Mountain Standard Time a band that immediately rose to Front Range fame, as a stalwart jamgrass group seemed to disappear almost as quickly. Over just a few years MST performed on some of the biggest stages in Colorado as well as festivals across the country. They left the scene amid rumors, but now MST emerges after all the speculation with a new lineup and a three-night Mardi Gras run with Jeff Austin. The first stop on that run was Fort Collins.
Continuing my streak of Thursdays at the Aggie, I headed down early to catch the opening set from North Lake Tahoe exports Dead Winter Carpenters. This five piece Americana, rock group has continued to endear audiences across the country. They performed a classic DWC set opening the night with “Making A Living 101.”
Set 1: Making A Living 101, San Antoine, Nothing At All, Bootleg Jack, One Foot In The Gutter, Whiskey Ain’t My Wife, Levi, Nobody’s Fault, Walkin’ Shoes, I Shot Him, Holy Moses
Jenni Charles made her fiddle purr throughout their hour-long opening set, with a special kind of veracity that made every note seem special. Song titles like “Bootleg Jack” and “Whiskey Ain’t My Wife” hint at a simpler time in music, but there is absolutely nothing simple about their performance. Blending styles of country, folk, Americana, rock, roots, and so much more; the Dead Winter Carpenters are truly worth showing up early for. Sharing vocal duties with Jenni, bassist Dave Lockhart and duel guitarists Jesse Dunn and Bryan Daines add so much versatility to what this band can do in a live setting. They finished their set by inviting Nick Dunbar to jam on the last couple songs. In all honesty with shows like this one at the Aggie, it won’t be long before they are headlining the evening.
Finally after much anticipation, Mountain Standard Time took the stage sans Jeff Austin. By this point in the evening the room had filled in with eager college students. I talked to two who seemed slightly annoyed that more people hadn’t turned out.
“Don’t people know who Jeff Austin is?”- Bleary Eyed College Student
Actually the room was fairly full compared to what I have seen on Thursdays at this venue over the last month. And for the record I’m pretty sure people know who Jeff Austin is. Mountain Standard Time opened with “Door Jamb.”
Set 1: Door Jamb> Lioness, Behind The Bar, EMS, Daises, Moon Rocks, Picture, Annabelle, Wandering, No Expectations, Tear It Down
Set 2: Oxytocin, Fairy Meadows, Katy Anne, Guitar Playin’ Man, Speckley Boy, Mamow, Kentucky Mandolin, No One Sees, Boatman, PS
Encore: Rollin, Solace
Out of the gate Mountain Standard Time ripped through their classic repertoire with a tenacity that one would expect from a band hungry to tour. The first look at the group revealed two new members including Otis Lande on bass and former Yamn! keyboardist Ryan Ebarb. Ryan’s departure from Yamn sidelined them for a bit as well, so it’s great to see both of the local jam monsters out playing again. They delivered a searing set before suddenly inviting Mr. Austin to the stage. Starting in the MST catalog they segued nicely into Yonder Mountain String Band’s “No Expectations.” This song featured some sweet back and forth between Jeff and Nick Dunbar. They closed the first set with a massive “Tear It Down.”
The second set turned it up a notch with MST coming back strong. Opening with “Oxytocin” and stepping it up a bit Mountain Standard Time was definitely up to some of their old tricks. Stanton Sutton stood like a young John Oates on the stage, shredding the guitar for the crowd. The highlight of the show was another Jeff lead Bill Monroe instrumental, “Kentucky Mandolin.” They closed their set with a fiery “PS.” Mountain Standard Time is on the cusp of coming back in a big way in Colorado. With younger and younger bands flooding the airwaves, it’s good to see MST back in business. They are a refreshing band to watch and I’m glad they decided to return to their seat at the jamgrass table.
Recently, I sat down with Assembly Of Dust and former Strangefolk front man Reid Genauer. On the verge of releasing their Kickstarter Campaign funded album Sun Shot, Assembly of Dust spent a couple of nights performing in Colorado. I talked with Reid about everything from whether or not jam is dying to his infatuation with GaGa.
Reid also peformed a solo acoustic version of “You Lay The Dust.”Thanks to Reid for taking the time and thanks to 4 Cs Recording Group for setting up the interview.
With the departure of Vince Herman to greener pastures in Oregon, the region has experienced a deficit in the random acts of music he would regularly bestow upon our community. He was a regular fixture in Ned, his former home, and down on The Front Range. It would be difficult not to find Vince Herman playing somewhere on any given weekend in Colorado. Now Vince is a commodity, so I made it point to head down to see Great American Taxi at the Aggie Theater. As fate would have it they were recording the entire run for an upcoming live album.
Up first were Bonnie And The Clydes, a six-piece country and rock outfit lead by Miss Bonnie Sims. They opened with “Dear Departed.”
Set 1: Dear Departed, My Love Will Keep, Lonely Love, Eye To Eye, Storm On Its Way, Rocky Mountain Town, Waltz For The Seasons, LA County, Man In Me, Darkside, Still House, Ophelia, Hold On Me
Relatively new to scene, Bonnie And The Clydes are an interesting addition to the already bountiful music of the Front Range. They are lead by firecracker Bonnie Sims, who belts it out as well as she plays a six string. She is flanked by a full band consisting of her husband Taylor Sims on electric guitar, Nancy Steinberger on fiddle, Michael Schenkleberg on bass, Chris Ramey on pedal steel, and Damon Smith on drums. Their renditions of Dylan’s “Man In Me” and The Band’s “Ophelia were spot on and really got the crowd moving. They had a rowdy tone that was a perfect fit for Great American Taxi.
Great American Taxi is the side project of Leftover Salmon front man Vince Herman. He has assembled an incredible lineup of musicians to fill out his group. In addition to Vince Taxi is Chad Staehly on keys, Jim Lewin on guitar, Brian Adams on bass, and Chris Sheldon on drums. They really seemed to have gelled since I saw them last summer. This show being part of the Snowball Tour it was the first time Vince has made it back since moving out of state. Honestly, it could have gone either way. They opened with their original “Standing All Alone.”
Set 1:Standing All Alone, Appalachian Soul, New Millennium Blues, Linning Track, Penny Arcade, Jack London, Twilight, Swamp Song, Going To Brownsville, Tough Job, Angel Dust, Poor House, Coming Home To You, Travlin’ Man, West L.A. Fadeaway, Little Liza Jane, Dirty Old Town, Instrumental, Reckless Habits, Cold Lonely Town, Great American Taxi, When I Die, Ain’t Gonna Work Tomorrow
Encore: Good Night To Boogie
For a Taxi fan this show has absolutely everything you could want in a live show. Their mix of bluegrass, Americana, and rock is so approachable it seems impossible not to have fun seeing them live. Songs like “Appalachian Soul” and “Poor House” address real issues in American society like the working conditions in the coal mining industry as well as the plight of the impoverished in this country. Great American Taxi really has evolved and it’s great to see them playing at this level. Their covers included everything from Leadbelly’s “Linning Track” to Ry Cooder’s “Going Down To Brownsville” to the Grateful Dead’s “West L.A. Fadeaway.” It really was a fun and musically eclectic night. They closed the set with their version of the Flatt & Scruggs classic “Aint Gonna Work Tomorrow.” Great American Taxi encored with “Good Night To Boogie.” With the departure of Vince to Portlandia it’s even more important for him to come back to the Front Range with memorable shows. That is exactly what Great American Taxi accomplished on their swing through the Aggie. With the live recording coming out, it will be awesome to get a greatest hits album from such a solid run
It was a big night in Fort Collins. The Aggie brought in an impressive lineup consisting of some of the best jazz and funk artists touring today. Hodi’s was celebrating their grand re-opening under new ownership with Dave Watts and Friends (aka The Motet) and free beer. The people that wanted to party headed to Hodi’s, the music fans went to The Aggie. I honestly would have loved to catch both, but the amazing music unfolding before my eyes kept me from moving on.
Up first was Garrett Sayers Trio lead by bass virtuoso and local phenom Mr. Garrett Sayers. This lineup consisting of Garrett on bass, Patrick Lee on keys, and Johnny Jyemo on drums has had a longstanding Wednesday night residency at the Highland Tap & Burger. They have intrigued me for a long time, but this was my first chance catching them live. GS3 took the stage around 9:15 and dazzled the crowd for just short of an hour. It was a rollercoaster ride with this nimble trio weaving together a massive sound for such a tight unit. The diversity within the GS3, was evident from the beginning. Each member of the band seems to be coming from distinctly different musical backgrounds. The result was this amazing blending of funk, jam, jazz, R & B, and so much more percolated in and out of every song. Garrett Sayers Trio is an instrumental band as were all the bands on the bill minus Kung Fu who will occasionally feature a song with vocals. There is something freeing about going to see an instrumental band. The show doesn’t get all convoluted with silly things like lyrics. I’m being facetious but it really does allow the audience to focus strictly on the music. It was impossible not to focus on GS3 as all three members wowed the slowly growing crowd. They finished their remarkable set and headed down the road where Garrett joined his Motet band mates for their gig at Hodi’s. He really is a hard worker.
Kind Recordings has the show up on Archive. Thanks to Corey for taping the show. http://www-tracey.archive.org/details/gstrio2013-01-24.fob.mc803.kindrec
Last year jam super group Kung Fu made several visits to Colorado, and they definitely made an impression. This time they were on a 5-day mission from God that took them from Aspen through Breckenridge and down to the Front Range. This was night three of that run and their set again came in at just under an hour was truly mind melting. While the Aggie was only about a third full, I was impressed with the variety of people in the crowd. I chatted with a couple of older gentlemen who had won tickets off of the radio with little knowledge of what was in store for them. I saw young college kids mingling with middle-aged hipsters. Perhaps the most alarming thing about this show was the distinct lack of chatter during the show. As you can hear in the recordings, people were definitely there to see the music. Kung Fu is Tim Palmieri on guitar (The Breakfast), Robert Somerville on tenor sax (Deep Banana Blackout), Todd Stoops on keyboards (RAQ), Christopher DeAngelis on bass guitar (The Breakfast), and Adrian Tramontano on drums/percussion (The Breakfast). This is truly a powerhouse lineup that did not disappoint. They opened with “Do The Right Thing.”
Set 1: Do The Right Thing, Snaggle, Scapegoat Blues> Letters From Bobby Portugal> Hollywood Kisses, Chakrabarty Overdrive
Kung Fu is a hard-hitting amalgamation of funk-fueled fire assaulting the senses of all those who dare to enter the ring. It’s a constant onslaught from Palmieri who literally had to have a stagehand douse him with an extinguisher after his massive solo during “Scapegoat Blues.” “Hollywood Blues” was the only song of the entire evening that featured vocals. They closed their ‘not long enough’ set with “Chakrabarty Overdrive” which as it’s name would insinuate caused me to need to go outside for some air. Keep coming back Kung Fu, and keep playing bigger and bigger shows. Colorado needs your brand of funky goodness.
Finally it was time for the B3 master himself Robert Walter to take the stage with his 20th Congress. Now this band has had several incarnations and has a rotating list of members. Fans at The Aggie were treated to a stunning lineup consisting of Cheme Gastelum (Sharon Jones & The Dap Kings), Chris Stillwell (Greyboy Allstars), and Simon Lott (Charlie Hunter Trio). Just unbelievable. They opened with a gritty “Hunk.”
Set 1: Hunk, Snakes & Spiders, Cory’s Snail and Slug Death, Sweetie Pie, Dog Party, He’s Really Gone, Rivers of Babylon, Get Thy Bearings, Who Took the Happiness Out?, Fox Hunting, Don’t Chin The Dog, Impervious, Instant Karma
Encore: Don’t Hate Congratulate
Robert Walter is best known for his work with Greyboy Allstars, however his solo band is truly not to be missed. I really felt that it has been such a long gap between his tours, that many are no longer in the know. And it’s too bad really, because the show we received from this lineup was nothing short of top notch. The lack of guitar really put the focus on Walter and Gastelum and their interplay was outstanding. The highlight of the show for me was the Phantom of the Opera-esque intro to the instrumental “Rivers Of Babylon.” They closed their set with a massive jam on Lennon’s “Instant Karma.” This is the caliber of music I would like to see more of on The Front Range. Despite the conflicting shows, I feel I made the right choice and left feeling musically satisfied in a way that I have not been in quite some time. Watching truly gifted musicians jam together is the reason I started really covering live shows. Seeing this stellar lineup on a Thursday night in Fort Collins just validates that decision.
My general aversion to electronic music is well known. Although I have enjoyed a few forays into the genre at Summer Camp last year my general reaction is not usually positive. However, I’ve seen some electronic groups that play organically, as a unit, and the music is more textural than dubstep. These are the types of electronic artists I’m drawn to. Particle is one such band. They are one of those bands that hit early Summer Camp lineups for three years between 2003 and 2005. Those early shows were a lot of fun as was their performance of 80′s tunes at The Aggie.
Up first was New Orleans natives EarPhunk. These guys are the next generation behind the Galactics and the Dumpstphunks of The Big Easy. The fluidly blend jam and funk in a balanced way that makes it fun for the audience. They did get riff-y at times, but that’s to be expected from a younger band still developing their sound. They started their set to a sparsely filled room, which would eventually get about a third full. Overall their brand funk influenced jam won me over and will give me plenty of reason to give them another listen.
Having seen Particle for the first time around 2001 in a tiny bar in Iowa, I’ve watched this band grow and evolve over the years. The recent inclusion of former full-time guitarist into the mix certainly seems to have reinvigorated Particle. Their show at the Aggie was both hilarious and technically stunning. Let’s start with the hilarious.
Set 1: Sledgehammer, Funkytown, Let’s Go Crazy, Electric Avenue, Once In A Lifetime, Pump Up The Volume> Rockit> Material Girl> Pump Up The Jam, The Final Countdown> Money For Nothing, Safety Dance> Launchpad Outro, It Takes Two>
Wild Thing> It’s Tricky> Bust A Move, Don’t Forget About Me, You Can Call Me Al, Sweet Dreams
Encore: Paradise City, Eye Of The Tiger> Sun Mar 11 Outro
From the opening guitar line of “Sledgehammer” I was grinning from ear to ear. Particle has their specific smooth style of electronica, but their take on the music of the 1980’s was fairly straightforward and strangely accurate. The setlist screams of lightheartedness, but don’t be fooled they absolutely shredded these classics. None more so the massive “Pump Up The Volume’ lead run that featured an enormous version of “Pump Up The Jam.” It was like a big musical sandwich with wheat bread on the bottom and rye on top. Particle never shied away from intricate composed pieces such as “The Final Countdown.” Perhaps the silliest moment of the night came in the form of “Safety Dance.” They ended the set with their version of the Eurythmics version of a country song, “Sweet Dreams.” The massive encore included a nod to both Guns N’ Roses as well as Survivor. It was just an amusing and entertaining show all around. Combe killed the guitar adding a new and interesting layer to their sound overall. Molitz continues to be the musical focal point with the lockstep rhythm section of Gould and Pujalet holding it all in check. Here is Particle back to their old tricks, firing on all cylinders, and truly gelling on stage. I would definitely do it all again.
For the majority of my posts I focus on bands that have played Summer Camp in the past. For this post I’d like to focus on a band that should play Summer Camp. The fact is that they are a midwestern bluegrass powerhouse, so it only makes sense for them to be at Summer Camp. That band is Trampled By Turtles.
Trampled By Turtles is a band I have been enamored with for quite some time. Despite my interest in their music and styling I was unable to catch them live, until just recently. They have a different approach to bluegrass in general. They are slampickers, playing a hard-hitting, at times startling method of bluegrass that shreds faster than some speed metal groups. They juxtapose this with some slower more traditional songs, but minced grass is their forte. Needless to say Trampled By Turtles has continued to gain popularity in Colorado, as they regularly return and almost always sell out their shows. Both nights at the Ogden were completely packed which made for tense maneuvering throughout the night.
I headed down early to see the opener honeyhoney. Other than checking out a somewhat odd music video, featuring a series of assassinations, I really knew nothing about them. Hailing from Los Angeles, honeyhoney originally formed as a duo consisting of Susanne Santo and Ben Jaffe before forming a full band. They seem to be treading a thin line between a Lucinda Williams(esque) singing and flat out alt-country. They also incorporated elements of folk and rock into their set, but during their show it wasn’t obvious that they were a great fit opening for Trampled By Turtles. Honeyhoney opened up the show around 9:15 with their original “Numb It” The clear highlight of the show was a full band sit-in from Trampled on the song from the aforementioned video, “Angel Of Death.” Their show was relatively slow given whom they were playing with, but overall honeyhoney demonstrated some solid musicianship and unique songwriting.
Trampled By Turtles took the stage for one long set around 10:30 PM. By this time the room was ass to elbow with everyone squeezing in snugly. They opened with a sweet rendition of “Alone.” From the beginning it was apparent that although they know traditional bluegrass they don’t let it define them. They are innovators and lovers of string music as they prove every time they take the stage. It wouldn’t take long for them to blast off and begin the night’s prerequisite shredding. I did notice that their songs individually lacked any sort of real dynamics. Most of their tunes start at one speed and continue at that pace until the last pluck. It appears to me that Trampled By Turtles builds tension and release through their setlists as opposed to within the context of their individual songs. It was definitely a different experience for say someone used to listening to the Grateful Dead. Their picking was solid no matter which tempo they set and I found my eyes were glued to the stage for much of the evening. A couple of covers came in the form of a bouncy “Sloop John B” by the Beach Boys and “Where Is My Mind” by the Pixies. Both covers were unusual choices and executed very well. The setlist gave their fans a wide array of their repertoire. This little band from Minnesota has really made good, and they will continue to draw bigger audiences as word of their amazing style spreads. If you find yourself with the opportunity to see Trampled By Turtles in some small smoky room, go ahead, punch the ticket, and take the ride.
Kyle Hollingsworth has taken part in a wide array of events at Summer Camp. From sitting in with moe. on “Happy Hour Hero” to hosting a seminar on brewing beer, he’s definitely a welcomed guest at the festival. Back near his home in Boulder, Colorado it’s becoming a winter tradition that Kyle takes a trip down the Front Range sharing good music and first-class beer. This year he upped the ante by including Soulive as well as a couple fresh brews. He warmed up for two nights in Denver by bringing Eric Krasno to sit in for the show at Hodi’s in Fort Collins. Kyle also brought a variation on Avery’s dry-hopped Winter Day IPA that he collaborated on with the brewery. It was a spicy ale, balanced by an abundance of hoppy goodness. It’s definitely a nice holiday beer.
Video Link – http://youtu.be/tJdcdEImhEE
Show two from moe. was on the dock and ready to jump into the icy lake that is the Ogden. After a strange first night I was ready for a more chill experience and some classic jamming from one of my favorite bands. I spent the day playing some disc golf and then lounging at the Rockmada before heading to dinner and then the show. It was a nice relaxing day that got us ready to rage one more night. Local favorites The Congress had been selected to fill the opening slot. Ironically the first time I saw The Congress was opening up for moe. a few years back in Breckenridge. Lead by the powerful vocals and bass of Jonathan Meadows, the band is now striped down into a power trio with Scott Lane on guitar and Mark Levy on kit. Scott gyrates wildly onstage ashe sets fire to the neck of the guitar. It’s great to see a rock outfit of this caliber playing in utter synchronicity. Again making the most of their forty-five minute slot, they performed a scorching set that saw an early “Jonah Gideon” energize the crowd. There seemed to be more early arrivers on night two. Perhaps people got the message from a solid set from YAMN on night one. The highlight of their set was a sweet version of Curtis Mayfield’s “People Get Ready” that really demonstrated Meadows’ range as a singer. He can deliver a grumbled rock voice on one song and the sing a delicate blues number on the next go. He is one of my favorite Denver singers to see live right now. They also premiered a new song entitled “When I’ve Got The Time,” which was a rockabilly number that sounded fantastic. The Congress’ set was over as soon as it began and it was time for two more from moe.
moe. opened with the Rob sung “Paper Dragon;” this track while relatively new is a great vehicle for tight riffing and fun interplay.
Set I: Paper Dragon> Happy Hour Hero, Big World> Ricky Marten> Where Does The Time Go?, Water> Haze
Set II: Skrunk> Shoot First, Y.O.Y, Spine Of A Dog> So Long> Wicked Awesome, Sticks and Stone> Spaz Medicine, Plane Crash
Encore: Zed Nought Z> Time Ed
Thanks to Chuck Miller for posting the recording on Archive.
They went into the fan favorite “Happy Hour Hero” that became a massive sing along. It was a smooth way to ease into the set before a nice but quick “Big World.” It was obvious that they were beginning with a quicker pace as opposed to the spaced out playing we witnessed on night one. The segues as always were clean especially so during the transition in and out of “Ricky Marten.” “Where Does The Time Go?” was a late set breather before a ridiculous “Water” ignited the fuse. Chuck’s graceful guitar licks hypnotized the audience. “Water” was the first extended jamming of the evening but never really getting too far off the beaten path. They ended the set with a stellar “Haze” that seemed fit in that spot like a well-time Tetris line.
moe. began the second set with a rowdy “Skrunk” that featured some the most intense jamming of the night. Chuck settled everyone down with a bouncy “Shoot First” before moe. pulled out the now classic “Y.O.Y’. moe. continues to be one of the tightest bands touring today. The longevity of the project has really allowed all of the members of the band to meld musically in a way that should be the standard. There are very few of groups in the scene who can say they have been around for over twenty years with not one serious breakup or extended hiatus. They treated fans to another standard with a quick “Spine Of A Dog” that a utilized a riff on Raymond Scott’s “Powerhouse” (Better known as the “Assembly Line Song”) as the segue into “Wicked Awesome.” Al killed it on “W.A.” which is tribute to the radio that shaped his love of music. “Sticks and Stones” is a personal favorite, so it was nice to see it in the mix. “Spaz Medicine” was well executed, but the “Plane Crash” was by far the best jam of the night. Reaching over fourteen minutes, it was an invigorating take on “PC” in its traditional set closing spot.
moe. encored with a very tranquil “Zed Naugh Z” before absolutely jumping over the edge with a huge “Time Ed.” All in all this was a very nice show although somewhat more bottled than night one at times. These two shows demonstrate the versatility that moe. has with each and every outing. They can walk stage and play four songs for an hour and a half or deliver fifteen-song sets. Each one of their tunes is like a piece of play dough that they can stretch or shrink based on their needs for that particular time and place. Much of that comes from their endurance as a band over time. moe. has already announced initial lineups for both Summer Camp and moe.down. Both look incredibly promising and if other festivals follow suit, we’ll be looking at another amazing summer of music. Wait what month is it? …
moe. made their jubilant return to Denver, as makeup for two missed shows in July. Their drummer Vinnie Amico came down with a case of mono, and they had to postponed several shows at the end of the summer tour. The wait was long but worthwhile, as the shows added openers for both nights that included local favorites YAMN and The Congress.
YAMN has been in Jam Band Purgatory and are just back from a yearlong hiatus. New to the group is Paul Evans on keyboards, which is part of the reason for the extended absence from the scene. One would expect some jitters or general nervousness from the band considering the time since their last show. Quite the opposite was true, with YAMN coming out as the consummate showmen and blasting through a smoking opening set.
Set I: Burner, Apparition, Floating Leave, Low Gravity, Ricochet, Home Sweet Home^
^w Chuck Garvey
As the opener for a band like moe., it’s important to hit it hard. With lots of potential new fans in the audience and only forty-five minutes to play, it’s important to make an impression quickly. That’s exactly what Yamn did at the Ogden. Soaring through the various sounds of jam and incorporating riff-y electronic effects, YAMN wowed the early arrivers. They proved to the crowd that they are still a force to contend with on the local scene. Given their absence they couldn’t have asked for a better show to reintroduce themselves to the hometown crowd. The highlight was a Chuck Garvey sit-in on Motely Crue’s “Home Sweet Home.” Yamn is known for their random covers of classic rock tunes, but this was an unexpected treat.
After a short set break the five guys named moe. took the stage looking a bit more Grizzly Adams than usual. Al stepped up to his guitar donning a salt and pepper beard and Rob came out looking generally unshaven. They opened with a classic “Graffenberg.”
Set I: Dr. Graffenberg, Hi and Lo> The Pit, Not Coming Down> Wormwood> Deep This Time, Recreational Chemistry
Set II: Silver Sun> Puebla> Interstellar Overdrive> Head, Awesome Gary> Brent Black*
ENCORE: Four> The Ghost Of Ralph’s Mom
*Rob Teased the “Peanuts Theme Song” during his bass solo while wearing a Storm Trooper mask.
Thanks to Chuck Miller for posting the recording on Archive.
“DG” stretched on into the realm of spacey with a huge solo from Al before the song melted down into a pleasant “Hi and Lo.” I like this set placement, it was a bit of a step back from “Graffenberg,” but it fit in nicely. From there they broke into the darkly, stunning “The Pit.” By this point I had made it back from the photo pit to Amy and company located to the right of the soundboard. There was an over enthused girl to my right who upon my arrival collapsed into a seizure. Amy and I caught her and braced her as several slacked-jawed gawkers gazed on in bewilderment. I finally said, “Someone go get help,” at which point the girl snapped awake and a yellow jacketed security guard took her away. Not the best way to start a show. The familiar beat of “Not Coming Down” brought the show back into focus before the band took a mid-set breather with a classy “Wormwood.” From the tranquil solitude of “Wormwood” the band emerged with Rob taking the microphone on a straightforward “Deep This Time.” “Recreational Chemistry” was anything but straightforward. Stretching on to almost 25 minutes, and again seeing Al participating in an absolute shred fest, and Jim killing it on the vibes; it was an amazing way to end the first set. One can only assume that the extended “Rec Chem” was a nod to the recent passing of Amendment 64 in Colorado.
moe. came back with a gorgeous “Silver Sun” that morphed into an dark rhythmic back and forth. The hallmark of the second set would be long jams with limited singing. It really felt like the boys just wanted to play. “Puebla” reached the ten-minute mark and continued on the darker path. moe. followed up with a massive version of Pink Floyd’s “Interstellar Overdrive.” This was a track they used to play a lot in the mid to late nineties and gets tossed into the rotation a couple times a year. It’s always a nice song to catch and this version just builds spectacularly. “Head” exploded out of the Syd Barrett classic with the .rons going nuts., but “Awesome Gary” into “Brent Black” was the highlight of the entire show. The “Brent Black” featured a nice drum solo before Rob returned to the stage, donned a Storm Trooper mask, and delivered one of the most amazing bass solos I’ve seen from him. His solo included a holiday wink to the crowd in the form a “Peanuts Theme Song” tease. The band returned to the stage to finish out “BB” and thus the second set.
moe. came back with a tasty “Four” into a brief “The Ghost of Ralph’s Mom” encore to end the first night at The Ogden. With the opener moe. pushed right up against the 2 AM curfew, but managed to squeak this one out at the buzzer. This was a solid show that ventured into the realm of space and deep jam throughout both sets. It definitely felt like the show for the fans. Night two would prove to be a show more suited for the masses.