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Nicki Bluhm: Stick With Me

February 1st, 2011 | No Comments

Words by: Dennis Cook | Images by: Andrew Quist

Nicki Bluhm by Andrew Quist

It doesn’t take but a few minutes listening to Nicki Bluhm to realize you’re in the presence of a real talent possessed of one of the most winning, emotionally textured voices to come along in some time, a singer that crawls inside the material with obvious passion and purpose. It’s nigh impossible to not think of ground breaking ladies like Linda Ronstadt, Tracy Nelson and Bonnie Raitt, and the quality, rootsy, oh-so-easy-to-dig music she and her band, The Gramblers, make only reinforces this impression. Rock, soul, pop, country and blues are grist for their mill, which recalls the egalitarian spirit of 1970s radio, where having a broad range and good ears for hooks and harmonies were virtues and not just a challenge to drones that try to compartmentalize music these days.

Bluhm’s diversity shines through very brightly on her sophomore album, Driftwood (released February 1 on Little Knickers), an addictively listenable, mature work that moves Nicki several steps along from her 2008 debut Toby’s Song (JamBase review). Starting with the cinematically rich hit single waiting to happen “Carousel,” the album moves seamlessly into classic country (“Stick With Me,” “Women’s Prison”), soaring pop (“Jetplane”), jelly rollin’ barroom fare (“Barbary Blues”), Karen Carpenter territory (“Figure You Out”), Janis Joplin-esque heat (“Kill You To Call”) and more, all of it delivered with sweet singing, artful arrangements and inviting production (courtesy of hubby Tim Bluhm of The Mother Hips and Bay Area studio secret weapon Dave Simon-Baker). The album also features well placed guest turns from Jackie Greene, Railroad Earth’s Tim Carbone and members of ALO.

new album

Driftwood is an album one leaves on repeat because one spin simply won’t do. It’s the kind of record one sings along to, perhaps a little too loudly for polite company, and pushes into the hands of friends because it’s so bloody satisfying. Driftwood puts the lie to folks that say they don’t make them like they used to; this is classic stuff delivered in a classic manner. And at the heart of it is a young lady who belts ‘em out with a wholly winning combination of sweetness and edge, the words ripping free from some place deep within her, a voice laying bare the soul that powers it.

JamBase: The first impression I had of you, right from the time I slipped on your debut, was here was an artist shooting for a more classic model of things than many of your peers.

Nicki Bluhm: That’s most certainly what I’m going for. A lot of the classic, timeless records I picked up from my parents and Tim – early Bonnie Raitt, Dolly Parton, Linda Ronstadt – all the music in this vein has this timelessness to it that you don’t really come by often in music today. And my goal is to make music that will last and stand the test of time. One thing about music that’s so amazing is how it lives on forever. It’s really important when you make music to do it honestly. It’s like a tattoo – it never goes away.

JamBase: Prior to the 20th century this wasn’t the case but after wax cylinders, vinyl and so on, it’s now possible for music to live on forever.

Nicki Bluhm: I was just listening to this Townes Van Zandt record from 1969 as I drove to L.A., and that was 10 years before I was born and I just love it. I think of him in his grave and how many people are listening to the records of dead people and how cool that is, how cool that legacy is.

It’s kind of cool that you get to make music with your partner. There’s something special to your relationship beyond being a married couple that emerges in the music you create together.

I’d agree with that. I really wouldn’t be doing any of this if I hadn’t met Tim and he hadn’t encouraged me. We do have a loving personal relationship but we also have a professional relationship as well. I’m really lucky to be close to someone I’ve admired for a really long time – creatively and musically. It’s been inspirational and intimidating at the same, which creates an interesting experience. Here I am writing songs in the living room and in the next room is one of my favorite songwriters. It can be intimidating but then he pops his head out of the office and says, “Hey, try that again! What was that?” It’s really encouraging, more than your mom or your friends saying that. It’s a very good double-edged sword [laughs].

Tim & Nicki Bluhm by Andrew Quist

I can imagine it’s sometimes nerve-wracking to have someone I consider one of the great songwriters of our time as your sounding board. Tim is as good as it gets. But on the plus side, you two get to collaborate on music, especially with Tim producing your albums.

Luckily, we have really similar tastes and we can communicate well what we want to hear in a song with very few words. I can just say a mood or reference someone or a record and he just understands what I’m saying. It’s a neat, intuitive thing we have, and I think Greg [Loiacono, Mother Hips] and Tim have that, too. It’s an unspoken understanding that can be expressed minimally and he captures it.

You show off a lot more colors on Driftwood than Toby’s Song. The music in your head is clearly evolving.

The first record was very raw and more a collection of songs. I’d never had any experience recording or even writing music before – “Toby’s Song” was the first song I’d ever written. Going back to the intimidation factor, I went into to record those songs and trusted Tim and did as I was told. That was fine but on the second record I sort of understood how the recording process worked and to really come prepared on how I wanted things arranged. I feel like the songs were a lot more well-crafted on the second record, and I was a lot more involved in shaping what I wanted. That said, a lot of other input contributed to the development of the record – obviously Tim and Dave Simon-Baker, but with a largely holistic approach from a number of people, with Tim and Dave being the ringleaders.

Another difference between Driftwood and your debut is your band, The Gramblers, get showcased on the new material.

One of the goals for this record was to have some common thread throughout the record as opposed to being just a collection of songs, and the musicians involved became that through line. Even though the songs are often very different styles, the players are so good that they imbue the vibe of the record, and that’s where the consistency lies.

Deren Ney by Andrew Quist

Your lead guitarist Deren Ney is a friendly ghost floating throughout Driftwood. That guy’s playing is always so tasty.

He’s really special, and he spends a lot of time on his own working on his parts. He definitely cares a lot. And he walks that fine line any guitar player does of playing enough and not too much, and he’s very tasteful and seems to know the boundaries and is always incredibly appropriate. He lends a lot to the band, not just playing guitar but writing songs – he wrote “Carousel” and “Barbary Blues” – and he’s an incredibly thoughtful person. Not only does he write songs and let me sing them but he writes songs with me in mind. He truly tries to write songs with my thinking and style in mind.

I don’t think he’ll be the only one to do that. It’s partially why I think Linda Ronstadt comes up as a primary touchstone for you. She didn’t write a lot of her songs but many tunes were written for her to sing or brought to her to do a version. She was loved by the likes of Neil Young and Lowell George because of her way with a song, and I think you have a lot of the same mojo.

There’s something to singing someone else’s song that’s just comfortable; I almost prefer it. It’s a little less vulnerable, and there’s a carelessness I have when I sing someone else’s song. I can interpret it the way I want to without feeling it’s about this particular experience, person or event that happened to me personally.

There’s something fun about putting on the garb of another songwriter without all the baggage.

I love listening to Linda Ronstadt records. Her voice is incredible and she’s someone I’ve studied. She’s so powerful and amazing. More than wanting to sing her songs or hit the same high-marks she did, I see her as the ultimate female vocalist. And I love the early Bonnie Raitt stuff, where she sounds so effortless and natural. And I like singing some of the songs she wrote and some of the old blues songs she covered.

Nicki Bluhm by Andrew Quist

Both Ronstadt and Raitt are cool examples to study because they managed to have this great combination of being feminine and vulnerable and being really strong and in charge in an industry that’s still harder for women to crack than men.

That’s something that definitely draws me to them, the fact that they can be strong, powerful women yet they’re still ladies. You can hear their vulnerability and their strength. There’s a realness in the way they sound that’s really appealing to me.

I feel incredibly lucky because I have this amazing group of friends and musicians that always seem to be available to play with me. I can’t express how much support I’ve felt from the San Francisco Bay Area community of musicians. The bottom line is I’ve felt very well taken care of by the musicians in the Bay Area. I couldn’t sing without a band, and they’ve been incredible. The collection of musicians that have allowed this to happen for me makes it feel easy. I have a long road ahead of me – that’s for certain – but I’m off to an incredibly good start because of this amazing support from all these wonderful musicians and friends.

I think musicians are drawn to the vibe in your music, which consistently feels honest and quite human.

There are a lot of emotions caught up in songs, and I think it’s important to allow room for people to relate to different aspects. I think a lot of people find solace in music. Music and songs have gotten me through a lot of tough times. I just hope my music does that for some people.

Nicki Bluhm & The Gramblers Tour Dates :: Nicki Bluhm & The Gramblers News :: Nicki Bluhm & The Gramblers Concert Reviews


JamBase | Drifin’
Go See Live Music!


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Dawes and The Moondoggies | California | Review

November 29th, 2010 | No Comments

Words by: Dennis Cook | Images by: John Margaretten

Dawes & The Moondoggies :: 11.20.10 :: The Independent :: San Francisco, CA

Dawes :: 11.20.10 by John Margaretten

Organized religion is a psychological hornet’s nest built on hierarchies, fairytales and guilt grafted onto basically good ideas. At the core of most of the world’s major spiritual practices is the notion that human beings are flawed and must atone to a creator that we disappoint on a daily basis. It’s a lousy setup, especially for highly individualized folks given to questioning stated truths and power structures. Still, it’d be a lie to suggest that there isn’t an ache inside all of us for greater meaning, a larger sense of the universe and one’s place in it, not to mention a hope – however mustard seed small – that compassion, kindness and love are stronger than all the dark forces that seem to hold sway so many places. This ache need not lead one to “God” or anything like it, but it hums in our skulls when night comes and the day’s crush and chatter subsides. So, where then does one turn to slake this ontological thirst? Where do doubters and cynics gather to bolster their spirits?

One potential answer could be found at The Independent, where two bands that dig their hands deep into this rich, complex mulch put on a concert that was as close to holy as rock ‘n’ roll can manage. Los Angeles-based Dawes and Seattle’s The Moondoggies each delivered everything a four-piece combo can in terms of spirit and skill on a rain dappled autumn evening, each proving painfully honest and resoundingly hopeful, not to mention dead solid songwriters, performers and musicians. When churches and temples prove unfriendly to modern people it’s left to other avenues to nourish us in ways that go beyond entertainment. Each group put on a fine rock show, but if you slipped off your armor and bared your breast to them then something more occurred this night, something all the outstretched arms and heaven-reaching singing in the crowd testified to – something rare from bands that have only a handful of recordings and a few years under their belts, but such is the immediate, tangible power and grace of what they do.

The Moondoggies :: 11.20.10 by John Margaretten

Taking us “way out in the tidelands” and probing complex notions like “what’s exactly inside a man,” The Moondoggies played first, their cracking good rhythm team – bassist Robert Terreberry and drummer Carl Dahlen – actively reaching out and sucking one into their cavernous, harmonious spaces. There’s something of vintage CSNY and the 1970s Laurel Canyon bunch to them, but stripped of the hippie drippiness and lackadaisical jamming. Their inquiry is pointed and their songwriting melodic and free of much fat, often settling into a riff or refrain because it needs repeating for proper impact – one of the basic truths of the blues or classic folk often overlooked in contemporary rock. Drawing heavily from their ace sophomore album Tidelands (released October 12 on Hardly Art/Sub Pop), the set was infused with gospel-like energy set free of holy book brow beating. Not to overplay a metaphor, but their music held an oceanic pull to it – horizon filling, elemental, natural. More than once I kept conversations at bay as the audience grew throughout their hour onstage so I might focus and absorb everything they were laying down.

At the heart of The Moondoggies’ music lies the songwriting and open-wound voice of Kevin Murphy, who repeatedly succeeds in pulling the veils off commonly held illusions, revealing what’s really going on rather than what we think is happening. The others in the band, rounded out by keyboardist Caleb Quick, delivered harmonies that brought their live presence up to the high standards of their studio recordings. As the lights came up one felt they’d witnessed a wonderful group of searchers that handcraft music as a walking stick for a journey that won’t be long or easy. But, when they cried, “Wake up, wake up, let me drink from your cup,” the sense was that they would not go thirsty or without friends wherever they might wander, reminding us that “man ain’t meant to crawl/ feel like he’s nothing at all” and delivering music of utter conviction that’s truly uplifting.

Normally I wouldn’t envy a headliner having to follow such a set but Dawes is no normal headliner. Despite having just one album to their name – the tremendous North Hills (JamBase review) – Dawes is rapidly building a cult following whose eyes burn bright, a chorus of ragged voices grown hoarse but happy by show’s end. I caught a glimpse of this fervor at Outside Lands this past summer but it was a pale shadow of the ecclesiastical bent of The Independent crowd. Looking around at the number of people who knew every line, even to the unreleased tunes, one felt they were in on the ground floor of something big, something rising in the same way as past greats like Neil Young and Bruce Springsteen, and their performance backed up this impression in every way.

Dawes :: 11.20.10 by John Margaretten

The lightning rod in Dawes is singer-songwriter-guitarist Taylor Goldsmith, a future legend in the making possessed of abundant charisma, a heartbreaking voice capable of roaring power, and a knack for nuances that ensnare an audience – sly grins, hip swivels and pauses and conscious tics that punctuate the already great music in ways that make one hoot and connect with the moment at hand. Shoulder-to-shoulder with him are Tay Straithairn (piano, keys), Griffin Goldsmith (drums) and Wylie Gelber (bass), who serve this music with immaculate intuition, taking possession of it and delivering fine performance after fine performance. Yes, they are a new, quite young band but it feels like they’re in for the long haul – in a number of ways. These songs are not passing fancies. They are streetwise hymns to haunt our ear buds and solitary listening time, and then later enjoyed in good company with our fellow travelers, glasses and spirits raised high as Dawes drives us into fevered jubilee. Reflective music – and Dawes surely makes that sort – is rarely well served in the live setting, but this band makes it work in spades. In fact, the band-audience synergy with Dawes is one of the most striking I’ve ever encountered, and again, only seems to be the tip of the iceberg.

Like The Moondoggies, they hit all their marks, building on the sturdy bones in their songbook but not settling for an “okay” rendition when they might blow the doors off the joint. From a purely spectator perspective, Dawes is a goddamn blast to watch. The battle scarred instruments and lunging energy onstage speak to guys willing to do the miles and club crawling to forge something solid and lasting. The new songs in SF were uniformly excellent and worthy additions to the eleven gems on their debut, and one suspects there’s a pile more waiting in the wings. One killer had this memorable couplet: “If I wanted someone to cut me down/ I’d have handed you the blade/ I want you to make the days move easy.” Zing!

Things built to a heady pitch with set closing “When My Time Comes,” where the whole audience seemed to inch forward, pulled in by the song’s gravity and the band’s searing, absolutely engaging playing. It is a tremendous tune, a balm for those of us who’ve lived “less like a workhorse and more like a slave.” The struggle of existence and the inevitable end that awaits us all writhes inside this one, and you could see a number of folks breaking through to something unspoken and perhaps unspeakable as they pitched in on the intentionally rhetorical chorus. Who’s to say what will happen when their time comes? Isn’t it better to leave the question mark hanging flagrantly in the air, a cry of “whoa-oa-oa” standing in for certitude as nuggets of wisdom fall from Murphy’s lips? “You can judge the whole world on the sparkle that you think it lacks/ Yes, you can stare into the abyss but its staring right back.”

We may understand on an intellectual level that we’re all in the same boat but feeling it in your bones is another matter entirely. The combination of Dawes and The Moondoggies made for a community, however briefly gathered, that understood on some level that existence is shared and our dreams and fears are not so different from one another in the final accounting. Most longings are universal and that truth has few better songsmiths and messengers than these two bands at this moment.

Dawes Tour Dates :: Dawes News :: Dawes Concert Reviews

The Moondoggies Tour Dates :: The Moondoggies News :: The Moondoggies Concert Reviews


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Neil Young Tribute Concert: Keller, Roots, Mason Jennings

November 17th, 2010 | No Comments

CONCERT TO BENEFIT MUSIC EDUCATION PROGRAMS FOR UNDERPRIVILEGED
YOUTH


Neil Young

Michael Dorf announced today the first artists confirmed to play a special tribute concert to take place February 10,
2011, at Carnegie Hall, celebrating the music of Neil Young. The initial, star-studded lineup of musicians honoring the legendary
songwriter’s music include: Patti Smith, Living Colour’s Vernon Reid, DeVotchKa, Shawn Colvin, Bettye
LaVette, Bebel Gilberto, Aimee Mann, J Mascis, Keller Williams, The Roots, Cowboy Junkies, Mason
Jennings, and Larry Campbell as part of the house band. More information will be announced soon.
The
concert marks the seventh installment of an annual series to
raise crucially needed funds for music education programs for underprivileged youth.

“Our decision to honor the music of Neil Young at Carnegie Hall generated instant, tremendous feedback,” says
Dorf.
“We’ve already sold a significant number of tickets and premium packages, and we can’t wait to share this incredible
evening of music. Another sell-out crowd will bring the cumulative total donated by the series up to a half-million
dollars.”

Click here to get your tickets.


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Jimmy Fallon (Neil Young) Bruce Springsteen “Whip My Hair” [VIDEO]

November 17th, 2010 | No Comments

Willow Smith (That’s Ms. Swaggerlicious Stylista-in-Training to you. Please address her as such!) solidified her place as the latest addition to the Young Hollywood elite with the premiere of her infectious debut single, “Whip My Hair” earlier this fall. But nothing screams “You’ve Arrived!” like having your song covered by The Boss and Neil Young [...]

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Buffalo Springfield Reunion Videos

October 26th, 2010 | No Comments

FIRST PERFORMANCE IN 42 YEARS

Over the weekend, the surviving members of
Buffalo Springfield reunited
for the first time in 42 years, performing two sets in support of Neil Young‘s Bridge School Benefit Concerts. Joining Young,
Stephen Stills and Richie Furay were drummer Joe Vitale (CSN) replacing the late
Dewey Martin, and Rick Rosas playing in place of the late bassist Bruce Palmer.

Check out videos for “For What It’s Worth,” “Mr. Soul,” and a finale of “Rockin’ in the Free World” that includes
Pearl Jam, Elvis Costello, Emmylou Harris, Kris Kristofferson, Lucinda Williams, Jackson Browne, David Lindley,
Billy Idol, Modest Mouse, and Grizzly Bear.


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Noel Gallagher ‘is the next McCartney’

October 5th, 2010 | No Comments

Founder of Creation Records, Alan McGee, has rated former Oasis member Noel Gallagher to be as good as John Lennon and Paul McCartney. McGee, 50, made the comment after listening to 43-year-old Gallagher’s new solo material. “I’ve heard the Noel demos. They’re f***ing genius. For me, the guy’s a McCartney, a Lennon, a Neil Young [...]

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Susan Boyle Holiday Album, “The Gift,” Already A Charttopper

September 27th, 2010 | No Comments

SuBo’s “Gift” is already a big hit.Music Lovers can’t wait to hear Scottish songbird Susan Boyle belt out some Yuletide carols. Boyle is putting the finishing touches on her new album, her first holiday release, and the compilation’s already shot to the top of Amazon.com’s Bestsellers chart! Susan Boyle’s The Gift doesn’t hit music retailers until [...]

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Weekend News Recap

September 19th, 2010 | No Comments

HIGHLIGHTS DISTILLED

We throw a lot of info at you each week on JamBase, so we thought we’d offer a new weekly digest of the top stories to hit the site in the past week, along with a little extra visual stimuli as a bonus.

1. moe. announces final shows of 2010

2. Fourmile Canyon Revival Benefit announced. A benefit concert for fire ravaged Colorado featuring The String Cheese Incident, Big Head Todd and the Monsters, Yonder Mountain String Band, and members of Leftover Salmon and Phish.

3. Bridge School Benefit Lineup Announced. Besides organizer Neil Young, this year to feature Buffalo Springfield reunion, Pearl Jam, Elvis Costello and more.

4. A Perfect Circle To Play 5 Cities

5. STS9 Announce NYE Run In Denver

6. Bela Fleck & The Flecktones Announce Holiday Tour

7. Ray LaMontagne and Levon Helm Tour Together In Fall


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Buffalo Springfield to Headline Bridge School Benefit

September 13th, 2010 | No Comments

TICKETS ON SALE SUNDAY SEPTEMBER 19 AT 10 AM


Buffalo Springfield

Buffalo Springfield will
headline Neil
Young‘s 24th Annual Bridge School Benefit Concerts. The rest of the daily lineup, which
includes Pearl Jam, Elvis Costello, and others, is available below.

Tickets for both shows are on sale Sunday, September 19 at 10am at Livenation.com. Reserved seats are $150.00 and $75.00 and general
admission is $35.00 plus applicable fees. A limited number of 4 packs of general admission tickets are available for
$99.00 plus applicable fees. There is a 4 ticket limit for reserved seats and an 8 ticket total limit for purchases.

Proceeds from these two concerts benefit The Bridge School.

On Sale Sunday at 10am.

The 24th Annual Bridge School Benefit Concerts
Saturday, October 23rd at 5pm
Sunday, October 24th at 2pm
Shoreline Amphitheatre at Mountain View

Saturday, October 23rd Lineup:

Buffalo Springfield
Pearl Jam
Elvis Costello
Merle Haggard and Kris Kristofferson
Lucinda Williams
Jackson Browne and David Lindley
Billy Idol
Modest Mouse
Grizzly Bear

Sunday, October 24th Lineup:

Buffalo Springfield
Pearl Jam
T-Bone Burnett’s Speaking Clock Revue featuring Elton John & Leon Russell, Elvis Costello, Ralph Stanley, Neko Case
and Jeff Bridges
Merle Haggard and Kris Kristofferson
Modest Mouse
Grizzly Bear


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Bert Jansch Cancels Tours

September 13th, 2010 | No Comments

FOLK ROCK ICON CANCELS SEPTEMBER/NOVEMBER DATES

Bert Jansch has announced that he has to undergo an urgent operation to deal with complications arising from his recent lung cancer. As a result, he has to pull out of the upcoming Gulf Coast leg of Neil Young’s current solo tour as well as cancel a series of solo shows on the East Coast, where Pegi Young was due to open for him with her band. According to a statement:

Bert is deeply disappointed to be missing the shows and apologizes sincerely to all the fans that were hoping to see him. He has enjoyed every moment of touring with Neil over the last few months, as well as the West Coast shows he did with the wonderful Pegi Young band opening, and is looking forward to getting back on the road as soon as possible. Bert is also very disappointed to be missing an appearance at Farm Aid, which he was very much looking forward to. His doctors tell him he should be fit and well again soon, so Bert is looking forward to resuming touring as soon as he can.

Here’s a glimpse of Bert in healthier times talking with Michael Nesmith before recording with pedal steel great Red Rhodes.

Bert Jansch Tour Dates :: Bert Jansch News :: Bert Jansch Concert Reviews


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Dead Winter Carpenters: Tour

August 30th, 2010 | No Comments

EMERGENT GENRE BLENDERS ON EARLY FALL TOUR

Dead Winter Carpenters, an eclectic quintet emerging from the shores of Lake Tahoe, CA, are in the midst on their first national tour in support of their debut studio album, D.W.C. Their sound is laced with elements of rock ‘n’ roll, bluegrass, folk, ragtime, blues, and reggae inspired from musical influences ranging from Neil Young to David Byrne and Ryan Adams to the traditional fiddle tunes of earlier times.

Dead Winter Carpenters Fall Tour Dates

8/30/10 Red Eyed Fly – Austin, TX
8/31/10 Super Happy Fun Land – Houston, TX
9/01/10 Chelsea’s – Baton Rouge, LA
9/02/10 Blue Moon Saloon – Lafayette, LA
9/03/10 Maple Leaf – New Orleans, LA
9/05/10 The Pour House – Charleston, SC

9/06/10 Smith’s Olde Bar – Atlanta, GA
9/08/10 Lexington Ave. Brewery – Asheville, NC
9/09/10 Awful Arthurs – Roanoke, VA
9/10/10 North Star – Philadelphia, PA
9/11/10 Higher Ground (Showcase Lounge) – Burlington, VT
9/13/10 Harpers Ferry – Allston, MA
9/14/10 Red Square – Albany, NY
9/16/10 Park Street Tavern – Columbus, OH
9/17/10 Booney’s – Avon, IN
9/18/10 Wuhnurth Music Festival – Spencer, IN
9/19/10 Tonic Room – Chicago, IL
9/21/10 Pier 357 – Pierre, SD
9/22/10 The Bottleneck – Lawrence, KS
9/23/10 Quixote’s True Blue – Denver, CO
9/24/10 Salt Water Cowboy – Avon, CO
9/25/10 320 South – Breckenridge, CO
9/26/10 Paddlepalooza – Page, AZ
9/27/10 Mystic Hot Springs – Monroe, UT
10/28/10 Las Tortugas Dance of the Dead V – Yosemite, CA

http://www.deadwintercarpenters.comDead Winter Carpenters Tour Dates :: Dead Winter Carpenters News :: Dead Winter Carpenters Concert Reviews


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Bridge School Benefit Dates Pearl Jam To Perform

August 27th, 2010 | No Comments

THIS YEAR’S INSTALLMENT COINCIDES WITH PJ’S 20th ANNIVERSARY

The 24th Annual Bridge School Benefit Concert will be held on October 23rd & 24th, 2010 at Shoreline Amphitheatre in Mountain View, CA. Information on lineup and ticket sales hasn’t been revealed yet but folks can mark their calendars and keep on the latest here.

Thus far the only band scheduled to perform, besides, of course, benefit organizer Neil Young, is Pearl Jam, confirmed in a recent Billboard interview with guitarist Stone Gossard.


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Neil Young: Le Noise

August 23rd, 2010 | No Comments

OUT SEPTEMBER 28


Le Noise

Neil Young has announced
via a note on his facebook
page
that his new album, Le Noise comes out September 28. The album was produced by Daniel Lanois. Check out the note
below:

“Le Noise” is complete. It is a solo record. Playbacks are happening now. Release date is September 28th. It
will be available in Vinyl, CD and I tunes in the first edition, followed by Blu-Ray, and an APP for I-Phone and I-Pad
a month or so later. The app will be free. It gives you an interactive album cover. Forgive my use of the word
“album”. I am old school. When you buy the songs/movies from I- tunes they show up in your APP. Peace ny

Neil Young
Tour Dates
::
Neil Young News
::
Neil Young
Concert
Reviews


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Bert Jansch Tours With Neil & Pegi Young

August 19th, 2010 | No Comments

OPENING FOR NEIL YOUNG STARTING SEPTEMBER 20; INTIMATE EAST COAST TOUR WITH PEGI YOUNG


Bert Jansch

Bert Jansch is set to go on
tour in the US with Neil
Young next month. Bert will be Neil’s special guest on his upcoming tour which kicks off September 20
in Panama City, Florida.

After supporting Neil, Bert is delighted to have Pegi Young join him for some intimate shows along the East Coast.


Neil Young Tour

9/20/10 Marina Civic Center – Panama City, FL
9/22/10 Ruth Eckerd Hall – Clearwater, FL
9/23/10 Seminole Hard Rock Hotel – Hollywood, FL
9/25/10 IP Theatre – Biloxi, MS
9/26/10 Saenger Theatre – Mobile, AL
9/28/10 Saenger Theatre – Pensacola FL


Bert Jansch with the Pegi Young Band
10/6/10 The Bell House – Brooklyn, NY

10/7/10 Norton Center for the Arts – Fall River, MA

10/9/10 Johnny Brenda’s – Philadelphia, PA
10/10/10 Jammin’ Java – Vienna, VA
10/12/10 State Theatre – College, PA
10/13/10 Andy Warhol Museum – Pittsburgh, PA

Bert Jansch
Tour Dates
::
Bert Jansch News
::
Bert Jansch
Concert
Reviews


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Outside Lands | 08.14-08.15 | SF

August 18th, 2010 | No Comments

Words by: Dennis Cook & Eric Podolsky | Susan J Weiand & Josh Miller

Outside Lands :: 08.14.10-08.15.10 :: Golden Gate Park :: San Francisco, CA

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”28″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=110″);}); 8/14/10 – 8/15/10 @ Outside Lands Festival (San Francisco, CA) View Photos

Furthur’s John Kadlecik by Weiand

As the expression goes, third time’s the charm. Outside Lands, the biggest Bay Area summer festival, had things dialed in for year three. By trimming two stages, moving the main entrance and generally reorganizing the geography into a long, straight line between stages and tents, OL ’10 was more pleasant, less hectic and generally refined. Subtle changes throughout, including a better-informed staff and a never-ending dance tent, made for a fairly effortless, enjoyable atmosphere. With extensive wine offerings, Korean tacos and perhaps the finest coffee on earth, the Lands once again played to San Fran’s unique sensibilities, which were also reflected in a lineup that tapped local royalty (Furthur), genre defying oddities (Gogol Bordello, Garage A Trois), hipster gold (The Strokes, Phoenix), and rave faves (Pretty Lights, Bassnectar).

Perhaps the best compliment one can give a festival is that it’s thoughtfully assembled. An extra dash or three of care clearly went into the third installment of this growing summer fixture. There was less sound overlap between the stages than either previous year, and the programming moved closer to Bonnaroo’s science-like knack for putting the right bands in the right order on each stage in a way that plays to a certain sensibility, thus cutting down on nomadic wandering between stages, which is admittedly a real hike inside Golden Gate Park, even with the reduced number of stages. Corporate shilling was still strong but Outside Lands is set up in a way that one can largely ignore it and enjoy the bucolic setting – as long as they’ve brought plenty of layers and clothing options to contend with SF’s ever-changing weather, which offered flashes of sunshine Saturday, plenty of damp and largely moderate temps this year before really brightening up on Sunday.

What seemed like a keeper the first two years is now cemented as a pleasant fixture in one of the most singular (and challenging to master) settings for a music festival. Outside Lands is an ambitious yet easygoing affair, and thus a pretty fine fit for the quirky, outer fringe Bay Area. (Dennis Cook)

Saturday Highlights

1. My Morning Jacket :: 5:00-6:30 PM :: Lands End Stage

MMJ’s Jim James by Weiand

With the simple, direct announcement, “Tonight, I want to celebrate with you,” Jim James, omnichord in hand, struck up MMJ’s unique incantation, a mixture of bare skin intimacy and giant size rock spectacle. It’s a combination prone to blow up in lesser hands but MMJ has it sussed to perfection at this point, moving from eyelash flutter hush to sky climbing enormity with such skill and grace it leaves one a bit dizzy. Before “Golden,” James talked about playing a forested, disco ball strewn fest in Japan called Field of Heaven and how being in Golden Gate Park felt like Field of Heaven 2 or Revenge of Field of Heaven. The magic of the moment and specialness of place are rarely lost on MMJ, who excel at bringing the immediate world into focus with their highly romantic yet curiously barbed POV. The beauty of our shared time in such lovely surroundings, especially with MMJ providing the soundtrack, was not lost on many. With the best rock rhythm section from the south since Bill Berry put his sticks away, a colossally compelling frontman (often stalking the stage in a little black cape!), GIANT guitar gusto and one of the finest catalogues in the past 20 years, My Morning Jacket seized hold of the park. As James sighed, “I’ve been waiting for this moment for so long,” one felt a delightful shiver. The time between MMJ shows creates a lovely anticipation for the faithful, the next chapter devoutly wished for and appreciated with moist-eyed sincerity. One of the reoccurring themes in this band is it’s not only okay but essential to feel whatcha feel, and this performance had no lack of emotion, intensity or unflinching honesty. (DC)

Take 2
This band’s perfect blend of epic, crushing rock and Jim James‘ haunting, otherworldly falsetto never fails to deliver, especially on a big stage. Coming back after a big break from touring, one expected them to debut some new material, but their setlist was mostly identical to the 2008 tour (though they did debut a nifty new one called “Circuital”). No matter, they crushed every tune with reverb-laced majesty. Their huge, dreamy sound fit the gorgeous GG Park setting better than any band of the weekend, making them a perfect transition from afternoon into evening. (Eric Podolsky)

2. Wolfmother :: 6:30-7:20 PM :: Sutro Stage

Hands down, Andrew Stockdale and his band of Aussies stole the show on Saturday with the most consistently hard-rocking set of the day. Wolfmother made the most of their fifty-minute set, barraging the audience with song after song of feedback-laced, grungy, riff-laden rock and roll. Playing directly into the misty ocean breeze that descended on GG Park as the sun set, the band made the most of their short time slot by keeping their energy at a continuous peak of sonic mayhem. Ian Peres‘ crunchy Entwistle-like bass lines drove the band through their consistently great catalog, which included a short run through The Doors’ “Riders of the Storm” and a superbly reckless take on The Who’s “Baba O’Reilly.” Top Notch. (EP)

Take 2
With the best cover choices of the day, Wolfmother offered an indication that they aren’t competing with their contemporaries so much as rock’s giants. It’s what most young bands are aiming for but rarely boldly state outright like Stockdale and his new-ish four-piece lineup. What particularly impressed (and even surprised to a degree) is how well their originals stand up next to iconic radio staples like “Riders” and “Baba.” Stockdale has a bloody great set of furnace hot pipes and a gift for mimicry (Morrison and Daltrey have rarely been aped so well), and the quartet interlocks and slams with unified muscle. At this set, Wolfmother could not be ignored as they grasped and thrust at the large crowd, rock’s poking ‘n’ prodding essence kept vibrantly alive in a really enjoyable way. (DC)

3. Levon Helm Band :: 3:45-4:35 PM :: Twin Peaks Stage

Levon Helms by Weiand

“Thank you for all this loveliness,” croaked Levon towards the end of his band’s too brief, utterly satisfying set. Without question, what Levon and co. are doing is the closest thing to The Band that most of us that grew up after Winterland was shut down have experienced. The intertwining of American musics is complete and seemingly effortless with this huge band (10 people onstage by my count), and there’s a touch more growl and attack than one might expect. Levon is not a young man and his age is sometimes apparent, though not when the wind catches his back and he strums a mandolin or drums in a way that makes the years disappear. With an ace band led by Larry Campbell, Helm is keeping the flame lit for one of the cornerstones of rock ‘n’ roll as we know it, and it was a gift to be in his company for a short spell. (DC)

Take 2
Even though Levon’s voice was shot, his professional Americana band of veterans was a breath of fresh air in the middle of a day comprised of young, up-and-coming bands. His group’s sound was defined by its huge four-piece horn section, which gave all those classic Band songs a huge, refreshing sound. Highlights included Levon’s take on Dylan’s “Blind Willie McTell,” and a rousing NOLA two-step “All On A Mardi Gras Day” to close their too-short set. (EP)

4. The Whigs :: 12:00-12:40 PM :: Panhandle Solar Stage

With waves of befuzzed bass, air kicking guitar rattle and crisp, intense drums, The Whigs roared out of the gate, kicking off the day with nothing-held-back energy. They play in an almost archetypal fashion, looking and sounding just like a rock band should. There’s scads of testicular fortitude but also numerous lyrics that recall Thom Yorke at his pithy, prickly best (“I don’t need to kill anyone to prove I’m real,” “Somebody better come and speed up your heart ’cause it’s dying”). Swinging from cavernously thick, Sabbath-worthy crush (often with a downhill speed up near the end of tracks that was honestly exhilarating) to hooky pop to the softly psychedelic, The Whigs showed off their considerable chops and a songwriting acumen that thoroughly skunks most peers. Every track from this year’s In The Dark was stronger live, and by set’s end it was obvious that The Whigs have ALL rock’s fundamentals down cold. (DC)

5. Dawes :: 1:25-2:05 PM :: Panhandle Solar Stage

Touring behind one of the strongest debuts in years, this Southern California band is rapidly shaping up to be one of today’s finest, most striking bands, melding cherry influences like The Band, 70s California rock (Eagles, Jackson Browne, Neil Young, Linda Ronstadt), and heaping measures of barroom gusto and stadium-eyeing moxie. Vocalist-songwriter-guitarist Taylor Goldsmith and his highly in-tune compatriots exude the crackling vibe of the E Street Band in their early club days. Dawes has the same hungry energy about them and the same ceaseless need to connect with every person in the audience, no matter how big or small. Dawes has the talent, tunes and tenacity to achieve great things, and they were fueled by infectious confidence and road hardened tunes in GG Park. Looking around at the sizeable number of people belting out the “oh, oh, oh’s” on “Western Skyline” it was obvious I wasn’t the only one really feeling this band and taking their music into their heart. Only expect the number of faithful followers to grow with this band. (DC)

6. Gogol Bordello :: 3:05-4:05 PM :: Lands End Stage

Gogol Fans by Weiand

In many ways, Gogol Bordello’s MacGyver‘s stew of world musics just shouldn’t work. Fiddles and electric guitars and accordions and menacing moustaches, oh my! Watching them beneath their standard banner of a hand holding a slingshot ready to launch a red star, it became clear at Outside Lands that it’s a rugged, Clash-like undercurrent that stitches this crazy quilt together. They are a People’s Band, marching forward towards truth and love and other big, honorable things, and maybe throwing a steel toe into the shins of aggressors and money hoarders along the way. Often yelling, there’s actually a fair amount of substance inside their routine, where we’re reminded that we’ve only got today to live and not waste on looking backwards at “good old days” that never were. Gogol is also as entertaining as watching a clown car unload onto a water slide. Their energy and sheer gusto for life is endearing and inspiring, and their music ain’t half bad either. (DC)

Honorable Mention: Furthur

Never one to genuflect too deeply at the Grateful Dead altar, even in my 1984-90 peak mania, I’m still not totally convinced by Furthur. At Outside Lands, Bob’s singing was better than usual, and the band played with patient insistence, but it still smacked of guys chasing something that’s unattainable – i.e. raising the ghost of the Grateful Dead. I know these songs – well – and I know there are two guys from the Dead in their ranks but I can’t put my finger on what makes Furthur their own band and that’s what’s off-putting for me. If one is likewise trying to raise that ghost then this might be the best seance on offer today. I think from my perspective I’ll still go with Dark Star Orchestra, but this configuration of Dead veterans, Dead music aficionados and a drummer new to the whole thing are fine musicians all and it’s certainly not an unpleasant way to spend one’s time, especially if one adores this songbook. (DC)

Continue reading for Sunday Highlights…

Al Green by Weiand

While Saturday’s eclectic lineup proved somewhat jarring in its musical scope (Pretty Lights > Levon Helm > Furthur> The Strokes?), Sunday’s focus on soul/R&B/dance music proved more cohesive in the day’s flow. Likewise, the festival crowd’s lack of an identity on Saturday gave way to a looser, more vibey scene on Sunday, which saw the sun come out in GG Park for the first time in weeks. While Saturday felt like a series of concerts, Sunday felt like a real festival experience, with everyone grooving under the eucalyptus trees all day long.

My only real qualm with the very efficiently run urban festival would be the consistently short set times, which forced many bands to squeeze their acts into digestible introductions rather than a legitimate representations. This, when combined with the half-mile walk between stages and overlapping sets, meant you were lucky to catch 35 minutes of a band before having to walk another half-mile back to catch most of the next band you wanted to see. Regardless, there was nary a lull to be had all day, with nine straight hours of fantastic music.

With the huge number of overlapping sets, there were some tough decisions to be made. The toughest had to be the choice of catching Al Green in lieu of both Edward Sharpe & the Magnetic Zeros and Garage A Trois. This ended up being a somewhat regrettable choice, as the good Reverend seems to have reached the point in his career where he’s coasting on his own legacy. Al was all smiles and enthusiasm, but when it came to performing, he actually only sang about half of the time. The other half was stage banter, as he preached the merit of his own songbook and threw roses to the crowd. This complacency was easily forgiven though, as this was Al-fucking-Green, and Al Green can do whatever the hell he wants. He knew that most were there just to have said that they saw Al Green, and everyone forgave him when he skipped a verse in the middle of “Let’s Stay Together” to drink some Gatorade. Fantastic version of “Pretty Woman,” though. (Eric Podolsky)

Sunday Highlights

1. Mayer Hawthorne & The County :: 1:30-2:10 PM :: Sutro Stage

Mayer Hawthorne by Weiand

The most fun I had all day was dancing to the one band I had never heard of. Hawthore stole the day for me with his early afternoon set of tight-as-a-drum neo-soul. With a groove equally rooted in 60s Motown, 70s Philly Soul and modern hip-hop, Hawthorne and his band serenaded the crowd with their on-point, Temptations-style falsetto harmonies. In matching suits, the multicultural band delivered earnest, danceable love songs while avoiding both irony and sap, most notably in the slinky “Just Ain’t Gonna Work Out.” Hailing from Detroit, it is clear that Hawthorne has Motown in his blood. His voice is like a cross between classic Smokey Robinson and 70s Michael McDonald, in the best way imaginable. It is not often that a band’s performance finds me actively seeking out their catalog, but this music is so supremely likeable and original that it’s impossible to not be enthralled. (EP)

2. The Devil Makes Three :: 2:10-2:55 PM :: Twin Peaks Stage

By the time this trio from Santa Cruz, CA started their peppy afternoon set, the sun had fully emerged from its cloud shroud, which made for a happy country hoedown in the park. Comprised of banjo, guitar and upright bass, The Devil Makes Three can sure throw a party, thanks to their fantastic songwriting and bouncing, bluegrass basslines. Their sound carries a tinge of jug band inanity, which makes anthemic tunes such as “All Hail” sound like they potentially could have a kazoo in there somewhere, though they don’t. This set really felt like a festival, with the crowd dancing harder than I had seen all weekend. Lead singer/guitarist Pete Bernhard‘s vocals were rollicking and enthusiastic, and the group’s three-part harmonies really captured that “high and lonesome sound.” Cooper McBean‘s loping banjo playing had a cool compression to it, which made it sound like it was being broadcast on an old-time radio show. These guys surely won over a ton of new fans with their set, including this writer. (EP)

3. Janelle Monae :: 3:05-3:55 PM :: Sutro Stage

Who is Janelle Monae? The way this girl is performing people won’t be saying that for much longer. Her set was probably the most anticipated of the weekend, and for good reason. Unfortunately, her flight from Toronto was delayed and she took the stage late, cutting her already short time slot down to around 25 minutes. This was a minor tragedy, as she was simply electric. As soon as she stepped onstage, it was clear that this 24-year old girl is a star in the making. Boasting a perfect pompa-fro, Monae and her band let loose an abridged show of frantic, freaky-deeky hip-hop soul, a la Outkast/ Gnarls Barkley. Prancing around the stage like Andre 3000′s little sister, the pint-sized Monae showed off serious pipes and dance moves to match. Her three-piece band was somewhat of an accessory to the pre-recorded tracks that they played along with, but no matter, it was a performance and she worked it. The set peaked and ended with a funky take on “Tightrope,” in which Monae wailed and thrashed about on the drum riser in a cape. Monae’s music has that frantic, weird, Danger Mouse feel to it, and she can sing like Beyonce. In other words, expect to see this girl on MTV sooner than later. (EP)

Phoenix by Weiand

4. Phoenix :: 5:55-6:55 PM :: Lands End Stage

These guys probably attracted the most fervent young fans of the weekend, which crunched the pit with bodies and energy. Frontman Thomas Mars was acutely aware and supremely grateful of his audience, and responded with a balls-out rock star performance of festival-size proportion. Phoenix has so many catchy, infectious, utterly danceable rock songs that their live show is bound to be a great time. The band played (and nailed) them all with drummer Thomas Hedlund kicking some serious ass, though it was Mars who owned every minute of this show. His earnest, clear-eyed vocal delivery truly defines this band. It was eye-opening how good his voice sounded live, and his patented repetition of phrases was right in groove with the tunes. Mars seemed so genuinely happy and grateful for his audience that his rock star stage antics came across as endearing, where his amp climbing and stage diving worked and fed the show’s energy well. This was the most fun rock show I’ve seen in a long time. (EP)

5. Budos Band :: 7:40-8:25 PM :: Panhandle Stage

Playing at the tiny stage, the Budos Band were the sleepers of the weekend, and the intimate crowd that chose to forgo Kings of Leon for some real music were rewarded for it. Though their 45-minute twilight set was far too short to really get into the zone, the ten-piece band (four being percussionists) of Daptone fame laid it down for us in the park with strutting, hard-hitting instrumental Afrobeat funk. This was a heavy groove with a huge sound, with Jared Tankel‘s baritone sax was at the forefront of the polyrhythms rumbling our sternums with its low squawks. The music inspired a stomping, elephant-march dance party of a few hundred people as the sky darkened, and we got our ya-yas out, knowing the end of the weekend was upon us. (EP)

6. Chromeo :: 5:15-6:05 PM :: Twin Peaks Stage

Chromeo Fans by Weiand

Usually, DJ sets don’t really do it for me in a festival setting, as they’re better suited for a late-night club dance party, but Chromeo’s music is just so silly and fun that it translated very well to a sunny afternoon in the park. Their music is a straight tongue-in-cheek tribute to early-80s electro-soul, a celebration of robot rock, and a straight vocoder party. The duo, perched behind their keyboards with woman leg stands (think the lamp in A Christmas Story), played live guitar, keyboards and vocoder along with their backing tracks, and inspired the weekend’s biggest dance party in the process. Alternating Dave 1‘s sung vocals with P-Thugg‘s vocoder-enhanced vocals, Chromeo delivered clever lyrics about gettin’ it on atop layered funk. At one point, after a tease of “Money For Nothing” and somewhere in the middle of “Bonafied Lovin’,” some rowdies knocked the barrier fence down and gate crashed, inspiring cheers throughout the audience. There’s nothing like gettin’ down in the park with a few thousand other peeps to really make your day. (EP)

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JamBase Questionnaire: Dead Confederate

August 14th, 2010 | No Comments

Welcome back to JamBase’s baker’s dozen to the bright lights of the music world. Last time we heard from Steve Gorman of The Black Crowes.

After unleashing a debut crammed with dark-edged, psychedelia-licked hard rock, it comes as a happy surprise to find Dead Confederate exploring spare folk textures, soaring pop, and other experimental fluctuations on their fantabulous sophomore platter, Sugar (arriving August 24 on TAO/Old Flame). Signs of obvious growth are everywhere, from the finely wrought lyrics to singer-guitarist Hardy Morris‘ more forthright vocals to a dense, compelling sonic curiosity that keeps one’s ear glued to the speakers. Sugar is the affirmation of the faith artist like Widespread Panic’s Dave Schools and Dinosaur Jr. – whose J. Mascis guests on the new album- have shown this Athens, GA band. This is a bold, inquisitive rock band on the rise, building their own sound but clearly not ready to lay down any borders just yet. (Dennis Cook)

Here’s what Hardy had to say to our inquiries.

Hardy Morris by Daniel Peiken

Nickname: Hardello

Instrument of choice: guitar

1. Great music rarely happens withoutÂ…
Some form of inspiration. It doesn’t matter if you’re talking about kids in a basement or Paul McCartney onstage, they’ve got to be inspired and really into whatever they’re doing. People say that they are ‘inspired’ by other musicians, but I think real inspiration comes from the inside. You can be ‘influenced’ by other artists, but it takes your own inspiration and initiative to sit down and create.

2. The first album I bought wasÂ…
Neil Young’s Harvest. My mother had always played her vinyl version for me growing up, so I got my own copy when I got a stereo with a tape deckÂ…yep.

3. The last song or album to really flip my wig wasÂ…
I really, really liked Embryonic by The Flaming Lips, but that was a while ago. Um…I really like this song called “Hey, Cool Kid” by Cloud Nothings. Their album Turning On is really good. And the new Deer Tick album [The Black Dirt Sessions] is also awesome.

4. When I was a kid I wanted to grow up to beÂ…
I always wanted to play in a band, I think. I remember my cousin and I playing tennis rackets to G n’ R in my room LONG before I ever attempted to actually play the guitar. I also wanted to be President when I was really little. I remember I wrote a letter to Ronald Reagan and they sent me a picture of Reagan on a white horse. I’m not kidding.

5. My favorite sort of gig isÂ…
Small place, dark, loud, late night.

6. One thing I wish people knew about me isÂ…
I make killer chili.

7. I love the sound ofÂ…
A slow ride cymbalÂ…and rreevveerrbb.

8. One day I hope to make an album as fantastic asÂ…
I can’t compare. Just want to make each record better than the lastÂ…or at least different than the last.

9. The best meal I ever had on tour was atÂ…
Duffy’s in Anna Marie Island, Florida!!!

10. I always find the coolest audiences inÂ…
40 Watt Club in Athens, GA

11. The worst habit I’ve picked up being on the road all the time isÂ…
We draw and write short stories in our van incessantly. We have stacks of filled notebooks in our house. It looks like we travel with mental patients. Maybe we do.

12. The Beatles or the Stones? Por que?
The Beatles for me; I just like everything about them better.

13. The craziest thing I ever saw wasÂ…
Seeing my best friend’s older brother shoot the front windshield of a cop car with a potato gun AND THEN seeing my best friend accidentally shoot himself in the face with said potato gun. It was unbelievable. There are many other things, but you don’t want to know.

Dead Confederate Tour Dates :: Dead Confederate News :: Dead Confederate Concert Reviews

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Neil Young: Gulf Coast Dates

August 12th, 2010 | No Comments

TOUR STARTS SEPTEMBER 20 IN PANAMA CITY, FLORIDA; CONCERT-GOERS ASKED TO BRING NON-
PERISHABLE FOOD FOR FOOD BANK


Neil Young

Neil Young will
perform several shows in the Gulf Coast in September to aid residents affected by the oil spill. Young has teamed
up with his friend John Tyson, chairman of Tyson Foods, Inc., which will donate 100,000 pounds of
chicken products
to be distributed to the Bay Area Food Bank. Tyson will deliver four truckloads of chicken, the equivalent of almost
400,000 meals, to the Bay Area Food Bank, which serves Central Gulf Coast communities in Alabama, Florida, and
Mississippi.

Young is also asking concert-goers to bring non-perishable food items, which will be given to the food bank. All
proceeds from the sale of unique, limited-edition Neil Young t-shirts, available only at the concerts, will also be
donated to the food bank.

The hunger relief effort is the result of the long-standing friendship between Young and Tyson. “Millions of people
who live along the Gulf Coast struggle with hunger and the economic impact of the oil spill has only made matters
worse,” Young says. “I appreciate the willingness of John Tyson and his company to get involved by helping the
regional food bank help feed those in need. We both encourage concert-goers to spend money locally and support
local business.”

Tour Dates:

Sep 20 Marina Civic Center Panama City, FL On-sale 8/13 10 a.m. EDT

Sep 25 IP Showroom Biloxi, MS On-sale 8/11 @ 10 a.m. CDT
Sep 26 Saenger Theatre Mobile, AL, On-sale 8/14 @ 10 a.m. CDT
Sep 28 Saenger Theatre Pensacola, FL On-sale 8/14 @ 10 a.m. CDT

Additional dates not part of the “Gulf Coast Tour”:

Sep 22 Ruth Eckerd Hall Clearwater, FL On-sale Now
Sep 23 Seminole Hard Rock Casino Hollywood, FL On-sale Now

Check out Kayceman’s 2008 interview with Neil Young!

Neil Young
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Farm Aid 25 Full Lineup

August 11th, 2010 | No Comments

WILLIE NELSON; NEIL YOUNG; JOHN MELLENCAMP; DAVE MATTHEWS; KENNY CHESNEY; AND
MORE


Willie Nelson

Farm Aid board members Willie
Nelson, Neil Young, John Mellencamp and Dave Matthews will be
performing at Farm Aid 25: Growing Hope for America at Miller Park in Milwaukee, Wisconsin on Saturday,
October 2. The full lineup is below.

Willie Nelson

Neil Young

John Mellencamp
Dave Matthews
Kenny Chesney
Norah Jones
Jason Mraz

Jeff Tweedy
Band of Horses

The BoDeans
Amos Lee

Robert Francis

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Warren Haynes w/DMB: “Cortez the Killer”

August 3rd, 2010 | No Comments

NEIL YOUNG CLASSIC GETS THE WARREN HAYNES TREATMENT

Gov’t Mule just wrapped up
four dates opening for Dave Matthews
Band. Check out this video of Warren Haynes joining in with DMB for a rendition of the Neil Young classic “Cortez the Killer” at
Cruzan Amphitheatre in West Palm Beach, FL on July 31. (Via Hidden Track).

Click here for more Gov’t Mule tour dates.

Gov’t Mule
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Gov’t Mule News ::
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Farm Aid 25: Growing Hope for America

August 3rd, 2010 | No Comments

OCTOBER 2 AT MILLER PARK IN MILWAUKEE


Willie Nelson

Farm Aid took to the field yesterday to reveal details about its 25th anniversary benefit concert, scheduled
for Oct. 2 at Miller Park in Milwaukee.

Farm Aid founders Willie
Nelson and John
Mellencamp joined executive director Carolyn Mugar by webcast at an on-field news conference at the
home of the Milwaukee Brewers to reveal details about the all-day music festival that will mark their 25th year.

Farm Aid 25: Growing Hope for America will feature Nelson, Mellencamp, and fellow Farm Aid board members
Neil Young and Dave Matthews, with other top
artists to be announced. The show will be broadcast live on DirecTV.

Tickets for Farm Aid 25: Growing Hope for America will go on sale Saturday, August 14, at 9 a.m. CDT and
are available at the Brewers box office, by phone at (414) 902-4000 or online at www.tickets.com. Ticket prices range from $39.50 to $97.50, including facility
fee.

Farm Aid will offer special advance sale tickets to Farm Aid members beginning Friday, August 6. To become a Farm
Aid member, visit www.farmaid.org.


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