JamBase’s Most Important Shows Of The Decade
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Everything changed over the last decade. Never mind the political, social and economic upheaval, musically everything changed. Ten years ago we didn’t own iPods or Smart Phones; we rocked a Discman and in some cases an old yellow Walkman. We didn’t download tracks or stream shows; we bought albums and traded live Maxell tapes. Then technology set us free and the record industry collapsed. After peaking in 2000, CD sales have plummeted by more than 50-percent, dropping further into oblivion every year. Meanwhile, digital sales continue to rise and free music (both pirated and authorized) is everywhere, flooding hard drives like never before. Surely this trend will continue for the foreseeable future.
The old model is dead. It’s a new game and the rules are still being defined. One thing, however, is for sure, the music industry needed a colossal change and it’s getting it. The days of boy bands selling 2 million units in a week are gone. And for that, you can thank the digital download. Online music is on the way to making radio irrelevant and no one seems sure if MTV even plays music anymore. It’s not that people listen to or want less music. The way we get it has simply evolved. We no longer need anyone to spoon-feed us lowest common denominator crap. Now we’ve got a billion ways to get turned on to the latest thing, and with advancements in how music is made there’s more to choose from than at any other time in history.
But one thing didn’t change in the past ten years. We still go see live music. As album sales fell through the floor, live music revenue has grown by 150-percent. Here at JamBase, we’ve always known the live experience is where it’s at, and now that all bands (not just the ones this site was founded upon) are forced to survive on touring dollars, the rest of the music world is catching on. That’s one change we’re happy to embrace.
At the beginning of the decade, JamBase was just starting to really take form. Surviving the dot-com bubble burst, we were a small team working out of an even smaller house in Mill Valley, California. Soon we sprouted legs, and as our vision and team evolved, we moved into a real office South of Market in downtown San Francisco, where we’ve been since 2003. Now JamBase has the most complete tour date information anywhere in the world, providing concert listings for AOL, Billboard, Spin, Rhapsody and many more, and our content has evolved into a leading source for live music editorial. Part of our mission has always been to use technology to help you get to the show and we know today’s music fan is often on the move, that’s why we created our lauded iPhone App that puts all our concert info straight into your pocket.
Even a cursory look at the articles on this website over the past decade indicates great change. From the way we look to what we cover, change has perhaps been the only constant at JamBase. Clearly, we report on more than just jam bands now (we like to think we cover the live music scene as a whole, with no genre being off limits), but if we go back to our roots and look at the band that started it all for JamBase (which grew out of Andy Gadiel’s Phish Page), we’re reminded that change is an essential part of life. It’s often hard, but almost always exciting, and if you aren’t changing and evolving, you’re probably dying.
In the past decade Phish quit (2000), came back (2002), quit again (2004), and finally got it right and resurfaced with purpose in 2009. For the most part, this was a messy decade for Trey, Mike, Page and Fish. With personal struggles taking center stage and the music falling off, when the band finished their final set at Coventry in 2004, in many ways, things couldn’t have been worse. The muddy fields were a metaphor for the state of the band and the sloppy performances an indication of just how bad it had gotten. But they overcame their challenges, and that’s certainly part of why we love them. Who amongst us hasn’t made poor decisions and paid the price? And if there’s one thing Americans love it’s a comeback story. During the ’90s this band dominated. The pressures of fame brought stress unlike anything they’d experienced, and in the 2000s they fell hard. But as we close the book on this decade, Phish is back on top in a major way. No band’s comeback has made a bigger impact on our world this decade than Phish, and we couldn’t be happier to have chronicled every step of their triumphant return.
But there’s more to Phish than just sick jams and transcendent rock shows. The ups and downs experienced by the band in many ways mirrored America’s path this decade. Coming out of the ’90s, everything appeared peachy. Mainstream music desperately needed help, but economically and politically, America was mostly doing great. September 11, 2001 thrust change upon us in ways we may never fully understand. Our collective psyche shattered, we’ve been at war ever since. Our economy has collapsed, and we’re facing a rising environmental crisis. Like Phish, America had a rough decade, but hopefully we can grab the strands of hope we’re starting to see and rise to the occasion like our favorite bands seem to do.
While it’s not likely that Phish’s trajectory had any tangible affect on our nation, it definitely affected the music scene. Phish’s hiatus (especially the first one) opened the door for a plethora of talent to flourish. With no one band filling the void, a wide array of acts like The String Cheese Incident, Umphrey’s McGee, STS9, The Disco Biscuits, Keller Williams, and many others were able to rapidly gain new fans and separate themselves from the pack as the premier new crop of jam bands.
 Michael Jackson |
The changing scene and lack of a clear improvisational concert king also allowed a host of bands hovering on the borders of jam to emerge more prominently in the live music space. With the help of festivals like Bonnaroo, websites like JamBase and open-minded fans like you, artists such as My Morning Jacket, Jack White, Drive-By Truckers, The Hold Steady, Arcade Fire, and The Mars Volta all experienced incredible breakthroughs.
But, that didn’t mean the pillars of the jam scene crumbled in the 2000s. The granddaddy of ‘em all, The Grateful Dead found ways to reform, reinvent and move on after Jerry Garcia’s death in 1995. moe. proved to be one of the most consistent acts of the decade, Gov’t Mule survived the death of Allen Woody, and Widespread Panic managed to find new life with Jimmy Herring after Michael Houser passed away in 2002.
Though we lost some legends, including Johnny Cash, James Brown, George Harrison, Vic Chesnutt and Michael Jackson, we did get a bunch of reunions and even a few rebirths this past decade. Led Zeppelin, Pink Floyd, Cream, The Police, Van Halen, The Pixies, Dinosaur Jr., Polvo, Meat Puppets, Smashing Pumpkins, Gang of Four, Rage Against the Machine, Leonard Cohen and The Stooges all returned to the stage, and all were in consideration (some more than others) for this feature.
In fact, there were pages upon pages of possibilities pored over while creating this list. Trying to determine 10 shows that stood out in a decade packed with powerful performances proved daunting, and we’re sure we left off something critical, which is why we’d love to see you set the record straight by sharing your own list in the Comments Section. But this is our list. After serious internal debate, discussions with artists and industry insiders, and careful consideration of your comments and emails, these are JamBase’s Most Important Shows of The Decade, presented to you in chronological order. It all starts with a special night in Florida that many fans spent the next decade reminiscing about or wishing they’d attended. (Kayceman)
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Phish | 01/01/00
Big Cypress | Seminole Indian Reservation | Everglades, FL
 Photo of Phish at Big Cypress by Danny Clinch |
The decade began with Phish performing for over seven straight hours from midnight until sunrise in the middle of the Florida Everglades. The band arrived on stage riding their trademark giant Hot Dog as it paraded through the audience to a recording of their song “Meatstick.” As they took to their instruments and finished the tune, the final moments of the ’90s came to a close and an audience over 85,000 strong was led in a Millennium Countdown before the band launched into their anthemic “Down With Disease.” About an hour later, “Heavy Things” (cheesecake!) would be telecast live on ABC Nightly News‘ special New Year’s Eve coverage from around the world to over 100 million people.
Significant for its timing, location and endurance, the show featured some of the most powerful and definitive versions of the band’s staple songs including “You Enjoy Myself,” “Slave to the Traffic Light,” “Reba,” “Sand,” and “David Bowie.” They also showcased several beloved covers including The Velvet Underground’s “Rock and Roll,” Talking Heads’ “Crosseyed and Painless,” The Who’s “Drowned,” and Ween’s “Roses Are Free.” The set was so powerful for the band that after leaving the stage at sunrise they opted not to return for an encore, instead leaving it to Mother Nature and a recording of The Beatles’ “Here Comes The Sun” to send the audience on their way. This ultimate “long gig” left those in attendance satiated, awe struck, and thankful that the world (Y2K) did not come to and end. (Andy Gadiel)
Setlist (courtesy of Phish.net)
Meatstick > Auld Lang Syne, Down with Disease > Llama, Bathtub Gin, Heavy Things, Twist > Prince Caspian > Rock and Roll, You Enjoy Myself, Crosseyed and Painless, The Inlaw Josie Wales, Sand > Quadrophonic Toppling, Slave to the Traffic Light, Albuquerque, Reba, Axilla, Uncle Pen, David Bowie, My Soul, Drowned > After Midnight Reprise, The Horse > Silent in the Morning, Bittersweet Motel, Piper > Free, Lawn Boy, Hold Your Head Up > Love You > Hold Your Head Up, Roses Are Free, Bug, Also Sprach Zarathustra > Wading in the Velvet Sea, Meatstick
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Phil & Friends | 12/31/00
Henry J. Kaiser Auditorium | Oakland, CA
 Photo of Gordon, Herring, Lesh & Haynes on NYE 2000 in Oakland by Dave Vann |
In no small way, this night was the relaunch of The Grateful Dead NYE tradition. Despite the fact that RatDog had been playing December 31st since 1998, after numerous lineups, Phil Lesh & Friends settled into a stunning aggregate in 2000 that happily reminded many diehards why this music endures. The Dead tribe had set their calendars for decades around where the band would land on key dates like NYE, Mardi Gras, etc. and the buzz leading up to this evening had the same run-away-to-the-circus, butterflies-in-the-tummy vibe that The Grateful Dead always engendered. “The Quintet,” as they came to be known, of Lesh (bass, vocals), Warren Haynes (guitar, vocals), Jimmy Herring (guitar), Rob Barraco (keys, vocals) and John Molo (drums) attacked this music like it was alive – rangy and unruly like days of old – and that in turn put the electrodes to this beloved catalog. For perhaps the first time since Jerry Garcia passed, it felt like there was a real tomorrow for this music. The heightened atmosphere was further elevated by the recent passing of Allen Woody, putting the future of Gov’t Mule in question and leaving Haynes and Matt Abts to open the night as an acoustic duo. Toss in several guest turns by Mike Gordon, which poignantly reminded one that Phish was not holding their annual NYE festivities, and you had a gathering that directly and indirectly grappled with death and rebirth in stirring ways. (Dennis Cook)
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The Concert for New York City | 10/21/01
Madison Square Garden | New York, NY
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With the World Trade Center attacks of 9/11 still stingingly fresh in our collective memory, Paul McCartney gathered together The Who, Bon Jovi, Macy Gray, John Mellencamp, Backstreet Boys and more, plus film and political luminaries like Adam Sandler, Billy Crystal, Tom Daschle and Harrison Ford for a benefit concert that was a defiant affirmation of the United States’ ability to endure almost anything and thrive. Where most events of this sort truck in near-somber sincerity, The Concert for New York City welcomed in laughter and entertainment, both of which were in short supply for the many NYC firefighters and policemen and their families in attendance. Though studded with stellar turns like Eric Clapton and Buddy Guy doing “Hoochie Coochie Man” and Mick Jagger and Keith Richards getting gospel on “Salt of the Earth,” the pinnacle of the night might be Billy Joel‘s one-two punch of “Miami 2017 (Seen The Lights Go Out On Broadway)” and “New York State of Mind,” where MSG exploded as he punched lines like, “They turned our power down and drove us underground, but we went right on with the show,” with an emotion impossible to duplicate. An incredible example of where the worst in human beings can sometimes be a catalyst for the very best in us. (Dennis Cook)
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Widespread Panic | 04/28/02
Oak Mountain Amphitheatre | Pelham, AL
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| Photos of Widespread Panic at Oak Mountain on 04/28/02 by Jackie Jasper | |
As far as anyone knew, this was it. By all accounts, Sunday, April 28, 2002 at Pelham, Alabama’s Oak Mountain Amphitheatre appeared to be Widespread Panic lead guitarist and co-founder Michael Houser‘s last concert. It was the final night of a brief eight-show spring tour that felt like, and in many ways was, the “Goodbye Houser Tour.” Although not an official word had been uttered, most fans knew that Houser had contracted pancreatic cancer, and one could tell just by looking at him up close onstage that his time was drawing near. Although he would bravely perform seven more shows as he began the spring tour two months later, at this point, Sunday at Oak Mountain looked like the final one.
The venue, set in the heart of Panic Country, was packed with 10,000 serious fans and there was a tension and energy hanging in the humid Alabama air unlike anything I have personally ever experienced. The band rose to the occasion; from song selection (there wasn’t a dry eye during the “Trouble” encore) to execution to the Jerry Joseph guest appearance, it was nearly flawless and one of the best shows of the band’s legendary career. But it was more than just that. It was the way the weather coincided with the music, making it feel like bandleader John Bell had created rain during “Cortez The Killer.” It was the undeniable sense of community. It was the bittersweet, sad-yet-grateful feeling for the opportunity to say goodbye properly and rage it one more time. It was the weight of it all. Standing at Oak Mountain, bitter tears and warm rain washing over one’s face, wrapped in arms from friends both old and new, truly believing this was the final Houser jam, it felt like we were part of history on that day. (Kayceman)
Stream this show for free at Panicstream.com
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Bonnaroo Music Festival | 06/21/02 – 06/23/02
Manchester, TN
 Photo of Phil Lesh and Friends with Bob Weir at Bonnaroo 2002 by Dave Vann |
Selling out 70,000 tickets in advance to an untried mega-festival in the Tennessee hills with roots in the jam scene would have been accomplishment enough, but the inaugural Bonnaroo had ripples far beyond great sales. In no small way, Bonnaroo put this subculture on the larger cultural map, joining Coachella and Lollapalooza as one of few festivals covered by MTV and other mainstream outlets. However, from the start Bonnaroo has embraced tradition and heritage artists AND cutting edge talent in a way no other super-sized fest had, putting the likes of Blind Boys of Alabama and the Del McCoury Band right next to Ween and Les Claypool. In going big from the get-go, Bonnaroo established itself overnight as a destination for music lovers worldwide. Using the abundant energy and vast subterranean network of live music loving jam fans, the organizers launched something part intrinsically “jam” that was also something much, much larger in scope and vision. While subsequent years have found the likes of Tool, Bruce Springsteen and Tom Petty and the Heartbreakers headlining, for some ‘Roo vets there’s perhaps no more enduring, moving set than Widespread Panic performing one of their final shows with Michael Houser this first year, a pulsating, powerhouse display that included “Testify” with Dottie Peoples, where Dave Schools says he looked out over the crowd and they were “levitating.” In an age where small ideas and limited expectations prevail Bonnaroo actively reaches for grandeur and all those involved are encouraged to stretch beyond their normal limitations and ways of seeing. (Dennis Cook)
2002 Bonnaroo Artist Lineup: Widespread Panic
* Trey Anastasio
* Ben Harper
* The String Cheese Incident
* Phil Lesh and Friends (w/Bob Weir)
* Bela Fleck & Edgar Meyer
* Galactic with Trombone Shorty and Corey Henry
* Gov’t Mule
* Jack Johnson
* Norah Jones
* Jurassic 5
* Karl Denson’s Tiny Universe
* Les Claypool
* moe.
* Ween
* Keller Williams (WMD’s)
* Acoustic Syndicate
* The Big Wu
* Blind Boys of Alabama
* Blackalicious
* John Butler Trio
* Campbell Brothers
* Colonel Claypool’s Bucket of Bernie Brains
* Cut Chemist
* The Del McCoury band
* Dirty Dozen Brass Band
* The Disco Biscuits
* Gabe Dixon Band
* Donna The Buffalo
* Dottie Peoples
* Drums & Tuba
* Gran Torino
* Col. Bruce Hampton & The Code Talkers
* Corey Harris
* Lil’ Rascals Brass Band
* Llama
* DJ Logic
* Mofro
* North Mississippi Allstars
* Old Crow Medicine Show
* Particle
* RANA
* Soulive
* Amon Tobin
* Umphrey’s McGee
* Jim White
* Vinroc
* Z-Trip
* Mark Eddie
* Mike Birbiglia
* Vic Henley
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Gov’t Mule – The Deepest End | 05/03/03
Saenger Theatre | New Orleans, LA
 Photo of Haynes, Abts, Newsted and Louis at Gov’t Mule’s “The Deepest End Concert” on 05/03/03 in New Orleans by Michael Weintrob |
If one ever needed proof that Gov’t Mule was a band adored by their fellow musicians, then “The Deepest End Concert” in New Orleans should provide all the evidence one needs. The culmination of three years of recording and mourning the loss of founding bassist Allen Woody, this five-and-a-half-hour marathon performance found this contemporary classic rock unit joined by some of the finest bassists in the world – Jason Newsted (Metallica, Ozzy, Voivod), George Porter Jr. (The Meters), Dave Schools (Widespread Panic), Victor Wooten (Bela Fleck), Rob Wasserman, Paul Jackson Jr., Mike Gordon (Phish), Roger Glover (Deep Purple), Jack Casady (Hot Tune, Jefferson Airplane), Conrad Lazano (Los Lobos), Les Claypool (Primus), and then Mule regular Greg Rzab. If that weren’t enough, the night also had guest turns from Ivan Neville (Dumpstaphunk), Dirty Dozen Brass Band, Karl Denson and more. A largely unrehearsed affair, the show was rich in what Mule leader Warren Haynes calls “spontaneous composition.” The range of material was off the chain, including Sabbath covers with Jason Newsted, Purple’s “Maybe I’m A Leo” with Glover, and a blinding version of Herbie Hancock’s “Chameleon” with studio whiz Paul Jackson Jr. whipping the low end every which way. The art of focused, meaty improvisation has rarely had a finer showing than this gig, which also served to highlight what a ridiculously diverse bunch Gov’t Mule is – a big tent capable of holding just about anything if these cats (and their collaborators) put their backbone into it. (Dennis Cook)
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New Orleans Jazz & Heritage Festival
04/28/06-04/30/06 & 05/05/06-05/07/06
Fair Grounds Race Course | New Orleans, LA
 Photo of Bruce Springsteen at Jazz Fest 2006 in New Orleans by Michael Weintrob |
Hurricane Katrina devastated New Orleans and the Gulf Coast. One of the worst natural disasters to ever hit the United States, around 2,000 people died with several hundred more declared “missing.” When the levees broke on August 29, 2005 water covered 80-percent of the Crescent City. With the pathetic, disorganized response from our government and the days of bedlam that followed, it appeared that America’s most unique, most culturally significant city (giving birth to jazz is often considered this country’s crowning artistic achievement, not to mention the food!) might be gone forever, submerged under six feet of water never to return. And that’s why eight months later when the New Orleans Jazz & Heritage Festival celebrated its 37th year it was much more than just another Jazz Fest.
No one was sure if the organizers would even be able to make the event happen, and there were serious questions about if anyone would come. What transpired was an emotional celebration that marked a critical point in our nation’s history. It was a symbol of hope and a statement of purpose from the city, the musicians and the fans. 4,000 artists performed on ten stages over the two-weekend event, with headliners including Bruce Springsteen, Dr. John, Dave Matthews, Lionel Richie, Paul Simon, Elvis Costello and Allen Toussaint. It was a stake in the ground that said, “We won’t let New Orleans die.” The massive surge of tourist dollars clearly helped, but what New Orleans needed even more was the knowledge that we cared, that despite our government’s lack of commitment, the American people valued New Orleans and we would help bring her residents home. And while there is still so much more that needs to be done, we learned that no flood could drown New Orleans. Music is the blood of the city (and those who flock there), and Jazz Fest 2006 jumpstarted her heart and began the long, slow, still ongoing recovery of New Orleans. All you needed to do was step foot on the Fairgrounds that spring to know it was happening. The smell of crawfish Monica wafting in the air and the sound of The Boss singing, “We Shall Overcome” to hordes of weeping, dancing masses was enough to make us believe again. (Kayceman)
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Daft Punk | 04/29/06
Coachella Valley Music and Arts Festival | Indio, CA
 Photo of Daft Punk at Coachella 2006 by Casey Flanigan |
Daft Punk built a pyramid of lights and broke down walls. Thomas Bangalter and Guy-Manuel de Homem-Christo were hardly the first act to blur genre lines, but what they did at Coachella in 2006, their first U.S. appearance since 1997, shattered the boundaries of electronica. Transformed into robots and perched inside a 40-foot shape-shifting LED covered pyramid, the French duo manipulated the crowd’s movements (serious dance party) and emotions (laughter and tears were both common) with brilliant super anthems like “Around The World,” “Harder, Better, Faster, Stronger” and “One More Time.” It was pop music, but smart, funny and designed to make you think as well as move. It brought elements from the dance world into stadium rock and the over-the-top production felt like a Broadway play from the distant future. And the fact that two guys not playing any traditional instruments could be this completely captivating was revolutionary. When that pyramid touched down in Indio, all of a sudden music made by machines was for everyone. Rockers pumped their fists, hip hop enthusiasts bounced, teenage girls screamed, doubters instantly became believers and everyone was blown away by the most elaborate, intricate and arguably greatest light show ever put together. It was a life-affirming experience that brought every person to the table, and no one has come close to duplicating it since. (Kayceman)
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Radiohead | 06/17/06
Bonnaroo Music Festival | Manchester, TN
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| Photo of Radiohead’s Thom Yorke on 06/17/06 at Bonnaroo by Dave Vann | |
Few bands are more un-hippy than Radiohead, so their Saturday night headlining slot at Bonnaroo ’06 signaled a sharp turn towards modernity for the festival. It was hardly the first time these Glastonbury vets had played for mud flecked, long haired masses, but there’s something resolutely non-jammy about Radiohead and attendees were pretty evenly split between those thrilled to have arguably the greatest rock band in the world serenade them and those who genuinely thought they were a duck out of water at the ‘Roo. However, once they started playing their hyper-alive sound and permeating depth swiftly gathered up the packed crowd. A young, dreadlocked, peasant skirt wearing String Cheese fan told us before the show that she’d never heard a note by Radiohead but was curious based on their rep. A few songs in, having been splendidly tousled by “There There,” “2+2=5″ and a pre-In Rainbows “15 Step,” she bellowed from the back of the huge field, “I like your music!” It was a succinct, heartfelt exclamation and serves to illustrate how intensely moving Radiohead’s music can be. And the band appeared to be just as smitten with the Bonnaroo audience, with frontman Thom Yorke giving as good as he got in a glow stick war and shimmying like a jellyfish that’d just been hit with a car battery. The first encore was almost a second set with eight songs, including a blistering early “Bodysnatchers,” and the second encore delivered us to the celestial plateau of “Everything In Its Right Place.”
Afterwards, Yorke told BBC Radio, “We did this festival called Bonnaroo. We did 2.5 hours. And there’s 80,000 people, admittedly they’ve been smoking the sticky green all day – probably wouldn’t go anywhere anyway. It was just amazing. We played loads of new stuff. We did whole sections of quiet piano songs and it sounds like the most grotesque, self-indulgent nonsense, but it probably is my favourite gig for years and years and years.” (Dennis Cook)
Download Option #1 and Download Option #2
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My Morning Jacket | 12/31/06
The Fillmore | San Francisco, CA
 Photo of My Morning Jacket on 12/31/06 at The Fillmore by Dave Vann |
There have been many epic My Morning Jacket shows over the past decade – their “coming-of-age” afternoon set in the rain of Bonnaroo 2004; their marathon late night set there four years later; the hometown party in Louisville at Waterfront Park in August 2008; and the huge NYE gig a few months later at Madison Square Garden. Any of these concerts could have made our list, but it was MMJ’s New Year’s Eve 2006 run at The Fillmore that takes the cake. The band was experiencing huge growth, both musically and in terms of ticket sales and would soon be dubbed “America’s best live band” by Rolling Stone, LA Weekly and many JamBase writers to name a few. This show put them on one of the most famous stages in the world on the biggest night of them all and they killed it.
The three-night extravaganza culminated in a sprawling NYE celebration that included an ambitious theatrical element inspired by the old video game The Oregon Trail. The mood was built upon a “Donner Party meets Little House On The Prairie” theme with the band dressed as settlers and native Americans, and the spirits came to life with a number of well executed skits that eventually found bassist Two-Tone Tommy coming back from the dead and killing his bandmates in retribution for eating him earlier in the show (food was scarce on the trail). And that was just the backdrop for a night of extremely well played classic Jacket tracks mixed with rare nuggets and a slew of covers including AC/DC’s “Highway to Hell,” Kool & The Gang’s “Celebration,” Lionel Richie’s “All Night Long,” Wham’s “Careless Whisper” and Prince’s “I Could Never Take The Place Of Your Man.” The show was an instant classic. But like most of the bands that really stick with us, a Jacket concert is more than just a rock show. It’s big, heady stuff and has the ability to open us up and help us feel and connect. It’s an experience, and on NYE 2006 My Morning Jacket seized the moment and created something special. What The Fillmore run announced was a world class band with ambitions beyond just performing their songs well. (Kayceman)
JamBase | Happy New Year
Go See Live Music!
Charlie Hunter
Norah Jones