Widespread Panic—The Palace Theatre—Louisville, KY—04/16-17/2013

The Moody Blues—Beau Rivage Theatre—Biloxi, MS—03/16/2013

Lotus at the Cat’s Cradle, Carborro, NC (near UNC-Chapel Hill campus) February 27, 2013

The Avett Brothers – The Embassy Theatre—Fort Wayne, IN—02/14/2013

Jimmy Buffett & the Coral Reefer Band-- Pensacola Bay Center--Pensacola, FL—02/05/2013

Zappa Plays Zappa—Vinyl Music Hall—Pensacola, FL—02/01/2013 

Jason Isbell & The 400 Unit ~ Shoals Theatre ~ Florence, AL ~ December 22, 2012 

Zac Brown Band / Blackberry Smoke / The Upright Willies—Klipsch Music Center—Noblesville, IN—06/09/2013 

The forecast called for a chance of rain Sunday June 9th, 2013, but it did not seem to bother anyone who showed up at the Klipsch Music Center that day. From the time the gates opened, The Upright Willies had everyone in ear shot dancing to their favorite classic songs from pop culture; “Wagon Wheel” seemed to be one song they covered that had everyone feeling the groove. Spirits were high the entire night and anticipation was building for the evening’s main event.               

The music venue was completely packed, and you could tell everyone was there to have a good time. So many smiles and friendly faces abounded, you would have thought many of these folks were having the best day of their lives. The lawn and pavillion areas were both full, along with all the concession areas. It was great seeing such a diverse crowd, and they were all sharing in that universal thing we call fun.               

While the Upright Willies were playing a small stage up by the gates to keep the crowd happy, Blackberry Smoke was the first band to take the main stage. Promoting their newest album The Whippoorwill, Blackberry Smoke came out to represent. If you have not heard the album, please check it out; it is solid from start to finish, which is rare in today’s music industry. My favorite song off the new album is “Sleeping Dog”, and when they lead into the Allman Brothers Band classic “Midnight Rider” in the middle of it, I was in heaven. One song off their album that sticks with me the most is “One Horse Town”, and I was happy they played it so well that night. Although they’ve been together since 2000, Blackberry Smoke’s stage presence evokes the feeling that they have been around for decades, and their lyrics are insightful. The woman sitting next to me had brought her friend and granddaughter, who was so little that she stood on her chair to see. Security saw this and actually had the heart to let her stand closer to the stage where she had perfect viewing: this story sums up all the awesome vibes I experienced this night.               

After a short intermission the great Zac Brown Band took the stage. If you do not know much about them please do some research; Zac Brown has his own charity which, in my opinion, is genuinely one of the best in the country. CampSouthernGround.org is what initially gave me respect for the man and he puts a lot of hard work into it. Of course, the countless hit songs this band creates are what bring so many people to their concerts. The lighthearted flavor of songs like “Jump Right In” and “A Different Kind of Fine” is balanced by the beautiful vocal harmonies in songs like “As She’s Walking Away” and “Natural Disaster”. Zac Brown Band is not only great in the studio, but these guys also know how to perform a fantastic live show, and it’s often the covers that cause people to almost jump out of their skin. The Noblesville show featured Van Morrison’s “Into The Mystic”, Dave Matthews Band’s “Ants Marching”, and acoustic versions of Steve Young’s “Seven Bridges Road” and David Gray’s “Babylon”. Later on in the encore, Led Zeppelin’s “Kashmir” had everyone giving high fives to strangers all around, while The Charlie Daniels’ Band’s “The Devil Went Down To Georgia” caused everyone to do the do-si-do all while having boot stomping fun. Family truly seems to be a theme Zac Brown portrays, and it made me feel good to be part of such a family environment that night. 

Written By: Tyler Muir

Photos By: Keith Griner  - MORE PHOTOS HERE

Edited By: Rosemary A.W. Roberts

New Orleans Jazz & Heritage Festival ~ Fair Grounds Race Course (NOFG) ~ (4/26-28 ~ 5/2-5, 2013) ~ Thursday May 2, 2013 ~ New Orleans, LA 

 New Orleans Jazz & Heritage Festival had a great year this year despite some of the conditions from the weather that would bring the “Mud People” out once again.  In all, over 425,000 attended this year’s festival, which had well known acts such as: Fleetwood Mac ~ Dave Matthews Band ~ Billy Joel ~ Aaron Neville ~ Dr. John ~ Widespread Panic and many more great ones from local to international superstars.  Here is an excerpt from their website on how the Jazz & Heritage Festival originated back in 1970; “In 1970, George Wein, jazz impresario behind the Newport Jazz Festival and the Newport Folk Festival (begun respectively in 1954 and 1959) was hired to design and produce a unique festival for New Orleans. The New Orleans Jazz & Heritage Foundation, a nonprofit organization, was established to oversee the Festival. 

Wein’s concept of the Louisiana Heritage Fair—a large daytime fair with multiple stages featuring a wide variety of indigenous music styles, food booths of Louisiana cuisine, and arts and crafts booths, along with an evening concert series—formed a construct that would prove vastly appealing and enduring. 

In addition to Mahalia Jackson and Duke Ellington, the first Festival lineup included Pete Fountain, Al Hirt, Clifton Chenier, Fats Domino, The Meters, The Preservation Hall Band, parades every day with The Olympia Brass Band and Mardi Gras Indians, and many others.”

Jams Plus Media was in attendance on Thursday, May 2^nd, 2013 to see how things were shakin’ down on the festival grounds.   This year’s Jazz Fest would be one for the record books for being one of the rainiest Jazz Fests (we all know the weather of 2013 has been abnormal), which if you are an avid goer brings out the “Mud People” and the die-hard fans that don’t mind getting a little wet.  It would also be one of the coolest Jazz Fests ever on record where temps would be record lows this year compared to record highs. Overall, Jazz Fest is usually a warm spring day fest with blue sky and sun shining on faces. One other thing to do when you are at Jazz Fest is to check out the arts and crafts, along with the awesome food that is served, like the Crawfish Monica. 

It started off cloudy all over with a little rain but that didn’t stop hundreds of thousands pouring into the gate for an excellent day of music with friends and loved ones.  Some of the musicians/ bands that would take the people to another place would be ~ Kirk Joseph’s Backyard Groove ~ Henry Butler  Friends ~ Gravy ~ Delfeayo Marsalis ~  Johnny Sketch & the Dirty Notes ~ Dirty Dozen Brass Band ~ & Widespread Panic along with several others gracing 12 stages amongst the fairgrounds.  The 12 Stages consist of Jazz, Gospel, Cajun, Zydeco, Blues, Rock, Funk, African, Latin, Caribbean, Folk, etc.  Widespread Panic would put on a hell of a show for fans who went through a set list of weather like this: Cloudy > Rain > Riders on the Storm> Sun Came Out > Cool Sunset…. in a 2 ½ hour set they played to close out Jazz Fest for Thursday May 2^nd.  CR Gruver of the New Orleans Suspects would join Widespread Panic on stage and sit in on keys during “Stop Breakin’ Down Blues” (Robert Johnson).  This would be one awesome experience for him to do this on the Acura stage gracing New Orleans and several thousand fans. The *Bust Out* of the show would have to be when Panic played “Dear Mr. Fantasy” (Traffic) which originally was going to be played at their Alpharetta show and was scratched.  A few original songs that Panic would play would be “Pickin’ Up the Pieces” ~ “Blue Indian” ~ “You Should Be Glad” and they came back out to do one more great, “Conrad”.  This would be Jams Plus Media’s first assignment for this World Famous Music Festival, and we look forward to many more in New Orleans. 

Written By:  Tarver Shelton

Edited By: Rosemary A.W. Roberts

Photos By:  Tarver Shelton (Old Jazz Fest Photo 1973 courtesy of Corey Fancher)

Black Francis / Reid Paley / BROOKS–Vinyl Music Hall—Pensacola, FL—05/07/2013 

A Tuesday night concert can be tough to swing, but being a longtime fan of Frank Black and The Pixies gave me an undeniable reason to travel to Vinyl Music Hall on May 7, 2013. Headliner Black Francis, aka Frank Black, was playing for the first time in Pensacola, FL; and a crowd of punk enthusiasts and Pixies fans gathered for the show. Opening act BROOKS (Brooks Hubbard III) brought his unique one-man-band stylings to the stage, with his electric guitar equipped with a Sonic Clamp holding his iPhone. The ingenious device he invented (www.sonicclamp.com) gives Brooks easy access to a wide array of effects that he manipulates to create a full-rounded band sound. In addition to the instrumentation, Brooks makes use of beatboxing skills and some wicked vocal effects, and he delivers a wide range of styles, from ethereal sounding pleasantries to dance-rock vibes. Originally from Gulfport, MS, Brooks is definitely an entertaining musician to keep an eye out for; his set was energetic and enlivening. 

Next up was avant-garde Brooklyn, NY rocker Reid Paley, who strolled onstage in a slick black suit. He tuned up his gorgeous guitar (a Gretsch, I believe), and launched into his solo set. Opening with “See You Again”, I was immediately struck by how powerfully Reid Paley’s deep growling voice commands attention. With an edge of darkness, tunes like “The Anesthetist’s Song” and “Better Days” display a talent for songwriting that captures the baseness of human nature. “Lucky’s Tune” and “Lazarus in Brooklyn” were particularly rockin’, and “Take What You Want” was a hard driving set closer. With an assured swagger and minimalist sound, Reid Paley provided a strong and solid segue into the main event. 

When Black Francis arrived onstage with guitar case in arm, the crowd gave a warmly raucous welcome, and “Bullet” (Frank Black & The Catholics) was first out of the gun. With full understanding of what many fans hold in high regard, The Pixies’ “Wave of Mutilation” was played next, as everyone in the room joined Black Francis to sing this punk anthem. Black’s solo performance, just him and his guitar, spanned his vast repertoire, and included something for every fan. Frank Black songs like “(I Want To Live on an) Abstract Plain” and “Headache” were explored with fluid precision, with his unmistakable voice loud and proud. Hearing “Where Is My Mind?” (The Pixies) made it hit home that we were in the presence of one of alternative rock’s pioneers, and other Pixies selections like “All Around The World”, “Caribou”, and “Mr. Grieves” kept the audience moving and reveling in abandon. Even solo, Black Francis brought power and urgency to “Six-Sixty-Six” (Frank Black & The Catholics) and “Los Angeles” (Frank Black). There were cover songs that Black absolutely transforms into his own unapologetic style, notably Tom Waits’ “Black Rider”, and Gary Green’s “That Burnt Out Rock and Roll”. Some of my favorite show moments were “Monkey Gone To Heaven” and “Gouge Away” off the Pixies’ 1989 album Doolittle, which was an album that got lots of play in my mid-90s college days, and still is often visited for a raging listening session. Black donned a harmonica for additional accompaniment for “She Took All the Money” (Black Francis), and his song “You Can’t Break a Heart and Have It” came off well. The Pixies’ classic “Velouria” was beautiful, providing a subtle sentiment in the midst of an ocean of intensity. 

All in all, this was an evening fully infused with everything your alt-punk heart could desire. And perhaps having the music delivered by solo performers further emphasized the “alternative” flavor. Brooks gave us one interpretation, using loops and technology to fill the space. In contrast, Reid Paley and Black Francis demonstrated that music stripped down to its essence is raw and naked. And a little bit of both sides of the coin makes for an intriguing adventure. To continue the adventure, check out the audio interview that Clayton Roberts conducted with Black Francis, which is accessible at www.jamsplus.com/interviews .  

Written and edited by: Rosemary A.W. Roberts

Photos By: Clayton Roberts

The Devil Makes Three—The Deluxe in the Old National Centre—Indianapolis, IN—04/25/2013

 A devilish night was had by all in attendance April 25th at The Deluxe in The Old National Centre. The Devil Makes Three (DMT) brought their traveling old-time bluegrass roadshow to Indianapolis, Indiana and they did not disappoint. I have never witnessed so much ball room, salsa, and swing dancing amongst those in the crowd at a bluegrass show as I did during DMT. After selling out their last appearance in Indianapolis, DMT made sure this time around not only would there be enough room for everyone, but everyone would have enough room to dance.               

Pete Bernhard, Lucia Turino, and Cooper McBean make up the fiendish trio, but if you’re a guy like myself, it will be hard to take your eyes off Lucia Turino to pay attention to the other two. I have never seen a musician make love to their instrument while playing it on stage as Lucia does her stand-up bass. From her facial expressions to her no-look hip thrusts, just watching her masterfully play her instrument is worth the price of admission. Throw in Cooper leading with banjo and Pete on guitar and they have something for everyone.               

DMT brings out one of the most diverse crowds in any scene today. Gays, lesbians, hipsters, tricksters, hippies, straight-edgers, punk rockers, senior citizens, and lumberjacks were just some of the stereotypes I found walking by, while the wife and I sat on a big red comfy couch out in the beautiful lobby of The Deluxe. That, folks, is how you know the band is great, because they are reaching all types of people! "The times they are a changing" is a famous Dylan album, but after attending the DMT show Thursday I believe in Dylan's idea.               

The DMT library is full of instant classics and their depth keeps growing with each song they create. “Old Number 7” is a drinking classic of theirs that got the house praising their favorite liquor while “Black Irish” let those in audience know what DMT is all about if they did not already. Download a DMT album today if you do not have one yet; they are bringing back that old Vaudeville style music and everyone should support music that leads. If you are in the Midwest and can catch a show in The Theater, Egyptian Room, or the Deluxe at the Old National Centre please do so; any one of these three rooms in the Centre is a great place to see a show. 

Written by: Tyler Muir

Photos by: Keith Griner - More Photos Here

Edited by: Rosemary A.W. Roberts

Royal Southern Brotherhood—Soul Kitchen Music Hall—Mobile, AL—RECORD STORE DAY 04/20/2013 

Since 2007, the third Saturday in April is celebrated by music lovers everywhere as Record Store Day, when special edition vinyl (and CD) releases are often accompanied by games, promotions, and sometimes live music. On Record Store Day 2013, Mobile Records and store owner Keith Glass provided quite a remarkable day for Mobile, with stacks of fresh vinyl, vintage vinyl, and live music outside in the gorgeous sunshine. To open the musical showcase, local Mobile band The Volks kicked things off right. The band mates may be young, but their style seems to reach into an older time, with a 1950s and 60s flavor and a strong British rock influence; they were excellent! Other great performances were given by The Hillbilly Hobo, The Sunshine Factory, and 20,000 Leagues Under the Sea. 

The afternoon was also highlighted with a special appearance by members of Royal Southern Brotherhood, who would be playing at the Soul Kitchen later that night. Mike Zito (guitar), Cyril Neville (percussion), and Devon Allman (guitar) brought their instruments and voices to Mobile Records, playing a short but sweet sit-down-and-groove set. It was great seeing these guys browse the shop for a bit, greeting fans kindly, and giving us a foretaste of what we could look forward to that evening. 

In the front room of the new and improved Soul Kitchen Music Hall, things got heated up righteously when Royal Southern Brotherhood opened their set with the scorching “Fired Up!”, enticing the crowd to gather around the stage and dance to the Latin flavor. Mike Zito led the vocals on “Hurts My Heart”, with a sway-friendly melody. “Moonlight Over the Mississippi” sounded sultry, with Cyril Neville driving the percussion, and singing with heart and soul. One of my favorite qualities of this band is the versatility obtained by having so many talented vocalists in the mix. Devon Allman provided his expressive deep vocals for “Left My Heart In Memphis”, quite a lovely song. 

Of course, along with the gorgeous voices, there’s plenty of instrumental prowess throughout Royal Southern Brotherhood. Cyril Neville’s percussion weaves and intertwines with the drums of Yonrico Scott providing a pleasant depth of sound. About two-thirds through the set, Yonrico and bassist Charlie Wooton took some time to jam out, with rhythm circulating through the room. The dual-attack guitars of Devon Allman and Mike Zito are in a constant state of delicious interplay, and they are both fluent and melodic guitarists, a pleasure to hear and see. The band truly works well together, allowing them to deliver a splendid version of “Fire On the Mountain” (Grateful Dead) that will definitely get you moving. “Sweet Jelly Donut” was lots of fun, and kept the crowd dancing; in fact, I think we were all dancing all night; it was certainly that kind of show! 

To close out the encore, the band tipped their hat to Devon’s father, Gregg Allman, when they covered “One Way Out” by the Allman Brothers Band. And they sure did it right, and the crowd joined in, singing “…Might be your man, I don’t know!” loud and proud. It was such a high-intensity, enjoyable evening that we were all left wanting more. Royal Southern Brotherhood are a band I would recommend everyone checking out; they’re touring quite extensively this year, go to http://www.royalsouthernbrotherhood.com/tour-dates/

And look for a show near you! As always, our thanks to the Soul Kitchen Music Hall for bringing such great music to Mobile!

Written and Edited By: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Jim James/ Cold Sparks ~ The Brown Theatre- Louisville, KY ~ 04/17/2013

The historic Brown Theatre in Downtown Louisville, Kentucky provided the perfect setting Wednesday night for Jim James’ sold-out hometown concert. Though James is typically associated with his widely popular band My Morning Jacket, this show kicked off the tour for his new solo venture.  Despite the theatre being filled to capacity there was not a bad seat in the stadium-style venue. This lavishly restored theatre features modern updates, ornate beauty, and perfect acoustics for enjoying live performances.

James performed the entire new album Regions of Light and Sound of God with a backing band of four members, including Louisville musicians Kevin Ratterman and Dave Givan. Ratterman (keyboards and guitar) has worked with My Morning Jacket in the past, helping with the engineering on the Circuital record. Givan, an old childhood friend, was featured on percussion and executed a solo that excited the crowd and drew an explosive response.  

The set primarily showcased Jim’s powerful vocals and rhythmic movements on stage.  James used the flying-V guitar displayed prominently on stage sparingly, yet powerfully for solos, though he favored his acoustic guitar for the encore. James also stepped out of his standard stage presence to include a couple saxophone solos. The energy of the set was a mesmerizing groove laced with psychedelic R&B. The emerging lyrical theme had James exploring spirituality, love, and a call for change toward a more positive outlook on life. 

After the band had played the new album in its entirety, James played a few solo acoustic songs including My Morning Jacket’s “Bermuda Highway” and “Wonderful (The Way I Feel).”  The band followed with several songs by the collaborative band Monsters of Folk, including “Dear God,” “The Right Place,” “Losin Yo Head,” and “His Master’s Voice.”  They also included a New Multitudes cover of the Woody Guthrie song “Changing World”. 

James spoke sparingly to the crowd to give props to the University of Louisville men’s basketball championship and to observe a powerful moment of silence to remember the victims of the Boston Marathon bombing.  James referenced comedian Patton Oswalt’s social media post and asked the crowd to remember that despite the tragic bombings, “most of humanity is good.” 

Providing the opening set was Cold Specks, a moniker used by the London-based, Canadian singer/songwriter Al Spx.  The band performed their set with a stripped-down, Deep-South, gospel feel that set the tone for James’ soulful performance.

Written by: Tony Vasquez

Edited by: Rosemary A.W. Roberts, www.jamsplus.com

Widespread Panic—The Palace Theatre—Louisville, KY—04/16-17/2013

Panic filled the streets of Louisville, Kentucky for the nights of April 16th and 17th. Widespread Panic graced the stage of The Palace Theater the only way they know how, bringing the heat and showing no mercy. Each night highlighted different aspects of the band and showed that after all these years they still dominate the scene we all love. They were even nice enough to bust out some old tunes; who doesn't like a bustout?!               

There are very few theaters left in the Midwest that hold the old charm that once was as American as apple pie, and The Palace Theater still holds every ounce of that Americana. Though it is a venue in downtown Louisville, it still allows hippies to be hippies and Shakedown Street to thrive. Everyone could be seen each night before and after the show getting their share of everything from collector pins to grilled cheese. At The Palace Theater there is not one bad seat in the place.               

Night one for me represented the old Widespread Panic everyone knows and loves. They started the night with "Papa Legba" the old Talking Heads favorite. First set was chalk full of the solid Panic standards with "Barstools and Dreamers" checking to make sure your heart was still in it. Intermission was much needed since first set start to finish did not let you catch a breath.               

Second set continued the Widespread Panic classics as if the band were a DJ on a radio station having an all request hour. "One Arm Steve" had everyone happy to be back in their seats and "Christmas Katie" gave everyone the "Pinch me so I know I am not dreaming" moment. The audience gave back every bit of energy that the band gave them. The Chuck Berry favorite "Let it Rock" solidified that old school rock feel of the night and closed out second set. A communal cosmic hug could be felt when the band closed the encore with "Can't find my way home" the Blind Faith cover. 

I knew second night was going to be infamous when they came out first set playing my favorite song of theirs, "Pigeons", and they did not slow down from there until set break. "Shut up and Drive" followed by "Stop-Go" and just to make sure you were not napping a "Cream Puff War" that got down to the nitty gritty; and that, folks, only made up the first half of first set. Only Panic can make a Cat Stevens song such as "Trouble" sound so jamtastic! That was followed by "Cotton was King" and by the set ender "Junior" the Junior Kimbrough cover; not only was the hair on my ears standing up but I needed some fresh air to let my arm pits breathe.               

Second set of second night continued where first set left off, more of the classy Panic stuff. After "Proving Ground" everyone was wondering what favorite was up on deck and then out strolled members of Bloodkin. Bloodkin is a band like Widespread Panic that represents the peachy state of Georgia everywhere they go. Bloodkin played the after party following the first night in Louisville and they had everyone talking about them in the lot before night two. When Danny Hutchins and Eric Carter of Bloodkin joined Panic on stage everyone instantly began to try and guess what Panic song was about to be played; to everyone's surprise two Bloodkin songs followed, "Wet Trombone Blues" and "Success Yourself". I do not think there could have been a better way to be introduced to the band Bloodkin; they will definitely be on my shuffle on my favorite listening device from now on. Just to make sure to sew up a tight second set, Panic closed with "C. Brown" into "Driving Song" followed by second set closer "Chainsaw City"; I do not say OMG that often but OMG was second set money!

As if that was not enough, the band came out for the encore with "May your glass be filled". I thought they were gonna end second night as they started first night with a Talking Heads cover, but "Heaven" did not end the night; they saved the last song for everyone’s favorite, "Tall Boy". It was an honor to have Widespread Panic be my first two night run review and it was a pleasure to be introduced to The Palace Theater and the city of Louisville by doing so. Both The Palace Theater and Louisville are gems to the Midwest and should be visited by all. 

Written By: Tyler Muir

Photos By: Keith Griner

Edited By: Rosemary A.W. Roberts

Southsounds Music Festival--Mobile, AL--April 12^th-14^th 2013

      Stretched out amongst downtown Mobile, AL Southsounds Music Festival had a stellar weekend with Music, Arts, and Comedy.  If you ever been to or know about SXSW in Austin, TX, think about a smaller scaled down version of it that graced fans and onlookers alike at Southsounds Music Festival.  One day hopefully it will grow to be the size of SXSW; by the way it went this weekend it’s on its way.  Southsounds Music Festival consisted of seven venues downtown as well as Cathedral Square that hosted some memorable shows.  Even the rains that came on Sunday of the event didn’t stop people from getting out to enjoy themselves and have an awesome time.  Note: while Southsounds Music Festival was going on, Arts Alive was as well, and intersected with it through the entire weekend. 

     Friday evening started things off right with music at Cathedral Square by the Lost Bayou Ramblers (NOLA) and Grayson Capps & Lost Cause Minstrels.  Cathedral Square would be the host of shows that were Free to the public and consisted of bands that would be playing venues later in the evening during the weekend.  The venues that hosted these bands consisted of ~ Alchemy Tavern ~ Alabama Music Box ~ Blind Mule ~ Malaga Inn ~ OK Bicycle Shop ~ Haberdasher ~ & Callaghan’s Irish Social Club (where if you had a Gold Bracelet on you were a lucky Soul).  Highlights from the venues on Friday night consisted of Andrew Duhon who graced the Haberdasher with some awesome eclectic tunes.  Next door at the Alabama Music Box, Grayson Capps & Lost Cause Minstrels would play their first show ever at this venue, which was off the hook and gained new fans galore. Before Grayson Capps took stage the, Underhill Family Orchestra got things started in normal fashion, and then later would be the Banditos (BHAM) who would close out that night there. Jesse Payne (BHAM) who played Alchemy Tavern on Friday night as well played Cathedral square on Saturday and Malaga Inn that evening following, definitely a band to check out.  The Lost Bayou Ramblers played an exceptional show at Callaghan’s that evening; this band was nominated for a Grammy back in 2010.  

     On a glorious Saturday, things were off and running.  Music and Arts filled Cathedral Square while people would be witness to some incredible sounds from ~ Luke Winslow King (NOLA) ~ Promised Land (NASH) ~ Great Peacock (NASH) ~ St. Paul & the Broken Bones (NOLA).  St. Paul & the Broken Bones is probably one of the biggest highlighted bands to play over the weekend.  They as well played Callaghan’s that evening and wowed the crowd with their soulful funky sounds; this band is on its way to National recognition and moving up the charts fast. Other shows that evening that were talked about amongst others were, Luke Winslow King at the Haberdasher ~ Great Peacock who played before St. Paul, at Callaghan’s, and Mobile’s own El Cantador who played the Alabama Music Box, who would also play at the Temple that following Sunday for folks once again. 

     Sunday took off on note as the rains fell (briefly) and the outside shows at Cathedral Square were brought into the Temple to keep the Music & Arts going and flowing.  One band from Muscle Shoals, AL ~ Belle Adair ~ was one of the best bands to be witnessed on a Sunday afternoon, never can go wrong with a band that contains a pedal steel.  Chillakaya from Jacksonville, FL would bring some reggae sounds to Alchemy Tavern, followed by Digital Organix from Mobile, AL.  Alabama Music Box would host a Crawfish Boil that spiced things up a bit, besides the music that evening there.  Callaghan’s Irish Social Club would host Sam Doores + Riley Downing & the Tumbleweeds with Hurray for the Riff Raff to close things out for that venue; and what a great outlaw country sound to go out with for sure.  Overall, Southsounds Music Festival was a Hit and continues to grow.  If you haven’t attended it yet, be sure to look forward to it in 2014, because I am sure there will be some Heavy Hitters there.

Written By: Tarver Shelton

Edited By: Rosemary A.W. Roberts

Photos By:  Tarver Shelton & Clayton Roberts

The Heligoats—Satori Coffee House—Mobile, AL—04/12/2013 

Since the end of 2009, a University of South Alabama student association called the Independent Music Collective (IMC) has been sponsoring a concert series in Mobile, AL that features mainly roots, indie, and Americana musicians. Many of their concerts have been held at Satori Coffee House, a cool-vibe establishment close to USA’s campus whose owner Chuck Cox has been supportive of the Mobile music scene for many years. For Jams Plus Media’s first IMC concert experience, we headed to Satori for The Heligoats, a band lauded by NPR as “criminally underheralded”. Having recently heard and thoroughly enjoyed their newest album Back To The Ache, I was eager for the chance to experience The Heligoats in a live setting. 

We entered the charming coffee shop and made our way to the back room, where Chuck lets the IMC set the scene. Cozy couches and rows of chairs faced the stage, and intriguing canvas paintings lined the walls, creating a very intimate atmosphere akin to having a concert in your own living room. Faculty advisor for the IMC Justin St. Clair explained to me that the musicians they’ve hosted have all been appreciative of the attentive audiences who come to relax and truly listen to their music in this engaging environment. 

As we settled down on a couch, The Heligoats made their way onstage; for this show, vocalist/guitarist Chris Otepka and guitarist Steven Mitchell would perform as a duet, with Chris’s acoustic guitar and Steven’s electric guitar creating a nice balanced sound. The music of The Heligoats is driven by indie-folk melodies, accentuated by intelligent and thought-provoking lyrics. Edgy and poetic, with a touch of science and environmental consciousness, songs like “A Guide to the Outdoors” entice you to listen. Early in the set, “Rubber Stopper” had a nice groove featuring dreamy guitar effects from Steven Mitchell. From Back To The Ache, “Tofutti”, “Sleep Study”, and “Sulfur, Baby” played out nicely with the pared down sound of the duet. 

Between songs, Chris Otepka often told amusing anecdotes; he even showed us some pinecones he picked up “at school”, while visiting the University of South Alabama campus. His smart sense of humor found favor with the captivated crowd, and wry lyrics in “Mercury” and “Watertowers On Fire” brought out some laughter, too. “Dancing to the Blues” was one of my favorites of the night; Chris’s voice seems to “smile”, with a pleasant comfortable tone. The evening ended appropriately with the lyrics of “Goodness Gracious”…good night. We enjoyed the music so much that after the show ended, we stayed to pick up the albums Goodness Gracious and The End of All-Purpose on vinyl. 

The Heligoats provided a truly enjoyable concert experience; I would definitely recommend checking them out, whether you see them on tour or pick up one of their albums. I’m glad we got a chance to check out what the Independent Music Collective does so well, namely bringing unique musicians to Mobile in an intimate setting. Check them out at musicinmobile.org; and Mobilians, mark your calendars for May 3, 2013, when the IMC presents Eef Barzelay at Satori Coffee House, 8pm. 

Written and Edited By: Rosemary A.W. Roberts

North Mississippi Allstars / Arum Rae—Soul Kitchen Music Hall—Mobile, AL—04/06/2013 

As a longtime fan of North Mississippi Allstars (12 years?!), I relish every opportunity to see them in concert. I especially adore being able to see them at home in Mobile, AL; and thanks to Soul Kitchen Music Hall, that opportunity arises almost annually. But on April 6 2013, an old tradition acquired a totally new ambiance, as the music hall owners Brad Young and Maggie Smith are completing major renovations to the venue. The stage is now at the far end of the large room, the ceiling has been altered to improve acoustics, the restrooms are clean and beautifully painted:  it’s a brand new Kitchen! 

We arrived amidst the solo performance by Arum Rae, a singer/songwriter with a lovely voice. She serenaded the crowd with an electric guitar and a bluesy Southern vibe. The minimalist approach worked well to highlight Arum Rae’s sultry vocals, and provided a gentle starting point for what would become a hard-rocked evening. 

Shortly after a lucky fan won a prize package for the Hangout Fest (courtesy of Meyer Realty), the lights were dimmed, and the projection screen was activated; and then North Mississippi Allstars (NMA) received a warm welcome back to Mobile. Well, it was a “welcome back” for the brothers, drummer Cody Dickinson and guitarist Luther Dickinson; and it was a first-time “welcome” for bass guitarist Lightnin’ Malcolm, who fits right in with the North Mississippi Hill Country vibe. The night was howling with one long, hot set, filled with fan favorites. “My Babe” found Luther marching around banging on a big bass drum. “Up Over Yonder” provided that lovely strutting stroll, and everyone loves to “Shake ‘Em On Down”. It’s always a good night when NMA gives you a strong dose of dirty grooves, and plenty were to be had with songs like “Shake”, “Goin Down South”, and a set closing “Snake Drive”. I consider it quite a pleasure to hear “Have Mercy”, with its slow-smoldering fire.  As always, “Po Black Maddie > Skinny Woman” brought genuine Hill Country-style blues right to the doorstep, and the fans opened the door to let it in. And “Mean Ol’ Wind Died Down” found the crowd singing in chorus, and a bit of a heavenly sensation pervaded the room. 

The band dynamic was fluid and free-flowing, and periodically Luther Dickinson and Lightnin’ Malcolm cross paths mid-stage and trade off lead guitar and bass guitar, allowing for variety, keeping things fresh. Lightnin’ Malcolm’s song “Workin’” was new to me, and had a cool flavor the crowd was digging. Malcolm on guitar for “So Many Women” works quite well, with Luther holding down the bass. Cody Dickinson proved himself a man of many talents, providing keyboard lead and vocals for “KC Jones”, heading across the stage to play bass, and giving a reason for fans to always demand “More Washboard!” with his unique electric washboard skills. The crowd got the chance to see more atypical instruments, as Luther utilized his coffee can guitar for “Rollin’ and Tumblin’”, and brought out the cigar box guitar for “Mississippi Boll Weevil”.  Luther allowed his bandmates a stage break while tipping his hat to the locals with Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again”, and also performed a solo “Jumpercable Blues”. One of the highlights for me was hearing Luther tear up “Hear My Train A’Comin’” a la Jimi Hendrix, capturing Hendrix’s ability to transport me to another dimension. 

An appropriate end to the delightfully lengthy set was “All Night Long”, which has lately featured Malcolm on guitar and Luther on bass. The audience definitely left with a soul-full of North Mississippi Allstars; the Soul Kitchen cooked it up righteously! Our thanks, again, to the Soul Kitchen for bringing the sweet sounds of NMA to Mobile, and thanks to the band for delivering a smokin’ hot night of smiling and dancing…keep it up! 

Written and edited by: Rosemary A.W. Roberts

The Whipstitch Sallies / The Stampede String Band / James and the Drifters—The Vogue Theater—Indianapolis, IN—04/05/2013

Folk, Bluegrass and Americana music filled the Vogue Theater Friday night April 5th. The three bands who would take the stage are all bands with their roots in the area and they are bands who represent their genres respectfully well. It was a treat to chat with members of the bands throughout the night to get a grasp on their passion not only for the music they create, but also for the styles they grew to love.  These young bands are filled with so much all around talent that the future will be whatever they choose it to be.

James and the Drifters were first to take the stage. The Huntington, Indiana band is an all-around powerhouse bringing strong lyrics, stage presence, and likeability with them; making this band’s future look very bright. Their song “Buffalo” is a song that shows they have a place not only in the folk scene but also on radio stations and in homes across this country. I totally could see myself with the car windows down during a beautiful day cruising while on a road trip singing along to James and the Drifters. They just have that sound that though it is indescribable, when you hear it you know they are doing something right. I really felt lucky being introduced to this band Friday night.

The second band to take the stage was The Stampede String Band. This three-man folk/bluegrass band showed off their skills by only using one mic. The Moonsville, Indiana band displayed their passion and heart for the music they love with their song “Just a man”, showing the growth this young band has already had. The boys celebrated their two year anniversary at the Vogue Friday night and were delighted to be able to tell how fun the past two years have been with the audience. It’s always nice to see young musicians pay homage to the classics they grew up listening to. Keep an eye out for The Stampede String Band, it really will be fun seeing what the future holds for this band.

It is a pleasure to see four women make up a band. Then to have these four women be incredibly trained not only in the instruments they play but also in the genres of music they love, I have died and gone to heaven. Allie Burbrink, Katie Burk, Kat Erickson, and Sam Roberts all have their own personality and style on stage, but when their powers combine in The Whipstitch Sallies they are one well-oiled machine.  These girls can pair up against any guy groups in their field and hang alongside the best of them. You will definitely want to follow the career of this great band and I encourage you to snag a copy of their work as soon as you can.

From their signature originals to old standard classics, The Whipstitch Sallies put their own unique spin on everything they do. In the few short years The Whipstitch Sallies have been in existence they are building a strong fan base by creating loyal fans everywhere they go. It is like enjoying a warm piece of apple pie listening to them play, and listening to them share their knowledge of the music they love in between songs while they are on stage is a delight. “Got Me a Letter” is a song by The Whipstitch Sallies that I feel sums up their wit and spirit well. I want to thank The Whipstitch Sallies for taking time out of their night to give me an interview; you can check out the interview at www.jamsplus.com/interviews.

Written By: Tyler Muir

Photos By: Cassidy Maley

Edited By: Rosemary A.W. Roberts,

Galactic with special guest David Shaw; Opener: The Nigel Hall Band—The Vogue—Indianapolis, IN—04/04/2013

Funk and Soul was the theme at the Vogue Theater Thursday April 4^th, and New Orleans was well represented. From start of the night to the end, funk was beating off everyone’s chest and intensity was surpassed only by the talent. Crowd participation was encouraged and all in attendance could be heard doing their part to help out with back up vocals. It was as if the Vogue was celebrating Mardi Gras on this special night.

Opening the night of funk and soul was a band that you must take notice of. If you have not heard of the Nigel Hall Band, immediately visit www.nigelhallmusic.com before you finish this article. The band was made up of members of Lettuce and Dirty Dozen Brass Band. Nigel Hall honestly had an all-star cast behind him and it was obvious they meant business from the start while all in the name of fun. As soon as the Nigel Hall Band started, everyone was on their feet dancing. Nigel puts heart and soul into his lyrics with his timeless voice and beautiful style. You could not help but feel their strong rhythmic groove of electric bass and drums to Nigel’s jamming of the keys. The band especially showed their fun side covering Missy Misdemeanor Elliott’s “The Rain (Supa Dupa Fly)”. The Nigel Hall Band is definitely a band that could tour the country successfully on their very own talent and should not be overlooked.

Damn, was Indianapolis lucky to have Galactic back in the area Thursday evening! Straight out of the gate it was obvious they were bringing the love and soul of New Orleans with them as they opened with two back-to-back songs of nothing but groovy horn blowing in “Karate” and “Balkan Wedding.” By song three, “Hey Na Na” Indy was in for a special treat as David Shaw from the band The Revivalists took over vocals. Shaw is like a man possessed, running around the stage, standing on the guardrails, leaning out to the crowd with the microphone; and it sure did not take him long to get the crowd roaring. I cannot stress how incredible it was to have Shaw on vocals for such hits as “You Don’t Know “and everyone in the Vogue was in awe when the band busted out their own version of a Beatles classic “I am the Walrus” with a twist of funkadelic straight into their very own classic “Heart of Steel.” They were bringing so much funk straight to everyone’s core that it was a nice relief when they let their hair down and belted out the iconic Old Dirty Bastard’s classic “Got Your Money”. The only way the night could have gotten any better is if the Vogue passed out free bourbon whiskey all night. Just to make sure the fans got their money’s worth Galactic closed their set with an extra strong version of Led Zeppelin’s “When the Levee Breaks.”

I cannot thank 92.3 WTTS & Indy Mojo enough for bringing Galactic back to the Vogue. It was also a special treat having David Shaw do vocals for Galactic, and having the soulful Nigel Hall lead such an awesome all-star cast was pure bliss. Personally I have been waiting for Thursday night to reemphasize if I should go ahead and book plane tickets to attend next year’s Mardi Gras in New Orleans. The next time that Galactic, The Nigel Hall Band or The Revivalists come to a town near you, please do not hesitate twice, purchase tickets and GO!

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Written by: Tyler Mcgee

Edited by: Rosemary A.W. Roberts, www.jamsplus.com

Photos by: Mark Loveless

They Might be Giants—Paradise Rock Club—Boston, MA—04/03/2013

April 3^rd in Beantown was the setting for one heck of a show from the band They Might be Giants (TMBG). There was a party-like atmosphere on full display from a sold-out crowd at the Paradise Rock Club.

During the two-hour performance, the band and singer-multi-instrumentalist John Linnell and singer-guitarist John Flansburgh, plus three touring musicians, performed a wide range of material that included the 1990's “Birdhouse in Your Soul” and “Fingertips”.

TMBG kicked the party off with "You're on Fire",which is the first track off their latest album Nanobots in which John Linnell got the packed house moving and grooving. After the second song it was time for the band to start their hilarious onstage banter which brought cheers and laughter from the crowd, reminding me of a comedy club I used to frequent on the south side of Dorchester. It seemed that humor was definitely a big part of their show as they jammed through songs like "Circular Karate Chop" and "Call You". As the concert rolled on there were times that the routines tended to drag a bit, just stretching the joke a little too far, for an audience that was singing along with every song TMBG was throwing out to them.

TMBG performed such favorites as "Instanbul (Not Constantinople)", "Ana Ng" and "Birdhouse in Your Soul". Through these songs Dan Miller and John Flansburgh were dazzling the crowd with some nice guitar rhythms, while dancing about a stage that seemed a little on the crowded side for this energetic band that never tired through this strong performance.

All in all, I thought it was a very solid performance music-wise from the band; and as far as the comedy portion of the show, it was absolutely hilarious! TMBG have been doing this for over 30 years now and there is no doubt they have been enjoying every minute of it, and their loyal followers have been enjoying it with them!!

Written By: Ronny Hoxsie

Edited By: Rosemary A.W. Roberts

Yonder Mountain String Band—Babcok Theatre—Billings, MO—03/20/2013

Let's just call a spade a spade. Billings, Montana is a weird town. Wednesday's Yonder Mountain String band show proved this to be the rule, rather than the exception. It was a whistle stop for these Colorado based newgrass boys on their way to sold out shows in Bozeman and Missoula. Much like the upcoming shows at the Emerson Cultural Center and the Wilma Theater, the Billings show took bluegrass into a decidedly old fashioned venue, The Babcok Theater. In its storied history in downtown Billings the Babcock has played host to many different incarnations: theater, cinema, weekly boxing match host, and more recently independent film venue and concert hall. The crowd inside the venue was as varied as the building’s illustrious history. Young dreadlocked kids, preppy gym rats, tight pants hipsters, old meat-in-the-seaters (people who sit for the show), middle aged couples square dancing in the isle, this blue collar town takes all types. They all came together, danced, often seemed to have a good time, and defiantly almost occasionally killed each other.

Fans in Billings get riled up, I mean REALLY riled up. Bands feed off energy like that for sure. Shout-outs were given to the “rocking balcony crowd” by mandolin player Jeff Austin. Jeff’s energy was unmistakable throughout the night. At times his body and facial movements seemed to be channeling Joe Cocker onto the stage. He was twisted, contorted, and ready to pop like a tightly spooled watch spring. It appeared the energy in the Babcock was also ready to go to such a place. During the 2^nd set Jeff had to admonish people in the pit to “cool off…there’s no need to kill each other…” as near fights broke out over coveted floor space. This type of scene might not be limited to the town of Billings; it might very well play out over venues throughout the US. Still, it seems silly when the back third of the venue is wide open. Granted you might miss seeing Adam Aijala’s cool collected riffing, Dave Johnston’s pie-in-the-sky grinning and picking, or Ben Kaufmann’s cool as a cucumber upright bass strumming from way back there. But you would also miss out on the prolific amounts of beer being spilled, and the near fisticuffs that broke out.

Still, such energy and its effect on the band could not be missed. With the worms coming out of the can all around them the band really opened it up. It could have been a night they laid back in the cut for sure. Coming off larger billed shows in Aspen at the Belly Up, and on their way to capacity crowds in Bozeman and Missoula this show could have been a snoozer, instead of the fiery sleeper it was. (Sleeper, in this case, is a commonly used term for a stellar show in an overlooked venue or town.) The band played to the melting pot audience by throwing in well-received covers. Their usually spot on, finger-pickin’ good bluegrass was there as well. “Snow on the Pine> Girlfriend is Better> Snow on the Pines” left patrons gasping for air while stumbling blurry eyed and thirsty into the set break.  But the 2^nd set original song stand out would be a briskly paced, and perhaps a bit too short, “How ‘Bout You” that clocked in at just around 5 minutes. But if it was bluegrass jamming one was looking for, the closer of the second set would not disappoint. “Little Rabbit> Whipping Post> All the Time” was a 20 minute hip shaking jam. The bands cover of “Whipping Post” was amazing, and a treat to be heard. Old timers in the crowd rose to their feet, and the younger generation leapt off the ground. Jeff belted out the lyrics like the love child of Warren Haynes, Joe Cocker, and Greg Allman.

Versatility is the name of the newgrass game these days, and the Yonder boys showed this as they closed out the evening with the Ozzy Osbourne thriller "Crazy Train". While it's hard to capture the heavy metal sound with a four piece bluegrass band, this cover hit the spot, and left no doubt that Yonder Mountain String Band had seen the times were changing in Billings. This sleepy blue collar town is just starting to come into its own on the Montana music scene. Hopefully as more big acts like this stop through it helps boost the local up-and-comers in the music scene. After-shows and openers will be needed to book into bills to fill out the nights. Locals may look forward to a time when a 200 mile round trip show isn't needed to catch a decent show. These "Blue Collar Blues" just might be "Not Far Away" from being a thing of the past, like "Snow on the Pines."

Written and Photos By: Phil Santala

Edited by: Rosemary A.W. Roberts, www.jamsplus.com

The Casualties--The Pit—Jacksonville, FL--3/22/2013

Viva La Resistance!!!  

The smaller room of the Megaplex was filled with combat boot stomping, Oi screaming “hawkheads” ready to mosh to their favorite hardcore punk band and ironically, passively tear someone apart. The Casualties and their opening acts are notorious for bringing that old school Sex Pistols punk scene back. They have “hawks” or mohawks that are so punk they were scraping the paint off the Pit’s ceiling! The all too familiar aroma of clove cigarettes and stale PBR sent me back to the days I used to go “vest up” for punk shows in my youth. 

It seems as if the punk scene is resurfacing as The Casualties dropped their latest record, Resistance, three years after their last studio album We are all we have. I have not seen them since they came with the Warped Tour, to Jacksonville in 2001. Playing alongside were The Reachers, Poor Richards, In Defence and a friend of mine’s band, Full on Assault; it was good to see them in an indoor venue for the first time. Several local opening acts are typical of a punk show with the genre being so fast-paced; track listings are seldom over 4-5 minutes long, giving ample time for bands to play their hearts out. Most punk bands are a four-piece, consisting of bass, percussion, guitar (lead/rhythm) and solo vocals, leaving a strong responsibility to stage/song performance. The smokin’ pace of the drummer double kicking his bass drum, paired with strong distorted riffs from the guitarist, sets a chaotic melody for the lead singer to convey the vocals without screaming; which inherently became a staple of the music. A few bands like The Reachers, In Defence and Full On Assault have 5 members, rounding out a lead guitar with a thrash metal vibe to it. 

The crowd was priming up like a diesel engine, as Full on Assualt played their popular “Shit Whippets” track, jestfully poking at trash fans or “wookies” that huff methane. There is no filter to these bands. They come for the hardcore and stay for the hardcore. They take pride in their “Oi” punk roots and the fact they never sold out, as they claim most modern punk has. The Casualties can be described as the poster children for “Oi” punk, keeping with the same band dynamic, sticking to the same melodic anarchy and lyrics that are almost indecipherable until the “Oi” melody. The fans moshed around, stomping in their combat boots and throwing their elbows with menace in their eyes. The irony behind the mosh dance is the “rules” in play. They may kick and elbow each other, but as soon as someone goes down, everyone becomes a teddy bear turned wannabe paramedic! I witnessed several moshers get thrown on their head and concussed, busted lips and noses, and even one girl stage dive face first with no one to catch her! But as soon as someone goes down, the whole dance stops and tends to the wounded dancer. It is quite a treat to see from the outside, especially holding a camera! 

The Casualties pleased new fans by playing the first half of the show filled with new tracks and some old ones here and there. They pleased us ole timers with some classics like “Fight for your life”, “Underground Army” and even a Ramones cover with “Made in NYC”. The boys still have it and they let everyone know it, encoring with oldie but goodie, “Riot”. Even after 20 years of touring they bring it like the first time I saw them. The Casualties are as punk as punk gets and should have been on the cover of “Punk and Disorderly”. 

MORE PHOTOS HERE

Written & Photos By: Joey A. Pye

Edited By: Rosemary A.W. Roberts

Elton John ~ March 23, 2013 ~ UTC McKenzie Arena ~ Chattanooga, TN 

With a career spanning more than 4 decades, creating more than 30 albums, and delivering more than 3,000 live shows, Sir Elton John is no stranger to performing, and perform he does.  At two days shy of the age of 67, Elton effectively laid down a rock show to remember in the UTC McKenzie Arena in the downtown area of Chattanooga, TN. 

Traffic was at a standstill for every direction approaching the college venue.  Fans of all ages and backgrounds decided to park blocks away and make the trek.  If you were lucky enough to park near the venue, a generous fee of $5 was all that was charged.  Hospitable arena staff and Live Nation personnel were happy to help the sold out crowd of 10,000 to their seats.   Front row security guards had a full time job keeping eager fans in their actual seats.  From anywhere in the venue, the small, bright, rectangular screen of a smart phone could be found held high in the air.  Instagram and Facebook would, in effect, also be at the show. 

The lights dropped, the crowd roared, and the band led off with the intro riffs of “The Bitch is Back”, in truly well played timing, as Elton emerged up the steps to the stage.  The crowd was treated with the dancing on the piano antics of yester year as Bitch closed.  “Benny and the Jets” opened next, followed by “Tell Me When the Whistle Blows”, an emotionally charged “Levon”, and the blue jean baby’d, LA lady’d “Tiny Dancer”.  Before starting “Holiday Inn”, the song’s inspiration was explained with a short narrative describing when he first started touring the U.S.  Apparently, playing the same venues in the same cities over and over results in a fondness for certain accommodations and the green and yellow hotel chain became the obvious choice. 

“Believe”, “Mona Lisas and Mad Hatters”, “Philadelphia Freedom”, “Candle in the Wind”, and “Goodbye Yellow Brick Road” gave a relatively calm crowd a reason to stay in their seats.  This would change at the mere mention of “she packed my bags last night pre-flight, zero hour 9a.m.” as “Rocket Man” began.  Gaining approval was a giant cloud of smoke that blew around Elton when he said he was “…gonna be high as kite by then…”.  “Hey Ahab” launched from Rocket.  A sweet, slow, bluesy piano jam started “Guess That’s Why They Call It The Blues”.  The arena was treated to some sick drums and lights during “Love Lies Bleeding”.  The funk of “Take Me to The Pilot” and Yellow Brick Road’s  “All The Young Girls Love Alice” kicked things up a notch before a three song emotional and heartfelt medley of “Daniel”, “Sorry Seems To Be The Hardest Word To Say”, and an Elton solo mission, “The One”, emerged. 

With the spotlight brightest on the man at the piano, a moment was taken to share the love for his companions along for the ride.  On drums, Nigel Olsson; Matt Bissonette on bass, after Bob Birch’s untimely death last year; Davey Johnstone on guitars/vocals; Kim Bullard on keyboards; Ray Cooper on percussion; and a host of beautiful backup singers lead by mother and daughter Rose and Lisa Stone of Sly and the Family Stone fame. 

Like a true survivor, “I’m Still Standing” brought its early 80’s synthesized flare to life.  For a moment, we were treated to a little tease of “Camptown Races” before a throwback to the tunes of the 50’s with “Crocodile Rock” materialized.   The “La la la la la” being chanted by the crowd was as loud as the blue sequined, “Fantastic” embellished coat being worn by Elton.  Delivering the same set list as the previous night in Montgomery, AL, the weekend show would appropriately receive a “Saturday Night’s Alright For Fighting” to end the two hour set. 

One thing for sure about an Elton John show is the absolute unquestionable love he has for his fans and the desire to please them.  At the end of every song, minus two, he stood and bowed, to all 4 directions of the 360 degree arena seating, making direct eye contact with many a fan and telling them “Thank YOU”.  Add that to the approximate 50 autographs he signed for the front row fans and a solid, class act is what you have.  To top it off, a return to the stage encore would conclude the evening with a song netting over 1700 times played and being fully dedicated to the fans with “Your Song”. 

Elton’s tour continues with stops in Texas, Tennessee, Ohio, North Carolina, and an impressive thirteen night stay in Las Vegas, Nevada at the world famous Caesar’s Palace.  In June, the madman across the water heads back to Europe for the majority of the rest of 2013.  Check out his new website at www.eltonjohn.com for the latest news and thanks for sitting in on another segment from Jams Plus Media.

Review and Photos by: Roger Patteson

Edited by: Rosemary A.W. Roberts

Slightly Stoopid—The Congress Theatre—Chicago, IL—03/09/2013

Chicago is obviously no stranger to various types of music acts, and Saturday, March 9^th, 2013 was no different when the California based Reggae-rock band Slightly Stoopid came to the city. Yes, Slightly Stoopid once again rocked it in the Midwest when their fan-pleasing, seven piece group made way on stage.

The glassy-eyed Chicago crowd was warmed up with Stoopid’s opening act, Tribal Seeds. They played a fun, “smoking” hot kind of pre-show. Tribal Seeds was happy to welcome Stoopid’s guitar, bass and vocal man, Miles Doughty to their set a few songs before Stoopid was fully welcomed to the Congress Theater. Doughty prepped the crowd for the upcoming Stoopid set, singing and moving from the stage to tops of speakers and back to the stage, making Chicago fans go crazy.

The pumped crowd stuffed into the main floor of the Congress Theater and was restricted to the main floor, on account of the balcony being closed for renovation. Assuming one could fight the parking crowd in the neighborhoods surrounding the theater, the typical Congress Theater security didn’t seem to bother the Stoopidheads packing the floor. As expected, security hurried to relieve any crowd surfer making his or her way to the front quickly; exit to your right please. Being crammed into the crowd was worth it, especially since set up times in between the groups was speedy and fans didn’t have to wait long for Stoopid’s full arrival. The cozy bunch was ready and Slightly Stoopid brought it to the Midwest. Having their own studio space must have paid off for the band since from older to newer hits, the lively group was well rehearsed and ready to keep this night moving smooth. The band worked from the crowd’s energy, giving everything they seemed to desire. Stoopid pulled the Stoopidheads into the music and gave a coaster of twists and turns from newer music and back to punk-rock style. During the evening, there were a few lighters waving gently in support as well.

Stoopid’s sound was crisp and clear, not overly loud but the crowd definitely knew this wasn’t grandma’s car speakers. The rock, reggae, blues, hip-hop, punk rock sound all came together without any stress. Sounds from the latest 21 track album, Top of the World filled the night and the crowd was in love. The saxophone and trumpet sounds brought the crowd in and pleased the ear.

If you weren’t lucky enough to make it to Chicago for Slightly Stoopid’s appearance or just need more Stoopidness in your life, be sure to catch them again soon. Their schedule is nearly full of nightly shows all around the U.S. Playing locations vary anywhere from Pittsburgh to Oklahoma City to Texas and back to the Midwest; and don’t forget their homecoming in California. With all the dates available, one certainly can find a show close to home. Stay Stoopid.

Written by: Tory Marks

Edited by: Rosemary A.W. Roberts

The Moody Blues—Beau Rivage Theatre—Biloxi, MS—03/16/2013 

Celebrating 45 years since the release of their groundbreaking album Days of Future Past, The Moody Blues toured the US extensively in 2012, finishing with a handful of March 2013 shows. A comfortably cool evening and sky filled with stars seemed a fitting way to enter the Beau Rivage Theatre in Biloxi, MS, on our way to see a sold-out concert by the veteran rockers. Having enjoyed their music throughout my life, I was thrilled for the chance to see The Moody Blues perform live. The opening synth-pop rocker “Gemini Dream” reeled in the crowd from the start, and it was immediately impressive how on-point the band sounded. As a child of the 1980s, I loved hearing “The Voice”; and I must say, the voices of guitarist Justin Hayward and bassist John Lodge have withstood the test of time, sounding fabulous. The triple screen visuals enhanced the concert experience, morphing from colorful psychedelic swirls, to familiar album cover graphics, to photographs of the band members through the years. Fog enveloped the stage as the band rocked through “Steppin’ In A Slide Zone”. The huge sonic build in “You and Me” held plenty of power, driven by the drums of founding member Graeme Edge and Gordon Marshall. 

The audience enthusiastically cheered as the familiar opening strains of “Tuesday Afternoon” danced through the air, and the flute accompaniment by Norda Mullen fit perfectly, while Hayward and Lodge wove a tapestry of sound. Continuing to pull from Days of Future Past, Hayward traded in the dark red Gibson guitar he used most of the evening for a Fender Stratocaster, and Lodge grabbed another Fender bass. The vocals of saxophonist/keyboardist Julie Ragins allowed the band to deliver the psychedelic rocker “Peak Hour” with plenty of pizazz. Throughout the concert, The Moody Blues switched seamlessly from 1960s classics to 1980s hits, so it was not a stretch to next hear “I Know You’re Out There Somewhere”, with keyboardist Alan Hewitt lending synthesizer sounds. One of my favorite tunes of the night, “The Story In Your Eyes” absolutely rocked, with both Hayward and Lodge working their axes to the max. “Your Wildest Dreams” took me back to my childhood, fondly remembering when the song came out and how it captivated me with beautiful vocals, which were pleasingly rendered for me live all these years later. A peaceful yet massive sonic excursion occurred during “Isn’t Life Strange” with precision timing by Edge and Marshall. 

Graeme Edge stepped out from behind his drum kit and approached the front of the stage to speak about this 45^th anniversary tour, and stayed up front with a bright blue tambourine for “Higher and Higher”, dancing around the stage with amazing youthfulness and tons of energy. The hypnotic beauty of “Are You Sitting Comfortably” was a lovely interlude, and “I’m Just A Singer (In A Rock and Roll Band)” brought some fierce rock to the party. Edge came center stage with white light beams reminiscent of starlight, and began the familiar narration: “Breathe deep The gathering gloom / Watch lights fade From Every Room… Red is gray And yellow white / But we decide Which is right / and which is an Illusion…” Then the room erupted as The Moody Blues played one of their most beloved songs, “Nights In White Satin”, and the song seemed even bigger and more beautiful hearing it live. To finish the amazing set, “Question” was performed to perfection, with the rapid-fire attack sections and the soaring peaks providing quite a ride. After a standing ovation from the thrilled crowd, the band returned to encore with “Ride My See-Saw”, ending the evening with a blast of power. What a great concert! It is clear The Moody Blues are still passionate about their music; they have great stage presence, and seem truly appreciative of their fans. I would definitely recommend seeing The Moody Blues if you get the chance!

More photos HERE

Written and Edited by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

The Buku Music + Arts Project was one of the few festivals I’ve been to where I felt immediately comfortable with the people from the moment I got there to the moment I left. From rail to soundboard there were scantily clad girls and and bro’s in rage hats. Everything felt inviting, from the creepy floats in The Float Den stage to the obscure spacemen on The Power Plant stage during Primus’ set. The first band that I saw was St. Lucia. They opened up the fest on the Power Plant stage. They put out some good tunes laden with spacey guitar riffs and synth beats. After St. Lucia came Lettuce, the funky jam band that seems to know no limits. Behind the steady beats of one of my favorite drummers, Adam Deitch, Lettuce pumped out an incredible set. The next show I caught was Odd Future’s very own Earl Sweatshirt. Being a massive Odd Future fan I was stoked to see this. Not only did Earl perform flawlessly, even dropping his new single “Whoa”, but Flying Lotus was running the boards for him. FlyLo opened the set with “Yonkers” by fellow OF member Tyler, the Creator and got the crowd hyped. After that I meandered on over to catch the end of Flux Pavillion and get as close as possible for Primus and Kid Cudi. Flux was as expected, playing all his hits and a few others with heavy bass. The crowd of mostly college kids on a variety of dance enhancers absolutely loved him, fist-pumping their little hearts out. Primus’ set was disapointing for me. It was very repetitive and I felt that Les Claypool left a lot on the stage. Scott Mescudi aka the Cudder, Kid Cudi, Mr. Rager, and a slew of other nicknames was absolutely mind-blowing. Opening with the Man on the Moon II banger “Revofev”, Cudi had the crowd in the palm of his hand from the very beginning. Pumping out classics like “Ghost”, “Pursuit of Happiness”, and “Mr. Rager”, he exceeded far beyond my high expectations. It was a perfect way to end night 1.

Day 2 was what I was really there for. I saw Buku, Ryan Hemsworth, and Flosstradamus in anticipation of my favorite jamtronica act, Big Gigantic. Big G never disappoints, and today was no exception. Opening with “Louder”, Dom and Jeremy were putting some serious work into this set. Dom was perfectly in sync with his monster beats and his blaring saxophone, and Jeremy was killing his crash as usual. A few months ago I bought both of Passion Pit’s albums, and was incredibly impressed. I felt as if live they would have a very emotional, yet upbeat and exciting show. That is understatement of the year. Passion Pit’s set was the most electrifying show at the festival. Opening with “I’ll Be Alright”, and closing with “Little Secrets” these guys clearly knew what they were doing. I loved every minute of the set; I felt entranced by the music so much that after the set ended, I just stood in awe for a few minutes. The final show I saw was Sound Tribe Sector 9, better known as STS9. Sound Tribe is a jamtronica band that basically invented the genre out of Atlanta. Their set was fantastic, even having Dom Lailli from Big Gigantic sit in and play saxophone on a few songs. Buku was a great experience and I’ll be sure to be back next year and for years to come. I loved being that close to a big city with so much history and culture. Anyone that was in New Orleans this past weekend with me had a great time that they won’t soon forget. 

Written by: Trey Saville

Photos by: Tarver Shelton

Edited by: Rosemary A.W. Roberts

Big Sky’s Big Grass Bluegrass Music Festival…

It’s like Jamcruise, minus a boat, or like Telluride Bluegrass Festival, but in the middle of winter. Musicians and concert goers mingle, in the venues, around the stages, into the night and onto the slopes. Jam sessions have been known to sprout up by outdoor fires, and around indoor lounges. All the while the snow piles up deeper, and the blue grass keeps shining thru.
The Big Grass regional showcase served as a spring board to introduce festival goers to the local acts that would be playing the next few nights in varying capacities. The regional band showcase demonstrated that Big Grass seeks to encompass all the Bluegrass color spectrum, from traditional, to new grass, to the Colorado blended “poly-ethnic-Cajun-slamgrass”. The logistics of Friday night's local artist roundup alone are enough to boggle one’s mind. Six local/regional acts, racked up in 30-40 min sets back to back to back to...well in theory it seems daunting. In reality, without dedicated sound checks it should be frightening. But set breaks were quick, 10 minutes or so, and the sound checks on the fly were smoothly accomplished and seemed to be unnoticed by the attendees. Jeff Lord-Alge of the greatest Yellowstone area sound machine I-Mix Pro demonstrated that this was far from his first rodeo.

But it was the Friday night Whiskey Jacks show that showcased all that this line up has to offer. The Emmitt-Nershi Band was joined on stage by resident blue grass extraordinaire, Sam Bush. Sam’s appearances over the last few years have increased in frequency this year. There is even some talk and hope that Mr. Bush could become the headline “artist in resident” for Big Grass, helping in the future to bring new acts and guide the direction of this annual event. Andy Thorn’s look as he took to the stage encapsulated the atmosphere in the barroom; it was a simply electric (bordering on an evidently illegal) smile! Highlights from Friday evening included the irreverent String Cheese Incident tune “Johnny Cash.” But the clearly evident winner would have had to have been the dueling Mandolin throw-down during “Breakin’ Thru”, a tune which was widely popular and extremely well received when it appeared on the Nashville Sessions where Sam Bush was also featured along with Drew Emmitt. An extended sing-a-long with the crowd that also featured opening act Pete Kartsounes occurred during the Bob Marley tune “One Love.” This tune celebrated the feeling of the evening, and what would have been Bob Marley’s birthday this last week as well. Of course it could have been prompted by Bill Nershi’s comments about the barroom smelling “a whole lot like Colorado.”

Saturday night seemed to bleed from Friday into Sunday. Emmy nominees Special Consensus blew away the smaller crowd in the Talus Room, a smaller seated venue that served its purpose well. Tired legs from rocking all night and riding all day seemed like they could use a break, and the seats quickly filled up with energized fans who would be dancing away the night again shortly. The Del McCoury Band was enthusiastically received on the main stage, but their sound suffered here a bit. In a room this size and with the raucous crowd in tow, at times it was hard to hear the band unless one was towards the front two-thirds of the close-to-capacity room. Sam Bush joined Del on stage for a few tunes, joking that he had told Del that he “still had time to change…” explaining to the crowd that the suit was just Del’s “street clothes.” Members of the Del McCoury Band, and/or Traveling McCourys joined Emmitt-Nershi on stage that night and lit up Whiskey Jacks late into the evening as the snow fell deeper and harder outside.

It was Sunday night that was the clear peak of the weekend run. The evening’s early highlights were Bill Nershi sitting in with the Traveling McCourys for a number of Bluegrass standards, including a few selections from the David Grisman/Jerry Garcia album Old and In the Way in the Talus Room. The clear standout of the evening would of course be the grandmaster of the weekend’s fun: Mr. Sam Bush. The Sunday evening crowd had clearly not diminished in capacity by much. They still came to get down, and the seats in the front of the house had been moved off to the side to allow the boisterous crowd to really get down. That being said, it was a little disconcerting to hear a repeat from Friday when Sam had sat in with Emmitt-Nershi. Hearing the Muddy Water’s tune “I’m a Man” Friday night was indeed a treat, but its placement and repetition again early in Sunday’s set seemed to diminish the effect. One might be able to quibble over which rendition nailed it better, but such an argument is moot. Unfortunately, Bob Marley’s standard “One Love” would as well repeat itself in a nearly identical spot, falling into an end of the show position again Sunday night. With additional guests on vocals, Sunday night would be the clear winner of the “which is better?” argument. Again, this should be a conversation that just is not had. Repeats on a tour are expected and often welcomed as cannon fodder for such debates, but within festival weekends they are clearly taboo.

Still, the energy and presence that Sam Bush brought to Big Sky all weekend could not be denied. His smiles, infectious/rambunctious attitude, and jokes/witty remarks permeated the air. His stage presence is reminiscent at times of Trey Anastasio ala Phish 3.0. Dancing around his fellow musicians as they play, cheering them on, and knowing just when to let the spotlight fall off his shoulders and onto another are the mark of a truly gifted musician. No where was this more evident than the Sunday evening festival send off with 13 musicians on stage for a tribute to Levon Helm, whom Sam described as “the heartbeat of America…and one of the greatest musicians…” The over 20 minute rendition of “Up on Cripple Creek” was absolutely an amazing showcase of just some of the talent gathered in Big Sky for this winter’s weekend festival. It wasn’t just the song, or the gathering of musicians on stage to perform it that topped it off so well. It was the presentation of it. Every musician on stage was given a chance to take a stand-out solo shot, promoted by Sam. In this epic bluegrass throw down, the clear winner by the crowd’s response would have to have been Bryan Bowers on the Autoharp. It was with a huge round of applause that Sam Bush and guests would leave the stage, the crowd clapping and gasping for air.

Pete Kartsounes closed out the festival with an extended set featuring his roommate from Boulder, banjo player Andy Thorn.  The Whiskey Jacks venue serves a great purpose here. It provided festival goers with a more intimate, late-night feeling show with which to wind down the weekend festivities. If the late night shows move to the ballroom next year to accommodate the sold out crowds Friday and Saturday, it would seem that the Sunday night show could still be left in place here.  Wind down in no way describes the music this evening, but rather describes a loosening of the festival weekend atmosphere. Eventually in all festivals this time must come, the end of the weekend and the return to reality. Pete plays a style of bluegrass and modern which was demonstrated by his mixing in of AC/DC’s “You Shook Me All Night Long” and the Beatles tune “Eleanor Rigby.”

As the end of the festival wrapped up, it was hard to see who was more excited about the weekend, and the weather. Numerous shout-outs were made by artists to the show promoter, local Steve Merlino. An equal number of artists made references to the knee to waist-deep powder conditions to be had a-plenty on the slopes after a strong system moved in Saturday evening. Bluegrass and skiing seem to go hand in hand. Maybe it’s the musical roots in the mountains of the eastern U.S. Certainly it’s more modern ties are to be had too. Bands like Leftover Salmon helped push the genre along while cutting their chops playing for passes to resorts in the high mountains of Colorado. Whatever the connection may be, the big skies of Montana and the bluegrasses of new and old mingled sweetly for a few snowy days and winter nights.

The Big Sky Big Grass music festival, now in its seventh continuous year, is coming into its own and starting to show some serious legs. The move off of President’s Day weekend may have hurt overall attendance for Sunday night, but the send off Sam Bush gave this event went on to prove the proverb, never miss a Sunday show.  The move off the famed long mid-winter ski weekend does something else as well. It frees up the hotels, slopes, and surrounding activities from the crush of ski-vacationers. There in lies a huge draw of this festival, and it’s now slotted move out of that weekend. Less people, better deals on flights and hotels, and more powder (snow) to be had for riding. Rumor has it that the festival dates will be announced well ahead of the line up next year to provide concert attendees to book better rates on hotels and rooms. Additionally, an attempt has been made to recruit Sam Bush as the “Master of Ceremonies” for this event, a de-facto role which he seems to be playing already. One thing is for sure, wherever you fall on the spectrum; from hard core rider who enjoys bluegrass, to bluegrass aficionado who mildly enjoys amazing winter days and activities (umm, Yellowstone National Park anyone?), Big Sky Bluegrass Festival is an event not to missed.

Written & Photos by: Phil Santala

Edited by: Rosemary A.W. Roberts

Lindsey Stirling--Deluxe Old National Theatre--Indianapolis, IN—03/12/2013 

On a Tuesday evening in March, Indianapolis witnessed a genre of music that I was not even sure how to classify at the time.  Remember back in the ancient times those string-like puppets that you pull on the string real fast, and suddenly the puppet would make a quick jolt with it legs or arms? Well Lindsey Stirling reminds you of a marionette with balancing yoga poses that would suddenly leap in the air, skip across the stage, spin like a Texas tornado and bend frontwards and backwards, all while playing a theatrical piece of classical violin music backed by a thundering drummer and keyboardist.  The crowd at the Deluxe was completely different than anyone would expect for a dub step violinist. The crowd ranged from kids of all ages to 60-plus aged folks. 

Before Stirling would transform herself into a leaping leprechaun she would open the night with a taste of classical violin music. Another great theatrical piece was her third song of the night, “Spontaneous Me.” “Spontaneous Me” is a perfect example of Stirling showing off her astonishing dancing skills while not missing a note on the violin. By the fourth song of the night Stirling was showing that she is more than just a violinist in an original song, “Electric Daisy.”  Huge thanks should also go to Stirling’s cinematographer Devin Graham, who contacted her shortly after her performance on America’s Got Talent. Graham’s cinematography helps set the mood for each song that Stirling performs; “Electric Daisy” made you feel as if you were in the mountains of Colorado, while “Crystalize” made you feel as if you were surrounded by ice sculptures.  Midway through her performance Tuesday night she pulled out of the hat a classic video game theme song for all the gamers in the crowd as she went into “Zelda.” Again Stirling has an astonishing and unique stage performance as she includes something for all age groups like Just Dance or Dance Party for children on the big screen.  Stirling would also grab the dub step fans’ attention as she played her favorite song off her new album Lindsey Stirling, called “Zi-Zi’s Journey”. Lindsey would close the night off with “Crystalize” an extremely popular selection in Stirling’s list of music. “Crystalize” is what helped make her dream come true with the power of the Internet and YouTube in which she has received over 50 million visitors for this one song. 

Although Stirling’s set was approximately 80-minutes long she provided something for all groups. If someone would have said I was going to photograph a Mormon dub step, hip-hop classical violinist, I probably would’ve turned my back and walked away. However, after seeing this up and coming star a few years ago on America’s Got Talent, I just knew someday this “cartoon figure” was going to make a name for herself. Lindsey Stirling made the comment to the crowd mid way through her epic and mind blowing set that she was told her type of music was not marketable. In fact she was told she would not make it with this type of music. Well, Stirling was not a fictional character then and definitely is not one now. Just in the last 5 months alone she has made an album without the help or endorsements of a large record label and has sold out every show thus far.  Now, who was it that said Stirling would not make it with this type of music?!

MORE PHOTOS HERE

Written/Photos By: Mark Loveless

Edited By: Rosemary A.W. Roberts

Lotus at the Cat’s Cradle, Carborro, NC (near UNC-Chapel Hill campus) February 27, 2013

I have been hearing about Lotus for years and I was extremely excited to finally get the chance to see them at the Cat’s Cradle in Carborro, NC.   I have been listening to Lotus through Pandora and really loved the songs I heard.  Most of these songs were from their older albums such as Germination (2003) and Nomad (2004).  But to get ready for this show, I ferociously listened to their more recent albums and EPs in order to get a feel for their current sound.  And it wasn’t surprising that I couldn’t get enough of their latest studio work.  Albums such as Lotus (2011) and Hammerstrike (2008) totally blew me away, while Feather on Wood (EP - 2009) was one of the best selections of studio songs I’ve heard in years. 

We arrived at the Cat’s Cradle just outside of the University of North Carolina Chapel Hill campus early to get set up to take pictures and make sure we didn’t miss any of the opening act, Moon Hooch.  After reading about their recent ban from the NYC Subway system for starting impromptu raves, I definitely had to see this band.  What I took away from this set: 2 saxophones + 1 drummer = 1 RAVE; need I say more.  After listening to their debut album, I wondered how this would translate to the stage, but I must admit that it translated even better live.  I was very impressed with Moon Hooch and I see a very bright future for this band.

Lotus started the first set with “Suitcases” (Nomad, 2004).  It has the perfect balance of electronic and rock, with a guitar riff that is very hard to get out of your head.  The crowd was electric and the show was off to a great start.  The second song was “Neon Tubes”, off the new album Build (2013), which had come out earlier in the week.  As with many current electronic jambands, Lotus’ sound continues to push the electronic boundaries.  “Neon Tubes” has really great transitions, and a great bass line from Jesse Miller that was thumping hard at the Cat’s Cradle.  The next song was the heavy hitter “L’immueble” that I’ve heard on a few shows, but of course it’s not to be found on a studio album.  Although Lotus’ guitar player, Mike Rempel, usually doesn’t have many complicated guitar sections, the riffs that he puts together make for some of the happiest and most soulful music I’ve heard.  The way he is able to capture these sounds in both the studio and on stage is truly masterful.  It always brings a smile to my face when I see a musician with shut eyes lost in his own music.  Needless to say, there would be many moments throughout the night where Mike’s eyes were closed.  The build at the end of “L’immueble” was glorious and had me moving my body in various motions I hadn’t felt in a while. 

The next 2 songs, “Cutinuo” and “Middle Road”, were also from the new album Build.  “Cutinuo” really allows Luke Miller the opportunity to show off his keyboard skills and the song has a perfect blend from each of the musicians.  I really like the vocal sample provided by Jesse Miller in “Middle Road” and the live version gave Mike the opportunity to show off some of his jamming skills.  Lotus’ traditional jamband sound definitely comes out in the middle jam of this song.  The next 2 songs, “Gilded Age” and “Intro to a Cell” are also not found on any albums.  ”Gilded Age” appears to be a very new song left off of Build.  ”Intro to a Cell” has been played many times over the years and has some very spooky and funky keyboard and guitar sounds.  It was also a treat to hear this song with former Lotus member, Steve Clemens, on drums.  The final song of the 1^st set was “Ashcon” (Build, 2013) and although not that easy to dance to, it has some interesting samples and bass lines.  An interesting note about the first set was that there were no segues, which is rather uncommon in many Lotus’ sets.  This wouldn’t be repeated in the 2^nd set.

The 2^nd set started off with “Golden Ghost” off the self-titled album (Lotus, 2011).  This is one of my favorite songs off that album, so I was excited to hear it live.  “Debris” is another brand new song and must have come out after the final selection of songs for Build.  “Debris” has the potential to be a huge song.  The next song was a crowd favorite “Plant Your Root” (Nomad, 2004).  For me, this was one of the best moments of the night and I could tell from the crowd they agreed.  “Plant Your Root” has very intricate guitar riffs and allows the band to test their improvisation, which finally segued into the cover of “Ghosts N’ Stuff” by DeadMau5.  Fists were pumping throughout the crowd when the first keyboard lines to this song started.  The next song was the heavy hitter “Livingston Storm” off Nomad (2004) and I must admit this was the first time in the night I found myself completely focused on the drums and percussion provided by Mike Greenfield and Chuck Morris, respectively.  I had heard Mike Greenfield’s name many times over the years in association with the Disco Biscuits and Conspirator, so it was nice to finally get to see him play.  The two of these guys really provide a solid foundation for the 3 men up front to explore their instruments.  “Livingston Storm” was followed by another song off Build entitled “What Did I Do Wrong,” which has quickly become one of my favorite songs off the new album.  It has a similar theme and architecture to “Ashcon” and might be a little easier to dance to. 

The next song of the 2^nd set was “Invincibility of Youth” (Hammerstrike, 2008).  The guitar riff in “Invincibility of Youth” is one of the most soulful sounds I heard all night and the percussion in the middle section jam was fantastic.  The final song of the 2^nd set was “Wax” (Escaping Sargasso Sea, 2007).  I’m not sure how often this song is a set closer but it had great placement for this show.  Since it has very intricate and complicated sections and is usually a 15-20 minute song, it gives each member the opportunity to have a turn at leading the band.  The final build in “Wax” is such a powerful section of the song and it left the crowd going wild and begging for more.  After a very brief moment off stage, Lotus came back and finished the night with “Hammerstrike” (Hammerstrike, 2008).  This nearly 10-minute version was a treat and ended the night perfectly.  Overall, this was a fantastic night and I plan on seeing Lotus as much as possible over the next few years.  I’m truly sorry it took this long to finally see them live.

2-27-13 – Cat’s Cradle – Carrboro, NC
I: Suitcases, Neon Tubes, L’immeuble, Cutinuo, Middle Road, Gilded Age, Intro to a Cell*, Ashcon
II: Golden Ghost, Debris, Plant Your Root > Ghosts N’ Stuff > Livingston Storm, What Did I Do Wrong, Invincibility of Youth, Wax
E: Hammerstrike
*With Steve Clemens on drums

Written by: Kerr & Courtney Wall

Photos: Courtney Wall

Reviewed By: Rosemary A.W. Roberts

Dark Star Orchestra—Vinyl Music Hall—Pensacola, FL—02/19/2013 

Although it took a while to fill in, a near-capacity crowd brought a tie-dyed vibe to Vinyl Music Hall, as they warmly welcomed Dark Star Orchestra to Pensacola, FL. Having toured for over 15 years, Dark Star Orchestra (DSO) is renowned for performing Grateful Dead shows in their entirety with keen attention to detail, adopting stage positioning, vocal arrangement, and types of instruments to match those of the original performances. But on February 19, 2013, mainly due to the absences of rhythm guitarist Rob Eaton and vocalist Lisa Mackey, the band took a foray into less familiar territory, playing a Jerry Garcia Band (JGB) show instead of a Grateful Dead show. As an especially authentic touch, the female vocalist who performed the original April 1, 1976 show (and who also spent seven years as a member of Grateful Dead), Donna Jean Godchaux-MacKay would be with the band on this night, which made me even more excited about seeing DSO for the first time! 

Right from the start with the opener “Sugaree”, I was impressed with how lead guitarist/vocalist Jeff Mattson sounded very much like Jerry Garcia, in particular the tone of his guitar. “Catfish John” was quite a crowd-pleaser, and by the time JJ Cale’s “After Midnight” started, everyone was immersed in the groove, as if we’d jumped on board a time machine and found ourselves at the Palace Theatre in Waterbury, CT in 1976. I was happy to hear Jimmy Cliff’s “Sittin’ In Limbo”, done with a thoughtful and gentle rhythm and pace that would underlie much of the show. “Friend of the Devil” was played as JGB tended to play it, slow and sweet, taking time to savor the melody. A very enjoyable “Tore Up Over You” allowed the band to rock a bit, and keyboardist/vocalist Rob Barraco took advantage of the space he was given and enthusiastically tore it up, as did Jeff Mattson. “I’ll Take a Melody” found Mattson’s vocals particularly pleasing, while the awesome set closing “Don’t Let Go” found bassist/vocalist Kevin Rosen deep in the pocket, and really had the band swinging. 

After a brief setbreak, Dark Star Orchestra returned to the stage with a romantic, tender-hearted sentiment, as Motown classic “How Sweet It Is (To Be Loved By You)” was followed by Grateful Dead’s “They Love Each Other”. Next, Donna Jean was given a chance to shine with “A Strange Man”, and she put her heart and soul into it; her voice sounds perhaps even lovelier now than in the past, and she looks absolutely beautiful, dancing and singing with grace. The Southern crowd showed their delight as a cover of The Band’s “The Night They Drove Old Dixie Down” was played slow and deliberate, and the entire audience sang along. “The Harder They Come”, another Jimmy Cliff tune, continued the laid-back easy vibe, while drummer Dino English kept the reggae beat rolling. “My Sisters and Brothers” amplified the peaceful unity that seemed to pervade the venue. To end the set, a righteously jammed out “Lonesome And A Long Way From Home” sealed the deal, and the thunderous applause from the crowd was a testament to the success of the show. A bonus encore of “That’s What Love Will Make You Do” gave Rob Koritz some drumming time, and finished out the wonderful evening. 

Having never seen Dark Star Orchestra perform a Grateful Dead show, I cannot attest to the band’s ability to recreate the “Dead” experience. But I do feel they definitely did justice to the memory of the Jerry Garcia Band with the performance they gave in Pensacola. Throughout the night, DSO was patient and unhurried, taking plenty of time to jam out and stretch their musical muscles. Thus I can imagine that they do the same when they play Grateful Dead shows, thereby genuinely conveying the improvisational nature of the concerts. I do think we were blessed to see and hear Donna Jean Godchaux-MacKay performing with the band; it truly made the show an even greater treat. I definitely left the show feeling “Grateful”, and would welcome the chance to see Dark Star Orchestra again! 

Written and Edited By: Rosemary A.W. Roberts

Photos By Rosemary A.W. Roberts, Tarver Shelton, and Gratefule Dale Taylor:

Conspirator ~ The Tabernacle ~ Atlanta, GA ~ February 16, 2013 

Downtown Atlanta on a Saturday afternoon can be quite busy and hectic.  February 16^th was of special caliber.  The calendar of events in the entertainment section would hold an odd combination of “what to do”.  A national cheerleading championship, the Ringling Bros. circus, 35mph blustery, cold winds, as well as an international hair/wig convention were all on tap, and…Conspirator, opening for moe.  Jams Plus Media chose the latter. 

After a stellar night at Aura Music Festival down in Live Oak, FL and on their way north to Minnesota, Conspirator made a stop at the renowned Tabernacle to join forces with a hot, winter touring moe.  As ALWAYS, the Tabernacle provided a superb backdrop for Marc Brownstein (bass), Aron Magner (keyboards), KJ Sawka (drums), and Chris Michetti (guitar) to bring their heavy hitting, funky dance, incredible drops “jamtronica” to the stage and turn some jam band’ers into believers.  With the Electronic Dance Music (EDM) world blending nicely into the jam band scene, Conspirator is lavishly sitting on top of the hill. 

It’s nice to see musicians having fun, pushing their conception of their own music to heights and distances that seem to even surprise themselves.  This phenomenon was noted numerous times when KJ’s drums would go warp speed into a build-up and a smile would cross Marc’s face as he pounced on a low bass note, signaling the crowd to change direction and bust out that new dance move they’d been reserving.  Michetti’s fret work was ridiculous, giving Magner the tough job of keeping the electronics a step ahead.  Most of the performance was driven by low, metallic bass and complemented by rising and lowering beats by drums but, at any minute, Chris’ guitar work could take the lead or be summed up by seriously sick effects being born on Magner’s keys.  

With the latest EP, Unleashed, recently being given the green light for release (January 29), the show featured most of the album’s six tracks including “Pow Wow”, “Hammer Down”, “The Commish”, “Right/Wrong”, “Accent”, and “Tumblr”.  Just a few weeks out, and this album is gaining steam.  Atlanta welcomed it nicely with a packed house full of dancing fans, flat brims to boot. 

Check out Conspirator’s new album for your listening pleasure at http://thissongissick.com/blog/2013/conspirator-unleashed-ep-download-premiere/   and see them live this March among the western half of the U.S., as well as a stop at the Bonnaroo Music and Arts Festival this June.  

Written By: Roger Patteson

Edited By: Rosemary A.W. Roberts

Photo is official press photo

Aura Music Festival—Spirit of Suwannee Music Park—Live Oak, FL—Feb.15-17, 2013

Aura Music Festival kicked off this year’s festival season in style. While it was quite frigid outside, the weather proved to be no contest for the warmth that the music could muster. The Spirit of Suwannee Music Park hosted yet another memorable weekend for all those who attended.

The park did not seem to liven up until dusk on Friday as all the work-weary travelers began to flock to the sacred grounds for a little R & R. Perpetual Groove was awaiting the last duo of shows that they were going to play together and the fans turned out for this final spectacle. Not only was the music fantastic but the light show was absolutely mind blowing on both nights. They really went out in style and gave the fans a good show.

Another one of the talented acts that graced us with their presence is the up and coming Yo Mama’s Big Fat Booty Band. This band has so many talented members that have such diverse musical backgrounds, and this brings so much life to the stage as you see them interact with each other and the crowd. Their faces illuminated as the music poured out of their souls and into the ears of all those fortunate enough to catch their set on Saturday. Each of them is so humble and happy to be performing. Their attitudes and outlook are very refreshing to see in the age where it is commonplace for artists to be shut off and arrogant.

Kung Fu and Nigel Hall played a phenomenal Stevie Wonder tribute on Saturday afternoon. Nigel started by saying that they were going to play the set just as “Stevie would have done it” and they did not disappoint. The body language, inflection, and the songs chosen all were to the liking of the fans. The chemistry between the band members was evident as they took us on a journey through Stevie’s work. Todd Stoops and Adam Smirnoff both gave some of the best performances that I have ever seen them give. When they reenacted “I Just Called To Say I Love You” the crowd erupted and sang along to the tune. This set was so much fun to experience and be a part of!

The weather was a bit warmer on Sunday for a couple of the best sets all weekend: Brock Butler and The Lee Boys. Brock started the day out with his acoustic set after having played his last with Perpetual Groove the previous night. His set was graced with several artists throughout it and the music was unmatched. He picked away at his acoustic guitar and sang at the top of his lungs with such ease and tranquility that a mellow mood permeated through the crowd as he performed. The people begged for more as he played his last song, but the show had to go on.

And go on it did with The Lee Boys. The mood was a somber one before the performance as the passing of one of their relatives was still fresh on their minds. Though, as they hit the stage you couldn’t even tell that something detrimental had occurred. Roosevelt Collier and the boys gave it their all as they always do at every show that I’ve ever seen them perform.  Smiles occupied their faces as they filled the Sunday morning with reverberations of joy and happiness. You move me. Keep up the incredible work, gentlemen.

Aura Music Festival was a success. All of the artists, photographers, vendors, and patrons brought a special feel to the grounds and we were happy that Jams Plus Media was a part of it. We look forward to seeing all of your beautiful faces again for many years to come. 

Written & Photos By: Jacob Green

Edited By: Rosemary A.W. Roberts

Tea Leaf Green Live at 20^th Century Theatre ~ Cincinnati, OH  ~ February 15, 2013  

Tea Leaf Green stormed into the small vibrant 20^th Century Theatre Friday night for an onslaught of jam band music. It did not take the band long to warm up as they started the evening with an 8 minute jam in “Ride Together” straight into yet another crowd favorite “Vote on Tuesday.” Tea Leaf Green, a small quiet San Francisco band that does not seem to get a lot of publicity, sure can get loud real quick and make a name for themselves that fans will not forget.  Tea Leaf did not hesitate long to get the crowd involved as they played an unforgettable psychedelic tune with Reed Mathis on a thumping bass mixed with mind-blowing guitar rifts from Josh Clark and Trevor Garrod tearing up the keys in “Franz Hanzerbeak.” This song is a life changer when heard live! I promise you will go home the same night and YouTube it! Garrod would play another crowd favorite keyboarding jam in “Jezebel” from the album Rock ‘n Roll Band.  Tea Leaf Green is the perfect example of a rock ‘n roll band that once they get on a jamming frenzy, they will take your mind with it to another world and back all within matter of minutes. Clark shows this quality in a rock ‘n roll acoustic jam with a hint of soul in “Ocean View,” a classic from late 90’s. The band would play one straight set with an epic encore. The first set would conclude with another astonishing shredding guitar rift from Clark with “Zoom Zoom” straight into “Ride Together.” The band would return to stage so the crowd could really get their moves on with “Truck Stop Salley” with Trevor jamming on the keys, harmonica and jumping up on his stool. In all reality there is nothing quiet about this band. Yeah, they may not be part of the so-called mainstream but these fellas are loud, proud and produce some of the best catchy jam band tunes out there.  Please take a moment and listen to Live at State Bridge, which you can download from Tea Leaf Green’s website or iTunes.

Set List:

Ride Together >Vote on Tuesday, Cottonwood Tree, Barnicle Betty, Franz Hanzerbeak, Broom >, Dreaming Sleeping, Gemanating, Jezebel, Nothing Changes, Papa’s in the Back Room, Oklahoma Home, Ocean View, Sleep Paralysis > Relax, Zoom Zoom >Ride Together 

Encore: Truck Stop Salley

Written & Photos By: Mark Loveless - More Photos HERE

Edited By: Rosemary A.W. Roberts

Del McCoury Band ~ Princess Theatre ~ Decatur, AL ~ February 14, 2013 

On a night when most were consumed with expensive dinners, floral gifts, and boxes of cocoa madness, Del McCoury and his posse of stringed warriors strapped on their matching black suits and set up shop at the famed Princess Theatre in Decatur, AL. 

The historic theatre, located in Decatur’s downtown district, provided a cozy environment for its 600 guests.  A dancing crowd it wasn’t; but, amazed and full of smiles they were, especially since they designed the majority of the set list.  Throughout the two hour show, Del and band obliged most of the requests that were shouted from both floors of the two story building.  This dynamic never fails at leaving a lasting impression with those attending and certainly added to the intimacy that was already in the air.

With grace and grandeur, Del McCoury (guitar), Ronnie McCoury (mandolin), Rob McCoury (banjo), Alan Bartram (bass), and last, but certainly not least, Jason Carter (fiddle) took the stage and warmed the hearts of bluegrass fans both old and young.  Frank Sinatra showed up with “Learning the Blues”; “Get Down On Your Knees and Pray” of Marty Stuart and Bill Monroe fame; “I Feel the Blues Moving In” made popular by Emmy Lou Harris and Dolly Parton; and Neil Young’s “Hello Lonely Woman” were just a handful of special guest covers.  One request that came multiple times was “Rocky Top” to which Del replied, “We only play that when Bobby Osborne is with us.”  Other highlights included “Rain and Snow”; crowd favorite “52 Vincent Black Lightning” and “What a Waste of Good Corn Liquor”.  After Liquor, Jason made mention to the crowd that they would ironically sing about alcohol before the heavy ending gospel part of the show. 

Classic, trade off Bluegrass with “accompaniment” and “breakdown” play structures are common place at a McCoury show.  No matter which instrument takes the spotlight, the other members will usually offer a little nod, complete with a smile, showcasing the obvious respect and appreciation these musicians have for each other.  The end result is flawless play, leaving the oldest church goer, youngest jam band fan, or middle aged country and westerner happy and ready for more.  Multiple awards at the Grammy’s and IBMA (International Bluegrass Music Awards) over the years are just credentials on the surface of what this band accomplishes each time they set out to perform.  The real experience comes when watching them live. 

This spring and summer, Del and gang will continue sharing their love and music at numerous personal tour and festival appearances including Merl Fest, New Orleans’ Jazz Fest, DelFest, Romp Festival, Bonnaroo, and the Red, White, and Bluegrass Festival.  Collaborative work with Preservation Hall Jazz Band, Sam Bush, J.D. Crowe, Bobby Hicks, and Bobby Osborne will also take place in 2013.  With little time off the road in 2013, an opportunity to indulge in this great, Americana act is very likely.  Don’t Miss Out. 

MORE PHOTOS HERE

Written & Photos By: Roger Patteson

Edited By: Rosemary A.W. Roberts

The Avett Brothers – The Embassy Theatre—Fort Wayne, IN—02/14/2013

The Embassy Theater was the place to be on Valentine’s Day this year. The place was packed and love filled the air. Everyone’s heart was beating a little heavier and it wasn’t just because of the kick drum. If you have not seen a show in Fort Wayne, Indiana at The Embassy, I highly recommend it. It is a shame The Avett Brothers cannot bottle up their energy and sell it.

Jill Andrews started the night off right with her genuine stage presence. Her stage banter in between songs is something that is lacking in today’s singer songwriters. She had the audience eating out of her hands by the end; and when she had to stop in the midst of a song she had just written because she forgot how it went, the audience cheered as if she had just played their favorite song. It will be really fun to watch Jill grow and I recommend you all find her on the internet until she comes to a town near you.

The Avett Brothers bring so much energy to the stage, you cannot help but get caught up in the emotions they shell out . The packed house that was the Embassy Theater gave back every gram of energy the band gave off. Roses may wilt but the memories made by the band will be talked about every Valentine’s Day, for those in attendance. There was no better public place you could have shared February 14^th in Indiana with your loved one than the Embassy Theater.

The setlist could not have been put together more masterfully. When the crowd needed a moment to hug up tight with their significant other because they had been bouncing to and fro for song after song, in came a beautifully written slow jam to bring everyone’s feet back on the ground. The encouragement from the band to the crowd for their participation was not needed, from the lyric reciting to the energy matching, the crowd was as ready as the band to bring what was needed to be brought. The special treat of the night came at the end when the stage hand brought out the single mic; the band huddled together with their instruments and played one of the best versions of “Shady Grove” I have ever had the pleasure of hearing live.

Just as much as the performances from the two musical acts blew me away, so did the venue. The Embassy Theater has been around for 84 years and appears inside and out as if it has not aged a day in its life. The Embassy truly is a gem in Indiana and it kind of makes me sad I just found out about it in 2013; better late than never, though. They constantly are bringing big named acts and I highly recommend “liking” the venue on your favorite social media outlet, along with Jill Andrews and The Avett Brothers; the Cosmos is the limit with these three things.

Written By: Tyler Muir

Photos By: Keith Griner - More photos HERE

Umphrey’s McGee—The Blue Bird—Bloomington, IN—02/10/2013 

On Sunday February 10^th, 2013 Umphrey’s McGee made their first return home since the early summer months of last year. They sold out the Blue Bird in Bloomington Indiana days in advance. The Blue Bird is a very small venue for a band like Umphrey’s Mcgee, but a few years ago this place was their stomping ground. I can remember seeing shows at the Blue Bird that weren’t even sold out. It’s safe to say that in the recent years the name Umphrey’s Mcgee and their signature rock n’ roll jam style has exploded. A crowd where I once knew every face has turned into a nationwide movement.               

Umphrey’s took the stage in classic style with “Cummins Lies,” a song with no lyrics and no explanation for such a title. Their lights, run by the coveted Jefferson Waful, were very impressive for the limited space. This was one of the best lighting set ups I have seen in the Blue Bird. It would have been even better if I could have seen the stage. The venue was packed to the brim and only those with the privilege to be near the stage could really see and appreciate what was happening. Immediately the temperature in the Blue Bird started rising as the crowd began to dance to the rock n’ roll.  Their first set had some great rarely played jams where they left “Nothing too Fancy” unfinished and closed with “Conduit.”               

The second set felt even more crowded than the first. Everyone pushed forward towards the stage as the opening chords of “The National Anthem,” (originally played by Radiohead) rang through the tiny venue. Umphrey’s took the crowd on a journey in this second set that could only really be described as face melting. They played “1348>Higgins>1348,” which is a classic Umphrey’s combination that weaves the two rock tunes together in an almost elegant manner. They then played what I consider to be the gem of the show “Come as Your Kids.” Umphrey’s is very well known for their ‘mash-ups.’ This song is a combination of Nirvana, MGMT, and the well known 80’s hit “You Spin Me Right Round” by Dead or Alive. The band has only played this song five times according to their website www.allthingsumphreys.com, a site where every imaginable statistic is kept for their fans to enjoy.               

This show was truly a treat, and it was great to have my favorite rock stars back home. They closed out the set by finishing “Nothing Too Fancy” featuring Jake Cinninger’s quick fingers and forward moving rock rifts; the show ended with the crowd begging for more. This band never fails to impress. From the light show to the rock anthems, perfectly composed melodies, and silly stage antics, I don’t think I will ever get tired of seeing this band around. Needless to say, I will be following them as they travel across the Midwest and provide more epic rock shows for their original fan base, because for some reason I feel like I’ve yet to see their best. 

Written By: Cassidy Maley

Photos By: Mark Loveless - More Photos HERE

Edited By: Rosemary A.W. Roberts

Lotus—Jake’s—Bloomington, IN—02/06/2013

A busy night of music continued as I ventured toward Jake’s, a venue I had not previously seen a show at and the setting for Lotus to play on a frigid Wednesday evening. The evening started off seeing Dark Star Orchestra, but I hastily made my way over to the unfamiliar venue to see one of my favorite bands. I was quite excited to be treated to two sets of music by the group and once the music started my excitement built even more. Initially, the amazingly created and well-executed new light show quickly caught my eye and definitely added to the magic of the evening. Another special component of the evening was being treated with one of the most intimate Lotus shows I’ve seen thus far. It was truly a special treat.

 Lotus started the first set with “Massif”, a track off of their recent studio release Build, and one which proved to supercharge the crowd from the get go. “Golden Ghost”, a track off of their self-titled album and one of my favorites from that release, proved to further energize the dance hungry crowd. Both tracks featured the booty-popping bass and dance inspiring synth melodic dance grooves with heavy rock sounds I’ve grown to love Lotus delivering. The heart of the first set featured the non-stop relentlessly hard-hitting dance latent rock grooves of the jam “Intro to a Cell>Triplet>Sunrain”. This concoction of melodically funky yet dark electronic dance music sent the crowd into a frenzy, leaving me bonkers, while setting the tone for the rest of the evening. The first set ended with a bang, featuring “Jump Off”, a fun and furious track further testing the limits of both the music and the dancing crowd. Euphoria had definitely settled in, leaving me and the rest of the patrons hungry for the second set to begin.

After a brief intermission, the second set began, and boy did it begin with a doozy. “Bellwether” was chosen to start and surpassed anything the band had delivered in the first set, which was surprising given the quality of music delivered thus far.  Just when I thought my night had already been completed, Lotus blasted me with what was by far the best series of music I’ve seen them play in the six years following the group. This insane concoction of non-stop playing featured: “Did Fatt>Am>Lucid Awakening>Zelda Theme>Lucid Awakening”.  They definitely tested the limits of the crowd with this dark and heavy dance rock jam. This was a very special treat for any true Lotus fan with “Zelda Theme” thrown into the mix. Also, I was personally bestowed with something special, this being my first time hearing the Zelda Theme played live. As a big fan of both Lotus and the classic video game, this was merely icing on the cake for the evening.

The second set neared an end and Lotus delivered one last hurray, playing the fun and funky dance track “Tip of the Tongue”. I felt euphoric as the track tested my dancing limits and made me go wild. The band thanked the crowd and left the stage, leaving me for the first time joining in with the crowd roaring for an encore. After a brief moment, Lotus reentered the stage and began to play an encore which perfectly ended an already magical night of music. The encore featured “The Surf” and “Scrapple”, with the two track encore proving to be another added bonus to the evening. I must note, I have a soft spot for “The Surf”, given the notion that it is one of the few tracks featuring vocals by Lotus. It was a perfect end to a perfect two sets of music. Lotus is one of those bands that reaches deep within my soul and invokes a hungry fire from within. I truly love and respect everything they produce. If you are not familiar with the group, I highly suggest you find a show within traveling distance and go there immediately. 

MORE PHOTOS HERE

Written By: Alex Toy

Photos By: Keith Griner

Edited By: Rosemary A.W. Roberts

Dark Star Orchestra—Buskirk-Chumley Theatre—Bloomington, IN—02/06/2013 

Bloomington, Indiana was a busy town on Wednesday, with two major names playing at the same time. The Lotus Experience played right around the corner from Dark Star Orchestra. Of the two headliners, I chose to go see the special all acoustic Dark Star Orchestra show at the Buskirk-Chumley Theater.

This was my first show at the historic venue. Walking in the front lobby I was greeted by a warm room that smelled of popcorn and guided by a friendly, helpful staff that contrasted many of the pushy, overbearing staff at some venues. The theater was seated with a small pit area near the stage. The crowd was mostly older, with some younger faces peppering the crowd. I felt very comfortable in the cream colored room. Everyone was friendly and excited to see this special show.   

     Once again Dark Star took the stage with no opening band and little introduction. They explained the special nature of this show, being all acoustic and a completely original set list. They invited the crowd to come dance, as many people seemed unsure if it was meant to be a seated show. The opening song “Dire Wolf” set the tone for a night of mellow deep Grateful Dead tracks, of course with Dark Star’s own twists and turns.  This tight-knit crowd seemed to know every word of every song, even the earliest of Grateful Dead hits like “Operator” or Bob Dylan’s “It Takes a Lot to Laugh and a Train to Cry.” About midway through first set, DSO threw in an original tune called “Run Mary” featuring dynamite lead singer Lisa Mackey’s strong and soulful voice. It was truly a treat to see the band perform one of their own songs. They ended the first set with a great upbeat trio of songs, “Tell it to Me”> “Wake up Little Susie” and closing with “Rubin and Cherise.” 

For me, the first set was definitely the highlight of the show. They really mellowed things out in the second set, opening with a Bob Dylan tune called “Mountains of the Moon” and then “Box of Rain.” They showed a softer side of the Grateful Dead keeping things low key and soulful as they let their light crew highlight the beautiful tapestry they feature at every show. They put a spell over the crowd for the first half of the second set.  They ended on a special combination of some of my favorite songs “Birdsong”>”Throwing Stones”> “Ripple.”               

Overall, it was an honor to see such a special and rare show. It felt intimate and comfortable. I almost feel as though I know Dark Star Orchestra on a better level because they were able to show a bit of their personality as a band due to the smaller crowd and acoustic instruments. They closed announcing that the setlist was an original, and everyone agreed it had been quite a magical night. 

MORE PHOTOS HERE

Written By: Cassidy Maley

Photos By: Keith Griner

Edited By: Rosemary A.W. Roberts

The Punch Brothers Live at The Brown Theatre ~ Louisville, KY ~ February 5, 2013 

The Punch Brothers, a classy group of guys that play sell out theatres across the country, is turning a lot of heads these days. Chris Thile (formerly from Nickel Creek) and Chris Eldridge (from the early days of The Infamous Stringdusters) formed a band a few years ago that has been taking this country by storm.  However do not underestimate the talent in banjo player, Noam Pikelny and violinist, Gabe Witcher. This intriguing string band has been known to play a Gillian Welch, Josh Ritter, John Hartford and perhaps even a Radiohead cover. In fact the band plays Radiohead’s “Kid A” on their most recent studio album, Who’s Feeling Young Now? 

As I approached The Brown Theatre Tuesday evening, I was eagerly waiting for this mind-blowing performance. I’ve had the utmost respect for Thile since the Nickel Creek and his solo album days, How to Grow a Woman? Thile is to mandolin as Bela Fleck is to the banjo. Both have respect for their instruments and play them flawlessly with great charisma. Thile would open the first set with a flawless smooth mandolin jam in “Movement and Location” off their most recent studio album. From there the band would get the night roaring with a thumping bass from Paul Kowert followed by what seemed to be a never ending jam with Thile, Eldridge and Witcher in “Flippin,” another release off the new album. Although the band seemed to play a lot from the new studio album, they did however play some great crowd favorites such as “Rye Whiskey” and “The Blind Leaving The Blind Third Movement.” The set was so intense with great mandolin pickin’ and beautiful violin pieces, it was difficult not to jump out of your seat and dance.  

Thile would rejoin the crowd for an encore performance as he stood at the edge of the stage and played a Bach piece that completely silenced the crowd and brought goose bumps to the body. The band would rejoin Thile at the edge of the stage for a string picking in a Kentucky historical song, “Moonshiner.” Although their stage setup may be simple, they play string music in it true nature. This is a group of guys who play for the love of string music, not for fancy stage setups. 

Setlist:

Movement and Loacation, Next to The Trash, Flippin, Who’s Feeling Young Now?, Two Hearted, Song for a Young Queen, New York City, Missy, Piney Woods, Patchwork Girlfriend, Hundred Dollars, Dixie Line, The Blind Leaving The Blind Third Movement, This Girl, Another New World*, Watch’ at Breakdown, Rye Whiskey 

Encore:  Bach piece?, ?, Moonshiner 

*Josh Ritter cover

MORE PHOTOS HERE

Written/Photos By: Mark Loveless

Edited By: Rosemary A.W. Roberts 

Jimmy Buffett & the Coral Reefer Band-- Pensacola Bay Center--Pensacola, FL—02/05/2013

 Jimmy Buffett & the Coral Reefer Band sailed into Pensacola, FL, where land dwellers known as Parrot Heads were waiting to greet him and his mates.  The show would host a Sold Out crowd at the Pensacola Bay Center (formerly The Civic Center) who recently changed their name.  Fans started arriving in the parking lot that morning around 8 a.m. to celebrate with Margaritas in hand for a 12 hour Party that would lead straight indoors for a 2 ½ hour party with Jimmy Buffett.  Buffett this evening would give respect to the Gulf Coast and to Mardi Gras for the Start of the Lounging at the Lagoon Tour.  The everlasting backdrop to the stage would have Jimmy Buffett swimming around with mermaids, and he would appear on stage to join the Coral Reefers, with screaming Parrot Heads ready for action. 

Jimmy Buffett would carry on through the night talking about his love for the Gulf Coast and would mention towns from the smell of Creosote in Gulfport to the Sounds of Mardi Gras both in Mobile and New Orleans.  He would invite the crowd to his birthplace during “Pascagoula Run” where he was born on Christmas Day in 1946.  He has played amongst major artists and has inspired many such as Zac Brown and Will Kimbrough, and Buffett played a few of their songs during a special acoustic set in the midst of the show.  It would also include Buffett’s “Pencil Thin Moustache”, my first time to hear it acoustic, and it was incredible.  Jimmy and the small scaled band would also play the Crosby, Stills, & Nash classic “Southern Cross”, which really would enlighten the crowd. 

Overall, the evening was an awesome one and left many Parrot Heads wanting more.  At the end of the night when the lights came up Jimmy would pay tribute to the Coast once again, this time in respect of the mother he sails upon.  “When the Coast is Clear” would be played as a special Encore which made for two for a Tuesday night in Paradise.  I would highly recommend going to see Jimmy Buffett and the Coral Reefers soon; their shows do tend to always sell out, and rest assured it’s a party and your kids are invited too, so they can learn about his great music.  This kid was taught at a very young age who Jimmy Buffett was, and he has really touched many others out there as well.  Fins Up!!!  Set List is as Follows…

Intro: Hot Hot Hot (Arrow song)>  

1:   One Particular Harbour  ~ Stars on the Water (Rodney Crowell cover) ~ Life Is Just a Tire Swing> Growing Older but Not Up ~ Son of a Son of a Sailor ~ Changes in Latitudes, Changes in Attitudes > Come Monday ~ Knee Deep(Zac Brown Band cover) ~ Frank and Lola ~ The Pascagoula Run ~ Volcano> Cheeseburger in Paradise ~ King of Somewhere Hot (feat. Nadira Shakoor as as the Queen of Somewhere Hot)

 Acoustic set:

Piece of Work (Will Kimbrough cover) > Pencil Thin Mustache  ~ Southern Cross

(Crosby, Stills & Nash cover) ~ Nobody From Nowhere (Tommy Womack and Will Kimbrough cover)

 Floridays  ~ A Pirate Looks at Forty ~ Margaritaville  ~ Bama Breeze  ~ All Night Long

(Lionel Richie cover) 

Encore:

It's Five O'Clock Somewhere (Alan Jackson cover)

Fins

Encore 2:

When the Coast Is Clear

MORE PHOTOS HERE 

Written and Photos By: Tarver Shelton

Edited By: Rosemary A.W. Roberts

Dark Star Orchestra—The Vic—Chicago, IL—02/02/2013 

Dark Star Orchestra kicked off their mid-west tour with a sold out show in their home-town, Chicago, at the historic Vic. The line was around the block and the Vic was packed to the brim.  It was an interesting crowd of weathered, graying Deadheads and young, fresh faces all rushing towards the double doors to get out of the snowy February night.                

Dark Star Orchestra (DSO) took the stage right away with no need for introduction or opening band. I felt honored to be able to see the show up front and personal out of the elbow to elbow crowd. With two guitar players and two drummers, this band is a force to be reckoned with, and is perhaps one of the most well known Grateful Dead cover bands. They opened the marathon set list with “Promised Land.” The crowd was excited to hear the well known guitar rift played by talented Rob Eaton and almost immediately the temperature in the room raised ten degrees as everyone started dancing. By far the highlight of the first set was the closer, a 20 minute long “Dancing in the Streets.” Lisa Mackey channeled Donna Jean, spinning in circles, leading the crowd through the ups and downs, bringing the first set to an exciting close.               

In my opinion, the best was yet to come. After an extended set break, DSO took the stage with the same level of energy they ended the first set with. Starting with “Bertha” and transitioning to “Good Lovin’,” they then slowed things down a notch to what seemed like a Grateful Dead ballad, but turned out to be a slow, sultry “Friend of the Devil” unlike any version of the song I’ve ever heard. After putting a spell over the crowd, they kicked up the tempo with the well known “Shakedown Street” and transitioned into DSO’s trademark rhythmic drum breakdown which transcends into a space jam with guitarist Jeff Matson channeling Jerry Garcia’s vision. They captured the interest of the crowd and took them on a transcendent journey finally resolving into “I Need a Miracle.”   

Dark Star Orchestra was excited and honored to be in their old stomping grounds. They encored with “Werewolves of London.” As every voice in the crowed howled along with the band, I was reminded of why I come to see this wonderful group of people again and again. The music, the love, the crowd, everything was spot on Saturday night. Dark Star closed the night saying that this set list could have been played November 25^th 1968, although it is listed on the website as an original set list.

More Photos HERE

Written and Photos By: Cassidy Maley

Edited By: Rosemary A.W. Roberts

Keller Williams—The Vogue—Indianapolis, IN—02/01/2013 

The temperature in Indianapolis was frigid on the evening of Friday, February 1st, but that didn't stop a long line of fans from waiting outside in order to enter the Vogue. Only a truly unique artist like Keller Williams could bring out the kind of loyal fanbase that didn't mind confronting the cold. After a swift entry (thanks to Indymojo) I enjoyed one of my favorite aspects of the venue: the coat check. One cannot truly groove in a bulky winter coat. I then headed upstairs and enjoyed the second bar stocked with imported beer. The balcony had not yet begun to fill, so I took a seat towards the right side and had a great view of the stage. I did some people watching from my post and enjoyed seeing the anticipation and delight on everyone's face.  

A barefoot Keller strolled onto the stage right on time and warmed the crowd up with "Breathe," the title song off the album he recorded with the String Cheese Incident. The jovial "Jack Black of the Jam scene" twirled about the stage, gracefully on the air of the melody he provided. Afterwards Keller played two crowd favorites, "Cookies" and "Cadillac" off of his ninth solo album Dream. My only criticism of the evening was the next cover tune he played, "Mary Jane's Last Dance." Although this is a classic song (especially from an Indiana girl), it reminded me of how similar some of Keller's sets can tend to be. It would be interesting to see Keller change up some of his cover tunes and really surprise some of us repeat show goers. However, with that being said, I have never seen a bad show from the one man band and the second set just got even better.  

After a short setbreak he took the stage again and played the Indiana staple, "Gate Crashers Suck." The entire crowd joined in to sing every word, enthusiastically shouting the expletives the song is famous for. Hoosier fans have accepted this tune as their own anthem due to an unfortunate incident at a Noblesville Grateful Dead show that some witnessed but all remember. No matter how many times he plays it for us, it's still almost expected to be on the setlist. My favorite moment of the whole evening was the encore. Keller played my favorite song, "Celebrate Your Youth", again from the album Dream. This mellow, yet upbeat song was the perfect ending to another great experience from Keller Williams.  

MORE PHOTOS HERE

Written By: Megan Maudlin

Photos By: Keith Griner

Edited By: Rosemary A.W. Roberts

Zappa Plays Zappa—Vinyl Music Hall—Pensacola, FL—02/01/2013 

In my early college days, my good friend Jeffrey Hall introduced me to the music of Frank Zappa, playing the album Over-Nite Sensation, singing every word. In addition to being surprisingly shocked by some of the lyrics, I was instantly impressed with the complex orchestration and the blistering guitar work. I’ve been a Frank Zappa fan ever since then, and though my familiarity with his catalog is a drop in the bucket (with over 70 albums, there is SO much to hear!), I hold his musical genius in high regard, and wish I could have seen him perform. 

In April 2012, I had the pleasure of attending an Experience Hendrix concert, where I saw Dweezil Zappa play lead guitar on tracks such as “Freedom” and “Wait Until Tomorrow”; his skillful soloing easily grabbed my attention. So when I heard that Pensacola’s Vinyl Music Hall would host Zappa Plays Zappa (ZPZ), I eagerly awaited the February 2^nd concert event, excited to hear Frank Zappa’s music LIVE, under the capable direction of his son. I try not to set expectations for a show, and just go open-minded; but any expectations I may have been stifling in my subconscious were completely exceeded by Zappa Plays Zappa! 

The currently touring setlists draw from the full spectrum of Frank Zappa’s repertoire, from the earliest compositions to the most recent, and from graphic freak-fest to sublime instrumentation. There was a comfortable flow to the show, with variant musical styles chasing each other throughout the night. The hard-rocking funk of “Pygmy Twylyte” gave way to a heavy “I’m So Cute” before reaching into the gently eccentric “Baby Snakes”. ZPZ gave us a dose of slow blues with “Here Lies Love”, and then let us be-bop along with “Let’s Make the Water Turn Black”.  And whether you prefer the humor of “Harder Than Your Husband” or the intricate difficulty of “Moggio” (a song which, Dweezil informed us, used to instill intimidation in guitarist Steve Vai), ZPZ delivers something for everyone. 

I was thoroughly impressed with the band’s abilities, and with their mastery of Frank Zappa’s material. Scheila Gonzalez brought the saxophone to the party with decisive emphasis, and vocal skills as well. Chris Norton’s keyboards carried a wide range of synth sounds, and he provided another upper range of vocals to flesh out the full Zappa experience. Kurt Morgan was master of the bass, hitting every note and time change with precision. Joe Travers had a tall task on hand with the drums, with all the intricate time signatures and rhythms, and he certainly proved worthy of the task. Frank Zappa’s vocals were so distinctive, and I was thrilled when I heard Ben Thomas singing the lead vocals in a tone that closely matched Frank’s; he also rounded out the horns (trumpet, trombone), and dressed for the part of “The Evil Prince” to add the theatre element to the show. If you’ve never heard Dweezil Zappa play guitar, I highly recommend seeking him out, he is incredible. To hear his melodic strength highlighted in Zappa classics like “Montana”, “Ride My Face to Chicago”, and “Packard Goose” is a true treat; he had numerous stretches of fast-fingered brilliance, and also heartwarming beauty (“Outside Now” comes to mind). As someone who really loves guitar, I found his solos to be right on point, never feeling forced or long, always genuine and welcomed. 

The three-song encore included a special treat during the awesome “Zomby Woof” as local guitarist and instructor Derryl Gabel was invited onstage to demonstrate his uniquely impressive finger style skills, and he and Dweezil exchanged scorching solos for a while, to the delight of the crowd. “Muffin Man” was reason to get down and revel in the deep dirty groove; and the closing “Strictly Genteel”, which Dweezil said was one of his father’s favorites, found the whole band strongly united and harmonious. Zappa Plays Zappa presented a fabulous performance, celebrating the excellence of Frank Zappa and his music, allowing the melodies to live on in tribute to his memory, continuing to share Frank’s music with the world. Frank Zappa stated, “Music is the best”; and you will see that statement in action, if you get the chance to go see Zappa Plays Zappa.

 SETLIST:  Cosmik Debris, Hungry Freaks Daddy, Teenage Prostitute, Dirty Love, Echidna’s Arf, Penguin In Bondage, Pygmy Twylyte, I’m So Cute, Baby Snakes, Tryin To Grow A Chin, Here Lies Love, Montana, Let’s Make the Water Turn Black, Take Your Clothes Off When You Dance, Harder Than Your Husband, Wind Up Working In A Gas Station, Ride My Face To Chicago, Moggio, The Evil Prince, Debra Kadabra, Who Are the Brain Police, Outside  Now, Packard Goose 

ENCORE: Zomby Woof *with Derryl Gabel on guitar, Muffin Man, Strictly Genteel

MORE PHOTOS HERE

Written and Edited By: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Keller Williams--Alabama Music Box--Mobile, AL—01/24/ 2013  

“In The Heat of the Day down in Mobile, Alabama ~ Working on the railroad with the steel driving hammer”.  Those lyrics by Chuck Berry would be heard amongst fans when Keller Williams played at the Alabama Music Box for an incredible night of music.  This was the first time Keller Williams graced the Alabama Music Box stage, and he would open up the night with “Thin Mint”, perhaps a tribute to the Girl Scout cookies around this time of year.  The night would consist of two long sets which included original songs, as well as covers of Chuck Berry, The Beatles, Grateful Dead, Talking Heads, etc. 

One amazing thing about Keller Williams is his ability to play a solo show and make it sound as if a 4-6 piece band is playing.  From bending circuits and making loops, it comes out to one piece of fine tunes that will put a smile on your face and get you in the groove.  Some highlights of this evening would include Keller’s “Kidney in a Cooler”, “Naïve Melody” (Talking Heads), “Shakedown Street” (Grateful Dead), “Drive My Car” (The Beatles), and Chuck Berry’s “Let It Rock” as quoted in the opening commentary on this review.   

Overall, Keller Williams is a name that should stick out in your mind when it comes to the Jamband scene, stretching back to his time spent with String Cheese Incident.  He has also teamed up with many other musicians over the years such as Karl Denson, Jeff Sipe, Gibb Droll, Keith Moseley, etc. He was also acclaimed for making a children’s CD called “Kids”.  Recently he did an album with Larry and Jenny Keel that was called “Keller & the Keels” that resulted in a tour as well as many festivals, which included a list of covers, highly recommended for excellent listening.  The next time Keller Williams is in your area, don’t sit around; get down to see him play and actually “Get Down”.

More Photos HERE

Photos & Written by Tarver Shelton 

Edited By: Rosemary A.W. Roberts

Bone Thugs ’N’ Harmony ~ Brewster’s Megaplex ~ 1/25/2013 ~ Jacksonville, Florida 

Bone Thugs ‘N’ Harmony or “Bone/Thugs”, are back on the road, mesmerizing fans after 20 years. They are finally reunited, after splitting up in the late 90’s to do solo projects. Layzie-Bone, Krayzie-Bone, Bizzy-Bone, WishBone and Flesh-N-Bone are now on tour in efforts to bring the fans back together and give praise to fellow artist and friend, the late Easy-E. Bone Thugs ‘N’ Harmony, along with Easy-E, paved the road for many hip hop artists on the scene today. Known for their intense lyrical speed combined with overlaying harmonies, Bone/Thugs is controversially one of, if not the greatest hip hop group ever. 

There is no doubt, that individually each member can successfully carry on as an artist; but to see them reunite as the original crew created a feeling nothing short of nostalgic bliss. I can remember 1998, catching a ride with the high school seniors, chopping the block to the tune of “1st of the Month” like it was yesterday. I was unaware of the concert until the day of, and felt like a kid again when I was approved to cover the event. The fans ranged from old school thugs to flat billed yuppies and each were equally enthusiastic. Accompanying Bone/Thugs were several opening acts some of which were surprisingly necessary and some that weren’t necessarily surprising.

The night began with the familiar aroma of cigarette smoke, mixed with various cigar smoke, typical of Brewster’s. Brewster’s Megaplex is the new name of an all-so-familiar night club. With four rooms spanning the size of a mini mall, it was interesting to see how the attendance was going to turn out. They put the band in the “Roc Bar”, the second biggest of the quad. The place gradually filled as several local artists and volunteers hit the stage until Bone/Thugs showed. Unfortunately, the band was held up in transit and the early performers had to pick up the slack. I shot photos of several artists, circling around the stage like sharks until “BoGunner” took stage with demand. I was stunned, as I was looking through my lens and realized it was a high school friend, Chris. We played ball together and I had no idea he was pursuing a career as an artist. He crushed it and completely saved the night as Bone/Thugs did not show until after midnight. 

In the end, all is well that ends well. The guys made up for it as they hit the stage for hundreds of eager fans. Patient fans got everything they wanted and more. They played old favorites from their second album Creepin on ah Come Up, “Thuggish Ruggish Bone” a tribute to Easy-E. They played other classics like “1st of the Month” and “East 1999” from their next album (1995) E. 1999 Eternal. They pleased the fans during the songs, whilst Bizzy Bone accepted memorabilia from the fans and dispersed it to the other members, making sure it was signed by all before personally returning each item. It was certainly a good show of character. I figured they would play until 2 am, but they made up for lost time by pushing through, highlighting other popular hip hop artists of the time with a cover of B.I.G’s collaboration of “Notorious Thugs”. They segued into similar fashion with Tupac, simultaneously hyping the crowd during the intro of “California Love”. They closed around 3 am, with a well-placed encore dedicated to Easy, playing “Crossroads”.  

Every now and then you stumble upon those shows in your local folio weekly that make you clear your schedule because of opportunity. Be it local convenience, band break ups, band reunions or solo projects from reunion break ups, you always arrive knowing it is a roll of the dice. As I left The Bone/Thugs show I felt as if I won the jackpot and am glad I decided to go. If they would have had holograms of said artists...I swear I would have hung my concert boots up forever.

More Photos HERE

Review and Photos By: Joey Pye

Edited by: Rosemary A.W. Roberts

Greensky Bluegrass--12^th & Porter--Nashville, TN—01/20/2013 

Greensky Bluegrass tours a lot; take a look back at their festival and tour stops in 2012, where they’ve been this past January, and where they’re headed in February and March for accountability on this claim.  With the dobro magic (Anders Beck), pristine banjo (Michael Bont), mandolin leadership (Paul Hoffman), time keeping standup bass (Michael Devol), and faithful guitar sound (Dave Bruzza) this is American roots music at its illest.  The very nature of bluegrass music mixed with Greensky’s twist of interwoven jam begs for exposure and movement. 

This stop in Nashville came after a successful show in the appropriate Appalachian haven of Asheville, NC.  But, more importantly, this Music City appearance at 12^th & Porter would be the last stop, or as the band called it, a “holiday”, before a two week workcation in the studio to record their newest album in two years.  Needless to say, Nashville would be blessed with a great show, giving fans exactly what they wanted: a lot of dancing, a little darkness, a little feel good, some shredding of strings, a little humor, and heartfelt jamming.  The combination could have cranked on till the sun rose and not a single soul would’ve retired early. 

First song opened with Bruzza driving the fast, dark, deep toned “Kerosene”.  “Climbing up a Mountain” was next, ironically appearing on the same date in 2012.  Whether or not it was intentional, tradition is one thing synonymous with Bluegrass music and actually provided a little foreshadowing for the cover of “Clinch Mountain” by ol’ timer, Ralph Stanley.  “I’d Probably Kill You” was DEADicated to the band’s road crew.  “Better Off” let Paul take the lead on vocals, and again when Josh Davis’ sweet and melodic “Dustbowl Overtures” was given the green flag.  The show was rolling along quite nicely when a “Train Junkie” hopped onboard. It took off and traveled for 10 minutes, giving Paul, Anders, Bruzza, and Bont multiple chances to take the lead, a la “bluegrass breakdown and accompaniment”.  Nashville musician, by way of Michigan, and friend of the band, Rachel Davis, joined the guys on vocals for the next couple of songs with “Lose My Way” and one of her own, “Sweetwater Sea”, off of her album Antebellum Queens. Then, to keep your bare feet up on your toes, Bont fires up his banjo with Anders not far behind to a little “Money For Nothing”.  There was no mention of MTV, opting for a “…play the guitar on the CMT…” as they closed out the first set.

   

“No Idea”, which saw some playtime at Summer Camp 2012, opened the second set.  Townes Van Zandt’s “White Freightliner Blues” and Traffic’s “Light Up or Leave Me Alone” got the crowd fired up and dancing.  Personal favorite “Into the Rafters” followed.  I wish I could say one member dominates this song but the guys really fed off of the balance between each other.  Rachel Davis returned once again, this time with her husband, Dominic Davis, bassist of Jack White band, as they both came on stage to take lead vocals and bass for Led Zeppelin’s “Hey Hey What Can I Do?”  It would go without saying that this was well received by the crowd.  “Out of Control” was that reality check for the crowd…or maybe a warning for what was coming next with the foot stomping adage, “Can’t Stop Now”.  While heading for a breakdown, a little segue would occur into Little Milton’s “That’s What Love Will Make You Do”, also of Jerry Garcia fame.  “Can’t Stop Now” literally wasn’t done as we found its banjo-ness creeping back into the room for the sandwich win.  Some more band introductions would find Dave Bruzza this time with descriptions such as “very humble” and “the man, the myth, the mustache”.  Material for the upcoming, new album strolled up next with “Leap Year”, where the band asked the crowd to boo if they thought it shouldn’t be on the new album.  Nothing but cheers came at the end.  We should safely expect it to be in regular rotation and on the new CD.  Next was a short instrumental.  Many of us would love to know the name of it.  Maybe it was a little warm up or tuning but it was too beautiful to go unnamed.  The stretch out and go somewhere song, “Don’t Lie”, stayed true to the fans, treating them with twelve minutes of feet energy and the second set closer.  Encore was applauded for and granted with a “Demons”, leaving the crowd with a sense of acceptance of who and what we are as individuals…no matter who and what we are or what our vices may be. Add a sweet little outro and…End show!  A seriously fun and high energy show was enjoyedby all.

While the crew helped break down the instruments, the band also took some time to keep it real by shaking hands and pausing for photos and autographs within the crowd.  Lighting guru, Andrew Lincoln, rapped for a minute with some fans and Greg Burns, tour manager, answered a lot of questions and maintained his hospitable nature while getting work done. 

Prior to the show, a couple of hours were spent with the band and crew enjoying some lunch and an interview.  Please stay tuned into Jams Plus Media for this in depth sit down to surface.

More Photos HERE

Written and Photos By: Roger Patteson

Edited By: Rosemary A.W. Roberts

Future Rock--The Bluebird—Bloomington, IN—01/17/2013

The Bluebird started to fill up as the time passed until Future Rock would take the stage. The wait was fun with Manic Focus providing some awesome grooves slowly taking shape and gaining energy over the course of his set. The headliner, Future Rock is made up of three men: Felix Moreno (bass), Mickey Kellerman (keyboards & synthesizers), and Darren Heitz (drums).

The show was one long set as opposed to two sets in length. They got the ball rolling through the first couple tunes, “Tranzmission>Jam>FM1000”, weaving them seamlessly together. Felix really let loose on the bass while keyboards and drums kept a good pace. “Nights” and “Midnight Madness”, from their latest albums Nights and One Day (2011), kept the beat alive with subtle changes creating a flow which at times soared into the unknown and beyond. “Pathfinder” gave the dance party a breather with ambience while the focus was kept on keyboards and drums. It eventually drifted into “Ode to a Droid”, which immediately brought the energy of the show back with a driving bass and drum beat. Synthesizers ruled this song with peaks and valleys while still keeping with the fast pace beat. “Spark” then created a robotic feel throughout most of its slot with its simple bass and drum beat with a slowly changing keyboards/synthesizers line, also simplistic in nature. Out of the shadows of “Spark” came a bass line pulling the jam back into a tight knit groove, “Pyramid”. Every piece of the band was playing off each other phenomenally, migrating the beat from drum to bass to keyboards almost effortlessly. “Airplane Train Tracks” began with a repeating synthesizer line swelling and decreasing before bass took over and took it to a level not reached previously in the show. “Airplane” then turned into “One Day” which ended the show in a nice, chill fashion. Subtle changes in the music controlled this tune and sent everyone home with a smile.

The lighting for the show was very cool. Blue, red, and green lights were used to capture the rising and falling of each song. The color changes corresponding to sounds coming off stage were spot on, staying right with tempo of the music as well as changing when a keyboard line, bass line, or drum beat would take over its part in the song.

Set: Tranzmission>Jam>FM1000, Nights>Midnight Madness, Pathfinder>Ode to a Droid>Spark>Pyramid, Airplane Train Tracks>One Day.

Written By: Champe Behrman

Photos By: Keith Griner

Edited By: Rosemary A.W. Roberts, www.jamsplus.com

Yonder Mountain String Band ~ Marathon Music Works ~ Nashville, TN  ~ January 11, 2013 

After a stellar four night run closing up 2012 in Boulder, CO, a short 9 day break was all the guys could stand before beginning a 34 show stretch in the Volunteer section of the South.  Kicking off Marathon Music Works 2013 concert season, Yonder Mountain String Band got down with some serious jamgrass.   

Marathon Music Works comes to life by way of an old warehouse.  When walking in, the first thing noticed is an amazing amount of old wood beams and rafters that really let you know you were in for an acoustic experience.  Merchandise stand was housing some fine gear for this new tour including a custom skate deck, Kinfolk threads, and a solid, gorgeous official show poster created by AJ Masthay and his linoleum block process.  The bathrooms are staffed by the most courteous concierges.  Make no bones about it, tips are expected. 

Left to right was set up with Dave Johnston (banjo), Ben Kauffman (sexy, red standup bass), Jeff Austin (mandolin), and Adam Aijala (guitar).  The Del McCoury Band members, like Bela Fleck, have become the pinnacle magnet of special guest appearances in the jam world of Nashville.  Enter one Jason Carter on fiddle and vocals and the extra microphone at far right of stage keeps that tradition alive and well. 

Lights drop, a nice little intro for Jason Carter and crowd appreciation, then a lightning fast “Illinois Rain” opens the set followed by “40 Miles From Denver”.  “Loved You Enough”, “Strophe”, and the metaphoric “All The Time” set the stage for a nicely spun, daunting “King Ebeneezer”, tipping the 13 minute scale and made fully righteous with the addition of Future Man, Roy Wooten.  Roy brought another one of his unconventional drum instruments onstage which also served as his seat.  This one is simply known as “The Box”. Maybe it was the recent legislative decisions in several states that sparked a “2 Hits and The Joint Turned Brown” or…maybe it was just another Friday night.  Either way, the crowd obliged.  Future Man would hang out through the end of the first set, making a “Don’t Worry, Happy Birthday” that much more eloquent and closing with “Angel”. 

Set 2 began with “Jail Song”, a solid, meaningful ballad.  But, the guys went over the top with their direction of the Grateful Dead’s “Althea”.  Bottom line, this song was meant for multiple stringed instruments getting together.  Flawless play has had this gem on replay several times so far.  “Katy Hill”, “New Deal Train”, and personal favorite, “Pretty Daughter”, were given an extra set of shoes with yet another local joining the ranks.  This time it was Ron McCoury and his badass mandolin magic.  Jeff Austin’s famous faces showed up big time during this stretch.  At times, Jeff and Ron were found dueling together.  Add Jason Carter’s fiddle and this rare Yonder stage was on fire in pure harmony.  Jeff humbly thanked the “best damn mandolin player on the planet” as Ron walked off the stage.  A “Ten>Looking Back Over My Shoulder>Ten” sandwich closed the set.  Future Man strolled back out for the encore with “Slime” and “Bloody Mary Morning”. 

All in all, this was a terrific show.  “Althea” and the Ron McCoury segment were definite highlights if one absolutely had to pick. The acoustics of the building married nicely to the band.  Ted Atwell, lighting director, painted the place with excellent backdrops providing some nice shots for the numerous photographers.  Honorable mention goes to the venue for its “Polite But Firm” security staff, well managed photo pit, gracious dance space, elevated VIP area at the rear, zero tolerance of cigarettes inside, and bottled water that didn’t tip the scale too heavily at $2.

 More photos to be found HERE

 “Artwork by AJ Masthay can be found here” (http://masthaystudios.com/)

Written and Photos By: Roger Patteson

Edited By: Rosemary A.W. Roberts

B.B. King—The Saenger Theatre—Pensacola, FL—01/08/2013

When you have a chance to see a living legend, you do yourself a favor by indulging the opportunity.  This type of opportunity presented itself in full force when renowned blues musician B.B. King brought his band to Pensacola’s Saenger Theatre; and based on the capacity-filled theatre, there were many people who jumped at the chance to see the legend. 

The evening began with the B.B. King Blues Band, under the direction of trumpet player James Bolden, all dressed to the nines and laying down some great instrumental treats, ranging from swing to straight-up blues. Then the man himself, Mr. B.B. King, strolled onstage, greeted by a standing ovation and many cheers. He picked up his lovely black Gibson guitar, affectionately called “Lucille”, and got comfortable in his chair, while Lucille did some wailing. At 87 years old, B.B. King surely still makes his guitar sing! “I Need You So” showcased his own lovely passionate voice. “Key to the Highway” found B.B. speaking his soul through the guitar notes, playing so purposefully and with such a pure tone. Next came a song dedicated to the ladies, “You Are My Sunshine”, which became an audience-participating sing-a-long at Mr. King’s request. One of the definite pinnacles of the performance came with B.B.’s iconic version of Roy Hawkins/Rick Darnell’s song “The Thrill Is Gone”; the bluesman was dancin’ in his seat, and his guitar work was steamy and dreamy. Near the end of the evening, a hot version of “Rock Me Baby” was dedicated to the gentlemen, and the whole crowd was given some more great guitar. 

Throughout the set, B.B. King proved he is still a consummate performer and musician. His stage presence was warm and inviting, with a twinkle in his eyes, and many smiles for his fans. He shared various stories and a few words of wisdom, and much of the evening was conversational between him and his bandmates, and including some audience members who couldn’t resist yelling greetings and admiration from their seats. The night seemed to end abruptly, with the crowd still wanting more as the ninety-minute show came to a close; perhaps if there had been an opening act, the music lovers would have had more of their fill. Overall, the joy of seeing legendary musician B.B. King looking and sounding so jubilant and lively was quite a thrill; when it comes to B.B. King, The Thrill is most certainly still here! 

MORE PHOTOS HERE

Written and Edited By: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Grace Potter and The Nocturnals--The Egyptian Room--Indianapolis, IN-- 1/12/2013 

Saturday January 12^th a large, diverse crowd of twenty-somethings up to mid 50‘s gathered at the Egyptian Room in Indianapolis, Indiana to see headliner, Grace Potter and The Nocturnals and opener, Langhorne Slim & The Law.  

 The headliner, Grace Potter and The Nocturnals is a band originally from Vermont. The headlining band features a strong and talented female vocalist and musician, Grace Potter. Grace is known for her energetic stage presence as well as her bold and bluesy voice. Her band, the Nocturnals, has a distinct sound that is a great fusion of indie and rock n’ roll.  

Langhorne Slim & The Law set the tone for the night with their Indie and rock fusion sound lead by banjo melodies and bluesy singer Langhorn Slim. Langhorn’s rough and weathered voice complimented his experienced based lyrics and enthusiastic stage presence.  The four piece band got the crowd on their feet and moving with their up-beat feel good music. Langhorn Slim & The Law set the perfect atmosphere for the high-energy rock band to follow. 

Grace Potter took the stage and began, boldly, by showing off her strong voice, opening with “Nothing but the Water.” As her voice filled the Egyptian Room, I was reminded of one of my favorite female singers, Janis Joplin.  Her powerful voice accompanied only by her tambourine playing, rang through the theater and brought a feeling of nostalgia. Grace held nothing back in this first song as she belted out the somber lyrics and made every head in the room turn her way.  She then switched to something a little bit more up tempo called “Hot Summer Night,” only to mention that this show was an all request show. Grace Potter made it clear Saturday night that she was very excited to be in Indianapolis and very proud to be playing exactly the set list that all of her fans wanted to hear.  She took the crowd through ups and downs, switching from bluesy songs featuring mainly Grace’s voice to more instrumental tunes, closing the set with their latest single “The Lion The Beast The Beat” and the single from their earlier album “Paris (Ohh La La).” Grace Potter and the Nocturnals closed the show with a three song encore ending in the well-known Rolling Stone’s song “Paint it Black,” which was a perfect way to end the night.  

Set List:

Nothing But the Water I

Nothing But the Water II

Hot Summer Night

Never Go Back

Ah Mary

Apologies

Parachute Heart

Here’s to the Meantime

Stop the Bus

Colors

2:22

Tiny Light

The Lion The Beast The Beat

Paris (Ohh La La)

Encore:

Stars

The Divide

Paint it Black (Rolling Stones)

 

MORE PHOTOS HERE  and EVEN MORE HERE                      

Written By: Cassidy Maley

Photos By: Mark Loveless & Keith Griner

Edited By: Rosemary A.W. Roberts

Widespread Panic-- Time-Warner Cable Arena--Charlotte, NC--12/31/2012 

Widespread Panic is “Finally” back on the road again after a yearlong Hiatus, beginning their journey in Charlotte, North Carolina for Tunes for Tots and New Year’s Eve.  It was exactly one year ago that Widespread Panic rang in the New Year here, and this year would be one incredible “mind blowing” solid performance.  The band took stage with screaming excited fans as John Bell (J.B.) thanked them saying, “Thanks for Giving Us Our Old Jobs Back”.  Everyone on stage looked like they were excited to be back in front of the audience that helped them gain attention and grow over the past 26 years touring together.  

Tonight’s show consisted of three electrifying sets, followed by a memorable encore.  Unlike previous years where Widespread Panic has usually performed an acoustic set, nothing was going to hold them back this year. Starting off with a powerful opener “Last Dance > Vacation > Last Dance”, the crowd knew that it was time for business. Bass player Dave Schools had a permanent smile across his face the entire set, as he delivered what the crowd wanted.  Other highlights of the first set would include the instrumental “Party at Your Mama’s House” (That Thang) in between “Ribs & Whiskey” / “Stop Breakin’ Down Blues”, which seemed quite fitting and pleasing to the ear.  “All Time Low” followed by “Rock” would finish out the hot first set.  One thing that was amazing as well was the incredible light performance that was being displayed along with the background forever changing, with different themes throughout the performance this evening. 

The last night of 2012 was underway and the boys were back in town.  Second set would be up next and the crowd was wondering if it would be acoustic or electric as the buzz was going around.  The band soon returned to the stage to pick up their instruments and start the set off with “Disco”, and the question was answered.  Bring on second set, because this would be the last time for Widespread Panic to play in 2012.  Following “Disco” would be another favorite amongst the fans “Greta”, which would get the funky side of some Panic action grabbing hold of yah.  There was not a single body in that place that wasn’t moving; Security Guards and even a few Police officers getting down was a sight to see.  “Love Tractor”, would follow, getting the crowd’s engines all warm (if they weren’t already) preparing for what was to come of the rest of the set.  There would be a song coming up next that had only been played once before, acoustically during Widespread’s ~ Wood Tour ~ earlier in 2012.  “Sell Sell” would become electric for the first time this evening, keeping the crowd guessing with one solid performance of such a great tune.   “Machine> Barstools and Dreamers” would follow which has always been a crowd favorite; it was an awesome treat once again to hear this transition, never a dull moment.  It was getting close to midnight and soon the countdown would begin; in order to do that you must stay “Up All Night”, which Panic would bring out next.  Before the Midnight Hour would strike, Widespread Panic would play “Midnight Special”, a traditional blues song (made popular by Creedence Clearwater Revival) that was a first time play for this band.  It was first recorded back in 1926 by Dave “Pistol Pete” Cutrell, a member of the McGinty's Oklahoma Cow Boy Band.  This would be the last song Widespread Panic would play in the year of 2012. 

The band would come back to the stage after the Countdown and Auld Lang Syne as showering confetti fell amongst the fans.  Widespread Panic got 2013 off to a great start by opening the third set with “Pigeons” followed by another first time played “Time Is On My Side” written by Jerry Ragovoy, made popular by the Rolling Stones.  Third set would not be any ordinary set, it would be one magical throw down and sure enough Widespread Panic would not disappoint.  “Fishwater” would be next up to the plate followed by “Blue Indian” because there was a “Party goin’ on, many Spirits Strong” in the Time-Warner Cable Arena ringing in the year 2013.  J.J. Cale’s “Ride Me High” had John “JoJo” Hermann bringing the crowd into a seductive state of mind.  Tom Waits’ “Going Out West” would be up next followed by “Jack” that seemed quite fitting.  The third set would come to a close with “Maggot Brain(Parliament) > Chilly Water” which would utterly blow the crowd out of the arena and back down again so they would know that life is grand.  Widespread Panic would close out third set with “Ain’t Life Grand” and would leave stage with cheers from the crowd that literally shook the place. The band returned to the stage for an encore that would be totally breath taking. “Driving Song > “Ballad of John & Yoko > Happy Xmas (War is Over) (1^st time played)” > Driving Song”, “Tallboy”.  There are not enough words to describe such an encore. It was probably one of the best encores that I have ever heard/witnessed in my life, and it was quite moving. I know John Lennon would be proud and would approve of this encore.  

Overall, this was another solid performance that Widespread Panic played out well, and will forever remain in the hearts of the people who attended, and the ones that listened in as Couch Tour 2012 came to a close as well.  After all was said and done and the lights came up, and as fans walked out singing, “Believe it or not, I’m Walking on Air” the night was over.  Widespread Panic is Back and 2013 is going to be an Awesome Year; so get out and catch some live music!  

Set I: Last Dance > Vacation > Last Dance, Ribs and Whiskey, Party at your Mama’s House, Stop Breakin’ Down Blues, All Time Low, Rock 

Set II: Disco, Greta, Love Tractor, Sell Sell, Machine > Barstools and Dreamers, Up All Night, Midnight Special 

Set III: Pigeons, Time is on My Side, Fishwater, Blue Indian, Ride Me High, Goin’ Out West, Jack, Maggot Brain, Chilly Water, Ain’t Life Grand 

Encore: Driving Song > Ballad of John & Yoko > Happy Xmas (War is Over) > Driving Song, Tall Boy

MORE PHOTOS HERE

Written & Photos by: Tarver A. Shelton

Edited By: Rosemary A.W. Roberts

Gregg Allman / Royal Southern Brotherhood – The Saenger Theatre – Mobile, AL – 12/30/2012 

To eloquently end the chapter of 2012, the Mobile Saenger Theatre chose wisely, opting for legendary musician Gregg Allman.  Along with a seasoned group of band mates, the Allman Brothers Band (ABB) vocalist and master of the Hammond B-3 Organ provided concertgoers a taste of rock mingled with blues to satisfy the soul.  To get the evening started, collaborative rockers Royal Southern Brotherhood took the stage amidst darkness and emerged with the Latin-laced “Fired Up!”, sung by percussionist Cyril Neville (The Meters, The Neville Brothers, Galactic, etc.), and enhanced by guitarist Devon Allman (Honeytribe).  “Hurts My Heart” had a nice southern country flavor featuring vocalist and guitarist Mike Zito.  Devon took lead vocals for “Gotta Keep Rockin’”, a straight-up rocker with nice work from Zito.  I was pleasantly surprised with a uniquely southern-edged version of Grateful Dead’s “Fire On the Mountain”; drummer Yonrico Scott (Derek Trucks Band) and bassist Charlie Wooton hooked up well, and the guitar interplay between Devon and Mike was tremendous, at one point finding them leaning back-to-back, wailing on their axes.  Devon scored points with the Mobile crowd, informing us he spent his sophomore year of high school at our local Murphy High School, and wishing our community well as we re-build the school which was hit hard by a tornado on 12/25/12.  “Left My Heart In Memphis” had a slow and easy southern feel, and showcased Devon’s lovely vocal range, and “Moonlight Over the Mississippi” was percussive-driven and placed Cyril’s soulful vocals in the forefront.  Royal Southern Brotherhood definitely started the night out right, and set me on a mission to seek them out in the future, as I really enjoyed their set.  

After a brief intermission, it was time for the main event; to thunderous cheers, Gregg Allman crossed the stage to sit at his organ for his well-known “I’m No Angel”, and from the very beginning it was obvious his vocals would contain the splendid tone we all love.  The ABB staple “Statesboro Blues” would follow, with Gregg’s smiles and enthusiasm a testament to how much he loves playing his music, which has spanned four decades.  Stepping out from the organ and strapping on a black acoustic guitar, Gregg led the band through the slow and lovely “These Days” before returning to organ to soulfully croon “Brightest Smile In Town”; embellishment from keyboardist Bruce Katz and saxophonist Jay Collins fit in nicely.  Longtime friend and collaborator Floyd Miles stepped up front to sing his jazzy-blues song “Samson & Delilah”, and had the audience rockin’ in their seats, featuring skillful organ work from Allman, and thumpin’ delight from bassist Jerry Jemmott; Miles also took vocals for some classic blues in “You Must Be Crazy”.  

When Gregg came front strumming acoustic guitar and sang the opening line “Crossroads…Seem to come and go”, the crowd showed their approval, and we were treated to a beautiful “Melissa”; Allman’s vocals were filled with wistful loveliness, and Scott Sharrard’s electric guitar sounded good, picking out the familiar beloved lead lines.  A bluesy-strutting “Sweet Feeling” pulled the crowd from their reverie and the ABB’s upbeat rocker “Wasted Words” found Jemmott’s bass and Steve Potts’ drums solid in the pocket.  One of my favorite highlights from the show came as Gregg’s son Devon Allman was invited onstage to provide lead guitar for the ABB classic “Dreams”.  The band pulled together so nicely, with Gregg singing his heart and soul, Devon playing with tight abandon that had me imagining his uncle Duane Allman smiling down from Heaven, Katz dancing on his keys, and Collins’ sax hooking up well with Sharrard’s guitar.  Next, Gregg took on electric guitar for “I Can’t Be Satisfied”, before continuing his multitalented display on acoustic guitar for the pretty “Multi-Colored Lady”.  Miles came front again to sing a song about his friends Gregg and Duane, “Goin’ Back To Daytona”, and Gregg was once again letting loose on his Hammond B-3.  By the time the band tore into “Before the Bullets Fly”, the crowd was so pumped up they were on their feet and dancing, despite the theatre seats.   Gregg took hold of a lovely Gibson acoustic guitar when it was time to sing the ABB’s anthemic “Midnight Rider”, much to the audience’s delight.  As Gregg traded in his acoustic for an electric guitar, Katz moved over to the organ, and the set closed with a fun rendition of “Whipping Post” that had a dance party vibe for a different twist on the typically hard-blues classic.  The crowd was now all standing and loudly cheering for an encore, which was kindly obliged with a Sleepy John Estes cover of “Floating Bridge”, followed by a get-down-and-boogie “One Way Out” in which the audience helped sing “…might be your man, I don’t know!”  This was truly a fabulous way to close out a great year of music in 2012, watching a musical hero like Gregg Allman deliver a stellar performance in a beautiful setting. 

More Photos can be found HERE

Written & Edited By:  Rosemary A.W. Roberts

Photos By: Clayton Roberts

Jason Isbell & The 400 Unit ~ Shoals Theatre ~ Florence, AL ~ December 22, 2012 

Small town boy makes good in the Americana rock world.  We love this story.  We all want a part of this story.  Standing in line while waiting to enter the famed Shoals Theatre, one might have bumped into an old school teacher of Jason’s.  While wrangling a front row seat, a conversation was had with an old classmate of Jason’s.  An audience was starting to build of all ages and backgrounds and it seemed that most of them felt a real connection to the band and rightfully so.  Hailing from Greenhill, AL, a short 15 mile journey from the venue, Jason extends a 200-year-old line of family musicians that were born in the state. 

Recipe for a great show at home:  take the energy and appreciation of the recent release (11/19/12) of Live From Alabama, a live compilation album from a show in Huntsville at Crossroads Music Hall and another show in Birmingham at Workplay Theatre, and add that to the Christmas spirit; multiply it by Jason’s lovely fiancé, Amanda Shires on violin; add three cups of horn section, mix in the rhythm of bassist, Jimbo Hart and drummer, Chad Gamble; stir softly with Derry DeBorja on keys; and liberally baste this concoction with Jason’s bluesy, hard driven country rock guitar. Serving size = 750 happy fans singing along. 

From the opener, “Tour of Duty”, to “Heart on a String” to “Alabama Pines” this show brought real intimate energy.  Jason Isbell fed the crowd exactly what they wanted and he seemed to feed off that approval with every strum of the string and each little jig he shuffled.  DeBorja danced at his keys like he was dodging lasers.  Amanda, complete with a snazzy, revealing dress, gave plenty to the crowd to feast upon and even let out a couple of smiles upon crowd interaction.  Jimbo Hart kept things simple and his real estate small.  It might actually be impossible for a horn section to not add to the shear greatness of a live act, and the trio didn’t disappoint.  In all honesty, Chad brought the drive to the table this night.  His intense playing was duly noted and the crowd enjoyed his vocal lead on “Hey Pocky Way”, a cover from The Meters.  

Opening the night was handled nicely by Andrew Combs.  Making the “American Songwriter’s Top 50 Albums of 2012” list at #29 with his work on Worried Man, Andrew showed up with a big body acoustic/electric to warm the crowd with his Nashville flair of folk, country, Americana blues.  While usually found in a 6pc format, Andrew chose his backing with just a couple of members with Jeremy Fetzer on lead electric guitar and Spencer Cullum Jr. on pedal steel guitar.  Several tracks off of Worried Man were given life including the self titled track “Worried Man”, “Devil’s Got My Woman”, and “Too Stoned to Cry”.  Andrew has a new tour coming up this January covering the east coast and southern states.  More info can be found at www.andrewcombs.net 

The Shoals Theatre stood firmly on the foundation of intimacy.  This quaint, little relic has a 60yr history.  Its life blood is primarily volunteer-based out of love for presentation and production and is home to an adult theatre group and children’s theatre group.  The staff is down home, welcoming, and willing to be of assistance.  Drink and refreshment prices were a pleasing low to your average venue.  Show promotion and all around superb job was handled by Southern Discipline.

MORE PHOTOS HERE

Written & Photos By: Roger Patteson

Edited By: Rosemary A.W. Roberts