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The DMB Caravan Chicago lineup and daily schedule have been announced. Dave Matthews Band Caravan in Chicago will be headlined by DMB each night with the same showtimes as the atlantic city shows (including a 7:05pm Sunday showtime). Be sure to save the images (with scheduling info) included in this post to your smart phones for easy access from the Dave Matthews Band Caravan Lakeside grounds!
Widespread Panic finished its three-night run at Red Rocks Sunday afternoon with a bizarre, yet fitting show that offered a little bit of everything, and then some.Sunday Red Rocks shows always start early at 4 p.m., which means if you went Saturday night, it almost feels like you turn around and drive back as soon as you get up. Add in the fact that if it’s hot (as it was this Sunday), you feel like wilting and running for cover, and the mood can be a bit more subdued. Fans hid in the shade where possible, and threw water on each other frequently to keep cool. Cheers greeted any small passing cloud that hid the sun for a minute or two.
The band came on with little fanfare, all sporting sunglasses, and launched into a smooth groove on “Wondering.” Bassist Dave Schools got the crowd bouncing with a rolling bass line, while John Bell’s voice showed no effects from three nights at altitude. When guitarist Jimmy Herring started the joyous intro riff to “Surprise Valley,” it seemed the band was reveling in being in its second home, especially when Bell sang “Kiss the mountain air we breathe.”
Schools stepped up again on “Stop-Go,” taking a bass solo before the song shifted into a reggae-ish beat. They followed with the hazardous-to-your-health, duck-and-cover, “Big Wooly Mammoth.” Keyboardist John “JoJo” Hermann funked up the piano rolls a little, getting the song to lift off to a dizzying crescendo. However, when he sang “Somebody throw me a fire,” many in the audience threw lighters to the stage, and I saw at least one person who got beaned in the head with one of the thrown lighters who needed medical attention because he was bleeding from the wound.
There are a lot of rumors floating around in Panic land that the band is going to do its annual Halloween extravaganza up in Broomfield this year, a first for Colorado, which is one of only two states to host Panic’s New Year’s shows. The band may have teased the fans a little last night with that rumor, as they usually will play a few off-the-wall covers at Halloween.
The second set kicked off with “No Sugar Tonight/New Mother Nature,” which got off to a slow start. After Schools shook the rafters with some bass bombs on the opening to “Bowlegged Woman,” Herring ripped into a dirty, sultry blues line on the main melody.
Next up was a fiery “Lawyers, Guns and Money,” with Herring giving a twangy take on the main riff on his Fender Telecaster. At this point, the astute in the audience noticed a trend: covers. In fact, the entire second set and encore consisted of cover tunes. Some of the covers were played almost straight up, such as “Can’t Find My Way Home.” Others, such as the James Taylor song “Knockin’ Round the Zoo,” were bent into Panic’s own style, with Herring and Schools looking into a rocking groove.
Herring took some songs into new directions. His gritty distortion on Neil Young’s “Walk On” propelled the song to a frenzy. Not to be outdone, Hermann dominated “Red Beans” with rolling barrelhouse piano. Panic even got a little metal going with an almost, but not quite, straight up cover of Black Sabbath’s “Fairies Wear Boots.”
What’s great about the Panic guys is they don’t take themselves too seriously. After doing a reprise of “Wild Thing” to start the encore, Schools stepped up and said “Be sure to tip your bartender on the way out.”
In a show of the regard they have for Colorado, the band launched into “Sultans of Swing” on the encore, which it has only played once before, at a show in February 2011 in Atlanta. Even if the band doesn’t return for Halloween, it’ll surely be rocking Colorado again soon.
SET LIST
Set 1: Wondering, Surprise Valley > Drums > Surprise Valley, C. Brown, Little Kin, Picking Up the Pieces, Stop-Go, Big Wooly Mammoth, Worry, Love Tractor, Conrad
Set 2: No Sugar Tonight/New Mother Nature, Bowlegged Woman, Lawyers, Guns and Money, Can’t Find My Way Home, Mama Told Me (Not to Come), Knockin’ Round the Zoo, Walk On, I Walk on Gilded Splinters, Red Beans, Fairies Wear Boots, Sharon, Wild Thing
Encore: Wild Thing Reprise, Sultans of Swing, Goin’ Out West, End of the Show
State Theatre, MinneapolisThere is absolutely nothing comparable to Cake fans. Nothing. They aren't hippies or hipsters, and they aren't washed-up punk kids, lost to a decade of marriage and overweight tendencies. They aren't a delegated group of stereotypes that can only be formed in this place or that. They are simply Cake fans. Cake fans are die-hards. They know every album, every song, and every idiosyncratic lyric. They know precisely each second before the trumpet is going to break through to kick your ass, remembering exactly why Cake always leaves you wanting more.
As I looked around the State Theatre at a sold-out crowd, in freakish anticipation to Cake gracing the stage, the fans were undeniably that: a feverish pack of devotees, resembling something like an NFL game parking lot prior to the Super Bowl.As if the crowd's mouths weren't sweating already, the anticipation grew thicker. They strategically began play the epic action ballad theme song to Rocky 4 ("War," by Vince Decola) over the loud speakers as the lights went down. Not just a sample of the track either, it was the entire five-minute feature. Envision this: A particularly large disco ball illuminating the entire stage (and orchestra pit), pitch-dark theater, and a premature orange tree [it was a Honey Crisp apple tree, not an orange tree] in a white bucket to the front of the stage... All while standing in complete confusion to the current soundtrack choice. But the crowd started to get it. Standing up out of their seats, they began clapping furiously in hopes to coerce the band out onto the stage.
Eventually Rocky reached the steps of the Capitol building and we all were welcomed by Cake with "Sad Songs and Waltzes." John McCrea (the person behind those nasally Cake vocals) emerged with his familiar adornment of unkempt beard, a trucker hat [it was actually a conductor hat], Levi jeans, and a corduroy jacket. (To which I wonder if they've ever met Drive-By Truckers... is Sacramento, California as large a trucking territory as I imagine it to be?)
Cake seemed to flow quite nicely through their (unplanned, unscripted) set list. They have an array of albums and songs to cover, so it was interesting to witness their choices in accommodating the crowd. Their fourth song played was "Satan Is My Motor," which was a crowd pleaser and one of the most energetic hits they performed. McCrea broke in amidst the song to aid the audience in opening up, announcing that, "There is nothing more frightening then someone who doesn't know they have a dark side!"
The trumpet player (Vince DiFiore) was a star player for the night. If the trumpet solos and the roar of the funk from the vibraslap don't bring you to another place and time from your past, well then Cake isn't doing their job.
That said, I don't believe they incorporated as much punk gusto as the Fashion Nugget days, but what do I know, I wasn't there then... I'm here now. I still think there should have been some pogo jumping going on up there.
"Sick of You" and "Jolene" garnered much attention from the audience; I felt this choice of songs in the playlist kept things flowing nicely. Cake can be a bit unwavering at times, and it's possible to forget what song they've actually moved on to playing.
One thing I greatly appreciated about this show, and I've been noticing in general lately, is that more and more artists/bands are requesting that the audience turn their cell phones off during the set. It's a great distraction to yourself, your peers, and mostly the band. You don't need to tweet and text the whole show to people that aren't there; they should have a bought a ticket, or showed up on time.
The most interested spectacle of the evening came when Cake decided to give away that baby fruit tree mantled on the stage. (No it wasn't just a prop.) For those who don't know, Cake is a very 'gone-green' band, exercising just about all aspects of the term: Showroom of Compassion was recording using 100% solar energy. Cake auctioned off the tree, or rather made the audience answer a very simple, but stumping question. Fans raised their hands to answer, and whoever guessed correctly went up and won a tree.
The question: "What petroleum source do we use as fertilizer?"
Natural gas of course!
So all in all, Cake was just as expected, distorted and simple, just the way their lyrics are written. Amidst the therapy and the science lesson, Cake fans got just what they came for. An evening with Cake.
Local deals juggernaut Groupon and Live Nation have a formed a joint venture to develop a new online ticketing deals channel dubbed GrouponLive. The site will serve as a local resource for Live Nation events, ranging from concerts, sports, theater, arts and other live events, as well as clients of its ticketing business Ticketmaster, the companies said in a joint statement.
Visitors of the new marketplace will have access to limited-time discounts on a variety of Live Nation events, albeit limited to North America.
It isn’t clear exactly when GrouponLive will go fully live (pun intended), although the companies said they’re on schedule for the site to make its debut in time for the summer concert season.
As a promo for their long-awaited eighth album, Hot Sauce Committee Part Two, the Beastie Boys have released the trailer below for Fight For Your Right Revisited, a short film and sequel to the "Fight For Your Right" video that will be released with the album. It stars Will Ferrell, Seth Rogen, Danny McBride, Jack Black, John C. Reilly, Ted Danson, Elijah Wood, Jason Schwartzman, Chloe Sevigny, Stanley Tucci, Will Arnet, Stanley Tucci and Susan Sarandon, among others. It was produced by Beastie Adam "MCA" Yauch's indie film house Oscilloscope Laboratories. Here's the original "Fight for your Right" video, circa 1986. The Beastie Blog refers to the movie as a "long-ass video thing," and lets you check out the first track off the album, "Make Some Noise." Whatever they plan to do with this video thing, it's already shaping up to be epic.
The South by Southwest® (SXSW®) Conferences & Festivals offer the unique convergence of original music, independent films, and emerging technologies. Fostering creative and professional growth alike, SXSW is the premier destination for discovery.
Year after year, the event is a launching pad for new creative content. New media presentations, music showcases and film screenings provide buzz-generating exposure for creators and compelling entertainment for audiences. Conference panel discussions present a forum for learning, business activity thrives at the SXSW Trade Show: The Exhibition for Creative Industries and global networking opportunities abound. Austin serves as the perfect backdrop for SXSW®, where career development flourishes amid the relaxed atmosphere. Intellectual and creative intermingling among industry leaders continues to spark new ideas and carve the path for the future of each ever-evolving field, long after the events' conclusion.
First Avenue is pleased to be working with a ticketing provider better suited for both our customers and internal operations. First Avenue General Manager Nate Kranz says, "After reviewing our options, we chose Etix because it offers streamlined purchasing as well as significantly lower service fees.
We're confident people looking to buy First Avenue tickets will see a major change in both their wallets and ticket buying experience." Depending on the ticket, customers can expect a 20-40% lower price per ticket than previously with Ticketmaster. Etix also offers social media integration where First Avenue tickets can be purchased directly from our Facebook page.
The international web-based ticketing service provider is also excited about the new partnership. Etix CEO Travis Janovich says, "First Avenue is one of the oldest and most esteemed venues in the country. We're honored to be ticketing such a legendary club. We forge deep, long-term relationships with our clients, and we look forward to ushering First Avenue into another 40+ years of world-class live music."
Dave Matthews will perform with Blue Man Group at New York’s Astor Place Theatre on April 13. The extremely high priced tickets will run from $2,500-25,000 but benefit Blue School. The show—which is part of Blue Man Group’s 20th anniversary celebration—will feature the Original Blue Men troupe. Matthews appears on “Sing Along” off Blue Man Group’s 2003 album The Complex.
BAND RELEASES STREAM OF NEW SONG “TAKE ‘EM DOWN"; OFFER LIMITED EDITION SHIRT, PROCEEDS BENEFITTING WORKERS' RIGHTS EMERGENCY RESPONSE FUND
Dropkick Murphys have released an advance stream of their new song “Take ‘Em Down” in support of the thousands of Wisconsin union workers who are protesting the governor’s budget plan. The song is available here.
In addition, as part of their way of showing solidarity with this movement, Dropkick Murphys are working with the AFL-CIO, SEIU (Service Employees International Union) and AFSCME (American Federation of State, County and Municipal Employees) and have made the song available to be played at solidarity rallies across the country. The band has also created a limited edition “Take ‘Em Down” t-shirt which will be available for sale here.
Proceeds from the “Take ‘Em Down” t-shirt sales will benefit Workers' Rights Emergency Response Fund. Messages of support can also be sent to those fighting for their rights in Wisconsin via this link.
Dropkick Murphys will release their new CD Going Out In Style, which includes “Take ‘Em Down," March 1 on their own Born & Bred Records (ILG).
The anniversary tour started with a two night run at the Classic Center and would close three nights later at the famed Fox Theatre in Atlanta. Both venues are sites of legendary Widespread Panic shows, but the Classic Center is actually on the same plot of land where they played their first official show way back on February 6, 1986, when the Mad Hatter Ballroom occupied the parcel. At that time, the band had very few original songs and was primarily a Grateful Dead cover band. As the first set of the anniversary tour was underway it was clear that this initial performance had not been forgotten. An opening trio of "For What it's Worth," "Sleepy Monkey," and "Chilly Water" hinted at a possible repeat performance of that first Widespread union. Of course this was merely a nod to their beginnings as the band has never repeated a set in their 25 year history.
The rest of the night was filled with well played classic songs like "Jack," "Space Wrangler" and "Coconut," but nobody was prepared for the bubbly bass line that came out of the lateral drum interplay between Sunny Ortiz and Todd Nance. The Grateful Dead's "Fire on the Mountain," a bomb that slapped the crowd across the face, had not been played since 10/2/88. And man, did they play it. Front man John Bell came with a full out "Fire on the Mountain" rap as Jimmy Herring's guitar wailed as if he was harnessing Jerry Garcia, while Dave Schools held down the low end with his wizardry on the bass.
At this point it was evident that the band came to throw down. This veteran outfit was not only out to celebrate a career, but to do so in a manner that demonstrated a retrospective glance and provided evidence that nothing has been lost in the long strides and shorts sprints that span a quarter of a century.
Night two of the Classic Center would be no exception. A cover of the Guess Who's "No Sugar Tonight" kicked things off and hinted to the crowd that there was plenty more heat to follow. A fairly standard "Tall Boy" came next which served as a terrific lead into the ever funky Funkadelic cover of "Red Hot Mama" and "Machine" > "Barstools." Even with all of this greatness, the set had yet to peak.
After the colossal set, the band still had more to give. Set two brought about some profoundly heavy songs, including "Worry," "Imitation Leather Shoes," "Blight," "You Got Yours," and "Impossible." In the middle of all this, there was still room for another bust out that again paid tribute to the band that started it all, the Grateful Dead, and a cover that had not seen the light of day since 1989, "New Speedway Boogie."
With the particularly telling line, "I don't know but I've been told it's hard to run with the weight of gold, on the other hand I've heard it said it's just as hard with the weight of lead," it was as though Widespread was summing up their career and moreover life itself. Life is a struggle whether one is with money or without. It is all about the journey and enjoying the good times along the way.
The show would close with a seldom-seen double encore consisting of Neil Young's "Don't Be Denied" followed by "Postcard," "Driving Song > "Breathing Slow" and the traditional "Porch Song." It was a classy way of finishing up what will certainly be looked upon as an epic run in the Classic City.
Three days later, on Valentine's Day, the historic run would culminate with a final performance at the Fox Theatre in Atlanta, Georgia. Though the location had changed, the sentiments were the same; another sold out night with a mass of fans in anticipation of what would be played. Like the Athens run, The Fox performance featured some quality guest performances and multiple breakouts of infrequently played songs; a highlight being the set one closing combination of "Basically Frightened," "Smokestack Lightning," and "Born Under a Bad Sign" with the gifted and revered yet infamous Col. Bruce Hampton and blues guitar maestro Tinsley Ellis. Though the rest of the gig was not quite as technically in line as the previous outings were, it definitely held its own and sent fans out with a smile following the first time played Dire Straits' song, "Sultans of Swing."
In their 25 years together, Widespread Panic has not only endured but found success of which the majority of bands will never see. Their songbook is the soundtrack for many people's lives. Along the way they have lost many dear friends including founding member Michael Houser, friend and musical collaborator Vic Chesnutt, keyboardist T. Lavitz, longtime guitar tech Wayne Sawyer, lighting engineer Dino Derose, Forrest Vereen, and most recently, original equipment manager Garrie Vereen. Through all of this they have achieved more than they ever could have expected including: the release of 11 studio albums, numerous live albums, induction into the Georgia Music Hall of Fame (2008), as well as holding records for most sold-out shows at Red Rocks and Philips Arena. In all of this success, the band never forgot about their fans and has used their fame to help others. They have raised significant amounts of money for charities like Tunes for Tots and the Make it Right Foundation. Additionally, being aware that the "anniversary shows" were at small venues and that many would not be able to get tickets, live soundboard streams were made available at no charge to the public. Widespread Panic is truly a class act and while their future together is uncertain, they are to be commended for nothing less than an outstanding career.
via Honest Tune
Radiohead’s new album, The King of Limbs, is now available for purchase through Radiohead’s website – a full 24 hours before schedule.
The world’s first “newspaper album,” which is how Radiohead has labeled this release, costs $48 with an MP3 download ($53 if you opt for the WAV version) but returns a lot of value for the price: two 10-inch vinyl records, a CD and a lot of artwork.
The King of Limbs is, in fact, quite a traditional release compared to Radiohead’s last album, In Rainbows, which was released as a digital download, letting customers order for whatever price they wanted.
Still, Radiohead is releasing the new album in the simplest possible manner: through its website, which is now open for pre-orders (the MP3/WAV part of the release is available immediately, as fast as you can download it).
The reason for the early release (The King of Limbs was originally scheduled to be released February 19) is simple: everything was ready and in place, so Radiohead decided there’s no need to wait an extra day.
