Few people have so mastered an instrument as Bela Fleck has the banjo. In fact the man is so synonymous with this instrument that words like master and genius almost fall short in their simplicity. From the time he was first inspired listening to the Earl Scruggs’ recording of The Beverly Hillbillies Theme Song to his time with The New Grass Revival to forming The Flecktones it’s difficult to think of anyone who has been more innovative with their instrument. Fleck has been nominated for a Grammy in more musical categories than anyone and all with the banjo. Having just toured through town with the Flecktones he made a return visit this time for an ‘Inside The Score’ session with the Colorado Symphony Orchestra.
Having seen Trey Anastasio perform with the CSO last year I thought it would be a relatively similar experience. I was wrong. Firstly, despite the fact that this concert played host to a living legend the room was only about half sold out. Secondly, the crowd was more along the lines of season ticket holders rather than rabid live music fans. The result being that other than some boisterous coughing from a few souls trying to get over their spring colds, the 2600 person room was utterly quiet. This was a benefit and a curse. It was nice to be able to focus on the music and really listen, the bad was that a single click of my DSLR seemed to echo to the point of absurdity. The result was that I took all of one picture before putting my camera away amongst a few sideway glances and glaring stares.
The night began sans Fleck with an orchestrated version of Pat Methany’s “Minuano” which featured a dual time signature we were told to listen for by conductor Scott O’Neil. Fleck wowed audiences with his take on Bach and Debussy. One of the real highlights of the first set was a banjo led rendition of Beethoven’s “Moonlight Sonata.” The delicacy and attention to detail that Fleck demonstrates at times made the humble banjo seem otherworldly. The peak of the set came in the form of a piece written by Bela Fleck and dubbed “Crooked Run” which was simply an all out jam between himself and Claude Sim on violin. They finished prior to intermission with what would be the only Flecktones original “The Landing” with the full orchestration. After a short break Bela Fleck returned with a much longer composed piece entitled “The Imposter.” All in all it was a beautiful night at the symphony. Bela Fleck continues to demonstrate why he is at the height of his instrument and why he is not to be missed in any capacity when he is performing. Bela is simply mind blowing and it’s always incredible to me that he continually stuns audiences with an instrument that was long thought of as Appalachian jabberwocky. Fleck has risen the level of the banjo on par with the violin and the French horn as far as I’m concerned. He ended the night with a meet and greet in the lobby, but we opted to head home with visions of banjer in our head.
Check out the video here: http://youtu.be/0XuoazFvcJs
My friend, Melody was celebrating her annual trip around the sun, so it was it great excuse to come down to The Ogden for a night of rowdiness with the Dang Ol’ Dark Star Orchestra. With the exodus for John K for greener pastures, Jeff Mattson has filled the void nicely with his spot on guitar tone and solid vocals. We met for some pre-show libations at The Snug before hitting The Ogden around 9 PM. The room was filling in properly, but it wasn’t overly packed. There seemed to be an abundance of Dead Family in attendance, which made me wonder if they were on DSO tour. The idea seemed silly, but if you are truly looking for authenticity and to relive the shows of a bygone era, it makes sense.
“I literally just got out of jail.” – Random Concertgoer
Dark Star took the stage just before 9:30 PM. They performed a show from October 9th, 1977 that took place just down the street at McNichols Arena. The show reads like a Greatest Hits album. Rob Barroco dedicated the show to fallen fan Joel Campbell, who passed away in a tragic car crash earlier this month.
Set 1: New Minglwood Blues, They Love Each Other, Cassidy, Dire Wolf, Looks Like Rain, Brown Eyed Women, Lazy Lightnin’> Supplication, Sugaree, The Music Never Stopped
Set 2: Samson and Delilah, Scarlet Begonias> Fire On The Mountain, Estimated Prophet> He’s Gone> Truckin’> Drums> Terrapin Station> Around And Around
Encore: Casey Jones
The original show is up on Archive, Thanks to Charlie Miller for posting. http://archive.org/details/gd1977-10-09.sbd.miller.109972.flac16
I’ve said it before, but Dark Star Orchestra is not really a cover band, they are historical re-creationists. They are more akin to the people reliving Civil War battles every weekend than say Super Diamond. Since I’m not talking about anything new here, I’ll just stick to the facts. They opened with a fiery “New Minglewood Blues” that certainly got the crowd’s attention. By now the room, while not completely sold out, was certainly at capacity. In fact it was the perfect amount of people in my opinion; enough room to maneuver, and plenty of people to fill in the gaps. The “Cassidy” was precise and made for a beautiful back and forth between Donna stand-in Lisa Mackey and Rob Eaton. “The Music Never Stopped” was executed perfectly as it became a huge peak prior to the setbreak.
They opened the second set with an astounding “Samson and Delilah” but it was the “Scarlet” “Fire” that got the crowd standing at attention. Around this time I found myself in the smoking section and heard this gem.
“Man, Jerry is so good tonight.” – Random Concertgoer
The “Terrapin” hit the mark before a huge set closing “Around and Around” that featured a stellar “Johnny B. Goode” tease that left me wanting more. They said their goodbyes with a quick “Casey Jones” to close the night. I have to say that DSO has never sounded better, and their attention to detail continues to impress. If you have a hankering for the Good Ol’ Grateful Dead, this will most definitely cure what ails you.
The world renowned drummer of the Grateful Dead Mickey Hart came to town for a MusicMarauders Presents show at The Oriental Theater in the Highlands of Denver. Mickey and his band, which includes Widespread Panic bassist Dave Schools along with Crystal Monee Hall on vocals, Joe Bagale on vocals, guitar, and keys, Gawain Matthews on guitar, Sikiru Adepoju on the talking drum, and Greg Schutte on kit, were in the midst of a three blast across Colorado. With stops in Boulder, Denver, and Aspen as part of larger spring tour, the band was in fine form for a Friday night on the Front Range.
There was an issue online with the posted show times causing many including myself to arrive a full two hours prior to the doors opening. There was a large drum circle across the street from the venue and it being First Friday, we warmed up in a gallery. When the doors finally opened we were still a full hour away from the African Showboyz taking the stage. The story goes that Mickey was going to take part in a drum circle / workshop that was cancelled at the last minute. I thought given the circumstances Mickey should have made his way across the street to the aforementioned drum circle and jammed for the early arrivers.
That did not happen.
Up first was a group hailing all the way from a small village in Ghana, West Africa. The only description appropriate for this group of four brothers is stunning. The African Showboyz utilizing traditional instrumentation including the bind douk, bin bill and the tonton sanson, and incorporating customary dances that were simply jaw-dropping to watch live. They are touring ambassadors whose primary mission is to spread “recognition for the suffrage of the African people.” Performing Bob Marley classics such as “Redemption Song” alongside the songs of their native village made it all very approachable. The driving rhythm of the drums accompanied by the poetic voices of the Sabbah brothers was absolutely mesmerizing. They finished their breathtaking set with a simple dance and salute to the crowd. My only issue was that they performed behind the headliners rig, which seemed weird to me. The Mickey Hart Band made their way to the stage shortly after 10 PM. They jumped right into the muddy goodness with a huge “Shakedown Street” opener.
Set 1: Shakedown Street> Starlight Starbright> Franklin’s Tower> Bully Boy> Bird Song> Magic Wand> Fire On The Mountain
Set 2: Samson & Delilah> Slow Joe Rain> Playing In The Band> Morning Of The World> Playin’ Reprise> Supersonic Vision> Cut The Deck> China Cat Sunflower> I Know You Rider
Encore: Brokedown Palace
Thanks to Corey and Kind Recordings for posting the show on ARCHIVE.
The overall show was a solid mix of MHB originals and standard Grateful Dead. Hall seemed to take primary vocal duties on the majority of the songs giving an entirely new feel to some of the classic tunes. At times it was jarring, but her powerful vocals won me over in the end. Tucked in the back of the stage was Schools who even added his voice to the backup mic a few times throughout the night. Mickey stood flanked by his 360-degree personal drum monstrosity, which included electronic drum pads hooked to an array of effects. “Franklin’s Tower” was a beautiful addition to the set as the kaleidoscope lights danced on the ceiling of the historic theater. “Magic Wand” their original, was truly an energetic high. They closed with the much-expected “Fire On The Mountain.”
The second set started perfectly well with a tight version of “Samson & Delilah,” but it quickly fell apart with the alternative sounding “Slow Joe Rain.” As they were playing, I found myself shaking my head in disbelief. I can understand a band wanting to sound current, but this was current circa 1992, and just felt totally out of place. MHB quickly redeemed themselves with an extended take on “Playing In The Band” that featured “Morning Of The World” as the meat of the jam. They finished the set with a huge “China Cat” “Rider” that was enough to make any Dead fan happy. Mickey and Friends encored with a lovely “Brokedown Palace.”
It was just a solid show from a band that appears to be finding its stride. Much like Billy’s band 7 Walkers, Mickey is using his golden years to make his own mark and write his own musical chapter. None of the living members of the Grateful Dead have anything to prove, they’ve done it all and they’ve paved the way. Now, they have earned the chance to relax, perform, or not perform. Each show is a blessing and a chance to celebrate the music of the Grateful Dead. Go out and celebrate.
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.
Assembly Of Dust is a rare but welcomed sight on the Front Range. They have been a regular of Summer Camp performing there twice as well as all the other moe.-hosted festivals. I would love to see them back on the lineup in the future. The brainchild of bandleader Reid Genauer, Assembly Of Dust is a more refined and focused project than the jam-centric Strangefolk (Reid’s first group.) The last time AOD made it to Denver it was part of a co-bill with Emmitt-Nershi Band at The Bluebird on 10/16/09. It has been over three years since their last visit and I was not going to miss their triumphant return. Their return coincided with the Broncos playoff bid against the Ravens. I was glued to the game all afternoon as both teams battled back and forth. Finally at the two-minute warning I hopped in my car to beat the after game traffic. When I arrived at the venue the game was in overtime and in the end the Broncos were defeated. There was a stench of disappointment on the streets of Denver that night. Not to mention that the temperature quickly dipped well into the single digits as the sun crept over the mountains.
Prior to the show a taper friend had arranged to record the entire concert with a multi-cam, 24-track recording. Reid offered to do an interview and he contacted me to help with the shoot. I got the opportunity to sit down with Reid and talk for about twenty minutes after their sound check. We talked about everything from his latest Kickstarter Campaign to his random admiration of Lady GaGa. Stay tuned for that content, which will be posted soon.
West Water Outlaws opened up the show with their brand of rowdy rock that seemed to start and end at 11. Another product of the ever evolving, always intriguing Boulder music scene, West Water Outlaws took the stage authoritatively. Reminiscent of a young Getty Lee lead singer and rhythm guitarist Blake “Whiskey” Rooker definitely commanded attention when belted out his prodigious vocals. It would appear that bands like The Congress are blazing the trail for a younger group of musicians who still value a solid rock sound.
Set 1: Looking Back, Meds, Credo, Dead Broke, Come On, Sledge Monster, Sun Also Rises, Things I Meant To Say, New Canoe
Blending bluesy riffs with searing vocals made for an entertaining display. I would say to keep an eye out for them, but given their energy, chances are they’ll find you at a venue soon. As the West Water Outlaws played, people slowly filtered into the cavernous Summit Music Hall from the cold. The room holds 1100 people and normally hosts metal and hardcore shows. I actually found the room to be pretty solid and would like to see more jam type shows booked here.
Assembly Of Dust took the stage around 10:20 PM. They immediately woke up the crowd with their anthem “Songs We Sing.”
Set 1: Songs We Sing, Weehawken Ferry, Westerly, Paul Henry, Arkansas Down, Burned Down, Elixir, Sun Shot, Spectacular
Set 2: Whistle Clock, Fountain, Lost & Amazed, Songbeard, 40 Reasons, Mama, Harrower
Encore: Bus Driver
Assembly Of Dust is a nonstop musical journey through all things acoustic, rocks, blues, and so much more. Reid’s stellar vocals anchor the group and allow for each of his incredibly talented band mates to really wail. “Weehawken Ferry” hit us with some rolling, rambling jamming featuring some searing guitar work from Adam Terrell who was on fire all night long. “Paul Henry” gave bassist John Lecesse a chance to rip it up nicely. Genauer lyrics are so expressive and conjure incredible images in the mind of his listeners. “Arkansas Down” falls into this category, as Reid took us all on a narrative journey. The elastic “Burned Down” became an all out dance party. Fans literally hugged the rail and flailed wildly in the side spaces. The room although large was probably only one third full, which meant the floor was full, but there was plenty of room to maneuver.
Newcomer to the band Jason Crosby, another multi-instrumentalists, spends most of his time on the keys, but can quickly bust out a fiddle for added musical textures. When Nate Wilson left the band in 2008 they didn’t immediately go out and hire another keyboardist. The members of Assembly Of Dust wanted something to happen more organically. So they toured as a four-piece until they met up with Jason Crosby and he fit the mold. And let me just say that he fits the mold exceptionally well. Next up AOD performed “Sun Shot” the title track to their upcoming Kickstarter funded album, before they closed the set with an awesome “Spectacular.”
Assembly of Dust opened up their second set with their Deadesque “Whistle Stop,” which was a nice way to ease into the second half of the show. Terrell’s guitar again soared on “Fountain,” before the audience was treated to the sublime lyrics of “Lost & Amazed.” “40 Reasons” again was a nice touch, but the beautiful “Mama” may have been the understated highlight of the show. They closed the second set with a rowdy take on “Harrower.” Assembly Of Dust encored with the too fun “Bus Driver.” This is exactly what you can expect from AOD every time; a solid show from mind-blowing musicians. Reid’s journey into adulthood has given him some compelling experiences, which he translates into his songwriting. He has a truly unique style that reeks of creativity. Assembly Of Dust may not be incredibly well known in Denver, but those that are in the know would never miss seeing Assembly Of Dust when they come to town. Find out why.
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.
Last night I got the chance to see an amazing show…
It started with a local Denver band called Tiger Party. This band is like a funky electronic future disco, and I like it. With members of the bands The Malah, Octopus Nebulah, and Signal Path, you should know that these guys know that they know what they are doing. Check em out when you get a chance.
The headliner for the night though was Pigs on the Wing…My camera is busted so I’ll include a video of a past performance, but you have got to see this band live.
Featuring Dave Murphy of STS9, this is the best Pink Floyd cover band I have ever seen. In order to capture the layers heard in Pink Floyd recordings there were sometimes 8 people on stage including Dom from Big Gigantic. Sometimes there would be only 1 or 2 people on stage during the ambient portions. Whatever song they did though, they truly brought to life. We’ve seen something like this before at Summer Camp, wouldn’t it be great to see something like it again this year?
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.