Last week, Gregg Allman cancelled a batch of tour dates due to “serious health issues.” Among those many tour dates was two scheduled performances at the Peach Music Festival, where Allman was set to perform with both his own band and with The String Cheese Incident. Dubbed “The Gregg Allman Incident,” the set was meant to be a collaboration between the legendary Allman Brothers Band leader and the premier jam group.Though the set will no longer be happening, SCI had still been working up some of Allman’s biggest tunes in preparation. With that in mind, the band’s keyboardist Kyle Hollingsworth recorded a public message of appreciation for Gregg Allman, as the two would both have played keys for the Gregg Allman Incident. Hollingsworth not only wishes Allman the best, but breaks down the songwriting behind one of his biggest songs, “Melissa.”Watch the heartfelt note from one keyboardist to another, below.
The month of August has essentially become one long celebration for the late great Jerry Garcia in the city of San Francisco, CA, as the Grateful Dead guitarist was born on August 1st and passed away on August 9th. In turn, the San Francisco Giants planned a “Jerry Garcia Night” that took place yesterday, August 18th, and some esteemed members of the Giants organization paid that good will forward with their own tribute to Garcia at The Fillmore.On Wednesday, August 17th, Giants’ pitcher Jake Peavy and his band The Outsiders hosted “Can’t Stop The Train” in conjunction with the Rex Foundation. So many special guests came along for the celebration, including Jackie Greene, Jennifer Hartswick, Luther Dickinson, Cody Dickinson, Stu Allen, Tim Flannery, Ross James and Col. Bruce Hampton, among many more. Allen even performed with the famed “Tiger” guitar, bringing its hallowed tones to life through a guitar rig very similar to the one Garcia used himself.Garcia’s bandmate Phil Lesh made the biggest splash of the night, joining in during the later portion of the show to accompany on “U.S. Blues” and “Shakedown Street.”You can watch video highlights from the night, streaming below.After Midnight w/ Jackie Greene (via Stephen Mucelli)Stella Blue w/ Stu Allen playing “Tiger” (via Stephen Mucelli)US Blues w/ Phil Lesh (via Michael Berman)Shakedown Street w/ Phil Lesh, Grahame Lesh & More (via Stephen Mucelli)
In 1997, Dark Star Orchestra came together to celebrate the music of The Grateful Dead. Now, Dark Star Orchestra, which was initially imagined as only a four-week experiment, is celebrating its own twentieth year. Even close to twenty years later, their momentum continues, with the band playing to over 120,000 people in the last year alone. To celebrate this special anniversary and their own long strange trip, the band is rolling out a special VIP package for fans.For most shows this year, the band will be offering twenty-five VIP packages per show. Each VIP package will contain pre-show access to the venue; behind-the-scenes soundcheck access; a 20th-anniversary commemorative poster, sticker, and laminate; and a poster signing with the band. This will start on March 30th for the band’s spring tour, and will also be limited to 25 tickets per show.Tickets for the VIP experience are sold separately and exclusively through DSO’s fan club ticketing via the band’s website.
Cleveland, OH jamtronica act Broccoli Samurai has released live video of “Venetian Handbag” from their Level Up Studio sessions. The funky melodic number, rife with jazz-laden grooves, witnesses the band at peak performance. The quartet of Ryan Hodson (keyboards), Cameron Bickley (drums), Zachary Wolfe Nagi-Schehl (bass), and Michael Vincent (guitar), are ready for a big year in 2017, as they will make their way across the U.S.The group will hit the road for a lengthy Spring tour beginning March 3rd in Cincinnati, OH, that will take them through April 22nd in Norfolk, VA. They will join acts such as Pigeons Playing Ping Pong, Big Something, ELM, Tropidelic, UV Hippo, and more on select dates. L4LM is thrilled to premiere Broccoli Samurai’s new video for “Venetian Handbag,” which you can watch below:[Cover Photo via Broccoli Samurai’s Facebook page]
On Saturday, the sixth annual SliceFest took over Birmingham, Alabama, tapping GRiZ, Karl Denson’s Tiny Universe, and Manic Focus to round out the top of its lineup in addition to a number of local acts that supported the one-day festival. The festival-cum-block party is annually put on by Slice Pizza & Brewhouse, and focuses on Birmingham’s vibrant community, both in terms of the music and food found at the event and in terms of the event’s goal — SliceFest doubles as a fundraiser for local Birmingham-based non-profits. Over the years, SliceFest has grown in scale, with the festival this past Saturday marking the loftiest event to date, selling out and raising over $40,000 for local charities.Phil Lesh, Robert Randolph, Karl Denson, & More Open Weekend At The Cap With The Preservation Hall Jazz Band [Videos]Live For Live Music contributor Craig Baird was on the ground to capture some of the special moments from this year’s SliceFest, along with photographer Michelle Petty. During Karl Denson’s Tiny Universe’s set, the multi-instrumentalist brought out Taylor Hicks — the former winner of American Idol — on harmonica during his ensemble’s encore of “So Real.” You can check out Baird’s photos below, courtesy of the photographer.GRiZ Announces First-Ever Live Band Show During Two-Night Red Rocks RunSliceFest 2017 | Birmingham, AL | 6/3/2017 | Photo: Craig Baird Photo: Craig Baird; Originally taken at SliceFest 2017 Load remaining images
After Yonder Mountain String Band‘s exhaustive weekend as the host band of the Northwest String Summit we thought we would give guitarist Adam Aijala a few days to gather his thoughts before chatting with him about his perspective on the crowd-pleasing affair–It’s only fair to let the man catch his breath having just finished three headlining sets that featured a parade of guest stars and an entire album recreation of Pink Floyd’s Meddle. As fans continue to rave about the weekend’s wide-ranging setlists and picture-perfect weather, we took the time hear from the mellow man on the six-string himself:18 Unbelievable Performances From Northwest String Summit [Videos]Live For Live Music: How long does it take you to recover from a “Host Band” gig like the Northwest String Summit?Adam Aijala: I didn’t really party that much so I was pretty much fine. I just had too much to do! Every night after a show is when I would normally get into some trouble, but I had stuff to do the next morning so I thought “yeah…probably better not. That kept me from feeling too bad afterwards.”L4LM: How involved is Yonder in the planning phases of the “Strummit?”AA: Well, we don’t actually own the festival so not that much at all really. We’ve been asked for ideas in the past, and they are totally open to ideas from us if we have a band we really want to have there, but we don’t pick the bands. Our main involvement is playing a whole lot of music all weekend long.L4LM: I suppose that fact removes the temptation for you to hold a spot at NWSS over your friends and their bands’ heads all year long…AA: No…but that isn’t a bad idea. You’re helping…L4LM: Let’s do a little post-game look at the Northwest String Summit while we have this time. Yonder pulled out all the stops during the fest, including a particularly awesome adaptation of Pink Floyd’s Meddle (1971). After last year’s excellent take on Floyd’s Animals was this just you all really wanting to do some more Floyd?AA: We threw around some other, y’know, not Pink Floyd ideas but it came back to, for me at least, the fact that I have always loved Meddle. I mean sure, we would like to have gone all out and done The Wall…but that is a LOT of material. I think there’s what, twenty songs on there? Considering this is all for a fun, one off show that just seemed like too much work.I know a lot of jam bands do the “Cover An Album” thing, but The Wall is something beyond that. If we were gonna do a whole tour or something, sure…but we really just wanted to do something as a treat for us and the Kinfolk. So we needed to pick something that we could learn and that we all really loved. Well…not so much Jake (Joliff). He didn’t really grow up listening to rock and roll. It’s not like he didn’t like the album either, he just didn’t grow up listening to it like the rest of us.It’s a weird album from Floyd. It was the one of the last albums where everyone was contributing songs instead of adding parts to something from the singular song writers vision. The albums became more cohesive when Roger Waters took the reins. Songs on Meddle like “One Of These Days” and “A Pillow Of Wind” which follows it on the album…you can’t get much more different than that stylistically. Even tunes like “Days” and “Echoes” don’t really sound similar at all.Watch video of Yonder Mountain String Band’s 7/14/17 rendition of “One Of These Days” from Northwest String Summit below courtesy of Rex Thomson:The lyrics on Meddle aren’t as political as they would later get either. I probably didn’t hear the album all the way through until college, though I probably had heard “One Of These Days” sometime before then. When I first heard Floyd it wasn’t that long after The Wall that I discovered them. My friends and I were learning, and some of the older kids and even older siblings steered us towards the rest of the stuff. My sister, who is two years older than me, turned out to be great for turning me onto music. These days you just go to iTunes or Spotify. But back in the day it was hard unless you had somebody to help point the way.L4LM: Those services have changed the musical landscape forever. The real issue to my mind is the sensory overload that can accompany having a limitless set of choices.AA: Exactly. You get in there and it can totally overwhelm you. I’ve talked to people on both sides of the fence regarding the value of these kinds of services. Some folks like it but some folks can’t figure a good way to digest it all.Sometimes I play a game with it. When I get up in the morning I take the first band I think of and I play one of their songs and then just let the algorithms take me on a journey from there. Or a genre. But it is a fun way to discover new stuff. There are pros and cons to it I guess, but for me it is just a fun tool.L4LM: You just released your new album, Love. Ain’t Love, and it is out there on these services. Do you trust these formulas to help spread your music?AA: There are a lot of bands of a similar size as ours around the world. If you just listen to the radio and don’t really seek out music like ours, you won’t ever hear of us. I go play golf in Boulder and sometimes someone will ask me what I do and they will have never heard of me. So I think everything helps.Unless you have a friend who digs us you can easily just never know our music. There are a few other roads too, of course. Live For Live Music is good for that, for helping bands get heard. It lets people know if you like bands like Phish or the Dead you might find us through that. I mean, you might not just have us pop up in Spotify or Pandora…but maybe you might! You never know.L4LM: When we recently spoke with Ben Kaufmann, he talked about how much you had all enjoyed the recent studio experience and that you were leading the way back. Are you planning on doing a fast follow up to Love. Ain’t Love?AA: Yeah, as far as songs that are done done, as in ready to perform live…there is maybe one almost there. There is a lot of stuff in the works. Dave (Johnston) actually started three songs a while ago now. We are gonna be getting together a bit off and on to start pulling those together. I like to get everyone’s input as well. I’m sure Ben touched on that when he talked to you.EXCLUSIVE: Yonder’s Ben Kaufmann Talks New Album, Horning’s Hideout, And Keeping The Crew HappyDave is amazing with lyrics and vocals. I write a lot of scratch vocals instead of the “La La LAAA” stuff. I like to say something, even if it isn’t anywhere near what the vocals will eventually be. Dave is really good at pulling things out of those though. The words will be about what the music evokes, or maybe what I was feeling when I wrote it and he finds ideas and brings them out.L4LM: We are all just happy to hear you are looking to embrace a far more regular release schedule.AA: Absolutely. I don’t think you have to worry about us in that regard any more. We have a lot of ideas floating around and a lot of positive energy to put behind them.Watch Yonder perform “Take A Chance On Me” from their latest disc, Love. Ain’t Love from 7/15/17 at Northwest String Summit below, via Rex Thomson:L4LM: Though much of the scene you’re in is based around exploratory jamming, you still need to have fresh material to launch from. It’s interesting to watch improvisational bands tighten down the screws and make a recorded and semi-definitive version of their tunes.AA: I can think of bands that I prefer their live shows…and I suppose to some people we fall into that category. But I’m with you, I like to see what bands come out of the studio with. I love the quality you can get…the time you can spend on making it. The whole point of it is that you can do different things in the studio. And yeah…maybe sometimes you end up creating something you can’t recreate or you need to re-interpret onstage. But I think that’s okay.L4LM: At the Northwest String Summit you had your usual wonderful problem of having so many of your friends want to join you. The charge included some of your oldest collaborators, Danny Barnes and Darol Anger. That has to feel pretty comfortable.AA: Oh yeah, definitely. Danny is in the area so he is usually at Strummit, and Darol, yeah, over the years Darol is easily the most worked-with. We haven’t been seeing him as much though…not since Allie (Kral) joined the band. They’re similar in that they can both play with pretty much anybody…honestly that is [Allie’s] strong suit. She can roar into any situation…Darol is like that too.You had plenty of time with both Darol and Danny on Sunday at Strummit. I asked Allie if she was into it and she said “Hell Yeah!” I was just making sure we weren’t stepping on toes and she was just wanting to get down.Watch Danny Barnes and Darol Anger make themselves at home during this thirty minute jam from the Northwest String Summit on 7/16/17:L4LM: It’s safe to assume no one was against Danny Barnes sitting in…and even if they were, what could they do? The guy is eight feet tall!AA: Danny is just the best musician, and so under rated. I talked to some folks about it recently…and there were a couple theories floating around. One of them sounded right to me. It’s that Danny only does what he wants to do musically, what he truly believes in. You’ve got his bluegrass stuff, his solo acoustic stuff…all those experimental solo records…the Bad Livers…all that stuff he does is my sweet spot.It was funny watching his set in the tent and seeing mellow hippies come in and then leave. Not to mention the people who were trying to mosh. Some folks who just watch for thirty seconds and leave. I am constantly impressed by the songs that he writes and the music he makes. He just sent me a clip of him doing some of his newest material and I was blown away. Then I saw him on the Strummit schedule I knew I couldn’t miss that.It’s just him playing electric guitar in different tunings with finger picks and regular guitar picks…playing, like, metal. Instrumental and with lyrics, just him and this drummer Max Brody, who played with Ministry for like six years. Brody is a sick drummer, he was great. The people that were getting into it were really getting into it. It was funny to see at the Northwest String Summit.L4LM: You brought Asher Fulero and Jay Elliot back from last year’s Pink Floyd success to go for two in a row. Are they your go-to back up Yonder Floyd henchmen now?AA: They could be. Asher is another one of those incredibly good musicians like Barnes. A quick study, a good hang…great guy. Hay is an old buddy. When Yonder first started playing I met him. He was playing with a band called Runaway Truck Ramp. He’s also a sick drummer. We reconnected when he started working at the Boulder Theater.We started playing together when we could. He played at that Dylan & The Dead set I played at The Mishawaka back in 2009. After that we decided we should play together more. When we decided to do those punk and metal covers a couple years back he was out there with us.Watch Yonder get spacey during this cover of Pink Floyd’s “Echoes” L4LM: Some of your onstage guests were a little bit grabby, at least when it came to Ben Kaufmann’s bass. Did someone put a bounty on him or something?AA: Well…we had Ethan (Kaufmann‘s brother) come up and do the swap-out thing with Ben, but they love that. Unless you mean when Anders (Beck, of Greensky Bluegrass) jumped in on the bass. But that is all Ben’s fault. He told Anders to do that. We’re not a pure bluegrass band, obviously, but that music is at our core. And Ben has no problem admitting that his job in this type of music can be pretty boring. So when he and Anders were trading back and forth I think he really enjoyed it. That is why you bring out guests after all…to shake things up.L4LM: Well please don’t let me keep you from writing more new music! Thanks for giving us a bit of insight into the Strummit.AA: No problem! Hope to see everybody soon.
[Video: Kevin Ciesielski]John Mellencamp, Full Farm Aid Performance [Video: Vintage Mellencamp] [Video: Farm Aid]Neil Young, “Cortez The Killer”[Video: Farm Aid]Neil Young, “Human Highway”[Video: Farm Aid]Neil Young, “Comes A Time”[Video: Farm Aid]Neil Young, “Heart Of Gold”[Video: Farm Aid]Neil Young, “Cinnamon Girl”[Video: Farm Aid]Neil Young, “Like A Hurricane”[Video: Farm Aid]Neil Young, “Rockin’ The Free World”[Video: Farm Aid]Dave Matthews & Tim Reynolds, “Odds Are Against Us” Farm Aid 2017 | Burgettstown, PA | 9/16/2017 | Photo: Sam Watson Back in 1985, Willie Nelson, Neil Young, and John Mellencamp joined forces and organized the first-ever Farm Aid, with Dave Matthews joining the organization in 2001. The long-running nonprofit concert series seeks to raise awareness about the loss of family farms and to raise funds to support farming families, and since its inception has raised more than $50 million dollars. Over the weekend, on September 16th, Farm Aid returned once again to Burgettstown, Pennsylvania, just outside of Pittsburgh, bringing with it an all-star one-day lineup featuring Nelson, Young, Mellencamp, and Matthews in addition to Sheryl Crow, Jack Johnson, The Avett Brothers, Nathaniel Rateliff & The Night Sweats, Margo Price, Blackberry Smoke, and more.Dave Matthews Debuts New Song, And Neil Young Returns To The Stage At Farm Aid [Video]The charitable music benefit played host to a number of outstanding musical moments. During Dave Matthews set with Tim Reynolds, Matthews debuted a new song called “Odds Are Against Us.” After noting that he had written the song recently and that he had just played it for Reynolds, Matthews warned, “Let’s see what happens” before diving into the new tune. Farm Aid also saw a fiery performance by Neil Young, who has been canceling the majority of his appearances due to illness (including his scheduled appearance to induct Pearl Jam into the Rock and Roll Hall of Fame) and who hasn’t performed publically for the majority of this year save a cameo appearance during Willie Nelson’s set at Stagecoach in April.You can watch Dave Matthews and Tim Reynolds debut “Odds Are Against Us,” plus watch the majority of the performances by Neil Young and John Mellencamp below. You can also check out a photo gallery by Sam Watson capturing some of the magic that went down at this year’s Farm Aid.Neil Young, “Fuckin’ Up” Load remaining images Photo: Sam Watson Photo: Sam Watson
Looking for some late-night grooves? Look no farther than vocalist/violinist/looping specialist Sudan Archives‘ 2016 video. The Ohio-native 22-year-old takes Kendrick Lamar‘s hit track “King Kunta”, from his Grammy-nominated 2015 album To Pimp A Butterfly, and makes it her own, breaking down the beat and singing the lyrics in her sultry tone as “Queen Kunta”. She even throws in some familiar classical melodies, for those paying attention. Check out the video below:Sudan Archives is currently working on her debut album for Stone’s Throw Records.[via okayplayer]
Load remaining images On Monday, Dead & Company, the Grateful Dead spinoff band featuring former Dead rhythm guitarist and vocalist Bob Weir and Dead drummers Bill Kreutzmann and Mickey Hart, continued their 2018 summer tour with the first of two San Francisco Bay Area hometown shows at the Shoreline Amphitheatre in Mountain View, CA. The band, rounded out by lead guitarist and vocalist John Mayer, bassist Oteil Burbridge, and keyboardist Jeff Chimenti, arrived at home facing high expectations after a pair of standout shows in Washington and Oregon over the previous weekend, with the former featuring a 70s’-only set and the latter featuring a second set comprised of late 60s classics along with an unusually direct homage to the Grateful Dead’s legendary show in nearby Veneta, OR on August 27th, 1972.But just like their parent band was so wont to do, Dead & Company came out and played a strong show that demonstrated the depth and diversity of their strengths, deploying a setlist which focused much more heavily on Bob Weir/John Barlow songs, with a first set pulling from all eras of the Dead and a second set which, on paper looked like it was from 1983…and it was all led by a locked-in, focused and driven Bob Weir.As the band took the stage just before 7:30, anyone sitting on the stage right section of the venue would had a hard time missing the large “FUCK CHARUCKI” banner that had been hung in the wings on stage left as a tribute to the gruff-on-the-outside, heart-of-gold-on-the-inside Chris Charucki, Bob’s longtime stage manager and production manager who passed away in April.The band wasted no time with pleasantries or warm-up songs, dropping nearly half an hour of Mutron pedal-based funk on the attentive crowd with “Feel Like A Stranger” followed by the tour debut of “Dancin’ In The Street”, using the Dead’s late 70’s “disco” arrangement. After Bob led the vocal charge on each song, the lengthy instrumental passages in each were highlighted by John walking over to face Bob and playing leads that afforded Weir the opportunity to play “rhythm co-leads” in his distinct style with great results. Meanwhile, Oteil’s lickety-split bass lines during the jam in “Dancin’” managed to keep pace with the John and Bob show, and the fact that he was noticeably higher in the mix than usual served to highlight his contributions here and elsewhere throughout the night.Dead & Company – “Feel Like A Stranger” [Pro-Shot][Video: nugs.tv]The following song, “It Hurts Me Too”, the recently-revived Elmore James-penned classic that was sung by Ron “Pigpen” McKernan in the early 70s was a glaring genre (and tempo) switch, but John’s bluesy vocals and tasteful solo set the table for the set’s most delicate song: the Jerry Garcia/Robert Hunter deep cut “If I Had The World To Give”. It was only performed three times by the Dead in 1978 before being shelved but has found new life as a current-day “Oteil song” with Dead & Co, as the bassist’s smooth vocals preceded a nice end-of-song solo by Mayer.Dead & Company – “It Hurts Me Too”[Video: Borrowed Tune]Next up was “Corrina”, a 90s-era Dead song that has long been a source of contention for many Deadheads. However, “Corrina” actually plays to the strengths of Dead & Company. Gone are the electronic samples, tinny keyboards and strained backing vocals from the early 90’s Grateful Dead versions—the Dead & Company rendering has an easy-rocking flow to it and sands off the harder edges of the original. Once again, during the mid-song jam, John moved in close to Bob and play a lead that set Bob up to play a nice “rhythm co-lead” that was well-received, even amongst those who might still struggle with the song itself.Mayer then took over for the set’s highlight, a version of “They Love Each Other” that featured a nice Jeff solo on the Hammond B3 organ before John closed the song out with a truly spectacular solo, in which a couple of clear stylistic nods to Eric Clapton preceded several full-on power chords with dramatic arm flourishes—yet another example of John Mayer taking an old song to a new height. The set closed with a solid version of “Throwing Stones”, completing an unusual choice of songs for a band that relies heavily on the Garcia/Hunter section of the Grateful Dead catalog: 3 Weir originals, 2 covers, 1 Garcia staple and 1 Garcia deep cut.Dead & Company – “Throwing Stones”[Video: Gregory Marcus]The second set picked up right where the first set left off, with two of Bob’s most complex “signature” songs appearing in their traditional back-to-back pairing. “Lost Sailor” and “Saint Of Circumstance”, both from the Grateful Dead’s 1980 Go To Heaven LP, remain an endearing mini-symphony. All of the pairing’s various twists and turns and corners and changes over the space of 16 minutes eventually led to “Sailor” being dropped from the Dead’s repertoire in 1986 and “Saint” making less frequent appearances during the Dead’s final decade, outside of Bruce Hornsby’s 2-year tenure with the band. Tonight, however, the sequence was performed flawlessly, with nary a missed vocal by a band that was intently following Weir’s direction and subtle cues.Dead & Company – “Lost Sailor” > “Saint of Circumstance” [Pro-Shot][Video: nugs.tv]“He’s Gone” followed, and this version was immediately set apart by its slightly faster tempo, which maintained the tight, professional vibe that was already in abundance at Shoreline. Bob’s vocal delivery was more straightforward than usual, and the closing jam remained a bluesy affair that was augmented by John dropping in a few lines of falsetto vocals while images of Charucki and Pigpen flashed on the screens behind the band.Dead & Company – “He’s Gone”[Video: Borrowed Tune]Instead of transitioning into the expected “Truckin’” or “Smokestack Lightning”, the “He’s Gone” jam wound down to allow the opening chords of “Help On The Way” to burst through the PA to a huge cheer. Once again, the band made one of the more complex songs in the repertoire look easy as John made his way through the verses and led the band into “Slipknot”, where it became his turn to shine. Over the space of several minutes of jazz-based improv, John reached into his bag of tricks to offer up his own distinct finger-picking alongside Eddie Van Halen-style finger taps, Steve Howe-style sliding chords, and maybe even a Jerry Garcia-style run or two in the space of four minutes, all while Weir provided harmonic counterpoint with taut riffing of his own. The song’s closing jam was also played at a noticeably faster tempo and led to the expected “Franklin’s Tower”, which allowed band and crowd to cut loose with some three-chord rock ‘n’ roll happiness for 13 minutes, including a brief reprise of the “If I Had The World To Give” theme by Jeff and John as Oteil looked on, smiling broadly.Dead & Company – “Help On The Way”[Video: Gregory Marcus]Dead & Company – “Slipknot!” > “Franklin’s Tower”[Video: Gregory Marcus]Oteil quickly doffed his bass and joined Billy and Mickey for the “Drums” interlude, and the trio set up and maintained an insistent, tribal beat for much of the segment before leaving Mickey alone to rattle the venue when he kicked and shook The Beam. The distinctive instrument’s monochord continued to ring out as Hart walked off, leaving the stage completely empty for a bit until the guitarists and Jeff returned to craft a sparse, mellow, four-minute “Space” that recalled the Dead’s more minimal 80’s versions.From there, the band led into another signature choice from the Bob Weir catalog, “The Other One”, a short-and-sweet version that featured Oteil’s take on the famous bass intro and a distinct bluesy version of the jam that usually falls between verses, though the band would forego the song’s second verse. Like the rest of the set that came before it, this version was tight and focused. While it didn’t hit one of those huge peaks that are known to happen in this song, it didn’t need to, as the sheer cohesion onstage did the trick all by itself.“Wharf Rat” followed as the expected ballad, highlighted by two searing Mayer solos at its conclusion, and “Not Fade Away” brought the 99-minute set to a close with the help of a couple call-and-response solos between John and Jeff. And even though it was now past 11:00 pm, the band was allowed to return to the stage and knock out a “Touch Of Grey” encore to wrap things up.This was a standout night for Bob Weir, who drew much more heavily from his own catalog of songs than usual and delivered a forceful performance to match. On top of that, a look back through Deadbase revealed that tonight’s second set content was one song away from being identical to the Grateful Dead’s Binghamton, NY show from April 12, 1983, a highlight (and a widely circulated tape) from the “Dirty 80’s” era when Bob had to carry the band at times. Coincidence? Yes, of course…but a fitting one nonetheless.Check out a gallery of photos from night one at Shoreline Amphitheater below via photographer Matt Rea.Dead & Company returns to Shoreline Amphitheater to close our their two-night stand tonight, Tuesday, July 3rd. For a full list of Dead & Co’s upcoming dates, head here.Setlist: Dead & Company | Shoreline Amphitheater | Mountain View, CA | 7/2/18Set One: Feel Like A Stranger, Dancin’ In the Street, It Hurts Me Too, If I Had The World To Give, Corrina, They Love Each Other, Throwing StonesSet Two: Lost Sailor > Saint of Circumstance > He’s Gone, Help On The Way > Slipknot! > Franklin’s Tower > Drums/Space > The Other One* > Wharf Rat > Not Fade AwayEncore: Touch of Grey*Verse 1A full soundboard recording of the performance is available via Nugs.net.Dead & Company | Shoreline Amphitheater | Mountain View, CA | 7/2/18 | Photos: Matt Rea Photo: Matt Rea Photo: Matt Rea
Following teases and heavy speculation over the past few months, The Rolling Stones have announced their 2019 “No Filter” U.S. stadium tour, which includes 13 coast-to-coast scheduled performances.The Stones will kick off the tour at Miami Gardens, FL’s Hard Rock Stadium on April 20th, 2019, followed by a second Florida performance at Jacksonville’s TIAA Bank Field on April 24th. The band will then head west, with stops at Houston, TX’s NRG Stadium (4/28); Glendale, AZ’s State Farm Stadium (5/7); Pasadena, CA’s Rose Bowl (5/11); Santa Clara, CA’s Levi’s Stadium (5/18); Seattle, WA’s CenturyLink Field (5/22); and Denver, CO’s Broncos Stadium at Mile High (5/26).The Rolling Stones will then head back east with performances at Washington, D.C.’s FedExField on May 31st; Philadelphia, PA’s Lincoln Financial Field on June 4th; Foxboro, MA’s Gillette Stadium on June 8th; and East Rutherford, NJ’s MetLife Stadium on June 13th. As of press time, The Rolling Stones will wrap up their “No Filter” tour with a performance at Chicago, IL’s Soldier Field on June 21st.The Rolling Stones’ upcoming tour will mark the band’s first extended run of shows in the U.S. since 2015’s “Zip Code” tour, though they played Desert Trip in Indio, California, two Las Vegas arena gigs, and two private shows in 2016.Mick Jagger said in a statement, “It’s a thrill when we play stadiums in the States, the energy is always amazing!” Keith Richards added, “I’ve always loved playing the states. It’s a great crowd.”There will be a special fan pre-sale on Wednesday, November 28th at 10 a.m. local time here. Fans who would like access to the pre-sale need to enter their information here by 9 a.m. (EST) on Tuesday, November 27th, and will be emailed a code the day before the pre-sale begins.Tickets go on sale to the general public next Friday, November 30th at 10:00 a.m. local time.For more information on ticketing and The Rolling Stones’ upcoming tour dates, head to the band’s website here.Rolling Stones No Filter Tour:April 20th, 2019 – Miami Gardens, FL @ Hard Rock StadiumApril 24th – Jacksonville, FL @ TIAA Bank FieldApril 28th – Houston, [email protected] NRG StadiumMay 7th – Glendale, AZ @ State Farm StadiumMay 11th – Pasadena, CA @ The Rose BowlMay 18th – Santa Clara, CA @ Levi’s StadiumMay 22nd – Seattle, WA @ CenturyLink FieldMay 26th – Denver, CO @ Broncos Stadium at Mile HighMay 31st – Washington, D.C. @ FedExFieldJune 4th – Philadelphia, PA @ Lincoln Financial FieldJune 8th – Foxborough, MA @ Gillette StadiumJune 13th – East Rutherford, NJ @ MetLife StadiumJune 21st – Chicago, IL @ Soldier FieldView All Tour Dates[via Rolling Stone]