My brother played everything. It was a pretty musical household. From an early age, I was surrounded by the blessings of having music in my life. You have a bad day, then you sit down at the piano or with your guitar. You focus on what you're doing and learn how to express yourself. Try to figure out how the world works, and why people are the way that they are. Why people expect certain things. 

I was really, really fortunate. I don't know how my Dad raised five children on a refrigeration engineer's salary, but he did it. We're all very good people because of it. We all care for each other, as well as those around us. We all still play, enjoy, and respect music. That's kind of what made me who I am. I can't imagine living in a house where someone says, "Put down that damn guitar!" My dad would say, "Play that guitar!" 

I've tried to do the same with my children. My daughter plays piano. I think my son is one of the best drummers in Atlanta. He's a part of the underground, independent rock scene here. One of his first teachers was Col. Bruce Hampton's drummer. So yeah, I grew up in Milwaukee. It was cold, and we were stuck inside a lot. We learned to open our minds through the music opening the landscape of opportunity and a glimpse at the future.

How did you ultimately make it down south? What led you to Atlanta?

Kevn: I did not come down here musically. I was 23 years old, and my brother had recently walked the Appalachian Trail. He wound up in Atlanta. He came home briefly before moving back to Georgia. He encouraged me to move down here and assured me that I could find work. The jobs started at $4.50 an hour, and I was like, "Whoa!" I was making about $2.15 an hour at the time. I could maybe make $3.10 an hour if I had stayed there for a little bit longer. I was never going to get ahead. I decided I would go be a laborer for $4.50 an hour. Then, I learned a trade. 

My first job down here was great, because it was really hard. I worked with a whole lot of people from Alabama at this construction company. We built sewage plants. They trained me to be a form carpenter. I did that from 1982 until 1984. In 1985, I quit and moved on to indoor carpentry building cabinets. I was sick of working outside. I think I was making around $9.25 an hour at my last job, which was a ton of money in 1984. 

When I quit to travel and ride in a van with a band, I was giving up a pretty steady income. I was happy for the opportunity. Drivin' N Cryin' was pretty popular right away because of the fact that I had some serious players. Our bassist (Tim Nielsen) and drummer (Paul Lenz) were members of probably the most famous band in Atlanta. They were the band that could sell out the 688 Punk Club. They quit that band to join me after seeing me play with this punk rock band from Milwaukee. 

This was when, 1985?

Kevn: Correct. 1985. That's where the Drivin' N Cryin' story begins. 

Watch Drivin N Cryin perform "Straight to Hell" here:

Tell me about those first few years. Getting started and developing your catalog. Building your reputation in Atlanta and the surrounding markets.

Kevn: I'll tell you what we did then, and I think what it would help to do now. We did a very early version of modern day advertising. Let's rewind just a little bit here. I was also working part-time at a futon store. My boss got a nice deal buying these weekly ads. Drivin' N Cryin' decided to do the same thing. We had a little tiny ad with our logo, and we would list our shows underneath. The initial dates would be predominantly Atlanta, but we were eventually able to show our progress with dates in Chattanooga, Athens, Chapel Hill, even New York City. People may not of known who we were, but they could see our progress in this ad each week. It made us look organized. I feel like that really helped bring crowds in. Letting people know who you are and where you're going. 

I write a lot of melodies, and then I fill them in with words. Whatever I'm thinking about at the time. I would call my answering machine in the old days. That allowed me to remember what it was and turn it into a song. Songs like "Straight to Hell" started just like that with a simple melody. You find yourself singing it in traffic and think it's just a passing thing. Songs like "Malfunction Junction" and "Honeysuckle Blues" came to life in the same way. I decided that I wanted to have rock music, and I didn't want to sing about bars and girls the whole time. I wanted to capture America changing. 

Back in the 80s, it was about how much America was being homogenized. It turned out to be true. If you drove me around for 9.5 hours, in a circle or a straight line, and you pulled me into a truck stop and asked where I was...I wouldn't be able to tell you. There would be a Subway and a Chester's there though. It could be Wyoming, Missouri, or Alabama. Everything was the same. I miss that element of America where things were special. You had to get off the highway to go find the hamburger joint. We try to use the Yelp app as much as we can. We like finding the local diner, meat and three, or BBQ joint. Something besides a chain restaurant. 

That's a great practice. You're selling yourself short if you don't. So, there were some special things happening in and around Atlanta music at this time. How vital was this towards the early days for the band?

Kevn: We had a great family of bands surrounding us at the time. There was a really nice community, and we all shared stories and experiences. Discussing our first road trips and things like that. We all played together constantly. We'd go to each other's practices to see how other bands did things. Uncle Green was this band that had their own house. They were this fantastic band that moved down from New Jersey. I think they ended up making a record with Brendan O'Brien. 

Community is important. If you have a band in Montgomery, Alabama, hopefully you are friends with the other eight bands in Montgomery, Alabama. If you're not, you should be. You have to create a coalition and encourage each other, have each other's backs. We'd get together and play on the street. Help each other through breakups and makeups. Network with one another. Sit around and listen to music. Smoking pot. Drinking Mad Dog. Whatever it was that got us through the day. Good coffee was hard to get back then. Expressos were impossible. 

I don't remember too many details of what made what go where, but I remember the overall cloud of friendship and community. I've never really focused on the details of yesterday. I like to focus on what I'm here to do, and how crazy it is that people pay me to do it. Being honest with yourself. When I talk to kids about songwriting, they ask how I wrote certain songs. My answer is always, "Just tell your story." Don't think about the crossroads. You will obviously want to imitate your heroes, whether its The Rolling Stones or Foo Fighters. 

Eventually, you have to find the discipline to let that go and tell your story. That's the only thing that's going to make you special. If you grew up in a suburban house, right off the highway, with shag carpet and an avocado colored refrigerator, books and magazines stacked up in your mom's tupperware collection...tell me that story. That's special only to you and no one else. I'm interested in that story. I prefer the non-fiction story. 

Watch Drivin N Cryin perform "Let's Go Dancing" here:

How would you describe the more recent years for the band? How do you guys go about balancing your time at home versus out on the road?

Kevn: We're seeing that a lot of our fans now have grown children. They don't need a babysitter anymore, and they can actually come to the shows again. Their children are grown, so they're coming to the shows as well. They've been hearing Mom and Dad talk about us all these years. We're starting to notice a younger crowd, as far as our popularity goes. I think we're doing pretty well there. We have a new guitarist named Laur Joamets (formerly of Sturgill Simpson's band). I'm actually trying to get him to come to the Montgomery show with me. 

I'm still writing songs. We just cut a new record. It might be one of the top two or three records that I ever make. We're super excited about it. Really great circumstances. We recorded it in Nashville. There is an entire generation of folks that remember us from their childhood. They're curious as to who we were and where we're going now. The good news is that we still have a lot of people who don't know who we are. I really think that's a good thing. We have a lot of people that we can still reach. 

One of the newer friends I've made is Jamey Johnson. I fell in love with his music, voice, and discipline. I saw him play and knew I'd love to play with him one day. Warren Haynes introduced us at the Christmas Jam, and we've played "Honeysuckle Blue" and "Straight to Hell" a couple of times now. I'm overwhelmed when I look over and see him singing those songs on stage. Sometimes I'm so overwhelmed that I forget the words (laughs). He has to remember them for me. I made it down to his charity golf tournament at Cottonwood Golf Course last year. Hopefully, Drivin' N Cryin' will play it one of these years. 

I feel like I'm in a good place. I'm still writing songs. I'm still being honest. I think they're good songs. We're looking for a label for this amazing record we just made. We're all feeling really positive about things. We haven't had a record deal before we've cut the record in over 20 years. We make them all ourselves and find someone to distribute them. We're pretty proud that we can still make a great record for a few thousand dollars. I'll be playing a few of those new songs, as well as the older ones, at the Montgomery show. 

Purchase Tickets: An Evening with Kevn Kinney

Live Album Showcase: Dickey Betts 'Live from the Lone Star Roadhouse' February 1, 2019 12:08

Live and Listen’s Live Album Showcase

Dickey Betts: Live from the Lone Star Roadhouse

 Words by Josh Hetterman

Taped recordings have long been an integral cog of the live music scene. This is the first installment of a weekly series highlighting iconic live albums from the last half century. Today, we will take a close look at the Allman Brothers Band founding member and guitarist Dickey Betts’ 2018 EP Live at the Lone Star Roadhouse, recorded in 1988 with his band Great Southern.

After a tumultuous and frantic decade that saw the tragic deaths of founding members Duane Allman and Berry Oakley, the Allman Brothers Band broke up in 1982. Speaking on the breakup, Dickey Betts stated, “We broke up in '82 because we decided we better just back out or we would ruin what was left of the band's image.” Other than a brief co-headlining tour led by Betts and Gregg Allman in 1986, the band’s members focused primarily on their solo careers, especially Betts and Allman. During this time, Betts, the enigmatic but superbly talented guitarist and songwriter who penned iconic ABB hits such as “Ramblin’ Man,” “Southbound” and “Jessica,” reunited his band Dickey Betts and Great Southern, which featured a young, hungry guitar virtuoso by the name of Warren Haynes.

Despite being recorded on January 11th, 1988, Dickey Betts and Great Southern: Live from the Lone Star Roadhouse was not released to the public until April 21, 2018. It was featured as one of the premiere, exclusive releases of the internationally recognized celebration and homage to vinyl records, with a limited run of 1400. Upon first listen, the 90 minute EP surely did not disappoint; in fact, it is so solid from start to finish that it should hold a place in the upper echelon of ABB records for any fan of the band.

Side 1 of the record features a 4 song set highlighted by Betts compositions and ABB staples such as “Blue Sky,” “Jessica” and “In Memory of Elizabeth Reed.” The musical apex, however, occurs during Betts’ instrumental tribute to his legendary fallen bandmate and ABB co-founder Duane Allman on “Duane’s Tune,” a single off the Dickey Betts Band’s 1988 album Pattern Disruptive. Dickey introduces the song with a noticeable excitement, and strong percussion complements his and Warren Haynes’ driving guitar harmonies throughout the six and a half minute track. Even without explicit knowledge of the song’s dedication to Duane, even an amateur ABB fan could tell this is an impassioned tribute to the late founding member of the band. Phenomenal slide guitar and a driving rhythm carry the song and remind us of the impact that the legendary guitarist had on his bandmates and the music world at large.

Side 2 opens with a few more ABB classics in spirited renditions of “Statesboro Blues” and “One Way Out.” Adding to the already palpable star power, guitarist Rick Derringer came out to guest on his hit song “Rock ’n Roll Hoochie Koo,” and was immediately followed by legendary Cream guitarist Jack Bruce sitting in on a cover of Howlin’ Wolf’s “Spoonful.” Bringing the set to a rocking close, the band hits the high note with a 10 minute version of another Betts original and ABB classic in “Southbound.” Dickey Betts’ legacy has long been muddled by his tumultuous personal life and well-documented rifts with fan favorite Gregg Allman. Despite this, there is no logical argument against his impact not only as a guitarist and songwriter but also as a founding member of one of the greatest bands of all time. Dickey Betts: Live from the Lone Star Roadhouse does nothing to weaken this argument: he is, and always has been, a brilliant musician and songwriter and should be celebrated as such.

The Werks Discuss 'Sonder', Future Releases, & Much More January 25, 2019 13:24

Words by Jordan Kirkland: Live & Listen

Over the last four years, Live & Listen has allowed me the opportunity to discover more new music than I could have ever imagined. Whether it's a newly established up-and-comer, or a band whose name I've heard for years, it's been an amazing experience. There are times where I've simply found myself in the right place at the right time, and that's exactly what happened on July 4th, 2015 in Chicago, Illinois. 

The epic voyage to Chicago for The Grateful Dead's "Fare Thee Well" shows was ultimately a city-wide music festival. You had a countless number of bands performing both before and after the big shows at Soldier Field. Following the Saturday night show, I ventured over to The Chop Shop to finally catch my first taste of The Werks. I was absolutely floored and really haven't stopped digging into their catalog since. 

Here we are nearly four years later, and I've been fortunate enough to work with the band on a number of shows, attend the annual Werk Out Festival in Ohio, and watch the continued growth of an incredibly unique group. Upon hearing the band's latest release, Sonder, just last week, I had to reach out to get the low down. Check out the full conversation with Chris Houser (guitar), Jake Goldberg (bass), and Dan Shaw (keyboards) below and make sure to give Sonder a good listen as soon as possible.

Last week you guys released Sonder, the new three-song EP. It seems as if you guys are taking a new approach to releasing new music this year. How did the band come to this decision?

Chris: Across the board in 2018, streaming numbers went up drastically. The number of album sales did not. We're trying to keep up with the times, be honest with ourselves, and stay in tune with the way things are moving in an ever changing world. We want to make sure that the music we're putting out is being listened to.

If someone is even buying an album these days, they don't always make it to the end. They're usually off on something else by three songs in. We figure we would focus on putting out a digestible amount. Not to patronize our audience, or any audience, for that matter. Something that is more relatable with current times, and also spread out new releases throughout the year. We've had a lot of fun with it, and we're all really excited.

Jake: It definitely has a lot to do with the streaming platform, the way tracks are laid out, and the average span of your average listener. Like Houser said, working on multiple releases throughout the year, and almost having three different themes for three different songs. 

Did you guys knock out the material for each release in the same studio session?

Jake: For the most part, they were done in one chunk of time. We'll revisit some of them in the studio, but yes for the most part. 

Chris: We've found a studio that we're really comfortable with, and an engineer that we really look forward to seeing every time. It's a very comfortable place for us at this point. We plan on spending even more time in the studio during our off time, because we're constantly working on new music. Hopefully more of these releases will happen in the future. 

Let's talk a little bit about these three specific tracks. When I first listened, I noticed that each really represents the different elements of The Werks. "No Prisoner" has more of a classic, old school Werks instrumental feel to it. "Stars Collide" has a nice catchy vibe and really showcases Rob's vocals. "Flatiron" gives you a nice dose of that dark, "Werktronic" side of the band. 

Chris: nailed it!

Anything interesting you can tell me about this group of tracks?

Chris: Let's start off with "No Prisoners." That one is largely Dan's "deep brain" child. 

Deep brain? Oh man...

Dan: Yeah, I've always been attracted to the ways that rhythm guitar lines are actually lead lines in a lot of classic rock songs. I originally planned for the song to have lyrics, but as we were working on it, it evolved into an instrumental. The goal was to have something that's almost a cross between Led Zeppelin and Edgar Winter with some catchy rhythm guitar licks.

Love hearing that. 

Jake: In terms of these three songs, like you said, I think they capture different aspects of the band really well. In writing each of these songs, we wanted to be unapologetically ourselves. Let's not try to create something that we think is going to sell, as opposed to something that we actually want to listen to. I think that really comes through in the tracks, which is why we're enjoying it so much.

I'm sitting here looking at the definition of the word "Sonder" right now. Very cool. "The realization that each random passerby is living a life as viviid and complex of your own - populated with their own ambitions, friends, routines, worries, and inherited craziness..." Where does that word / concept play into this release?

Jake: Honestly, we just wanted to expand people's vocabulary. Now people like yourself are looking that word up.

Mission accomplished.

Chris: It's a pretty amazing idea to be conscious of. 

Jake: I think that answer will become more prevalent as future tracks are released. The theme of "Sonder," as well as the music. One of the cool things about the staggered release is the anticipation that comes along with it. 

Agreed. That "Sonder" concept really plays into a mindset that I'm constantly trying to be conscious of. Everyone is on their own journey. You never know what's going on in someone else's life. Don't be quick to judge anyone, because we're all out here fighting the good fight every day. 

Jake: Absolutely. You see it all the time in life and music. 

Photo by Josh Timmermans: Noble Visions

You guys are in the midst of a 10-day run, and you'll be getting home just in time for Winter Werk Out?

Jake: That's right. Our big event of the winter. 

Tell me about how that expansion on the Werk Out is playing to your advantage and helping build on this culture which continues to grow each year. 

Chris: It's been great. It's fantastic for us because there's always a bit of lag or depression once The Werk Out is over. There are just those feels, man. It keeps the name and the brand coming out of people's mouths. Everyone is constantly talking about The Werk Out. We're out here on the road spreading the word once again. 

In the early years of The Werk Out, we talked about possibly doing something in the fall. It turns out that the first weekend of February was the right time to do it. Every six months we get to have a Werk Out, and that's a great thing for us. I think it's as long as people want to wait. 

That's a nice, healthy balance. A good Werk Out every six months keeps everyone in shape. 

Jake: It was really cool to bring it to a venue like The Bluestone. We haven't had much prior experience there, and I know most of our other bands haven't either. It just wasn't a venue that was used much in our scene. To be able to bring people to this beautiful room in the heart of Ohio is pretty special. 

For me personally, I've been on stage with The Werks at all three Winter Werk Outs. It holds a special place in my heart. Not that the summer Werk Out doesn't, it's been amazing to watch this event come to life and grow each year. People are really into it.

So how is the rest of the spring shaping up? How's the schedule looking?

Jake: We're going to be busy. We'll be touring through the southern belt and eventually getting down to Florida. 

Chris: We're always excited to get down south. We're doing a two-night run at Aisle 5 in Atlanta. We're also hitting the Carolinas, Knoxville, and Nashville. We're back on the horse and hitting the road strong, and we're having a lot of fun and doing our thing. I've kind of started telling everyone that we aren't out here to fuck around. (laughs)

Jake: We're out for blood, and we're taking no prisoners. 

Jake and Chris...I know you guys have had some major life developments in the past year. Tell me about how fatherhood has shaped you as a musician and human being. How has this next chapter of life played out thus far?

Chris: It has certainly made us harder workers. 

Jake: teaches you a lot of patience. It's really cool being able to share something as sacred as music with your offspring. It's crazy. I sit down in front of a piano with my daughter and play. Sometimes I'll be playing bass or guitar. She looks at me and smiles and it's just She becomes more a part of my life, and music becomes more a part of my life. It just makes everything more important, you know? Music included.

Chris: I'm really looking forward to seeing Mark grow up. Having him realize that it's possible to follow his dreams. Make his dreams his goals, because that's what daddy's doing. We don't have a lavish lifestyle by any means. We earn an honest living, a modest living. Success is in the eye of the beholder, and I believe the same applies to happiness. I know that I'm very happy and grateful.

That's what it's all about. 

Chris: Yes it is. 

Before we wrap this up, I've gotta hear what Mr. Dan Shaw is fired up about this spring. Let's hear it, Dan.

Dan: Other than the finishing touches on the new material, I know we're out here now, but I really love traveling out west. Colorado is great, but even up north of here. There's a lot of wide open space.

Jake: Dan loves wide open spaces.

Chris: He loves The Dixie Chicks.

Jake: He loves hotel pools.

Who doesn't love hotel pools?

Dan: I love getting out and traveling the country. I also love the creative process in general. We have plenty of both ahead of us, so I'm pretty excited about that. 

Well you guys stay safe out on the road. Bring it back home in one piece for the Winter Werk Out, and we'll see you in Atlanta in just a few weeks.

Stream The Werks' Sonder via Spotify here:


1.25 Denver, CO w/ The Jauntee
1.26 Vail, CO
1.29 Minneapolis, MN
1.30 Milwaukee, WI
2.1+2 Columbus, OH (Winter Werk Out)
2.13 Charleston, SC
2.14 Jacksonville, FL
2.15 Punta Gorda, FL
2.19 Gainesville, FL
2.20+21 Atlanta, GA
2.22 Knoxville, TN
2.23 Nashville, TN

SweetWater 420 Fest Finalizes Yet Another Killer Lineup January 10, 2019 09:38

Photo by Craig Baird: Home Team Photography
Organizers of SweetWater 420 Festival in Atlanta, GA have finalized yet another killer lineup for 2019. As previously announced, we will see Widespread Panic will return for four sets over two nights at April’s event. Today's announcement includes the addition of Joe Russo's Almost DeadJJ Grey & MofroPigeons Playing Ping PongEveryone OrchestraSunSquabiCory Henry & The Funk ApostlesBIG Something, Billy StringsMagic City HuppiesPink Talking FishZach Depity & The Yankees, and more (see below). These artists join an already stacked cast, which includes The Avett Brothers, Jason Isbell & The 400 Unit, Rebelution, Moon Taxi, The Claypool Lennon Delirium, Keller Williams’ Grateful Grass, John Medeski’s Mad Skillet, Turkuaz and  KNOWER
If you haven't had a chance to attend this festival in years' past, we couldn't give it a stronger endorsement. Held annually in Atlanta's Centennial Olympic Park, you're within walking distance from countless hotels, as well as everything downtown Atlanta has to offer. The infrastructure and overall flow of the weekend is second to none, and we're already counting the days til this year's festivities. Stay tuned for additional details, as well as the lowdown on after parties at Terminal WestVariety Playhouse, and Aisle 5. Oh yeah, go ahead and click here to purchase your tickets today!
Photo by Ryan Lewis: Rylewphoto
Click Here: Our recap on last year's SweetWater 420 Fest (2017)

Phish Announce 2019 Summer Tour Dates January 9, 2019 14:29

Photo by AZN Pics

Phish will hit the road this summer with a 26-date tour beginning with two-nights in St. Louis, MO, and culminating with the band's traditional Labor Day run of shows in Commerce City, CO. The 26-date tour also includes multi-night runs at  Merriweather Post Pavilion (MD), BB&T Pavilion (NJ), Saratoga Performing Arts Center (NY), Boston's Fenway ParkAlpine Valley (WI), amongst others. The band will close out the summer with their annual three-night Labor Day Weekend stand at Colorado’s Dick’s Sporting Goods Park on August 30th, 31st, and September 1st. A ticket request period is currently underway at See below for a complete list of dates!

Phish Summer 2019 Tour Dates

June 11 - Chaifetz Arena, St. Louis, MO
June 12 - Chaifetz Arena, St. Louis, MO
June 14 - Bonnaroo Music & Arts Festival, Manchester, TN
June 16 - Bonnaroo Music & Arts Festival, Manchester, TN
June 18 - Budweiser Stage, Toronto, ON
June 19 - Blossom Music Center, Cuyahoga Falls, OH
June 21 - PNC Music Pavilion, Charlotte, NC
June 22 - Merriweather Post Pavilion, Columbia, MD
June 23 - Merriweather Post Pavilion, Columbia, MD
June 25 - Darling’s Waterfront Pavilion, Bangor, ME
June 26 - Darling’s Waterfront Pavilion, Bangor, ME
June 28 - BB&T Pavilion, Camden, NJ
June 29 - BB&T Pavilion, Camden, NJ
June 30 - BB&T Pavilion, Camden, NJ
July 2 - Saratoga Performing Arts Center, Saratoga Springs, NY
July 3 - Saratoga Performing Arts Center, Saratoga Springs, NY
July 5 - Fenway Park, Boston, MA
July 6 - Fenway Park, Boston, MA
July 9 - Mohegan Sun Arena , Uncasville, CT
July 10 - Mohegan Sun Arena , Uncasville, CT
July 12 - Alpine Valley Music Theatre, East Troy, WI
July 13 - Alpine Valley Music Theatre, East Troy, WI
July 14 - Alpine Valley Music Theatre, East Troy, WI
August 30 - Dick’s Sporting Goods Park, Commerce City, CO
August 31 - Dick’s Sporting Goods Park, Commerce City, CO
September 1 - Dick’s Sporting Goods Park, Commerce City, CO

Moon Taxi Are The "Champions" Of New Year's Eve January 6, 2019 21:39

Words by Tiffany Clemons

Photos by Joseph Mikos

Live & Listen is fully funded by our merchandise + ticket sales. Click here to shop now and support the cause!

Moon Taxi closed out 2018 (and their Good as Gold Tour) with their ninth New Year’s Eve show and an arena debut at Nashville’s Municipal Auditorium. The hometown group was joined by special guests LUTHI and the Nashville vinyl-spinning duo Sparkle City Disco, known for their over-the-top dance parties. All of which have a contagious live energy that made for an non-stop fun night all the way through into the new year.

Speaking of sparkle, the funk explosion that is LUTHI took the stage between SCD sets donned in as many sequins as they could get on their bodies for the occasion. They warmed up the crowd with songs from their Stranger album released in 2018, and as they closed out their set with a cover of Daft Punk’s "One More Time," a sea of light up tambourines began to bounce in preparation for Moon Taxi to take everyone into 2019.

Moon Taxi delivered a night sprinkled with all your favorite songs from their albums old and new, including "Not Too Late," "Good as Gold," "Trouble" and "Two High" from their 2018 release Let the Record Play. There were also plenty of classics such as "Morocco," "River Water," and "Run Right Back." We also got a brand new song titled "Now’s The Time." (Bassist, Tommy Putnam told us there would be more new music coming our way in 2019!)

The countdown into 2019 was led by Tyler Ritter with an insane drum solo to an audio remix of "Eleanor Rigby" accompanied by an official countdown clock in the background. The guys, along with the LUTHI horns, remerged with 15 seconds left on the clock, and when it struck 12:00 AM, Trevor (Turndrup) shouted, “Happy New Year!” The band then launched into a rock version of "Auld Lang Syne" while balloons fell from the ceiling.

The New Year’s classic was followed by the tour’s namesake song, "Good as Gold" and rolled right into a timely cover medley of Queen’s "We Will Rock You," "Bohemian Rhapsody," and "We Are The Champions." Here you daw the crowd sing, or let’s be real, SHOUT, every. single. word, whilst in true Moon Taxi fashion, confetti poured into the air. 

Everyone then threw their fingers into the sky when Moon Taxi ended the night, or morning I should say, with their hit single, "Two High," that featured Amber Woodhouse of LUTHI on sax and the Sparkle City Disco dancers, aka "Art of Chaos." The dancers then discoed their way back to the SPD booth while the disco duo of Jonas Stein and David Bermudez continued the 2019 party.

In addition to the amazing music, the overall production was nothing short of a spectacle. The Moon Taxi crew went above and beyond this year, with a mesmerizing combination of lighting, massive video walls, and disco balls. The band only has two dates listed for 2019 so far, but along with some new music on the way, I think it’s safe to say that we are all looking forward to more! 

Watch a recap of Moon Taxi NYE's show here:

Complete Setlist: Moon Taxi - Nashville, TN - 12.31.18

Not Too Late

Let The Record Play

Run Right Back

Make Your Mind Up

All Day All Night



River Water

Who’s To Say

Year Zero

Now’s the Time* (New song)

Nothing Can Keep Us Apart

Drum Solo (Eleanor Rigby audio)

Auld Lang Syne*

Good as Gold*

Queen* (We Will Rock You/Bohemian Rhapsody/We Are The Champions Medley)

Red Hot Lights*


The New Black


Two High**


*featuring Luthi Horns

**featuring Amber Woodhouse on Sax

"Feelin' I'm Free": Ringing In 2019 With Widespread Panic January 5, 2019 14:56

Words by Erika Rasmussen

Photos by Craig Baird: Home Team Photography

People all over the world have their own New Year’s traditions. A little ritual to mark the end of one year and, hopefully, usher in the next with joy and love. Some people greet every New Year in a bar with their friends. Or in Times Square. Or at home, eating black eyed peas for prosperity with family. For my “framily”, we follow Widespread Panic on December 31st.

This year, as often happens, that was a three-night run at the Fabulous Fox Theatre in Atlanta. For me, and thousands of others, this pilgrimage reunites me with those I love on tour, introduces me to the new and amazing people that somehow still always seem to appear, and reminds me why I love this damn band so much after decades of doing this. Night One kicked it all off with an opener we’ve never seen before: “Vacation”. So, yeah. Let’s just begin with something we’ve never done before, shall we? We’re all glancing over at each already. “Did they just…?” “Have we opened with this before?” “What’s Curtis saying?” The first set saw many of our beloved classics, including “Papa’s Home”, which went well with the commemorative Papa print we all loved of Valentine’s this weekend. Second set favorites for me were the Low Spark > Jam > Low Spark. The whole weekend was very “jammy”.

Recently, I’ve noticed myself becoming defensive about the “jam band” description for Panic. “No, no, no,” I’ll say. “You don’t understand. It’s more than that. It’s blues and southern rock and so much more.” But why should I be defensive about a jam band title? When done well, like it was this weekend, a jam band’s work is transcendent. It’s magical. It jams you away from a song you know and love and takes you to another place and then brings you back to a song you forgot you left. That’s mystical.

On Night Two, they decided to reeeeeally impress us. They not only opened with a slow “Porch Song” (swoon), but they closed the night with “Porch Song”. They’ve never played both versions in one show and this was dubbed on the setlist as “Front Porch/Back Porch”. Heh. How witty is that? Another front/back feature of the weekend was the double-sided Matt Leuning minis, printed at Ruby Sue Graphics. It means so much to me, and to all of us, that this band and this community has placed a high value of promoting visual artists and letting their creativity run wild.

Matt also created commemorative coins this weekend, of which I was gifted one by my friend, Zeke. The slow “Porch” opener was followed by Billy Joe Shaver’s “Chunk of Coal”, last played two years ago on the NYE run. The second set included a “Ball of Confusion” jam out of “Rebirtha”. Thanks for the tease, boys. Of course, the show closer of that second, “fast” Porch knocked everyone’s socks off. Great way to end the night.

Night Three began with a beautiful “For What It’s Worth” that would set the tone for an emotional evening. Acoustic JB was a nice touch for the first set, as were his red pants. The second set featured a heavy focus on jams and I danced myself weary, especially during “Good People”. This is a topic I’ve been preaching on this year. It was good to see people behaving themselves (relatively speaking) at this show. I saw people treating each other respectfully, working hard to get tickets for their friends, miracling total strangers on Peachtree Street, gifting stickers and koozies and whatnot, and a kind gentleman bought drinks for my friend and I when our cards wouldn’t scan.

Of course, I heard stories of some guys not treating the ladies so respectfully, sadly. But each of those stories seems to end with “…and then So-And-So came up and told him off in no uncertain terms.” We stand up for each other. We ARE the good people. Remember that going into this year. Apparently, our good behavior was rewarded.

After the midnight countdown, the band went into “The Waker”. Lemme repeat myself for those in the back. They went into “THE WAKER”. Whaaaaat?!? Years ago, our dearly missed Mikey Houser wrote this song, titled after his son. The song hasn’t been touched by the band since Mikey’s passing in ’02. We never thought they would touch it again. It’s like Grandma’s china that you put away and don’t ever break out in live action anymore. You just appreciate for the beauty and the care that went into the creation of the thing. And then one day, you’re eating ribs (and whiskey) off that china and you love it even more. You realize that it’s a thing that’s meant to be taken out into the daylight. And when Panic brought this song back out into the light, oh my.

It took a few moments for the first few notes of “The Waker” to really sink in. We all look at each other. We do that “cover your mouth in shock” thing with our hands. “Are they really playing it?” “Is this a tease?” Damn. They played it. The whole thing. And we were in awe. And in tears. And in love. And in hugs with our friends. It was an amazing thing to behold. Talk about an emotional release to start your new year. Thankfully, we danced the tears away by going straight into “Arleen”. And that always gets you shakin’, doesn’t it?

I’m especially happy that the Fox run included a nod to Col. Bruce Hampton (Retired) in the form of a JB/Schools Zambi rap into “I’m So Glad”. We miss you, Col., and we were certainly thinking of you in that venue of all places. The third set also included the second ever “Long Cool Woman in a Black Dress” that was face melting. Our encore consisted of dear songs like “End of the Show” and the first ever “Bastards in Bubbles” from the brute. project with Vic Chestnutt.

I can’t thank the band and staff and fans enough for 23 years of “therapy” at these shows. This was one of my very favorite runs, for so many reasons. I’m going into the new year looking forward to discovering more amazing surprises and reconnecting with more long-loved treasures. Skäl, everyone. Cheers to your friends so near.

Watch Widespread Panic perform "The Waker" here:
Watch Widespread Panic perform "Long Cool Woman in a Black Dress" here":

Opposite Box Releases New Single: "No Place For People Like Us" December 28, 2018 07:38

Press Release via Opposite Box
Live & Listen is fully funded by our merchandise + ticket sales. Click here to shop now and support the cause!
"No Place For People Like Us" is the latest release from progressive rock and psychedelic funk band Opposite Box, and is the first offering from the band's currently untitled followup project to 2017's OBscene.  "No Place ..." features guest vocals from the band's longtime friend Lili Hayes (daughter of Isaac Hayes) and was tracked at Middle Tennessee State University's Studio B in Murfreesboro, TN by Christian Hannah and Sam Ventura.

Lyrically, the song revolves around vocalist Ryan Long and Lili Hayes lamenting about the real-life strains of being in a modern touring band, as well as the personal struggles that coincide with it.  The chorus of the song touches on several of these main themes:  battling crippling self-doubt ("Did I waste my time staying out all night?"), the toll it can take on personal and family relationships ("You said 'I'm worried about your health.") and fearfully considering giving up on your lifelong dream ("I could've stayed home, and died real slow, doing something for anyone else").  
Midway through the song, the band shifts gears into a more instrumentally driven track that showcases the members' musical chops as well as OB's ability as a whole to conjure a variety of emotions - ranging from scary and intense noise breaks to a Hiromi Uehara or Snarky Puppy-inspired fusion section that ultimately winds down into a final guitar solo that is a very obvious hat tip to David Gilmour.
"No Place For People Like Us" is currently available on Spotify, Pandora, YouTube and all major streaming and download sites.  For more information on Opposite Box, visit and follow the band on Instagram and Facebook.
Stream Opposite Box's "No Place For People Like Us" on Spotify here:


NYE Exclusive Interview: Moon Taxi's Tommy Putnam December 17, 2018 18:17

Interview by Tiffany Clemons

Photo by Joseph Mikos Photography

Live & Listen is fully funded by our merchandise + ticket sales. Click here to shop now and support the cause!

The indie rock quintet, Moon Taxi, is returning to their hometown of Nashville on New Year’s Eve to celebrate another huge year, as well as the finale of their Good as Gold Tour. It’s been over a decade since their formation back in 2006, and their dedication has led to shows in venues all over the country and literally every festival you can think of. They also have two, back-to-back sold out NYE shows in Nashville under their belts.

I was lucky enough to catch the guys a handful of times this year, each show more energetic and confetti filled than the last, including their show that almost wasn’t due to weather at SlossFest (RIP) in Birmingham, AL, the Which Stage at Bonnaroo, and at The Signal in Chattanooga with the funky fresh pop bangers, LUTHI, who hit multiple dates with Moon Taxi in 2018.

I was even more lucky to catch bass player, Tommy Putnam, for a few minutes to get the down low on this year’s NYE show. Check out the full conversation below, and if you're looking for last minute New Year's plans, it's not too late to grab your Moon Taxi tickets!

So, you guys formed in Nashville back in 2006, you all went to Belmont, blah blah blah, tell me the real story about how you all met, the story that you can’t already read on the internet.

Tommy: Trevor moved to Birmingham from Syracuse in either '98 or '99. One day, I was wearing a Phish T-shirt, and we started talking about the band. We quickly became friends and shortly after started playing music together, forming our high school band Apex. We moved to Nashville for college at Belmont and met Spencer the first day. Tyler came a few years later and then Wes shortly after. That’s the short version but there’s definitely a few more details. 

Moon Taxi is definitely a tight quintet, but if you could have anyone dead or alive be the 6th member, who would it be and why?

Tommy: I would probably have to go with Van Gogh because people tell me I look like him all the time (even though I have both ears). He could probably sub for me if I was sick or something. So that would be a good positive for me.

Now that 2018 is about to be in the books, what was your favorite show? 

Tommy: Mine was the Gorge with Dave Matthews, because it’s such a surreal venue for a show, and the nod from Dave himself was something special. I grew up with his music. I asked Trevor (Terndrup), and he said One Big Holiday with MMJ. I also asked Spencer (Thomson) and he said “I don’t know. I don’t really watch TV.” 

When can we expect new music? Do you have a favorite album to date? 

Tommy: New music should be out sometime soon, hopefully in the first half of 2019. I love all of our albums the same, but in different ways.

Moon Taxi is no stranger to NYE shows. Last year, you did a two-night run at the Tabernacle in Atlanta and back to back sold out shows at the War Memorial Auditorium here in Nashville in years prior. What can a first timer expect? Why should vets come back?

Tommy: The vets should definitely always come back because we always go bigger each year, and this NYE is no different. A first timer should expect to have their best NYE experience to date. 

This will be my first NYE show with you guys, and I’m super excited. I’m also looking forward to seeing LUTHI again and getting my dance on with Sparkle City Disco. What is your relationship with these other Nashville based groups? 

Tommy: We’ve had LUTHI as openers multiple times over the past few years and enjoy them as people and musicians. I haven’t met Sparkle City personally quite yet, but I’ve heard good things and I’m looking forward to doing so.

Can we expect any surprises at the NYE?

Tommy: There are always surprises at NYE, but it wouldn’t be a surprise if I told you about it right here, right?

Do y’all have a pre-show ritual? Anything special before a NYE show in particular?

Tommy: Not much, maybe a little bubbly and some fist bumps.

On any given night, especially NYE, there is a lot going on in Nashville. Why should everyone buy tickets to your show right now?

Tommy: Obviously I’m biased, but I think we throw the best party in the city. Let’s ring it in! 

For tickets to see Sparkle City Disco, LUTHI and Moon Taxi at the Municipal Auditorium in Nashville on NYE, click here.

 Watch the official music video for "Not Too Late" here:

Little Raine Band Confirms 6th Annual Day After Christmas Show December 10, 2018 21:21

Words by Jordan Kirkland: Live & Listen

Photo by Charity Ponter

Live & Listen is fully funded by our merchandise + ticket sales. Click here to shop now and support the cause!

Birmingham favorites Little Raine Band will continue their post-Christmas extravaganza this year, as the 6th Annual Day After Christmas Show has been confirmed. The band began this concept in 2012, and the tradition has quickly become one of the Alabama jam scene's favorites. Joining LRB this year will be Atlanta jamtronic act Space Kadet, as well as local producer Devonte Hutchins

We've been on the LRB bandwagon since the inception of Live & Listen in 2014, as the band has played many events we have promoted, such as The Blueberry JamCukoRakko Music & Arts Festival, Jam in the Ham, and multiple shows at ZydecoWorkPlay, and Bourbon Street Bar (Auburn). This show will be a special one, as the band has been hard at work in the studio for their next release in 2019. Tickets are on sale now and can be purchased by clicking here.

We recently caught up with Little Raine Band frontman Davis Little to learn a little more about what the band has been up to, as well as the concept behind this particular occasion:

"The Day After Christmas Show is a very special tradition for us. It always marks our last show for each year. There’s no better way to wrap up the year than getting down with the hometown crowd. This has also become a way for us to get together with friends and fans who are back in town for the holidays. It’s hands down one of our favorite shows to play each year, and it never disappoints. 

This year’s show is going to be the best one yet (in our eyes). We’ve got Space Kadet from Atlanta joining us. We love these guys, and they put on an kick ass show. Also, our brother DeVonte Hutchins, who will be running lights all night, is going to open up the night with a solo set. There are plenty of sit-ins lined up. Needless to say, it’s shaping up to be a very special night for us, and we are really looking forward to getting down with everyone. 

We're currently finishing our second album, which we are extremely excited to release next year. We’ve put in a lot of time into making this album and can’t wait to get this new material out there." 

Davis Little of Little Raine Band

RSVP to the official Facebook event here!

Check out the videos below for a little taste of what you can expect from this year's lineup!

Watch footage from LRB's 2016 Day After Christmas Show here:

Watch Little Raine Band & Friends performing "Cortez The Killer" here:

Watch Space Kadet's recap video from Imagine Festival (2018) here:

A Conversation with Ghost Light: The Band We've All Been Waiting For December 3, 2018 17:22

Interview by Jordan Kirkland: Live & Listen

Photos by Donna Winchester

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Since the inception of this website, artist interviews have been our bread and butter. If your goal is to be a valuable platform for the bands you love and believe in, you might as well try to find a way to tell their story. Over the years, I've had the opportunity to interview many of my musical heroes, such as JoJo Hermann, Col. Bruce Hampton, Marco Benevento, Luther Dickinson, and Neal Casal

It's a rare opportunity to sit down, face-to-face, with an entire band before their show. In fact, this past Friday night at Atlanta's Terminal West was the first time that I've found myself in that position. Fortunately, the guys (and gals) from Ghost Light are some of the most humble, kind, and down-to-earth musicians I've met thus far. 

Ghost Light took form towards the end of 2017, and they're off to one of the most impressive starts that the jam/festival has ever seen. The band is comprised of guitarist Tom Hamilton (Joe Russo's Almost Dead, American Babies), renowned pianist Holly BowlingdrummerScotty Zwang (Dopapod, RAQ), guitarist Raina Mullen (American Babies), and bassist Steve Lyons (Nicos Band). We discussed a number of topics, including the band's formation, songwriting, improvisation, their debut album, and much more. Read the interview in full, and check out photos from the Terminal West show via Donna Winchester, below. 

I've been a big fan of each of you for several years now, whether it be American Babies, JRAD, Dopapod, or Brother's Past. Where do I even begin with everything you (Holly) have done? Tell me about how Ghost Light ultimately came together.

Tom: Yeah, so Raina and I had American Babies going. We were seeing the writing on the wall with that band. We needed to make a change, and we had been playing with Holly a fair amount. She had been sitting in with us here and there, and it was always exponentially better whenever she was playing. So, Raina and I were sitting wondering, "Do we ask Holly to join the band?" Or maybe we just start a new band.

We were down in Mexico. I was doing this thing with Bobby (Weir) and (Billy) Kreutzmann, and I was just super stressed. I wasn't having fun. My manager was like, "Hey man, you're at this tropical resort playing with three guys from The Dead and you’re not having fucking fun. You've got to figure something out."

I guess you could say that was the "seed" that made it clear. There's gotta be a change. I saw on social media that Scotty (Zwang) was thinking about moving to Philadelphia, so I reached out to talk to him and check the pulse, if you will. I've known Steve (Lyons) forever. I knew he was in LA and didn't have a steady gig at the moment. I thought that if these guys were available and interested, that would be a pretty amazing group of four. Then I could bring that to Holly and say, "I've got a pretty amazing band here. I think we can do some really great stuff together." So we all talked about it and decided to give it a whirl.

Very cool. So, has it even been a full year yet?
Tom: What year is it? (laughs)
It's 2018. December 1st, be specific.
Holly: It's been about a year.
Tom: There were a lot of moving parts there, and the whole thing is still somewhat of an unorthodox way of going about things, you know? So we now had people. That's cool. We're all in on this thing. It's a band where nothing is centered around one person. Then we had to figure out a way to make music while living in different places. We booked studio time right around this time last year. 
Scotty: Mid-December. It hasn't even been a year.
Tom: The mission statement was, "Hey...we're going to get together, as a band for the first time, and we're gonna do this thing. We're gonna sit down, the five of us, play music and see how it goes. That gave us all four months to figure out our own shit. Raina and I got a bunch of LSD and wrote a bunch of songs...
Probably not the worst idea...
Tom: Yeah absolutely. It was a funny idea. Holly wrote a bunch of material as well. We started sending things around to each other and generating new ideas. With Scott living in Philly, he could come over to the house and fuck around with Raina and I. It got to the point where it was go time, and we got to the studio. Let's play and see what happens.
You guys haven't released any studio material yet, correct?
Tom: Not until March of 2019.
Can't wait for that. Perfect transition into the next topic. You guys already have a lot of material from Brothers Past and American Babies. One song that I've really grown to love is "Boy."
Tom: Ah yes. That's the first song I ever wrote. I was 16 years old when I wrote that song. 
Wow. That makes me love it even more.
Tom: It's fuckin' old. That song can vote!
Unbelievable. So how did you ultimately decide on which tracks would make the final cut for the band's first release?
Tom: We wrote as much as we could we when got together. Fortunately, Raina and I have a catalog that we were able to bring in and give to this band. I don't view any of those songs as Brothers Past or American Babies songs anymore. They're Ghost Light songs. We all put our own flavor and stamp on them. To be frank, if it's not for the five of us playing those songs, they don't exist at all. They're our songs, and we get to do whatever we want with them. And we certainly do whatever we want with them. 
Just take 'em and run with 'em.
Tom: Yeah, origami these fuckers. Hell yeah. 
Holly: It's been really cool as a new band. We haven't even been doing this for a full year yet and none of us want to go out and play the same set every night. 
Of course. That would go against the rules of the musical world you're apart of...
Holly: Yeah, rules...and also just what we want to do with the songs. If we're gonna be out there doing this night after night, we want it to be fun for all of us. It's been really cool to have a bunch of other songs to take it to different sonic and emotional spaces. And also not to have the people who wrote these songs saying, "Hey, this is how it goes. This is the way my last band did it." We've been able to take a lot of liberties with all of these songs, which has been really fun to explore.
I can imagine. So I did want to ask you (Holly) about how this experience has been for you personally. It's been at least four or five years since you really blew up on the scene with certain YouTube videos. You've become one of the more popular "special guests" at festivals...
Holly: Professional set crasher... (laughs)
What has it been like to finally find your home with such a talented group of musicians? I've never been a part of a real band, but I can imagine that it has to be special when you start seeing the magic happen. The reactions on the faces of fans during shows. What has this been like for you?
Holly: Honestly, if we're comparing sitting in with different people versus playing in this band and what makes that so much better... it's just getting to know each other musically. Finding that deeper connection. Having to dig further to find new things each night. Having that trust in each other. You know that you can take more risks than if you're sitting in with a band who you're not as familiar with.
With some people, you can throw out something crazy, and they'll run with it. Other people will be like, "Whoa, whoa, whoa. Hang on. What's going on?" That's not this band at all. It feels like a very good place to be.
Scotty: A sit-in can be fun, but you want to do your own thing. With a band like this being so new and just having endless possibilities of doing whatever we feel like in that moment. Like Tom was saying, the song isn't written a specific way. It really go anywhere that we all collectively feel. I think we're very fortunate that within the first year, we already feel this really solid chemistry.
No matter how talented you are, sometimes the chemistry just isn't there. I think we're very fortunate that all five of us bring something to the table that we all connect with, to some degree, right out of the gate. 
Holly: It's super communicative, you know? It's not always like that. That's actually one of the things that made me want to play in this band. It's always been like that whenever any of us have played together in the past. You throw something out, and there is instant conversation back and forth. The feeling of listening and being heard. 
Steve: There's a variety of sounds that are accepted by the audience. People, in general, seem to like it when we go up and down dynamically. Have different types of instrumentation that is up front and in the background. I'm just glad that we're able to go in a direction that people seem to enjoy.
Raina: It's nice that there is no expectation for us. We haven't released any music, so people don't even really know what we sound like. We can sound like anything we want. 
Exactly. Most everyone is coming in blindly, unless they've been to one of your previous shows. 
Raina: Yeah, or maybe listened to us on YouTube. Every show we play is so different. We do so many different genres just in one show. That's what is really interesting about it. 
How would you compare your experience with American Babies to where you are now with Ghost Light?
Raina: Personally, as a musician, I have learned a lot in the past year. It's like a master class kind of thing. I felt a little inexperienced before this, but I was still on the road for three years. That band, I felt that they weren't willing to listen. Listen to what each player was doing to propel the song forward to the next level. We weren't adventuring and taking that next step in each song. With this band, it's a totally different experience. Everyone's listening. Everyone is trying something different every time we play a song. It's never the same. That's the best part about it.
That's amazing, because I wanted to ask all of you about your approach to songwriting and improvisation. Both are key components to this band. Do you follow a particular pattern with songwriting? How do you decide when to just run wild with it?
Tom: The jam part of it never comes into the room. That's a different thing. The live thing. The idea of what happens on stage. Personally, I try to keep those things very separate from each other. I think the point of a song should be to challenge yourself, challenge your audience, challenge your bandmates.
It's like writing a tune that you wish existed. I feel like sometimes people will just make a record that they already own. I want to make a record that I wish I had. The song that I wish I was able to listen to. With this band, it's a whole different thing. Writing for a band is way different. Personally, I had an aversion to anything that was too personal. Very conscious of making sure that it is something that could be interpreted many ways over different genders, different ages.
For this band, I think that is a strength of the song writing. I think there is a voice on all sides of things in most of the songs. I think that is a pretty interesting thing that we just kind of stumbled upon as we were writing. There is a dynamic in the songs that feels very even. Bounces from one side to another of whatever the opposing sides may be. Trying not to think of the live stuff, or any of that shit. What's good? What's interesting? What's artistic that everyone isn't doing?

That's one of the most consistent questions I ask. Doing these interviews for four years now, I'm always amazed to hear the different philosophies behind songwriting, because there's no one way to do it. 
Tom: Exactly. I give this example all of the time. Louis CK gave this speech once at George Carlin's memorial. He talked about how Carlin would spend a year writing an hour's worth of comedy. He would film it for HBO then never tell those jokes again. He said it destroyed him to think of that. To think of taking this well crafted, beautiful thing that was an hour long. Making it and then never using it again. It's a devastating thing to think of to waste something like that.
But then what happens...this can turn into music here... The metaphor is that you write your first song, and usually they suck. Something about love. Then you can't write about that anymore. That's kind of the goal. You throw that out. What do you write about after that? Well, I don't know. Maybe you write about your dog. Now that's off the table. Then you write about your family. Now that's off the table. You keep going and you have to dig deeper and deeper until you get to the shit you don't want to talk about. 

That's the stuff that I feel is kind of the art of things you need to talk about. The things people need to hear or want to hear. When I'm writing, if I hear anything that sounds like it anywhere else, I throw it in the trash. 

Scotty: What I love about this is that there are so many different voices and experiences through writing music. I don't really have much experience writing any music. Anything that I have written is kind of recent. There is a sense of self awareness. You're almost embarrassed to show anyone. It's just pieces and chunks and not a full idea. Fortunately, I get to work with people who are classically trained in reading, writing, and studying piano. Then you have Steve who has a wealth of knowledge with writing songs and producing music.
What really makes this band interesting, for me at least, why I love it so much is that when someone does come with an one decides they want it to be a certain way. It's more about hearing everyone's ideas about. In the end, it's really whatever is best for the song. That's the only important end result. I feel like we are all very open to those ideas. Sometimes it can be hard. Not all bands are like that.

Some will have an idea and not want to drift away from it. I feel like we try to throw that completely out the window. It's a very similar approach with improvising. Going deep off and not rejecting ideas. Everyone is listening and being patient. That's a cool thing and we need to tap into that.

Steve: I think we're all looking forward to the next chance we have to bring new ideas to the table. The way we made the first batch of songs was very much so in platforms. If you bring a platform in, maybe it needs a bridge or something else that I can't quite bring to it. Luckily, there are four other people who can. We seem to be pretty good at that so far, as far as giving our two cents on what a tune could use without someone saying "I want it to be this way." Even if someone starts to be aggressive about what you can do with an idea, then we are pushing each other.
Raina: I think coming from a place of fear and intimidation is a good vehicle to use. Doing something that scares you makes you grow more. That's what I feel that a lot of us do in this band. I'm a little scared of playing with people much more talented than me, but there is something to learn from that. Why not use it?
That's a great philosophy towards life in general. I've worked in sales for about ten years now. You go out and make calls and what's the worst thing that's going to happen? Someone is jerk and tells you no? Oh well, see you next month. Keeping that mentality at all times is the challenge. 
Raina: Because ego gets in the way, so it's like, "Well, fuck my ego." 
Tom: Not to get too deep on it, but the idea of how things are today. There are no dissenting views in peoples' lives. If you don't agree with me, you can unfriend me. Some bullshit like that. The idea of surrounding yourself with only likeminded people... "I consider myself this column, and I will only associate with people who agree with me."
With anything, if you put the same fucking ingredients into something, you'll never get different results. It's the same old shit. I feel like whether that is a social circle, social platform,'s about the variety. It's about doing different things. If you think the opposite of me, we should at least have conversations. Interesting things might come out of that. 

Like what Steve said earlier, if everyone is working with the same confines, then everyone is going to sound the same. What the fuck is the point of that? You don't want 17 records to come out one year and sound the same. That's not art. That's just consumerism. 

We're trying to say something. We're trying to do something. We're trying to help people and push the art forward. We're all chasing the Beatles. They were true to art and what they wanted to do is create the best things that you could create. What that led to was a complete change in the world. 

Scotty: It's also a very healthy competition. If you are intimidated or the ego comes this instance John Lennon just wrote an awesome song. Well, Paul is like "I gotta one up him." There is a friendliness to it, at least in the beginning it was kind of friendly. 
Tom: The idea of Paul bringing something in, and it was cool, but it was "super Paul" and super vanilla. Then John comes in and just crushes it. You listen to a song like "We Can Work It Out," and it's the most Paul McCartney sounding tune ever. Then you get to the bridge, where you know John Lennon wrote that shit. It's that black cloud coming in. That's what makes the song great. It's the idea of bands. Bands are the things that people will always fucking remember. The biggest things that ever happened are The Beatles, The Rolling Stones, Led Zeppelin, Pink Floyd, Radiohead.
All of these bands were bigger than anything any of them did on their own. You'd be hard pressed to find more than, say Bob Dylan or Bruce Springsteen, people that did it without a band. Springsteen actually did it with a band, so I take him off the fucking list. 
I think there is one that you left off the list: The good ole Grateful Dead.
Tom: There it is. The good ole Grateful Dead. 
Two more things before we wrap up. You've already mentioned you're planning to release the album in March of 2019. How much material are you guys working with for the album?
Raina: We wrote maybe 10 songs, and we stuck with 8. A few are instrumentals. 
Will there be any tracks that have never been played live?
Raina: Yes. There will be one that we've never played. It's an instrumental.
It's obviously been a crazy year. So much happening at once. I was hoping you could share a few of your favorite moments thus far. Also, what's on the horizon for 2019?
Scotty: Playing festivals like LOCKN' and High Sierra were really great moments. Having the first tour be so successful with sold out shows, it was great. Honestly, this run, for me, has been great. Still being a new band and doing a festival every two weeks, there is a learning curve. You go up and down quite a bit. I feel like now there is a consistency where I feel that even though it's only been a year, we're really a tight unit now.
Not that we weren't on the first run, but we're just that much tighter. This last week specifically, it's been very consistent and solid. Every show has been very different. I'm just excited for this record to come out. It will be great to hear the contrast of what we do live versus in the studio, because they're two very different things. 
Holly: People who are familiar with the songs already from our live shows will hear them presented in a very different space and very different light. For me, in terms of highlights, it's amazing to play bigger stages and all of the festivals. We are grateful for those opportunities.
The thing that matters more for me, it's just the little moments on certain nights where everyone is completely locked into the same idea. Sometimes you try and try, and it just doesn't stick. That's the whole point though. Take the risk. Sometimes it's gonna be something better than you imagined. The times that we've managed to hit that all together as a band really make me happy.
Steve: For me, a lot of it is mood based. I will feel like I struck gold and hope people will really like it. Other times I feel like I missed, but people really liked it. The uncertainty makes it exciting. I think we've all done things we didn't think we could do.
Raina: I agree with all of these things. I'm looking forward to releasing the record, but I just want to write more songs and play new stuff.
Please do.  Last but not least, what can we expect from Mr. Tom Hamilton in 2019?
Tom: More Ghost Light. 
Yes! Great answer.
Tom: I think this record is interesting. It will show a different side of the band. What we're capable of. At the end of it, you look at bands that are good at doing what we do. It's like, "Wow. This is working, and it's only the beginning."
You've just scratched the surface. Please keep this going for a long, long time. 
Tom: It'll be interesting to see how things progress. Where are we in six months? I can't really imagine what better is. It's like 1985, you've got a cell phone with a backpack on it. How's it gonna get better than this? Magnum PI's on TV. I'm driving my convertible. It doesn't get better than this. But you couldn't have imagined an iPhone. So, I have no idea what it's going to be like. 
I suppose we'll all have to wait and find out. The future certainly seems very bright. Thanks so much, to all of you, for taking the time to sit and talk with me. Looking forward to the show!
Watch Ghost Light's full show from Brooklyn Bown (11/21/18) here:


The Open Bottle's Tunesgiving Helps Feed Over 900 in Huntsville Area November 28, 2018 14:42

Words by Jordan Kirkland: Live & Listen

Photos by Roger Patteson: Type 2 Photography

@type2photography on Instagram

When the concept of Live & Listen was coming to life in 2014, one of our pillars was finding a way to leave a positive impact on the community. What better way to do so than through the power of music? Imagine if everyone in attendance at any show you attend would just donate one dollar at the door. Taking advantage of these social gatherings and finding a way to help others remains one of our core beliefs today.  

With that being said, last Wednesday presented our first opportunity to book and promote an event in Huntsville, Alabama. Our friends at The Open Bottle just recently opened, and their beautiful courtyard proved to be a fantastic option for live music. In the spirit of our annual Funksgiving Music & Food Festival on Black Friday in Montgomery, Wednesday was quickly dubbed as 'Tunesgiving'. The lineup ultimately fell in place with The Stolen FacesThe Pearl, and Them Boys. 

While it was a little colder than we would have liked, we could not have asked for a better night of music. "Them Boys," which is a moniker for another well known Birmingham act, kicked things off with 90-minutes of foot stompin' folk tunes. If you haven't heard this band, please make it a priority. The Pearl would perform next, and they certainly got the crowd moving. This trio brings a unique energy that very few are capable of. Their unique, instrumental spin on Toto's "Rosanna" is always entertaining. The Stolen Faces were the final act of the evening, and this band continues to impress. Touring as a Grateful Dead tribute is no easy task, yet they manage to leave every Deadhead speechless with every performance. 

It's called "Tunesgiving" for a reason, and the beneficiary for this event was local non-profit Manna House. Manna House is the food distribution center for the Huntsville Dream Center, a 501(c)3 public charity. Manna House provides food, clothing hygiene and baby items to individuals and families in need. 

Most of the families they serve are working but cannot fully provide for their family due to chemo, dialysis, or post surgery recovery. Some of the families have experienced job loss or work related injuries. They welcome anyone in need at our main location as well as our 5 distribution sites in the county. Manna House provides fresh produce through our outdoor garden and growing fields as well as our indoor hydroponic garden. 
We caught up with Manna House Director Fran Fruhler to learn more about the impact of last weeks event:
"Tunesgiving was amazing. Everyone was so generous. The dinner rolls and tea helped us provide over 900 people with a wonderful Thanksgiving dinner. The generous donations will allow us to provide 12,000 baking hens to families for Christmas dinner. We are so grateful for Tunesgiving and all that Jamie, Allen, their team and the community did to help us!"
We also caught up with Allen Williams, General Manager of The Open Bottle, to hear more about their vision for the multi-purpose business moving forward:
"The Open Bottle and Liquor Express were extremely proud to host the first Tunesgiving. We had the opportunity to not only provide some great music, but we helped feed people who needed a warm meal during the holidays. Friends and family are very important during this time, and it's our duty to help the less fortunate. It can be very powerful when you collaborate with other homegrown organizations to make an impact in the community. We hope to make this an annual tradition and look at other events in the future."
See below for a handful of photos via Roger Patteson of  Type 2 Photography, and stay tuned for future announcements on events in the Huntsville area. 

The Open Bottle to Host 'Tunesgiving' in Huntsville November 20, 2018 09:12

Photo by Craig Baird: Home Team Photography
Live & Listen has a big week of music planned this week, including our first ever event in Huntsville, Alabama at The Open Bottle on Wednesday, November 21st. In the spirit of our annual 'Funksgiving' event on Friday, Wednesday will be known as 'Tunesgiving', with performances from The Stolen Faces, The Pearl, and Them Boys on deck. The Stolen Faces have established themselves as one of the premier Grateful Dead tributes, while The Pearl and Them Boys represent two of Birmingham's hottest young acts. One of our favorite local food trucks, I Love Bacon, will be on site from 6:00 PM - 9:00 PM.
This event is also an opportunity to give back to those who need it most in the Huntsville area. We've partnered with  Manna House, a 501(c)3 Public Charity that provides food assistance to those in need. Manna House is supported by contributions from individuals, churches, civic groups, and businesses. While some food is donated and locally grown most is purchased for their distribution programs.
"We will serve thanksgiving dinner in the gym as well as deliver to-go meals starting at noon. Everyone is welcome to come eat or pick up to-go meals or help serve. We usually finish serving by 1:15 PM and clean up until 2:00 PM. Last year we served 623 people, so we anticipate at least that and more this year. The families we serve really appreciate the meal and the fellowship. Those we deliver to were equally as grateful.
We're extremely thankful for those wanting to help us love on our community at a time that should be about happiness, friends, and family. They need rolls and sweet tea brought to The Open Bottle on Wednesday  November 21st. Donations will also be collected by Manna House at Tunesgiving." - Fran Fluhler of Manna House

The Stolen Faces

The Grateful Dead continue to have one of the most rabid and loyal followings of any band in history, and deservedly so: They wrote great songs, and they were excellent musicians and terrific improvisers who never played a tune the same way twice. The Stolen Faces deftly capture the spirit of the Dead, covering a wide variety of songs from the band’s expansive catalog and delivering them with the sort of energy and spontaneity that might have you thinking you’re standing in the Fillmore West in 1971. Led by bassist Christian Grizzard, the group features guitarist Jack Silverman, drummer Matt Martin, and a rotating cast of some of Nashville’s top session and touring musicians.
Watch The Stolen Faces' official promo video here:

The Pearl

Three professional musicians from very different musical backgrounds sharing a common set of goals.
We are here to explore, push, and break through the traditional sets of musical boundaries between which most music is confined. Through improvisation, composition, and interaction with our audience members - we hope to blur and even dissolve these lines, all while maintaining dance-ability.
As we’ve seen done before us, we also desire to bring people of all walks of life together through the power of musical exploration. The feelings of freedom, positivity, & acceptance that music certainly has shown to manifest, we hope to strengthen the openness and closeness of our musical community.
Last but not least is certainly a goal of ours that we share with many of the artists we are influenced by... The Pearl hopes to inspire groups or individuals to express themselves by doing what they love, without holding anything back.
We also all three like cheeseburgers.
Watch The Pearl performing at Saturn Birmingham here:

Them Boys 

"Them Boys" is a pseudonym for a Birmingham-based band that many of you already know and love. You'll have to come out on Wednesday night to see what this performance is all about!

Blackbelt Benefit Group Named a Finalist for Levitt Amp Grant November 16, 2018 15:07

Blackbelt Benefit Group (BBG) is now in the running to bring a 10 -12 week live music series to Selma during the end of Summer 2019 and Fall 2019 to be held at the Selma Riverside Park Amphitheater.

Sponsored by the Mortimer & Mimi Levitt Foundation, a national foundation dedicated to strengthening the social fabric of America through free live music, BBG hopes to qualify as one of 15 winning organizations competing in the Levitt AMP [Your City] Grant Awards.

The Levitt AMP [Your City] Grant Awards are an exciting matching grant opportunity created by the Levitt Foundation to serve small to mid-sized towns and cities with populations up to 400,000. Up to 15 nonprofits will receive $25,000 each in matching funds to produce their own Levitt AMP Music Series—an outdoor, free concert series featuring a diverse lineup of professional musicians.

BBG submitted the proposal for Selma. The proposed venue site is Selma Riverfront Amphitheater Selma’s proposal is now posted on the Levitt AMP website for public voting.

A successful campaign for BBG depends on community participation to get as many online votes as possible to bring the concert series to town. Community support, as measured by the number of online votes received, will be one of the key factors when the Levitt Foundation selects up to 15 winners.

Supporters are asked to visit to register and vote. Online public voting is now open and ends November 20 at 5:00 p.m. Pacific Time. The Top 25 finalists will be selected through online public voting. The Levitt Foundation will then review the proposals of these 25 finalists and will select up to 15 Levitt AMP winners, which will be announced on December 18, 2018.

"We're just excited about this opportunity to activate the Selma Riverfront Amphitheater with free, live music every Saturday next Fall. We hope everybody can spread the love to Downtown Gadsden, as well. If two Alabama cities could win this thing, it would be great for our state." 
- Clay Carmichael, co-founder BBG

BBG asks supporters to start spreading the word to family, friends, colleagues and neighbors and rally the community to sign up and vote for Selma’s proposal.

Learn more at