Yesterday, The New York Times published an interview between Trey Anastasio and Jesse Jarnow about Phish’s recently ended thirteen-night run at Madison Square Garden dubbed the Baker’s Dozen. In the interview, Trey spoke about the rehearsal process for their MSG residency, as well as how they kept track of avoiding repeats, their penchant for covers, and night 13’s walk-out music to Billy Joel’s “New York State Of Mind.” Today, Jarnow posted additional excerpts from his interview with Trey on his Twitter. The additional excerpts are clearly more geared toward long-time Phish fans, with the additional responses from Trey giving more in-depth insight into select moments from the Baker’s Dozen run.In these newly shared interview clips, most notably, Trey continually emphasizes his love of his bandmates and both the mental and personal connection among them, with the guitarist barely able to contain his words of gratitude and admiration for Fish, Page, and Mike. The new excerpts also sees Anastasio speak on night 11’s cover of Radiohead, his love of the band Talking Heads, and a handful of unplanned musical surprises during their MSG residency. Check out the interview excerpts for yourself below.On the connection among his bandmates:How did it feel actually getting up there and playing 13 nights in that same room? And in Madison Square Garden at that?Any time you’re in one place like that, it gets very loose and you’re not moving your gear in and out every night, and you’re not readjusting. Like, when you’re on tour in the summer one night, there’s a metal roof and the next night, you’re inside. There’s no adjustment period. So, the interplay between the four band members becomes heightened based on the fact that that’s the only place changes are made.There was this moment where we started we started “Lizards” (on night 12) and I’m playing this very quiet thing on the guitar. And just as we started, I wanted to be really quiet and I could feel that Fish couldn’t quite hear my guitar, because he’s just down on the high-hat, and I just immediately know that. He’s behind me and I’m not looking at him. This is as I was singing. And so turned on my Leslie speaker, because my guitar cabinet faces forward and the Leslie speaker faces Fish’s earl was like, “Oh, he needs a little bit more.” I could feel him reaching out to me.And what went through my mind in that moment was that there were ten thousand adjustments like that happening like every minute. And the reason that it all seems to work is that everybody in the band cares about each other so much. I kind of teared up when this moment happened, when it dawned on me that that was really what this was all about. And then that extends out into the friends and family and the audience.On covering Radiohead: Obviously, we love them. Who doesn’t? We admire them. But I kind of wondered if, like, you weren’t a fan of Phish, would you understand the glory of the Jon Fishman vocal? Like, if Thom Yorke and those guys hear that…? [Yorke’s] got such a great voice. And it’s kind of hard to sing. And other people (in Phish) could have sang it. But having Fish sing it was great. He’s Fish. We love him. But he has some character to his voice. How do you explain (to outsiders) that the guy who sang it… “well, he’s like the heart and soul of the band, he’s not normally the singer.” Like, a few years ago, he didn’t think of himself as a singer at all. But it’s so perfect. We all hope that if they do hear it, they know it was done with absolute love and honor.On jamming during Baker’s Dozen:You were adding jams to songs that don’t usually have them, like “My Friend, My Friend” on the Jam-Filled Night. How did you choose which ones?Did we jam on that one? You sure did.I don’t even remember. The whole thing became such a blur. I remember getting in the car on the way home one night and somebody said, “Oh, great version of ‘Possum’.” And I didn’t even remember playing “Possum”.More on jamming:What suddenly started happening this year is that it feels like all of that shared experience is sort of in those jams. It’s not that playing the covers is a big deal. You can kind of say “why do you play so many covers?” But you learn something from that experience and you learn it together.So when we’re up there just playing, it’s something that feels like I know what they’re thinking. It’s crazy and it’s so intimate, and I know what Mike is thinking. I was there, and I know that when you learn “Helter, Skelter” and then you learn [sings beginning of “New Age”], you have to have a discussion when you learn that song, like “Oh, what are you doing on the bass?” “No, no, he’s staying on the one chord, there is no five.” And those kind of conversations take hours and days and weeks, like “You know, hey, Charlie Watts keeps the kick drum on one and three his whole career.” So all this information after all these years is sort of not information anymore, it’s like feeling. And I can feel it, I can feel where they’re going.This kind of thing happens: Page is playing the piano and he’ll move to the Rhodes, and I’m just playing and all I’m doing is listening. Like, Mike, Page, Fish. What’s Page doing? What’s Mike doing? In a circle. Page moves to the Rhodes and he plays a riff on the Rhodes, and I might give him just two notes of a little copy or a harmony. And basically what I’m saying is “hear you that you’re on the Rhodes, I’m with you.” That’s it! It’s just the littlest hint, and I know he heard me and know he knows I’m listening. There’s a combination of that and all of that music that we’ve learned together.It’s like “I get it, I’m not fighting you, I’m with you.” And then the floodgates just open. We haven’t had a tempo battle in 15 years. And every band has tempo battles. We had so many of those. “Why are you going so fast? Or so slow?”. That doesn’t happen anymore. It’s just incredible. Just patience. I’m so lucky to be in a band with three such… I don’t even know how to express the amount of gratitude that I have. All three of them are so good and so smart and so funny. That’s how I feel the whole time I’m up there. How did I get so lucky to meet such great people? And for them to, like, put up with my bullshit over the years? I feel like I don’t deserve this or something.Were there any completely surprising things that happened when you were up there?Lots. Right out of the gate, there were some ambient kind of moments that started happening on day two that were new.Some of the musicologist Phishheads were freaking out because the ambient jams moved away from a tonal center in a way that you don’t usually.I love that! I didn’t know if anybody else noticed. Somehow that just sort of happened that night and that became a thing.On surprises during Baker’s Dozen:That “Joy” encore was a complete surprise. We walked on stage and we were going to do “Loving Cup”, which is a common encore tune, and we’re just standing there and just kind of like “Oh, let’s just play ‘Joy’”. And it felt so good. And it was completely unplanned. The way that Lemon theme was coming back was a surprise. But I think the biggest surprises were musical. There was some playing that was really clean. One night there was some jam that was happening, I wish I could remember what it was. Maybe it was “Scents and Subtle Sounds” or something like that? It got so jazzy.On his love of bands, the Talking Heads, and the importance of drummers:Billy [Joel] has a band, but he’s a great solo artist. So much of what we do and the way we think… I love bands. Bands are fascinating to me. I’m lucky enough to be in a band where the other three guys just are endlessly fascinating to me, and everybody’s shared impact on this thing. I always thought that when I was a kid, I wanted to be in a band.My favorite band, probably one of my one or two favorite bands of all time… I wish they would get together and appreciate what they had, and that it would be the four of them. I’m saying this with all due respect: it was fun when my favorite band started adding new band members, but I never liked it as much as when it was just the four of them. I’m talking about Talking Heads. The fucking band was so good. Tina’s bass playing SO unique. Yeah, she’s not Bootsy Collins, but that’s why I liked her. I was lucky enough as a high school student to stand in front of her and watch her play. David Byrne and Peter Gabriel when was growing up were as good as it gets, for our generation. I would be scared to be in a room with them. But I love Jerry Harrison’s guitar playing. Oh my god, that guy was just so good. It’s like little teeny little parts that were so so special. And Chris Frantz.And that’s… [one of the things] about bands to me. I always say and I have said for many many years: Replace your drummer at your peril, band. *Any* drummer. I don’t care if it’s R.E.M. or anybody… there is no replacing Jon Fishman. That goes without saying, but I don’t think there’s any replacing any drummer ever in a band. Ever.Bands are weird. I don’t know what it is about bands. That’s what this whole Baker’s Dozen thing makes me feel, more than anything, is that I just stand up there and just can’t believe how much I love those guys.[Photo: CJ Stewart]
SweetWater 420 Fest will return to Centennial Olympic Park in Atlanta, Georgia on April 20-22, 2018. This year’s impressive lineup includes headlining sets from Umphrey’s McGee (x2), Tedeschi Trucks Band, Sturgill Simpson, and Vulfpeck, along with Joe Russo’s Almost Dead, Stick Figure, Papadosio, Anders Osborne, Spafford, Sister Sparrow & The Dirty Birds, and Southern Avenue, with “Boatloads more coming early 2018.” The weekend will be complete with more than 50 bands, 30 unique SweetWater Brewing Company brews, and “420 vibes.”Tickets are now on-sale here.
Tonight, Jamiroquai will perform their first U.S. show in thirteen years at the 19th annual Coachella in Indio, California (and it will be live streamed here). Ahead of the big performance, Jay Kay and company stopped by The Late Late Show With James Corden for a late-night national television guest spot on Thursday. Performing the title track from their 2017 release Automaton, the 4-minute performance dazzled the world with its electronic synth grooves and funkified dance moves.In addition to marking their first U.S. shows in more than a decade, Jamiroquai’s Coachella performances are the first of four total confirmed American shows this year. In between Coachella sets (April 13 & 20), Jay Kay and company will head to San Francisco to perform the Bill Graham Civic Auditorium on April 17. On September 8, the band will head to New York City to perform the Forest Hills Stadium in Queens, NY. Additionally, Suwannee Hulaween recently revealed the dates for their 2018 festival with a short animated video and snuck in a massive hint pointing to Jamiroquai as their 2018 headliner. In the clip, the band’s familiar silhouette symbol appears in the corner of the frame, suggesting that Jamiroquai will be performing at the sixth annual event.So now that Jamiroquai is officially on American soil, it’s game on. Watch the mesmerizing video from last night’s television performance below:[Video: The Late Late Show With James Corden]It’s been over a year since Jamiroquai announced their triumphant return after spending years outside the spotlight. In March of 2017, the group released Automaton, a follow up to 2010’s Rock Dust Light Star marking the band’s eighth studio album. To complement their new album, the funk favorites embarked on a global tour, hitting Tokyo and Seoul in addition to major cities across Europe. However, North American cities were conspicuously left off of Jamiroquai’s 2017 comeback tour, leading many to hope that 2018 will see the group hitting the U.S. Here we are, with four shows ahead of us, and it feels damn good.
Lollapalooza will expand their global music festival brand with their latest addition, Lollapalooza Stockholm. Taking place June 28th and 29th, 2019 at Gärdet, a beautiful park in the heart of Stockholm, Sweden. Lollapalooza Stockholm marks the sixth international edition of the festival, alongside Santiago, Sao Paulo, Buenos Aires, Berlin, and Paris. The inaugural edition of Lollapalooza Stockholm will feature four stages, innovative culinary selections, art, and much more. Further details on the lineup and ticketing information will be released later this year.“The historic Gärdet and the iconic festival Lollapalooza are the perfect match. For decades we have been wanting to do a really big festival in Stockholm and we are very honored and excited to do this together with Charles Attal and his team at C3 Presents,” said Thomas Johansson, Chairman International Music, Live Nation, in a press release. “Welcome to Stockholm, Lollapalooza!”“It takes years of research and planning to determine the right cities to host Lollapalooza, and we never take the decision lightly. With its incredible culture, vibrant music scene and beautiful green spaces, Stockholm proved to be an ideal city to add to our growing international family. We are fortunate and honored to partner with Anna Sjolund, Thomas Johansson and their team, who are highly respected around the world as some of the best promoters in the business,” explained Charles Attal, Partner, C3 Presents.Lollapalooza Stockholm is produced by Perry Farrell, WME, C3 Presents and Live Nation Sweden with their subsidiary company Luger, the award-winning organization behind Swedish festivals such as Way Out West and Åre Sessions. Head to the festival’s website for more information.
Photo: Andrew Rios Photo: Andrew Rios Photo: Andrew Rios On Friday, June 8th, psychedelic hip-hop/funk collective Lettuce returned to Morrison, Colorado, hosting the third-annual Rage Rocks. This year saw the veterans co-billed with popular Kansas-based duo The Floozies, with both bands playing a 90-minute set. A stunning, beautiful afternoon greeted funkateers who’d come from far and wide to take in the single biggest Lettuce show of the year, and a busy lineup card provided an early start to the festivities.This engagement marked Lettuce’s fifth appearance at the celebrated Red Rocks Amphitheatre, while The Floozies were returning for their fourth play at the legendary natural outdoor venue. Yet it would be some relative newcomers that made the most noise early in the day. Having caught Portland scion Ryan Zoidis’ ear many moons ago, Lettuce hand-selected JAW GEMS for direct support back in 2015 and have been grooming the group ever since. JAW GEMS took the stage at 6 pm sharp, and the Maine krewe wasted little time getting acquainted.DJ Moore, Andrew Scherzer, Tyler Quist, and Dane Farnsworth unassumingly stepped onto this hallowed throne with mojo and panache. The quartet married boom-bap beat science with IDM dissonance, making unflinchingly high art in a sort of post-rock/post-jazz trip-hop amalgam that paid homage to the likes of David Axelrod, J Dilla, and Flying Lotus.From behind walls of analog synth and layers rich in nuance and abundant in colorful dynamics, JAW GEMS worked hard to win over a small-but-growing contingent steadily filing into the venue. Though their production struggled a little bit to make the transition to the humongous Red Rocks stage, rest assured, JAW GEMS left one helluva impression on those who showed up early. Highlights from their supper-time set included “Peace Pipe”, “Rvil”, and set closer “Baleen”.Canadian DJ duo The Funk Hunters were on next for the golden hour, and the fun-lovin’ party starters played a focused selection of their popular block-rockin’ beats. A blur of hyphy-energy behind their controllers, computers, and turntables, Nick Middleton and Duncan Smith served up one adrenaline-filled drop after another—and appeared to have a lot of fun doing it.Smith’s “indefatigable charisma” powered The Funk Hunters live show, as the pair mixed and matched recognizable beats and samples, effectively keeping the crowd hyped. Recently, The Funk Hunters have begun to release and perform original music (TYPECAST), and late in their set, they invited both a vocalist and an emcee to join them onstage for a couple of their own brand-new jams.Before long, The Funk Hunters late-afternoon affair shifted smoothly into a lengthy set from another electro-funk duo making waves in the festival scene. Comprised of Lawrence, Kansas-based brothers Matt Hill (producer/guitarist) and Mark Hill (drummer), The Floozies are very popular for their accessible brand of electronic music—a mixture of live instruments and production software.The siblings added to their sound for this big occasion, bringing no less than three live horns out to Red Rocks to join them. The brothers Hill performed a blend of original Floozies music that saw Matt not only play guitar but also step up to the mic, using a talk-box/vocoder straight out of Peter Frampton’s playbook. Even better, Matt Hill would sometimes shift over to his laptop, and cue up big ol’ bass bombs and dubstep drops amid an assortment of samples.Meanwhile, brother Mark Hill was holding things down behind the kit, matching his beats to the programmed drums and samples coming through the software. It was remarkable how The Floozies had nearly every element of contemporary electronic music at their disposal, and you could enjoy everything from bro-step womp to a page out of Fatboy Slim’s playbook, all inside of a single song. If that wasn’t enough to satiate the masses, the group sampled everything from Outkast’s “SpottieOttieDopalicious” to Kanye West’s “Runaway”, reaching a crescendo when they injected some classic Backstreet Boys into a jam.To bring their set to a conclusion, frontman Matt Hill, clad in a white tank top and shorts, proceeded to lay down on his back mid-song, playing guitar and spinning around. Ever the showman, Matt continued on his back as he thrilled his screaming fans, shredding the axe like a classic rock star. Because The Floozies don’t just re-create your favorite mixtape jams, they also rock the house really hard, too.After a half-hour of deep, dubby reggae pumped through the PA and guided the vibe in transition, Lettuce took the stage as a sextet and assumed their positions for blast off. Last year, the band fielded a ten-piece for Rage Rocks and invited a who’s-who of Lettuce’s canon of heroes to sit in throughout the night. For 2018’s installment, this would be a power-packed hour-and-a-half of lean, mean LETT machine—only the core members would appear (save for some light percussion contributions from longtime ally Tyler Coomes). Truth be told, the band has never sounded more cohesive, or unified in theory, as Lettuce does right today; Rage Rocks’ fantastic voyage was Be Here Now, a prime example of their elevated state of union.After an atmospheric intro, the boys launched into “The Force” for a quick turn before detouring into a passage led by saxophonist Ryan Zoidis, and the band delivered streamlined ideas for what sounds like a new song that’s being developed within “The Force.” The band made their intentions clear with a mammoth take on “Purple Cabbage” in the second slot. Through this newer composition, they asked for the already-ensconced audience to follow them beyond the clouds during a huge middle jam section. Eric “Benny” Bloom took the handoff to the house all night long, and his soaring trumpet led “Purple Cabbage” squarely into the danger zone. The psychedelic influence was heavy, early, and often, led by the fearless guitarwork of one Adam “Shmeeans” Smirnoff, who was playing his very first concert with infant daughter Simone in the crowd. In welcoming her to the Lettuce funk fold, Shmeeans employed a bevy of tones and choice textures, including (but not limited to) a hollow-body, minimalist staccato that recalled the great Ernest Ranglin and a tasteful MuTron effect that tickled many a Deadhead’s proverbial fancy. Lighting director Blake Addington is rapidly becoming LETT’s secret weapon; as usual, he wowed the crowd with kaleidoscopic laser beams, but it was his mesmerizing imagery and projection mapping on both the large LED screens and against the natural Red Rocks structures that left many awestruck fans’ with jaws agape. The Rage Rocks audience was more than willing to follow, listen, and get quiet when the LETT dynamics called for a hush or the jam subtly asked us to breathe. Despite the fact that this was Rage Rocks, the crowd seemed gripped by the performance, captivated and collectively in tune with Lettuce. Taking notice of this undivided attention, the band set the gearshift skyward and did not look back for the remainder of the set, sailing into the stars with yet another session destined for the annals of crunkalogic science. Lettuce continued unveiling evolved versions of newer songs that will be included on the band’s still-untitled album due in the Fall. “KHRU” came off gang-busters, sounding like a hip-hop park jam from the Bronx back in 1977, the perfect soundtrack to a breakdance session or painting a city train. “Moksha” revealed a decidedly different persona from the longtime funk stalwarts—Smirnoff was again calling the shots, dealing in Middle Eastern themes and scales, recalling his heroes John McLaughlin and Ravi Shankar, yet within the context of his own creation. Bassist Jesus Coomes, the de facto frontman clad in a black and white kimono, dedicated the song to the moon’s lunar energy, and the crowd howled their approval with an amber glow. With a humble confidence and appropriate verve, Lettuce harnessed this intergalactic momentum and channeled it into a luminescent “Gang Ten” that stretched toward fifteen minutes. Cascading through sentimental instrumental tones, the krewe told a tale in terms that everybody could easily understand. The centerpiece of their forthcoming fifth full-length LP, this mystical original song took a breathtaking flight into the night, searing through the emotive composed section and into the blissful boom-bap of no-man’s land, winding between Gotham soundscapes and a city of angels, before returning to the song’s victorious resolution. “Gang Ten” was truly a multi-hued expedition.Bloom scolded the now-engrossed audience to get fired up as the band dropped into “Ready to Live”, an uptempo affirmation of life sung with gusto by keyboardist Nigel Hall. The song took on a deeper resonance on this particular evening, as many folks in the audience were reeling from the sudden deaths of both a globally-revered philosopher/chef, and on a more personal level, a beloved longtime JamCruiser. On the heels of that stirring performance from Hall, the boys delved into their arrangement of Tears for Fears’ “Everybody Wants to Rule the World”, an emotional song that (over the past decade) Lettuce has most definitely made their own. “Welcome to your life… there’s no turning back.” Damn… chills. What made this version of “Rule the World” terrifically transition from tear-jerker to siracha was a newly-added, super-spicy middle section courtesy of Nigel; a sordid slab of intravenous sexy that sounds straight out of the Soulquarians’ cookbook. This swaggering groove might be the single sexiest sound to ever emanate from this squad. Vibes and vibrations, indeed.Drummer Adam Deitch needs no introduction, but every beating heart at Rage Rocks was well aware just who was driving this runaway train into outer space. The living legend’s lead right foot and relentless pocket gives LETT its gangsta-lean, a concept made crystal clear through the drummer’s exemplary performance this evening. On the unreleased “His Royal Highness”, Deitch put on a funk clinic like only he can, all the while still serving the song. While Adam repeatedly got wicked, Hall proceeded to bomb the squad with a spasmodic run around his ARP synth. Arriving at the titantic instrumental hip-hop epic “Trillogy,” the boys rattled King Tubby’s tomb with a series of thunderclaps that let all of Rage Rocks know the time. The three-part Crush opus has steadily earned its way into the beloved bosom of Lettuce’s swollen songbook, and the sprawling version delivered as Rage Rocks careened into the stretch run was a blood-tingling exhibit why. The beginning of “Trillogy” found Coomes giving birth to the G-Funk vibe that is native to the song’s first section. Just when Zoidis’s eerie sax-synth textures had worked all of Red Rocks into a dithers, the boys dipped into a decidedly dancehall groove that injected some yardie flair into the ether. This sort of riddim-excursion lends itself quite nicely to this band’s steez and repertoire; given their tendency to throw down Kingston styles, we can only hope it rears it’s rudebwoy head once again.From “Trillogy”’s future-trap third chapter, Zoid and Shmeeans took turns steering the spaceship until it emotionally arrived at the band’s embryonic psychedelic creation, “Phyllis.” A gripping, if truncated version ensued, much to the vocal delight of the still-reverberating Rage Rocks massive. Lettuce appeared a bit confused at the conclusion of “Phyllis”, and left the stage rather unceremoniously—turns out there were some technical difficulties beyond the band or crew’s control that caused a bit of snafu. Thankfully, the band got the green light to return for an encore, and naturally, Lettuce did not disappoint. A behemoth run through “Trapazoid” brought the house down and the sent the people home aglow, as Deitch’s organic 808s and Jesus’s bulbous bass underpinned the burly Farfisa organs, emboldening the triumphant brass heads to tell the song’s inspirational story arc. A hard left into Cardi B’s inescapable “Bodak Yellow” added some much-needed levity to a gravity-defying performance, for nearly one hundred minutes, LETT dove thirty-thousand leagues deep, and we all gleefully followed suit. A magnificent portal of future funk/hip-hop drenched in genre-bending psychedelia, “Trapazoid” was a perfect note to close Rage Rocks III; instead of revisiting the glories of yesteryear, we celebrated the moment, and shined our glistening headlights on the magic that’s still to come.You can check out a full pro-shot stream of The Floozies’ and Lettuce’s Red Rocks sets below, courtesy of nugs.net. You can also check out a full gallery of photos, courtesy of Andrew Rios.Words: B.GetzPhoto: Lettuce | Red Rocks Amphitheatre | Morrison, CO | 6/8/2018 Load remaining images
Today, Lettuce has announced the 2019 edition of their annual blowout at Morrison, CO’s iconic Red Rocks Amphitheatre, affectionately known as Rage Rocks. The latest edition of Rage Rocks, which marks Lettuce’s 6th visit to Red Rocks, is set to take place on Saturday, June 15th, 2019 and will feature two sets by the host band.As always, Lettuce has some special tricks up their sleeve for their Red Rocks trip. In addition to support from TAUK and The Soul Rebels, Rage Rocks 2019 will see Lettuce use one of their two sets to reprise the Jerry Garcia Band tribute that wowed audiences at the 2018 edition of LOCKN’. The Jerry Garcia Band tribute set will also feature JGB organist Melvin Seals, who continues to keep the band’s spirit alive to this day with his own touring iteration of JGB.Notes bassist Erick “Jesus” Coomes in a press release, “The scenery and feeling at this divine location in Morrison, Colorado makes Red Rocks Amphitheatre a multi-sensory experience by itself. Add in two tablespoons of Jimi Hendrix‘s historic performances here, a half cup of The Grateful Dead and Jerry Garcia’s legendary shows at the venue, and a heaping quart of the Count Basie big band’s gigantic vibe and lingering presence that is emanating from the area and you have yourself one immense vortex of goodness. It is hands down one of our very favorite venues in the country and is incomparable to any other place. Long live Colorado and it’s band of merry pranksters.”Adds drummer Adam Deitch, “We gonna funk up Dead Nation!”Lettuce still has plenty on their plate before they make their way back to Red Rocks in June. Following their three-night New Year’s run in Texas, the band will mount an extensive tour spanning the majority of January and February followed by a special San Francisco residency with legendary jazz guitarist John Scofield in March. The Rage Rocks 2019 announcement press release also notes that Lettuce is in the process of recording a new studio album.You can check out a full list of upcoming Lettuce tour dates below. For more information, head to the band’s website.LETTUCE TOUR DATESDecember 28 Houston, TX @ Warehouse LiveDecember 29 Dallas, TX @Granada TheatreDecember 31 Austin, TX @ Emo’sJanuary 10 Rochester, NY @ Anthology Live*January 11 Boston, MA @ House of Blues*January 12 Clifton Park, NY @ Upstate Concert Hall*January 13 South Burlington, VT @ Higher Ground Ballroom*January 15 Indianapolis, IN @ The Vogue*January 16 Detroit, MI @ St. Andrew’s Hall*January 17 Pittsburgh, PA @ Rex Theater*January 18 Hartford, CT @ Infinity Music Hall & Bistro*January 19 Brooklyn, NY @ Brooklyn SteelJanuary 22 Harrisburg, PA @ Whitaker CenterJanuary 23 Cleveland, OH @ House of BluesJanuary 24 Covington, KY @ Madison TheaterJanuary 25 Nashville, TN @ Marathon Music WorksJanuary 26 Atlanta, GA @ Center StageFebruary 15 Fort Lauderdale, FL @ Revolution LiveFebruary 17 Pensacola, FL @ Vinyl Music HallFebruary 19 Memphis, TN @ Minglewood HallFebruary 20 Oklahoma City, OK @ Tower TheatreFebruary 24 Aspen, CO @ Belly Up AspenFebruary 25 Aspen, CO @ Belly Up AspenFebruary 27 Salt Lake City, UT @ The Commonwealth RoomFebruary 28 Las Vegas @ Brooklyn BowlMarch 1 San Diego, CA @ North Park TheatreMarch 21-24 San Francisco, CA @ San Francisco Jazz Center with John ScofieldJune 15 Morrison, CO @ Red Rocks Amphitheatre+*With Ghost Note+With TAUK and The Soul RebelsOtherwise, show is “An evening with Lettuce”View Upcoming Tour Dates
Following his high profile appearance during the Super Bowl LIII halftime show on Sunday night, Big Boi has announced a reunion tour with Atlanta hip-hop collective Dungeon Family.The April stretch will see Big Boi join up with fellow veteran Dungeon Family acts like Goodie Mob, Organized Noize, KP The Great, Sleepy Brown and more for stops in Chicago, Nashville, New Orleans, Dallas, Atlanta, Washington, D.C., New York, Boston, and Asheville. As of now, there is no word on whether Big Boi’s Outkast counterpart, Andre 3000, will take part in the Dungeon Family reunion tour. You can listen to Dungeon Family’s sole album, 2001’s Even In Darkness, below:Dungeon Family – Even In DarknessIn addition to the Dungeon Family tour announcement and the Super Bowl appearance, Big Boi has released a video for new single, “Doin’ It”, which features Sleepy Brown. The “Doin It” single, originally released last week, also includes “Return of the Dope Boi” ft. Dungeon Family cohorts Killer Mike (Run The Jewels) and Backbone. Check out the video for “Doin It” below:Big Boi ft. Sleepy Brown – “Doin It” [Official Video][Video: Big Boi]New tracks and tours aren’t the only ventures Big Boi is pushing following his Super Bowl appearance. He also just launched a new clothing line. You can cop your own ATLiens satin jacket (as seen during the halftime show performance) via the Outkast website.See below for a full list of Dungeon Family tour dates. For more details and ticketing information for the upcoming tour, head to the tour website here.Dungeon Family 2019 Tour Dates04/14 – Chicago, IL @ House of Blues04/16 – Nashville, TN @ Marathon Music Works04/17 – New Orleans, LA @ The Fillmore New Orleans04/18 – Dallas, TX @ Bomb Factory04/20 – Atlanta, GA @ Fox Theater04/22 – Washington, DC @ The Howard Theater04/23 – New York, NY @ Terminal 504/24 – Philadelphia, PA @ The Fillmore04/25 – Boston, MA @ House of Blues04/27 – Asheville, NC @ Salvage StationView Tour Dates
Candler Park Music & Food Festival has released its 2019 lineup, featuring performances from Dispatch, Greensky Bluegrass, Dr. Dog, Trampled By Turtles, Stephen Marley, Larkin Poe, Funk You, Aqueous, and Webster.In addition to a stand-out lineup, the festival will also host a food village featuring fare from local vendors and food trucks, an artist market, adult field games, a craft cocktail bar, and the Terrapin Brew Lounge complete with an expanded selection of rare Terrapin craft brews.Related: PHOTOS: Candler Park 2018 Sees Standout Sets From Lettuce, Gov’t Mule, PettyGrass, & MoreCandler Park Music & Food Festival expects to draw 20,000 people to the Atlanta area for its 11th edition on May 31st and June 2nd. As festival producer and Rival Entertainment partner Josh Antenucci explained in a press release, “Year after year, our music bookings elevate the festival to new heights. A far cry from your usual neighborhood park event, Candler Park Music & Food Festival curates a perfect two day musical experience that blends local talent with trendsetting chart climbers and national headliners, all while maintaining that cherished community park vibe that got us started a decade ago.”You can get your tickets here, or head over to the festival’s website for more information.
Award-winning photographer Michael Weintrob will once again bring together a community of like-minded musicians and art lovers during the 50th celebration of Jazz Fest. The INSTRUMENTHEAD Experience is set to span from Wednesday, May 1st through Sunday, May 5th at The Art Garage in New Orleans, LA.The INSTRUMENTHEAD exhibit encompasses an expansive collection of Weintrob’s portraits shot since 2006, portraying diverse entertainers shown with their instruments obscuring their faces. Subjects include Bootsy Collins, Mickey Hart, Junior Brown, Scott Avett of the Avett Brothers, and Derek Trucks. In the INSTRUMENTHEAD book, Weintrob has captured uniquely intimate expressions of 369 artists and their instruments, without ever showing their faces.Michael Weintrob’s INSTRUMENTHEAD Experience has unveiled their 2019 lineup, including performances by Kirk Joseph, Roger Lewis, Bill Summers, Will Bernard, Charlie Wooton, DJ Logic, Voodoo Visionary and many more. The event will also host a special Blue Rose Music Night with performances from The Cris Jacobs Band and Laura Reed on Friday, May 3rd.The INSTRUMENTHEAD Experience will kick off on Wednesday night (May 1st) with a launch party featuring performances from an all-star cast of New Orleans musicians including Clint Maedgen, Roger Lewis, Kevin Harris, Kirk Joseph, Jamie McLean, Big Sam, Terence Higgins, Papa Mali, Bobby Vega and more!Weintrob will also be joined by his good friend and beloved visual artist Keith “Scramble” Campbell. This year marks 23 years since the two artists first met, and six years since Weintrob’s last exhibit in the Frenchman district. This also marks Campbell’s first marquee exhibit during Jazz-Fest.Weintrob explains, “I’ve always had the dream of pairing music with my photography. The cool thing about this exhibition is that art is being seen, heard, and made, in the same room. I’m really proud to have a place to showcase these artists amazing talents, and to be able to give them a place to create.”The INSTRUMENTHEAD pop-up will once again be teaming up with the New Orleans Musicians Clinic & Assistance Foundation. The event is open to the public with a suggested donation at the door, 100% of which will directly benefit NOMAF.See below for The INSTRUMENTHEAD Exhibit’s 2019 schedule.Fans can head here to RSVP for the event.
Gazette: Is Harvard going to think differently about the way it approaches capital planning going forward?Lapp: Yes. In fact, the idea of unifying a University-wide capital plan holds opportunity for not only the University as a whole, but for each of its individual Schools, as we think about coherent campus development. It also represents an opportunity for Allston, in that Allston planning going forward will be fully integrated into University planning, keeping in mind not only our programmatic needs, but our holdings in Longwood, Allston, and Cambridge. This is an opportunity for us to think about our campus in holistic and strategic ways. In a letter to the Allston community sent earlier today, Harvard President Drew Faust outlined the University’s path forward for its presence in Allston. Harvard will, as has been anticipated, pause construction of the Allston Science Complex at the end of the current construction phase in roughly four months, and will approach its next steps in Allston in three stages: property stewardship and community engagement; greening and planning; and, as resources allow, campus development. Faust also announced co-chairs of a new faculty-led work team that will consider strategies and opportunities for development in Allston, under the direction of Executive Vice President Katherine Lapp. The Gazette sat down with Lapp to learn more about what’s on the drawing boards: Gazette: What’s happening with the Allston Science Complex?Lapp: Last February, President Faust indicated that we were slowing down construction on the Allston Science Complex site to assess what options we might have, given the turmoil in the financial markets, and the University’s near-term space needs. The Harvard Corporation voted Monday [Dec. 7] to pause construction at the end of the current phase, and to pursue later phases after we’ve gotten advice on possible alternative approaches to completion, and perhaps changes to the current design. We expect to take the next year to look at possible opportunities, including co-development with private partners or other institutional partners that may make sense for that site, as well as for other Allston sites that Harvard owns.Gazette: What do you mean by “pausing” construction?Lapp: Right now, we’re at basically 93 percent completion of a ground-level structure. We’ve invested more than 8,000 tons of structural steel in the foundation, which encompasses several below-grade unfinished spaces meant for laboratory support, as well as power generation and underground parking. This first phase of the Science Complex will be completed in March. This is a natural point at which to pause the project. This delay gives us an opportunity, prior to pursuing the next phase, to make sure we understand the University’s current needs for space. It also allows us to consider creative opportunities for how we might pursue that space with others through co-development.President Faust has established a work team, co-chaired by three members of our faculty with expertise in business strategy, planning, and public policy, to assess our plans in Allston. The next phase of construction will begin only after the working group completes its review.Gazette: Can you explain what you mean by co-development?Lapp: The work team, which in addition to the chairs will include about 10 to 12 additional members from the University community, will study what other universities have done across the nation, and perhaps throughout the world, in partnering with industry, philanthropic foundations, hospitals, or similar institutions to determine whether or not we might learn from those experiences and adopt proven strategies for campus development in Allston.Gazette: What does this pause mean for science at Harvard?Lapp: Science at Harvard continues to grow, based on our faculty’s ability to compete for federal grants, in part from private philanthropy, and in part from the recruitment of new faculty in fields like stem cell science. We are continuing to build out space in Boston and Cambridge to accommodate our growth in the sciences. We are developing space in both Boston and Cambridge to accommodate, at least for the near term, those departments and those activities that were going to be housed in the Allston Science Complex.Gazette: What does this mean for Harvard’s future development in the long term?Lapp: We remain fully committed to Allston and to campus development in Allston. One thing I have been very impressed by in my short time at Harvard is the variety of programs and the level of commitment to the Allston community. For example, we opened the Harvard Allston Education Portal in 2008, where — under the direction of Rob Lue, professor of molecular and cellular biology and director of Life Sciences Education — our students partner with youth in Allston and Brighton. More than 100 local students are enrolled in that program, while more than 800 community residents have become Ed Portal members in order to benefit from lectures, workshops, and other opportunities. We also do a lot of work force training. We’ve engaged more than 50 members of the community in providing computer skill training and job training.We are also undertaking construction of the roughly $3.5 million Library Park next to the Honan-Allston Library, and we are continuing to improve the landscape in Allston. We’ve already planted more than 150 trees along Western Avenue. We’ve designed bike lanes on North Harvard Street. We sponsored the Harvard Allston Farmers’ Market.We also will continue to fund local organizations through the five-year Harvard-Allston Partnership Fund, an initiative through which we give out roughly $100,000 in grants each year to support community-based activities and groups.The pace of growth may be slower than previously anticipated. But, nonetheless, we are committed to Allston.Gazette: Can you tell us a little bit more about what this site is going to look like in the immediate future?Lapp: The building is already at ground level. There is a fairly large fence around the site right now. We will be working with the city of Boston, the fire department, and the Inspectional Services Department on issues like aesthetics, safety, and landscaping, and we’ll also discuss those issues with the community.Gazette: What does this pause mean for the institutional master planning process?Lapp: The institutional master planning process will be a guidepost for the working group. We expect there to be some modifications going forward, and we expect to file an updated plan by the end of 2012.Gazette: How will the new working group engage with the community? And how will Harvard continue to engage with its neighbors in Allston in general? Lapp: We’ll continue our ongoing dialogue with the community throughout the next phase of this process. The work team will gather much input from colleagues from other institutions, from the city of Boston, and our neighbors in Allston.In the immediate future, we are focused on the stewardship of the properties that we own in Allston.We already have many leases for our buildings. We have, in the last 10 months alone, signed six new leases that fill 50,000 square feet. We also recently signed a couple of movie studios to short-term leases on some of our properties. We have also supported the expansion of Mahoney’s Garden Center into its new property along Western Avenue. So we’ve been working very closely in the community trying to make sure that we’re addressing its concerns.Nonetheless, there are some properties that we have held over the last few years, expecting to use them as construction support. Going forward, we will bring many of those buildings — totaling roughly 100,000 square feet — into our real estate portfolio and actively pursue leases for them.Our primary focus in the short term will be to lease some visible, strategically placed properties. We want to continue to enhance the vitality of Allston, bring people into Allston, and create the type of activity that we know the community would like to see.We will also be engaging in a lot of our greening, as I call it, activities. For example, Library Park will be finished at the end of next year.Gazette: When work on the Allston Science Complex site moves forward, will the development look the same as has been proposed? Lapp: It would be premature for me to say exactly what will go on that site, what it will look like, and how that compares with what earlier designs envisioned. That’s part of what the new work team will help us think through.Gazette: Have you given any thought to some of the many suggestions that have been offered about how to use Harvard’s land in Allston? Lapp: The work team will consider a full range of options. We intend to reach out to people who have ideas and see what matches with the academic aspirations of Harvard, and obviously what is consistent with the needs of the community and the city.