Month: March 2021

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first_imgLoad remaining images Grammy award-winning rapper Wyclef Jean resurfaced at Brooklyn Bowl on Tuesday night for the first of two shows this month. The former Fugees frontman/producer played for over two and a half hours, tackling covers of Bob Marley’s “No Woman, No Cry” and “Redemption Song”, running through several Fugees covers, including a popping “Fu-Gee-La > Killing Me Softly” (using Ms. Lauryn Hill‘s pre-recorded voice from the original tracks) and showcasing the breadth of his writing with other artists.Throughout the night, in addition to multiple outfit changes, Jean showcased his dexterity as a guitar player. He even busted out some old school B-boy moves with his best friend from growing up, and ended the night in traditional Carnival costume joined by dancers on stage. Jean was on Fox’s Good Day New York earlier in the day discussing several things, including the 20th anniversary of the Fugees’ hit album The Score, and telling his ex-bandmates Pras and Ms. Hill to holler at him if they would like to do a reunion tour. That would be something, wouldn’t it?[videos/pics/review courtesy of Marc Millman]“Gone ‘Til November”:“Fu-Gee-La > Killing Me Softly”:“Stayin’ Alive”:last_img read more

first_imgMany years in the making, The Band guitarist Robbie Robertson will release his personal memoir, Testimony, on November 15th. After five years, Robertson has put together a new auto-biography that will take a look at his lengthy and prolific career.Testimony will obviously talk about the rise and fall of The Band, but also of Robertson’s time with Ronnie Hawkins, Bob Dylan and more. Read the description from Robertson’s website below:Robbie Robertson’s singular contributions to popular music have made him one of the most beloved songwriters and guitarists of his time. With songs like “The Weight,” “The Night They Drove Old Dixie Down,” and “Up on Cripple Creek,” he and his partners in The Band fashioned music that has endured for decades, influencing countless musicians. In this captivating memoir, written over five years of reflection, Robbie Robertson employs his unique storyteller’s voice to weave together the journey that led him to some of the most pivotal events in music history. He recounts the adventures of his half-Jewish, half-Mohawk upbringing on the Six Nations Indian Reserve and on the gritty streets of Toronto; his odyssey at sixteen to the Mississippi Delta, the fountainhead of American music; the wild, early years on the road with rockabilly legend Ronnie Hawkins and The Hawks; his unexpected ties to the Cosa Nostra underworld; the gripping trial-by-fire “going electric” with Bob Dylan on his 1966 world tour, and their ensuing celebrated collaborations; the formation of The Band and the forging of their unique sound, culminating with history’s most famous farewell concert, brought to life for all time in Martin Scorsese’s great movie The Last Waltz. This is the story of a time and place—the moment when rock ʼnʼ roll became life, when legends like Buddy Holly and Bo Diddley crisscrossed the circuit of clubs and roadhouses from Texas to Toronto, when The Beatles, Hendrix, The Stones, and Warhol moved through the same streets and hotel rooms. It’s the story of exciting change as the world tumbled through the ʼ60s and early ʼ70s, and a generation came of age, built on music, love, and freedom. Above all, it’s the moving story of the profound friendship among five young men who together created a new kind of popular music. Testimony is Robbie Robertson’s story, lyrical and true, as only he could tell it.You can find out more info about the book on his official website.last_img read more

first_imgWhile Jerry Garcia played with many a-keyboardist throughout both his solo career and his work with the Grateful Dead, few are as revered as Merl Saunders. The pianist was a master of the Hammond B-3 organ, adding an incredible soulful flavor to Garcia’s solo band project for years and years. It’s no surprise, then, the newest volume of the GarciaLive series spotlights a performance from Saunders and Garcia.Played on July 5th, 1973 at Lion’s Share in San Anselmo, CA, the cover of Marvin Gaye’s “How Sweet It Is (To Be Love By You)” is played to perfect. Garcia is in great form, wailing on the guitar and vocals with the great uplifting organ in the background.Fortunately, thanks to EW, we can listen to this great version below.GarciaLive: Volume Six is due out on June 24th, and features a number the band’s classic covers. Check out the full tracklisting below.TracklistingDisc One1. After Midnight2. Someday Baby3. She’s Got Charisma4. That’s Alright MamaDisc Two1. The System2. The Night They Drove Old Dixie Town3. I Second That Emotion4. My Funny Valentine5. Finders KeepersDisc Three1. Money Honey2. Like A Road3. Merl’s Tune4. Lion’s Share Jam5. How Sweet It Is (To Be Loved By You)last_img read more

first_imgFormed during his high school days in Gainesville, FL, Mudcrutch was Tom Petty’s first band. When the group failed to create a hit single for the charts, Petty, along with guitarist Mike Campbell and keyboardist Benmont Tench (both original members of Mudcrutch), went on to form the band that most of us associate Tom Petty with, The Heartbreakers.In August of 2007, Petty reunited with original members, Randall Marsh (drums) and Tom Leadon (guitar), to reunite with Heartbreakers Benmont Tench and Mike Campbell and reform Mudcrutch. The band recorded their self-titled debut 2008 album Mudcrutch, riffing on classic tunes and finding their places in each other’s musical lives.To the delight of Tom Petty and Mudcrutch fans everywhere, the band went back into the studio to record their album 2 that was released earlier this year. (Read the review here). Backed by rocking new originals and some great musicians, Petty and his Mudcrutch have embarked on a major national tour to celebrate the new release.There is nothing quite like seeing one of your favorite artists perform in a small venue to a sold out crowd. The $100+ tickets didn’t keep Tom Petty fans away from the 9:30 Club on Monday night. 1,200+ hot, sweaty, music lovers crammed into the legendary DC venue for an intimate show featuring Tom Petty and his band of high school chums that together form Mudcrutch.Photographer Sam Shinault was there and captured these photographs from the sold out show. Check out the setlist and a full gallery, below. Edit this setlist | More Mudcrutch setlistsA full gallery of images from Sam Shinault can be seen below. Load remaining imageslast_img read more

first_imgBack in Brooklyn for their second year, the Vulf has officially landed. Kicking off the first evening of their three-night run at the famed Brooklyn Bowl, with proper fist-pumps galore, the LA-based, Michigan-transplants returned to the stage after an impressive SummerStage debut last night. To follow up the sweet summer evening in Central Park would have been a difficult task for most, especially considering their tight and narrow songbook, but fans of Vulfpeck were treated nonetheless to yet another incredible evening of music.For the second night in a row, the four-piece rhythm section featured some of their musical idols and frequent collaborators, including guitarist Cory Wong, keyboardist/vocalist/songwriter Joey Dosik, percussion master Richie Rodriguez, trombonist Melissa Gardiner, vocal powerhouse Antwaun Stanley, and of course (drum roll, please), Bernard Purdie. Pretty Purdie has been a lifelong musical icon to those hailing from Vulf Records, so to play together – for several nights in a row – was an obvious honor for all those involved.Only the real Vulf-freaks got Brooklyn Bowl tickets during the few minutes they remained on-sale following the run’s initial announce. The evening’s ceremony began with a “Speed Walker” > “Sky Mall” narrative, with Cory Wong immediately taking his place as an obvious “should-be” member of the band, earning his position to remain on stage throughout the entire set.The night was moving at a comfortable speed, progressing in levels similar to a video game, 1…2…3…! before “Fugue State” showed up to roll the dice into another Woody Goss classic, “The Birdwatcher.”The anthemic “Rango” screamer showcased another heavy Wong highlight, proving his seriously spec-strat-ular musical prowess before the crowd joined in for some Theo Katzman-led bee-bop, scooby-doo’s. It wasn’t long before “Christmas in BK” became a venue-wide chant – bringing the collective energy in the room to its first real peak.Bernard Purdie was then introduced by a room full of chanting lovers, for Steely Dan‘s classic “Kid Charlemagne” with Katzman doing an admirable job imitating Donald Fagen on vocals, while also keeping perfect harmony with Wong to re-create Larry Carlton’s famous guitar solo. Rodriguez added his impressive fills throughout, confirming his two-year residency with Vulfpeck NYC shows and seat on 2015’s Thrill of the Arts. The feel good attitude was contagious as all getout, with shoulder snaps all around as the band spread their smiles of gratitude in playing alongside the drummer responsible for the original recording itself.Joey Dosik, the true “Game Winner”, joined the stage to lead through his tune with the band that helped popularize it. A fantastic sing-a-long for all members of the Vulfpack, now featured on their newest shirts of merchandise, and perhaps a slight inspiration to their upcoming album title The Beautiful Game (due out October 17th). The undeniable musical charm of the LA-based songwriter was an important member of the night, as he also performed in the opening slot in support of his recently-released Game Winner EP.With Purdie still on stage, Stratton called the drummer out to perform his legendary “Purdie Shuffle,” leading directly into “Something” by The Beatles, which was performed live only once previously on the night before. It was a true magical moment, as Vulfpeck surrounded themselves with the exact players needed to take their musicianship to an obvious next level.Dosik remained on the stage for another cover, The Jackson 5‘s “Never Can Say Goodbye”, before signaling the final drum kick – subsequently leading every musician in the room to dramatically fall to their knees in gratuitous awes of the legend before them. The expressions across the stage were priceless, as the lyrics changed slightly to fit the admiration of the shufflin’ hero in the back.Soon after, Mrs. Alice Stratton – the mother of Vulf Mon – joined the stage to provide a tutorial of the official “Funky Duck” dance. Watch how it all went down below, featuring Antwaun Stanley on vocals and the fabulously funky Melissa Gardiner on trombone:Stanley stuck around for his famous “1612”, providing the code to everyone’s heart before surprising fans with their favorite Stevie Wonder cover of “Boogie On Reggae Woman”, featuring Katzman on the talkbox and another Wong shred-confirmation.“Wait For The Moment”, Stanley’s first big dig from 2013’s My First Car was another moment for Vulf-fanatics, as they reminisced to past times spent on the Internet watching the geniuses before they’d explode. It was a true sing-a-long from the heart, with a pulsating trombone from Gardiner to follow the piano’s typically closing notes. The conclusion of the song ultimately ended in a classically-trained “jam”, of which Jack explained, “oh, this is a conference call now” in reference to the musical communication happening between the improvisational players.The crowd was once again given the opportunity to join in on the “Back Pocket” sing-a-long, dividing the room into vocal sections that ultimately harmonized a vibrational energy so thick that it had the potential to start an actual fire. As if it wasn’t hot enough, Gardiner joined in for a show-stopping trombone solo – literally. The band lost themselves for a second, having to stop the music completely to relocate their place – and like true professionals, they used the time to provide a teaching moment to the audience of music appreciators. The Pocket resumed and it continued to broaden.Then there was “Beastly”… Can I get a hallelujah for Joe Dart? With bass lines soaring from traditional 60’s Motown to a neck-breaking, head-snapping, and rip-roaring, almost psychedelic funkitude, the world must wonder how many love letters he has in his back pocket (a pocket so deep, you can practically drown in it).“Outro” closed the night with the return of Joey Dosik – only this time, he stood impressively with the alto saxophone, a necessity to the 2012 Vollmilch opener. The band clearly planted a seed when they played the Bowl last year, and its starting to bud into something truly special. Jack Stratton, the true bandleader, the Vulf Mon, the rotating instrumental genius, the one with the jokes, the one who can jump super high, the absolute mind-keeper of the entire operation, closed the night with the final bow – as the crowd. went. meltingly. wild.The machine is well-greased and ready to go for a night two tonight, with a promise of many special guests. See you there.Thanks to taper Eric McRoberts, we can stream some full audio from last night’s exciting Brooklyn Bowl run opener. Check out the full stream here, and see below for a beautiful gallery of images as taken by Patrick Hughes/Faces of Festivals. Enjoy the grooves!Setlist: Vulfpeck at Brooklyn Bowl, Brooklyn, NY – 9/8/16Speed Walker/ Sky Mall, Fugue State, Birdwatcher, Rango, Christmas in LA, Kid Charlemagne, Game Winner, Something, Never Can Say Goodbye, Funky Duck, 1612, Boogie On Reggae Woman, Wait For The Moment, Back Pocket, Beastly, Outro[4k videos via LazyLightning55a] Load remaining imageslast_img read more

first_imgThe Duo / Joe Russo’s Almost Dead’s Marco Benevento is definitely known for his mastery of anything involving the keys, but apparently he has been polishing his skills as a DJ as well. This weekend, Benevento will perform a special dance party at Catskill Mountain Pizza Company in Woodstock, NY, spinning vinyl on the turntables….you know, the old-school way.The set will take place this Saturday night, January 7th from 11pm – 1am, to a limited audience of only 75 people. So, if you are looking for a dance party up in that area, get on tickets quickly. They can be purchased here.[via Jambase]last_img

first_imgdeLphi, Saturday afternoon at the LodgeSometimes you find the spot, the vibe, the soundtrack and the krewe in the tiniest spaces when the lightning strikes; such was the case for deLphi‘s simmering set on Saturday afternoon. Tucked into the cozy confines of the former village, Nevada City’s ethereal empress returned to her rightful place, lording over the people and weaving sexy magik for the West Coast dancefloor shwirl. Super steezy in her special lane, salacious 90’s R&B over future-fresh bass textures, deLphi built a steady head of steam with one banger after the next. Some of the jams that still stick out in my mind: Phoreyz’s luscious short-pause edit of the dearly departed divine dimepiece Aaliyah and her sensual sayonara “Rock the Boat,” former Bonobo siren Andreya Triana’s “Gold” (Fakear remix), The Polish Ambassador’s rewiring of Blackstreet’s omnipresent come-on “No Diggity,” and the mighty Mos Def’s early, hungry, verbose gymnastics on “Habitat” off his classic solo debut Black on Both Sides. Badd, badd gyal, deLphi was keeping it thorough; look out for madame and her forthcoming mixtape Love Notes. Photo: Alyssa KeysPhoto: Alyssa KeysSunset Spanking, Saturday evening at Favela BarThis annual disco-house swag-a-thon is on my personal can’t miss Lightning in a Bottle itinerary each and every year, and for good reason. The resident servants-in-swerve are Lovelife/MusicIS4LOVERS OGs DADON and Jimbo James, and these fellas now-legendary sunset joyrides at the Favela Bar are fantastic voyages guaranteed. This year would be no different, as San Diego invaded the Brazilian ghetto with a packed neighborhood hoe-down and a jammin’ dance floor wave of deep house and disco funk, a merciful fate from the deepest of crates. As the sun raced over the horizon, we popped our collars and strutted our stuff, beckoning the arrival of one more Saturday night live.Dimond Saints, Saturday night at the Thunder StageI was first introduced to Dimond Saints in the live element at Lightning in a Bottle 2014, where they torched the now-defunct Bamboo Stage with the promise of a new tomorrow. I declare with conviction that I have not been the same boy since. Three solar turns further into the abyss, we’ve watched, danced, and shook our collective heads in awe as an-ten-nae and Releece have mined the heart of darkness, leveling up with every high profile performance. This writer has journaled extensively about their live excursions, from Envision to Bicycle Day, Symbiosis and beyond, and I can say unequivocally and without hyperbole that this Lightning in a Bottle set was indeed their finest hour. From the opening notes and gossamer vox of Yaarrohs “Innocence”, the Oaktown voodoo alchemists finally harnessed the sparse percussion, erotic elements, 808 mindstate, and just the right amount of heartbreak. Their future-moon muzik delivered a focused, cohesive vision that was matched in execution; they finally got it all dialed.Employing the services of Releece’s childhood homie Matt Silberman on sax and MIDI flute, and CL Behrens‘s on bass trombone, the dynamic duo piloted the pilgrimage into the portal. “Hirohito” transported us back to the opium dens with its Persian perfume and minimalist instrumentation, “Way Down” was a deafening dirge equal parts New Orleans and Nostradamus. Reece and Adam brought back a couple beloved edits, “Hard Time” (Seinabo Sey) got mashed with “Sum Luv,” and their third remix! of Lorde’s Tears for Fears cover “Everybody Wants to Rule the World.” An-ten-nae’s medicinal mayhem courts the frayed ends of sanity, Releece’s beats the perfect foil; together sharp as “Ginzu” the “Saints” howled “What the F*ck?” at a “Crunk Moon.”Despite a penchant for the heart filling and emotional  (Yaarrohs’ pensive “Find a Way” and ghostly, longing “Stay”), it would be their larger-than-life take on Kendrick Lamar’s colossal “DNA” that “destroyed” Lightning in a Bottle. “They got dark, and then got evil, It’s inside their DNA!“ Dimond Saints reminded us all with a ten-ton sledgehammer that they still can uncork blood-curdling cannon blasts of conscious anthem-trap, when they find themselves with a few extra f*cks to give. The Saints and their squadron were rewarded with an eruption they won’t soon forget. With that, these Oakland avengers theatrically unmasked, embracing their vulnerabilities, writing the first notes of their next chapter, and boldly revealing themselves as the true rhythm stars.Photo: Sherman WellonsBob Moses, Saturday night at the Lightning StageImmediately following the Saints séance, we hustled to the massive Lightning Stage for the groovy live house of headliners Bob Moses. Originally a minimalist deep-house duo from Vancouver, Jimmy Vallance (keys) and Tom Howie (vox and guitar) have fleshed out their live performance into the realms of rock gods, without sacrificing a sliver of vibe or aesthetic. Having seen them on a recent club tour, I found myself curious about how the enormous scope of this stage and their Saturday night primetime slotting would transmit into their set. This was lost on neither the group or the shimmying thousands who had assembled, and both factions rose to the occasion with hella pomp, given the circumstances. With the addition of powerhouse drummer Joe Zizzo, Bob Moses has successfully transmutated into a full-fledged band, their meditative deep-house ocean dives spiraling into fits of arena rock bombast. From the opening jam “Like it or Not”, to the early era’s reflective reverberations within “Far From the Tree”, the duo plus Zizzo mainlined the vibe from a loaded-rig dripping in sultry. Highlights from this raging rock concert of four-on-the-floor frenzy included “Days Gone By,” “Winters Song,” the haunting gamesmanship within “Grace,” and the swaggering hit single “Tearing Me Up.” Nothing but pride and admiration for the fashion in which these boys have navigated Mt. Zeitgeist, and damn if they don’t look real cool doin’ it, too.Photo: Michael RoushKaytranada, Saturday night at the Lightning Stage Somehow, we mustered up the intestinal fortitude required to rage the final stage of this night’s legendary Vibe Olympics. The stretch run arrived in the form of Kaytranada‘s ninety-minute, slow’d n’ throw’d journey into the bountiful bosom of House n’ B. The Haitian-born (by way of Montreal) “Dilla of House” managed to up the ante, delivering a fun yet ferocious dance party of prodigious proportions. Beginning with “Despite the Weather”, an orgasmic slab of stutter step electro rare-groove, Kaytranada was a sorcerer of smooth, unveiling one luscious slow house heater after the next. Rihanna’s “Kiss it Better” and Teedra Moses’ “Be Your Girl” were souped up with vital ingredients and given the Kaytra treatment. The homie brought the CHI-town vibes with some Roy Ayers and had a look through AlunaGeorge’s “Kaleidescope” taboot.As the set pulsated its way into the night, Kaytranada was nothing if not careful about having “One Too Many,” but a “Meditation” led to otherworldly “Vivid Dreams.” Funky guitars and a First Ave groove unleashed half-time arpeggiated analog synths — this was a “Breakdance Lesson” ten thousand strong. By the end of this mouth-watering set of the sexiest music heard all weekend, just about every last dancer looked like a pharaoh. The mad scientist manning the decks must have seen the same, because he forwarded a titanic version of the Anderson. Paak collab “Glowed Up”, a herculean housequake that threatened to decimate the entire premises. In a classic example of last night a DJ saved my life, Kaytranada last-responded with a flamethrower; calling out to rhythm nation and the ghost of The Ummah alike with his torrid, damiana scented remix of Janet Jackson’s tantalizing come-on “If.” Lightning in a Bottle may tout itself a Leave No Trace event, but as the sexy trifecta of Dimond Saints > Bob Moses > Kaytranada came to a close, there were more than a few pairs of panties dropped, strewn about the lawns as far as thine eye could by Eric Jon De Leon A whirlwind of divergent and reverberating energies surrounded the behemoth festival, Lightning in a Bottle, during her 2017 incarnation, an alchemy that made the event’s cultural and artistic achievements all the more remarkable. Venerable LA conglomerate The DoLab is an ever-evolving force of nature — the minds, body, and soul of Lightning in a Bottle — realizing the festival and its ethos and vision into fruition each and every year. With a dedication to art, progressive social movements and justice, community, the environment, yoga, and education that rivals any other gathering of its kind, Lightning in a Bottle has established itself with such impact that The DoLab has pivoted to more contemporary, gen-pop events like their wildly-popular presence at Coachella.Some chatter in recent times threw a little shade at The DoLab, thinking that its Coachella influence has invaded or pervaded Lightning in a Bottle. One cannot deny the sense of a community’s lowest-common-denominator, or maybe that’s just the radical inclusion that The DoLab mined from its Black Rock City genetic code and inspiration. The assembled twentyish-thousand ravers, hippies, revolutionaries, shamans, ex-patriots, b-boys, and b-girls certainly included some low-hanging fruit, and a brief peruse around the festival grounds revealed more than a few bros and sparkleponies, too. It seemed that the brand-new, shimmering lake filled with water for the first time since the festival has resided in San Antonio Recreational Area made for more than just an oasis in the formerly dusty expanse; it brought people together, along with their floaties and an abundance of good vibes. All things reconsidered, the congregation that decamps to Bradley, CA each Memorial Day weekend for Lightning in a Bottle is among the most compassionate, colorful, vibrant, open, forward-thinking, tolerant, sexy, and enjoyable festival communities that this writer has had the good fortune to enjoy.The Official Lightning in a Bottle 2017 Aftermovie! At Lightning in a Bottle, so much can be told and written about the plethora of cross-cultural ceremonies, culinary art, and holistic awakenings. Roaming around the enormous venue, one could simply enjoy all the non-musical options for the duration of the festival and depart full and happy. Among the most treasured and powerful gatherings is around the Sacred Fire, a wonderful communal space for humans to connect, pray, or just be. On the fun and games side of the equation, there’s the Soap Box Derby; giant Skee-Ball; Sitcommune, which is a hip-hop puppet show presented by The Fungineers; late-night speed dating; Highlove Vitality Elixir Lounge, a burlesque/carnival/psychedelic/steampunk/circus elixir bar with live music and dancers; the infamous Amori’s; an interactive lysergic hotel called The Lightning Inn by Imagine Nation; Android Jones Samskara VR experience; and those are just the tip of the proverbial lightning bolt, if you will. Climbing Poetree, Friday afternoon at the Lightning StagePhoto: Sherman WellonsOver several performances, crowned by a powerful ceremony on the main Lightning Stage, revolutionary hip-hop goddesses Climbing PoeTree reached deep into the hearts and minds of those assembled. Spitting flows fantastic, educating and elevating with potent themes of awareness and justice, co-creators Alixa Garcia and Naima Penniman made their presence and messages felt with hip-hop authority through multi-voice spoken word, beats and rhyme play, along with a hybrid live band throwing the urban riddims alongside world music. Vocalist Gina Breedlove brought an element of royalty to the proceedings — a humble yet commanding stage presence regal in voice and spirit. These wonder women were augmented by keyboardist Kevin Njikam, Audiopharmacy’s Teao Sense (musical director, DJ, multi-instrumentalist), Desirae Harp (vocals), and killin’ drummer Ahmed Regab. Zena Carlota played the kora, and Ross Plunkett trumpet. Berkeley-based activist/musician Lydia Violet sang beautifully, plucked clawhammer banjo and coaxed tear-jerking tones from her violin.CharlesTheFirst, Friday afternoon at the Thunder Stagephoto: Eric Jon De LeonPsychedelic bass grommet CharlesTheFirst‘s ascent to the proverbial big time has more than just his name in lights; it could be described as rapid, meteoric, and most definitely deserved. The young Jedi took the decks on a splendid, sunny Friday afternoon and delivered a confident set that was rich in his trademark atmospherics, with hip-hop cadences and rumbling roots underneath subaqueous synths and sampling — a British woman whispered of being lost, but she knew nothing of our descent. A transfixed Thunder Dome trusted this touched sonic philosopher to navigate this vessel as he saw fit; we followed Sir Charles on a ravenous run through a forest with no name.  Key track: “Versicolor.” Photo: Alyssa KeysPhoto: Sherman WellonsPhoto: Sherman WellonsPhoto: Sherman WellonsIn a sort of controversy that I am neither informed enough nor remotely inclined to discuss (but as a reporter simply must acknowledge, The Temple of Consciousness, a beloved spiritualized, educational space for many years at Lighting in a Bottle, did not return for 2017). There is a deep divide (and legal entanglement) between the brilliant, passionate people who gave birth to the festival and created its Temple. This year, the superheroes of Living Village Culture, along with many other collaborators, unveiled The Compass in place of the former Temple. The results were, in a word, astounding. Look out for a feature on the inaugural Compass at Lightning in a Bottle 2017 from renowned journalist Maria Herrera.Beyond all of this and so much more, Lightning in a Bottle is still a music festival, first and foremost. And this is Live for Live Music, which is what I do, and why you’re here. Last year my mission was an ambitious one, as I attempted to “review” the entire festival; an exercise in futility as Lightning in a Bottle is too enormous of an undertaking for any one writer or article. Nonetheless I did my best to paint the full portrait, and you can check that out here. For Lightning in a Bottle 2017, I am taking the inverse approach, especially since our trip was short, we raged, raved, and readied ourselves for revolution in all of about 75 hours onsite. Sadly, we were forced to miss most of Sunday; that meant FOMO for flaming hot sets from Naughty Princess, MORILLO, and Bonobo, both the live band and a festival-closing DJ set at the Pagoda Bar. For these aforementioned reasons, and in the spirit of brevity and potency, the forthcoming review is merely one version of an LIB excursion; here is but a smattering of the fantastic music we encountered at Lightning in a Bottle 2017. I encourage readers to seek out the dozens of other accounts of this incredible festival available all across the interwebs.ThursdayThursday night at The Beacon StageAs Lightning in a Bottle 2017 got going in earnest, there was a flurry of under-the-radar sets that had the dancefloors buzzin’ deep into the evening. Bass culture mafioso ChrisB. (LA) and an-ten-nae (Bay Area) tested new joints in back-to-back sets at Pagoda Bar, a side-stage that saw the cutting edge in low-end theory all weekend long. Yet it would be the new Beacon Stage that played host to a carnival of color and style for a lengthy Thursday night run, beginning just before 7 p.m. with the celestial Yaima and flowing all the way ’til the delectable deep-house duo KMLN pulled the train into elevation station after 4 a.m.. Between those bookends, the Beacon saw three diverse sets forwarded by some of the newest NorCal sheriffs in town. Nevada City world music adventurer Brian Hartman threw down a global groove with help from Kr3TURE on sax, while the steeziest hip-hop krewe to come through since who knows who, Jumpsuit Records phenomenon Ultimate Fantastic, showed and proved with a slammin’ live set, stealing hearts like thieves in the night. However, consensus would have the night belong to the man they call Aabo. The Oakland-based producer/multi-instrumentalist Aaron Bortz continued to stay three steps ahead while laying back in the cut with his feet on the dash. The future is bright for this fresh talent who slayed on opening night. On Friday evening at The Beacon, a similar cast of NorCal characters showed up to support and sit-in with Jumpsuit’s resident vibeologist saQi, as frequent collaborators KR3TURE, Pharroh (of Ultimate Fantastic) came through, along with Nevada City style queen and femcee Deva Carolina.Photo: Alyssa Keysphoto: Alyssa Keysphoto: Alyssa Keys Photo: Juliana BernsteinSaturdaySaturday morning, as I ambled homeward bound in a blissful, if somewhat dissociative malaise and the purplest of hazes, just before the sun rose, I stumbled upon the most grandiose, theatrical karaoke stage and studio one could ever imagine. After Dark Karaoke was the Disney World of karaoke joints, and was literally under a bridge downtown. Shout out to the dude who, at the stroke of 5 a.m., donned the requisite pink apparel and attitude and mighty-morphed into Harlem hero Cam’ron. A circus-tent Cameron Giles spit a method-acted perfect rendition of the Dip Set champion’s huge call-and-response hit “Hey Ma!”, complete with his honey in the front row answering every “I smoke” with its “me too,” every “let’s slide” with its requisite “alright.” Granted, they had the words right in front of them, but still, they sure as hell got it on toniiiiiite!Late Saturday night, on a similar wander’bout though of different geography, we came upon a full-blown rap cipher going down in the middle of town. I recognized one of the emcees voices immediately: Jackson Whalan, who is no stranger to a freestyle battle or a SNAG situation. Whalan was in the company of emcees Narayan from Zion, J Brave & Guido from Luminaries, conspiracy king Truth Now, and the beats and rhymes were powered by a bikrophone sound system (bike powered) pedaled by none other than the ubiquitos Cello Joe. Members of this very same rap krewe were on hand when Guayaki hosted a hip-hop throwdown Sunday at sundown and the Yerba Mate masters played host to the essence of the culture in a peculiar, if not perfect, location. center_img photo by Eric Jon De Leon Elephant Revival and ORGONE, Friday evening at the Grand ArtiqueNederland, Colorado folk family Elephant Revival put on a glorious performance at The Grand Artique, over in Frontierville — a cowboy town revisited. The group’s ornate instrumentation was a welcome respite from the gobs of EDM bass droning into the sky, and their vocal harmonies soared majestic throughout a set that included covers of Jefferson Airplane and Pink Floyd. Immediately following, LA garage-funk stalwarts ORGONE stormed Frontierville and sauntered through a spicy, sizzlin’ set of 70s smooth grooves. Despite the absence of founder/guitarist/swag institution Sergio Rios, ORGONE soldiered through and sent us off for sunset with a slug of the vintage.Photo: Michael RoushBarclay Crenshaw, Friday night at the Thunder StageLast year, it was Jamie XX who came out of left field and socked me good (admittedly, I had been living under a rock). This year, that holy shit! set came courtesy of one Barclay Crenshaw. The kitchen-sink alter-ego of Dirtybird mayor, Claude Von Stroke, Crenshaw detonated the Thunder Stage on Friday night with a chunky set of bangers. Leaning heavy on the golden-era of NYC hip-hop, Crenshaw flipped Busta Rhymes’ ginormous “Woo-Hah, I Got You All in Check” over the iconic DJ Premier’s nebulous, neck-snappin drums and sample chop (Funk Inc.’s “Kool is Back”) on Jeru the Damaja’s 1994 classic “Come Clean.” I mean…. Seriously?! Respect to the dude for bringing the ruckus twenty years later, as he continued the Big Apply bully squad with blends from A Tribe Called Quest, Jay-Z, and more. He mixed in originals too — electronic-leaning rap music from his self-titled debut LP. Later, Crenshaw deviated into some lush, jazzy jungle of the same 90’s era, a smidgen of Bukem breaks and Cujo styles. There were trunk-rattler 808s and booty-bass rollers that would see Masta Ace reborn, and Barclay winked at footwork and juke but never gave up the digits. To bring his magnanimous set to a close, Barclay Crenshaw did the unthinkable: he cued up the everlasting Slick Rick narrative “Children’s Story,” released on Def Jam back in 1987. Thirty years! The cops ‘n’ robbers action flick gone nursery rhyme was older than two-thirds of the kids raging the Thunder Dome. No remix, no edits, not a bell or nary a whistle. This DJ played the OG record, and let that shit hoo-ride out into the night, and then he rat-a-tat-tatted, and all the peeps scattered. On the straight and narrow, our soul was cast.Photo: Eric Jon De LeonTroyBoi, Friday night at the Thunder StageBritish trap-warlord TroyBoi and his “world fusion trap hybrid” was among the most anticipated sets for many at Lightning in a Bottle 2017, and the teeming masses that showed for his just-after-midnight marauding at the Thunder Stage were clearly ready to rumble. The bombastic bloke’s set was a futuristic fury of colossal drum patterns and atomic bass, dialing up nuclear tunes from behind the board, then running to the front of the stage to get hype. Mixing in his own “OG,” “Grimey,” “Du$h,” and “7th Sense,” and utilizing a snake-charming Japanese pan flute in “Sensei,” TroyBoi’s unique concoctions embody the globalization of electronic music on hydroponic steroids. The robust DJ is on record that his heart and now his home, are in the States, and Troy has been taking a deep dive into the U.S.’s bottomless well of Black Music history. This was evidenced with “Wallz,” a juicy jam based off Michael Jackson’s swaggadelic “Off the Wall,” three minutes of hyper-sexualized heaven. With collabs from dubstep emperors Flosstradamus (“Soundclash”) and Dirty South hero Waka Flocka Flame (“Too Turnt Up”), TroyBoi was deep in these streets and had the kids wylin’ out with a reckless abandon that would have even the cagiest ragers quivering in their LED Air Yeezys.Photo: Eric Jon De Leon Too Many Zooz, Saturday late night at The Grand ArtiqueThe remaining hours were but a blur of sound art, movement, and colors in the void. New York City subway kings Too Many Zooz enthralled a capacity crowd at The Grand Artique beginning at 2 a.m. going nearly til the morning. If Manhattan 50’s hard-bop hit a base pipe, scarfed down a muffalata in New Orleans, and then beamed to Berlin’s Love Parade, that would possibly hint at the artistic intestines of Too Many Zooz. For almost two hours, the trio of Leo Pellegrino (baritone saxophone), Matt Doe (trumpet), and David “King of Sludge” Parks (drums) brought their aggressive brand of brass-house and sonically cyber-bullied their way into Frontiersville, sending every last reveler home happily tarred and Karl BabaVokab Kompany, Saturday late night at Amori’s Casino and BurlesqueAt the tail end of this adventure, a tradition like none other scored by the avant-garde and hosted at a mecca of progressive, psychedelic culture, we happened upon a late-night, speakeasy burlesque casino. The joint was outfitted with a live music venue and fine dining, its inhabitants partied deep into the night. The proprietor and establishment’s namesake Amori was a balloted mayoral candidate in Los Angeles. Vokab Kompany, a San Diego live hip-hop krewe, torched a packed Amori’s til the wee hours. Bringing a decade-deep catalog of poignant, emotional raps and funky, bass-heavy EDM jams at a transformational music festival in Northern California. Vokab Kompany, fronted by emcee/vocalists Matt Burke aka Burkey Baby and Robbie Gallo aka Rob Hurt, are a definitive SoCal institution, all the cool, genuine parts of Linkin Park rap-rock chemistry, and devoid of the Hot Topic queso. The amber-hued energy and sophisticated Spicoli surfer-steez called to the ghosts of Bradley Nowell and Andy Irons. Vokab Kompany was powered by a robust backing band; Vikingo Burkhiser (Bass Guitar), Tyler Olson (Drums), Geoff Nigl (Keyboards), Jesse Molloy (Sax), and Richard Galiguis (Guitar) were nothing short of a clinic in synergy. A perfect resolution to an epic ten-hour stretch of dancefloor adventuring and human connection.Photo: KraussSundayBrian Hartman, Sunday afternoon at Favela BarNevada City, CA is home to many a superb selectah, yet Brian Hartman brings a special brand of blessed. When I first encountered him, he was pretty entrenched in playing choice, succulent deep house. Over the past four-ish years, Hartman has renewed his fervor for live instrumentation and world music of interest to him in his halcyon days discovering music, then back-burnered a bit as he settled into a certain lane. Travels around the globe to perform at a diverse array of music festivals has brought his focus back to world music flavors, and it has revolutionized his sound and setlists, making him one of the more in-demand DJs in the region. Boy, can this man move the crowd! On a beautiful afternoon at Patricio’s phenomenal hang Favela Bar, Brian Hartman returned to a perch he knows quite well.On the final full set I took in at Lightning in a Bottle 2017, the NorCal dance floor arsonist found that perfect balance, that delicate ratio of bliss to bump that he’s been seeking. Between the global riddims and cross-cultural consciousness, Hartman delivered a soundtrack intertwined with the sensual, frenetic energy, and bottom-end oomph inherent in his (former) blend of deep house. Yet he sacrificed little world music aesthetic whilst pushing the subs with authority. Like Dimond Saints the night before, Brian Hartman finally got it all dialed in, and the people responded purposefully and vigorously — the only way we know Alyssa Keys (from Beacon set)Big thanks and gratitude to Lightning in a Bottle and it staff, volunteers, and tremendous community. The artists, the speakers, the chefs, and the tweakers, you are what makes this festival flow. The DoLab, please don’t ever change — the Flemming brothers’ dreams and dedication are appreciated and celebrated, all the way around the globe. Respect.Photos: Alyssa Keys, Karl Baba, Michael Roush, Eric Jon de Leon, Krauss, Juliana Bernstein, Jacob Avanzato, Sherman Wellonslast_img read more

first_imgToday, Google is celebrating the “Birth of Hip Hop” with a history lesson from Fab 5 Freddy. The story goes, that on August 11, 1973, a DJ named Kool Herc threw a Back to School party in the Boogie Down Bronx that changed music as we know it. Using two turntables, he extended the instrumental breaks, allowing people to dance longer, a style that became known as breakdancing. Next came the MC, the Master of Ceremony, who added rhymes over the beat to get the party going and flowing. In the years since DJ Kool Herc’s first party, hip hop culture has become a major force across music, art, culture, and more.At the end of the visual storytelling, Fab 5 Freddy guides users through an interactive lesson on how to DJ. With a turntable and record crate full of classic beats, users are taught the basics of crossfading, scratching, and more. Now everyone can be a DJ! Head to the Google homepage to learn more about Hip Hop’s origins, and have fun creating your own beats.last_img read more

first_imgFor decades, Ben & Jerry have been making delicious ice cream, paying homage to their favorite musicians, and educating the masses on important societal issues in the process.  The Vermont-based ice cream magnates have never been shy about their appreciation for the jams, with flavors like “Cherry Garcia,” “Phish Food,” “One Love,” and more serving as  a tip of the had to hippie-friendly legends like The Grateful Dead, Phish, Bob Marley and more. Now, the company has announced the debut of a new “limited batch” flavor called “One Sweet World,” an apparent nod to the Dave Matthews Band song of the same name, to benefit those striving for racial and economic equality in our country. The limited-time flavor consists of coffee caramel ice creams with fudge chunks & swirls of marshmallow & salted caramel.Grab Some Ganja And A Pint Of “One Love,” Ben & Jerry’s Newest Flavor, In Memory Of Bob MarleyAccording to the flavor’s page on the Ben & Jerry’s site, “From LGBTQ rights and marriage equality, to Occupy Wall Street, Ben & Jerry’s has used the power of its business to motivate its fans and promote policies that advance the cause of social justice. This commitment is as strong today as it has ever been. As part of that commitment, Ben & Jerry’s will donate a portion of the sales of One Sweet World to support those working at the intersection of economic and racial justice.”Ben & Jerry’s Announces “Freezer Reprise” Ice Cream To Honor Phish’s Baker’s DozenThe campaign is part of their “Dig Deeper” initiative, described by the company as “a journey to better understand the issue of race in our country, to acknowledge the existence of systemic racism and the implicit biases that all of us carry—and to join hands and move forward together.”HeadCount And Ben & Jerry’s #VoteLocal Baker’s Dozen Photo Booth: By The NumbersAlthough Dave Matthews Band’s name isn’t directly tied to this batch, the connection between Ben & Jerry’s “One Sweet World” is relatively blatant. Matthews has an existing relationship with the ice cream makers (he has his own official flavors “Dave Matthews’ Magic Brownies” and “One Sweet Whirled”). The allusion to the DMB song also resonates with the band’s own recent humanitarian efforts. In the wake of the racially-motivated violence in their hometown of Charlottesville, VA this summer, Matthews reunited his full band for the first time in over a year along with Stevie Wonder, Pharrell Williams, Justin Timberlake, Chris Stapleton, Ariana Grande, The Roots, Brittany Howard, Cage The Elephant, and more at UVA Scott Stadium for the “Concert For Charlottesville, a benefit show meant to serve as a call for unity in a time of hate and violence.You can read about the limited Ben & Jerry’s “One Sweet World” Ice Cream flavor here. For more information on the company’s racial equality promotion efforts via their “Dig Deeper” campaign, head to the initiative’s website.Listen to the sunny sound of late saxophonist LeRoi Moore on “One Sweet World” from the band’s acclaimed “Live At Piedmont Park” live album below: While Dave Matthews Band continues their temporary live hiatus, fans can still catch Dave with guitarist Tim Reynolds at Dave and Tim Riviera Maya, an all-inclusive Mexican resort destination event set to take place  January 12-14, 2018 in Riviera Maya, MX. The three concerts will take place at the Barceló Maya Beach Resort, sitting on a mile-long stretch of white sandy beach that features breathtaking landscapes and pools scattered throughout the property. The weekend will also feature performances from Brandi Carlile, Bela Fleck & Abigail Washburn, and Joseph.For more information, or to purchase tickets, head to the event website.last_img read more

first_imgThe Big What? is back this year for its seventh year and slated to take over Pittsboro, North Carolina, toward the tail-end of summer. Running from August 16th through 18th, the festival serves as a home base to jam band up-and-comers BIG Something. BIG Something will play all three nights of their festival in addition to performances by other favorite acts from the jam scene. The recent announcement of the full festival lineup reveals that the weekend will also feature performances by Sunsquabi, TAUK, Cory Wong of Vulfpeck, Consider The Source, Funk You, Joe Hertler & The Rainbow Seekers, Dr. Bacon, Becca Stevens, and many more, plus secret late night sets by mystery artists.As the band shares in a press release:“We are really excited about The Big What? this year. BIG Something will perform more sets than ever before and we’re already working on some great new material and surprises to debut at the festival. We really love getting creative with our fans and turning the festival into one big art project. This year we hope to take that creativity to a new level.”Check out the lineup below, and head to the band’s website for more information.Last week, BIG Something released their 5th studio album, The Otherside, a follow-up to 2017’s Tumbleweed, the band’s most critically-acclaimed release to date. BIG Something will celebrate the release with a two-night performance at Greenfield Lake Amphitheater in Wilmington, NC during their The Big What? Wilmington event on April 27 & 28. Check out the band’s full tour schedule below.BIG Something Tour Dates:4/27 – Wilmington, NC @ The Big What? Wilmington4/28 – Wilmington, NC @ The Big What? Wilmington5/5 – North Charleston, SC @ Trondossa Music & Arts Festival5/18 – Savannah, GA @ Barrelhouse South5/19 – Atlanta, GA @ Terminal West5/25 – Covington, KY @ Octave5/26-27 – Chillicothe, IL @ Summer Camp Music Festival5/31-6/2 – Minden, WV @ Mountain Music Festival6/15 – Augusta, GA @ Sky City *6/16 – Birmingham, AL @ Slicefest6/21-24 – Rothbury, MI @ Electric Forest Festival6/28-7/1 – Rothbury, MI @ Electric Forest Festival6/29 – Boston, MA @ House of Blues **7/14-15 – Telluride, CO @ The Ride Festival7/15 – Telluride CO @ The Night Ride @ Sheridan Opera House7/19-22 – Scranton, PA @ The Peach Festival8/16 – Pittsboro, NC @ The Big What?8/17 – Pittsboro, NC @ The Big What?8/18 – Pittsboro, NC @ The Big What?8/25 – Arrington, VA @ Lockn’ Festival1/10-1/14 – Runaway Bay, Jamaica @ moe.’s Tropical Throedown* w/ Too Many Zooz** w/ Umphrey’s McGeeView All Tour Dateslast_img read more