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10,000 Lakes | 07.22 – 07.25 | MN

August 2nd, 2009 | No Comments

Words by: Herschel Concepcion | Images by: Norman Sands

10,000 Lakes Music Festival :: 07.22.09 – 07.26.09 :: Soo Pass Ranch :: Detroit Lakes, MN

10KLF 2009

The 7th annual 10,000 Lakes Music Festival saw the return of Widespread Panic (who last played the fest in 2005) as well as newcomers Wilco and the Dave Matthews Band. The caliber of these world-class acts ensures 10KLF’s position as a major contender in the festival circuit. With an attendance of 18,000 devoted music fans, 10KLF 2009 proved to be just as big a party as it ever was.

Wednesday, 07.22

We arrived Wednesday morning somewhat exhausted from the marathon drive the night before but surprisingly refreshed. Whether it was from the bright shining sun of a new day or the collective energy from an excitable crowd eager to get in, I couldn’t tell. Maybe it was both. The line to get into the Lake Sallie campground stretched for about two miles, and within an hour we were inside.

I’ve always enjoyed the camping at 10KLF, which has plenty of trees for shade – one of the key elements when determining the quality of your festival experience. A good camping spot can make or break your weekend, and 10,000 Lakes has plenty of choice spots if you know where to look. “The Soo Pass Ranch is a privately owned piece of property,” says Dave Weissman, media coordinator for the fest. “It comprises over 600 acres of land – mostly wooded – but also fields, the concert bowl, and more.”

Originally used as the site for WE Fest, a country music festival that draws upwards of 60,000 attendees every year, the Soo Pass Ranch was eventually chosen to host the first 10,000 Lakes Music Festival in 2003. Headliners that year included Widespread Panic, The Allman Brothers Band, Gov’t Mule, Leftover Salmon, and OAR. A resounding success, that crucial first year would pave the way for the evolution of this popular Midwest festival.

10KLF 2009

The crowd this year was a good one, full of purely positive individuals who shared a mutual love for music. I didn’t meet a single asshole all weekend. Comprised of people from all over the country (and even some from other parts of the world), the bulk of this year’s attendees consisted of Midwesterners from Illinois, Wisconsin, Ohio, and of course, Minnesota. It seems that Detroit Lakes is happy to host the festival, as many of the locals look forward to 10KLF as a weekend vacation.

The festival staff I encountered over the weekend was all friendly and in good spirits. The vendors, a mix of both local and regional suppliers, offered the standard festival fare, which was pretty much everything from funnel cakes and hot beef sundaes to hammocks and $6 sunglasses. And for the lazy, tired or hopelessly intoxicated there were cab rides on decked out golf carts for three bucks per person.

But, the best part was the stages. Situated within proximity of one another in the concert bowl, 10KLF’s stage setup makes it easy for one to float around and catch music while minimizing travel time between stages.

As for the music itself, it was clear that much thought and effort was put into the scheduling this year. There were very few conflicts between the major artists’ set times. This is one of the most important aspects of a well-planned festival. So with my gear unpacked and my campsite in order, it was time to slam some drinks and head down to the concert bowl for 10KLF 2009.

Gomez kicked things off at the Main Stage at 6 p.m., and although it was still early in the festival and the crowd for the set was at far less than capacity, the five-piece British outfit nevertheless set the tone for the weekend with their heavy, psychedelia-tinged blues rock.

John Bell – WSP :: 10KLF 2009

Next up was Southern rockers Widespread Panic, playing the first of two shows for the weekend. To be honest, I found myself disappointed with Wednesday’s show. Although it had its moments – it’s Panic, I can’t really see them playing a completely rotten gig – the playing seemed uninspired and lacked passion. I saw the boys six times last year (twice in Chicago, Rothbury and all three nights in Milwaukee to close out their fall tour) and was blown away every time. So, it was disconcerting to see them play the way they did that first night, especially when you know what they’re capable of. It’s always great to hear a solid “Bear’s Gone Fishin’,” and the “Maggot Brain” > “Chainsaw City” encore was good, but overall it seemed the boys were just having an off-night.

After Panic I walked over to the Field Stage for the first time, where Colorado-based duo Pretty Lights was well on their way to getting the crowd heated up and ready for a weekend of partying and pure debauchery. The sun was down and the critters were out in full force. Glow sticks and flashy toys were everywhere as I moved through the throng of people – a giant, moving mass of bodies completely under the control of the heavy beats of electronic producer Derek Vincent Smith and drummer Cory Eberhard. Now I’m not normally the biggest fan of DJs, but this was something else, and thanks to those two for helping to get the party started.

10KLF 2009 by Reistroffer Designs

Over at the Barn Stage was another Colorado group that was bringing it just as hard. In their fourth year at 10KLF, Kinetix played to a packed house and one of the most responsive crowds all weekend. Although I had never seen them play before, I had heard a lot about Kinetix and was interested in checking them out. I’m glad I did, and I would like to see these guys at more festivals. Right from the start it became clear that Kinetix had put a lot of hard work into their set, and it paid off. I would later find out that they had spent a month preparing for the show. To me that is the pinnacle of live music – focus, dedication, effort and a true appreciation for one’s fans. The highlights of the show included “People Start Hoppin’,” a song that seems to capture the core essence and philosophy of the band’s musical approach, as well as a cover of Queen’s “Bohemian Rhapsody” that they more than did justice to. Their style is completely rockin’, with just a dash of pop so that it’s catchy without being cheesy; and their compositions are well crafted with proper build-up and execution, not just a bunch of noisy, repetitive jamming. And their instrumentation is top-notch and tight, with each member finding his niche and working with the rest of the group as a whole to create a very unique and powerful sound. I can’t recommend these guys enough.

Playing the late night show over at the Saloon was Carney, a Los Angeles four-piece that features Reeve Carney on lead vocals and guitar and his brother Zane on lead guitar. I was only able to catch the last couple of songs because although the band was slotted to play till 2 a.m. they were cut off at 1:40. I don’t know whether it was from technical problems or they were just shut down, but from the little bit I did see I was impressed. Reeve is a great singer. He was howling into the mic when I walked in, pouring sweat and putting everything he had into that voice of his, which is one of the best I’ve heard recently. Pure emotion. His brother Zane is no slouch either, and was shredding on the slide guitar on one knee when the sound cut out. I’m not sure what Carney’s style is as a whole (since I witnessed less than 10 minutes of their set), but based on what I did hear these guys are pure rock & roll.

Continue reading for Thursday’s coverage of 10KLF…

Thursday, 07.23

Tim Carbone – Railroad Earth :: 10KLF 2009

I started off Thursday at the Field Stage, where singer/songwriter Pete Francis (Dispatch) teamed up with jam rock outfit Barefoot Truth for a 2 p.m. set that combined material from both artists’ catalogues. Francis’ singing and songwriting prowess, backed by Barefoot Truth’s jammed out rock instrumentation, was a great start to day two of 10KLF ’09. Set to tour in the spring, this is one collaboration not to be missed.

After Pete Francis and Barefoot Truth it was time for Railroad Earth to take the stage. I love these guys. I have been blown away by Railroad Earth’s performances time and time again, and Thursday’s show was no exception. Starting out with “Old Dangerfield,” the band blasted through a set that featured a number of great tunes such as “Bird in a House” and “The Forecast,” a mystical, mostly instrumental piece that feels like a really good acid trip. And “Like a Buddha” is always a crowd pleaser and a good channel for positive energy. After “Long Way to Go,” the band finished off with a double encore of “Mighty River” and the bluegrass number “Little Rabbit.” All in all, a five-star show, almost epic.

The headliner Thursday night was Wilco. Friends have long been telling me to check these guys out but I just never had a chance to really listen to them until this set. Shame on me. I knew they were good, but I had no idea how good they really were. Plus, they’re from Chicago, so I should’ve been on top of this band from the beginning. Oh well, better late than never.

Jeff Tweedy – Wilco :: 10KLF 2009

First, and perhaps most important point: Jeff Tweedy is a musical genius. Right from the start I could tell that Wilco is a serious band that treats their music as art – their songwriting and melodies are genuine and full of emotion. This is the real deal. I get the impression that they’re a “love ‘em or hate ‘em” kind of band, but I honestly don’t see how anyone with a true appreciation for music could dismiss the talent here. Maybe you just have to see them live. From what I’ve listened to before, I thought they were more of a softer style of music, and that notion was laid to rest when I saw this rockin’ set.

After Wilco I headed back over to the Field Stage for a change of pace, where Atmosphere, like Pretty Lights the night before, had taken control of the crowd and had the whole place moving. The very distinct hip-hop of rapper/MC Slug and producer Ant was straight-up party music, and the people sucked it down. A funky R&B mix of creatively textured beats and solid hooks paired with lyrical genius, Atmosphere laid it down dirty and kept the party bumpin’.

Digging Atmosphere it was hard to leave, but over at the Saloon stage something was unfolding. I’d heard of My Dear Disco but knew absolutely nothing about them. From the name I figured it was some sort of indie rock band, but the “Disco” part of it is what intrigued me. The possibility of a dance party will always pique my curiosity, so I made my way over and I’m glad I did. My Dear Disco is an eclectic, ’80s style group from Ann Arbor, Michigan that fuses electro-pop, funk, rock and techno in a style that the group calls “DanceThink.” Though the Saloon was completely packed I managed to squeeze my way in and get a closer look at the band. They have an incredible stage presence, especially charismatic singer Michelle Chamuel, who seems to possess a certain amount of that elusive star quality. The audience, as a result, was completely floored by the band’s performance. And so was I.

Continue reading for Friday’s coverage of 10KLF…

Friday, 07.24

Steve Kimock :: 10KLF 2009

I checked out part of the early afternoon set by acoustic guitar maestro Tim Sparks (who is a spitting image of Lebowski‘s The Dude) before heading over to the Everyone Orchestra at the Field Stage. Matt Butler did a fantastic job of orchestrating the assembled group of musicians, which featured guitarist Steve Kimock and his son John on drums, Reed Mathis from Tea Leaf Green on bass, Dominic Lalli from Big Gigantic on saxophone, and Erin Zindle and Randall Moore from The Ragbirds on violin and percussion. The resulting set was funky, fun and fresh, and, as always, Butler made sure to get the crowd in on the action as well.

Legendary guitar virtuoso Steve Kimock and his band Steve Kimock Crazy Engine was one of the acts I had been looking forward to all weekend, and I was not disappointed. Kimock’s son is a pretty damn good drummer, and I didn’t even realize Melvin Seals was in the band! Seals, who used to play in the Jerry Garcia Band, is a beast on the keys. The set was mostly instrumental, but there were a few with vocals (a great rendition of “That’s What Love Will Make You Do” comes to mind). Kimock’s got a great tone, and the music ranged from funky to super jazzy, and at times had a mystical Eastern quality to it. This was definitely one of the best shows of the weekend.

Dave Simonett – Trampled By Turtles

Trampled By Turtles hit the Main Stage at 6 p.m. and held the crowd in rapt attention with their high-energy brand of bluegrass. Fast and aggressive, the five pickers from Duluth, Minnesota showcased their instrumental talents and got the audience loosened up and ready for another serving of Widespread Panic.

When Panic hit the stage for the second time this weekend all reservations I had were quickly put to rest. This time the boys brought the heat. Between the rich vocals of John Bell, the driving, thumping bass of Dave Schools and Jimmy Herring‘s precision shredding on guitar, Panic more than made up for their performance on Wednesday. “Angels On High” was a treat, as was the “Tear The Roof Off The Sucker (Give Up The Funk)” tease in “Little Kin,” and the double encore of “Airplane” > “Pilgrims” was a perfect way to close out the set. However, it was the “Chilly Water” > “Smokestack Lightning” > “Drums” > “Bust It Big” > “Chilly Water” sandwich that really had my jaw on the floor. Sorry I ever doubted you guys.

The 11:30 p.m. timeslot featured a triple whammy of WookieFoot, BoomBox and The Macpodz. I ventured first over to the Field Stage for WookieFoot, where I grooved to their unique brand of psychedelic reggae jam rock for before heading over to BoomBox at the Barn. BoomBox, which features producer/DJ Russ Randolph and guitarist/vocalist Zion Godchaux (son of Dead alumni Keith and Donna Godchaux), is the product of two individuals with very diverse musical backgrounds. Their style is an interesting mix of rock, funk, and jazz that combines Randolph’s DJ skills with Godchaux’s guitar and smooth vocals. The crowd’s response to the duo was overwhelmingly positive, which just goes to show that there will always be a market for truly creative material.

After a quick stop at the Saloon to catch the tail end of Ann Arbor, Michigan jazz-rock outfit The Macpodz it was time for some much needed rest before tackling the final day of 10KLF ’09.

Continue reading for Saturday’s coverage of 10KLF…

Saturday, 07.25

Josh Clark – TLG :: 10KLF 2009

Saturday started out overcast and gray, which had some festival-goers worried that rain was on the way. But, when the sun finally broke through the clouds during Tea Leaf Green‘s 2 p.m. set at the Field Stage cheers erupted all across the concert bowl, which only seemed to bolster Tea Leaf’s performance. Having missed their set the day before (they played at the same time as Kimock) I made it a point to catch their second show of the weekend and see what the Bay Area rockers would bring to the 10KLF table. Overall it was a very impressive performance. Combining the soulful singing of keyboardist Trevor Garrod, the virtuosic six-string ripping of Josh Clark, the smooth, funky bass of Reed Mathis, and the drumming of Scott Rager, TLG put on a very tight show for their fans as well as those, like myself, who just happened to be in the right place at the right time.

Umphrey’s McGee was the first band of the day to take the Main Stage, and rocked a set that I – someone who’s never really been a fan, though I’ve seen them eight or nine times – found to be a really tight performance from the Chicago-based group. As I was heading up to the Saloon I heard them do a great cover of The Rolling Stones’ “Can’t You Hear Me Knocking” that made me wish I would’ve stuck around.

After checking out the folksy Americana of Breckenridge, Colorado’s Paper Bird, I headed back down to the Main Stage for the Dave Matthews Band. I don’t listen much to Dave Matthews these days but man does he have a great backing band. Boyd Tinsley is a master violinist, and Tim Reynolds knows how to shred a guitar proper. Then there’s saxophonist Jeff Coffin, whose virtuosic abilities can also be heard in Bela Fleck and the Flecktones. Dave Matthews, always up to the task of playing a good show for his fans, incorporated a varied mix of material into his set, from “Jimi Thing” and “Why I Am” to “Spaceman” and “Cornbread,” and even covered the Talking Heads’ “Burning Down the House” and Dylan’s “All Along the Watchtower.” Great performance from a bunch of super-pros.

After checking out the Saloon for a glimpse of another Chicago band, The Hue, I made my way back to the Barn to check out the North Indiana All Stars. Featuring guitarist Jake Cinninger, keyboardist Joel Cummins and drummer Kris Myers (all from Umphrey’s), the North Indiana All Stars brought a new groove to the final night of the fest. With Myers and bassist Tony Franklin as the backbone, the stage was set for the jazzy, funky, smooth improvisational work of Cinninger, Cummins and trumpet player Willie Waldman (who also plays with Snoop Dogg).

Jake Cinninger – UM :: 10KLF 2009

Heading back down to the Field Stage I was able to catch the last half hour of Sharon Jones and the Dap-Kings. The pairing of Miss Jones and the Dap-Kings was like mashed potatoes and gravy. Jones is pure soul, through and through, and when combined with the funky playing of the Dap-Kings, made for a very high-energy show that had the audience howling and dancing their asses off. Jones is a charismatic soul diva with a stage presence that rivals the greats. She cracked jokes and danced like a wild woman throughout her set, and couldn’t have possibly done any better as the final Field Stage performance of the weekend. The crowd loved her.

The final band of the festival, Pert’ Near Sandstone, played to a Saloon that was so packed they had to shut the doors to prevent anyone else from coming in. What a pleasant surprise these guys were. I’d never heard of them but this hard-driving string band from Minneapolis really made an impression on me. Their sound is gritty, raw and pure – as roots music should be. Although completely beat by this point, I found myself dancing with all the crazy late-nighters in the Saloon – and those stuck outside – until the end of their set at three in the morning.

Reflecting later back home on the rooftop of my South Side Chicago apartment, looking out into the darkness dotted with the glittering lights of the city skyline, I was filled with a sense of calm. Listening to the cars flying by down below, there were moments when the warm summer wind died down and I could hear, far off in the distance, the faint pounding of bongo drums and the roar of 18,000 free spirits, and I knew I was not alone.

10KLF 2009 by Reistroffer Designs

Continue reading for more pics of 10KLF 2009…

A few of the 10,000 Lakes

Colonel Kurtz’ happy cousin

Matt Butler – Everyone Orchestra

Trevor Garrod (TLG) with Everyone Orchestra

John Kimock with Everyone Orchestra

Erin Zindle (The Ragbirds) with Everyone Orchestra

Ed Anderson possessed by the music – Backyard Tire Fire

Dave Matthews

Dave Matthews

Dave Matthews

Dave Matthews Band

honeyhoney

Honey Dogs

Gomez

Garaj Mahal

Jimmy Herring – WSP

John Bell – WSP

Todd Nance – WSP

Dave Schools – WSP

Brendan Bayliss – Umphrey’s McGee

Joel Cummins – Umphrey’s McGee

Tea Leaf Green

Scott Rager – Tea Leaf Green

Reed Mathis – Tea Leaf Green

John Skehan – Railroad Earth

Melvin Seals (Crazy Engine)

The Ragbirds

Mason Jennings

North Indiana All Stars

Tim Sparks

Sharon Jones

JamBase | Well Watered
Go See Live Music!


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Sat Eye Candy: Jerry Garcia

August 1st, 2009 | No Comments

GONE ALMOST 14 YEARS BUT NEVER FORGOTTEN

Jerry Garcia would have turned 67 today if he were still with us. But those that know, well, know Jerry is still with us in ways that defy any normal description. Few individuals have made a greater impact on culture and music, and his rise to prominence in the hyper-information age has disseminated his “hippy Santa Claus” image in ways as pervasive as any single image in the past century. Iconic doesn’t quite cover it. Garcia, even in absentia, exudes an aura that lingers and seeps into one, the sort of presence one associates with mystics, great social thinkers/activists, brilliant philosophers and other bringers of wisdom and illuminating change. Jerry was all of these things, to one degree or another (and perhaps even more accessible to the common man because of his all-too-human flaws and weaknesses), but mainly he was a musician of ultimate potency, who even in his stumbling managed to always impart something profound, some sliver of truth or beauty that helps redeem all the wickedness and smallness humanity is capable of.

There is ultimately too much that can be said about the man, so instead of rambling on we’ll simply dive into a choice selection of his legacy and encourage one and all to pause momentarily today to consider Garcia’s impact in their own life. To say we miss the man is a grotesque understatement, but today instead of dwelling on the sad vacuum of his literal absence from the world we choose to celebrate what he gave us, a body of work that continues to infuse and inform our days.

While he’s obviously best known for being part of the Grateful Dead, for the generation that discovered him in the ’80s, the spine of the contemporary jam scene, it is often memories of his joyful playing with the Jerry Garcia Band that surface when we think of him. We begin our remembrance today with a sterling 1990 run through a Dylan classic that he truly made his own.

Though it often feels like it never will, Garcia and his pals have a way of reminding us this darkness got to end. This concert footage was shot shortly after the release of Workingman’s Dead and shows the boys in fine, frisky form.

His voice sometimes carried the feeling of a wound that never quite heals. It’s a sound that slices down to a place of deep humanity, as exemplified by this ragged but right tune for this particular day.

There are tunes in his repertoire that carry the same universal unifying vibe as the best Woody Guthrie. This one always seems to scoop up anyone in hearing range and plop them down in a better place.

There’s a great many versions of this staple but this one is especially jaunty, redolent with the Django-isms that frequently surfaced in Garcia’s playing. This JGB concert took place on September 1, 1990 at Shoreline Amphitheatre in Mountain View, CA. The Grateful Dead had been scheduled to play but Brent Mydland’s death the previous June had caused the band to cancel, which infused the show with a special poignancy for those in attendance.

Let’s jump back about a year at the same venue for a saucy “Prophet” with both Jerry and Brent laying it down proper. For the full effect, here’s part two of this performance.

One gets the feeling that Elmore James would have LOVED this take on his amazing blues number.

Don’t tell me this town ain’t got no heart!

This wonderful vintage clip shows off the sort of big, beautiful, chaotic group grope that Garcia helped spawn.

There’s a number of song pairings that became sacred to fans over the years, and none more so than this one-two punch taken from New Jersey in the late ’70s.

The eloquence of Garcia’s playing on this late period classic is something to behold.

One of the things Jerry often commented on was the moment that would occur during their shows where a door to something quite profound would open. This is the spot where the more broken, tender numbers would surface. Here’s a pair of such unfolding, tenderizing moments.

Here’s the boys getting down to the heart of rock ‘n’ roll with a lil’ assist from one Pete Townshend!

Can you believe they let these guys into the Playboy Mansion? Nice poncho, Jer!

Outside of the Dead, Garcia had a few significant partnerships, notably with bassist John Kahn and mandolin whiz David Grisman. Here’s one offering from each.

We travel back to the legendary Europe ’72 tour for our closer. While this one became WAY more lived in over time, it’s worth noting that Garcia never flinched at Death’s shadow even in his earliest days. Like the bluesman he surely was, he stared down The Reaper’s scythe with steely intensity in a way that helps all of us accept and comprehend this dark truth.

We are so lucky that you were born, sir, and we wish you the happiest of birthdays wherever you may be.

And don’t forget, you can eyeball video sweetness 24/7 with JamBase TV.


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Sirius Celebrates Jerry Garcia:
“Jerry Week” Runs 8/1-8/9

July 31st, 2009 | No Comments

SIRIUS XM RADIO TO COMMEMORATE

THE LIFE AND MUSIC OF JERRY GARCIA ON ITS GRATEFUL DEAD CHANNEL
“Jerry Week” beginning on the anniversary of Jerry Garcia’s birth on August 1

Jerry Garcia by Jay Blakesberg

WHAT: SIRIUS XM’s Grateful Dead Channel will feature “Jerry Week” in honor of the legendary Grateful Dead frontman Jerry Garcia showcasing music, archival interviews, and rarely heard concerts. “Jerry Week,” a Grateful Dead Channel tradition, will launch on the anniversary of Garcia’s birthday, August 1, and will end on the anniversary of his death, August 9. The nine-day long special “week” will highlight Garcia’s music – Dead songs he sang and performed as well as songs from his various side projects, including Legion of Mary, Garcia/Grisman and Jerry Garcia Band.

As part of “Jerry Week,” listeners will hear two fan recordings of live performances by the Jerry Garcia Band that have never before been released. The two performances were recorded live in 1980 and 1990.

On August 9, listeners will hear the vigil held for Garcia four days after his death in San Francisco’s Golden Gate Park, featuring tributes from Garcia’s family, bandmates and close friends.

Additionally, Garcia’s former wife and longtime companion, Carolyn “Mountain Girl” Garcia, has created a special program featuring her personal stories and memories of the legendary music icon for SIRIUS XM’s “Jerry Week.”

The Grateful Dead Channel’s regular shows, “Today in Grateful Dead History” and “Tales From The Golden Road,” will also feature programming devoted to Jerry Garcia.

WHERE: Grateful Dead Channel, SIRIUS channel 32 and XM channel 57.

WHEN: Saturday, August 1 through Saturday, August 9.

MORE: The Grateful Dead Channel is an exclusive channel that features music spanning the band’s career with unreleased concert recordings and original shows hosted by band members Bob Weir, Mickey Hart and Bill Kreutzmann. The channel also features rare archival interviews with Jerry Garcia and contributions from Grateful Dead expert David Gans and Dead archivist David Lemieux.



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Gathering Of The Vibes | 07.23 – 07.26 | CT

July 30th, 2009 | No Comments

Words by: Andrew Bruss | Images by: Adam McCullough, Robert Chapman & Dave Vann

Gathering of the Vibes :: 07.23.09 – 07.26.09 :: Seaside Park :: Bridgeport, CT

GOTV 2009 by Vann

Bob Weir & RatDog, Buddy Guy, moe. and Crosby, Stills & Nash topped the bill at the 14th annual Gathering of the Vibes, but the lineup of any Vibes is only one side of a story that has to be experienced to be understood. Unlike the great majority of festivals, the Gathering Of The Vibes is more about the attendees than it is about the performers. Vibes is where friends are made, bonds are built and people literally fall in love. Wavy Gravy, the original hippie clown who MC’ed the event, as well as the original Woodstock, was asked what drew him to Gathering of the Vibes. “I found that the Gathering Of The Vibes is the one festival that I feel has the spirit of sharing and caring and helping each other out that was prevalent in the first Woodstock Festival,” he responded. “Various festivals have been after me, and somehow the timing was right, and I fell in love [with Gathering of the Vibes].

Throughout the course of the weekend, as an array of artists from genres of all kinds performed sets to an enthusiastic crowd, whenever folks were asked about the highlight of the weekend, it was always about the people, the place and the “vibes.”

Bryan Byrne of Cambridge, Massachusetts said his highlight was just “drinking beers, watching people, enjoying bands and just being here.” It was his second year coming to the Vibes and he said, “I would have come regardless of who’s playing. I don’t know a lot of the bands. I just come here for the atmosphere.”

Sunrise at GOTV 2009 by Vann

Joanna Trossbach of Richmond, Virginia brought her granddaughter to the event and told JamBase, “Everyone should try to make it here because of the beautiful location. Everyone has worked hard to keep it clean. The Port-O-Johns are the cleanest of any festival I’ve ever attended, and everything is wonderful. Everyone should try and come to Vibes.”

Although the event has changed locations several times over its 14 year history, Vibes returned to Bridgewater, Connecticut’s Seaside Park for the third year in a row. Many in attendance categorized Bridgewater as “ghetto,” and based on the shotgun shells washed up on the park’s ocean shore they weren’t far off. But even though the park is not known for being safe past dark, for the four days out of the year that Gathering Of The Vibes takes over the Deadhead mentality makes the public park a place that even a Virginia-based grandmother feels comfortable taking her granddaughter to.

Josh Schroder is a Bridgeport local who came to Vibes for the first time this year and he seemed to appreciate the influence GOTV had on his community. “The funniest thing about it all is here we are in the middle of the hood, unbeknownst to everybody, and this is not really where you want to hang out normally, but right now this is the place to fucking be. Bridgeport isn’t a place you’d want to raise a family or anything, but then you have this festival and what can you say?”

Thursday, 07.23

DSO :: GOTV 2009 by Chapman

Although a great deal of the event’s DNA revolves around community, you can’t forget that it always has been and always will be the music that draws people to the festival. Thursday was highlighted by performances from the Donna Jean Godchaux Band, as well as the ultimate Dead tribute act, Dark Star Orchestra, whose set was unfortunately cut short due to rain. When it rains, it pours, and as torrential downpours opened up on the early arrivals, ocean winds blew into the campgrounds, exacerbating the situation. This would normally put a damper on people’s time, but on the first night of the four-day weekend the conditions did nothing but provide campers an opportunity to rally together, seek cover under each other’s makeshift shelters and bond with their neighbors.

Fortunately, the rain let up in time for a late night performance on the Green Vibes Stage from The Machine, a Pink Floyd tribute band that was considered by many to be the best set of the day. This was the first year to feature the Green Vibes Stage, and throughout the weekend it hosted late night sets that proved to be among the most memorable of the weekend. Unlike Dark Star, who strives for authenticity, The Machine take subtle creative license with Floyd’s material, where songs like “Shine On You Crazy Diamond” and “Time” had audible differences from the studio versions. The set’s highlight was a version of “Pigs (three different ones)” that let frontman Joe Pascarell truly shine. Nailing the vocal style of Roger Waters and the guitar tone of David Gilmour, Pascarell went nuts on the talkbox guitar solo, making crazed faces that brought to mind Floyd’s mad founder, Syd Barrett.

Continue reading for Friday’s coverage of GOTV…

Friday, 07.24

Keller Williams :: GOTV 2009 by McCullough

The sun rose early on Friday, and made enjoying JJ Grey & MOFRO that much easier. The Florida natives belted out powerhouse vocals, horns, guitars, electric organ and precise drums that brought the crowd down to alligator ally through MOFRO staples like “Orange Blossoms” and “Everything Good Is Bad.” Aside from his showmanship, the power and grit of Grey’s voice, in and of itself, is worth the price of a ticket, and his steady burn got the crowd good and ready for a set from Keller Williams and MDS.

Keller classic “Freaker By The Speaker” had people dancing hard, and Phish‘s “Birds Of A Feather” provided one of the groovier covers of the weekend. When asked about the differences between a MDS performance and a solo slot, Keller said, “It’s a totally different thing. I learned a long time ago that it’s impossible to please everyone. So, the most important thing in my world is to be happy and I’m happy on stage, and hopefully that comes across to the audience.” He added, “We [MDS] haven’t played since January. We’ve rehearsed but there’s this un-jaded vibe that we’re all bringing and we’re excited to play and listen to each other.”

George Clinton & P-Funk :: GOTV 2009 by Chapman

Keller’s set was followed by Vibes vets George Clinton and P-Funk, whose set was a shit show in all the right ways. With duel synth stations, seven electric guitarists, a handful of scantly clad back-up vocalists and a performance by Clinton’s granddaughter, things were very busy on stage and in the crowd. Clinton’s set didn’t offer up any new material, nor did it seem nearly as groundbreaking as his material proved to be in its heyday, but with a back catalogue like his Clinton can afford to ride the gravy train all the way to the bank. To be blunt, “We Want The Funk” proved one of the best songs to dance to over the weekend, and that said, he doesn’t have to “keep it fresh” to keep things funky.

From up close or afar, it was clear that Deep Banana Blackout‘s set had everybody in front of the stage dancing their collective asses off. The GOTV regulars have earned quite a reputation over the years and they didn’t disappoint. Carolanne McDowen of Worcester, Mass told JamBase that last year Deep Banana Blackout was one of the bands she went home having gained a new appreciation for, and this year they proved to be another highlight.

Rob Derhak – moe. :: GOTV 2009 by McCullough

moe. was the night’s headliner, booked to perform for nearly three hours but were cut short due to thunderstorms. The band came out of the stable strong with “Not Coming Down” and managed to riff through a solid set. But with thunder a-brewin’ in the sky, the set had to come to a halt. Many fans commented throughout the rest of the weekend that moe. should have been allowed to finish up their set after the storm, but even after the rain halted a truly impressive display of atmospheric electricity continued to threaten from above.

Fortunately for all those who still had a funky monkey on their back, Lettuce brought the nitty-gritty grooves to the Green Vibes Tent for a late night show that made it impossible to stand still. With Eric Krasno and Neal Evans of Soulive fame on guitar and keys, Brotherhood Of Groove‘s Sam Kininger on sax and producer/drummer extraordinaire Adam Deitch on skins, to name a few, the stage was a who’s who of the neo-funk scene, and for a few hours, when most decent people were asleep in their tents, the hardest partiers were dancing their hearts and souls out to what had to have been the funkiest spot on the face of the earth for that short period of time.

Continue reading for Saturday’s coverage of GOTV…

Saturday, 07.25

GOTV 2009 by Chapman

Saturday was the only day of the weekend that provided relief from the rain, and after two full days of festival conditions everyone seemed to let themselves go. Women went bare-chested with painted breasts (with some telling JamBase that they did not feel harassed) and one dude on stilts calling himself Tall Paul roamed the grounds, engaging festival-goers and giving everyone another story to bring home to their friends in the “real world.”

For as many folks tuned in, turned on and dropped out, there was one group of music loving attendees who were entirely on the ball. The Clean Vibes crew proved to be one of the greatest sources of pride Gathering Of The Vibes has to show the world. Kids from all backgrounds came to the event for the music, but throughout the course of the weekend “trash talking” volunteers directed people to dispose of their waste in the proper can, collected trash from the field and sorted out compost, landfill and recyclables with an on-the-radar presence that outdid their work at other festivals. Even Wavy Gravy noted the effort, saying, “For most of these people this is not their first festival. From one vibe to the next, they know the drill – they pick up the trash. There is an enormous effort to recycle, and you don’t see that at most shows.”

Bridgeport native Josh Schroder cited Big Moon‘s Saturday slot on the Green Vibes Stage as a weekend highlight. “The singer owns one of my favorite bars, Acoustic Cafe on Fairfield Avenue. There’s folks from all over the place. You’re from Boston, everyone is from all over, and to get people I know personally represented on the national scale is very cool.”

Levon Helm :: GOTV 2009 by McCullough

Aside from Big Moon, the first half of the day was marked by a set from the Ryan Montbleau Band that had all the pretty ladies shaking it, and a Max Creek performance that Tom and Kasey Hunter from Sydney, New York cited as a highlight. “Max Creek was nice and relaxing,” Tom said. “It’s fun music. You can spin to it or move to it or watch it in the pouring rain.” Donna Jean Godchaux provided backup vocals on “Cassidy” and “Bertha,” and with guitarist Scott Murawski playing guitar for the Grateful Dead‘s Bill Kreutzmann in BK3 you can bet that his guitar tone rang rich with that Jerry Garcia groove that has come to be expected at Vibes.

State Radio canceled their performance the day of the event, and the promoters opted to allow all of the Saturday performers to have some extra time, rather than scramble to fill the void. And it was Guster, the band on the bill most likely to share their fan-base, that helped us forget all about State Radio with a nice taste of feel good rock. Guster seemed like one of the most unusual acts on the bill given their popularity with a mainstream, teenage demographic, but they synced up with the crowd better than a great deal of the “groovier” acts on the bill. They engaged the audience with spot-on banter and played on festival characters we’d all come across, and after an anti-encore tirade, citing the tradition as the lamest in the concert circuit, the group wrapped up on a positive note with their most well known single, “Fa Fa.”

Rob Bob Weir & RatDog :: GOTV 2009 by McCullough

The Levon Helm Band followed Guster, but unfortunately, Helm was suffering from laryngitis and had his daughter Amy and guitarist Larry Campbell sing the overwhelming majority of the set. Bob Weir, who was slated to follow Helm, came out to lend a hand on The Dead’s “Attics,” “Tennessee Jed,” and The Band‘s timeless classic “The Weight” to close the set where Weir traded vocals with Helm for his only singing of the night. Although his lack of vocal contribution was disappointing one couldn’t help but commend the drummer for his perseverance in light of State Radio’s willingness to disappoint their audience.

For a festival that’s built itself around the community of The Grateful Dead, Bob Weir’s Saturday night slot was considered by many to be one of the most anticipated performances of the weekend. Joanna Trossbach of Richmond, Virginia saw him three times in nine days this year and thought that this set was better than the rest, and especially appreciated his help during Levon Helm’s performance. He opened with the appropriate “Festival” (which hadn’t been played since 8/24/2006 – 175 shows) and followed up with a solid “Jack Straw” that pulled in anybody who wasn’t already drinking the Kool-Aid. It was a mellower performance, and one attendee was overheard saying, “Bobby must have taken a Xanax tonight,” but a cover of “Iko Iko” that flowed right into “Drums” kept the evening’s pace mellow, yes, but consistent and coherent. A predictable “One More Saturday Night” closed the set, followed by an encore of “Ripple,” the former and latter featuring Vibes All Star Donna Jean on vocals. The setlist could have been better and the energy could have been higher, but having been on the road the past few months Weir sounded rehearsed and the instrumental components of the set were rather tight, and with folks trashing his previous appearance at the Vibes there was a sense of redemption in his show.

Continue reading for Sunday’s coverage of GOTV…

Sunday, 07.26

Grace Potter :: GOTV 2009 by Vann

Sunday once again brought the threat of a storm that was expected to bring hail and lightning, but the rhythm of John Brown’s Body kept the sun shining throughout the afternoon. Following the positive reggae vibe of John Brown’s Body, Grace Potter and the Nocturnals played into Buddy Guy, followed by the fest’s highlight, at least on paper, Crosby Stills & Nash. And while CSN was one helluva treat, the threat of a storm had plenty of folks packed up and gone before Potter graced the stage.

Grace Potter is one of the most promising up-and-coming female vocalists around, and you can tell by her stage presence that she’s well aware. Her beauty complements her talent, and her confident-not-cocky mentality always goes over well. Somber ballads like “Great White Gate” and “Apologies” gave the crowd something to sway with, and tunes like “Stop The Bus” and “Ah Mary” gave her fans something to rock out to. After telling the audience about her first Vibes experience as a 15-year-old Vermont native, she continued her set, trading off between an electric organ and a Flying V electric guitar, as she belted her way through covers of “Come On In My Kitchen,” a Robert Johnson nugget she picked up on the road with Gov’t Mule, and Jefferson Airplane’s “White Rabbit.” The set concluded with a powerhouse “Nothing But The Water” that more than anything was a vehicle for Potter to display the full force of her vocal chords. She literally squealed like a schoolgirl as she hit the high notes before bringing the set to a close on a synchronized, hard hitting note, strummed over and over before a sudden halt.

Buddy Guy :: GOTV 2009 by McCullough

As could be expected, Buddy Guy fucking nailed it. Plain and simple. The man who Jimi Hendrix considered one of his major influences has continued doing his thing well into his golden years, and he does it better than a lot of the younger cats who strapped on a guitar over the course of the weekend. Guy has a “I’ve got your nose” goofiness to his stage presence and the sea of sun tanned faces consistently brought a smile to the legend throughout his 90-minute set. Tunes like “Hoochie Coochie Man” demonstrated his ability to shred the guitar, making spastic runs up and down the neck in a way that clearly showed where the anarchy in Hendrix’s playing came from. With the heat as strong as it was, Guy opted to sit the last song out, allowing a pre-teen named Quinn Sullivan to nail Hendrix’s “Voodoo Chile,” making it seem as though Guy was passing on the torch to a protege working on the licks of an icon who got so much out of Guy’s playing.

As the clouds grew gray and thick, folks were hoping weather would play nice until Crosby Stills & Nash finished the final set of the weekend. For as much condescending criticism can be written about geriatric rockers from the ’60s trying to cash in on dated material, CSN, more than most of their peers, have held onto the magic that made them what they are. The sharp, precise melodies they trademarked were spot-on, and the fest’s final performance was by far one of the weekend’s best, at least for those left to witness it. Opening with “Love The One Your With” got everyone singing along, and they followed up with songs like “Lady Stardust” and a “Dejà Vu” that featured some fresh instrumental rearranging. Add to that “Helplessly Hoping” and they made their mark on the audience before they had really gotten started. Choice covers of The Rolling Stones’ “Ruby Tuesday” and Bob Dylan’s “Girl From North Country” demonstrated the effort that went into putting the setlist together, and segueing from “Moonlit World” into Joe Walsh’s “Rocky Mountain Way” did nothing more than underscore the above sentiment.

Crosby Stills & Nash :: GOTV 2009 by Vann

Beyond their technical precision, what stood out was the strength of the group dynamic they’ve kept intact. Stephen Stills, still the Fender-slinging brain of the group, perfectly accompanied the Paul McCartney-esque British charm of Graham Nash, and even David Crosby was looking lively as ever, taking to his acoustic 12-string for “Teach Your Children.” They knew when to sing and when to let the audience take over for what proved to be a sing-along set, apparently by design. Although it seemed like “Teach Your Children” was slated to close the set before a hefty encore, the rain that was expected all afternoon finally arrived, and as Stills swung the neck of his guitar towards the ground, strumming out one final chord, lightning in the sky roared above us, almost on cue, as Wavy Gravy took the stage to let everyone know the show was over and to get to their cars asap because a severe electrical storm was coming.

If you’re thinking this review seems overly positive that’s because it is. RatDog may have been slow. moe. getting cut off early was a disappointment to many. State Radio dissed the crowd without much of an explanation, and it would have been great to hear Levon Helm’s voice had he been feeling better, but with Gathering Of The Vibes the performances themselves are just one component of a weekend that is more than anything about vibes. Keller said it best: “It’s a fantastic vibe, hence the name.”

And whether it came to the interactions amongst staff and patrons, performers and attendees, locals and visitors or campers and their neighbors, the feel good climate that has characterized Gathering Of The Vibes over the years was fully intact, perhaps more than ever, and it’s that Vibe that keeps drawing the same crowd back to the same event year after year.

You’re not going to see Phish and Bruce Springsteen make history at the Vibes, and you’re unlikely to see any big name reunion take place like Coachella has done so many times in the past. GOTV has found their niche, knows their audience and masterfully executed a weekend of great music, solid campground logistics and a communal atmosphere that fostered various bonds and connections that attendees will dwell on long after their ears stop ringing.

Continue reading for more pics of GOTV 2009…

Images by: Adam McCullough

Thursday, 07.23

Donna Jean Godchaux

Dark Star Orchestra

Friday, 07.24

Cornmeal

Allie Kral – Cornmeal

Chris Barron

King For A Day

JJ Grey

Keith Moseley with Keller & MDS

George Clinton

Deep Banana Blackout

Eric Krasno – Lettuce

Neal Evans – Lettuce

Al Schnier – moe.

Saturday, 07.25

Reid Genauer & Assembly of Dust

Jaimoe’s Jasssz Band

Pimps of Joytime

Ryan Montbleau

Scott Murawski – Max Creek

Levon Helm

Bob Weir & RatDog

Sunday, 07.26

John Brown’s Body

Grace Potter

Grace Potter and the Nocturnals

Harlem Gospel Choir

McLovins

Stephen Stills – CSN

CSN

Continue reading for more pics of GOTV 2009…

Images by: Dave Vann

Levon Helm

Guster

Buddy Guy

Lettuce

Perpetual Groove

Bob Weir & RatDog

CSN

Continue reading for even more pics of GOTV 2009…

Images by: Robert Chapman

Reid Genauer and the Assembly of Dust

Guster

Wavy Gravy

Ryan Montbleau Band

Reckoning

P.J. Pacifico

moe.

Lettuce

Levon Helm

Bob Weir with Levon Helm

Bob Weir & RatDog

Perpetual Groove

CSN

David Crosby – CSN

Wavy Gravy & Levon Helm

Wavy Gravy & Levon Helm

JamBase | Gathered
Go See Live Music!


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Joe Craven & Sam Bevan Album

July 22nd, 2009 | No Comments

Joe Craven & Sam Bevan collaborate on new CD

Foakee – OUT NOW


Joe Craven

When you take a blues, rock, folk, whirled music multi-instrumentalist and a classically trained pianist/jazz trained bassist and put them together to have their way with traditional American folk songs, you can get something like the Joe Craven/Sam Bevan collaboration called Foakee.

Gospel, blues, Appalachian, Cuban, West African, hip-hop, Brazilian and jazz influences are all combined with sound samples, and looping technology to create beats from mouth, found objects and conventional acoustic on this album. The fun, innovative tribute to the old and the new, on Foakee, creates a fresh cocktail of sound stretching the boundaries of musical style while paying tribute to and forwarding evolving musical traditions.

Joe Craven is a madman with anything that has strings attached or not: violin, mandolin, tin can, bedpan, cookie tin, tenor guitar, mouth bow, banjo, berimbau, balalaika, boot ‘n lace, animal bones, squeeze toys, cake pans, waste cans, umbrella stands, martini shakers, and so on. Mandolin Magazine lauded Joe as, “One of the most daringly inventive musicians working today.” As an educator, former museum curator, visual artist, actor/storyteller and festival emcee, Joe plays all kinds of music and he has made it with all kinds of artists ranging from jazz violinist Stephane Grappelli to Grateful Dead guitarist Jerry Garcia to banjo player Alison Brown to The Persuasions.

When it comes to Sam Bevan, Guitar World’s Bass Guitar Magazine says, “Bay Area jazzman Bevan is a bassist for all occasions…” Sam’s own recordings showcase not only his chops but his composing and arrangement abilities as well. Sam is a first call bassist, having played and/or recorded with a variety of artists including Roswell Rudd, David Grisman, Geoff Muldaur and more.

Foakee Track List

1. Dig a Little Deeper in the Well

2. Julianne

3. Little Sadie

4. The Leather Britches of Hackensack

5. Nobody’s Fault but Mine

6. Brown’s Ferry Blues

7. Sittin’ On Top of the World

8. Intro to Shady Grove

9. Shady Grove

10. Bright Sunny South

11. Wayfaring Stranger – Lagrimas Negras

12. Black Jack Davey

13. Cluck ‘ol Hen


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DSO/Keller Williams/Francis | 07.11 | NYC

July 20th, 2009 | No Comments

Words by: Bill Clifford | Images by: TheBeachConcerts.com

Dark Star Orchestra/Keller Williams/Pete Francis :: 07.11.09 :: Beach at Governors Island :: New York, NY

Beach at Governors Island :: New York, NY by Brian Walter

Since its transfer to the state of New York in 2003, Governors Island, off the southern tip of Manhattan, has been undergoing a gradual transformation into an arts and recreation district. The former Army Post and then Coast Guard installation now hosts a National Monument, walking tours of the island, arts exhibits, film festivals, and yes, even concerts. The 2009 concert season got underway on Saturday, July 11, with a triple bill at a newly designed, man made concert site dubbed The Beach at Governors Island.

Saturday’s lineup included opening act Pete Francis and Barefoot Truth performing together, as well as co-headliners Keller Williams and Dark Star Orchestra. The venue, located on the north side of the island up the East River and facing the lower Manhattan skyline, provided a spectacular view, despite the overcast skies. A unique setting, it was far more akin to a giant sandbox – with trucked in Long Island sand – than a beach, which was situated behind a paved, asphalt pit in front of the stage.

Pete Francis achieved fame as a member of the New England rock act Dispatch, between 1996 and 2004. Recently however, he’s taken on a bit of a mentoring role, leading the talented Connecticut-based acoustic quartet, Barefoot Truth. Together they ran through a collection of solo Francis material and Barefoot Truth songs in an all to short but sweet set.

Keller Williams :: 07.11 :: Beach at Governors Island

Barefoot Truth is a different band with Francis on electric guitar. While Francis doesn’t hog the spotlight, he does augment the band’s sound, amping the energy level up a notch. The mellow, reggae vibe of “Eagle Front,” for instance, began slow and easy but built to a rousing rocker. “Broken Home” is an up-beat, acoustic sing-along, though in this setting it was a bit overdone, as the fine vocal harmonies, rolling keys and warm Weissenborn lap guitar of Barefoot Truth were scarcely audible under the amped-up electric. Nonetheless, these guys did get the crowd to “bubble up, closer to the stage,” with Francis’ encouragement, and certainly turned on some new fans to their music. With or without Francis, Barefoot Truth is an up and coming band worth keeping your eyes and ears open for.

Keller Williams very much embodies the spirit of the Grateful Dead in his music. He’s clearly a student and serious fan of the band, and in all his years of steady touring, never has he played the same song the same way. He’s diversified his act by performing with any number of musicians in one musical incarnation of a band or another. Today it was Williams solo, surrounding himself with an arsenal of instruments to loop sounds and create a performance piece on the fly.

Williams has always been a personal favorite, though having seen him perform a number of times, his solo act is getting a little tired. Such as his story/song about a “Doobie In My Pocket;” though it always gets a great reaction from the hippies in the crowd, and he always updates and localizes it; it’s just been played out a bit.

Keller Williams :: 07.11 :: Beach at Governors Island

Williams has always been a festival and jamband favorite, as well. So, when he broke out a cover of the Phish’s “Birds of a Feather,” with looped bass and harmony guitars, it brought a huge cheer from the phans. Looping the harmony guitar, he added a solo where it sounded as though the guitar itself was singing.

With the first sprinkles of rain dropping at 8:15 p.m., Williams broke it down to a solo guitar showcase. A self-proclaimed Deadhead, his covers of the Grateful Dead’s “Attics of My Life” > “Deep Elem Blues” was a sweet prelude to the DSO set yet to come and got the audience singing in unison and cheering along. He closed out the set with two fan favorites. On “Kidney In a Cooler” he sang about “purple teeth, in little America,” and was joined by Rob Koritz of DSO on drums, as well as a trumpet solo from Louis Gosain, his sound man in the back. His face was quite animated as he closed his set with “Celebrate Your Youth,” playfully egging on a young crowd.

Whether you catch DSO recreating a specific historic Dead performance or simply playing their own original show (comprised of material from the Dead catalog), you’re always in for a fond recollection of the music of the Grateful Dead. For many younger fans, DSO is as close as they’ll get to a Dead show.

DSO & Keller Williams :: 07.11 :: Beach at Governors Island

As a fan who considers himself dedicated to original music, I’ve always struggled to find an interest in seeing and hearing a cover/tribute band. However, as a fan of the Grateful Dead who has seen that band both with Jerry Garcia and after Garcia’s passing, I personally get far more enjoyment from a Dark Star Orchestra show than I do from RatDog or Phil Lesh & Friends or even The Dead. While I wasn’t old enough in the seventies to have taken in a Dead show at that time, I have listened to live recordings from that era, and I always walk away from a DSO performance with the distinct impression that says, “Now that’s the way a rock concert is supposed to be done.”

Though DSO had set up its gear and instruments between sets, there was an extended break between Williams and DSO which cut into the momentum Williams had established, but DSO wasted no time in bringing it back up, singing “Happy Birthday” to Sara, their merchandise booth host, as fans gathered on the asphalt in front of the stage.

With lightning and a downpour eminent, DSO choose to run though a classic set of up-beat, anthemic Dead tunes, charging straight ahead with a driving “Feel Like A Stranger.” From the opening notes, the music was lively and the tempo was fast paced and got the crowd moving and shaking their asses. Vocalist/guitarist Rob Eaton is, if you’ll pardon the pun, a dead ringer for Bob Weir vocally. Dig out your old recordings and tell me it’s not so. With vigor he sang the words, “You know it’s gonna get stranger/ so let’s get on with the show!” bringing a rousing cheer from the crowd of roughly 2000. “Ramble On Rose,” sung by John Kadlecik doing the Garcia parts, created a similar effect when he sang, “Just like New York City.” I closed my eyes and listened to the music play as it segued seamlessly into “Cassidy,” where vocalist Lisa Mackey singing Donna Jean Godchaux’s parts really took me on a trip. That was at least until a deep and bellowing blow horn of a ferry awoke me.

DSO & Keller Williams :: 07.11 :: Beach at Governors Island

“We’re going to bring out our friend, Keller Williams,” said Eaton, and Williams sauntered out with a guitar in hand and a beaming smile. It’s no secret that Williams grew up a Deadhead, following the band from venue to venue. It was fascinating to watch him sing and play “Eyes of the World” with a full band behind him, his head shaking from one side to the other as he strummed his guitar. While he’s not exactly a vocal match for Garcia, what he lacked in similarity he more than made up for in a passionate delivery. It was obvious watching and listening to him that he truly was in his element. Thinking about this performance several days later, I yearn to see him line up a full time band of his own.

DSO rambled through a few more classic New York City tunes mid-set. “Dancing In The Streets” had fans grooving with each other and the line “Up In New York City, all we need is music, sweet, sweet music,” brought a holler from the feisty crowd. Though it was a slight downer in tone, “Liberty” was a fitting song choice with Lady Liberty looking on just east of the island. “Women Are Smarter” and “Cosmic Charlie” both got fans waving their hands in the air, while “Truckin” was a sing-along favorite. After a short “Drums,” the rest of the band came back on stage and told us that lightning was on the way and they had to end the set a bit early. They closed the evening with a fitting, soulful and harmony rich “We Bid You Goodnight.”

It was a stellar evening until it wasn’t. As the rain began to fall at a steady pace, fans were ushered like a herd of cattle to the ferries. The water taxis that took fans from Manhattan to the island were huge ferries that hold as many as 800 at a time. But now, with the rain and lighting, they ferried us off the island on much smaller boats. With everybody horded into one spot and the loading docks wet, security and police stood in the way and ushered us one fan at a time onto the docs and the ferry, causing a lot of pushing and shoving. The storm was eminent prior to the concert and organizers should have had a better evacuation plan in place.

Though the exit plan could have been better, the live music gave fans a few hours to shake their tale feathers and meet new and old friends. While the views from the new venue were spectacular, I think many would have rather had natural grass under our feet rather than a litter box and parking lot. Nonetheless, we were treated to a concert with three fantastic bands in a decent venue.

Keller Williams tour dates available here. DSO dates here.

JamBase | NYC
Go See Live Music!


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