Beginning in March 1999, the Missouri City Police Department began a 5-year project with an aim at accomplishing a paperless records system. The project implemented by the records division of the police department started with the task of imaging documents with Questys Document Imaging. This process involved scanning all the paperwork attached to police cases.
Posts Tagged ‘tx’
Misssouri City, TX Police Department Questys Document Management Solution for Government Posted By : Frank Berry
April 9th, 2010 |
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SXSW | 03.20.10 | Austin, TX – Day 4
March 22nd, 2010 |
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Words by: Kayceman | Images by: Scott Dudelson
SXSW :: 03.20.10 :: Saturday :: Austin, TX
 She & Him at Rachel Ray’s Party :: 03.20.10 by Dudelson |
We celebrated the first day of spring with some of the coldest weather Austin has experienced this year. With a bitter wind and temps dipping down into the 30s, the cold definitely affected the music experience on the final day of South by Southwest. Prior to the really chilly evening, I spent my day at the 40 Watt/JamBase Party located at the Side Bar. With one indoor stage and two outdoor ones, it allowed for a nice flow in-and-out of the elements that kept patrons warm(er). Each stage took the name of a departed Athens artist with the Vic Chesnutt Stage serving the headliners, the Jerry Fuchs Stage being the secondary outdoor venue and the Jon Guthrie Stage set up inside the bar.
Kayceman’s Top 3
#3 – Camper Van Beethoven
Psychedelic folk rock, alternative ska pop, alt-country and whatever else people call Camper Van Beethoven, the band was able to warm the huddled masses at the 40 Watt/JamBase Party with “Take The Skinheads Bowling.” Mixing a polka shuffle with a neat little violin line (that could have been louder in the mix), they twisted deeply into weird Americana/country rock landscapes and it wasn’t hard to pick up on the Leftover Salmon cross-breeding found through bandleader David Lowery‘s work with Salmon in Cracker. What’s even cooler, the band funded their trip to Austin by letting fans donate $100 in exchange for selecting a song to be performed at the fest.
#2 – The Tenant
 Street Sweeper Social ClubRachel Ray’s Party :: 03.20.10 by Dudelson |
Named after Roman Polanski’s movie The Tenant, the quartet played inside the 40 Watt/JamBase Party to a filled bar. Working a moody, dark, dream-pop motif with warm textures, they won me over quickly, even though I’d never heard of them before. One can hear the influence of Manchester bands like New Order, Joy Division and Stone Roses, but it still came off as original. Heavy on electronics but juiced with real guitars and drums, it was easy to dance with. Another band that fans of Phoenix or M-83 should really check out.
#1 – Dead Confederate
There were a lot of big, distorted guitar squalls at the 40 Watt/JamBase Party, but none knocked the crust from our tired, cold bones more than Dead Confederate. Built upon slow, patient grooves that erupted into slamming cymbals and walls of noise, it was remarkable that they could paint such a picture in the light of day. This is dark music, both in content and delivery, and it’s best experienced in a loud room with weird lights, where you can hide in the shadows. But none of that mattered during “The Rat.” Looking around the converted parking lot, heads were slamming back and forth and fists were pumping. A serious achievement considering how freaking cold it was.
Bonus Coverage by JamBase CEO David Rosenheim – Big Star Tribute
The remaining members of Big Star joined special guests to perform an emotionally charged tribute to frontman Alex Chilton, who died suddenly on March 17. Big Star was scheduled to play a fest-closing set at Antone’s, and instead of canceling the gig they brought in friends to help celebrate Chilton and his music. The capacity crowd was treated to 100 minutes of Big Star classics from the band’s influential 70s albums #1 Record, Radio City and Third/Sister Lovers. Performing with original Big Star drummer Jody Stephens were current Big Star members Ken Stringfellow and Jon Auer of The Posies. Special guests ranged from original Big Star bassist Andy Hummel, Chris Stamey (dB’s), M. Ward, Mike Mills (R.E.M.), Sondre Lerche, Chuck Prophet, Evan Dando (The Lemonheads), John Doe (who sang a lovely version of “I’m In Love With a Girl”), Amy Speace, The Watson Twins and Curt Kirkwood of Meat Puppets.
Kayceman’s Top 3 Overall for SXSW 2010
1. Sleepy Sun at IODA Party
2. Kayceman’s Treehouse Party
3. Big Light Private Late Night Show in Hilton Suite
Continue reading for Sarah Hagerman’s SXSW Day 4 highlights…
Words by: Sarah Hagerman
 The Packway Handle Band at 40 Watt/JamBase Party03.20.10 by Hagerman |
Saturday came down upon us, bitterly cold and gray. It was definitely a shock to the system after three days of gorgeous sun and mild nights. The weather seemed to cause many folks to stay indoors on the last day, which meant noticeably sparser attendance at a lot of shows, plus a fair number of cancellations and outdoor stages running late. But as the sign I spied at Green Mesquite BBQ later that day said, “It’s called Texas weather.” Texas weather means extremes that smack you in the face. So, I bundled up and rolled with the punches.
Those in attendance at the 40 Watt Day Party (co-sponsored by JamBase) seemed to have the right idea – grab a Bloody Mary at Side Bar and huddle in the warmth of conversation. As the crowd swapped stories about the previous nights’ revelries, Athens, Georgia five-piece string outfit Packway Handle Band stepped up to their dual head mic stand, set up on the Jon Guthrie Stage inside the bar. Without so much as an introduction, they launched into a set that made a believer out of everyone by the end. Packway have a fierce stage presence, with more than a touch of dramatic brimstone. Fiddle player Andrew Heaton was especially infused with hellfire, frequently leaping from the mic huddle to run around at the front of the crowd while thrusting his bow into the air like a baton. They were just a joy to watch. I adore the single mic stand set-up for bluegrass bands – it adds an element of theater, and Packway had it down to a snappy science. The four – Heaton, Michael Paynter (mandolin), Josh Erwin (guitar), and Tom Baker (banjo) would smoothly weave in and out (bassist Zach McCoy stood coolly to the side, until the end that is), leaning in close and singing, stepping out for the solo passes and even acting out the lyrics. When they sang, “Times a-comin’ when the sinner must die,” Paynter fell to his knees and Heaton mimed shooting him in the head. With his eyes menacingly wide, Heaton drew his finger across his throat, grimacing on the word “die.” From an amped-up version of “Tell It To Me,” which kicks the shit out of OCMS’s version about five times over, and a cover of The Tiger Lillies’ “Terrible,” which featured trumpets and a couple gals on backup vocals, this is a band that knows how to own any song they set their minds to. At the end of the show, they ran into the crowd, furiously picking their instruments. McCoy raised his doghouse bass over his head, sending the bar lights swinging and wildly cheering folks ducking out of their way. They pushed the crowd back and forth, as they ran into the walls of the bar. This is how I like my bluegrass served up – dark and passionate, with a side of blood.
Lumped in with the post-punk disco bands, but drawing equally on robotic electro and banging club pop, WhoMadeWho were ferociously fun at Encore. They laid down rubbery beats and squishy synth, as bassist Tomas Hoffding leapt from the speakers to the crowd and back again and guitarist Jeppe Kjellberg pointed directly at members of the audience, singing, “You! Your thoughts are dirty!” One of the most amusing things to me was that Hoffding and Kjellberg never cracked the glass cool looks on their faces – Kjellberg kept a slightly-sweet, slightly-pervy smile glued on the whole time, and Hoffding was absolutely unflappable, even when Kjellberg bent down and pretended to tickle his balls or reached over and grabbed his nipples. When Hoffding made a trip into the crowd, an audience member tried to get in on the titty twisting action. Unfazed, Hoffding simply ripped open the top of his shirt and let him have it. These are some seriously freaky Danes, and when they closed the set with a crushing cover of “Satisfaction” from Benny Benassi’s 2003 album Hypnotica (you know, “Push me/ And then just touch me/ Until I get my/ Satisfaction”), you felt like they really wanted you to push them in some very unseemly ways.
 Pretty Lights at La Zona Rosa :: 03.20.10 by Aaron Bach |
I’m a total Shakespeare nerd, so I had to see a band named after one of The Bard’s more obscure tragedies. I shivered in the cold and darkness of the Red 7 patio, through the end of the utterly unmemorable Crystal Antlers. Titus Andronicus was worth every minute of that wait. You can just tell when a band fervently believes in what they are doing, and lord, does this group write some new gospel. Anthemic punk with definite touches of The Hold Steady, Springsteen and The Pogues, you just want to pump fists to this. Note to self: Get their recorded stuff, so I can scream the lyrics next time. They had bucket loads of energy and are unapologetically brainy. Their latest album, The Monitor, is a loose concept album about the Civil War. They also have an album called The Airing of Grievances, which is a reference to “The Strike” episode of Seinfeld and the holiday Festivus. I’m glad there’s a band of fellow pop culture, literature and history geeks out there to freak out with, who also have the balls to write 15-minute punk songs. I think I’m in love.
Utterly beaten to a pulp, I ended my SXSW 2010 with Pretty Lights at La Zona Rosa. Although not normally my thing, I got to hand it to him – Pretty Lights is definitely on top of his game. There’s a reason he’s blown up as of late. He has a seamless sensibility as he layers and melts bits and pieces together. It’s real craftsmanship, and I was well impressed. He also had a mind-blowing light show, and drummer Cory Eberhard added a real thrust behind the sonic palette. Glitchy, dubby and heavy, with moments of exuberant flight, it was the perfect way to sweat and dance down the last hours of SXSW 2010 before 2 a.m. fell upon us. SXSW can be a harsh mistress, but, as I looked around at the beaming faces and hands raised in the air, I knew she’d already called me back for 2011.
Continue reading for more pics of SXSW Day 4…
Images by: Scott Dudelson
 Rachel Ray at the Rachel Ray Party :: Stubb’s :: 03.20.10
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 Dr. Dog at the Rachel Ray Party :: Stubb’s :: 03.20.10
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 Chapin Sisters at the Rachel Ray Party :: Stubb’s :: 03.20.10
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 Tom Morello – Street Sweeper Social Club at the Rachel Ray Party :: Stubb’s :: 03.20.10
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 Andrew WK at the Rachel Ray Party :: Stubb’s :: 03.20.10
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 Priestess at the Harley Davidson Party :: 03.20.10
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 The New Harley Davidson at the Harley Davidson Party :: 03.20.10
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 Exene Cervenka at Bloodshot Records Party :: 03.20.10
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 Big Light at Relix Showcase :: 03.20.10
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 The Like at Stubb’s :: 03.20.10
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Click here for coverage of SXSW Day 1.
Click here for coverage of SXSW Day 2.
Click here for coverage of Day 3.
JamBase | On The Mend
Go See Live Music!
SXSW | 03.19.10 | Austin, TX – Day 3
March 20th, 2010 |
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Words by: Kayceman | Images by: Scott Dudelson & Kayceman
SXSW :: 03.19.10 :: Friday :: Austin, TX
Kayceman’s Top 3
#3 – Miike Snow
 Dr. Dog :: 03.19.10 :: SXSW by Kayceman |
Sweden’s Miike Snow (no one named Mike, Miike or Snow in the band) took the stage in black jackets and white masks around 12:30 a.m. From the first subsonic bass rattle it was near impossible to stand still and it wasn’t hard to imagine talents like this working with Madonna and Britney Spears, with whom band members Christian Karlsson and Pontus Winnbergwon won a Grammy for Best Dance Recording on “Toxic.” These were dance tracks made by a live band that’s not afraid to rock. Heavy on hooks and dusted with slightly strange vocals, if things break right for Miike Snow they could find success like Phoenix or Justice.
#2 – Dr. Dog
Dr. Dog slayed a very packed crowd at the Filter Party with their workmanlike charm. Mixing touring staples “The Old Days,” “Worst Trip” and “Fate” with a few new numbers, including a cool one that read “Mirrors” on the setlist that chased its own tail with an increasing tempo, everything about this band screams future classic. Bassist/vocalist Toby Leaman was a monster, powerfully belting out vocals and digging his heel deep into the stage to drive the machine. Watching the joy this band finds in their music is contagious and I saw more uninhibited dancing in the crowd at this set than at any other all weekend. It all wound down with a psychedelic gospel rave-up that started with a Prince tease and wound up sounding like a relative of My Morning Jacket.
#1 – Big Light Private Hotel Suite Party
 Big Light :: Hilton Suite Party :: 03.19.10 :: SXSW by Kayceman |
In all my years of attending SXSW I’ve seen a lot of bands in a lot of very interesting places. During the fest Austin turns every possible location into a venue, and no one thinks twice about raging an abandoned supermarket, rocking in a taco shack or taking over an airplane hanger. But never have I seen a full-on rock show in a hotel room. Starting at around 1:15 a.m. in a giant suite at the Hilton (the hub of the festival/conference), Big Light broke new ground at SXSW. Having just covered Big Light in yesterday’s review it was not my intention to cover them again, but this party was the stuff of legends. In addition to all the managers, press, booking agents and big wig industry types, the suite (and adjoining rooms) were stuffed with about 100 people, including the Talking Heads‘ Jerry Harrison, Blues Traveler‘s John Popper, DJ Logic, Papa Mali and the Barr Brothers. We had given the over-under on how many songs they’d actually get to play before security shut them down at around three, but the stars were aligned and Big Light played an entire hour-plus rock show at full volume. The set even included a nice sit-in by The Slip‘s Brad Barr on guitar. Big Light blew it up and confirmed their place as a serious buzz band at this year’s SXSW. This was easily one of the best parties I’ve been to at South by, or anywhere for that matter.
Continue reading for Sarah Hagerman’s SXSW Day 3 highlights…
Words by: Sarah Hagerman
Jonathan Tyler & The Northern Lights
 Jakob Dylan and Three Legs (Featuring Neko Case)03.19.10 :: SXSW by Dudelson |
“Baby it’s been too long/ Since rock and roll turned you on,” Jonathan Tyler cried. ‘Nuff said. Fervent believers in the power of music to get our juices flowing, Tyler and his band The Northern Lights had the crowd getting down at the Relix day party at Antone’s. Channeling The Black Crowes with touches of Zeppelin, The Lights had a magnetic stage presence, stomping with their instruments and exuding rock star confidence. They are damn good, and they know it, but they’re ultimately here to have fun and make your ass move. They were tight as hell, too. When the lovely backup singer stepped to the mic to lead a song, throwing some very Erykah Badu-esque R&B and hip-hop into the mix, the band didn’t miss a beat behind her, tying the whole thing together with some Roots-like grooves. I would have liked to see more of her, but hot damn, this was a flat out great show. When they left the stage, Relix Editor-in-Chief Josh Baron wiped his brow as he took the mic, declaring, “I don’t know about you, but I just got run over!”
Some bands just have an uncanny sense of how to write songs that stick with you. Although they get well-deserved props for their cathartic and energetic live shows – you’ve never seen so much sweat pour from five guys sitting down – it’s the songwriting that sets Trampled by Turtles apart. They’ve got positively addictive hooks, and on quieter numbers, like the beautiful sigh of “Trouble,” they let them unwind with a natural ease. This set at Red-Eyed Fly flew by at a breakneck pace. I got a couple personal favorites, including “Empire” and a vicious “Burn for Free,” plus some killer new material from the upcoming Palomino. Ryan Young (fiddle) and Erik Berry (mando) practically folded into their chairs as they attacked their instrument with red-faced intensity that had the crowd whooping and shrieking. “I like your beards!” I heard someone shout. At this point during SXSW, I’ve seen enough ironic facial hair to last the rest of my life. But TbT offer genuine scruff. You get the sense that no matter how far they climb they won’t ever forget where they came from. It’s that grounding that keeps them so real and keeps their music so warm, even in the midst of the fury they can unleash when they take the stage.
Janet Weiss (of now defunct Sleater-Kinney) is one of the fiercest, most versatile drummers in indie rock royalty. She was flexing serious muscle during Quasi’s set at Antone’s, with pin-sharp machine gun rat-a-tats and crescendos that built to brain-pulping levels. Quasi are pure, stripped-down garage adrenalin. They don’t fuck around or have a lot of pretension – they keep it lean, but draw it out in decidedly rough lines. Joanna Bolme‘s bass was chewy, and Sam Coomes‘ guitar work could break down into anarchy at any moment. Closing out their set with “Bye Bye Blackbird,” they destroyed some eardrums as they let it all hang loose with feedback buzzes, squeals, and washes of thick noise.
 Trampled by Turtles :: 03.19.10 :: SXSW |
There comes a moment at every SXSW. Your feet hurt. You can’t bear to over hear one more name-dropping conversation or see one more person glued to their iPhone while a band is killing it a few feet away. You are tired of wading through the mess on 6th Street. You are just plain tired, only averaging about four hours of sleep a night. That’s when you need something to remind you why you’re here, and I couldn’t have asked for better medicine than Velvet Truckstop. Crammed into a sweaty Nuno’s, VT laid down rock and roll salvation of the highest order. With their lofty electric blues, driving southern rock jams and echoes of The Band and Wilco, they gave me, and several others, the will to dance down the last hours until closing time. Readers, you need to get acquainted with Velvet Truckstop. These cats are cut from some genuine cloth, the kind of band that pulls you through the rough times and sends you out into the night with a romping “Hallelujah!” Guitarist Dorsey Parker was especially tapped into something huge, making it look so damn easy but one glance at his fingers moving across his axe left your head spinning. They got songwriting skills that bow towards the classic, such as the asphalt-scarred “Carolina Way,” where Jamie Dose sings about the “broken dreams and guitar strings” that litter the highway while you’re chasing a dream. But you keep pushing on regardless, because you believe in what you’re doing. If that’s not what SXSW is ultimately all about, then I don’t know what is.
Continue reading for more pics of SXSW Day 3…
Images by: Scott Dudelson
 Billy Bragg and Wayne Kramer at Ghost Bar
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 Mike Mills (R.E.M.) at Ghost Bar
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 Wayne Kramer at Ghost Bar
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 Audible Mainframe at Spin Party
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 Billy Bragg at Don’t Mess With Texas Party
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 Frightened Rabbit at Don’t Mess With Texas Party
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 Citizen Cope at SXSW Day Stage
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 Diane Birch at SXSW Day Stage
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 Dead Confederate at Little Radio Party
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 Foxy Shazam at Spin Party
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 Fucked Up at Spin Party
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 Rogue Wave at Spin Party
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 Miike Snow at Spin Party
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 Wooden Birds at Mohawk
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 Metric at Stubb’s
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 Emily Haines – Metric at Stubb’s
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 Steel Train at Encore
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Click here for coverage of SXSW Day 1. Click here for coverage of Day 2.
Check back tomorrow for more coverage of SXSW 2010…
JamBase | Tejas
Go See Live Music!
SXSW | 03.18.10 | Austin, TX – Day 2
March 19th, 2010 |
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Words by: Kayceman | Images by: Scott Dudelson & Kayceman
SXSW :: 03.18.10 :: Thursday :: Austin, TX
Kayceman’s Top 3
#3 – Broken Social Scene
 Band of Horses at Stubb’s03.18.10 by Dudelson |
If we let them, Broken Social Scene will heal us. One of the most innovative and influential indie rock bands of our time, they’ve pulled off the very difficult trick of being super-indie-hipster chic but so totally void of pretense or posturing that the music always feels real, genuine and from a deep place. When they tell us to fight for joy or they crank out triumphant, celebratory music and tell us it’s how our lives should sound, it works. This is the power of music. Melody, notes and words combined and organized in ways that illicit profound emotion, thoughts and even actions – these are the waters that BSS swim in. Though Feist performing at Stubb’s on Thursday night was just a rumor (there’s lots of rumors at SXSW – did you hear Jay-Z and Mötley Crue are gonna do surprise sets?) it didn’t matter. Brendan Canning, Kevin Drew, Apostle of Hustle, Jason Collett and the other dozen or so musicians (I believe the stage maxed out at 14 people) put on a life-affirming set of loose jams and soaring harmonies. New track “World Sick” from the forthcoming Forgiveness Rock Record (due May 4 on Arts & Crafts) featured one of the most infectious bass lines at SXSW and old standouts “Fire Eye’d Boy” and “7/4 (Shoreline)” wrapped us tight in a sheet of distorted guitars and warm horns.
#2 – Band of Horses
Another group with a new album coming soon (Infinite Arms out May 17 on Columbia), Band of Horses also toil in emotion’s murky waters. Ben Bridwell and his Horses aren’t afraid to get their hands dirty digging through dark soil, but like Broken Social Scene, there’s resolution and joy in the end. Starting their set at Stubb’s with “Is There A Ghost” and “Great Salt Lake,” it didn’t take long for the giant guitars and powerful vocals to capture the sprawling crowd’s attention. And when the girl next to me grabbed her boyfriend’s arm and said, “I’m sooo excited. I love this band,” it was clear this music speaks to people. Like art in general, it’s a difficult thing to quantify or explain. Why does a certain selection of notes or set of words make us feel what it does? What is it about certain songs that allow them to touch us so deeply? Hard to say, but when you feel it, there’s no mistaking it. Band of Horses staples “The Funeral,” “No One’s Gonna Love You” and “Marry Song” were coupled with a Yo La Tengo cover and two new songs. The first new track was a mid-tempo burner pulled tight with emotion and the second was a foot-stomping country rock number with a heavy dose of organ; both show great promise for the upcoming album. More than even the sweet material Bridwell is coming up with, what makes Band of Horses so great right now is that they are a real band and they’re finding their power. The lineup went through a number of changes before arriving at this unit and every time I’ve seen this band over the past year or two they’ve gotten better and better.
#1 – Kayceman’s Treehouse Party
 Paz Lenchantin – Entrance Band03.18.10 by Kayceman |
Kayceman’s Treehouse Party was really fun. Perched up on a deck framed against the Austin skyline and packed with some of my favorite bands, it was an honor to have my name associated with such talent. Showing up to my own party just a little late due to a work commitments, I, unfortunately, missed Any Day Parade and The Fresh & Onlys, but when The Moondoggies started all worries washed away. Like an 18-wheeler headed down a steep slope, The Moondoggies’ three-part harmonies, tent revival energy, and gospel-baked roots rock was impossible to deny. If you dig The Band and The Byrds and don’t know this Seattle group then you have to check out their stunning 2008 debut Don’t Be a Stranger (JamBase review).
Following The Moondoggies was perhaps my favorite set of the day: The Entrance Band. Guitarist/vocalist/leader Guy Blakeslee is a psychedelic guitar shredder. Shirt off and standing on speakers, he played lefty with a right-handed guitar strung upside down a la Hendrix, and this is one follower Jimi would surely approve of. As difficult as it was to steal any of Blakeslee’s thunder, bassist Paz Lenchantin (A Perfect Circle) stole the show. Sexier than all hell in her high heels and tight jeans, she was rolling on the stage, playing over her head and rubbing against the speakers. But none of it would have mattered if she weren’t such an over-the-top monster bassist. Blakeslee and Paz are a remarkable team, and with drummer Derek James they dig deep into the psych-rock woods – feeling, living every note and squeezing the juice from every moment of their glorious journey.
Entrance Band was a hard act to follow, but Red Cortez fears no stage. Built around gifted frontman Harley Prechtel-Cortez, there’s an early U2 vibe that hints at what’s possible for this band, and based on the new material we heard in Austin and with a new album produced by the legendary Ethan Johns coming soon, one gets the impression this band is just starting to hit their stride.
 Big Light :: Kayceman’s Treehouse03.18.10 by Kayceman |
The Mother Hips did what they do and burned the Treehouse down. One of the most consistently great live acts around, they don’t disappoint. Playing to the largest crowd of the day, burly rockers like “Grizzly Bear” and “Third Floor Story,” and the dirty hard funk-rock of “Magazine” were razor sharp but never too tight. Frontman Tim Bluhm and guitarist Greg Loiacono are a true dynamic duo, and this band is enjoying a true renaissance period right now that finds them better than at any point in their 20 year career.
It’s clear Everest are on the rise. Touring with Neil Young has taught them how to flex their muscles, and when they lean into crunching guitar jams it hits hard. But they also show a delicate, acoustic side and bandleader Russell Pollard is shaping up to be a remarkable songwriter. The tracks from their upcoming sophomore album, On Approach (due April 20 on Vapor Records), indicate a band that’s nowhere near their ceiling. It should be fun to watch them climb the mountain.
Hosting San Francisco local boys and JamBase darling Big Light was a real treat. Playing to a deck full of industry folks there to see them, BL did the job with four hard hitting power-pop nuggets of rock & roll. There were several conversations overheard about how this band is “really getting their shit together,” and the interplay between drummer Bradly Bifulco and guitar stud Jeremy Korpas during “Heavy” was just awesome.
Closing down the festivities was Knoxville, TN’s Royal Bangs. Pumping out woozy keyboards and inventive guitar lines, they were a jolt of energy that reinvigorated anyone who might have gotten a bit too much sun up at the Treehouse. Hitting pleasure zones like !!!, they’ve described their music as “easy shred computer jam,” and even though they’ve trimmed from a five-piece to a trio there appears to be little if anything lost in transition.
Continue reading for Sarah Hagerman’s SXSW Day 2 highlights…
Words by: Sarah Hagerman
 Those Darlins :: 03.18.10 :: SXSW |
Yacht
I’d heard vaguely of Yacht going in, and honestly probably would have skipped them if it weren’t for the urging of a buddy. Based on the name alone, I had assumed they were going to be more along the lines of some kind of ironic hipster “yacht rock,” with boat shoes and Kenny Loggins-style falsettos. Oh how wrong I was. Although they certainly were dressed to the nines, this wasn’t no champagne-sipping in the sunshine sail. They laid down a dirty, post-punk, disco ass-shake-a-thon at the Spaceland Day Party at Palm Door. Jona Bechtolt and Claire L. Evans held court at the front of the stage as their band offered up lead-heavy beats and screaming punk aggression. They were the picture of cool as they strutted back and forth, working the crowd into a jumping mess with steely stares and sneers that said, “If you don’t dance, someone’s gonna get hurt.” Evans would twist her mic cord around her body and fiercely pose by the pole in the center of the stage, with a vibe that couldn’t help but remind me of Debbie Harry. I could see these cats going over well at Camp Bisco. If you dig !!! or Gossip, climb on board.
Heaving and buckling with the weight of sardine-packed jumping bodies, the narrow side porch of the Palm Door (which was serving as a makeshift second stage) threatened to give way during Fool’s Gold’s early evening set. This band puts on a tribal, tropical dance party that grabs your sweaty hand and drags you into a conga line. They really stretched out, too, moving between blasting sax funk and tight drumming with snappy ease, keeping those floorboards quaking under their brilliant shine.
The setting for the stacked lineup at Kayceman’s Treehouse Party felt like an awesome little secret, set high above the rumble of 6th Street below. As the hot midday sun beat down on our heads at the upstairs patio at Cheers shot bar, Entrance Band melted our brains. Playing psychedelic scattershot guitar like Hendrix (he even busted out the behind-the-head move), frontman Guy Blakeslee had the rock star thing down to a science. Pure organic chemistry, as badass bassist Paz Lenchantin crushed the low end and drummer Derek James seemed hypnotized behind his wall of hair. Drawing out washes of feedback while bent over their instruments, Blakeslee and Lenchantin looked about ready to fold up and meld with the stage. They rose up, to end the set with a tremendous roar. Note to self: earplugs exist for a reason.
 Man Man :: 03.18.10 :: SXSW |
“If you don’t want a wild one/ Don’t hang around with me” might as well be tattooed on these girls’ forearms. Look out, fellas, you might well find yourself handcuffed to a bed with your wallet missing and your car long gone. Riot girl rockabilly queens-to-be, these gals are like the delinquent granddaughters of Wanda Jackson (guitarist Jessi Darlin‘s voice even had a similar high-pitched gritty wail). With songs about getting drunk and eating a whole chicken and having phone sex with prank callers, they aren’t afraid to get raunchy and bloody and then wake up with questionable bruises. Nikki Darlin dropped her baritone ukulele towards the end of the set and stomped around the front of the stage at the Billboard.com Bungalow, spitting gulps from her pint of whiskey sky high. At one point, she balanced herself on some folks in the front row, and it looked like an older, bald gentleman got pretty well acquainted with her crotch for a minute. It was chaos by the end of their set, with Nikki and bassist Kelley Darlin wrestling, and Jessi strangling and tossing her guitar around, before all three dissolved into a pile, rolling and kicking in the center of the stage. This shit was totally badass, oozing confident in-your-face sexuality and dirty south pride. I want to rage with these gals, but I think things would get pretty damn messy.
With Man Man, I don’t know if I want to have whatever they are having, but I sure do love the contact high. This band brings out something positively primal in you, puts you in touch with some feral base elements growling in your blood, makes you want to howl at the moon. Let me put it this way – it was the first honest to god slam pit and stage push I’d seen at SXSW. If you were in the front for this show, you were part of the chaos. No standing back and taking notes or texting on your Blackberry here. Like a marching band on the elevator to hell, or a birthday party from your Jungian shadow, their stage set-up is always impressive, as they leap from brass to xylophone to noise makers. Frontman Honus Honus stalked around with a wild, possessed look in his eyes, contorting his face as he sang, wrapping himself in a hooded cloak and red Christmas lights one minute, donning a glittery dress the next. “You make me feel like a zombie!” he shrieked during “Big Trouble.” There’s a monster inside all of us, and you can always count on Man Man to drag it out from under the bed. It’s pretty damn exciting, and a little bit scary.
Equal parts grungy and hypnotic, Dead Confederate gave us one final shot of adrenaline in our veins as we gathered the last pieces of the night. The enormous sound was all encompassing, gluing you to the pavement, so that all you could do was violently shake your head in its wake. Hardy Morris has a wail that reminded me a little bit of Perry Farrell, cutting through the dark fuzz of the band to soar over those of us still upright. It shot shivers straight through my bones. As 2:00 a.m. crept up, Morris said the band had two more songs. They slew one, and then halfway through their last song, the plug was pulled. It was an abrupt and jarring end, and it’s unfortunate the Billboard.com Bungalow wouldn’t have let them see it through an extra few minutes instead of unceremoniously sending us out into the night to dodge the wasted and the lost winding their way back towards beds or searching for that last, secret party pumping somewhere in the Austin night.
Continue reading for more pics of SXSW Day 2…
Images by: Scott Dudelson
 Athlete at Billboard Bungalow Party
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 Bear In Heaven at Mohawk
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 Besnard Lakes at Emo’s Annex
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 Broken Social Scene at Stubb’s
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 Drive-By Truckers at Stubb’s
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 Camper Van Beethoven at Encore
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 Cocoon at French Party
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 Jason Collett at Little Radio Party
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 Dead Sexy Inc. at French Party
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 Damion Suomi at Paste Party
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 Gringo Starr at Habana Calle
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 Local Natives at Emo’s
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 Lovely Feathers at Emo’s Annex
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 The Mother Hips at Encore
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 The Moondoggies at Kayceman’s Treehouse Party
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 Oh Mercy at Emo’s Annex
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 Quest For Fire at Habana Calle
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 Sara Haze at Billboard Bungalow Party
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 Sondre Lerche
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 The Bewitched Hands at French Party
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 The Walkmen
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 Vivian Girls at Club Deville
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 Surfer Blood at Club Deville
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Click here for coverage of SXSW Day 1.
Check back tomorrow for more coverage of SXSW 2010…
JamBase | In Deep
Go See Live Music!
SXSW | 03.17.10 | Austin, TX – Day 1
March 18th, 2010 |
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Words by: Kayceman | Images by: Scott Dudelson & Kayceman
SXSW :: 03.17.10 :: Wednesday :: Austin, TX
With almost 2,000 bands performing on 80 stages throughout downtown Austin, the South by Southwest Music Conference is a music marathon fueled by Lone Star Beer and tacos. Now in its 24th year, SXSW might not be about signing new bands as it once was (the internet has really changed the game in how we discover music), but it still offers the opportunity to see a shitload of bands, some of whom will be stars before long, in a short period of time. The dynamics of SXSW may have changed as the festival has grown, but one thing hasn’t changed: This long weekend in Texas can still break bands.
Kayceman’s Top 3
 Lissie at Galaxy Room :: SXSW :: 03.17.10 by Kayceman |
#3
First set on the first day and Lissie was awesome. Reminiscent of a more rocking Neko Case or younger, more psychedelic Bonnie Raitt, Lissie filled the room with her powerful voice and flowing golden locks. More than singing songs it often felt like Lissie was opening windows into her life. One gets the impression these are confessionals, and when she hit the big notes it sent shivers down my spine. Lissie on electric guitar was backed by a strong lead guitarist who took some searing solos and a bass player who sat on a stool and also played high-hat and kick drum (no drummer in this band), the power this three-piece cooked up was impressive. She closed her set with a soul-rock, gospel tent revival rave-up called “Little Lovin’” off her wonderful debut EP Why You Runnin’, which won over every pair of ears in the room.
#2
If you can make the hipsters dance you are doing something really special. San Francisco’s psychedelic warriors Sleepy Sun are looking more and more like a “special” band, and their set at the IODA party uncorked some seriously good times. A close cousin to bands like Brightblack Morning Light and The Black Angels, the female counter-point vocals helped ease the heaviness of the music to create a welcoming haze. Like really good drugs where you feel opened up by the experience, like your learning something unspoken, this set was deep. The unquestionable highlight occurred when they brought out the Austin Children’s Choir and finished the set with a cover of The Guess Who’s “No Sugar Tonight/New Mother Nature” that stripped the crowd of their cool and ushered in an honest to goodness dance party.
 Sharon Jones at Stubb’s :: SXSW03.17.10 by Scott Dudelson |
#1
Number one slot on the first day: Stubb’s. Between another wicked set from Sharon Jones and the Dap-Kings, Austin’s own Spoon, and a set by the biggest buzz band of the fest, Broken Bells, this bill was tough to beat. Only unfortunate thing was that Broken Bells (featuring Danger Mouse and The Shins‘ James Mercer) wasn’t very good. They weren’t bad, and the songs are really great, but you could tell the live show was just an extension of the album’s success. There were a few high points, like opener “The High Road,” but overall the live show was a sloppy second to one of the best albums of this young year.
Sharon Jones on the other hand killed it. Her band is ridiculously tight and Jones is simply one of the best bandleaders around. Every single time I see this act I’m impressed, and at Stubb’s it was no different. Playing to the largest crowd of the night, she had the audience in the palm of her hand with songs like “100 Days, 100 Nights,” new one “She Ain’t A Child No More,” and a very cool reworking of “This Land Is Your Land.” For anyone who says the golden days of soul music are gone, I say listen to Sharon Jones. Stax, Motown and Muscle Shoals got nothin’ on Ms. Jones and her Dap-Kings.
Strange enough to keep it interesting but built on brilliant songs with inventive hooks, Spoon is a true leader in the modern rock world. Bathing in psychedelic splashes of sound at times, it felt like we were in an echo chamber, and the guest percussionist was a nice touch, too. Songs like “Written In Reverse,” “Don’t Make Me a Target” and “My Mathematical Mind” captivated the crowd with relentless rhythms and perfect precision, while “I Turn My Camera On” made a case for what disco could have been. This is a band of efficiency. No wasted notes or gratuitous solos (there wasn’t a traditional solo all night), everything serves the song. Spoon continues to dish out the goods, and seeing them on their home turf on a big night like this was reason to celebrate.
I’d love to tell you more, but there is quite literally a party with my name on it that has already started. I need to get there. Let that be a glimpse into SXSW: There’s always too much to do…
Continue reading for Sarah Hagerman’s SXSW Day 1 highlights…
Words & Images by: Sarah Hagerman
Wanda Jackson & Green Corn Revival
 Wanda Jackson :: 03.17.10 |
SXSW is geared towards pushing what’s up-and-coming, but it also provides exciting chances to see legends in intimate settings. When the MC strolled out onto the Palm Door stage to announce Wanda Jackson – “The newest member of the Rock and Roll Hall of Fame. The first lady of rock and roll! The queen of rockabilly!” – a gal that had roses tattooed from her wrist to her shoulder screeched in excitement and a dude with a pretty fierce wedge haircut and checkered jacket pumped his fists in the air. “I love singing to a pole!” she declared with a laugh, eyeing the rather unfortunately placed pillar smack dab in the center of the stage, before launching into “Mean Mean Man.” As Green Corn Revival laid down rough-and-ready country, with slinky steel guitars and the occasional peppy trumpet, she wailed in her high, hundred proof voice. Armed with yodels, a kick ass pink guitar and stories about dating Elvis, at 72, Jackson is one feisty firecracker in a red fringe blouse. With classics such as “I Gotta Know,” one of the first rockabilly songs ever recorded from 1956, and a killer version of “Heartbreak Hotel,” she oozed timeless rock and roll attitude. But this was no nostalgia set. With a new album produced by Jack White, Jackson is still a force to be reckoned with. During her fantastic take on Amy Winehouse’s “Trouble,” she leaned suggestively against the pole, posing and pointing to folks in the audience as she drew out the lines, “I told ya I was trouble/ You know I’m no good.” I overhead someone behind me declare, “Yeah, she’s still trouble.” I would suggest to anyone that comes to SXSW to try and catch at least one such show to realize, even in the midst of flash in the pan culture, there are artists who endure, and even stay fresh, after decades in the music industry.
Anais Mitchell currently has an ambitious project, Hadestown: A Folk Opera. Based on the Orpheus Tale and set in a post-apocalyptic, depression-era America, folks like Justin Vernon, Greg Brown, and Ani DiFranco play the roles of Orpheus, Hades and Persephone, respectively. But tonight, it was just Mitchell and her guitar. She hushed the intimate crowd at The Ale House, some of whom sat frozen on the floor, causing Mitchell to remark, “I feel like it’s story time in the library.” With the Guinness and Lone Star-soaked mayhem of 6th Street’s rage-a-thon pumping a block away, it was a welcome slice of peace, though her words touched on places that shook you to the core. For example, “Why We Build the Wall,” where Hades asks a series of rhetorical questions to a group of children living in his walled city. “Why do we build the wall?/ We build the wall to keep us free.” Freedom in this case means protection from the starving, poverty-stricken masses outside the gate. It was a bit Orwellian, and at a time where the social problems that confront us are often met with hostile indifference by those that feel entitled to clutch their piece of the pie, it hit a nerve. I couldn’t help but imagine the stark, barbaric wasteland of Cormac McCarthy’s The Road, and woke up this morning unable to escape this image below, sung by Persephone in another tune:
The earth is a bird
On a spit in the sky
How long?
How long?
How long?
 Danny Barnes :: 03.17.10 |
You had to feel for Bowerbirds. The crew running the Brooklyn Vegan showcase at Club De Ville took over half an hour to sound check the band, and after the first song, “Silver Clouds” from their stunning album Upper Air, guitarist Phil Moore broke both his pick and one of his strings, causing keyboardist and accordion player Beth Tacular to sigh, “Disasters everywhere.” But the band took it in stride, playing a set that positively glowed, with a warm, inviting folk sound that you just wanted to join under the covers. “House of Diamonds” is Zen philosophy set to music, a reminder that true freedom exists inherently in our mind and once you open yourself to that place, you have the strong heart to let the world inside: “Yes, you own the stars/ You own the thunder/ But you have to share it all.” This is the kind of band that builds you up into something stronger and reminds you, “Hey, shit happens.” It’s all strikes and gutters, ups and downs, and all you can do is abide.
Danny Barnes & Honky
It’s a rare artist that can slip their material into different mediums and have it work just as well. But when you’ve got a set of songs as strong as the ones on Danny Barnes’ latest, Pizza Box, the work speaks for itself. Although he usually plays his solo shows with his banjo and laptop, using Ableton software to loop and create texture, this night Barnes was backed by Honky – Jeff Pinkus (Butthole Surfers) on bass and Justin Collins on drums, later joined by Bobby Rock on guitar. It was an amped-up approach that suited the songs to a tee, as Barnes’ latest work travels from the sincerely touching to the unabashedly badass. At one point, he had us all verklempt during love song “Overdue,” his banjo dancing lightly over Pinkus’ melodic low end. Later, he picked up a flying-V guitar and wailed with a beaming Bobby Rock on “Road,” his tale of a methamphetamine dealer hell bent on destruction. The latter was the perfect lead-up to an end cap of Honky songs. Running on pure diesel, where even the girls on the mud flaps would be giving you the middle finger, Honky took us for a whirlwind ride as they stretched their time to the max. There’s a dirty grind with a rough-and-tumble heart in their sound, and Barnes’ wild guitar freakouts fit perfectly. The grins on their faces and laughter as they would catch each other’s eyes said it all – these cats were having a hell of a party up there, ripping it apart for those of us left standing at the brink of 2 a.m. at The Palm Door. Although he hasn’t called Austin home for awhile, at one point a gentleman in the back cried, “Welcome home, Danny!” A true original who has never fit in anyone’s box, Barnes’ presence is certainly a welcome addition to SXSW this year.
Continue reading for more pics…
Images by: Scott Dudelson
 Danger Mouse – Broken Bells at Spinner Party
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 James Mercer – Broken Bells at Spinner Party
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 Broken Bells at Spinner Party
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 The Asteroids Galaxy Tour at Emo’s Annex
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 Leo Rondeau at Club Deville
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 Doll and The Kicks at Emo’s Annex
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 Drake Bell at St. David’s Hall
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 Freelance Whales at Paste Party
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 Henry Clay People at Little Radio Party
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 Hollarado at Canadian BBQ Party
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 Javelin at Buffalo Billiards
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 Mando Diao at Mohawk
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 Will Shef – Okkervil River at Paste Party
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 Roky Erickson at Paste Party
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 Suckers at Paste Party
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 Titus Andronicus at Force Field Party
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 Trespassers William at Hilton Gardens
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 Visqueen at Stubb’s
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 Dawes at Club Deville
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Check back tomorrow for more coverage of SXSW 2010…
JamBase | Texas
Go See Live Music!
Chico Mann: West Coast Dates
February 1st, 2010 |
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CHICO MANN ANNOUNCES WEST COAST TOUR DATES
 Chico Mann |
Time-traveling multi-instrumentalist-producer Chico Mann is bringing his “funky electro-
Afrobeat outfit that sends both boom boxes and backsides into glorious tremors” (Flavorpill) to the West Coast for a string of performances in San Francisco and Los Angeles that will include two special shows to celebrate the Fania release of El Alcalde Del Barrio, a deluxe 2-disc compilation, 34-track box set from the father of Latin Boogaloo, Joe Cuba. The album will be released officially on February 23 and commemorates the one-year passing of the Latin legend that was Cuba.
2010 is already shaping up to be a banner year as Chico has been given the keys to the famed Fania vaults which, under new directors Codigo Music Group, has amassed the single largest collection of Tropical Music in existence by uniting the many labels and imprints that shaped those classic sounds.
In addition, Chico’s collaborations with producer Rob Fusari (Lady Gaga, Beyonce) are taking shape and there are plans for Chico to perform at South by Southwest in Austin, TX and Europe to round out the spring. Chico Mann’s next studio release is also nearly complete.
February’s two-city, nine show tour will find Chico Mann in a variety of settings including The Elbo Room in San Francisco and The Mint in Los Angeles, where they will be incorporating Joe Cuba cuts into their one-of-a-kind set of Afro-freestyle that Turntable Lab calls “The future of music, in case you didn’t know.”
Chico will also perform a special in-store at Turntable Lab LA and be the featured guests at some of LA’s hottest parties including Dam Funk’s Funkmosphere at Carbon and Mucho Wednesdays at La Cita.
Chico Mann Tour Dates
02/10/10 Wed Triple Crown San Francisco, CA
02/11/10 Thu Elbo Room San Francisco, CA
02/12/10 Fri The Mint Los Angeles, CA
02/13/10 Sat Turntable Lab LA Los Angeles, CA
02/13/10 Sat Bembe Loft Party Los Angeles, CA
02/15/10 Mon Carbon Culver City, CA
02/16/10 Tue Commonwealth Lounge Fullerton, CA
02/17/10 Wed La Cita Los Angeles, CA
Widespread Panic | 10.31 | Austin, TX
November 2nd, 2009 |
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Images by: Curtis George
Widespread Panic :: 10.31.09 :: Austin Music Hall :: Austin, TX
Set I: Waitin’ For The Bus > Chilly Water > Rock > Chilly Water, Trouble, Gimme > You Got Yours, Give, Mama Told Me Not To Come > Red Beans
Set II: Come As You Are > Bowlegged Woman, The Last Straw, Holden Oversoul > Jam > Vampire Blues, Imitation Leather Shoes > Drums > Bust It Big > Pigeons, Lake Of Fire > Henry Parsons Died
Encore: This Masquerade, Postcard, Flat Foot Flewzy
Notes:
Only “Waitin’ For The Bus” (ZZ Top)
Only “Come As You Are” (Nirvana)
Only “Lake Of Fire” (Meat Puppets)
Only “This Masquerade” (Leon Russell)
Stream this show for free at PanicStream.com.
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Continue reading for more pics of Panic on Halloween…
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Panic is on tour now; dates available here.
JamBase | Austin
Go See Live Music!
WSP | 10.31.09 | Austin, TX
November 2nd, 2009 |
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Widespread Panic :: 10.31.09 :: Austin Music Hall :: Austin, TX
Set I: Waitin’ For The Bus > Chilly Water > Rock > Chilly Water, Trouble, Gimme > You Got Yours, Give, Mama Told Me Not To Come > Red Beans
Set II: Come As You Are > Bowlegged Woman, The Last Straw, Holden Oversoul > Jam > Vampire Blues, Imitation Leather Shoes > Drums > Bust It Big > Pigeons, Lake Of Fire > Henry Parsons Died
Encore: This Masquerade, Postcard, Flat Foot Flewzy
Notes:
Only “Waitin’ For The Bus” (ZZ Top)
Only “Come As You Are” (Nirvana)
Only “Lake Of Fire” (Meat Puppets)
Only “This Masquerade” (Leon Russell)
Photos of Panic on Halloween available here…
Panic is on tour now; dates available here.
ABB & WSP Setlists TX: Epic Tour Comes To End
October 19th, 2009 |
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Widespread Panic & The Allman Brothers Band Setlists
10.17.09 :: Sat :: Cynthia Woods Mitchell Pavilion :: The Woodlands, TX
Widespread Panic:
Let’s Get Down To Business, Give > Disco > Tall Boy, Blue Indian > Junior > Party At Your Mamas House > Ribs and Whiskey, North, Pilgrims, Good People > Use Me* > Cortez the Killer* > Lawyers, Guns and Money, Henry Parsons Died
* with Warren Haynes on guitar
The Allman Brothers Band:
Revival, Done Somebody Wrong, Rocking Horse, One Way Out, Guilded Splinters*, The Sky is Crying, Franklins Tower**, Black Hearted Woman, Dreams***, In Memory of Elizabeth Reed****
E: Southbound^
* with John Bell on guitar/vocals, Sunny Ortiz on percussion
** with Sunny Ortiz on percussion, Jimmy Herring on guitar
*** with Dave Schools on bass, without Oteil Burbridge
**** with Jimmy Herring on guitar
^ with all of Widespread Panic
You can stream Panic’s set at panicstream.com.
You can download Panic’s set at LiveDownloads.com.
10.16.09 :: Fri :: Superpages.com Center :: Dallas, TX
Widespread Panic:
Radio Child, Weight Of The World > Don’t Be Denied, Wondering, Greta > Under The Radar Jam > Three Candles > Space Wrangler, Gradle, From The Cradle, Second Skin* > Blackout Blues*, All Time Low, Makes Sense To Me
* with Derek Trucks on guitar
The Allman Brothers Band:
Statesboro Blues, Come And Go Blues, No One To Run With, Who’s Been Talking, Midnight Rider, Highway 61 Revisited*, Why Does Love Got To Be So Sad?, One Way Out, Into The Mystic, Jessica
E: Melissa, Whipping Post
* with John Bell on guitar/vocals
You can stream Panic’s set at panicstream.com.
You can download Panic’s set at LiveDownloads.com.
10.14.09 :: Wed :: Municipal Auditorium :: Nashville, TN
Widespread Panic:
Let’s Get The Show On The Road > Happy > You Should Be Glad, Pickin’ Up The Pieces, Up All Night, Love Tractor, Big Wooly Mammoth* > Fishwater > Drums > Fishwater > Don’t Wanna Lose You** > It Ain’t No Use** > Jam** > Driving Song > You Got Yours > Driving Song > Chilly Water
E: Vacation > Life During Wartime
* Johnny Neel on keys
** Audley Freed on guitar
The Allman Brothers Band:
Don’t Want You no More > Not My Cross To Bear > Don’t Keep Me Wondering, Trouble No More, Good Morning Little Schoolgirl, Midnight Rider*, Done Somebody Wrong**, Black Hearted Woman* > Other One Jam, Woman Across The River*, Soulshine, It Takes A Lot To Laugh It Takes A Train To Cry***, In Memory of Elizabeth Reed**** > Drums & Bass > In Memory of Elizabeth Reed****
E: Melissa*****, You Don’t Love Me******
* Chris Jackson on keys
** Elizabeth Pearson on bass and Chris Jackson on piano
*** JB on guitar & vocals; Johnny Neel on piano
**** Jack Pearson on bass with Oteil; Chris Jackson on piano
***** Gregg Allman on acoustic; without Derek Trucks
****** Jimmy Hall on harmonica; Elizabeth Pearson on bass; without Oteil
You can stream Panic’s set at panicstream.com.
You can download Panic’s set at LiveDownloads.com.
10.13.09 :: Tue :: Knoxville Coliseum :: Knoxville, TN
Widespread Panic:
Better Off, One-Arm Steve, Old Neighborhood > Action Man, Time Zones > Jam > Angels On High > Rebirtha > Watching The Sleeping Man, Papa’s Home > Stop/Go > Papa’s Home > Travelin’ Man > Ride Me High > Drum Solo > Jam* > Surprise Valley* > Drum Solo > Surprise Valley* > Climb To Safety*
* With Derek Trucks on guitar
The Allman Brothers Band:
Statesboro Blues, One Way Out, Sky Is Crying, Come and Go Blues, Any Day, 44 Blues, Leave My Blues at Home, Melissa, Rocking Horse > Little Martha > Rockin Horse, Dreams*, Mountain Jam*
E: Whipping Post*
* With Jack Pearson on guitar
You can stream Panic’s set at panicstream.com.
You can download Panic’s set at LiveDownloads.com.
10.11.09 :: Sun :: Time Warner Cable Music Pavilion at Walnut Creek :: Raleigh, NC
Widespread Panic:
Pigeons, 1 x 1, Proving Ground, Down > Holden Oversoul > Little Lilly > Tie Your Shoes, City of Dreams > B of D > Barstools & Dreamers, Ribs & Whiskey* > Stop Breakin’ Down Blues* > Ribs & Whiskey*, Tall Boy > Ain’t Life Grand
w/ * Warren Haynes
The Allman Brothers Band:
Don’t Want You No More, Not My Cross To Bear, Done Somebody Wrong, Don’t Keep Me Wondering, Only You Know and I Know*, Can’t Find My Way Home**, No One To Run With, Who’s Been Talking, You Don’t Love Me, The Same Thing, Melisa, In Memory of Elizabeth Reed***
E: Southbound****
w/ * James van de Bogert on drums
w/ ** JB and James van de Bogert
w/ *** Jimmy Herring
w/ **** J Herring, JoJo, D Schools
10.10.09 :: Sat :: BJCC Arena :: Birmingham, AL
The Allman Brothers Band:
Midnight Rider, Trouble No More, Can’t Lose What You Never Had, You Don’t Love Me, Soulshine, Stand Back, And It Stoned Me*, Revival, Statesboro Blues, Mountain Jam > Smokestack Lightnin’** > Mountain Jam
E: Black Hearted Woman
* w/ with John Bell, guitar & vox; James van de Bogert, drums
** w/ with Colonel Bruce Hampton, vocals
Widespread Panic:
The Take Out > Diner > Rock > Porch Song, Dyin’ Man*, Slippin’ Into Darkness**, Just Like A Woman***, Bust It Big**** > Drums > Airplane > Pilgrims > Goodpeople > Dark Bar > Goodpeople > Junior
E: Expiration Day > Goin’ Out West
* with DJ Logic on turntables
** with Marc Quinones on percussion, Warren Haynes on guitar
*** with Gregg Allman on vocals
**** with Warren Haynes on guitar
Review of this show here.
10.09.09 :: Fri :: BJCC Arena :: Birmingham, AL
Widespread Panic:
Hatfield > Walkin’ (For Your Love) > Wondering, Tickle the Truth > Chainsaw City > Machine > Arleen > Space Wrangler, Her Dance Needs No Body > Greta > Drums* > Maggot Brain** > Time Is Free*** > Give
* with DJ Logic on turntables
** with Derek Trucks on guitar
*** with Col. Bruce Hampton on vocals, Derek Trucks on guitar, Oteil Burbridge on bass
['Time Is Free' without Dave]
The Allman Brothers Band:
Done Somebody Wrong, Come and Go Blues, End Of The Line, The Weight*, Key To The Highway*, Rocking Horse, Dreams**, Highway 61 Revisited***, Into The Mystic****, Leave My Blues at Home, Melissa, Jessica
E: One Way Out*****
* with JoJo Hermann, piano
** with Dave Schools, bass
*** with John Bell, guitar & vocals; Dave Schools, bass; James van de Bogert, drums
**** with James van de Bogert, drums
***** with Jimmy Herring, guitar
10.07.09 :: Wed :: NTELOS Wireless Pavilion :: Portsmouth, VA
Widespread Panic:
From The Cradle > Can’t Get High > Love Tractor, I’m Not Alone, Imitation Leather Shoes > Jam > Jack > Impossible > Jam* > Nobody’s Fault But Mine > Blight > Driving Song > Disco > Drums > Solid Rock > All Time Low > Under The Radar Jam > Driving Song > Conrad
* with Danny Louis on keyboards
['Nobody's Fault But Mine' without JoJo]
The Allman Brothers Band:
Don’t Keep Me Wonderin’, Statesboro Blues, Hoochie Coochie Man, Come On In My Kitchen, No One To Run With, Stormy Monday, The Same Thing*, Franklin’s Tower**, Midnight Rider, In Memory of Elizabeth Reed***
E: You Don’t Love Me
* with James van de Bogert, drums
** with Oteil Burbridge, vocals; Jimmy Herring, guitar.; Sonny Ortiz, percussion; Dave Schools, bass; Todd Nance, drums; Danny Louis, B3, no Gregg
*** Danny Louis, B3, no Gregg
10.06.09 :: Tue :: Merriweather Post Pavilion :: Columbia, MD
Widespread Panic:
Travelin’ Light, Thought Sausage > Pleas > Who Do You Belong To?, C. Brown, Up All Night, Three Candles > Flicker > Contentment Blues > North > Second Skin* > Protein Drink > Sewing Machine* , Radio Child > Action Man > Chilly Water
* w/ Warren Haynes
The Allman Brothers Band:
Trouble No More, Leave My Blues At Home, One Way Out, Sky is Crying, Dreams, Guilded Splinters*, Woman Across The River, Don’t Think Twice**, South Bound***, Melissa, Stand Back****, Mountain Jam > Dazed & Confused > Mountain Jam
E: Whipping Post
Danny Louis on keyboard entire show
* w/ JB & Sunny Ortiz
** w/ Susan Tedeschi, Jaimoe Jr (without Jaimoe)
*** w/ Jimmy Herring, Ron Holloway on sax, Susan Tedeschi, Todd Nance (without Jaimoe)
**** w/ Ron Holloway on sax
Gregg Allman is recovering from the pinched nerve in his back but did sit out the set closer “Mountain Jam.” As noted above, Gov’t Mule‘s Danny Louis continues to perform on keyboards throughout the show.
You can stream Panic’s set at panicstream.com.
You can download Panic’s set at LiveDownloads.com.
Widespread Panic and The Allman Brothers Band began the second leg of their co-headlining tour over the weekend with a pair of shows at the Verizon Wireless Amphitheater in Charlotte, NC. On Saturday evening guitarist Warren Haynes was unable to perform due to travel complications and Jimmy Herring subbed for the entire show. Haynes’ Gov’t Mule bandmate, Danny Louis also joined the Allmans on keys to help support Gregg Allman who was suffering from back pain. Allman performed the entire show on guitar and was still able to sing.
Special guests for Widespread Panic’s set included longtime producer John Keane, Bloodkin‘s Danny Hutchins as well as Danny Louis and Derek Trucks on loan from the Allman Bros. Warren Haynes would join Panic on Sunday night. Complete notes below.
10.04.09 :: Sun :: Verizon Wireless Amphitheater :: Charlotte, NC
Widespread Panic:
Papa Legba, Worry, Pigeons, Angels On High, Heroes, Ribs & Whiskey, Party At Your Mamas House > Tall Boy > Blue Indian, You Got Yours > Papas Home > Drums > Papas Home > Porch Song, Henry Parsons Died* > Mr. Soul*
* w/ Warren Haynes
The Allman Brothers Band:
Don’t Want You No More* > It’s Not My Cross To Bear*, Done Somebody Wrong*, Revival*, Good Morning Little School Girl*, No One To Run With*, Midnight Rider*, Rocking Horse**, Soulshine*, Little By Little***, Black Hearted Woman*, Melissa****, Les Brers In A Minor*****
E: You Don’t Love Me******
Gregg Allman on B3 throughout except where noted
* w/ Danny Louis on piano
** w/ Danny Louis on B3, no Gregg
*** w/ Susan Tedeschi on guitar & vocals; Danny Louis, piano; James van de Bogert, drums
**** w/ Gregg Allman on acoustic guitar
***** w/ Kofi Burbridge on B3
****** w/ with Gregg Allman on electric guitar, Danny Louis on B3
You can download Panic’s Sunday night North Carolina set at LiveDownloads.com.
10.03.09 :: Sat :: Verizon Wireless Amphitheater :: Charlotte, NC
Widespread Panic:
Little Kin > Holden Oversoul > Surprise Valley, Pilgrims > Blackout Blues, This Part of Town*, Ain’t Life Grand**, Diner > Drums > You Should Be Glad*** > Climb To Safety > Fishwater****
E: End of the Show*****
* w/ John Keane on pedal steel
** w/ JB on mandolin; John Keane on pedal steel
*** w/ Derek Trucks on guitar
**** w/ Danny Louis on keyboard
***** w/ John Keane on pedal steel and Danny Hutchens on vocals
The Allman Brothers Band:
Mountain Jam, Don’t Keep Me Wonderin’, Stormy Monday, Statesboro Blues, Anyday*, Trouble No More*, In Memory of Elizabeth Reed
E: One Way Out
Gregg Allman was on guitar for the entire show
Danny Louis was on Keyboards and Hammond B3 for the entire show
Jimmy Herring played guitar for the entire show
Warren Haynes did not play
* with Paul Riddle (The Marshall Tucker Band) on drums
You can stream Panic’s set at panicstream.com.
You can download Panic’s Saturday night North Carolina set at LiveDownloads.com.