Month: March 2021

  • LCD Soundsystem Reportedly Cancelling Tour Dates To Work On New Album

    first_imgWhen LCD Soundsystem announced their reunion earlier this year, the band mentioned that they would eventually be working on an album of new music. A follow-up to 2010’s This Is Happening, LCD fans have been eagerly awaiting new music. The band, however, has been playing all of their old and familiar classics on their tour dates, without any mention of new music.According to a new report published by FACT, LCD Soundsystem is apparently cancelling their planned tour of Asia and Australia to work on the new release. The band was scheduled to perform at Clockenflap Festival in Hong Kong, but the festival recently posted the following statement:Though the band has not commented on the statement, their original sentiment of recording new music gives this report some more credibility. When you factor in the new song that LCD released around Christmas-time last year, “Christmas Will Break Your Heart,” it seems that a new album from LCD will drop in a matter of time. We’ll be sure to keep you posted on this exciting news!last_img read more

  • Radiohead’s Ed O’Brien Attended Last Night’s Phish Show In Las Vegas

    first_imgLast night, the worlds of many collided with the purpose of musical celebration. With respect to their semi-annual Halloween tradition, Phish played the music of David Bowie. John Mayer attended, dressed like a rainbow unicorn and rode the front rail. And Ed O’Brien, too, attended the three-set performance at the MGM Grand Garden Arena in Las Vegas. The Radiohead guitarist sported glow sticks in his wristband and even brought home a show poster, as evidenced in the photo below posted by bassist Mike Gordon.Of course, there were plenty of exciting attendees in the ~17,000 people there. But the circle keeps getting smaller, while the Phish keeps getting bigger. Photos like these make us smile.last_img read more

  • A Diary in ‘Totality’: The Best Of The Blessed At Oregon Eclipse

    first_imgSoaring above the titanic Eclipse Stage were two diametrically opposite yet equally essential entities of the West Coast bass music spectrum. Early on Monday, beginning just before four in the morning, Oakland, California’s demonic duo Dimond Saints captained yet another excursion down the rabbit hole into the very center of a heart of darkness. Leaving the horns at home and doubling down on goth-minimalism, an-ten-nae and Releece set up shop in the cauldron and uncorked one thunderclap after the next with sparse, sonorous low-end, and inventive 808 programming. In the belly of the beast, a torrid, steaming dancefloor, we found all the usual suspects, drinking mate and tequila out of pinecone, with our third eyes blasted open. Besides debuting material from the forthcoming EP Shingetsu Chapter 3 and running through various haunting tracks with vocalist Yaarrohs from Prism in the Dark, the Dimond Saints also delivered to me my white whale. Incredibly, the boys dropped their very first song, an edit of Florence and the Machine’s cover of the Robert Palmer classic “Addicted to Love.” Three plus years of extreme fandom, and I’d yet to catch it live—they’d only played it once at their very first set. This colossal opener crafted the tone for a career-defining set that ran ’til the stroke of five in the morning.Dimond Saints at Eclipse StageJust before the solar eclipse, Random Rab took front and center at the gargantuan main stage with appropriate reverence and delivered The Penumbra, a collaborative performance to ring in the celestial event. The Ashland, Oregon based electro-folk troubadour performed with a cadre that included Cello Joe, Dave Hoover (on harp), longtime collaborator Rigzin, visual artist Anthony “Flowers” Ward, and regal, vintage Rab dancers Elana Meta and Sophia Thom. Rab ushered in the main event like the wizard he’s become, eschewing his usual tranquil morning vibes for a primarily aggressive song selection, including material composed specifically for this momentous occasion. The intricacies embedded in the sonic afghan that is Random Rab’s music were transmitted with newfound crystal clarity on the Eclipse Stage’s ungodly Trinity rig, a sound system on steroids, courtesy of PK Sound. Key selections include opener “Parallels” off his brand new Formless Edge, and a mesmerizing take on the classic “Release.”Random Rab – Eclipse Stage by Kristin WooBeginning at midnight on Sunday (into Monday), the “Dons of Dub,” DEEP MEDi, dropped six throbbing hours of crunkalogic science at the Moon Stage. The selectas for this tornado-riding voyage were Mala, Kahn, Neek, and Truth, a duo consisting of Tristan Roake and Andre Fernandez of New Zealand. DEEP MEDi as a team balances screw-faced wobbles with sleek use of space, techno-textures juxtaposed with razor sharp percussion and dynamics. As the night raged on, we continued to return to the Moon Stage (and its fantastic Danley sonics courtesy of Know Audio) for slab after slab of the tastiest dubplates to wash up on U.S. shores in a decade. Now, there shall be no question—this is how dubstep should sound. Moon Stage honorable mentions go to West Coast Lo-Fi, which turned out to be a secret set from Bassnectar, Portland rudie PRSN, NorCal dub technician Andreilien, BC empress The Librarian, and the conquistador of (medical grade) crunk, an-ten-nae.The Librarian, Andrea Graham, who booked much of the Moon Stage.The Human Experience (David Block) delivered another magnum opus at the Earth Stage on Tuesday evening, cutting a wide swath across his labyrinth catalog spanning seven-plus years. Block debuted his project Semes and proceeded to bring out an endless stream of vocalists to accompany him on songs that are burned into the hearts and souls of so many in this festival community. Joining Block was vocalist Amae Love and dancer Shay Butta on the seminal  “When I Grow Up.” The juiciness continued with Kalibri, Kat Factor, and finally Lila Rose on their collaborative gem (and a personal touchstone for our squad), “Dusted Compass.”A couple of hours after Block transfixed the Earth Stage, the shamanic conglomerate Liberation Movement commandeered the control panels of the Funktion 1 rig and achieved liftoff. Grant Chambers, aka Resurrector, led this bombastic brigade in plundering the vaults of medicine music, delivering messages from around the world by way of hundreds of years of music among his onstage cohorts. Vir McCoy, Lux Moderna, Soriah, Noah King, Sasha Rose, Sorne, Wailer B, and the list goes on as a collective eminence took center stage. Performance artists Bad Unkle Sista swarmed the Earth Stage for the song “Resurrector” and had the audience engrossed. Liberation Movement’s Earth Stage seance, as well as their lengthier, sprawling set at Silk Road a night earlier, offered a glimmer of enlightenment through song, intention, emotion, and movement, if we would merely allow ourselves to enjoy the ride. For me, the trick was to simply surrender to the flow.Liberation Movement at Earth StageWords: B.GetzPhotos: ATS Photography (unless otherwise credited)The author and the lensman, nearing our destination. Photo: Kristin WooIf you would like to read a more detailed musical analysis from Oregon Eclipse by the author, GO HERE. Affectionately dubbed Oregon Eclipse, the festival was the sum of many moving parts, some which had been in movement dating back to the inception of Symbiosis Gathering, and falling in line with previous Eclipse events going back almost two decades. With seven main stages at the festival, the international psychedelic community frequently rallied at the Sun Stage around Psy-Trance, feeling that the genre embodied the heartbeat of this event. However, from where I danced, the most tangible thing I felt flowing through the music was the brand-new comradeship of a jam band/Burning Man cultural alliance. The vibe at Oregon Eclipse was equal parts Shakedown Street and Black Rock City, as the huge art, radical inclusion, and free-wheeling, unpredictable music sessions made for a revolutionary affair unlike any festival I have been blessed to attend.By day, hot air balloons floated in the clouds, cruising over the festival’s lush lake environs, sublime rolling hills, and illuminated forests. Art was everywhere, with a little bit of everything on display. Live art and music installations like Furtherrr, a project featuring the collaboration of a number of visual artists, or the sounds at the Guayaki Yerba Mate tent stationed next to Ken Kesey family’s Furthur bus were just a few of the supplementary art and music setups that flocked to Oregon Eclipse. Across these installations, the festival’s message was crystallized: their intent would be our delight.From large-scale interactive settings like Android Jones’ dome, Samskara Microdose VR, or an improv game show like Psychedelic Friendship Bingo at the Fringe Theater, no matter what kind of participatory art tickled your fancy, it was easy to become fascinated by and learn about something new at the very same time. Folks could try the Symbioat, a pirate bar on a beached ship; Sensory Speed Dating with Guerrilla Science, the bar and pseudo-sleazy hang at the Glitter Ranch; or the fantastic family-friendly, far-reaching activities at the astounding Kidzbiosis. There was no shortage of anything at Global Eclipse Gathering (except maybe drum and bass and people of color, but more on that later).  From twerkshops at the Dance Shala to the myriad of disciplines at the Yoga Shala, there was also a surplus of movement art options. Dance, theater, and comedy were all available if one merely ventured across the sprawling, gorgeous festival grounds. Immersive environments like The Hub and The Parlor cultivated progressive conversations traversing topics from sexual identity to spirituality, astrophysics to crypto-currency. Paul Stamets examined Mushrooms and the Mycology of Consciousness, and Bruce Damer and Michael Garfield, both respected academics in the default world, offered seminars on a mix of philosophy, quantum physics, spirituality, and sociology.Initially, the event espoused a Leave No Trace directive for garbage and recycling. Sadly, the infrastructure was not in place for people to adequately Pack it Out, so the trash situation at the end of the week left more than a little to be desired. From a transformational, West Coast festival ethos, Symbiosis and its partners tried admirably to incorporate these core virtues, but the scope and size of the event, in addition to some poor logistics and planning/staffing, made the event fall shorter in some of these areas than they hoped. In the weeks leading up to Eclipse, all signs pointed toward self-reliance being a core element of the experience. Therefore, attendees brought what we needed, and extra for others. However, judging from some post-event social media activity, some folks who expected (and paid for) a “plug and play” or “turn-key” experience were left wanting.One area where the festival did not disappoint, but rather exceeded even jaded festival veterans wildest dreams, was in the vending department. There was a lengthy trader’s row that extended one side of the festival’s perimeter. This row was filled with a smorgasbord of righteous arts and craft vendors, clothiers, merchants, collectors, and trading post, from all corners of the globe.One morning early in the week, I broke a zipper on my fanny pack; never fear #Mr.Zips at Zipper Rescue was on the scene with his mobilized, steampunk’d repair shop. I’m talking quicker than your average ab workout, problem solved in seven minutes. Definitely Burners to the core, Zipper Rescue made sure you left their spot prepared for your next zipper pickle. On the other end of the spectrum entirely, I took the liberty of spoiling myself on the last day of the festival. By then I had perused the entire Mall of Symbiosis, and I doubled back to high-end couturier Freeborn, where the designer/namesake himself was in the booth, and outfitted me in a hand-crafted blazer/vest combo that might be the finest, flyest article of clothing I own. Welcome to the Swag Olympics. FREEBORN store on vendor’s rowLater into this marathon of madness, as the rage wore on and our immune systems took a pummeling, I was fortunate to arrive at both Vital Yogi and The NOHM. These mobile apothecaries were an oasis in this dusty playground, as herbalists at each booth were able to offer alternatives to Western medicinal practices that were similarly practical and effective in the festival setting. As people felt themselves getting run-down or a bit under the weather, instead of soliciting a Walgreens on the corner for a fistful of Dayquil, the witches gracefully poured potions and elixirs gifted from Gaia herself to rejuvenate our bodies and consciously restore our spirits. On the pathway to Panacea, indeed!When it came time to properly grub down, we were blessed to have two legitimate chefs in our krewe and a properly built kitchen in our camp—the Suwannee Shanti Ratchet-Squad. Though sometimes, it’s just easier to eat out, y’know? As was the norm for this event, there was something special for everyone, and the assortment of foodie options at Oregon Eclipse was mind-boggling. No matter what kind of eater you were, your tummy could find its happy place in a jiffy (although there’s something to be said about the long lines in the hot sun, but hey, the food was that good).Some culinary artisans who made their presence felt in this writer’s gullet include Eugene, Oregon’s Asher Wren, aka The MAC (the Cheese). This was the first time I had encountered this pop-up pirate ship masquerading as a festival restaurant, and we were consistently wowed each time our squad stopped through, always partial to their mouth-watering “Truffle Mac & Cheese with Broccoli and Bacon.” We also had the good fortune of stopping by the stall before noon for a decadent “eggs benny” brunch dish that knocked our socks off. The gluttony of this comfort festy-food was counterbalanced by vegan delicacies on the other side of Eclipse, courtesy of the finger-lickin’ funk at Govinda’s Veggie Bomb. After three bites of her virgin “Atomic Taco,” my girlfriend declared, unsolicited, “These cats better cater our wedding, B!” Apple trees beckoned folks to the Permaculture Plaza, where Jasmin Fuego and Ryan Rising of the Permaculture Action Network, along with Stephen Brooks (Envision Festival, Punta Mona) and a host of other worldwide luminaries, offered a litany of Permaculture educational endeavors, including lectures and workshops on awareness and activism for those festival-goers focused on sustainability. Across the shimmering lake atop a hill, Shrine On built an astonishing art structure created entirely from recycled bottles and aluminum cans. In between was a veritable university of all green enterprise.  Speaking of a return to the land, spirituality and sustainability were the core tenets of 1Nation Earth, a tribe who, in concert with Living Village Culture, promoted the protection of indigenous people and their way of life, doing so in a beautiful, prayerful way with an emphasis on unity, respect, dignity, and love. 1Nation Earth camp was also responsible for leading the breathtaking rituals and celebrations that preceded the actual solar eclipse on Monday morning.  Among the estimated 30,000 (festival reporting) and 70,000 (local authorities reporting) people in attendance were spiritual ambassadors from varying practices, hailing from Peru, Columbia, Ecuador, Japan, and elsewhere. One shaman missioned from Okinawa with water collected from many sacred sources from around the world, and she anointed festival-goers in a ceremonial water blessing. Burning embers from Standing Rock also made the journey to ignite each of the three sacred fires on-site—the last of which were used merely moments before the moon passed between our planet and the sun, creating the two minutes of the solar eclipse in totality. The solar eclipse itself was the true headliner of this massive symbiotic endeavor, as the majority of the festival’s participants marched up the prairie to a clearing dubbed the Eclipse Viewing Area, complete with the magnanimous Solar Temple. To be totally off the grid with no phone or WiFi, fifty-ish thousand deep for one solid week sure did wonders to bring the attendees at Oregon Eclipse together. The festival collectively tuned in, turned on, but decidedly did not drop out. This was never more apparent than during the solar eclipse itself—the conscious cosmonauts took flight in such a manner that would make Tim Leary proud.  Every single individual that took in the eclipse on the prairie did so in their own personalized way. Though the festival asked for two minutes of silence when totality arrived around 10:20 am Monday morning, that simply did not happen. After a ridiculous night of music and dancing, the tens of thousand that had gathered howled at the moon to their heart’s delight, while others stared through their specialized glasses with slack-jawed aplomb. People meditated and made love openly, while a determined young man behind our group was throat-singing in a Tuvan or Mongolian tradition for a solid hour.   Personally, my reaction was something entirely unexpected—I wept uncontrollably in the arms of my beloved. I thought long and hard on suffering, not merely my own trials and tribulations and those close to me, but human beings the globe over. Particularly, I focused on the racial/cultural tensions that were exploding in our country in the days leading up to this monumental celestial gathering. I bemoaned to myself the dearth in people of color at this festival and wondered aloud if we even make them feel welcome when we invite indigenous people to engage in their holiest rituals before us. As the sun and moon engaged in a serendipitous serenade, I guess my emotions were laid bare by the overpowering feeling of Oneness.A most-treasured reaction to the solar eclipse was from a group of older, silver-haired hippies seated on a blanket, not twenty yards away. They ceremoniously broke out into the chorus from the Grateful Dead’s “Terrapin Station” in a liberated, emboldened unison. “In the shadow of the moon, Terrapin Station; and I know we’ll be there soon. Terrapin, I can’t figure out, Terrapin, if it’s an end or beginning.“ Had we indeed arrived at the mythical Terrapin Station? This krewe sure thought so, and their enthusiasm was contagious. Beyond that jovial recollection, the dalliance betwixt the moon and sun was indescribable—truly one of those “you had to be there” moments.    To conclude this diary in totality, I’ll briefly blaze through the best of the blessed personally experienced at Oregon Eclipse 2017.Nevada City, California world-beat house general Brian Hartman dropped the bomb on no less than three different sets of music at Eclipse. On his birthday, he forwarded a genre-spanning selection at the Village Witches Elixir Bar, offering three hours of globalized grooves as the people rang in his birthday with fervent dancing and moon-howling. Hartman also laid it down with some proper Playa-tech and world house at the Furtherrr art installation before a final set mid-morning on the last day. Hartman hit the Silk Road stage with an earthy set of cumbia, latin grooves, and chill-beats that solidified him as a legitimate “person of interest.”Goopsteppa and Leland Riivr are childhood homies and roommates up in Salt Spring Island, British Columbia. For the past half-decade, they have been on a slow-burn, meteoric rise to the heavens, representing a new breed of G’s in post-dubstep esoterica. Beginning with their one-two punch on Friday at Furtherrr, these boys were dedicated to the science of low-end theory, tunneling into the Earth’s core til the wee-est of hours. The next night the dynamic duo was at it again for the Dragon Fam Jam at Village Witches, lacing up their super-rare b2b set with a map of progressive styles en route to scale the new frontier. You haven’t lived until you’ve heard these boys flip Jimi Hendrix’s “Little Wing” into dub-bliss, then chase that with some luscious Timberlake crooning atop bulbous bass gymnastics. From grime to R&B and hip-hop, these bredren left no quartz unturned. On the last morning of Eclipse, Goop brought his unmistakable blend of sonic enrapture to the Earth Stage for a packed sunrise set filled with tracks off his new album. The Earth Stage’s assembly certified the word on the street that, yes indeedy, there is a new sheriff in town.When I first saw that Karl Denson’s Tiny Universe would be rocking at the Big Top tent (along with STS9, Rebirth Brass Band, The Heavy Pets, Steve Kimock, MarchFourth, etc.), my heart almost exploded with excitement. As the sound crew took over an hour on Friday night to fix some persistent mic issues, it seemed that KDTU would never take the stage. Finally, the man they call Diesel and his band of brothers strode into the spotlight and kicked into high gear. The circus tent environment recalled Bear Creek 2009, and Karl did his damndest to bring the noise and the funk. Highlights from a spirited set included a rage through Cyril Neville’s ode to the G-code “Gossip,” which saw the guitar man DJ Williams mash it on and play it real funky. Later during the R&B funkathon, after a pair of Rolling Stones numbers that may have flew over people’s heads, Denson rolled out the KDTU classic “Satisfied”, which allowed drummer Robert “Sput” Searight (Snarky Puppy, Ghost Note) to really bring the smooth-type groove, working the Big Top into a full-blown frenzy.Brooklyn afrobeat-mafia Antibalas detonated an atomic bomb at the Silk Road Stage on Saturday. Just before the clock turned midnight, that’s when shit got real. Lead by the steely, multi-disciplinary sax man Martin Perna, attendees answered the spirited calls to arms from singer Amayo, drawn in by horn wizard Stuart Bogie and the rumbling rhythm section of drummer Miles Arntzen and bassist Nikhil Yerawadekar. Erstwhile, guitar gangster Raja Kassis led this Nigeria-channeling armada in conquering this festival. With the most feverish dance floor energy and free-wheeling, meditative jams, Antibalas’ 150-minute set of fury ignited more fiyah, the flame of Fela Kuti, transforming Silk Road into a living, breathing funk leviathan. On the heels of the an-ten-nae’s Medicine Crunk redux after the eclipse, we ambled over to the Sky Stage for the Danish “Tarantino of Tech,” Be Svendsen, where clad in his vintage top hat, he unleashed some sorcerer magic in the blazing prairie sun. The deep house got so sizzlin’ that the mixer began to melt, stopping the grooves for a bit before an assortment of umbrellas and fans were employed to shade the DJ. This two-hour narrative was told in four-on-the-floor, but with our arms reaching skyward, it felt more like a levitation station. The Sky Stage was headquarters for all of the finest house that bumps around the world, and notable sets were also turned in from Desert Hearts’ MARBS, European live-house chemists KMLN and Ecuador’s provocateur of Andes-step Nicola Cruz. Global Eclipse Gathering made good on its promise of a once-in-a-lifetime celebration, serving as a tribal alliance of visionary festivals from across our wondrous planet. From August 17th through 23rd, on the majestic Big Summit Prairie in Ochoco National Forest, a dozen renowned international music and art festivals congregated to take in a total solar eclipse en masse. California’s Symbiosis Gathering spearheaded this conglomerate of collaborators, with eleven other tremendous international festivals (including Canada’s Bass Coast, Costa Rica’s Envision Festival, SoCal’s Lightning in a Bottle, among others) joining together for what could be termed the finest curation of progressive, psychedelic art and music to ever hit the shores of North America. In a triumph in booking, Oregon Eclipse produced a whopping seven main music stages. Each one sporting a unique atmosphere, theme, and vision. The Moon, Earth, Sun, Sky, Silk Road, Big Top, and Eclipse Stages delivered a dazzling assembly of musical offerings almost around the clock. Each of the seven standalone stages covered a wide swath of electronic genres such as house, techno, bass, funk, psy-trance, in addition to hosting performances from many leading purveyors of progressive, psychedelic, and globally-generated live instrumentation. Headlining artists included Bassnectar, String Cheese Incident (two shows, both minus Billy Nershi), G Jones, Shpongle, STS9, Opiuo, Beats Antique, and so many more.STS9 on Eclipse StageOpiuo at Eclipse Stagelast_img read more

  • Rising Appalachia Merge Social Activism And World Music In Northern California

    first_imgThe ever-evolving sounds of Rising Appalachia represent a rallying cry for social, environmental, and economic justice with their blend of world music expression and passion to resist. Led by sisters Chloe Smith and Leah Song, Rising Appalachia weaves an afghan of musical color and cultural traditions, while also seeking to uplift the consciousness of their fans. The band prides itself on promoting awareness and action about the many issues of our times. Last Monday, on October 16th, fans in Nevada City, California, welcomed the celebrated return of Rising Appalachia to the area, as the group packed Grass Valley’s Center for the Arts to the gills for two consecutive nights. Behind the siren sisters are multi-instrumentalist David Brown and all-world percussionist Biko Casini, uniting to create a fantastic foursome that makes a vivid tapestry of song and emotion. During Tuesday show in Nevada City, Rising Appalachia’s lifetime of influences were on display throughout their ninety-ish minute set, ranging from traditional Appalachian folk to NOLA Lagniappe, from West African riddims to activist hip-hop and a nod to mid-90s R&B.Eschewing an elaborate introduction or stage set-up, the unassuming sisters took the stage and unveiled their empowering folk anthem, “Wider Circles.” With the captivated audience under their proverbial thumb, Leah and Chloe captained a journey through the annals of their thick songbook, reaching back for the fan-favorite “Pretty Little Foot” and the impassioned “Scale Down”. The sisters spent a few moments between songs plugging their recently released live LP Alive, which was culled from several performances in recent tours. The group also delivered a phenomenal version of “Lean In” (found on Alive) that incorporated portions of Aaliyah‘s classic “Are U That Somebody”.  Inspiration and introspection were embedded into Rising Appalachia’s messages and melodies. The band’s harmonies were serene and scintillating alike, filling the hearts and minds of all who were lucky enough to take in the majestic performance. After the scathing “Filthy Dirty South”, Song invited West African multi-instrumentalist Arouna Diarra to the stage, who brought uncanny improvisational prowess and an affable stage presence.Diarra played kora and the kamel n’goni—a 14-string harp-like instrument—that he crafted himself. Later, on “Medicine/Caminando”, he stepped to the forefront with authority, playing with a melodic and percussive sensibility. Diarra blessed up another familiar selection “Downtown”, and locked into a fierce jam session with Brown and Casini that acted as a de facto set break. Tuesday evening after the Rising Appalachia show, Casini and Diarra went on to play a spirited set of West African riddims and improvisational dance music at the Haven Underground in Nevada City. Rising Appalachia is no stranger to activism in action; the band has aligned themselves with progressive social and environmental causes since their inception a decade ago. Pioneering the Slow Music Movement, fighting industrialized prison systems, promoting Permaculture, and supporting the water protectors at Standing Rock are merely a few of the efforts they have publicly championed.In the Grass Valley, Rising Appalachia welcomed WaterNow,  an organization that focuses on sustainable, environmentally friendly water solutions, and local holistic health company Vital Yogi. Guayaki Yerba Mate has also been along for the entire West Coast leg of Rising Appalachia’s fall tour.  Cebador (and former Rising Appalachia tour manager)  Rueben Sadowsky and his Guayaki team were  sharing mate and educating fans on the benefits of this ancestral wonder of nature as a part of their tremendous Come to Life program. To bring us on homeward bound, and send the capacity crowd spinning into the night, Smith and Song unveiled two storied, traditional hymns in all of their hybrid glory. First, Leah asked Brown to dust off a bluegrass guitar intro for the timeless “Cripple Creek”, before the women plus Biko co-opted the tune with their smooth and sultry update, working the audience into pickin’ frenzy. For an encore, Rising Appalachia took the crowd back on down to the “St. James Infirmary”, a callback to their halcyon days busking in the beloved Crescent City of New Orleans. As the Second Line swagger oozed from the pores of this time-honored classic, Leah and Chloe channeled just a smidgen of Satchmo for a Sierra foothills serenade.Photos and Video used with permission, courtesy of Sydney Woodward, Come to Life/Rising Appalachia.Words: B.Getzlast_img read more

  • “Friends Of The Brothers” Gather For Uplifting Allman Brothers Band Tribute [Photos]

    first_imgIt’s been a difficult year for the Allman Brothers Band, but after a proper period of mourning, several members of the extended Allman Brothers Band family have come together to preserve the legacy of one of America’s original jam bands. Appearing at Brooklyn Bowl on October 25, Friends of the Brothers, as they call themselves, performed a thorough and impressive tribute to the music of the ABB.Gregg Allman Delivers Emotional Farewell On ‘Southern Blood’The tribute group features guitarists Junior Mack—a superbly talented guitarist and vocalist who joined the Allman Brothers Band on stage during their Beacon runs and has been a member of Jaimoe’s Jazz Band ever since—and Andy Aledort, who for more than a decade has been playing with Dickey Betts as part of Great Southern. Keyboardist Peter Levin toured with Gregg Allman and appeared on Gregg’s final album, Southern Blood, while guitarist and vocalist Alan Paul is better known as the author of One Way Out, the best-selling history of the Allman Brothers Band.The Marcus King Band Honors The Allman Brothers Band At The Big House [Photos]Kicking things off with “Statesboro Blues,” Friends of the Brothers worked through a long list of Allman Brothers Band songs beloved by the fans who turned out to connect once again with the music on which they were raised. “Ain’t Wastin’ Time No More” was next, after which the band introduced not just a friend but the son of a Brother, Lamar Williams, Jr., to help out on vocals. Lamar appeared on the Beacon stage with the final iteration of the ABB, and he’s continued to emerge as a solid performer. His vocals on “Come and Go Blues” and later on “Midnight Rider” and “Whipping Post” took on the unenviable challenge of being compared with the late Gregg Allman, but Williams wisely chose to find his own voice rather than hew too closely to the originals.Tedeschi Trucks Band Plays “Ain’t Wastin’ Time No More” In Honor Of The Allman Brothers BandIt was an evening of standards and deep cuts. Among the former were “Jessica”, “One Way Out”, and “Dreams,” while Jackson Browne’s “These Days”—covered on Gregg’s first solo album, Laid Back—was a standout among the latter. In addition to the four members with direct ties to the ABB, Friends of the Brothers features Craig Privett on bass and drummer Dave Diamond, a founding member of the Zen Tricksters, a band that’s played with Bob Weir, Derek Trucks, Robert Randolph, and other luminaries on the jam band scene. It remains to be seen whether this particular collective has legs as a touring band, but the Allman Brothers Band’s music remains timeless, and there’s an eager audience hungry to hear it.Check out a few videos below, courtesy of Sean Roche. Friends Of The Brothers | Brooklyn Bowl | Brooklyn, NY | 10/25/2017 | Photo: Lou Montesano Enjoy the photo gallery below, courtesy of Lou Montesano.center_img Load remaining imageslast_img read more

  • John Mayer Hospitalized, Dead & Company Postpones Tonight’s Show

    first_imgDead & Company have two remaining dates in 2017, including the Amway Center in Orlando, FL on December 7 and the BB&T Center in Sunrise, FL on December 8. There has yet to be an official statement as to whether or not those shows will still take place, though the average recovery time is 1-3 weeks. Get better soon, JM!In addition to the remaining Florida dates on the schedule, Dead & Company will head south of the border early next year (February 15-18) for their first-ever destination event, dubbed Playing In The Sand. Head to the band’s website for more information on upcoming shows.Dead & Company 2017 Tour DatesDecember 5 New Orleans, LA – Smoothie King CenterDecember 7 Orlando, FL – Amway CenterDecember 8 Sunrise, FL – BB&T Center Early this morning, guitarist/vocalist John Mayer was admitted into the hospital for an emergency appendectomy. While the procedure is common, the surgical removal of the appendix is performed to treat appendicitis, an inflammatory condition of the appendix. According to the post from Dead & Company, who are currently wrapping up their fall tour together, the band is forced to postpone tonight’s show in New Orleans at the Smoothie King Center.According to a press statement, “All tickets for the December 5 show will be honored for the rescheduled date. Information on the rescheduled date will be announced as soon as possible.  Should ticketholders choose to seek a refund, they will be available at point of purchase.”last_img read more

  • moe. Announces 2018 Summer Tour, Shows With Phil Lesh & Terrapin Family Band

    first_imgmoe. Upcoming 2018 Tour DatesApr. 20 Lincoln Theatre Washington, DCApr. 21 Down by Downtown Fest Roanoke, VAApr. 22 Pisgah Brewing Co. Black Mountain, NCApr. 24 Wellmont Theatre Montclair, NJApr. 26 & 27 Higher Ground Burlington, VT *SOLD OUTApr. 28 Calvin Theatre Northampton, MAMay 25 – 27 Summer Camp Music Fest Chillicothe, ILJun. 3 Music on the Mothership Taos, NMJun. 29 & 30 Terrapin Crossroads San Rafael, CA *w. special guest Phil LeshJul. 1 Terrapin Crossroads San Rafael, CA *w. Terrapin Family BandJul. 3 The Catalyst Santa Cruz, CAJul. 4 & 5 Belly Up Solana Beach, CAJul. 6 Fonda Theatre Los Angeles, CAJul. 7 Pappy & Harriet’s Pioneertown, CAJul. 11 Belly Up Aspen, CO *acoustic showJul. 12 Red Rocks Amphitheater Morrison, CO *w. Pigeons Playing Ping PongJul. 13 Waiting Room Outdoors Omaha, NEJul. 14 The Truman Kansas City, MOJul. 15 The Pageant St. Louis, MOJul. 18 Tippecanoe Amphitheater Lafayette, INJul. 19 Goodyear Theater Akron, OHJul. 19 – 21 Peach Music Fest Scranton, PAView All Tour Dates Today, moe. has announced their 2018 summer tour dates, including their return to the West Coast for the first time since early 2016. These new tour dates will begin after two previously announced festival appearances at Summer Camp Music Festival over Memorial Day Weekend and Taos, New Mexico’s Music on the Mothership on June’s upcoming summer tour kicks off with a three-night run at the iconic San Rafael, California venue, Terrapin Crossroads. On June 29th and 30th, the band will be joined by former Grateful Dead bassist Phil Lesh while on July 1st, moe. will split the bill with the entire Terrapin Family Band. The band will continue their California tour with dates in Santa Cruz, Solana Beach, Los Angeles, and Pioneertown before heading for Colorado, where they’ll perform in Aspen on July 11th.This Aspen show comes ahead of the band’s highly anticipated return to Red Rocks Amphitheatre on July 12th with Pigeons Playing Ping Pong. After this monumental fan-favorite show, moe. will head eastward, with new dates announced in Omaha, NE; Kansas City, MO; St. Louis, MO; and Lafayette, IN. moe.’s summer tour will end with a performance in Akron, OH on July 19th ahead of a performance at The Peach Music Festival in Scranton, PA.A limited amount of presale tickets are available here starting at 10 am (local) today, Wednesday, April 11th. Tickets go on sale to the general public on Friday, April 13th, at 10 a.m. (local). For more information about moe. and their upcoming touring schedule, you can head to their website here. You can also check out a list of tour dates below.last_img read more

  • Brooklyn Comes Alive Announces 2018 Artist Lineup & Unique Collaborations

    first_imgLast week, the fourth annual Brooklyn Comes Alive announced its return to Brooklyn’s beloved Williamsburg neighborhood on September 29th for an all-day music marathon at Brooklyn Bowl, Music Hall of Williamsburg and Rough Trade. Today, the one-of-a-kind, multi-venue event’s artist & band lineup was revealed exclusively on SiriusXM by radio personality and industry insider Stef Scamardo, who also announced SiriusXM Jam On curator Ari Fink as the event’s official host.Inspired by the vibrant musical communities of Brooklyn and New Orleans, Brooklyn Comes Alive brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes and collaborate in never-before-seen formations for one jam-packed day in Williamsburg. Each attendee receives a wristband that grants access to every venue and makes hopping from set to set a breeze, recreating and paying homage to the club-hopping atmosphere of Jazz Fest by night.For 2018, Brooklyn Comes Alive has put forward an impressive lineup that features an impressive mix of musicians from bands such as Lettuce, The Disco Biscuits, Joe Russo’s Almost Dead, Snarky Puppy, Pretty Lights Live Band, Turkuaz, The Meters, The Motet, Dopapod, The Nth Power and more.Tickets are on sale NOW on Eventbrite. Visit for more information.See below for the stacked lineup and a full breakdown of all of the cool sets that are in store for this year’s Brooklyn Comes Alive. Purple Party: A Tribute To PrinceAfter an instant-classic, sold-out late-night performance in New Orleans during this year’s Jazz Fest, the Purple Party will come together once again to pay their respects to the one and only Prince at Brooklyn Comes Alive. The band is an embarrassment of riches, with an all-star cast of incredible funk players across the board. The sensational former Prince bassist MonoNeon will join forces with Robert “Sput” Searight and Nate Werth (Snarky Puppy, Ghost Note), Steve Swatkins (Allen Stone), Ryan Jalbert and Lyle Divinsky (The Motet), Shira Elias and Sammi Garett (Turkuaz), Chris Bullock and Mike “Maz” Maher (Snarky Puppy), Will Trask (Great American Taxi), and Megan Letts (Mama Magnolia). Casey Russell (the Magic Beans) will play keys and act as musical director.As with previous all-star tribute shows at Brooklyn Comes Alive, you never know who might show up as a special guest…Cory Henry / Nikki Glaspie / Scott Metzger / MonoNeon / SkerikBCA veterans Nikki Glaspie (The Nth Power), Scott Metzger (Joe Russo’s Almost Dead, WOLF!), MonoNeon (Prince, Ghost Note) and Skerik will join the ultra-talented keyboardist Cory Henry (formerly of Snarky Puppy, Cory Henry & the Funk Apostles) for his debut performance at the festival, making for an unforgettable quintet.George Porter Jr. / Brandon “Taz” Niederauer / Adam Smirnoff / Jeff Sipe / Peter Levin / Elise Testone: In Honor Of Col. Bruce Hampton, Butch Trucks, Gregg Allman, & Those We’ve Lost This special performance will see an all-star cast of musicians come together to pay their respects to guitar prodigy Brandon “Taz” Niederuar‘s three mentors-Col. Bruce Hampton, Butch Trucks, and Gregg Allman-all of whom passed away last year. Joining Taz will be GRAMMY Lifetime Achievement Award recipient, the iconic bassist George Porter Jr. (The Meters), guitarist Adam Smirnoff (Lettuce), Jeff Sipe, the founding drummer in Aquarium Rescue Unit with Col. Bruce Hampton, keys/organ player Peter Levin (Gregg Allman Band) and vocalist Elise Testone (American Idol, Brandon “Taz” Niederauer Band).Marc Brownstein / Borahm Lee / Alvin Ford Jr. / Khris RoyalMarc Brownstein (The Disco Biscuits) will join forces with Borahm Lee (Break Science, Pretty Lights Live), Alvin Ford Jr. (Dumpstaphunk, Pretty Lights Live) and Khris Royal (Rebelution) for a unique mixture of electronic music and New Orleans funk. Brownstein & Lee are BCA veterans, having played the event several times, including as part of [B]reaking [B]iscuits, one of BCA’s most celebrated ensembles to date.A Tribute To Steely Dan With Members Of The Motet, Turkuaz, The Nth Power, Snarky Puppy, & MoreA Tribute To Steely Dan will round out BCA’s tribute series, with Joey Porter (The Motet) serving as musical director. Porter will be joined by: Nick Cassarino (The Nth Power), Nate Edgar (The Nth Power), Michelangelo Carubba (Turkuaz), Tim Palmieri (Kung Fu), Nate Werth (Snarky Puppy, Ghost Note), Chris Bullock (Snarky Puppy), Mike “Maz” Maher (Snarky Puppy), Lyle Divinsky (The Motet), Hayley Jane (Hayley Jane & The Primates) and Sammi Garett (Turkuaz) for a respectful tribute to the innovative musicians and songwriters Donald Fagen and Walter Becker.Johnny Vidacovich / Robert Walter / Eric “Benny” BloomA special one-off Jazz trio performance by New Orleans jazz drumming legend, Johnny Vidacovich, accomplished keyboardist Robert Walter (Greyboy-Allstars, Robert Walter’s 20th Congress, Mike Gordon), and the ultra-talented trumpeter Eric “Benny” Bloom (Lettuce).Adam Deitch QuartetCelebrated Lettuce drummer Adam Deitch will give a rare performance with his quartet – Adam Deitch Quartet – this year, joined by Wil Blades and Lettuce bandmates Ryan Zoidis and Eric “Benny” Bloom. 2017 saw the ensemble’s first record, Egyptian Secrets, and there have only been a select few performances since the release.Karina Rykman Experiment featuring special guests Robert Walter & Dave HarringtonShe is best known for her touring chops in Marco Benevento’s band, but bassist Karina Rykman recently debuted her own band and she’s bringing a special rendition to BCA 2018. Karina Rykman Experiment will see Rykman and her band – featuring Adam November and Chris Corsico – joined by renowned keys and organ player Robert Walter and improvisational wizard, guitarist/multi-instrumentalist Dave HarringtonSwitch HittersEarlier this year, a brand new band comprised of Wil Blades, Nigel Hall (Lettuce), Robert “Sput” Searight (Snarky Puppy, Ghost Note) and Nate Werth (Snarky Puppy, Ghost Note) made its debut at the Boom Boom Room in San Francisco, followed by a much-talked-about late night at Jazz Fest. Now the Switch Hitters will make their East Coast debut at Brooklyn Comes Alive 2018.Baby Jesus Peasant PartyThe beloved Jazz Fest late night brainchild of Lettuce bassist Eric “Jesus” Coomes will make its Brooklyn debut this year. Baby Jesus Peasant Party sees Jesus play alongside his drumming and producing brother Tyler Coomes, Borham Lee (Break Science, Pretty Lights Live), Ryan Zodis (Lettuce) and Khris Royal (Rebelution).Carubba Compa WindermanA blast from the past comes courtesy of Carubba Compa Winderman, the original trio lineup of Dopapod. Back in their days at Berklee College of Music, keyboardist Eli Winderman founded Dopapod with his fellow classmates, drummer Michelangelo Carubba, and guitarist Rob Compa. Carubba is now known for his chops in the live powerhouse ensemble Turkuaz, but after reuniting with Compa & Winderman earlier this year for a set in Philadelphia, BCA 2018 provides another special opportunity for the original trio to reunite.Shira Elias’ Soul TracksShira Elias (Turkuaz) will lead her own time machine set, Shira Elias’ Soul Tracks, which will see the singer perform soul music from across eras encompassing everything from Aretha Franklin and Marvin Gaye, to Erykah Badu and Hiatus Kaiyote. She will be joined by Nikki Glaspie (The Nth Power), Nick Cassarino (The Nth Power), Nate Edgar (The Nth Power), James Casey (Trey Anastasio Band), Lyle Divinsky (The Motet), Steve Swatkins (Allen Stone Band) and Joél Gonzalez.KatharsisIn 2017, members of The Motet, Electric Beethoven, Dopapod, and Digital Tape Machine debuted a new side project, Katharsis, and they’re bringing their brand of psychedelic funk to BCA 2018. Katharsis is Dave Watts (The Motet), Todd Stoops (RAQ, Electric Beethoven), Chuck Jones (Dopapod) and Marcus Rezak (Digital Tape Machine).Wokes With Jokes: Stand-Up Comedy About The Jamband SceneFor the first time ever, BCA will also present a comedy set alongside their usual musical programming. Wokes With Jokes: Stand-Up Comedy About The Jamband Scene emerged in 2017 during Phish’s New Years run, followed by successful shows based around multi-night runs with Umphrey’s McGee & The Disco Biscuits. The comedy troupe – comprised of Brett Siddell, Walker Berry, Ariella Wallen, Pamela Mahler and MC Richie Alfson – will be making their BCA debut this year.Jam Cruise Presents… A Very Special Late Night In The JAM ROOMA staple of the beloved festival-at-sea, Jam Cruise will bring their beloved Jam Room to land for the first time ever at Brooklyn Comes Alive 2018. The Jam Room gives artists the chance to collaborate in an open and relaxed atmosphere. Three hosts, who will be announced in the coming weeks, will be hand-picked to curate the special extended late-night jam sessions, for the first-ever land-edition of this fan and artist favorite.GA and VIP tickets are on sale NOW on Eventbrite. For more information, visit the Brooklyn Comes Alive website.All art by Jimmy Rector – Accepted Perspectivelast_img read more

  • Phish Turns In Top-Notch Renditions Of “Down With Disease”, “Light”, “Blaze On”, & More In Camden Opener [Photos]

    first_imgPhoto: Sean DiSerio On a hot, humid, rainy Tuesday night, Phish returned to Camden, NJ for their first of two nights at BB&T Pavilion (formerly known as the Susquehanna Bank Center, the E Centre, and the Tweeter Center), a shed in which they’ve delivered some fantastic performances over the years. Coming off a particularly strong run in Alpharetta, GA this past weekend, the band was in lockstep from the moment they strode onstage. Load remaining images Photo: Sean DiSerio “Crowd Control” made its 2018 debut in the opener slot, where it so often resides. A mostly straightforward tune, this version was played with intent, the band still warmed up after last weekend’s stint outside Atlanta. A pair of songs debuted at the band’s 2015 summer opener in Bend, OR followed in “No Men In No Man’s Land” and “Blaze On”. Both of the songs, which went on to be among the strongest tracks on Phish’s most recent album, 2016’s Big Boat, saw the band stretch their legs for strong some strong first-set improv. The “Blaze On”, in particular, packed more than a few thrilling moments into its 11+ minutes, and is one of several songs from Tuesday’s show that deserves revisiting.“Lawn Boy” was up next, allowing the Chairman of the Boards himself, Page McConnell, a chance to ham it up for the second time this summer. The second-ever rendition of new Mike Gordon song “Infinite” followed, the bouncing groove moving out into dark, spacey improv territory behind synth swells from Page and rubbery bass tones from Mike. The song hasn’t achieved its full potential just yet, but after this gripping reading, all signs indicate that it’s well on its way to greatness.The reverb-heavy “Infinite” jam eventually petered out into “Wilson”, opening a run of well played though mostly unremarkable renditions of “Roggae” and “Rift”. Phish wasted no time dipping into some down-and-dirty funk in the compact but highly potent “46 Days” that came next, pushing through dark, distorted sonic grime before building to a rocking climax. After a spirited run through “Sparkle”, the band capped their first of four Camden sets this week with the second “David Bowie” of the tour, as always a welcome clinic on the power of sonic tension and release.After a lengthy set break, Phish returned to the stage with “Down With Disease”—and what a “Disease” it was. While this marked the fourth “Disease” of the summer, it easily surpassed the previous three as the most interesting and intricate since the behemoth of a jam that opened 12/30/17‘s top-notch set two. Clocking in at just under 25 minutes in, the jam was packed full of twists and turns, making its way through several distinct sections ranging from delicate, fluffy major-key bliss, to Page-led power-rock, to synth-funk, to fluttering Trey ambience, to a “Piper”-like build before dissolving into a synth-accented groove and dissipating into shadowy weirdness as the opening notes of “Backwards Down The Number Line” bubbled to the surface.When “Number Line” appears in a set as the landing strip for an improvisational expedition, fans are often quick to cry “ripchord.” However, even the biggest “Number Line” cynics would be hard-pressed to knock this placement, which served more as an energy shot at the ambient tail-end of a fully realized jam than as the improvisational cock block which many a fan has deemed it over the years. Say what you will about this song—the “cheese” factor may be high, but the band loves to play it, and it never fails to provide a nostalgic interlude and some powerfully peaking rock and roll fireworks as it draws to a close.The third Big Boat tune of the evening, “I Always Wanted It This Way”, uploaded to the cloud from there, providing its trademark glitchy electronic freakout before charting off into uncharted territory with an in-the-pocket Jon Fishman and an in-the-zone Gordon powering the train. After breaking the jam down to near silence, Trey signaled the start of to fourth and final Big Boat track of the night, “Miss You”, standing in as the customary late-second-set breather ballad.With plenty of time left for more improvisational exploration, the band launched into “Light”, one of the most consistent jam vehicles of the 3.0 era. This “Light” shined brightly, with Trey layering cascading tones over Fish’s driving rhythmic foundation. The jam quickly took off from there, soaring to multiple big white light peaks before dropping into a bouncy Mike-led simmer, hinting at “Manteca”, and finally making a unique and interesting segue into “Mike’s Song”. This late-set “Mike’s” packed plenty of frantic tension into its brief lifespan, utilizing heavy distortion and some prominent teasing of Hot Chocolate‘s “You Sexy Thing” from Trey, a well-received callback to their extra-sexy Sunday performance two days prior.Keeping with old traditions, Phish moved into the classic “I Am Hydrogen” interlude before finishing with a spirited “Weekapaug Groove” to close the set. For many years, “Hydrogen” was a sure-thing song between “Mike’s” and “Weekapaug”, but in recent years, the band has made a concerted effort to vary the meat in their “Mike’s Groove” sandwiches. For a while, the once ever-present “Hydrogen” had become a relative rarity, with 10 straight “Mike’s Songs” opting for an alternate path toward the “Groove”. However, the customary “I Am Hydrogen” seems to have returned to prominence within the live suite, appearing in 3 of the last 4 “Mike’s Grooves”, and at this point, the back-to-basics approach feels like a breath of fresh air. Finally, the band returned to the stage for a “Show of Life” encore, which has become something of a rarity as well. The Camden night one encore marked the song’s first appearance since 2016 and just its third outing since closing the band’s 2013 New Year’s Eve performance at MSG. After several weeks on the road, Trey Anastasio and the rest of Phish took the time to thank us all before bringing the show to a close.Was this show as strong as the Alpharetta run? No, probably not. Did it still produce more than a few truly fantastic moments? You bet your ass. And this is only night one. Smart money is on Wednesday’s Camden finale being one for the books. See you on lot!Phish’s Camden run wraps up tomorrow at BB&T Pavilion. From there, the band heads to Raleigh, followed by a two-night stand at Merriweather Post Pavilion and, finally, the highly anticipated Curveball festival in Watkins Glen, NY. For a list of upcoming Phish dates, head to the band’s website.View a gallery of photos from the performance below via photographer Sean DiSerio.Setlist: Phish | BB&T Pavilion | Camden, NJ | 8/7/18Set One: Crowd Control, No Men In No Man’s Land, Blaze On, Lawn Boy, Infinite > Wilson > Roggae, Rift > 46 Days, Sparkle > David BowieSet Two: Down with Disease[1] > Backwards Down the Number Line > I Always Wanted It This Way > Miss You > Light > Mike’s Song > I Am Hydrogen > Weekapaug GrooveEncore: Show of LifeA full soundboard recording of the performance is available to stream via LivePhish.Phish | BB&T Pavilion | Camden, NJ | 8/7/18 | Photos: Sean DiSeriolast_img read more

  • Michael McDonald Adds Additional Shows To North American Fall Tour

    first_imgMichael McDonald, the former Doobie Brothers frontman and Steely Dan collaborator, has added several winter dates to his North American fall tour. McDonald starts his tour September 9th at LouFest in St. Louis, MO, before seeing a glimpse of the South, then heads north to Canada for a pair of shows September 14th and 15th. McDonald will then play shows throughout the Northeast, including a 10-night run at NYC’s Cafe Carlyle, before eventually ending up close to where he started, with a tour-closing date on December 21st at the Showplace Theatre in Norman, Oklahoma.McDonald’s tour is in support of his forthcoming Christmas-themed album, Season of Peace: The Christmas Collection, due out October 12th via BMG. The album is a collection of McDonald playing his favorite Christmas tunes, including a recording of “Winter Wonderland” featuring special guest Jake Shimabukuro, the mindblowing ukelele virtuoso. Classics “White Winter/ Winter Wonderland”, “Oh Holy Night”, “Christmas on the Bayou”, and “Children Go Where I Send Thee” appear on the album. For a full list of McDonald’s upcoming tour dates and ticket information head to his website.McDonald recently recorded with frequent collaborator Kenny Loggins, and badass bassist Thundercat, on the 2017 hit Thundercat single, “Show You The Way”. Watch the official Thundercat video for “Show You The Way” featuring Michael McDonald and Kenny Loggins below.Thundercat ft. Michael McDonald & Kenny Loggins-“Show You The Way”[Video: Brainfeeder]Michael McDonald Upcoming 2018 Tour DatesSeptember 9 St. Louis, MO Loufest Music FestivalSeptember 11 Knoxville, TN Tennessee TheatreSeptember 12 Northfield, OH Hard Rock LiveSeptember 14 Toronto, ON Sony Centre for the Performing ArtsSeptember 15 Ottawa, ON CityFolkSeptember 17 Rutland, VT The Paramount TheaterSeptember 19 Derry, NH Tupelo Music HallSeptember 21 New Brunswick, NJ State Theatre New JerseySeptember 22 Boston, MA Emerson Colonial TheatreSeptember 23 Huntington, NY The ParamountOctober 23 New York, NY Café CarlyleOctober 24 New York, NY Café CarlyleOctober 25 New York, NY Café CarlyleOctober 26 New York, NY Café CarlyleOctober 27 New York, NY Café CarlyleOctober 30 New York, NY Café CarlyleOctober 31 New York, NY Café CarlyleNovember 1 New York, NY Café CarlyleNovember 2 New York, NY Café CarlyleNovember 3 New York, NY Café CarlyleNovember 21 Nashville, TN Ryman AuditoriumNovember 23 Clearwater, FL Capitol TheatreNovember 24 Coconut Creek, FL Seminole Casino, The PavilionNovember 27 Fayetteville, NC Crown TheatreNovember 30 Bensalem, PA Parx Casino, XCite CenterDecember 1 Wilmington, DE The Grand Opera House GalaDecember 2 Peekskill, NY Paramount Hudson Valley TheaterDecember 8 Van Wert, OH Niswonger Performing Arts CenterDecember 9 Champaign, IL Virginia TheatreDecember 12 Tiffin, OH The Ritz TheatreDecember 14 Youngstown, OH Stambaugh AuditoriumDecember 15 Waukegan, IL Genesee TheatreDecember 18 Orange, TX Lutcher TheaterDecember 21 Norman, OK Riverwind Casino, Showplace TheatreView All Tour Dates[H/T Pollstar]last_img read more