Relix has announced another impressive lineup for its second annual Relix Live Music Conference, which is slated to bring an assortment of industry leaders to the Brooklyn Bowl in New York City on Tuesday, May 8 and Wednesday, May 9. This year’s event will expand on the concept for last year’s inaugural gathering with more speakers and an additional day of programming.Scheduled speakers include Rolling Stone’s David Fricke, The Bowery Presents’ Johnny Beach, YouTube’s Ted Kartzman, Atlantic Records’ Nick Harvey, Live for Live Music’s own Kunj Shah, and many more. Representatives from Live Nation, AEG Presents, Superfly, Red Light Management, Atlantic Records, Ben & Jerry’s, HeadCount, nugs.net and, of course, Relix will also be among the speakers.Much like the sold out 2017 event, the 2018 Relix Live Music Conference will feature panels and discussions that dive into topics related to the live music business. Attendees will have numerous opportunities to networks and learn from some of the most successful managers, agents, publicists, venue operators and festival organizers in the business.Tickets for the Relix Live Music Conference are now on sale. Additional speakers and a music lineup will be announced in the coming months.
Voter registration and awareness non-profit HeadCount will present a very special, very silly Spelling Bee Brooklyn Bowl on Tuesday, May 8th following the first day of the Relix Live Music Conference. According to their website, We Bee Spelling is “an interactive spelling game show. We combined a concert, comedy show and spelling bee, added a bit of variety, and created a one-of-a-kind experience that will have you dancing and laughing all night long.” As a bonus, there will be a special opening set from Leftover Salmon performing songs from their new album Something Higher.The “We Bee Spelling” show will feature a Andy Frasco and the UN as the live house band, comedian judges Kyle Ayers and Ahri Findling, and host Alex Greer. And as for the contestants? We Bee Spelling will be testing the language arts chops of musicians and live music industry stalwarts like Vince Herman (Leftover Salmon), Hannah Gold (City Winery), Lee Anderson (Paradigm), Dan Berkowitz (CID Entertainment), Annabel Lukins (Cloud 9), Will Scott (CAA), Ted Kartzman (YouTube), Jay Curley (Ben & Jerry’s), Aaron Stein (Freak’s List), and Kunj Shah (Live For Live Music).The event, billed as We Bee Spelling, is part of an ongoing series that join the spelling bee concept with live music and comedy to benefit worthwhile charitable causes. According to the We Bee Spelling website, “We’ve raised over $450,000 for causes with a unique event that’s accessible to any level donor… and a fundraising platform that creates a lasting impact and great memories for everyone involved.” We Bee Spelling contestants fundraise like a host committee or marathon runners, promoting the event and raising sponsorship donations from their extended networks, friends, family, and fans. Even the audience is part of the show as members of the crowd can donate to “sabotage” spellers, forcing them to spell words backwards, take a mystery shot from the bar, or deal with other distracting challenges.Instead of purchasing a ticket, We Bee Spelling asks attendees to make a $10 donation to HeadCount in one of the contestants’ behalf. [Note: Might we suggest backing our wonderful founder/president/master speller, Kunj Shah].To donate to the cause and secure your ticket, head here. You can get a taste of the party in the preview video below:[Video: We Bee Spelling]
The J.E.D.I show is sponsored by Denver-based company, Pure CBD Exchange, which creates and sells a number of CBD/cannabidiol products (What is CBD?) from concentrates, tinctures, extracts, lotions, creams, and more. The use of CBD has gained much notoriety as of late, for use as both a health and wellness supplement and to treat conditions such as epilepsy, PTSD, cancer and a number of mental disorders and is also used for anti-inflammation, nausea reduction, sleep aid, and more. Pure CBD Exchange was co-founded by Gregg Allman Band organist/keyboardist Peter Levin back in 2017.Pure CBD Exchange focuses on low-THC cannabis products with high CBD content. We work within the Colorado Industrial Hemp pilot program to distribute non-psychoactive tinctures, extracts, lotions, and more all over the world. The company has featured by companies like VICE, High Times, Leafly, and more. On Sunday, April 29th, at 10 p.m., J.E.D.I. (Jazz Electronic Dance Improvisation) will perform down in New Orleans at Maison for a special show during Jazz Fest, making for one serious jam session. However, things just got stronger with The Force, as the band just announced additional artists who will join J.E.D.I.’s insanely stellar cast this Sunday. J.E.D.I. bandleader and world-class drummer Aaron Johnston (Brazilian Girls) is currently on tour as one of six percussion players in David Byrne’s band, who will perform earlier in the day at the festival proper. Given this, Johnston has now added his fellow Byrne band members—Davi Viera, Mauro Refosco, and Gustavo Di Dalva—as well as bassist Nate Edgar of The Nth Power to J.E.D.I.’s upcoming late night performance in New Orleans. (Get tickets here.)EXCLUSIVE: Aaron Johnston Talks Touring With David Byrne, Brazilian Girls, J.E.D.I., & MorePreviously announced artists joining Johnston’s J.E.D.I. project for this special show include bassist Marc Brownstein (The Disco Biscuits), keyboardist Borahm Lee (Break Science / Pretty Lights Live Band), saxophonist Ryan Zoidis and trumpeter Benny Bloom (of Lettuce / The Shady Horns), guitarist Eddie Roberts (The New Mastersounds / Matador! Soul Sounds), and vocalist Shira Elias (Turkuaz).This lineup is what Jazz Fest is all about: Bringing artists from across the musical spectrum to simply vibe off each other and create sweet music. Lee, Zoidis, and Edgar joined the maiden voyage of J.E.D.I. with Johnston back in late 2017, which went off into a galaxy far, far away. With the way things are currently adding up, this late-night might just go into the furthest reaches of the musical universe.J.E.D.I. – Ardmore Music Hall – Ardmore, PA – 11/30/2017[via 215music]Tickets for J.E.D.I. at Maison on Sunday, April 29th at 10 p.m. are currently on-sale and can be purchased here. For additional information and event updates, join the Facebook Event page.
Taj Mahal and Keb’ Mo’ will bring their TajMo collaborative project back on the road when they embark on a tour this summer. The pair of blues guitar masters will once again be performing in support of their 2017 album, also called TajMo, which won a Grammy Award for Best Contemporary Blues Album earlier this year.TajMo will kick off their outing in Denver on July 23rd. Next, the duo and their band will swing through much of the West Coast before heading to the Midwest for a series of theater shows.Released in May of 2017, TajMo quickly became of the year’s most critically and commercially successful blues albums. The album also prompted an extensive tour that brought the 75-year-old Taj Mahal and 66-year-old Keb’ Mo’ to over 40 cities across the United States.Tickets for TajMo’s upcoming tour dates are now on sale.TajMo 2018 Tour Dates:July 23 Denver, CO – Botanic GardensJuly 25 Salt Lake City, UT – Red Butte GardenJuly 27 Eugene, OR – Cuthbert AmphitheaterJuly 28 Portland, OR – Oregon Zoo AmphitheaterJuly 29 Woodinville, WA – Chateau Ste. MichelleJuly 31 Saratoga, CA – Mountain WineryAugust 1 Hollywood, CA – Hollywood BowlAugust 2 Sacramento, CA – Crest TheatreAugust 3 Mammoth Lakes, CA- BluesapaloozaAugust 4 Pala, CA – Starlight TheaterAugust 7 Springfield, MO- Gillioz TheatreAugust 8 Madison, WI – Overture HallAugust 9 Champaign, IL – Virginia TheaterAugust 10 Joliet, IL – Rialto TheaterAugust 11 Cincinnati, OH – Taft TheaterAugust 12 Grand Rapids, MI – Frederick Meijer Gardens & Sculpture ParkView All Tour Dates
[Video: Sofar Sounds]Scott Horowitz: Were the special effects on his voice done live too?Tim Lefebvre: No, actually that was done after. The guy who mixed the record is Geoff Stanfield, one of my favorite mix engineers and producers. I told him what it was about—it being one show where we all improvised. He’s good at cutting stuff up and making moments out of it, so he did that to Kokayi’s voice. He doubled it up, put delays and little cool musical ear-candy things on it. When I heard it back, I was just like, “Fuck yes.” It was so good. We did a little editing before I handed it off to him, but basically, he ran with it and just made all the sonic stuff. For a live record that just was off the board, it came out great. I’m really stoked about it.SH: Has having Whose Hat Is This? as a free-jazz outlet outside of TTB brought more improvisational jamming into TTB shows?TL: Well, a lot of TTB is predetermined, but there are moments in the show where it’s built in where we just kinda play free and it’s cool. It’s great that Derek [Trucks] can let that happen, and people enjoy it. Although, you look out in the audience, sometimes you can see their faces, they’re like, “Uh …” You know, sometimes a little mystified. Because it can be like [John] Coltrane’s Interstellar Space. But at a TTB show, you get the full universe of music.SH: How do you enjoy being in such a big band like TTB that keeps gaining popularity? Also, what’s it like being led by Derek and Susan?TL: Well, I love playing for these audiences—they’re so fun. The audience keeps growing and growing so it’s cool. Just from my own standpoint, you know? I’ve helped write some of these songs so it’s cool to see the reaction of people to what you’ve had a part in. It’s cool to be appreciated like that. And it’s cool to be appreciated by Derek and Sue [Tedeschi] and everybody in the band, because they’re awesome people. You know, they don’t tell me what to do musically, and hopefully, I’m doing it in a tasty and good way.It’s just a rush to play in front of this many people. I come from playing in small clubs with people basically breathing down your neck. Which is cool; it’s another kind of high, but the high from this, especially when the band’s really clicking, is pretty amazing.We’ve had about ten shows, in my estimation, that were totally like the Holy Grail. Where it didn’t even matter if the audience went crazy or not. Like, we played a gig at the Chicago Theater on a Saturday night in January. The second set was one of the best we’ve ever done. Period. It was incredible.We were basically taking the set and improvising with it, just starting songs off differently. Everybody was just playing and everybody was just totally locked in, it was incredible. Obviously, Kofi [Burbridge] and Derek were just taking these solos that were just insane. And the rhythm section was right behind them and just propelling everything forward. It was something to behold—and it was in front of four-thousand people!“Angel From Montgomery” > “Sugaree” – Chicago Theatre – 1/26/2018[Video: IZEoftheWorld]SH: What do you think is going on when that happens in a live-music setting?TL: It’s definitely a higher wave, man. It’s hard to describe. I get it from Whose Hat Is This? too; there’s a higher thing going on where you just feel it in your stomach—it’s like you’re fucking giddy. You don’t even feel like you’re playing. It’s all happening, you know what I mean?SH: Is there anything you’re consciously doing that helps facilitate those moments?TL: Well, if everybody’s in a wiseass, daring kind of mood, that always helps because we know the songs really well. It’s just a matter of how far you wanna go with them. You don’t wanna alienate the audience either by just playing it very esoterically or something.But there are ways to play familiar stuff so that people can enjoy it in a different way. That’s what can set a band apart or not set it apart, as you know. Just being able to play a song differently kind of every night, if you can, if you can manage it. Some songs are to not to be played differently every night. But some are, and those are the ones that I think people are there to see.SH: On your social media accounts, you’re always posting different gear and really experimental sounding stuff. Is that just personal practice, exploration of sound, or are you working toward something with it?TL: I just discovered Mattoverse, this guy from Wisconsin, who’s making exactly what I needed: analog machines. I can still play bass and have it lock up to the machines, and that’s another crazy great development for me. I’ve been searching for that. It’s the next move in my sonic journey. We’ll see what comes out of it, because I haven’t been able to make something that’s a complete statement yet. But, once I have this stuff altogether, I’m gonna do some shows where I’m just improvising, breaking out the analog stuff. I’ll bring a bass, but it’s just gonna be analog with noise and just see what happens.There are a couple pedals I have that’ll lock up to the tempo of the drum machine, so I can time the bass stuff to it. I’ve got enough weird bass sounds where that’s just gonna be a given, but it’s discovering the old analog stuff that’s kind of a new challenge for me. It’s fun. [Video: racheleckroth]Scott Horowitz: How did the ‘Whose Hat Is This’ project start?Tim Lefebvre: Well, in 2015, Tedeschi Trucks Band went to Europe, and because of my touring before I joined Tedeschi Trucks, I knew some club owners over there. Especially my friend Sedal—he owns the A-Train in Berlin. So I hit him up, I was like, “I got this collective improvisation group from Tedeschi Trucks, and we’re gonna be in Berlin, blah blah blah.” So we had a successful gig, and the engineer happened to multi-track record it, so that’s how we put out the first record.SH: So, the band’s first record is the band’s first show, which was completely without-a-net improvised?TL: Basically yes, that’s right. Totally from scratch. Un-preconceived. Also, magic. But yeah, and the reason why Whose Hat Is This? came to be is we were starting the second set and somebody left a brown hat on J. J.’s snare drum. So J. J. grabs the emcee mic, and he goes, “Does anybody know whose hat this is?” You can hear it. It’s the first line on the record—like a public service announcement.<a href=”http://whosehatisthis.bandcamp.com/album/whose-hat-is-this-3″>Whose Hat Is This? by Tim Lefebvre, Kebbi williams, J.J. Johnson, Tyler Greenwell</a>Scott Horowitz: The music is a bit of a departure from what the 4 of you are normally doing in Tedeschi Trucks Band. What is it like switching gears like that with those guys?Tim Lefebvre: Well, it’s where we came from, for the most part. Like Kebbi Williams is very much a free improviser, and I’m coming from that a little bit too. And the drummers obviously play together a lot. Just as a playing experience, it’s pretty great because it’s this open canvas. I can create any sound I want. I try to find something and let the guys can go off on it. So that Kebbi can build a thing and go nuts, and go out in the audience and scare people.SH: The world needs more Kebbi!TL: Yeah! It’s true. Kebbi’s one of my favorite improvisers in the world. Also, because of his big personality, he goes out and is actually selling free jazz to people. He’s in their faces playing—it’s really hilarious. But, it’s also cool. Instead of people onstage with long faces just kind of moping around playing free, which, to me, people have a harder time understanding—instead, somebody’s out interacting with the audience the way Kebbi is. That kind of helps them get reeled in a little bit, so it’s super cool. So yeah, it’s a really fun band. The two drummer thing makes it super exciting too because it’s always this massive groove to lay stuff into.SH: How do you make that work? A lot of jam bands or whatever sometimes easily fall into a formulaic and, in my opinion, boring mode of playing when they’re trying to improvise but are really just soloing in one key or another.TL: Yeah that’s right. We start totally from scratch. Un-preconceived. What makes it work to me is like, sometimes we just start noodling around and somebody suggests a groove, and sometimes it takes a few minutes, but we all lock into this thing, and then, all of a sudden, it’s this huge marching animal. The searching stops, and all of a sudden we’re on this groove and it’s pretty tight. It’s like this kind of confident, marching forward thing. Especially when Kebbi’s playing cool shit over it and the groove is this deep, haunting, also kind of angry sounding—electronic. I’ve done a lot of improvising for a lot of different people, and I really get off on this band because it’s a cool, unique, new sound to me.SH: What you shared with me from the new Whose Hat Is This? album sounds very locked in. Especially with the new layer of vocals from Kokayi. How did he end up in the Whose Hat Is This? mix?TL: Yeah, you can definitely hear it lock in on the new record. Again, that was all totally off the cuff that night—it just kind of all happened like that. And Kokayi was basically composing on the spot. It just was a serendipitous kind of night. Kokayi an amazing artist, really.The reason why I originally knew him is because he was doing improvising stuff with my cohort Jason Lindner. What really kind of put him on the map was him doing his own hip-hop stuff in D.C. for a long time, but he was out with Steve Coleman and the Five Elements in the ’90s and 2000s. He’s been working with Steve Coleman for a long time. So he’s been part of the M-Base improvisation scene. I just kind of felt a kinship with him, so I recruited him to come and sit in with us, and it just turned into this magic performance.Whose Hat Is This? with Kokayi Scott Horowitz: Was his terminal predicament something you were aware of?Tim Lefebvre: Well, we knew he was very sick, but we didn’t know it was terminal. I mean, with cancer, you never know—my mom died from it also. He had just come off a round of chemo, but he went into the live room and sang all the songs with us. We tracked in three different week-long sessions. He kept getting stronger and stronger. He got healthy enough to do those videos—“Blackstar” and “Lazarus”—and write the play, Lazarus. And then he got sick again towards the end of 2015.SH: How did you land the gig playing on the Blackstar album?TL: Well, that’s an operating band—it’s the Donny McCaslin Band. It’s me and Mark Guiliana and Jason Lindner, and Donny. We’ve been playing together as a unit for a long time. So, Maria Schneider, who Bowie was initially interested in doing the record with, didn’t have time to work with Bowie, so, she handed off this CD we did with Donny McCaslin called Casting for Gravity. He loved it, and he came to see us at the 55 Bar and decided to use us. Kind of an incredible, flash-in-the-pan, once-in-a-lifetime thing to happen.SH: Wow, that’s a pretty epic project to just come about like that.TL: Yeah, like, “What do I do now?” But we all knew what to do because he had sent us the demos and we were comfortable playing music with each other. I mean, these guys are all homies of mine. When I lived in New York, we played a lot together. It was easy to do the songs because we already had chemistry. We could just launch into stuff and go places and see if they liked it or not. It was really cool.SH: Having been able to witness someone like Bowie craft something like Blackstar, were there any takeaways you carry with you now as you’re starting to do more record producing yourself?TL: I just think he did the record he wanted to do. Since nobody’s really selling records anymore, why do a record that conforms to something? It’s just one of those things like, “Let’s do something original.” Why would you do something that’s been done before? Because you’re gonna sell hundreds of copies, maybe a couple thousand. Why not be brave? This is what Bowie taught me—why not be brave and do the record that’s really brave and artsy.Now that I’m producing a little bit more, helping artists have a vision that doesn’t include “Well I want this to sound like Katy Perry”. Though, nothing against Katy Perry—I admire her! It’s just that it’s done already and people are already imitating that. Whatever you’re hearing on the radio, if it’s out and released, it’s already passé, and there’s something new on the horizon. So, if Bowie can do something like that, why can’t I? I mean, I’m not David Bowie, but still. Why not set the bar that high?SH: You produced a new album for Rachel Eckroth. How did that go? I really enjoyed the new single you shared.TL: It came out really great, I’m super excited about it. It’s a good collection of songs. Really good musicians. it just naturally came together and I’m hoping she can explode into being a major star. She’s got this cool kind of indie sounding voice. She’s also very good with pedals and electronics. Her sonic concepts are interesting and the way things fit around her voice is really cool. This new record is pretty hard hitting for her, considering.SH: That single you sent me was “Dark Waters”, right?TL: Yeah! That was just kind of my ode to T Bone Burnett. You know, sort of swimmy, David Lynch-y, soundtrack-y thing like Twin Peaks. Kinda foreboding. I came up with that in the hotel room, and then Rachel wrote the rest of the song. Then, I got Doyle Bramhall to play guitars on it and Matt Chamberlain to play drums. It was one of those things where I just wanted people who knew what to do on it. It wasn’t gonna be any mystery.What was funny was I got Matt Chamberlain because I had the Matt Chamberlain Loop Loft Collection, so I pulled up something similar to what he actually put down. I told him to get more creative when he actually recorded the track. I happened to pick the right guys, and then Rachel sang some magic on it. It was super easy, and it just came together really quickly. That was the last song we worked on.Rachel Eckroth – “Dark Waters” Tim Lefebvre is currently on the road for Tedeschi Trucks Band’s Wheels of Soul tour. He and his TTB bandmates, drummers Tyler ‘Falcon’ Greenwell and J. J. Johnson and saxophonist Kebbi Williams’ side project, Whose Hat Is This?, has a new album dropping on November 16th via Ropeadope. His contributions to David Bowie’s Blackstar album are well known, and soon, he will be heard contributing fresh takes on Bowie’s redone Never Let Me Down album. Live For Live Music contributor Scott Horowitz had the chance to speak with Tim about these projects as well as his recent forays into producing records.Scott Horowitz: You were involved in the re-recording of David Bowie’s Never Let Me Down album. What was it like coming up with new parts for old Bowie tunes, and how’d that project come about?Tim Lefebvre: Bowie recruited Mario McNulty, who engineered “the next day” to redo the record. He got all the files from the label, and management was all gung-ho on it. So, in March, we went in and basically recut the record with me and Sterling Campbell initially. They kept some of the acoustic guitars. They kept all of Bowie’s vocals. They kept anything distinctive to the song.But it was interesting to reinvent the old songs. You know, also Reeves Gabrels is on it, so when I heard the mixes with Reeves, Sterling Campbell, and David Torn, it sent tingles down my spine. You know, the sound of Bowie in the ’90s was Reeves Gabrels—between Tin Machine and the albums Outside and Earthling, all those really great records. So to hear me playing with Reeves and those guys on a Bowie record was surreal. Super cool, super cool.SH: You spent a lot of time with David Bowie while recording Blackstar. A few years removed, what are your takeaways from being able to work with him on such a heavy record?TL: Yeah, there’s a lot of great things that came from that. It should be noted that he was a lovely guy and just an absolute pleasure to work with. He knew what he wanted with the music. And also, working with Tony Visconti was really cool too, because he’s obviously a legend also.Basically, it was a quiet thing. We were just kind of making the record with a small group of people. We also got into insulting each other. He’s British—that’s one of his things, he’s very sharp at that. He was like Ricky Gervais where he finds a weakness in you to needle and just goes at it. It was really funny and really human.
Cory Wong is quickly becoming one of our favorite guitarists in the live music scene. A frequent collaborator of fan-favorite minimalist funk ensemble, Vulfpeck, Wong is known for his pristine and rhythmically oriented lead guitar style, animated performances, and charismatic onstage demeanor. Outside of Vulfpeck, the musician keeps himself busy with his work with Vulfpeck spin-off The Fearless Flyers, as well as his own solo career touring with the Cory Wong Band. In August, Wong released his sophomore solo album, The Optimist.Recently, Grammy-nominated, platinum-selling saxophonist Dave Koz sat in with Vulfpeck at their two-night run at Brooklyn’s Kings Theatre, but his relationship with Cory Wong extends far beyond the surprise collaboration. Earlier this year, Wong set out on his pursuit of “The Koz Nod,” what he described in July’s “Social Experiment” video as “when Dave Koz gives you the nod.”Since setting out on this new goal in pursuit of “The Koz Nod,” Wong has been growing closer to becoming, in his words, “the millennial ambassador of smooth jazz.” In a video he released in August in a further attempt to catch Koz’s attention, Wong showcased his deadpan leanings, offering up a throwback green screen-style video on what it takes to be successful in the wild world of smooth jazz [Spoiler Alert: it’s “a mustache, white pants, and gold jewelry”]. Cory Wong’s determination paid off when he finally got Koz to join him in the studio for a refreshed rendition of The Optimist‘s title track.During that session, the duo also recorded a brand new tune Cory penned just 24 hours beforehand, “Friends At Sea”, affectionately named after Koz’s famed smooth jazz cruise, which Wong will join as a special guest this coming year. Cory Wong and Dave Koz’s upcoming double single, The Koz Nod—featuring both “Friends At Sea” and the revamped “The Optimist” take—will be released digitally this Friday, November 23rd. To commemorate this epic “win,” Wong has also pressed The Koz Nod onto a special edition run of 7″ records.Today, Live For Live Music is excited to premiere Cory Wong and Dave Koz’s new collaboration, “Friends At Sea”, which marks Cory’s first new single since the release of The Optimist this past summer.As Cory Wong explains to Live For Live Music,Recording these songs with Dave is one of the highlights of my musical career, and a testament to the power of community and the internet. During every show I’ve done this past year, I’ve talked about how crazy it is that a guy (Dave Koz) has his own cruise that goes in different parts of the world every year, and sells out before he even announces who is going to be playing on it. He didn’t know when he was practicing his pentatonic scales in 6th grade that he’d be where he is today…or did he?! I’ve been trying to connect with Dave to play on his cruise and get out of Minnesota this winter.Sure enough, after I put out my intentions, we had a bunch of mutual connections trying to get us to connect. Enough people online were trying to get Dave’s attention along with me and it really grabbed his attention. Finally, I got word from Dave and he said he was in.He said he’d come out to Minneapolis and hang/record with me as long as he was in and out in one hour because he had family in MN that he wanted to spend time with. He also said it would be two days from then. So I wrote a song the next day and we were set to go in and record the day after!I was really blown away with how ‘down’ Dave was with the whole thing. He has such a great vibe and was such a blast to hang and play with. Well…it happened. I’m going to Australia with Dave as a special guest on his next cruise. I couldn’t be more stoked! You can check out the Live For Live Music premiere of Cory Wong’s “Friends At Sea” featuring Dave Koz below. If you like what you hear, you can order The Koz Nod 7″ vinyl LP on Cory Wong’s website, with a limited run of 500 pressings available.Cory Wong ft. Dave Koz – “Friends At Sea”Check out a list of Cory Wong’s upcoming tour dates below.Cory Wong Upcoming Tour Dates:12/30 – Atlanta, GA – Tabernacle **1/10 – Des Moines, IA – Vaudeville Mews *1/11 – Kansas City, MO – The Record Bar *1/12 – St. Louis, MO – Blueberry Hill Duck Room *1/13 – Nashville, TN – 3rd & Lindsley Bar & Grill *1/15 – Louisville, KY – Zanzabar *1/17 – Cleveland, OH – House of Blues Cleveland *1/18 – Benton Harbor, MI – The Livery *1/19 – Ann Arbor, MI – The Blind Pig *1/20 – Toronto, CAN – Legendary Horseshoe Tavern *1/22 – Rochester, NY – Flour City Station *1/24 – Ithaca, NY – The Haunt *1/25 – Albany, NY – The Hollow *1/26 – Boston, MA – Brighton Music Hall *1/27 – South Burlington, VT – Higher Ground Showcase *1/29 – New York, NY – The Bowery Ballroom *1/31 – Baltimore, MD – Metro Gallery *2/1 – Philadelphia, PA – The Foundry @ The Fillmore Philadelphia *2/2 – Pittsburgh, PA – The Rex Theater *2/4 – Columbus, OH – The A&R Music Bar *2/5 – Bloomington, IN – The Bluebird *2/7 – Chicago, IL – Lincoln Hall *2/8 – Madison, WI – Majestic Theatre *2/9 – Minneapolis, MN – Fine Line Music Cafe *2/20 – Limerick, Ireland – Dolans Warehouse2/21 – Cork, Ireland – Cyprus Avenue2/22 – Galway, Ireland – Roisin Dubh2/23 – Dublin, Ireland – The Sugar Club2/26 – Glasgow, England – Oran Mor2/27 – Leeds, England – Brudenell Social Club2/28 – Manchester, England – Gorilla3/1 – London, England – OMEARA3/3 – City Of Bristol, England – The Fleece3/24 – 3/31 – Sydney, AUS – Dave Koz & Friends At Sea3/31 – 4/7 – Sydney, AUS – Dave Koz & Friends At Sea** w/ Umphrey’s McGee* w/ Emily BrowningView All Tour Dates
It’s that time of year again… Tomorrow, Phish will return to New York’s Madison Square Garden for their annual four-night New Year’s run. Each year, we like to celebrate the season in the days leading up to Phish at MSG with the 12 Days of Phishmas, a daily series that gives you your Phish fix and helps stoke your excitement in the days leading up to the run. In 2016, we took you back to 12 historic Phish performances at The Garden. In 2017, with the Baker’s Dozen barely out of sight in the rearview, we relived the magic and mystery of the band’s historic residency.For years, we’ve been earmarking some of our favorite Phish interviews, behind-the-scenes footage, and other cool content that we haven’t found the right occasion to share with you…until now. For 2018, we’ve made you a very special Phishmas Advent calendar to help spice up your countdown to showtime. As we approach the start of the run on the 28th, we’ll open up one panel a day and reveal a fun surprise inside—a little something sweet and Phishy once a day until the Garden party begins. No peeking! By the time we’re finished with the calendar, it will finally be time for the gift we’ve all been waiting for: Four nights of Phish on their home court at the World’s Most Famous Arena.1 Day Til Phish: Why I Watch ‘Bittersweet Motel’ Before A Big Phish RunOn the twelfth and final day of Phishmas… Halfway between Erie and Pittsburgh we find Bittersweet Motel, the 2000 Phish documentary produced and directed by Todd Phillips, who would go on to achieve widespread success at the helm of some of the 2000s’ biggest comedies like Old School, Starsky & Hutch, and the Hangover trilogy.The film follows Phish on their travels both domestic and international throughout 1997 and 1998—a time when many fans feel that the band was at its creative peak. While Phish documentaries are few and far between, and often only focus on a particular event, Bittersweet Motel is one of the few (if only) long-form snapshots of Phish during a given period of time. That lengthier purview lets the viewer in on a multi-layered look at a band hitting their stride. You see some high points, and you see some low points. You see the creative process of songs and arrangements being crafted, and you see those songs presented onstage in their finished form. You see the band relish the opportunity to reflect on their story, and you see them question the premise of why they wanted to make a movie about themselves in the first place.Along the way, you get a treasure trove of amusing situations and one-liners that still float around the Phish community in the form of memes and inside jokes and parking lot banter, from “You paid us!” to “Page’s new shirt” and the “chicks in the front row” to “urinating the in the ears of the listeners.” To list all the quote-worthy snippets from Bittersweet Motel would be to transcribe the entire movie word-for-word.I’ve watched Bittersweet Motel more times than I can count. It’s my go-to sick day movie, a perennial backdrop for house cleaning, a perfect dose of Phish mythology when it’s been too long since I’ve been home—that is, since I’ve been to a show. It’s not the first thing I’ll show to a Phish-curious friend, but it is what I’ll send to a friend (along with a good live “YEM”) when they’ve already caught the bug and just need that last little push into the all-consuming fandom with which we’re all so familiar.It’s also become a personal tradition to watch it the day before a run begins. I usually try to avoid listening to Phish right before seeing a run of shows, to let myself be fully gobsmacked by the experience again and again without too many expectations to color it. I don’t like to go into a show hoping for a specific song, a specific kind of jam, a specific sort of set. I don’t guess openers, I don’t guess themes. I like to go in hoping simply for Phish—all that this band is, all that it means to all of us—and years later, those hopes have come true each and every time (well, other than that one time, but I digress).Without abandoning my best-laid no-pre-show-listening plans, Bittersweet Motel helps me feel those feelings I forgot—the feeling that with each show, with each year, we get the privilege to be part of the great and growing story of Phish. Re-watching this weighty chunk of the story reminds me of that beautiful notion and gets me in the best possible mindset to live the next chapter. Give it a shot. I bet it works for you, too…Bittersweet Motel (2000)[Uploaded by: jason putz]That does it for our 12 Days of Phishmas 2018! Thanks to everyone who followed along with our countdown. We hope you had as much fun with it as we did. Now let’s head to the Garden and make some new memories.You can revisit each day on our Phishmas Advent calendar below. Happy Phishmas to all, and to all a good run!On the first day of Phishmas… The Big Daddy ShowOn the second day of Phishmas… David Byrne Interviews PhishOn the third day of Phishmas… Trey Anastasio Talks Fare The Well At The New Yorker Festival On the fourth day of Phishmas… A Look Inside The Hoist Sessions From Cactus FilmsOn the fifth day of Phishmas… Mike Gordon Fascinates A Muscle Shoals LegendOn the sixth day of Phishmas… Page McConnell Chats in the Streets of LondonOn the seventh day of Phishmas… The Peanuts Conjure Cartoon Phish for “YEM” Dance PartyOn the eighth day of Phishmas… Trey & Mike Chat with MTV on H.O.R.D.E. Tour (Swig Beer, Cross Legs)On the ninth day of Phishmas… How Chris Kuroda & Phish’s Lighting Team Map out a SongOn the tenth day of Phishmas… Phish Does ITOn the eleventh day of Phishmas… The “Down With Disease” Music VideoOn the twelfth day of Phishmas… Why I Watch ‘Bittersweet Motel’ The Night Before A Run
Toubab Krewe, the genre-defying quintet from Asheville, NC will embark on a 22-show tour throughout the months of February, March, and April. The band continues to support the release of their fourth album, 2018’s Stylo. The album is available on vinyl, CD, and also as a custom seed box containing eight seed varieties with proceeds going to Seed Programs International.The tour begins in Atlanta, GA on Wednesday, February 6th at Aisle 5, followed by a live performance on Adult Swim’s streaming talk show, FishCenter Live. Toubab Krewe will then head to New Orleans for a two-night run at the Maple Leaf the following nights on Friday, February 8th and Saturday, February 9th.The tour will head west in March, starting with a seven-night run of shows in Colorado, including a double-billed performance with George Porter Jr.‘s Porter Trio at Cervantes’ Masterpiece Ballroom in Denver on Friday, March 15th. In April, Toubab Krewe will make their long-awaited return to the west coast, where they’ll play ten shows over eleven nights stretching from Phoenix to Seattle, with notable stops in Los Angeles and San Francisco. The Krewe will then return to New Orleans for its yearly pilgrimage to Jazz Fest where they’ll team up with The Nth Power for an April 30th show at the legendary venue, Tipitina’s.See below for a full list of upcoming Toubab Krewe tour dates. For ticketing and more information, hit the band’s website.Toubab Krewe 2019 Spring Tour Dates2.6 Atlanta, GA @ Aisle 52.7 Atlanta, GA @ FishCenter Live2.8 New Orleans, LA @ Maple Leaf Bar2.9 New Orleans, LA @ Maple Leaf Bar3.15 Denver, CO @ Cervantes Masterpiece3.16 Nederland, CO @ Caribou Room3.17 Steamboat, CO @ Old Town Pub3.20 Ft. Collins, CO @ Hodi’s Half Note3.21 Vail, CO @ Shakedown Bar3.22 Winter Park, CO @ Ullrs Tavern3.23 Basalt, CO @ The Temporary4.10 Phoenix, AZ @ Last Exit Live4.11 Los Angeles, CA @ The Mint4.12 Santa Cruz, CA @ Moe’s Alley4.13 San Francisco, CA @ Boom Boom Room4.14 Nevada City, CA @ Crazy Horse Saloon4.16 Arcata, CA @ Humboldt Brews4.17 Redding, CA @ The Dip4.18 Bend, OR @ Volcanic Theatre4.19 Portland, OR @ Doug Fir Lounge4.20 Seattle, WA @ Nectar Lounge4.30 New Orleans, LA @ Tipitina’sView Tour Dates
Today, progressive bluegrass rising star Billy Strings has announced a new batch of spring 2019 tour dates. The new tour announcement features a number of club shows in the south and a run of performances in the Mountain States as well as a number of previously revealed festival dates.You can check out a list of Billy Strings’ spring tour dates below. For ticketing information and a full list of upcoming Billy Strings tour dates, head to his website here.Billy Strings 2019 Spring Tour Dates4/11–4/14 – Bender Jamboree – Las Vegas, NV4/18 – Salvage Station – Asheville, NC4/19–4/20 – SweetWater 420 Fest – Atlanta, GA4/20 – Terminal West – Atlanta, GA (Official SweetWater 420 Fest Late-Night)4/26 – Cervantes’ Masterpiece Ballroom – Denver, CO4/27 – Cervantes’ Masterpiece Ballroom – Denver, CO5/1 – Tipitina’s – New Orleans, LA5/3 – Last Concert Cafe – Houston, TX5/4 – Mohawk – Austin, TX5/10–5/11 – Aiken Bluegrass Festival – Aiken, SC5/16 – Rives Theatre – Martinsville, VA5/17 – Dominion Energy RiverRock – Richmond, VA5/24 – DelFest – Cumberland, MD5/25 – Dark Star Jubilee – Thornville, OH5/26 – Rooster Walk – Martinsville, VA5/31 – Red Butte Garden – Salt Lake City, UT6/1 – Mesa Theater – Grand Junction, CO6/2 – Campout for the Cause – Buena Vista, CO6/6 – Camp Greensky Music Festival – Wellston, MI6/8 – Silver Cloud Campout – Haugan, MT6/11 – Pine Creek Lodge – Livingston, MT6/15 – Blue Ox Music Festival – Eau Claire, WI6/20 – Ryman Auditorium – Nashville, TN6/22 – 4 Peaks Music Festival – Bend, ORView Spring Tour DatesFor more information, head to Billy Strings’ website here.
On Friday, bassist Oteil Burbridge (Dead & Company, Allman Brothers Band, Aquarium Rescue Unit, Vida Blue) helped launch the inaugural Suwannee Rising Music Festival with an incredible set of classics including tunes from the Grateful Dead, Allman Brothers Band, The Beatles and more! Burbridge didn’t do all this good work on his own, of course. He had a little help from his friends, specifically John Kimock (Mike Gordon) on drums, Jeff Chimenti (Dead & Company) on keys, Scott Metzger (Joe Russo’s Almost Dead) and Neal Casal (Chris Robinson Brotherhood, Circles Around The Sun) on guitar, and Lamar Williams Jr., son of former Allman Brothers bassist Lamar Williams, who made few stellar guest vocals. It was certainly an appropriate place and time to honor the musical legacy of the Allman Brothers, with whom Oteil played a key role for so many years. The newly minted Suwannee Rising Festival was conceived, booked and executed in just over two months after Live Nation canceled the long-running Allman Brothers-hosted fest, Wannee, held every year in April in the music park. Not wanting to let the party stop, the powers that be at the park found a new promoter and, with the help of music guru Paul Levine and the stellar crew of production people and support staff that make all the Suwannee events possible.It’s that sense of community that has been engendered by fests in the park over the years which has rung true throughout this weekend’s festivities. Beyond simply replacing Wannee, the new Suwannee Rising Fest is also bringing a bit of the late, beloved funk and jam Bear Creek Music Festival to bear. There have been many not-so-subtle hints towards the legacy of that fest in particular, and its many regular artists, including Oteil’s late brother Kofi Burbridge. In his introduction to Oteil’s set (included in the first clip below), Paul Levine—who co-founded that festalong with new father Lyle Williams—spoke of his love for Bear Creek, Kofi and his hopes for the future of Suwannee Rising. Considering the cheers for his speech and the amazing tunes laid down by Oteil and all the bands so far, it’s a safe bet that Suwannee will be Rising for many years to come!Check out some videos from Oteil & Friends’ Suwannee Rising set below via RexAVision:Oteil & Friends – “Blue Sky” [Allman Brothers Band cover], “Franklin’s Tower” [Grateful Dead cover]Oteil & Friends – “In Memory Of Elizabeth Reed” [Allman Brothers Band cover]Oteil & Friends – “Dear Prudence” [The Beatles cover]Setlist: Oteil & Friends | Suwannee Rising | Spirit of the Suwannee Music Park | Live Oak, FL | 4/5/19Blue Sky, Franklin’s Tower, Cats Down Under Stars, Tore Up, Dear Prudence, Mercury Blues, Ophelia, Liz Reed, High Time, Tough Mama, Run for the Roses