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.
Dancin’ In The Streets featured so many Summer Camp bands, that it might has well have been the Denver version of the festival. In actuality SCamp stalwarts Cornmeal, Greensky Bluegrass, as well as classic veterans like Jerry Garcia Band with Melvin Seals all played this fest on the Lawrence St. After three years in absentia, the Dancin’ In The Streets Music Festival made its triumphant return to Denver. It’s no secret that the high cost of putting on the inaugural festival as well as the low turnout cost Jay dearly. It was the impetus for him to letting go of Cervantes and the downsize to Sancho’s and Quixote’s. Over the past few years Quixote’s has become a hub of live music and is the home of the greatest patio in Denver. It is also the new home of the Dancin’ In The Streets.
The entire scope of the event is more doable and smart. Closing off the 2100 block of Lawrence Street with a nicely equipped stage and an Oskar Blues beer truck bookending the block was the perfect setup. Vendors and Live Painters dotted the sidewalks and both the main stage and patio stage of Quixote’s acted as auxiliary performance spaces for the event. Quite simply it all worked and the masses turned out on both days to show their support.
I arrived, as WhiteWater Ramble was finishing up their opening set on the 3rd. I have to say that after Adam Galblum departed from the band I was left with reservations. However the inclusion of Ben Blechman on fiddle certainly impressed me. As a band they’ve always had it in them to be a powerful bluegrass experience, but honestly they have failed to rise to the top over recent years. Their show at Dancin’ In The Streets showed they are ready for a new chapter and to start playing stellar performances across Colorado.
Up next was Grant Farm on the patio. Under the direction of Tyler Grant, Grant Farm has continued to wow audiences on the Front Range and beyond.
One Set: Green Grant, I Come From The Country, (Ain’t No) Nuthin’ Gonna Stop This Train, High Country Ladies, Engineer (w/Andy Griffith Theme), Ballad Of A Well-Known Gun, The Hippie Guitar, Green Thumb, The Times Have Changed, ?, Tell Me, Tell Me, My Old Engine, San Ber’dino
Gerry Gladu posted the show on Archive.
Their attention to songwriting and detail while playing are the reason why they continue to shine. One of the Highlights from their set included “(Ain’t No) Nothing Gonna Stop This Train,” which is more of an affirmation about the band than a song title. There was also a group whistling of the Andy Griffith Theme Song in honor of the actor’s death that was a nice moment for everyone involved.
There was some overlap with Grant Farm and Melvin Seals and Jerry Garcia Band, but around 6 PM I headed out to the main stage. Melvin Seals is a monster on the keys but during the beginning of his set he felt a little more subdued in the mix. Even during “Johnny Too Bad” he just seemed very light, however during “Sugaree” he exploded on the organ. Dave Hebert on guitar had incredibly accurate tone and was an absolute pleasure to watch play. I was also surprised to see Jimmy Tebeau on bass, I’ve know Jimmy since my freshman year of college as a member of Dead cover band The Schwag. He drives the bus, and it was a great chance to get reconnected with him. The show also featured a massive Deal that was enough to get the crowd dancing in the streets.
Next on the docket was California’s Poor Man’s Whiskey. Famous for covering Pink Floyd with their down home version of Dark Side of The Moon, their original music is a classic blend of rock and bluegrass. Musically they are incredibly talented and the vocals of Josh Brough are tinted with a warm vibrancy that is truly inviting. They were a great touch and I caught them for a while before heading back to the Main Stage for Greensky Bluegrass.
Greensky is one of the premiere young bluegrass acts out there. Along the lines of Head For The Hills, these boys from Michigan bring the heat with every performance. A classic string band lineup with all of the bases covered their inclusion in the festival was a big draw for the crowd, which had swelled to around 1600 people by this point. Their show was a bit laid back, but they busted out some great tunes to keep the audience engaged. “Bottle Dry” and “Broke Mountain Breakdown” were a ton of fun. They ended their set with a bluegrass version of Michael Jackson’s “Beat It.”
During Greensky’s set I headed into the patio for a bit to see Todd Shaeffer and Friends. The Friends included Railroad Earth’s Andrew Altman on bass and Great American Taxi’s Chris Sheldon on a banjo drum contraption. This was a folk-infused experience that seemed like a toned down version of RRE. Todd is an impeccable guitarist and gentle vocalist, however this show just seemed very low key. The talent on the stage would seem to lend itself to some serious picking, but what we got was a very chill encounter. They played beautifully, but at this point in the evening I was searching for more energy.
That energy came in the form of Big Wu on the main stage inside. The Big Wu was a band that I first saw in 2000 and noticed enormous potential in their playing. They fell off the map for several years but recently they have been coming back to Colorado and playing really well. Their most recent addition of Mark Joseph on guitar has seemed to reinvigorate this band of twenty plus years. This is the band that opened the first Bonnaroo, so to see them back onstage was a personal highlight for me. They opened with a version of Bob Marley’s “Could You Be Loved” that felt like an extension of their sound check and also entirely appropriate.
SET I: Could You Be Loved, House of Wu, Gimme A Raise, Oxygen> Midnight Rudy, Bloodhound, Save Our Ship> Time, Ophelia
Corey and Kind Recordings posted the show on Archive at http://www-tracey.archive.org/details/bigwu2012-07-03.mtx.kindrec
This was a classic Big Wu experience with awesome versions of classic tunes “Gimme A Raise” and “Midnight Rudy.” All in all it was great to see them back at it and really sounding tight.
I hopped outside for a bit to see Conspirator, which is a side project of The Disco Biscuits featuring Mark Brownstein and Aaron Magner. From the first notes of their performance to the end almost two hours later they didn’t stop. They are an electronic dance party powerhouse and it was an interesting catch at this diverse festival.
The late night event had arrived as the crowd moved indoors for Octopus Nebula and the main event, Cornmeal.
Cornmeal never fails to deliver in Colorado. They are incredibly fun and are ridiculous pickers. I was stoked that they were integrated in the lineup not once but twice. Their show on the patio was a solid demonstration of what they are capable of. They went all the way to just before 2 AM on the packed porch. They played a beautiful bluegrass set and it was a great way to close out day one of Dancin’ In The Streets.
I woke up slightly hung over and caught an early cab down to day two at Quixote’s. I arrived early as The Congress was getting the nascent crowd ready. It’s always difficult to be one of the first bands on the bill because only the hardcore will be in attendance. Being a huge fan of this rock outfit and Jonathan Meadows’ vocals, I knew I could miss it. These guys have paired down to a three-piece since the last time I saw them live. Highlights from the show included a rousing “Jonah Gideon” and a powerful “Keep Virginia.” It was an excellent start to my second day on Lawrence Street.
All of the early shows were on the Main Stage outside meaning there was some time allotted to change out equipment. It gave the fans plenty of instance to leisurely melt into the day. Greensky Bluegrass was up next, and their set was just better than the night before. Maybe it was the sun, maybe it was the energy, but Greensky brought the boil on day two. It was a fun and bouncy set that included an epic version of Prince’s “When Doves Cry” and a ridiculous “How Mountain Girls Can Love.” They really brought the crowd in as literally hundreds filtered in during their set. I was totally impressed with their daytime performance and they left me wanting more. They invited Jay Bianchi and Vince Herman up to do the chicken dance during their set. My surprise was two-fold given the fact that Vince wasn’t on the bill and I had never seen Jay dance on stage before. It really set the mood.
Next up was an extended version of Todd Sheaffer and Friends from what we saw the day before on the patio. Including both Allie Kral and Vince Herman in addition to Chris and Andrew. It didn’t suck. The show began with a duo between Todd and Allie on “Potter’s Field.” It was a stunning beginning to a string show. The rest of the band returned, and Vince drifted on and off the stage. Martin Sexton joined the group for a patriotic rendition of “This Land Is Your Land.” It had the same relaxed feel as the day prior, but musically there was a vibrancy that really pleased the crowd.
Grateful Dead Tribute band Shakedown Street took the indoor stage at Quixote’s around 7PM. Their delivery was solid and obviously totally in check with the Dancin’ In The Streets Festival. In fact they played the only rendition of the song from which the name of the event came from. Vince Herman sat in with them on the majority of their set including a wicked version of “Fire on The Mountain.”
I was drawn outside to the patio by the acoustic rumblings of Duck Pond who proved to be the surprise of the entire festival. These guys were full of life and added an energy that I had been searching for throughout the two-day show. They did a mash up of “Breakfast At Tiffany’s” with “Whiskey Before Breakfast” that was as silly as it was well executed.
Donavan Frankenreiter was on the main stage outside by this point so I headed out to catch a glimpse of his show. The nice thing about the fest was how close and maneuverable it all was. You could litteraly bounce from stage to stage with just a whim and grab a beer on the way. In that regard it was really well setup. Donavon was a Brushfire Records performer who along the lines of Jack Johnson hosts more singalong type shows. He had a rockier edge though and he was certainly enjoyable to see live. He was one of many firsts for me at Dancin’ In The Streets. That again was the nice thing about the festival, lots of great music I was wholly familiar with and few bands I had never seen live to keep me engaged.
I went back inside to catch the end of Duck Pond before venturing back into the street for Martin Sexton. He had a small but dedicated crowd assembled for his set. He had a certain animation about his playing that was half flow of consciousness half utter showmanship. He strummed his guitar briskly and softly playing a wide variety of songs.
Big Wu went on late around 8PM and I stayed to see them for a bit. They opened with “Shoot The Moon.”
SET I: Shoot The Moon, Texas Fireball, Tequila, The Hobo Song, Red Sky, U.S. Blues, Mean Spirits> Shantytown, Dixie Chicken, Southern Energy, The Star Spangled Banner> Rhode Island Red, Kangaroo
Corey posted the set on Archive.
I stayed through “Red Sky” and they sounded great, however with three days of String Cheese Incident looming at Red Rocks, I opted to call it an early night. Sadly I missed Cornmeal and JGB’s repeat performances, but from all reports they killed it.
Dancin’ In The Streets came off without a hitch and although the turnout was less on the 4th of July there were still plenty of people who made it down overall. Fans mingled with artists as they strolled about the grounds. The normally laid back vibe of Quixote’s seemed to permeate the entire show. I’m glad this festival has made its glorious return to Denver. The Bianchi’s deserve to have an event that showcases what they bring to scene. Dancin’ In The Streets did just that.
After witnessing an amazing set at Summer Camp from Banyan featuring Stephen Perkins and Willie Waldman, I was happy to see Mr. Waldman was on his way to Denver. This set was a bit different as it featured four incredible live painters performing with the band. This year Summer Camp invited several artists to paint at the festival and it really adds a bit of spice to the experience. In a way this show was much like a mini-fest in an evening.
The last time live painters Bukaty, Wisdom, Callerman, and Keener were together was as the Kanrocksas Music Festival. This time around they were painting a Free Jazz performance from Willie Waldman Project. WWP is a group that morphs on the regular taking on different members based on locale and availability. This time around the musicians consisted of Willie on trumpet, Brian Jordan on guitar, Cory Kertzie on drums, and Garrett Sayers on bass. A tight group to be sure, but the night also had its fair share of surprises.
I arrived early and met with the band for an interview. I wanted to dive into the collaboration between the live painters and the musicians. I have been seeing Wisdom paint with Waldman for ten years now and the most interesting element of his painting is his reliance on the performance rather than the final product on the canvas. He paints on an illuminated background and when he is done he takes a picture and wipes it away. The impermanence of his art is mind-boggling. Bukaty has a flowing, sometimes frenzied style, however as of late he has opted to really let the music dictate his work. Don Callerman, also known as the “House Painter” at Quixotes ranges from linear impressionism to more direct representational pieces. Laurie Keener does some incredible caricatures of the musicians and is well known for the way she depicts not only the performers but also their instruments.
So with the painters in “Quadraphonic Surround Sound” in place it was tine for the set to get underway. As they started there was only about thirty souls gathered on the newly renovated patio at Quixotes. I have to point out that the light turnout had to do with the fact that the show was poorly promoted. For the caliber of music and level of talent of artists painting it was most definitely a shame that not more people made it out. The lack of attendence did little to detract from the musical performance or the artists. I guess what I’m saying is that the music was absolutely top notch. Willie was not only the bandleader but also his soulful trumpet acted as the glue that tied the act together. Brian Jordan is simply stellar, working with a wide range of musical styles he pulled out all the stops on his guitar throughout the two set show. The dynamism between Sayers and Kertzie built over the course of the entire evening. Kertzie is a monster on the kit and working with someone as accomplished as Garrett really gave him the room to shine. The paint splattered on the canvases as the group flowed in and out of Latin, world, jazz, and rock soundscapes. There are no setlists really, as it is all improvised; however you can listen to the tape from Kind Recordings on Archive.
The second set saw more surprises including a sit-in from Cecil “Pnut” Daniels who stopped by after playing a Thursday set at the Highland Tap. Not only have Wednesdays with Garrett Sayers Trio become incredibly popular, but Thursdays are also hosting live music as well. He plays a Midi Horn that looks almost like a toy saxophone; however the music he created was anything but child’s play. I had heard of Daniels, but this was my first chance seeing him live and it was a great addition to the night’s performance. Another gentleman stepped up to the microphone for a version of “Big Boss Man,” which got the small crowd dancing on the patio. All in all it was a great night of music that made me wish more people had the pleasure of seeing. When Willie has a backing band that is made up of quality musicians he can really rip on the trumpet. I would go so far as to say that the band was as good as any group I’ve seen him with. It was a lot of fun, and I would love to see this exact lineup again and again.
I took on a full day of music last Sunday with Leftover Salmon’s Aquatic Hitchhiker Release in Denver and trip back to Mishawaka for The Wood Brothers supported by Paper Bird. This year Leftover Salmon is making their triumphant return to Summer Camp and last year’s fest was my first time enjoying the music of The Wood Brothers. Here is my write up of my experience.
Leftover Salmon on Santa Fe
Over five months in the making, Leftover Salmon threw a massive party in the streets of Denver in honor of the release of Aquatic Hitchhiker. Their first album in eight years is certainly reason to celebrate, and 9,000 or so of their closest friends made the trip down to the 700 block of South Santa Fe to do just that. The setup can only be described excellent. Taking up the entire road with a beer garden and food vendors set up in an adjacent parking lot. I got in early and headed to the photo pit. They opened with a truly appropriate “Ants In My Pants.” Here is the setlist.
SET I: Ants In My Pants, Gold Hill Line, Zombie Jamboree, Stop All Your Worrying, That Was Your Mother, Doin’ My Time, Gone For Long, Aquatic Hitchhiker, Liza, Gulf of Mexico, Kentucky Skies, This Is The Time, Up On The Hill Where They Do The Boogie
SET II: On The Other Side, Keep Driving, 420 Polka, Light Behind The Rain, Down In The Hollow, Sing Up To The Moon, Bayou Town, Breakin’ Thru, See The Mornin’ Sun, Walking Shoes, Get Me Outta This City, Pasta On The Mountain, Here Comes The Night, Euphoria
ENCORE: I Don’t Know You, River’s Rising
Thanks to Corey at Kind Recordings for posting the recording on Archive, you can listen to it HERE.
The show began with some seriously classic Salmon including “Gold Hill Line” and “Zombie Jamboree.” Through the course of the show they managed to break out the majority of the track list from Aquatic Hitchhiker. I would go so far as to say it was the perfect balance between old and new. They finally got into the tracks from the new album with “Stop All Your Worrying,” and let me tell you the fresh Salmon tastes delicious. They dedicated “That Was Your Mother,” to all the moms in the audience given the fact that it was Mother’s Day.
“I sure do love bluegrass…. Play some of that spacegrass.” – Vince Herman
The next stretch was all new tunes showcasing how hard they worked on the new CD and how far they’ve come in a short 22 years. They closed the first set with a pair of classics including “This Is The Time,” which felt like a true assertion and “Up On the Hill Where They Do The Boogie.” I can’t think of any other band right now that would put on a show like this for their fans free of charge. Phish is not bringing all their followers to Burlington for a show like this. Leftover Salmon absolutely busted their ass to make this happen. They did not do this not to sell albums, which were being sold at the discounted rate of ten bucks. They did it because they are truly happy with where they are right now and they wanted to give back to their base. Leftover Salmon has experienced so much over the past two decades and many other bands in the same position would have fallen by the wayside. However they persevere because of a promise to Mark Vann and also because they truly love performing live. Unfortunately I had to hit the road back to Mishawaka after the first set. However given their presentation during set one I look forward to a new era of Salmon. It is officially Leftover 2.0. It is obvious they are back in a big way and with this amazing performance on Santa Fe, they proved that now is the time.
The Wood Brothers with Paper Bird
The Wood Brother with Paper Bird at Mishawaka
After the nonstop roller coaster of a weekend, a nice quiet evening at the Mish to close out their opening weekend was just what the doctor ordered. I raced back up from Leftover Salmon in Denver and got there in time to catch Paper Bird. Made up of Sarah Anderson, sisters Guinevere Patterson, and Esme Patterson, with Caleb Summeril, Paul DeHaven, Macon Terry, and Mark Anderson. The three ladies front the band and have a playful banter they toss around between songs. Their acoustic style was both relaxed and delightful. Drifting into elements of indie and bluegrass Paper Bird was a truly unique experience. They played a nice set of music and were a good fit as a Front Range opener for The Wood Brothers.
During setbreak I got a chance to grab some food off the new menu. I have to say that this is just one more of the improvements I’ve seen at Mishawaka over the last two years. The cooking was excellent with some higher-level fare as well as some affordable choices.
The Wood Brothers are quickly becoming a favorite of mine to see live. Their down to earth style is so approachable and intriguing, it’s hard not to be quickly enamored with this group. Combining the talents of brothers Chris and Oliver Wood, at times it feels like you are sitting on the front porch of the Wood home listening to two siblings play for their friends and family.
SET I: Stealin’, When I Was Young, Lovin’ Arms, Mary Anna, Where My Baby Might Be, Stumbled In, Postcards From Hell, Spirit, Shoofly Pie, Angel Band, Liza Jane, Midnight Rider, Chocolate On My Tongue, Luckiest Man, Honey Jar, Glad,
The almost two hour set was a great demonstration of what The Wood Brothers are capable of. Their take on Americana and acoustic instrumentation gives me faith in the quality of new music. Highlights from their show included an awesome “Postcards From Hell” and a tight “Luckiest Man.” Chris Wood known for his intrepid jazz licks in Medeski Martin & Wood is transformed into a folk luminary. Oliver is a fine picker with a twang in his voice that lends a certain authenticity to their sound. After seeing their performance at Summer Camp last year I knew I would be happy to make it up the canyon for this show. The concert ended before 9:30 PM, which is usually the case for Sunday shows at Mishawaka.
St. Patty’s Day, the drinkingest day of the year was also night two of Galactic’s Paddy Gras run at The Ogden in Denver. Galactic made the trek to Summer Camp in 2007, and are on the bill this year as well. When I saw the recent announcement of their inclusion on the lineup I knew I had to cover them here.
I arrived early and witnessed smeared shamrocks on the faces of the bleary-eyed patrons which acted as the unofficial war paint for the evening, as the sea of green filled in for the sold out show. Shirts adorned with leprechauns, cartoon characters, and various shades of emerald were the informal jersey of the dance battle, which I was immediately confronted with upon entering.
DJ Logic was on stage spinning his brand of jazzy funk-infused house music while kids were break dancing on the floor. Logic is an interesting cat; he is known for sitting in with numerous bands from the Blues Traveler front man John Popper in the Popper Logic Project to Widespread Panic. He gained notoriety at the inaugural Bonnaroo by performing with over a dozen artists and filled the role of the DJ at large in a big way. Logic spun for close to an hour keeping fans happy as the show got underway.
Los Angeles-based band The Aggrolites performing their own brand of self-proclaimed “Dirty Reggae” was next on the bill. Elements of rock and soul find their way into the mix. They rely heavily on crowd reaction and develop an energy that is contagious. The few fans that were familiar with The Aggrolites congregated in the front as the band eased into their set. Jesse Wagner blasted out his vocals on the microphone as the audience joined in the vibe. Riff heavy songs shot out the PA like musical bullets. Having no familiarity with the band, I quickly found myself dancing and chanting along with the group. Normally The Aggrolites find themselves playing alongside bands like 311, Flogging Molly, and Social Distortion, but they were a great way to get the night started. They ended their set with a powerful cover of The Beatles “Come Together”.
After a quick stage change Galactic took their places and opened with a funky “Boban”, here is the rest of the setlist.
SET I: Boban, Total Destruction To Your Mind, Heart of Steel, Break In The Road, Balkan Wedding, Manic Depression, Hey Na Na, Night People, Out In The Street, Bittersweet, Ha Di Ka, Shibuya, Funky Bird, Boe Money, From The Corner To The Block, Crazy Horse Mongoose, How Many More Times
ENCORE: Ash Wednesday Sunrise, Goin Down
The driving drums of Stanton Moore immediately took center stage and didn’t leave the spotlight for the rest of the evening. The man is a beast and he shows his prowess with ever hit of the snare. Rebirth Brass Band’s Corey Henry on trombone was a distinctly awesome addition to Galactic’s performance. The back and forth between Henry and Ben Ellman was thrilling. Corey Glover originally of Living Colour fame, took over vocal duties for the show. It was reminiscent of the Galactic days of yore that saw Theyrl Houseman DeClouet on the mic. The instrumental version of Hendrix’s “Manic Depression” was a highlight to be certain. Glover came back to the stage to hit it hard for a run of tunes that made up the meat of the set. The staggering crowd was treated to some classic Galactic funk with “Shibuya” and “Funky Bird” before Moore soloed on the kit for “Boe Money”. They ended the show with a stellar “How Many More Times”. They encored with a sick “Ash Wednesday Sunrise” into “Goin Down”. Galactic brings the heat when they play. They are a funky force to be reckoned with and continue to perform with an energy that is impressive to say the least. They are truly worthy of their place at the top of New Orleans exports and I’m truly looking forward to seeing their set at Summer Camp this year.
I took some time to tim my experience of Umphrey’s in Colorado. Check out the link to Day 1 Here: RAGE
Just click RAGE above
For any of you fink fans out there, you are well aware of who George Porter Jr. is. For those of you who do not, let me tell you a little bit about a band called The Meters. They basically wrote the book on New Orleans funk and if you are unaware of their tunes I just feel bad for you.
Recently, George came through Denver with his good friend Joe Tatton of the New Mastersounds who happens to have a side project called Rodina with his wife and my buddies, some members of the Fox Street Allstars and Kinetix. Rodina is an awesome brand of music, spacey, trancey, dancey, and funky.
George put on a great show playing a bunch of tunes The Meters wrote but never recorded. The place was packed and everyone was sweatty. I managed to make my way up to the front for the end of the Rodina set when George sat in with them and played a tune everyone enjoyed. Check it out here:
To celebrate entering my 31st year on this planet we headed down to The Bluebird in Denver to catch Split Lip Rayfield. I had a solid crew consisting of Amy, my brother, and my best friend Ben. We grabbed a spot on the rail in the balcony as I roamed around taking photos. Split Lip Rayfield played Summer Camp in 2010 and in my oppinion are a not to be missed live experience. They are so unique and incredibly talented that watching them perform is simply jawdropping. Furthermore, I love the Bluebird; it is by far my favorite intimate venue in Denver. Good layout, awesome sightlines, amazing acoustics, and a great crew all combine to make any live show at The Bluebird a good one. Living in Fort Collins, I don’t get down as often as I would like, but it’s always a pleasure when I make it back.
Soon after we arrived Rayland Baxter Took the stage. Rayland was a mustachioed troubadour from Nashville. Odessa Rose accompanied him on violin and backing vocals for most of his set. Baxter demonstrated an incredible sonic range going from minimalist plucking to a full on audio assault. He was a storyteller and an acoustic bard. Rayland had an unusual knack for weaving songs out of observations, from his Mountain Song about living in the Rockies of Colorado to his interesting biopic entitled Willie’s Song. The highlight of his set was a tragic tinged tune called The Cold Easy Life of a Loner. It was a great albeit slower way to start the show.
The Magic Beans are anything but slow. Bringing a slew of their own fans with them, many in the crowd showed a level of enthusiasm rarely seen for a local act. Hailing from Nederland The Magic Beans have begun to build a loyal fanbase that is willing to catch them up and down the Front Range. A young band with a lot of potential they seem to be all over the map when it comes to their sound. Ranging from Phishy jam to a Disco Biscuits style dance party. At times they drifted into a distinctly Dead tone, which I found to be the best parts of their show. I will say this set of songs was very similar to their opening set for Elephant Revival I caught a few months back at The Aggie, but that’s understandable given their youth. The Magic Beans have enormous promise, and are already making waves in and around the Denver jam scene. Given the fact that they have had some solid opening slots and are finding their way into festival lineups including the upcoming Snowball and Phibstock. I see good things in their future as they continue to develop their style.
Split Lip Rayfield took the stage around 11 PM. This trio from Witchita, Kansas was a rapid fire kick in the junk. With machine-gun delivery and an urgent take on traditional bluegrass, their sound was simply infectious. Often classified as cowpunk and appropriately so, Split Lip Rayfield is a punch bowl of all things bluegrass. The only thing for certain was that this was not Del McCoury’s band. The Stitchgiver, a homemade one string bass cobbled together from a 1978 Mercury Grand Marquis gas tank, is the beating heart of SLR. Watching Eaton whack away at that single string may have been their most entertaining aspect of the show. One thing that cannot be overlooked was just how much rhythm he produced with just one string.
The show was Redbull bluegrass, like slamming an espresso in a musical shot glass. The crowd was literally whooping and hollering as their show got underway. The main element that they borrowed from punk besides their shredding delivery was the two-minute structure of many of their songs. If you didn’t like one of the tunes, it was okay because it would be over soon. This was not my experience, I found myself truly locked into what was happening on stage. After I got my photos I headed back up to the balcony for the rest of the show. Split Lip Rayfield had a certain irreverence, with songs like A Little More Cocaine Please and I Used To Know Your Wife, it was obvious that while they were playing seriously they were not taking themselves too serious.
Additional highlights from the show included Movin’ To Virginia and Kiss of Death. They ended the show just after 12:30. I was 31 and happy that my first show of this rotation around the sun was Split Lip Rayfield. Having only caught the end of their set a couple years back at Red Rocks, it was great to see them playing for a dedicated group of fans in this awesome venue. I would highly recommend to anyone who wants to have their face melted by a banjo, a mandolin, and a one-string gas tank to head out and see Split Lip Rayfield next time they make it to town.