Some of bluegrass’ finest have been tapped to play the 5th annual Spring Pickin Bluegrass Festival in Biglerville, PA, this April 28-May 1. Sitting atop the lineup is multi-instrumentalist Drew Emmitt of Leftover Salmon and his band, which will be made up of fellow LoS members Andy Thorn, Greg Garrison and Alwyn Robinson as well as Tyler Grand.In addition, fiddle player of The Infamous Stringdusters, Jeremy Garrett, will lead his own ensemble of pickers during his “Bluegrass Coalition” set made up of Larry Keel, Andy Thorn, Barry Bales of Alison Krauss & Union Station and Jacob Jolliff of Yonder Mountain String Band. Flatpicker extraordinaire Larry Keel is also scheduled to play a Jerry Garcia tribute set, and for the late night crowd, your prayers will be answered with “The Latenight Pickers Ball” hosted by Drew Emmitt and featuring guests Pappy Biondo (Cabinet), Johnny Grubb, Roy Williams, and more. Check below for full artist listings to date.Tickets for the 5th annual Spring Pickin’ Bluegrass Festival are on sale now and can be found here.
A number of musicians will be feeling the Buffa-love, as the annual Buffalove Music Festival has shared their initial 2016 festival lineup. Held in Westfield, NY from July 29-31, a new location and date, the festival will see headlining sets from EOTO (Late Night), Aqueous (2 Nights – 4 Sets), Particle, Pigeons Playing Ping Pong and more.The initial lineup includes Jimkata, Consider The Source, Funktional Flow (4 Sets), Broccoli Samurai, Tropidelic, Smackdab x2, The Buffalove SuperDiscoJam Late-Night, Mister F, Gang of Thieves, Space Junk x2, Slip Madigan x2, Adam Bronstein’s Freehand Band, Blue Rootz, Gnosis, Luanjie x2, AjamajA, Sonder x2, Folkfaces, and PA Line.With a full lineup due out in a few weeks, this initial sampling already has us excited. For more information about the festival, head here.
Few people are as tied to the San Francisco music scene as the great Jerry Garcia. With the resurgence of the Grateful Dead in recent years, it’s no surprise that the city wants to install commemorative plaques near where Garcia grew up, recognizing his role in both music and San Francisco history.The plaques were initially conceived in July of 2014, but discussions over designs, waiver fees, and more stalled the project. However, the design has finally been settled, combining a famous photo of Garcia from Rolling Stone Magazine and an image of Garcia’s house from his childhood days in the Excelsior District.Check out the commemorative plaque, designed by Beth Byrne, below:According to the report in the San Francisco Examiner, the plaque will be placed near two of Garcia’s childhood homes, one with his parents on Amazon Ave. and the other on Harrington Street. A handful of hurdles still need to be cleared, including the selection of the specific 3′ by 3′ sidewalk area for each plaque. City officials believe this will be completed in August, a significant month for fans of Jerry Garcia.District Supervisor John Alavos is spearheading the project, and wants to get it done before his term ends in December. In the article, he says, “What a long strange trip it’s been.”
Despite an entire album and movie named after it, the Beatles song “A Hard Day’s Night” had not been performed since a San Francisco, CA show in 1965. That all changed last night, when Paul McCartney opened up his One on One tour at the Save Mart Center in Fresno, CA.For his first-ever stop in Fresno, McCartney revived “A Hard Day’s Night” for the very first song selection of the night. Watch video below, via SSTLSD:The set featured a number of bust outs, including the first-ever solo version of “Love Me Do,” and a handful of songs that hadn’t been seen in some time, like “Here There and Everywhere,” “You Won’t See Me,” “I’ve Got A Feeling” and more. He also performed “FourFiveSeconds,” a collaborative track released with Kanye West and Rihanna, as well as “Queenie Eye” from his newest solo release. You can see more information on the setlist.fm listing below.Watch a handful of videos from the night:In Spite Of All The Danger / You Won’t See MeMaybe I’m Amazed (Partial)First half of the concert:Setlist:Edit this setlist | More Paul McCartney setlists
In 2002, Indianapolis Colts owner Jim Irsay made headlines by dropping close to one million dollars for the famed Tiger guitar used by Jerry Garcia from 1979-1989. The guitar had been kept on display in both Indiana museums and Irsay’s office throughout the years, but now it’s getting a new use: Dead & Company.The band, who just kicked off a summer tour with a free show in San Francisco, was contacted by Chris McKinney, who curates Irsay’s rare guitars and collectibles. Irsay sent the Tiger guitar to the Dead & Company rehearsals, though it has not yet been played, according to McKinney. The guitar only arrived yesterday afternoon, and the band had a show to play after all!According to the report in Indy Star, the guitar was sent for Dead & Company guitarist John Mayer to use in rehearsals and on tour. With Dead & Company’s tour heading to the Klipsch Music Center in Noblesville, IN on June 17th, the potential for Tiger’s appearance is at an all time high.“You know, the guitar was made to be played,” Weir said in a press conference back in April. “Even if it someday ends up in a museum, I think half the time it should be trotted out and played, because that’s what it was built to do. I know that Jerry would feel that way.” Weir went on to say that he would like to hang out with Irsay, and commented, “Hopefully he’ll be in town when we come through Indianapolis.”
It’s staggering to realize that Neil Young has been making music for close to two complete generations now, and even more so when you take into account that the quality of his work has been so consistently impressive. In the fifty years that have passed since helping found Buffalo Springfield, he has managed to already be inducted into the Rock And Roll Hall Of Fame twice. Young has served as a rabble-rouser, fighting for the common man, for sanity, for peace and for the opportunity to speak to the world. On his newest release, EARTH, with his band, Promise Of The Real, he’s decided that the best way to get his message is live and uninterrupted.On the double live album EARTH, the fiercely iconoclastic Young shows he is still incapable of doing anything the normal way. The many windmills he’s tilted at over the years range from payola, toy trains and alternative fuels. Buy an iPod like 99% of the planet? No thanks, I’ll just make my own. Time to release a double disc live album? Cool! But let’s be sure to overdub a bunch of animal noises and a human choir afterward.! Then again, this is an artist who released a concept album of discordant noise to fulfill a record contract and thumb his nose at his record label, so fans should be pleased that he chose a more positive, but still unique, way to elevate what is usually a by-the-numbers endeavor to a higher plane of artistic achievement.In a sense he is sampling life itself, and laying it into the mix like any other instrumental track. The crashing thunder and rain that come alive at the start of the album’s initial track, “Mother Earth,” give way to a bayou-like sonic landscape that itself falls in behind a breathy harmonica. Layers of transitions transform the stark live performance into what seems like a blessing, a musical incantation of intention. Using the animal sounds as thematic hints and harbingers of the music to come, EARTH is a seamless mixing of the natural world and the concert stage.Though recorded during his recent Monsanto Years tour, there are songs from throughout his extensive catalog represented here, reaching as far back as 1970’s After The Gold Rush with other prominent stops between. In Promise Of The Real, Young has found himself a set of dream collaborators: a group of earnest, intellectual players whose musical vocabulary and dexterity defy expectations. Perhaps it has something to do with pedigree, with a pair of Willie Nelson‘s sons and demonstrating a far rockier approach than their legendary father. They’re quite good and very capable of delivering a solid back bone that has the aging guitarist looking and sounding feisty.Not afraid to shy away from the longer tracks, EARTH has versions of “The Monsanto Years” and “Big Box” that clock in at nearly ten minutes. But that doesn’t touch the indulgence of the twenty-eight minute rendition of the tune “Love And Only Love.” Acting as both the centerpiece and finale, the song shows Young at his absolute guitar best, aided by fellow six-stringer. Allowing the tune to bubble rise and fall gives Young spare musical real estate to make his plea for love. The echoes fade to a chorus of nature itself cheering and having the last musical word on the piece. While EARTH has an original concept and sterling execution, there is a flaw or two to be found. The biggest drawback of the artistic conceit of rewriting the performance afterwards is that it makes lies of the cheers heard throughout the discs. The audiences reactions are used for different purposes than originally intended. It’s a minor quibble, but it does raise an interesting question. Is Young, essentially remixing his own material? Has he become the mellowest DJ ever, dropping actual thunder instead of synthesized bass?Whatever your viewpoint, Young has created something new, and for that he is to be applauded. His music sounds as vital as ever with the fresh blood of his backing band and the addition of deeper sonic territory is a welcome softening of Young’s often rough edges. He stays away from merely aping the barnyard flourishes of The Beatles tune “Good Morning Good Morning,” making them more a legitimate piece of the musical equation. They rise and fall and crowd out the manufactured to show the sheer power of the natural. The choral colorings provide a sense of not only grandeur but aspiration.The songs that make up EARTH are all laments and messages in bottles. Messages sang by a familiar, raspy voice accompanied by a signature sound and a pack of hungry young road dogs. And in the lead as the alpha he has always been, Young shows to impressive effect that old dogs can learn new tricks, especially for a cause they truly believe in.
Guitar prodigy Brandon “TAZ” Niederauer is the busiest 13-year-old you know. Along with a constant stream of sit-ins with the likes of Gregg Allman, Warren Haynes, George Clinton, Gary Clark Jr., The Neville Brothers, The Nth Power, Twiddle and more, TAZ currently plays Zach in the Tony-nominated Broadway production School of Rock: The Musical, impressively covering lead acting and guitar playing duties.In celebration of Independence Day, School of Rock has posted a video of TAZ (rocking a red white and blue bandana) shredding a solo rendition of “The Star Spangled Banner,” reminiscent of Jimi Hendrix’s iconic sunrise performance of the national anthem at Woodstock Music & Art Fair in 1969.Check out the video of Brandon’s “Star Spangled Banner,” as well as Jimi’s version, below: Happy Fourth of July!
Load remaining images That warm feeling when you go down a hill, and as you gain speed, and race toward the bottom, it hits your stomach, fires off your pleasure receptors, and sends you into a state of euphoria. Leon Bridges gives you that same feeling when he comes out on stage and begins to work the crowd, and did so at The National in Richmond, VA when he performed last night.Passing through security, ticket in hand, fans shuffled inside, eager to hear a new take on the soulful sound of the singers past. Bridges takes you for a ride back to when men wouldn’t walk outside to the mailbox without being outfitted in a sharp suit and hat. Right from the start, everything was “Smooth Sailin” before getting a little “Out Of Line” with a “Whole Lotta Woman” and a “Pull Away” into a short musical break. Then came “The Juice,” which squeezed into “Better Man,” before he found his way into the hit song, “Brown Skin Girl.”Bridges, 27 years old, sings soulful songs similar in style to Sam Cooke and the R&B sound of the 50’s and 60’s. Hailing from Fort Worth, Texas, Bridges carries himself with the style and pose of a true Southern gentlemen. He doesn’t just dress the part. Bridges made sure to take time during the show to give a shout out to his Mother (like a true good mannered southern gentlemen), as the next song in the set bore her name, “Lisa Sawyer.”With a shout out to the band’s home state of Texas, Leon and his band fired things up with a twangy Texas slide guitar heavy tribute to the Lone Star State, “Texas Sun.” “Hold On” and “Flowers” came next, as Bridges and his six-piece backing band got the entire audience “Twisting and Groovin.” Bridges announced to the audience that the next song was written in 2012 at his mother’s house, as “Coming Home” starts off with Brittani Jessie laying out some beautiful vocals before Leon came in and delivered the sweet soulful sounds of the title track to his Grammy nominated debut album. The audience even got into it and began singing along, as he turned the mic on the audience for some fun call and response type vocals. Bridges was clearly loving it, mentioning to the crowd that he’s never had audience participation like that of the crowd at the sold out historic Richmond venue that night.Afterwards, the lights dimmed down low, with only a silhouette of Bridges seen on stage. Bridges picked up his semi-hollow body sunburst guitar and took the audience down to the soothing sound of the “River.”Bridges then exited the stage, and the crew began to break down the microphone stands. ‘What!?, No encore??’ one fan snarked. As some left the venues, thoise who remained only got louder and louder, refusing to leave without an encore. Stage hands returned microphones to their places, and with a roar of the crowd, Leon and his soulful sextet returned to the stage.Leon took the mic and told the audience, with a reminiscent tone, about growing up watching the performer of the next song sing and dance on TV during his youth. A large group of girls began to scream, as Bridges began his slow sexy soulful R&B rendition of Ginuwine’s popular hit, “Pony.” Feeling off the audience’s energy, Bridges and company kept things going with a hot version of “Pussyfooting” that went into a jam, with Leon improvising lyrics that reflected on his trip to Virginia and some of the audience members lucky enough to be in the first few rows.To wrap up the night, Bridges and his band busted out their hardest rocking song of the night, “Mississippi Kisses.” This wasn’t just smooth soul, this was full on rock n’ roll! Heavy guitar riffs with an explosive sax brought that ‘down in New Orleans’ sound to the stage, concluding the show with all out barn burner to bring the ride to an end for the Richmond crowd.Check out a full gallery and the setlist, below.Setlist: Leon Bridges at The National, Richmond, VA – 10/2/16Set: Smooth Sailin’, Out Of Line, Whole Lotta Woman, Pull Away, The Juice, Better Man, Brown Skin Girl, Golden Room, Lonely Road, Lisa Sawyer, Texas Sun, Hold On, Flowers, Twisting and Groovin’, Daisy Mae, Shine, Coming Home, RiverEncore: Pony, Pussyfootin, Mississippi Kisses
Roger Waters is currently on a massive “Us+Them” tour, just completing a two-night stop at Chicago’s United Center. On Sunday night, during the show’s encore, the Pink Floyd bassist welcomed Pearl Jam frontman Eddie Vedder for a set-closing “Comfortably Numb.” Amidst the lasers and over-the-top production, Vedder contributed his career-shaping vocals to the chorus of The Wall classic, and even jammed along on an acoustic guitar during the solo.Thanks to zepcowboy, you can watch the full performance on YouTube below:The last time these two shared a stage was the 12-12-12 concert benefit for victims of Hurricane Sandy, Consequence of Sound notes. What a wonderful world to live in that experiences like these are possible, when the worlds of Pink Floyd and Pearl Jam collide.Roger Waters will resume his 61-show tour on Wednesday in St. Paul, MN at the Xcel Energy Center. Information about his tour dates can be found here.
Back in May, White Stripes’ guitarist Jack White announced that he’d be releasing a children’s book later this year via Third Man Books. The book called We’re Going To Be Friends reimagines the White Stripes’ classic song of the same name off 2001’s White Blood Cells, following the innocent childhood friendship between the singer and a girl classmate named Suzy Lee. To create the accompanying images, White tapped illustrator Elinor Blake (who is also a musician, better known as April March, whose song “Chick Habit” was featured in Quentin Tarantino’s Death Proof) for We’re Going To Be Friends. The book drops on November 7th, though the book is available for pre-order here now, and each copy of White’s book comes with a download card for the original White Stripes version of its title song, along with renditions by April March and The Woodstation Elementary School Singers.Though his public appearances are frequently sparse, to promote the upcoming release of We’re Going To Be Friends, Jack White will be hosting a number of promotional appearances at Barnes & Noble locations in New York City and Los Angeles. On November 4th, White will appear at a Barnes & Noble in Los Angeles, while on November 11th, he will appear at Barnes & Noble’s location on the Upper West Side. [H/T Jambands]