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Derek Trucks & Susan Tedeschi Band | NYE | Review

January 21st, 2011 | No Comments

Words by: Scott Horowitz | Images by Ray Proetto

Derek Trucks & Susan Tedeschi :: 12.31.10 :: Florida Theatre :: Jacksonville, Florida

Derek & Susan by Ray Proetto

Derek Trucks and Susan Tedeschi put their solo acts on hold in 2010 to write and make music together with a fresh new band. In April they began playing new songs, trying to find their identity. Ten months later they have evolved into a cohesive unit, putting out sets of music that flow as majestically as the nearby St. Johns River into the Atlantic Ocean. Their New Year’s Eve celebration took place near the river banks of Jacksonville, Florida.

After an opening set from Scrapmatic, the Derek Trucks & Susan Tedeschi Band began their NYE set with “Don’t Let Me Slide” followed by my personal favorite “Midnight in Harlem,” a hopeful tune with a comforting and familiar feel. Derek & The Dominoes tune “Anyday” saw Trucks sliding up and down his guitar, evoking cheers from the attentive audience. The show took a turn down Funky Street with “Love Has Something Else to Say.” Brothers Oteil (bass, Allman Brothers Band) and Kofi Burbridge (keyboards, Derek Trucks Band) emanated fun-loving grooves from their corner of the stage all night long, making way for some patrons to sashay in their New Year’s attire up the aisles of the Florida Theatre (until being told to sit down by security).

Horn section by Ray Proetto

Kebbi Williams flowed through his saxophone across the stage, inspiring impressive leads from Oteil. Though this marked only the second show with the horn section, put together specifically for this New Year’s run, it seemed as if they had been in the band since April. Joining Williams, on trombone, was Saunders “Service” Sermons and Maurice “Mo’ Betta” Brown on trumpet.

The execution of the Eric Clapton arrangement of “Presence of the Lord” had more and more people finding their way to their feet. However, most in the audience remained unsure of what to do with themselves physically, most remaining seated and grooving cerebrally. Mike Mattison took lead vocal duties on Taj Mahal‘s “Leaving Trunk,” which made way for new blues number “That Did It”. The verses have Mattison and Mark Rivers laying down playful background vocal harmonies with Motown-esque Aah-ooh’s while Susan sings a soulful tale of heartache.

It is no secret that Susan is a world class vocalist, but on “That Did It” her guitar skills were front and center. She laid into her instrument with enough soul and power to make the ghost of Sister Rosetta Tharpe proud. Her approach to the six-string is a no-gimmick, loud and subtle reminder that she is the mother of Derek Trucks’ children.

Derek Trucks’ role as bandleader is performed perfectly. He gives everyone else onstage the space they need to become who they are musically. At times, when all eyes turn to him for a solo, he will defer the moment to someone else. Once everybody has found themselves in their given space, Trucks’ bright red Gibson SG is implied. With a meditative expression on his face, Derek tears sonic holes in the universe; each one providing grist for the mill of his spiritual journey with a guitar.

“Learn How to Love” is a thick swamp-fueled song that Derek and Susan wrote with Eric Krasno. Max Roach’s “Garvey’s Ghost” made an appearance late in the set featuring a powerful, tribal and lyrical drum solo which started with Tyler “The Falcon” Greenwell on groove duty while JJ Johnson took lead until handing it off to Greenwell, which led to both drummers playing off of each other with brilliant melody. The other band members gave the drummers their full, conscious attention during the drum solo, including Trucks, who took a knee center-stage as if to show respect for the most ancient form of musical expression.

Derek & Susan Band by Ray Proetto

The best, and rarest, quality of a good drummer is selflessness. Johnson and Greenwell pull selflessness out of each other creating a huge seamless rhythmic foundation on which the rest of the band rests upon. The end of “Garvey’s Ghost” began a cover of Joe Cocker’s “Space Captain.” which Derek and Susan recorded earlier in the year with Herbie Hancock at their backyard home studio.

The triumphant vocals at the beginning of Delany & Bonnie’s “Coming Home” started the countdown to midnight. Smiles, hugs, and kisses welcomed in the New Year as the band celebrated with Ray Charles’ “Night Time is The Right Time” and Mattison’s song “Bound for Glory”. Aretha Franklin’s “Spirit in The Dark” encored the evening and sent the North Florida faithful strutting into the night.

The band is due to release their first album in June of 2011 and has dates booked in April for Australia and New Zealand.

May the best of last year be the worst of this year.

Derek Trucks & Susan Tedeschi Band Tour Dates :: Derek Trucks & Susan Tedeschi Band News :: Derek Trucks & Susan Tedeschi Band Concert Reviews

JamBase | River City Namaste
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Greensky Bluegrass with Danny Barnes | NYE Run | Review

January 18th, 2011 | No Comments

Words by: Sarah Hagerman | Images by: Josh Mishell

Greensky Bluegrass with Danny Barnes :: 12.30.10-12.31.10 :: Cervantes’ Other Side :: Denver, CO

Greensky Bluegrass by Josh Mishell

Denver certainly wasn’t short of choices in the New Year’s revelry department. One could have ushered in 2011 with Widespread Panic at the Pepsi Center, STS9 at the Fillmore, or Railroad Earth at the Ogden, and that’s just naming the bigger shows. But I think I made the right choice by spending it with Greensky Bluegrass and Danny Barnes at Cervantes’ Other Side . Nestled up in Five Points, a historically black neighborhood with a rich jazz history – and nowadays demonstrating the age-old story of rough-and-tumble urban center meets gentrification – the venue was somewhat removed from the neon and crowds of downtown just a few blocks away. It gave the show a semi-exclusive secret party vibe, and even The Motet thumping through the walls next door in the main room of Cervantes didn’t take away from the refreshing sense of intimacy. Not to say things didn’t get wild – when you’ve got one of the most fearlessly independent and creative musicians working today opening up for one of the most energetic, hard working acoustic roots outfits pounding that pavement, you know damn well some sparks are going to fly.

Danny Barnes by Josh Mishell

Barnes kicked off both nights’ festivities performing solo on the “barnjo” – a custom-made hybrid banjo/electric guitar that he debuted this summer at Northwest String Summit. Melding the hammering drive and fine detail of his banjo-work on an instrument that allows him to fully embrace plugged-in rock-and-roll aggression, it proved the perfect outlet for his own wonderfully mercurial musical nature. Unlike the FolkTronics approach he had previously taken with his music, where he used Ableton software to craft a broad palette with the banjo, looping the instrument and incorporating beats and samples, this method had a considerably more stripped-down aesthetic. But this was some pure diesel, as Barnes travelled between sonic moods and textures with a tight, dizzying quickness.

It was cool to hear the open-throttle versions of songs spanning his career over both nights, from Bad Livers (“Lumpy, Beanpole & Dirt,” “Little Bitty Town,” “Legend of Sawdust Boogers,” “Going Where They Do Not Know My Name,” “Love Songs Suck”) through his latest album, the brilliant Pizza Box. Take, “Sleep,” a claustrophobic tale based on a friend of Barnes who went to jail. He told Barnes he was relieved when the cops finally busted in his door, because he knew they were coming and he could finally get some sleep. On Pizza Box, it unfolds like an unhinged dream, but the barnjo interpretation tapped its murky, shuddering dread in direct, close-to-the-bone cuts.

Danny Barnes by Josh Mishell

Meanwhile during “Everything Fades,” on the line “Everything fades/That was made by a man,” Barnes simply let a lonely, lovely hum hang in the air, as if to emphasize that point, before spiraling down into some heavy Stooges-like stomping. Barnes utilized the instrument with equally potency on more delicate tunes like Things I Done Wrong‘s “Big Girl Blues,” which he nicely segued into T. Rex’s “Bang a Gong (Get It On)” on New Year’s Eve, and “Overdue,” where he let the notes gracefully float and dissolve in the air. Plus you have to appreciate a man who wrote “Love Songs Suck” – which lent itself to a crushing barnjo interpretation perfectly – writing “Overdue.” It’s a love song which, to put it mildly, in no way sucks at all. That’s how you show ‘em how it’s done.

The barnjo also allows Barnes to more-readily tap the punk rock heart that has always set him apart from the often-tired roots music scene. He even played Minor Threat on the first night of the run for, “All the designated drivers out there,” ripping out a vicious cover of “Straight Edge.” It was a pretty ballsy song choice, especially on the cusp of a holiday that’s become associated with getting as FUBARed as possible. Barnes has always had that element of subversion in his music, and this latest badass development is no exception.

Despite the “Bluegrass” in their name, Greensky aren’t trying to fit neatly into that category or cater to the IBMA crowd. They’ve obviously done their musical homework, but they pull from their own frames of reference in a way that keeps their sound fresh, rooted in a thoroughly modern sensibility rather than nostalgia. They are as likely to cover Bruce Springsteen or Michael Jackson as they are classic bluegrass tunes – and treat them with the same ace musicianship (not a lame Pickin’ On approach). Meanwhile, their original songwriting features a splendid attention to melody and old soul contemplations that dig deeper than the atypical road and mountain songs written by many acoustic roots bands.

Paul Hoffman by Josh Mishell

They also are one hard touring band. According to the stage banter, by mandolin player Paul Hoffman‘s math, the band has averaged 187 driving miles each day since 2007. But it’s so obvious that they love what they do for a living, that they are just flat out fun to watch. Take the jam out of ”Freeborn Man” during the first set on the first night, where they threw around musical references the way movie geeks throw around film quotes. This Jimmy Martin tune is one of those songs that is so oft-played that it can make for pretty tired covers, or dive into masturbatory bluegrass solo-passing territory. But Greensky kept things snappy and locomotive. Guitarist Dave Bruzza teased ‘The Simpsons’ theme, and dobro-player Anders Beck got down on “The Lion Sleeps Tonight” when he came up to bat. Hoffman jumped and boogied as he sang snatches of “Jump In Line” (an old calypso song made famous by Harry Belafonte), and later Beck and banjo player Michael Arlen Bont both riffed on Springsteen’s “Dancing in the Dark,” which Hoffman had led the band in a rousing cover of earlier in the set.

Other highlights on the first night included a spacious, swirling jam out from “Just to Lie,” off their 2008 album Five Interstates that drove straight on into Benny Galloway-penned “”Train Junkie,” featuring some particularly fierce playing by Bruzza and Beck. I also enjoyed Bont channeling Dwayne Allman on the banjo for the encore of “One Way Out,” a perfect choice for Bruzza’s strong whiskey-and-leather vocals.

But the standout of the night, and maybe all the Greensky sets over the two nights for me, was the Beck-penned “Tarpology.” “I wrote this for Sound Tribe to play, but they haven’t gotten back to me,” he laughed. Stretching well over ten minutes, the song had a perceivable pulse to it, building to mini-peaks and then crashing down again, moments of expanse giving way to tight, fist-pumping fury. It also displayed some killer use of the effects pedals by Beck and Hoffman, pushing the sound way out into bloinky, sci-fi territory. At one point, Beck’s dobro splintered over the drive of the band and then swooped in low and loud, a striking example of the tooth-baring rock and roll approach he takes to the instrument. When it was over, Beck said, “We were Greensky Bluegrass, in case you forgot.”

If Greensky on the 30th was all fire, New Year’s Eve seemed to move in snapshots, with each section of the show having a slightly different, albeit consistently joyful, vibe. After first set opener “What’s Left of the Night,” Barnes joined the band for “Groundhog” and Bad Livers’ “Deathtrip,” where he got deliciously freaky over Mike Devol‘s bruising bassline. Bruzza watched intently as he ripped it up on the barnjo, and Beck grinned wildly, obviously excited to have him on the stage. “Groundhog” dropped down into a disco-like thump for a while, before Bont picked up the tempo, giving Barnes and Bont the chance to exchange a little banjo/barnjo interplay. After Barnes’ exit, Greensky busted out a stretch of Beatles songs, including “Got to Get You Into My Life,” “Lucy in the Sky with Diamonds,” “Help” (which lent itself to a fast bluegrass interpretation incredibly well), “A Day in the Life,” and the entire B-side of Abbey Road to take us up to set break.

Dave Bruzza & Vince Herman by Josh Mishell

The band came back in the nick of time to ring in 2011 with “Stop That Train,” the balloons falling, couples kissing, glasses raising all around us. The second set clocked in at over two hours, and featured some favorite Greensky songs, like the heart-wrenching “Reverend” and the pick-your-head-up “All Four,” an uplifting way to welcome the New Year as the balloons popped around us at our feet. They were also joined by some friends, specifically, a clean shaven Vince Herman , and later, Boulder-based singer/songwriter Pete Kartsounes, who wailed on the harmonica and picked Bruzza’s guitar while Bruzza drank champagne from the bottle, passing it to people in the front row.

Herman always brings a party to the stage. He shook his head so hard during “Way Up on the Hill Where They Do the Boogie” that his New Year’s hat tumbled off. Later in the song, his mic’s boom arm began to sink downwards. Caught up in the spirit, Herman kept singing into it, following it as went down, before Bruzza reached over and caught it, propping it back upright. Herman then kicked off a round of “Salty Dog,” a song that always gets decidedly dirty. It’s a number you bust out at a late night jam when the kids are in bed and everyone left standing is half in the bag. After passing around a few ribald verses, Herman cried, “Let’s all pick the shit out of this boys!” as Greensky rallied around him. After Herman’s exit, the band would keep up that infectious energy, propelling us past the 2:30 am mark with gusto.

It was a two-night stand that satisfied both my yee haw and punk rock factors, as we bid adios to the foul year of our lord and welcomed the clean slate possibilities of 2011. As I’m writing this, a few days into the year, 2011 is already shaping up to be a rough year. But as a friend of mine recently said to me, “The arts are mankind’s maybe one get out of jail free card.” I don’t know about you, but I take comfort in the fact that there are joyful road warriors and inventive badasses out there, adding to the collective spirit that may just be our one shot at redemption, if we’re smart enough to recognize it.

Greensky Bluegrass Tour Dates :: Greensky Bluegrass News :: Greensky Bluegrass Concert Reviews


JamBase | Ramblin’
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Grace Potter and the Nocturnals | NYE Run | Pics

January 12th, 2011 | No Comments

Images by: Mallory Finley

Grace Potter and the Nocturnals :: 12.28.10-12.29.10, 12.31.10-01.01.11 :: Higher Ground Music Hall :: South Burlington, VT


12.28.10 Setlist
Ah Mary, Only Love, Sweet Hands, Money, Oasis, Apologies, Ragged Company, Treat Me Right, Joey, Tiny Light, Big White Gate, White Rabbit (Jefferson Airplane cover), Nothing But The Water I > Nothing But The Water II, Medicine
Encore: Stop The Bus, Down By The River (Neil Young cover), Paris (Ooh La La)

12.29.10 Setlist
Medicine, Joey, Goodbye Kiss, Mastermind, Ah Mary, That Phone, Oasis, Ain’t No Time (acoustic w/ Grace, Scott, Benny), Things I Never Needed (acoustic w/ Grace, Scott, Benny), One Short Night, Only Love, Tiny Light (w/ snippet of Portishead’s Glory Box), Heart of Glass (Blondie cover), Paris (Ooh La La)
Encore: Jolene (Dolly Parton cover), Hot Summer Night, Nothing But The Water I > Nothing But The Water II

12.31.10 Setlist
Set I: Some Kind of Ride, Ah Mary, Only Love, Oasis, One Short Night, Hot Summer Night, Sweet Hands
Set II (The Big Lebowski Theme): The Man In Me (Bob Dylan cover), Run Through The Jungle (Creedence cover), Medicine, Auld Lang Syne, Just Dropped In (To See What Condition My Condition Was In) (Kenny Rogers cover), Hotel California (Eagles cover), Lookin’ Out My Back Door (Creedence cover), Mucha Muchacha (Esquivel cover), Run Through The Jungle reprise, White Rabbit, Watching You, Paris (Ooh La La)
Encore: Hotel California reprise, Nothing But The Water I, Oye Como Va (Santana cover), Big White Gate, Stop The Bus

01.01.11 Setlist
Nothing But The Water I > Nothing But The Water II, Tiny Light, Goodbye Kiss, That Phone, Colors, Oasis, 2:22, Ragged Company (acoustic w/ Grace, Scott, Benny) Golden (My Morning Jacket cover – acoustic w/ Grace, Scott, Benny), Treat Me Right (acoustic w/ Grace, Scott, Benny), Fooling Myself, Mastermind, White Rabbit, Here’s To The Meantime, Ah Mary, Paris (Ooh La La)
Encore: Crazy On You (Heart cover), Medicine

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”51″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=219″);}); 12/28/10 – 1/1/11 – Grace Potter and the Nocturnals @ Higher Ground (Ballroom) (Burlington, VT) View Photos

Grace Potter and the Nocturnals Tour Dates :: Grace Potter and the Nocturnals News :: Grace Potter and the Nocturnals Concert Reviews


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Beats Antique NYE Countdown

January 12th, 2011 | No Comments

NEW ALBUM BLIND THRESHOLD OUT NOW

Beats Antique celebrated
New
Year’s Eve in style at Sea of Dreams NYE at the Concourse Exhibition Center in San Francisco. To ring in
the
new year, the group performed a remix of Europe‘s “The Final Countdown.” Click here
to
download the remix and check out the video below.

Beats Antique
Tour Dates
::
Beats Antique News
::
Beats Antique
Concert
Reviews


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Moon Taxi | NYE | Nashville | Review

January 7th, 2011 | No Comments

Words by: Wesley Hodges

Scroll down to check out a couple of videos from the night!

Moon Taxi :: 12.31.10 :: Exit/In :: Nashville, TN

For many, New Year’s Eve is pejoratively referred to as “Amateur Night”, due in large part to overhyped/overpriced
New Year’s parties that never quite meet expectations, sardine-packed bars, and the sheer number of people
getting twisted on libations and losing their wits. Those who frequent this web site and likely attend one of the
choices on
the full menu of live music events being offered nationwide probably share the sentiment that New Year’s
Eve is the night of all nights in the live music world, a chance to see one of your favorite bands stretch it out, try on
a few musical costumes and put their signature stamp on the back end of the year. After Widespread Panic in ’09 and My Morning Jacket in ’08, this year
the show of choice was Moon
Taxi in Nashville, and a chance to see a band I’ve been lucky enough to watch progress from the very
early days playing tiny bars and college parties in Music City.

At Nashville’s famed Exit/In down on Elliston Place, the local workhorse virtuosos displayed a level of
professionalism and precision only attainable from weeks of planning and practice. As a musician friend aptly put it,
this show was a statement for the band. The performance included a host of covers, the band’s genre-
bending and well sung array of originals, numerous special guests, and a blinding assortment of pop songs
from 2010 to bade adieu to the year in impressive fashion. The Alabama-bred and Music City based quintet has
relentlessly toured over the past several years and organically attained a sizeable and loyal fanbase in the Music
City, as well as their native Birmingham. The past couple years have been especially prosperous as Moon Taxi
continues to gain notoriety nationwide as a rising star in the jam scene, in large thanks to numerous major festival
appearances and supporting slots on major tours. This year’s event sold out in advance, perhaps indicating that a
notch up to a larger venue for the occasion in 2011 may be in order. Musically, there are few young bands out there
brimming over with this level of talent and a genuinely infectious enthusiasm that emanates with every note.
Particularly, guitarist/vocalist Trevor Terndrup has the rare ability to engage the person in the back of the
room and command their keen interest, the sort of lead singer who actually sounds even better in person than on
record, a rarity.

As any band should know, New Year’s Eve calls for a little something extra (which is usually built into the ticket price
- however, this one was a bargain considering what we got) calling for a few additional days of practice to learn
some new cover songs and a rearrangement of some originals. After Friday, it is evident that this is a familiar
formula that Moon Taxi already seems to have mastered for their New Years shows. The venue’s web site misstated
the starting time for the show, but luckily we got down to the show early and only missed the show opener, walking
into an already roaring scene as the band took on the relatively older song “Mustang” from 2007′s debut LP
Melodica with it’s appropriate lyrics for such a bacchanalian occasion: Raise my glass tonight/I say we
can fly if the wind is right. After a chunk of newer songs and a couple including a drum line (which didn’t make
too much of a difference until their guest spot on the encore), a guest tenor sax player joined in for a first-rate take
on MJ’s “Thriller” towards the end of the first set. The lighting display was demonstrably thought out and a nice
accent to the music onstage, and notably pronounced, even in the relatively small 500 or so person venue. Before
taking a set break, the band seamlessly tore through an incongruous, yet cohesive medley of radio-friendly hit
songs from the past year, which included verses from Justin Bieber’s tear-your-ears-out/annoying song
“Baby”, Mumford and Son’s, Lady Gaga, Ke$ha, Vampire Weekend,
Cee-Lo’s “Fuck You” and amusingly capping the medley with “Bed Intruder Song” (easily the crowd favorite
of the medley), the YouTube sensation-turned hit “hide yo kids/hide yo wife” song. The medley was a brief, year-
in-review style retrospect on the good, bad and the ugly from pop radio and a jaw-dropping display of this young
band’s canyon-esque depth on both a musical and vocal front. One of those wow moments that had
everyone turning to the person next to them, wide-eyed and grinning, asking if that really just happened.

After a brief intermission, the band returned to the stage just minutes before midnight, counted down, raised a glass
and busted through “Auld Lang Syne” amongst balloons and a confetti cannon shower, creating a unique and colorful
scene inside the generally dark and drab venue (endearing qualities generally speaking). With the lighting display
and New Years decorations, Exit/In actually took on a little bit more of a festive demeanor for the special night.
Next, it was The Who classic “Baba O’Reilly”, an excellent cover choice to ring in the new year, giving
keyboard player Wes Bailey an opportunity to show off his remarkable ability on this tune, certainly staking
a claim as a rising star on his instrument of choice. A lightning fast run through the Talking Heads “Life
During Wartime” was an ideal mid-stride second set addition to help keep the high-energy crowd thriving.
Throughout the evening, lead singer Trevor Terndrup showcased his exceptional vocal talent (in the
musical progeny of Sublime‘s Bradley Nowell) that seems to work best within the reggae/dub
milieu, but is limber enough to sing metal, rock and country when duty calls for it. The inspired presentation
oscillated healthily between lighter, groovier fare and New Years raucous-inducements (including the first
successful stage dive I’ve seen in countless shows at Exit/In), as evidenced by the oxymoronic new slow jam “Square
Circles”, the dead ringer dub odyssey of “Here To Stay”, and the proggy second set closer “Whiskey Sunset”. Finally,
the tribal/drum-line’d take on Billy Joel’s “River of Dreams” helped send the crowd on their way into the
soggy night in a blissed-out stupor, raving about what they had just taken part in, as local DJ Kidsmeal
kept the after party spinning late into the night.

Moon Taxi :: December 31, 2010 :: Exit/In :: Nashville, TN
I: Skipping Stones, Mustang, Mercury, Square Circles, Common Ground, Cabaret (w/ drum line), All the
rage (w/ drum line), Thriller (Michael Jackson – w/ sax), Information center> 2010 Medley (included verses from
Justin Bieber, Vampire Weekend, Mumford & Sons, Lady Gaga, Ke$ha, Cee-Lo Green, and the Bed Intruder Song),
Pennies From the Grave (w/ DJ Kidsmeal)

II: NYE Countdown > Auld Lang Syne, Baba O’Riley (w/ sax), Who Do You Think U R (w/ sax), Life
During Wartime (w/ sax), Southern Trance, Hypnus, Around The Sun, Gimme a Light, Here to stay, Gibson > Whiskey
Sunset > Drums > Whiskey Sunset

E:Hideaway, River of Dreams (Billy Joel – w/ Sax and Drum line)

This Ride Ain’t Stoppin’ Anytime Soon
Nashville

Moon Taxi – River of Dreams (Billy Joel cover)

Moon Taxi – Whiskey Sunset

Moon Taxi Tour Dates
:: Moon Taxi News ::
Moon Taxi Concert
Reviews


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Disco Biscuits Official Colorado After-Parties

January 7th, 2011 | No Comments

FEATURING ORCHARD LOUNGE, CONSPIRATOR,
DR. FAMEUS, BREAK SCIENCE, MARK FARINA &
MORE


Orchard Lounge

Fresh off their 3 night run of blockbuster STS9 NYE late nights in Denver, CO, Euphonic Conceptions is proud to
present 3 nights of “official” Disco
Biscuits after parties continuing until 4:30am on January 13, 14 and 15 at the Fox Theater in Boulder,
CO.

The first night welcomes Orchard
Lounge back to Colorado with their unique style that blends elements of down-tempo, space disco,
house, techno, electro, soul, and funk into an amalgamation of dance floor friendly beats. Also appearing is the
newest Disco Biscuits side project, Sub:Station featuring Jon “the Barber” Gutwillig‘s original
dubstep production, with Chris Michetti from RAQ playing live guitar. Bay area lazer bass all star EPROM is also on the bill, along with one
of the most exciting young producers out of the UK, Illum Sphere, who will be making his Colorado debut.

Friday’s show marks the return of Conspirator to Boulder, CO – featuring a brand new, full band setup with Marc
Brownstein & Aron Magner of the Disco Biscuits on bass & keys, Chris Michetti of RAQ on guitar, & Adam
Deitch (of Pretty Lights, Break Science, & Lettuce) on drums. Deitch’s electronic-infused hip hop project Break Science will be primary support for
the evening, with local favorite Frequent C starting things off and playing tweener sets.

Saturday night, following the Disco Biscuits performance at the Ogden, the party will head back to Boulder for a
special performance featuring the internationally renowned Mark Farina. Touring in support of his latest release, Mushroom Jazz Volume 7,
Farina will be laying down a signature lengthy DJ set. To close out the late evening, Allen Aucoin of the
Disco Biscuits will be performing as Dr.
Fameus with some very special guests on keys and bass. Warming up the stage for Farina early is Elm Oak
resident Raw Russ and Denver fixture Dave
Seied.

Tickets for all 3 nights are on sale here

January 13
ORCHARD LOUNGE
Sub:Station (Jon the Barber of the Disco Biscuits + Chris Michetti)

EPROM

Illum Sphere (Manchester, UK)

January 14
CONSPIRATOR (Marc + Aron of the Disco Biscuits)

Break Science (Adam Deitch of Pretty Lights + Borahm Lee)

Frequent C

January 15
DR. FAMEUS (Allen Aucoin) feat VERY Special Guests
Mark Farina (Mushroom Jazz Set)
Dave Seied

Raw Russ


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STS9 NYE Run Live Downloads

January 7th, 2011 | No Comments

NYE RUN IN DENVER AND ASPEN NOW AVAILABLE FOR DOWNLOAD


STS9

STS9 just wrapped up an
epic New Year’s Eve run that encompassed “over 10+ hours of music, 80+ songs, a half dozen debuts to the band’s
live show catalog, and over 11,000 fans, family and friends.” The band is now offering each show from the run as a
live download. Check out the setlists below and click on the links to order the shows for download.

12.29.2010 :: Fillmore Auditorium :: Denver, CO

I: Shakedown Street (*), This Us, Ramone & Emiglio, Aimlessly, Lion, Music Us, Kamuy, Scheme (*)
II: Moon Socket, Tooth, STS9, Peoples, Circus, Shock Doctrine, Arigato, Hidden Hand Hidden Fist

E: Frequencies DnB -> Frequencies 2 -> Frequencies 3 -> Shakedown Street (Reprise)
(*) first time played
Download the
Show

12.30.2010 :: Fillmore Auditorium :: Denver, CO
I: Tap In, Atlas, Grow, Metameme, Vibyl, Crystal Instrument, Peaceblaster 68 -> Peaceblaster 08 -> Keys
(David Phipps) -> Drums (Zach Velmer & Jeffree Lerner) -> Live DJ Suite (David Murphy & Hunter Brown)

II: Be Nice, Move My Peeps, Lo Swaga, Beyond Right Now, Breathe In, The Rabble, One a Day

E: Wika Chikana
Download the
Show

12.31.2010 :: Fillmore Auditorium :: Denver, CO
I: Equinox, Inspire Strikes Back , Really What?, Abcees, Grizzly, What is Love?, EHM, When The Dust
Settles(*)

II: New New 4 U U, Uptight (Everything’s Alright) (*) ($) -> Countdown ($) -> Uptight ($), Firewall (*) ($), F.
Word, Unquestionable, Instantly, Evasive Maneuvers, Rent
E: Hi-Key, Oil & Water, Baraka
(*) first time played ($) featuring Dominic Lalli of Big Gigantic
Download the
Show

1.1.2011- Belly Up – Aspen, CO
I: Gobnugget, Nautilus, Satori, 4 Year Puma, King Pharaohs Tomb, From Now On, Â…And Some Are Angels,
Dance, Hubble
II: Tokyo Remix > Luma Daylight > Tokyo, Mobsters > Surreality > EB, Once Told, When the Dust Settles,
Scheme
E I: Monkey Music, Kaya
E II: EHM Remix (*) > UN? Remix (*)
(*) first time played
Download the
Show

STS9
Tour Dates
::
STS9 News
::
STS9
Concert
Reviews


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Phish | NYE Run | Review | Pics

January 5th, 2011 | No Comments

Words by: Garrin Benfield | Images by: Dave Vann

Check out the photos from Worcester and MSG below the review

Phish :: 12.31.10 :: Madison Square Garden :: New York, NY

Used with permission from Phish.
Photo by Dave Vann © Phish
2010

Getting to New York’s Madison Square Garden for Phish‘s New Year’s run was a
cakewalk compared to the blizzard
conditions that had universally complicated travel plans earlier in the week in Worcester. Outside the hallowed
venue, hundreds
of hopeful, ticketless souls wandered the tightly packed blocks of midtown Manhattan. Inside MSG, site of so many
notable moments in this band’s history, Phish closed the year in which they
truly
returned to form with three focused, sharp sets that were also not short on collective improvisation.

The first half of the first set was a perfectly paced party that also included its share of surprises. “Punch You in the
Eye” and “AC/DC Bag”, despite being two of the oldest and most frequently played staples in the Phish repertoire,
were played with real commitment by the whole band. Trey particularly zeroed in on the climax of the
latter
tune. As “AC/DC Bag” concluded with its upwardly spiraling fade out, the mid tempo funk of “Moma Dance”
emerged and quickly became the song when the band and audience truly relaxed into the set, the evening, and
perhaps the reality of another passing year. The clip of the infrequently played “Scent of a Mule” took the energy up
a notch, and was spot on throughout, including the tricky to navigate transitions from the klezmer jam back to the
bluegrass outro. And, as someone who won’t shy away from saying that Phish sometimes has an uphill climb with
accurate vocal harmonies, “Mule” was quite well sung.

The rest of the first set was a pleasantly mixed bag of debuts (the instantly likable shuffle of Phish’s next FM chance,
“Burn that Bridge”), classic staples from the near-yet-far era of the mid nighties (“Weigh” and “Beauty of my
Dreams”) and the downright unfamiliar (“Gone”, the obscure track from Party Time, that in my opinion may
have
been this set’s only misstep, inserting a pensive, tentative note into an otherwise celebratory collection of tunes).
“Rock n’ Roll” closed out the early set with a textbook jam that demonstrated Trey’s newfound climax-building
concision, a distillation of years of experience in the rarified field of jam artistry.

After a relatively short break, the band returned and burned through a non-stop second set that never let up in
intensity. Trey’s recent, more aggressive distortion tone led the charge on “Wilson” and a searing, Zappa-
fied “46
Days”. The whole band appeared recharged for this set and ready to lay down some serious psychedelic prog-funk.
As “Sand” opened up into a weave of pointed staccato accents, the room exploded and the evening’s promise began
to truly come to fruition. In a year of many versions of “Down with Disease”, this outing delivered with both heroic,
major key riffage and twisted excursions into darkness. “Ghost” was also well balanced between its creepy funk
verses and a long, lighthearted major I-IV section. On a dime, the band collectively began to slow down until Trey
counted off a wonderfully executed “You Enjoy Myself” that included full blown “Manteca” choruses interspersed in
the jam, the bass solo, and in the final vocal improv that closed out the set. I think it’s safe to say the folks who
have dutifully carried around that “Manteca” banner all year were feeling pretty good right about now.

Used with permission from Phish.
Photo by Dave Vann © Phish
2010

“Meatstick” ambled to life to open the New Year’s set and at first didn’t even hint at the 19 minute spectacle that was
to follow. After the Japanese lyrics, a quartet of men dressed in traditional African garb entered stage right and sang
a few choruses, followed by a Mariachi band stage left, followed by an increasingly diverse collection of cultural
representatives all dressed in traditional outfits. Around this time, either a pre-recorded version of “Meatstick”
began playing or the front of house engineer had live-looped eight bars of the tune. Either way, the band was
subtley ushered off stage while the 50+ ensemble of dancers and singers went through a tightly choreographed
Broadway-style routine in the front of the stage and on risers behind the amps. Then the loop stopped, and the
company sang “Meatstick” in a chromatically ascending pattern until Phish emerged in the Hot Dog from New Year’s
past! Thousands of hot dog colored (and shaped) balloons began falling as the band, all smiles, traversed the
rooftop of the arena tossing foam wieners down on the crowd. Eventually landing on the stage, the band seamlessly
continued the tune until the countdown. A brief but incendiary “After Midnight” followed and served as the bridge
into the rest of the first set of 2011.

The whole band outdid themselves on the version of “Backwards Down the Number Line” that followed. This was a
valentine to the crowd, managing to simultaneously channel both a heart-tugging poignancy and a ferocious energy.
The same could be said of “Waste”, which induced memories of the many years and hundreds of shows many in
attendance had experienced together. Trey wove knots of Leslie-drenched notes at the song’s conclusion, and
eventually fell into a long, patient “Slave to the Traffic Light”. The band gathered at the front of the stage for the
absurd barbershop of “Grind”, and closed out a well considered and appropriately high energy show with “First
Tube”. Though for the first time in the band’s history they and many in the room would be returning the following
night for another show, this set felt like the exclamation point it was meant to be — to a remarkable year for a band
whose diverse history is already marked with many.

All setlist information from Phish.net

Monday :: 12.27.2010 :: DCU Center :: Worcester, MA
I: Sample in a Jar, Funky Bitch, Cool It Down, Roggae, Heavy Things, What Things Seem, Roses Are Free >
It’s Ice, Mountains in the Mist, Julius

II: Mike’s Song > Mound, Weekapaug Groove, Farmhouse, Seven Below > What’s the Use? > Twenty Years
Later, Wading in the Velvet Sea, Possum > Cavern > David Bowie

E: Loving Cup

Notes: The end of Cavern was changed to “take care of your boots.”
Live Phish Download

Tuesday :: 12.28.2010 :: DCU Center :: Worcester, MA
I: Kill Devil Falls, My Mind’s Got a Mind of its Own, Alaska, She Caught the Katy and Left Me a Mule to Ride,
Wolfman’s Brother, Pigtail, Stash, Bouncing Around the Room > Rift, Stealing Time From the Faulty Plan, The
Birdwatcher
II: Carini > Backwards Down the Number Line > Back on the Train -> Limb By Limb > The Wedge >
Frankie Says > Albuquerque, Harry Hood > Bug
E: Shine a Light
Notes: She Caught the Katy was last performed on July 21, 1998 (323 shows). Trey used a device that
played Sarah Palin quotes during Alaska and after the debut of Pigtail. This show also featured the Phish debut of
Birdwatcher. Back on the Train featured a Streets of Cairo tease from Trey.
Live Phish Download

Thursday :: 12.30.2010 :: Madison Square Garden :: New York, NY
I: Cities, Chalk Dust Torture, Gumbo > Quinn the Eskimo, Halley’s Comet > Camel Walk, Maze, Driver,
Bathtub Gin, Fat Man in the Bathtub, Timber (Jerry) > Golgi Apparatus, Character Zero
II: Tweezer > Light > Theme From the Bottom -> My Friend, My Friend > Axilla, Fluffhead, Boogie On
Reggae Woman -> Also Sprach Zarathustra > Suzy Greenberg
E: Run Like an Antelope > Tweezer Reprise
Notes: The P.A. cut out during Camel Walk. My Friend did not contain the “Myfe” ending.
Live Phish Download

Friday :: 12.31.2010 :: Madison Square Garden :: New York, NY

I: Punch You In the Eye > AC/DC Bag > The Moma Dance > Scent of a Mule, Burn that Bridge, Weigh >
Ocelot, Beauty of My Dreams, Gone, Rock and Roll
II: Wilson > 46 Days, Sand, NICU > Down with Disease > Ghost, You Enjoy Myself -> Manteca -> You
Enjoy Myself
III: Meatstick, Auld Lang Syne, After Midnight, Backwards Down the Number Line > Piper > Free, Waste >
Slave to the Traffic Light, Grind

E: First Tube

Notes: This show featured the Phish debut of Burn That Bridge. Ocelot, NICU and First Tube contained
Auld Lang Syne teases. Beauty of My Dreams was played for the first time since July 22, 2003 (133 shows). Manteca
was played for the first time since October 30, 1998 (301 shows) and the ensuing YEM vocal jam contained Manteca
quotes. Before midnight, several groups of multiethnic dancers appeared on stage and sang the Meatstick lyrics in
their respective languages. The band joined the dancers and then stealthily disappeared from the stage, only to
reappear at the other side of the arena in the giant hotdog from past NYE shows (’94 and ’99). As a result, portions
of the Meatstick were pre-recorded. Appropriately, the post-show music was Captain Beefheart’s Tropical Hot Dog
Night.
Live Phish Download

Saturday :: 01.01.2011 :: Madison Square Garden :: New York, NY
I: My Soul, Tube > Runaway Jim > Foam, Guelah Papyrus > The Divided Sky, Round Room > Walk Away >
Gotta Jibboo > Reba, Walls of the Cave

II: Crosseyed and Painless > Twist > Simple, Sneakin’ Sally through the Alley > Makisupa Policeman ->
David Bowie

E: Fee, Frankenstein

Notes: Round Room was played for the first time since July 13, 2003 (140 shows). Twist contained
Manteca quotes from Trey. Makispua included the lyrics “I went home late last night after doing the New Year’s
stunt, I laid back on my couch and rolled myself a blunt” and also featured a “kick drum solo.” Frankenstein featured
Page on keytar.
Live Phish Download

var
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$(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=210″);}); 12/27/10 – 1/1/11 – Phish @ DCU Center
(Worcester, MA) & Madison Square Garden (New York, NY) View
Photos

Phish Tour Dates
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Reviews


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Furthur | NYE Run | San Francisco | Pics

January 4th, 2011 | No Comments

Images by: John Margaretten

Setlists

Thursday :: 12.30.2010 :: Bill Graham Civic Auditorium :: San Francisco, CA
I: Shakedown Street, Estimated Prophet, Crazy Fingers, Welcome to the Dance, Cold Rain and Snow,
Tennessee Jed, Seven Hills of Gold, Turn On Your Lovelight
II: Any Road > Playin in the Band > China Cat Sunflower > St. Stephen > Scarlet Begonias > Fire on the
Mountain > Death Don’t Have No Mercy > The Eleven > GDTRFB > And We Bid You Goodnight
E: Attics of My Life
Order Show for Download from livedownloads.com

Friday :: 12.31.2010 :: Bill Graham Civic Auditorium :: San Francisco, CA
I: Alligator, Big Bad Blues, Caution, Wharf Rat, Sittin on Top of the World, High on a Mountain, Cumberland
Blues
II: Cassidy, The Mountain Song > I Know You Rider > The Other One > Let It Grow > Stella Blue > Viola
Lee Blues > Golden Road to Unlimited Devotion
III: We Love You > Sugar Magnolia > The Wheel > Uncle John’s Band > Unbroken Chain > Lady with a Fan
> Terrapin > At a Siding > Terrapin Flyer > Help on the Way > Slipknot! > Franklin’s Tower > Truckin
E: One More Saturday Night
Order Show for Download from livedownloads.com

var
siteRoot=”http://www.jambase.com”;var newPhotoIndex=”42″;$(document).ready( function() {
$(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=208″);}); 12/30/10 – 12/31/10 – Furthur @ Bill
Graham Civic Auditorium (San Francisco, CA) View Photos

Furthur Tour Dates :: Furthur News :: Furthur Concert Reviews

JamBase | San Francisco
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JFJO NYE Footage

January 4th, 2011 | No Comments

NEW YEAR’S EVE HIJINKS IN TULSA, OKLAHOMA

For those who didn’t attend Jacob Fred
Jazz Odyssey‘s New Year’s Eve performance at the historic Cain’s Ballroom in Tulsa, Oklahoma, check out
the videos below. The clips feature covers of Madonna‘s “Like A Prayer,” Beyonce‘s “Single Ladies,” and JFJO’s own “Hamby’s Window.”

“Like A Prayer”

“Single Ladies”

“Hamby’s Window”

Jacob Fred Jazz Odyssey
Tour Dates
::
Jacob Fred Jazz Odyssey
News
::
Jacob Fred Jazz Odyssey
Concert
Reviews


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Umphrey’s McGee | NYE Run | Chicago | Review | Pics

January 3rd, 2011 | No Comments

Words by: Jeremy Frazier | Images by: Chad Smith

Umphrey’s McGee :: 12.29.10-12.31.10 :: The Riviera Theatre :: Chicago, IL

Big gallery of the run in Chicago at the bottom of this review!

12.29.10

Brendan Bayliss – 12.29.10 by Chad Smith

Umphrey’s McGee has been
a cornerstone of live music in Chicago for better than a decade. Their New Year’s Eve runs are the stuff of legend,
but they have decided to move onto new pastures starting next year. So, the people of Chicago got one last run to
solidify how much Umphrey’s McGee loves them. It’s safe to say they went out with a serious bang.

The Riviera Theatre in Uptown was
the detonation site for the entire 2010 run. Reportedly, only the second two nights officially sold out, however, the
first night still had the feel of a sold out show – it was packed to the gills. They began their final Chicago run with a
message. “Bridgeless,” a song that goes well as an encore, came charging out of the gate and let everyone
know that they meant business. Mid-set brought an extended “Utopian Fir” that slipped into dark and brooding
reggae jam. It was very unique; I had never heard a dub/reggae energy brought to such a sinister level. The first set
ended with a cover of Bob Seger’s “Hollywood Nights.” It definitely made the crowd sing along with Jake
Cinninger’s perfectly tuned Seger voice. But all in all, it felt like a strange way to end a set. In fact, as you will
soon read, it was the only set of the entire run that didn’t end with a sledgehammer of a song.

They returned for the second set with “Much Obliged,” a classic song that led right into the reprise of “Bridgeless.”
This is a staple combo, as if the songs are almost meant for each other like the Grateful Dead’s “Scarlet Begonias >
Fire On The Mountain.” A little later came “Tribute To The Spinal Shaft,” which was a serious crowd mover. This
song is one of those high-octane, guitar-driven, dance-fuel songs that simply won’t let you stand still. The end of
the set brought a fantastic combo of “The Triple Wide > Ocean Billy.” “Triple Wide” is normally a straight-up untzy
freakshow thanks to Andy Farag’s quick fingers, but this night they generated a thick, spacey jam section
led by the low tones of Ryan Stasik, which had a different feel than usual. The absolute highlight of the
first night was “Ocean Billy.” Not only was the song fiendishly intense but it also showcased the best of the brilliant
mind of light director Jefferson Waful, who took a literal interpretation of the song and utilized an aquatic
blue lighting scheme for most of the song. But near the end, when Cinninger and Brendan Bayliss locked
into multiple brief periods of frantic shredding, Waful flipped the switch to a dangerous palette of bloody red. The
jagged lights made the air appear like a vicious shark attack and added a visually interpretative dimension to the
music that no other light director in America creates.

This song was absolutely stunning but the encore didn’t let the energy level fall a millimeter. Though not typically
used as an encore, “Hurt Bird Bath” perfectly fit the intensity needed to follow up “Billy.” This song was absolutely
electrifying and the interplay between the synthesizers of Joel Cummins and the guitars of Bayliss and
Cinninger is some of the best in their entire catalogue. This song is a personal favorite and this was one of the most
outrageous versions I’ve ever heard. What an opening night!

12.29.10 Setlist
Set I: Bridgeless > Conduit, Utopian Fir, Search 4, Push The Pig > Hollywood Nights*

Set II: Much Obliged > Bridgeless, Bad Poker, Tribute To The Spinal Shaft, Made To Measure > 2nd Self,
Peg**, The Triple Wide > Ocean Billy

Encore: Hurt Bird Bath

* = Bob Seger cover
** = Steely Dan cover

12.30.10

Umphrey’s McGee – 12.30.10 by Chad Smith

The second (and most metal) night of the run began on an aggressive note with “Prowler.” Umphrey’s has a knack for
naming their songs and this one indeed sounded like a jaguar creeping in the dark. A little later on in the first set,
“JaJunk” arrived with a stupefying jam section. “JaJunk” is often used as a sandwich song due to its powerful closing
arrangement, but on this night they used the middle of the song as a platform for a powerful, exploratory jam that
went above and beyond the typical “JaJunk” jam stew. This was definitely the “improv jam” of the entire
weekend.

Remember how I mentioned their propensity for bringing the thunder with the set closing songs? Well, they did
exactly that with a dastardly “Mulche’s Odyssey.” This song always gets eaten up by the crowd, and the usual
singing-along swept through the audience like wildfire. The only way to describe this song is explosive, like a
hydrogen bomb was dropped into The Riviera. This was as aggressive as it gets and sent everyone off to set break
needing a rest.

After a 30-minute intermission they came back out with the tinkling piano of “Preamble,” which lead into “Mantis.”
This has arguably become the magnum opus from the album Mantis, and they wound this version up
righteously. They meandered away from the “Mantis” into “Hangover,” which indicated that they would be bringing
the reprise back later. “Hangover” is certainly a fan favorite and everyone once again sang along with the lyrics that
resonate so strongly with the rowdy Umphrey’s fans.

Stasik announced the next song as the most requested cover and they dove into an amazing rendition of Yes’
“Roundabout.” This was absolutely dialed in and got everyone dancing to the highly recognizable and funky cover
tune. After a bright, playful “Fussy Dutchman,” they brought back “Mantis” to a massive uproar from the frothing
crowd. It seemed as if the completion of the sandwich would bring the set to a close, but we were so, so wrong.
Instead they unleashed a wicked “The Floor” that cranked the crowd’s Rage Meter to 11. This song isn’t necessarily
thought of as one of Umphrey’s most raging jams, but on this night the metal came through and annihilated The
Riviera Theatre.

After a brief break, the boys came back out for an unexpected encore. First up was “Resolution,” a ruthlessly
dynamic song that alternates between mellowed-out dub grooves and fiery metal sections complete with devilishly
distorted vocals. This song led right into the apex of Umphrey’s McGee metal. “Pay The Snucka 3″ was a hell rain of
shredding insanity. This song sounded like Kirk Hammett and Yngwie Malmsteen had a musical child for the sole
purpose of dicing up people’s faces. Not only was the guitar work evil but Kris Myers’ drumming was out
of control. He was absolutely hammering on his bass drum, driving this potent song to rarefied heights. For a long
time I have maintained that “Wizard Burial Ground” is their most outrageously intense song. Not anymore. “Snucka
3″ was downright violent and the perfect way to wrap this incredible second night.

12.30.10 Setlist
Set I: Prowler > The Bottom Half, 2×2, JaJunk, Apeman*, Mulche’s Odyssey

Set II: Mantis > Hangover, Roundabout**, Pay The Snucka > August, Gulf Stream, Fussy Dutchman >
Mantis, The Floor

Encore: Resolution > Pay The Snucka III

* = The Kinks cover
** = Yes cover

12.31.10

Jake
Cinninger – 12.31.10 by Chad Smith

The energy in The Riviera Theatre on New Year’s Eve was markedly pumped up even before the music began. Which
was good because Umphrey’s charged off the blocks with force. “Nothing Too Fancy” was a serious way to start the
night. It’s another staple fan favorite and got everyone dancing like fools from the start. This song wandered into an
awesome “In The Kitchen,” which was perfectly placed to put a smile on everyone’s face. There is nothing quite like
an “ITK” in Chicago as absolutely everyone yelled, “As winter wrapped around CHICAGO!!!” This two-song package
was the perfect opening statement for their final NYE show in this city.

Later on in the set, they introduced Jeff
Coffin to bring his saxophone out for “Bright Lights.” This song often has a dangerous
Cinninger/Cummins jam section, but on this night they let Coffin shine with an incredible sax solo. Next, they
played a new song called “Deeper” that was a little slow to build but ended up being perfect because it set the table
for the sneakiest “N2F” reprise ever. The segue was undetectable, and it wasn’t until “N2F” was right in my face that
I realized they had been building towards it for a while. This dance frenzy brought the first set to a close with a
bang.

Umphrey’s McGee returned for the second set with a newish song called “Wellwishers.” This tune is relatively un-
dynamic compared to older material but received a huge boost from Maddog’s Little Secret. After this
jam, Myers left his drums and Cinninger took his seat. Myers soon returned in a black suit & sunglasses and put on
one hell of a James Brown impression. He threw down some smooth dance moves and belted out “The Payback” and
“Sex Machine.” All Umphrey’s fans know that Myers has an amazing voice and everyone was glad they showcased it
on NYE. This was a pure boogie down cluster of songs, locking everyone into a fantastic mood.

A little later on came my number one favorite song, “All In Time.” Everyone seemed to know all the words and this
was the most passionate outpouring of fan interaction I’ve ever seen. The song was at a breakneck pace when, all of
a sudden, they dropped off a cliff into a stew section that was a minimalist, swampy electronic jam. The energy
level dropped as they played around with this section, but then, just as abruptly as it fell, “AIT” came back with a
furious rage and brought the crowd energy right back as if they’d never even stopped the song. I think they did that
just to see how quickly they could change 3,000 people’s energy level. They succeeded.

The second set ended with an absolute monster of a song, “1348.” Maddog’s Little Secret came back out to push
this wild song to a new level with a barrage of brass. This was, once again, the perfect rage to send us into the
intermission.

UM
Balloon Drop 12.31.10 by Chad Smith

The set leading into midnight began with “Hajimemashite.” This is one of their most emotional, ecstatic songs and
the crowd soaked it up happily. This led into a curious choice for a lead-up to the balloon drop. Not everyone
recognized Beck’s “Mixed Bizness” but Maddog’s Little Secret and Bayliss’ vocals nonetheless had the audience
feeling right. This song fell away to the countdown to midnight. The energy rose as the balloon nets burst open and
drenched the theatre in colorful orbs. Cannons full of confetti and glitter blasted off and joined the balloons to
create a mammoth, visually stimulating scene. “Auld Lang Syne” is the classic way to do NYE and it was a joyous
moment as they played while the color in the air settled into the crowd. Everyone seemed to be as overwhelmed
with happiness as I was.

The first song of 2011 was “Partyin’ Peeps,” which was fitting because we should all be trying to have as much fun as
possible in 2011. The set wound on and soon they were introducing Cody Dickinson for a version of
“Slacker.” This song featured a crazy jam with Dickinson and Cinninger where Dickinson’s washboard sounded
almost like a guitar and enabled them to have some fantastic interplay. Next up was “Booth Love” with the return of
Maddog’s Filthy Little Secret. This expansive jam segued into the craziest cover I’ve ever heard from Umphrey’s.
Radiohead’s “National Anthem” absolutely destroyed The Riviera with a heavy, ominous and absolutely haunting
energy that soaked straight through to one’s soul. It was a freakishly dense sound complete with a terrifying light
show. This was as powerful as live music gets and wrapped the set with an energy far removed from the typical
Umphrey’s flow.

They returned for the encore and Bayliss reminded everyone not to be sad about the future (i.e. no more Umphrey’s
NYE runs in Chicago) but rather to focus on the now (a ridiculously ecstatic NYE concert). Myers came to center
stage one more time to take the mic for an awesome, funky rendition of Stevie Wonder’s “Sir Duke.” This was a
joyous tune that definitely made everyone feel it all over. They then went back to the normal arrangement for
arguably their finest instrumental composition and certainly one of the most special songs they have. “Glory” was
absolutely ecstatic. It punched a hole straight through the roof and gave me the musical tingles like nothing else.
They ended the night with “40s Theme,” one of their most enjoyable songs. Its lyrical sections are fantastic and
recognizable, but the jam section is where all the magic happened. It was a straightforward version of the jam but it
was absolutely flawless, with Cinninger and Bayliss locking in for one last phenomenal bout of guitar interplay. This
was an explosive way to end the final NYE run in Chicago, sending everyone out on three songs we can all remember
as the best of Umphrey’s McGee.

New covers, special guests and pushing the boundaries of musical fusion, this NYE show had absolutely everything a
UM fan could hope for. Not only that, but sound caresser Kevin Browning got every drop of sound possible
out of the magnificent Rivera Theatre. Together they gave Chicago some of the best they’ve ever done and I was
extremely lucky to be a part of something so incredible. This was easily one of the best displays of live music I have
ever witnessed. Thank you, Umphrey’s McGee!

12.31.10 Setlist
Set I: Nothing Too Fancy > In The Kitchen, Rocker 2, Nemo, Bright Lights#, Deeper* > Nothing Too
Fancy

Set II: Wellwishers^, James Brown Medley^@, Andy’s Last Beer^, All In Time, Ringo, Demolition Man^**,
1348^

Set III: Hajimemashite, Mixed Bizness^***,> Auld Lang Syne^ > Partyin’ Peeps^, Miss Tinkle’s Overture,
Higgins, Slacker%, Booth Love^ > National Anthem^****

Encore: Sir Duke^@*****, Glory, 40s Theme

# = with Jeff Coffin
^ = with Maddog’s Little Secret
@ = with Myers on vocals, Jake on drums
% = with Cody Dickinson
* = new song
** = The Police cover
*** = Beck cover
**** = Radiohead cover
***** = Stevie Wonder cover

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$(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=206″);}); 12/29/10 – 12/31/10 – Umphrey’s McGee @
The Riviera Theatre (Chicago, IL) View Photos


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Per Oscarsson, Swedish Star Of “The Girl Who Played With Fire,” Feared Dead After NYE Blaze

January 3rd, 2011 | No Comments

Swedish star Per Oscarsson is missing and feared dead after a New Year’s Weekend blaze at his rural home in Sweden, investigators say. The remains of one person were found on Sunday in the ashes of the house and are probably those of the 83-year-old actor or his wife, 67-year-old Kia Ostling, according to police [...]

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Dark Star Orchestra | Utah | Pics

December 31st, 2010 | No Comments

Images by: Phil Santala

Dark Star Orchestra :: 12.10.10 :: The Depot :: Salt Lake City, UT

Setlist

DSO performing 8/20/87 at Park West Ski Area, Park City, UT.

Set One: Big Boss Man > The Promised Land ; Dire Wolf ; New Minglewood Blues ; Row Jimmy ; It’s All Over Now ; Loser ; Cassidy ; When Push Comes To Shove

Set Two: China Cat Sunflower > I Know You Rider ; Man Smart (Woman Smarter) ; Ship Of Fools ; Truckin’ > Smokestack Lightnin’ > Drums > Space > The Wheel > Gimme Some Lovin’ > All Along The Watchtower > Stella Blue > Sugar Magnolia
Encore: The Mighty Quinn (Quinn The Eskimo)
Filler: The Weight*

Notes: * Dedicated in memory of Rick Danko. Dan Klepinger on keys for Rob Barraco away on family emergency.

Tonight, 12-31-10, DSO will perform one of the most famous Grateful Dead NYE shows ever, 12-31-76. More details here.

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”4″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=199″);}); 12/10/10 – Dark Star Orchestra @ The Depot (Salt Lake City, UT) View Photos

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Jerry Joseph & Wally Ingram | Salt Lake City | Review | Pics

December 30th, 2010 | No Comments

Words & Images by: Phil Santala

Jerry Joseph & Wally Ingram :: 12.12.10 :: The State Room :: Salt Lake City, UT

Jerry Joseph and the Jackmormons begin a three-night run in Portland, OR tonight. Amazing, under-sung American rock greats Richmond Fontaine open for the Jackmormons on NYE. For full show details pop over here.

Jerry Joseph by Phil Santala

What ever you do, don’t call it a comeback or anything new. Jerry Joseph has been absolutely on fire the last few years. Not matter who he is touring with – the Jackmormons, Denmark Veseys, Stockholm Syndrome, or just with percussionist Wally Ingram – his shows, as of late, almost never cease to amaze me. The State Room show in Utah was no exception.

Bold words considering this summer saw me walking away from three nights in Virginia City, MT at Bandito’s shaking my head in wonderment. That run itself just gets better and betterÂ…but enough about the past. We gathered in Salt Lake City, one of Jerry’s former residencies, to partake in some pre-holidays shenanigans, Jerry Joseph Style.

Jerry came out, hulking onto the stage in big heavy boots. Some in the crowd responded by shouting, “Show us your feet!” It was clear that those in attendance were not just casual fans. The core had turned out for this event, and the duo did not disappoint. Jerry seemed to be in high spirits, joking to the crowd before “Wisconsin Death Trip” that, “Wally and I, when I was a kid, we used to sing this around the Christmas tree at Wally’s house, eating Christmas koogle.” Jerry also jested after the Vic Chestnutt song “Flirted With You All My Life” that the song was about “holidays and good times. You feeling any better?” Vic, he said, “fucking nailed it” with that song. The Christmas spirit was certainly making Jerry’s heart grow three times its size that day.

Local Jackmormons bassist JR Ruppel joined Jerry and Wally for much of the second half of the set. The encore, which was especially moving and heartfelt, found Joseph stepping out from the mike to shout and sing directly to the crowd: “Ring ‘em up, tell ‘em that you love ‘em. CALL THEM NOW AND TELL THEM THAT YOU LOVE THEM!” It was a plea, a call, a cry of passion. Hold on, hold onto those around you, those you care for, those you hurt and neglect through your selfishness, those that never left you in the dark on your own no matter how you tried to push them away and no matter how many times your vices came between you and them. Ring ‘em up, and tell them Jerry Joseph said hi. Better yet, why don’t you all come out to the next Jerry Joseph show and see what the buzz is really all about?

Setlist
White Dirt, Jump, LAX, Flirted With You All My Life, Fur, Cochise, Two Balloons> Time the Revelator> Two Balloons. Muscles*, Radio Cab*, Paper Planes*>Climb to Safety*(slow)> Train Detective rap> Midnight Rambler rap> Climb to Safety*> Paper Planes*

Encore: Ring ‘em Up*> Good Sunday*>We Fall Down*> Good Sunday*

*w/ JR Rupple.

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”5″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=201″);}); 12/12/10 – Jerry Joseph & Wally Ingram @ The State Room (Salt Lake City, UT) View Photos


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What are YOU doing on NYE?

December 30th, 2010 | No Comments

LET’S POP OUR CORKS TOGETHER!!!

WSP – NYE ’09 by Michael Saba

New Year’s Eve is arguably the most significant concert going night of the year. Things just feel WAY more momentous packed into a club or theatre with sound blasting, lights flashing and folks reveling in a way they probably don’t allow themselves the rest of the year. We each choose carefully where we’ll stand when that infamous 10-second countdown occurs, thinking hard about who we want at our elbow and what soundtrack we want to usher us into a brand new year. It’s when a band’s loyal tribe convenes, expecting greatness from their beloveds and usually getting it. Where most of us no longer wait up for Santa or the Easter Bunny, there comes a childlike kick inside for New Year’s Eve, where we mull over the endings of things and welcome in the fresh start a new calendar offers.

JamBase would like to know what your plans are for this New Year’s Eve and perhaps some memories of good times past. We’re going to let this open conversation roll on old school style right below. We look forward to hearing what you have to say, and moreover, we wish you the brightest, most bountiful New Year you’ve ever known. We’re about due aren’t we?

If you’re still making plans for NYE, check out our handy-dandy New Year’s Eve Guide!

Top 20 NYE Shows 2010-2011 (Based On MyJamBase Calendars)

1. Phish – Madison Square Garden – New York, NY

2. Widespread Panic – Pepsi Center – Denver, CO (w/ G. Love & Special Sauce)

3. STS9 (Sound Tribe Sector 9) – The Fillmore Auditorium – Denver CO (w/ Tipper)

4. Brothers Past – Electric Factory – Philadelphia, PA (w/ Lotus)

5. Umphrey’s McGee – The Riviera Theatre – Chicago, IL

6. The Dirty Dozen Brass Band – House of Blues – Boston, MA

7. Furthur – Bill Graham Civic Auditorium – San Francisco, CA

8. moe. – House of Blues – Boston, MA

9. Pretty Lights – Congress Theater – Chicago, IL (w/ Holy Fuck and Tobacco)

10. Railroad Earth – Ogden Theatre – Denver, CO (w/ Great American Taxi)

11. The Disco Biscuits – Tower Theater – Upper Darby, PA (w/ MartyParty)

12. The New Deal – B.B. King Blues Club – New York, NY

13. Bassnectar – The Tabernacle – Atlanta, GA (w/ ANA SIA and Paper Diamond)

14. Shpongle – Hammerstein Ballroom – New York, NY (w/ Hallucinogen, Infected Mushroom and J.Views)

15. Perpetual Groove – Variety Playhouse – Atlanta, GA

16. Gov’t Mule – Beacon Theatre – New York, NY

17. Keller Williams – Neighborhood Theatre – Charlotte, NC (w/ Larry Keel)

18. Yonder Mountain String Band – The Pageant – St. Louis, MO

19. Soulive – Paradise Rock Club – Boston, MA

20. The Black Keys – Aragon Ballroom – Chicago, IL (w/ The Greenhornes)

Some New Year’s Eve blasts from the past to get y’all in the right mood for Friday night.

Now let us hear about your NYE memories and plans for this year!


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Head for the Hills: NYE & 2011 Ski Tour

December 30th, 2010 | No Comments

NYE AT HALF MOON IN BIG SKY, MONTANA


Head for the Hills

Touring in support of their self-titled release (Produced by Drew Emmitt), Colorado’s own Head for the Hills will hit the road
for their 2011 Ski Tour. The tour kicks off with New Years Eve in Big Sky, MT and will include stops through
Colorado, Utah & Wyoming. There will be plenty of special guests along the way.

The band also has a special contest in the works, with a chance to win VIP Treatment & a free night’s stay in
Breckenridge, CO on 1/8, for H4TH at Three20South. Click here for more information.

Head for the Hills Tour Dates

December 31st-Half Moon-Big Sky, MT
January 6th- Belly Up-Aspen, CO*

January 8th-Three20South-Breckenridge, CO*
January 15th-Ghost Ranch-Steamboat Spring, CO

January 22nd- Winterfest on the Mountain-Nederland, CO#

February 2nd- Harry O’s-Park City, UT (with Emmitt-Nershi Band)

February 3rd-Corner Store-Park City, UT (Special Apres’ Performance)

February 4th-Town Square Tavern-Jackson, WY^
February 17th-Samana Lounge-Vail, CO@

February 18th-Aggie Theatre-Ft. Collins, CO+

July 9th-Crested Butte Music Festival (Bluegrass in Paradise)-Crested Butte, CO


*=with special guests: The Grant Farm Duo (Tyler Grant & Andy Thorn)

#=with Cornmeal & many more
^=co-bill with Elephant Revival

@= with special guests: Andrew McConathy & Friends
+=with special guests: Dovekins

Head for the Hills
Tour Dates
::
Head for the Hills News
::
Head for the Hills
Concert
Reviews


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Flaming Lips NYE Webcast

December 30th, 2010 | No Comments

NYE WITH THE FLAMING LIPS

For fans who are unable to attend The
Flaming Lips‘ New Years Eve show at the Cox Convention Center in Oklahoma City, Rolling Stone has partnered with iClips to offer a live webcast of the performance.

The band will celebrate the New Year by performing their 1999 album The Soft Bulletin in its entirety. The
webcast starts at 10 PM EST on 12/31 and will be rebroadcast on Sunday at 9 PM EST. Rolling Stone and iClips are
also offering a New Years day webcast of Gogol Bordello which starts at 9 PM EST. (via Consequence of Sound)


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NYC Officials Put Kibosh On Snooki New Year’s Eve Ball Drop In Times Square

December 30th, 2010 | No Comments

So much for a Very Snooki New Year’s Eve! Officials in The Big Apple have pulled the plug on MTV’s buzzed-about “Snooki Ball Drop” in Times Square this New Year’s Eve, PopEater squeals snitched on Wednesday. Earlier this month, MTV announced plans to put Jersey Shore star Nicole “Snooki” Polizzi inside the ball that will [...]

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Disco Biscuits: Aucoin Out for NYE; Altman & Rabb to Fill In

December 29th, 2010 | No Comments

ALLEN AUCOIN STILL OUT OF ACTION, WILL NOT PERFORM ON NYE RUN;
SAM ALTMAN AND
JOHNNY RABB WILL FILL DRUM SLOT


The Disco Biscuits

The Disco Biscuits have
announced that drummer Allen Aucoin has not been cleared by doctors to travel or perform and will miss
their scheduled NYE run at The Tower Theater in Philadelphia. Founding Biscuits drummer Sam Altman
and
Johnny Rabb of BioDiesel
will fill in for Aucoin on both shows. The complete message is below.


“We want to first thank everyone for their over the top support this week during a difficult time for the band. The
first
two nights at Terminal 5 have been so much fun musically, and none of it would have been possible without our
fans’ unwavering support. Special thanks to Greenie, Deitch, and Darren for kicking major ass behind the kit these
first two nights.

We are sad and sorry to report that Allen will not be able to perform with the band on December 30th and 31st at the
Tower in Philly. When we first made the announcement earlier in the week, Allen’s prognosis was for a quick
recovery and for him to be released from the hospital yesterday. As of this morning, Allen’s doctors have not cleared
him to travel or perform. Please send your best wishes, as he is currently in the ICU. Allen’s health is of paramount
importance, and we cannot do anything that would jeopardize his full recovery.

In his place, we will be bringing two amazing drummers with us to the Tower. The first is the doctor himself, Sam
Altman. Sammy graciously changed his own New Year’s plans to fill the void. The second is Johnny Rabb, our friend
and drummer from BioDiesel. Allen is beyond disappointed that he will not be able to play on two of the most
important shows of the year, but was instrumental in helping connect us with Johnny Rabb.

We are going the extra mile to make sure that we are ready musically to deliver 3 more kick ass shows and ring in
2011 on a high note. See you tonight!

The Disco Biscuits”

The Disco Biscuits
Tour Dates
::
The Disco Biscuits News
::
The Disco Biscuits
Concert
Reviews


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Jessica Alba Brings Her Similarly Stylish Daughter Honor on a NYE Adventure

December 29th, 2010 | No Comments

Honor Warren had her Barbie in hand and sunglasses on at LAX ready to jet off on a NYE trip with mom Jessica Alba and dad Cash Warren yesterday. The trio are headed on a vacation to ring in 2011 as a family after spending Christmas at home in LA. Jessica has the box office [...]

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