Avogadro’s Number is a tiny oasis of live music in the sometimes-overwhelming Fort Collins music scene. This venue has been a showcase for acoustic and folk music for a number of years. Off the beaten path of Old Town Avo’s as it’s affectionately called houses a bar, a stage, and a restaurant.
On a cool fall night in October, Avogadro’s opened its stage up to Summer Camp favorites Caravan Of Thieves. Hailing from Connecticut this band had been described as a unique blend of swing, jazz, and high intensity jamming. Fuzz Sangiovanni from Deep Banana Blackout fame along with his wife Carrie Sangiovanni form the foundation of the band with Ben Dean and Brian Anderson filling out the lineup of pickers.
Arriving early I caught the last half of the opening set by The Cantrells. They are a duo from a bygone era with a true gift for the art of performance. The majority of the small but dedicated audience seemed to be there in support of opener. The multi-instrumentalist Cantrells focused on their own style of acoustic swing following a more traditional approach than the headliner. They had a folksy way about them that made you feel like you were at a picnic with your extended family. The only cover they played that I was familiar with was a Leadbelly tune. Overall they were a gentle way to get the night started. They had a passion for swing and string music and seemed to fit the bill nicely.
The Caravan Of Thieves took the stage for their single set that went just over ninety minutes. They opened up with their original “I Don’t Wanna.”
Set 1: I Don’t Wanna, Shim Sham, Psycho Killer, Eat You, Wasting, Monster, F Got You, She’s Learning, Kiss, Dance
Encore: Sgt. Pepper’s Lonely Hearts Club Band> I Get By, Lucy In The Sky With Diamonds, When I’m 64, Raise The Dead
A very nice set of music with an encore that featured several of the Sgt. Pepper’s tunes they worked out for Halloween. We were also treated to a couple selections including “I Don’t Wanna” and “Monster” off of their new album Funhouse as well. This band is truly mesmerizing in both their delivery and their energy. Fuzz will often swing his guitar to his back, pick up egg beaters, and begin slamming on all manner of plastic jug and metal cymbal. I’ve seen the man even begin banging on his fellow band mates instruments with any substitute for a drumstick he can find.
They managed to work in one of their favorite covers in the form of the Talking Heads’ “Psycho Killer” as well. They lead the small audience on a musical journey that involved some impeccable picking along with an array of makeshift percussion. Heading out to the bar throughout the night several people who were otherwise engaged in Broncos football would ask, “Who are these guys?” I can only assume that same question was asked by many who have passed by their stage at Summer Camp each year. Who are these guys? The reason is that their sound is wholly unique and quite intoxicating. They warned the crowd earlier about their Halloween extravaganza involving their homage to the Beatles, so it was no surprise that the encore gave us a taste of that forthcoming show. As they do with all of their covers, they incorporate their own instrumentation and styling making each song very different from the original. Their jangly strings treated the Beatles well.
The Caravan Of Thieves closed by coming down to the floor and inviting the crowd up to sing “Raise The Dead.” This intimate affair is exactly what Avo’s has become known for in Fort Collins. It’s a small retreat for music lovers and music makers alike. If you find yourself wandering the outskirts of Old Town and hear some quality picking, chances are you’ve found Avogadro’s Number.
Videos From The Show
On a tour that bounced on and off the summer festival circuit beginning with Summer Camp and ending with an extensive jaunt across the country, Tea Leaf Green continues to spread their music prodigiously. Their set at Summer Camp actually saw a lull in the rain this year, but it soon returned. Often underrated, this five-piece from San Francisco played sans one drummer at the Aggie. I headed down early to see local classics WhiteWater Ramble open. Having watched these guys evolve and transform since my arrival in Colorado it’s good to see them gelling in a live setting. WWR has always been a jamgrass contender, but at times their sound has been inconsistent. Their show at the Aggie was a smooth groove that was highlighted by a number of fun covers. In particular a spaced-out version of “The Devil Went Down To Georgia” that was a true mix of psychedelic and string. A pair of Grateful Dead covers came in the form of “Althea” and “The Wheel” as well. WhiteWater Ramble finished up with a sweet take on “Nellie Kane.” This band continues to develop and their local shows always seem to be a blast.
During setbreak I ran into incredible bassist and all around nice guy Reed Mathis just relaxing outside before his set. I talked to Reed about Summer Camp and his extensive touring. Throughout the last 5 months he has hopped from Tea Leaf to Mickey Hart Band shows with several one offs in between. Before we split ways Reed inquired if I had any requests. I simply asked that he, ‘rip it up.’
“I will rip it up, it shall need mending… possibly stitches.” –Mathis
So with that we headed back inside in anticipation of the ripping. The show was on a Wednesday night so the audience numbered only around a couple hundred. This allowed for a very relaxed feel and easy maneuvering. They opted to play one long set rather than split it up. They opened up with “If It Wasn’t For The Money.”
Set 1: If It Wasn’t For The Money, Someday (In The Wake), Penny Saved, One Reason, Space Hero Pt. 3, Space, Hero Pt. 4, Forgiven, Don’t Go, Taught To Be Proud, We Aren’t Done, Franz Hanzerbeak (JoJo), Two Parts, One More Chance, Fallen Angel> Germanating Seed
Encore: Pretty Jane, All Washed Up
This beefy set from Tea Leaf Green featured classics as well as several newer tracks. Musically they are playing in lockstep. I was a little bummed they were performing without their other drummer, but considering their length of time on the road it’s understandable. Trevor Gerrod continues to be the consummate performer utilizing both his skills at the keys as well as the microphone intrepidly. The “Space Hero” duo was a real highlight. Reed was a true focal point for the duration of the show. There is something incredible about watching someone who is truly skilled at a craft. For Mathis that craft is face melting bass shredding. Tea Leaf closed out the set with a pair from their second album Radio Tragedy!; “Fallen Angel” into “Germanating Seed” was a real treat. I still believe that Tea Leaf Green is a top-level jam band with the potential to give a huge performance on any given night. Their show at the Aggie again proved that hypothesis. They have musically and stylistically evolved into a true road-worn rock band, but their live shows demonstrate an amazing ability to improvise and harmonize sonically. They encored with a “Pretty Jane” into “All Washed Up.” If you’ve let Tea Leaf Green fall off your radar, revisit them post haste. They are still doing it right.
The Werks have played their fair share of sets at Summer Camp. However this was my first time catching them live. So I hustled down to see them in Old Town. Howerver arriving at 9:30 PM meant that by the time I grabbed my first beer, Pigeons Playing Ping Pong were exiting stage left. What I heard sounded like a promising blend of electronic, funk, and jam. Forming in 2009 and averaging over a hundred shows a year this four piece has a lot of potential. In fact all three bands on the bill were four man outfits that have developed their own brand of improvised composition. Some have pontificated that we are in a post jam era where the music has become split by genre and focus. However when I witness performances like what I saw from both Twiddle and The Werks, my faith is jam is somewhat restored.
Now Twiddle has not performed at Summer Camp, but they would be a fine additon to next year’s lineup. The band came on after a short set break and kept the night moving smoothly. It was homecoming weekend at Colorado State and there was an abundance of youth in attendance. It seemed like Twiddle had gained a few fans from their performance at Arise Music & Arts Festival in Loveland, CO mid August. They are an impressive unit who finally seems to really be branching out beyond their Vermont roots. Much of the basis of their music comes from the school that Phish built. Beyond that they have a drive and musical prowess that absolutely makes an impact. Deep intrepid jams highlighted this set that culminated with a huge psychedelic style trance jam. As this is just my second time seeing them I am still unfamiliar with their songs. What I can say is that Twiddle can play, and they have a genuine enthusiasm about performing together. Their set at the Aggie seemed to end far too quickly.
Again after a short set change The Werks emerged for their extended headlining slot. They opened with “O.G.”
Set 1: O.G., Heading South, Light, BG, Duck Farm, Hard To Find, Moetry, G Funk, 2001> No Diggity> 2001
Encore: Killing In The Name Of
I’m unsure how many can relate but at times with different bands no matter how hard I try I just can’t seem to make seeing them life happen. The Werks has been one of those bands for me. I have listened to their recordings for a number of years but despite my best efforts failed to see them play live. That is until now. The Werks began performing together in 2004 and released their first album in 2007. Since then they have been touring across the country with several stops at top festivals like All Good and Wakarusa. They currently host their own yearly event called The Werk Out Music Festival. Their show at the Aggie much like their opener Twiddle was first-rate.
They started the show by delving into a wide variety of their catalog. Slicing through musical styles like instrumental ninjas The Werks demonstrated why they are so revered. Songs like “Duck Farm” and “Moetry” punctuated a fantastic set of songs. . They closed with their version of Strauss’s “Also Sprach Zarathustra” split by a bridge in the form of Blackstreet’s “No Diggity.” The crowd went absolutely nuts. However The Werks came back to the stage to drop an even heavier encore. They covered Rage Against The Machine’s “Killing In The Name Of.” Stoic keyboardist Norman Dimitrouleas took the microphone for this spot on rendition that left fans mesmerized. I have to say it was a fun night out. With a bill that consisted of names like The Werks and Twiddle it would be easy to overlook this Friday night but that would have been a mistake. One I’m thankful I didn’t make. Both of these bands deserver your attention, so take a deeper look. Apparently in some corners of the country jam is alive and well.
Virtuoso bassist Les Claypool is a musical shape shifter. He often leaves the comfy confines of Primus to venture out on some melodious adventure. I’ve seen his many projects and they vary from full-fledged percussive groups focused on instrumental composition to an assemblage of a reptilian task force for all sorts of mayhem. His most recent project is a stripped down situation that goes by the name of Duo De Twang. He has had a number of solo sets over the years at Summer Camp and most recently played with all of Primus in 2012.
Duo De Twang was originally formed with Marc Haggard from San Francisco alt-rock group M.I.R.V. This tour featured Bryan Kehoe on guitar also from M.I.R.V. They invited the Reformed Whores on the road with them for the duration of their tour. These two ladies have no issue discussing all manner of bodily function and otherwise unspeakable points of view through the wonder and beauty of song. In fact if you weren’t paying attention to the lyrics it would easily sound like the background music at a church picnic.
As I arrived the Reformed Whores were already on stage spreading their brand of irreverent humor. Their delivery was pure deadpan and chocked full of a humorous sanguinity. As performers they utilized the bare minimum of instrumentation, with just a ukulele and an accordion the Reformed Whores weave rich and delightful musical tapestries. Singing about the necessity for women to move their bowels, taint waxing, and about the importance of birth control are all par for the course. Really they sing public service announcements. They closed their set with “Girls Poop Too.”
I can only describe the fans in the front few rows as dedicated. Some were parked there hours prior to the start of the opener. It was finally time for the main event. Claypool and Kehoe officially took the stage soon after the Reformed Whores. Their modest setup was complete with a small electric bonfire and a couple of chairs. Claypool had stated that this was going to be a low-key affair with lots of booze laced tangents and random stories for the eager crowd. Claypool is playing on a resonator bass that he has taken to calling the “dobro bass,” which makes sense in both sound and feel. Kehoe stuck to the guitar alternating between slide and flat-picking. They played one long set that was spiced with a good amount of fan interaction. They opened with a truly twang-y “Booneville Stomp.” After their first song Kehoe let out a note like a Tuvan throat singer and Claypool said this about him.
“We call him the mighty throat of doom and sodomy.” –Les Claypool
It was this type of silly banter that Claypool seemed to thrive on between sips and songs at the Aggie. Classic Primus tunes like “Wynona’s Big Brown Beaver” and “Jerry Was A Race Car Driver” dotted the set to the glee of the audience. By this point the room was borderline sold out with people taking up every nook and cranny. I found myself in the back and to the right along the wall after I was done taking photos. Musically it was just fun. It was like watching Claypool on MTV Unplugged. At one point the audience began chanting ‘Primus Sucks’ and Claypool commented, “I didn’t think there were be a lot of Primus fans here tonight.” Towards the end Claypool invited a local guitarist named Robert up to stage to play with the Duo De Twang. First of all that’s awesome, Claypool inviting any musician onstage to perform with him would undoubtedly be a high point in their life. Robert was no Jimi Hendrix, but he did fine and Claypool used a few stops to play the bandleader and crack a few jokes. So it was okay for the crowd, but obviously awesome for Robert. After a very quick ninety minutes their set was over and they both stepped off the stage before quickly returning for their encore. They nailed a stringed version of “Staying Alive” that seemed to really pump up the energy in the crowd.
“That’s not a Bee Gees song, I wrote that fucking tune.” –Les Claypool
They closed the show with Johnny Cash’s “Cocaine Blues” that featured a small “Tommy The Cat” tease. This was just a great night to have a drink with Mr. Claypool. The relaxed vibe focused on interaction and imbibing more than shredding and face melting. That’s not to say anything was lacking musically. Quite the contrary, the combination of Claypool and Kehoe is magical. They create a wall of sound with just a handful of strings. I would highly recommend if the Duo De Twang comes to your town, go have a drink with the Colonel.
Photos by C. Alan Crandall (https://www.facebook.com/RockyMountainJams)
Video by evenstev (http://www.youtube.com/user/evenstev)
Audio by Otterman
No band unifies the tribes like the Grateful Dead. They are the spring from which all jam flows and they are the founders of a musical lifestyle that reaches far beyond the concert. With the passing of Jerry Garcia the remaining members of the family have had to find various outputs for their creativity. The most recent and well known of these is Furthur. Helmed by Phil Lesh and Bob Weir, Furthur has been a celebration of the art that was created by the Grateful Dead throughout three decades of nonstop touring.
During this past summer Furthur experienced some hardships. Weir collapsed on stage in the spring and the band was forced to cancel a headlining spot at BottleRock Napa Valley scheduled for May 9th. So it was no real surprise when just prior to their four-night run at Red Rocks Amphitheatre that Furthur announced they would not be touring for the majority of 2014. Originally I planned on missing this run, but given this fact my wife and I opted to head to The Edge for the sold out show on Saturday.
We got on the road early but weekend traffic didn’t put us on Lot until around 5 PM. We parked in the Upper South and relaxed a bit before show time. It’s always a little odd jumping into a four day run on night three. Everyone is well into his or her flow and I end up feeling a little bit like a tourist. That being said I didn’t let it bother me as I headed up the ramp. At this point, I must give props to my good friend Tuber for securing us tickets and getting us settled in the 8th row. You’re a good man and thorough.
Rarely do I get the chance to watch any concert at Red Rocks from the first ten rows so this was a real treat. Furthur opened with a fiery “Feel Like A Stranger” that went deep into the dark side musically to begin the night.
Set 1: Feel Like A Stranger, Althea, Jack Straw> Doin’ That Rag, Fennario, Mason’s Children, Promised Land
Set 2: Dear Mr. Fantasy> Wheel, Estimated Prophet> Dark Star> Standing On The Moon> Terrapin Station: At A Siding> Terrapin Flyer> Terrapin Refrain> Unbroken Chain> Space> Shakedown Street> All Along The Watchtower> Turn On Your Lovelight
Encore: Box Of Rain
http://archive.org/details/Furthur2013-09-21.aud.flac16 (AUDIO ON ARCHIVE)
On paper this is a Deadhead’s wet dream. The beautifully executed “Althea” featured some amazing and accurate guitar and vocal work from John Kadlecik. The band gently eased into “Jack Straw” with Phil and Bobby trading vocals back and forth. The entire crowd seemed to join in on the refrain. Vocally it was fair, but Chimenti’s keys were the real highlight. “Doin’ That Rag” was spot on while “Fennario” aka “Peggy-O” was like a fresh breeze washing over the crowd. “Mason’s Children” is always a great addition, and this version was stellar. They closed with a classic “Promised Land.” Musically the band sounded incredibly tight. Joe Russo does the work of three people on the kit, watching him is like trying to focus on an octopus pulling a card trick. It’s magic. Early Furthur performances with Jay Lane were excellent, but Russo has filled the void tremendously.
The second set featured a more extensive setlist feature many songs from deep in the Dead catalog. They surprised the audience by opening with Traffic’s “Dear Mr. Fantasy.” It was accurate but deliberate in the rendition. The band simply exploded into a powerful “Wheel.” The rows of Red Rocks soon became a massive dance party. Furthur went dark again with a well-played “Estimated Prophet.” Both Pehrson and Becker were outstanding on the backup vocals, but they seemed present much less than previous shows I’ve seen. In fact they frequently departed the stage leaving just the core of the band to rock it out. The Dark Star continued the trek into the shadows musically, and this was an obvious high point for the second set. These two songs combined stretched to about thirty minutes and featured some of the most heroic jamming of the evening. Afterward they went into an impeccable “Walking On The Moon” with some great vocals from Mr. Weir. They went into a truncated “Terrapin” themed jam that featured a sick “Terrapin Flyer.” Phil’s sounded a bit shaky on “Unbroken Chain,” but that’s nothing new. His bass was in full effect regardless of who was at the microphone. Further went into a “Space” jam before concisely ripping into another fan favorite “Shakedown Street.” It was awesome to see Furthur perform Dylan’s “All Along The Watchtower,” which was yet another unexpected gem. The elder statesmen of jam finished with an energetic “Lovelight.” They encored with a Phil sung “Box Of Rain.”
Overall this was a solid outing from Furthur and I was happy that we made the trip. Red Rocks is a special place and as each year passes the possibility that Phil or Bobby will stop touring or worse rises. The fact that 2014 will see the two split ways just gave me the excuse I needed to go. Assuming they will both be touring with Rat Dog and Phil and Friends respectively means that both are looking for a different outlet right now. Lets hope that they come back energized and reinvigorated towards the end of next year. Time will tell.
Note: This article contains some excellent collaboration. Thanks to the superb Mr. Crandall for providing photos, thank you to Otterman who posted his audio recording on Archive, and finally thanks to evenstev for shooting the entire show on a tripod and posting on YoutTube. We live in an amazing time in technology where you can go online after a concert and re-experience the show in so many ways. The dedication of fans like these three makes it easy to really examine and understand the individual performances of bands like Furthur. For that I thank you all.
Photo by Brad Hodge
After just a few hours of sleep the sun again shoved me out of my tent. The manicured lawns are great, but it’s essential to bring an easy up or something to protect you from the oppressive Colorado sun. I spent the morning playing disc golf at the impressive Beaver Ranch in Conifer with friends in from Iowa. We got back and played Polish Horseshoes with some of our neighbors. Everything feels a bit slower on day three. There was a leisurely feel to the afternoon as we strolled around the Lot. I finally reconnected with my wife and the rest of my friends just before show time. We took our place just behind the soundboard again and settled in for the final night of Phishmas. This is the third tour closer Colorado has had the pleasure of hosting and they never seem to disappoint. They opened up with a somewhat unusual “A Song I Heard the Ocean Sing.”
Set 1: A Song I Heard the Ocean Sing, Kill Devil Falls, Back on the Train> Rift, Meat> It’s Ice> Guelah Papyrus, Divided Sky, Funky Bitch, Cavern, Stealing Time From The Faulty Plan> David Bowie
Set 2: Carini> Birds of a Feather> Golden Age> Prince Caspian*> Piper> Boogie On Reggae Woman> Saw It Again, Mike’s Song> Legalize It**> Weekapaug Groove, Show of Life> Suzy Greenberg
Encore: Character Zero
The band moved from docile to destructive with an unruly “Kill Devil Falls.” “Back On The Train” seems to be getting less airplay these days, so it was nice to see it performed. “Rift” was solid, but the funky “Meat” is what got my attention. “It’s Ice” saw some intricate jamming from Trey, before the song melded into a bubbly “Guelah Papyrus.” “Divided Sky” showcased some of the most intrepid jamming of the entire show. During the moment of silence the crowd exploded. “Funky Bitch” was a bass driven dance party. For the second possibly third time in a row, I witnessed Trey execute “Cavern” without dropping any lyrics. This is an impressive feat to say the least. Phish closed their first set with a heavy “Stealing Time From The Faulty Plan” into a deep jam on “David Bowie.” They went to the dark side before the lights went out for the set.
They continued that sinister tone by coming back with “Carini.” The second set featured some of the best transitional jams of the entire run showing some real creativity in the process. Phish broke into a tight “Birds of a Feather” before heading to the lighter side with “Golden Age.” “Prince Caspian” was left unfinished, but “Piper” went off the rails. Phish sounds like a band firing on all cylinders. They are a well-oiled, well-maintained group playing somewhat succinctly at times but always with authority. “Boogie On Reggae Woman” was funky and full of bounce. Phish went into an unexpected “Saw It Again,” which was a first for me. Afterwards they took a slight breather before going into an interesting Mike’s Groove. The meat of the sandwich was Peter Tosh’s “Legalize It,” which was a debut cover for the band. Three days and three premiere covers… This was obviously a nod to the recent passing of Amendment 64 here in Colorado. “Show Of Life” is the type of song that makes random people hug in the audience at the end of a three-day run. They closed with a beautiful “Suzy Greenberg.” The “Character Zero” encore was clean and without much fanfare… And just like that it was over.
Phish loves Dick’s. It’s apparent to anyone who has seen their connection with the fans over the course of three years. Again, it’s not because this is some magical soccer field in the mountains. Quite the opposite actually, it’s a sporting stadium in the heart of Commerce City. It’s also home to a massive oil refinery, which pumps out 90,000 barrels a day. The smog can clearly be seen with each sunset. That being said it’s the only outdoor venue with that type of capacity in the Denver area. It’s super convenient for travel and everyone that wants to gets inside. The band’s connection with Dick’s is with the fans that come back each year. No one knows how much longer Phish will spend Labor Day Weekend in the comfy confines of Dick’s, but I hope that it’s something that will last for the foreseeable future.
Leftover Salmon has reestablished themselves at the top of the jamgrass heap. This last minute show demonstrates they are paying attention and willing to play a show strictly for the fans. The show was scheduled to start around 1 AM well after Phish’s last note. It was billed as Leftover Salmon & Friends, and rumors swirled around as who would be sitting in. Because of the Snowy Range Festival where Salmon was playing on Sunday names like Sam Bush and Keller Williams were dropped frequently. This would not be the case in Denver, however Bush did sit in at Snowy Range for what it’s worth.
The drive down was smooth and we arrived just before show time. Although the concert sold out immediately, it honestly wasn’t super packed. The room was definitely full, but manageable. Next-door The Pimps Of Joytime also played for those willing to venture out after Dick’s. Salmon took the stage around 1:30 AM and straight away set the pace with a ripping “Mama Boulet.”
Set 1: Mama Boulet, Little Maggie, Ask The Fish*, Two Highways, Head Over Heels Over You**, Bird Call*, Home Cookin’, Morning Sun, High Country, Doing My Time, Dance On Your Head*, Aquatic Hitchhiker#, Midnight Rider**,#
Encore: Pasta On The Mountain#, Wake and Bake**,#
Andy Hall from The Infamous Stringduster’s on Dobro for the entire show
*w/ DJ Logic on Turntables
**Andy Hall on Vocals
#Zeb Bowles on Fiddle
They chose to perform one long set rather that push it to daylight with a setbreak. Andy Hall sat in on dobro for the entire show, and he was a solid addition to the lineup. Musically Salmon is a new band open to new dynamics in their performances. Hence the pair of “& Friends” shows. DJ Logic joined the boys on a spacey and deep “Ask The Fish.” “Two Highways” featured some incredible picking by Drew Emmitt, before Andy Hall took the vocals on “Head Over Heels.” Logic came back on “Bird Call” with more of what I call subtle scratching. I call it that because despite the fact that Logic can rip it up he always seems very low over the PA and at times is inaudible in the mix. Vince gave us a driving rock tune accentuated by Hall’s dobro on “Home Cookin’.” Thorn’s banjo was the focal point on “Morning Sun” before the band went traditional on “High Country.” Logic rejoined the band for Leftover’s now classic “Dance On Your Head.” Zeb Bowles from Coral Creek appeared onstage for the insane instrumental “Aquatic Hitchhiker.” This really felt like a family affair with lots of sit ins and great musical interplay with everyone involved. They all filled a niche in the sound and created a fantastic show for all of the late night fans. Zebulon stayed on for the Hall sung version of the Allman Brothers’ “Midnight Rider.” This is a fun cover that I’ve seen executed poorly in the past. This take was spot on and a great close to the almost two hour set.
Leftover Salmon returned with Zeb for a chunky rendition of “Pasta On The Mountain” that went for nearly fifteen minutes. Hall sang on the show closing “Wake and Bake,” which seemed appropriate given the late or early hour depending on your perspective. Leftover Salmon has reemerged from uncertainty to a pinnacle concert experience. Thorn has truly reinvigorated this band, and musical additions like Andy Hall and Zeb Bowles deepen their sound and push their compositions further. As I left the venue and headed back to the campsite at Dick’s I was only left with two questions. Who was that drummer and where is Jose Martinez?
Photo by Brad Hodge
The campground was ablaze with activity as the fans filtered out of the venue and into the night. Massive lights on huge towers illuminated the trail as vendors fired up grills and peddlers peddled . The party would go well into the dusk as fans celebrated the first of three days of Phishmas. Saturday was another hot day with the sun forcing us out of the tent and seeking the shade before 9 AM. We headed over to a hotel where our Chicago crew was staying. The pool was complete with giant inflatable floats that varied from swan to tyrannosaurus rex. After a relaxing afternoon we spent a little time on the lot with friends before heading inside. The Dick’s Lot is well known for it’s free atmosphere and acceptance to vending. The Shakedown Street stretches over across six rows and features every ware imaginable. The rendezvous was set and we were on the floor for the next two nights. We posted up directly behind the soundboard, which you could see directly through and the sound is the best the floor had to offer.
They opened with a now vintage “Buried Alive” that was a first for me personally. This instrumental jam signified that we were about to get submerged in some serious Phish-i-ness.
Set 1: Buried Alive, AC/DC Bag> Wolfman’s Brother, Yarmouth Road, Fee> Halfway to the Moon, The Wedge, Halley’s Comet> Bathtub Gin, Bouncing Around the Room, Mound, Gumbo> Run Like An Antelope
Set 2: Chalkdust Torture*, Light-> 46 Days> Steam-> Free, Joy> Also Sprach Zarathustra> Tweezer> Backwards Down the Number Line
Encore: On The Road Again**> Tweezer Reprise
The show that followed was of the highest caliber and the first set especially was just jaw dropping. They kicked it into high gear with “AC/DC Bag” into a funky “Wolfman’s Brother.” The second night of any three-night run seems to have a feeling of unity between the crowd and the band. Everyone is locked in and ready to rage. Yarmouth Road debuted this year and this was my first chance to catch it live. This song is another product of the Muraski-Gordon collaboration. “Fee” off of Junta has become a somewhat rare track, but it seems to come out about once a year. It was very welcomed by the crowd. “Halfway to the Moon” saw a sinister groove juxtaposed against the delicate vocals of Mr. Page McConnell. “The Wedge” has appeared at all of the Dick’s runs, which makes a little sense, but this version saw some extended drum work from Fishman. “Halley’s Comet” into “Bathtub Gin” was a real highlight, and it could have easily been the close to the set. Little did fans know, but Phish was far from done. “Bouncing” was a nice addition and a real crowd pleaser. “Mound” went into the stratosphere with some epically dark jams before fans caught their breath with “Gumbo.” Again a favorite that could have been a nice button on the set, but Phish was not done. They went into a heavy “Run Like An Antelope” to close out this unbelievable set of music.
Friends mingled about in the crowd waiting for the boys from Vermont to return. The lights dimmed after a short break and it was time for round two. Phish opened with a absolutely astonishing “Chalkdust Torture.” Stretching over twenty-three minutes this may have been the best version I’ve ever seen live. Friends asked me several times, “Are they still playing ‘Chalkdust’?” The “Manteca” tease was a nice touch as well. They let the wheels go and took everyone on a real musical journey with this version. They went into “Light” and I wondered if we would be witnessing a three-song set, but it was cut short. “46 Days” was rock-tastic and melted down into an S-show nod “Steam.” Phish nailed another rowdy tune “Free” before an oddly timed “Joy” that seemed to extinguish part of the fire they were building. “Also Sprach Zarathustra” woke everyone back up, but again felt a little rushed. “Tweezer” was anything but hurried and showcased some stellar bass work from Mike. They closed with a solid “Backwards Down The Number Line,” which would have definitely felt like they were refrencing about night one.
Phish encored with another debut cover of Willie Nelson’s “On The Road Again.” It was a bit weird, but also pretty enjoyable to watch. The prerequisite “Tweeprise” ended the show. We ducked out quickly as they finished up. Just days before Phish was scheduled to arrive in Denver, Leftover Salmon announced they would be performing an after show at Cervantes. So we packed it up and headed towards the illuminated skyline of Denver.
In this post-Kickstarter era the individual music fan has a new ability to directly support their favorite musicians. Many bands have taken advantage of this new crowd-sourcing technique that allows them to produce new music as well as facilitate additional concerts. Floodwood is utilizing Kickstarter to reach out to fans for a new album and a touring van. Floodwood features Al Schnier and Vinnie Amico from moe., but they should not be categorized as a side project. They are simply put, an amazing bluegrass experience. They really got a chance to debut at Summer Camp a few years back and I’ve been listening to them ever since. Jason Barady, Nick Piccininni and Zacary Fleitz round out this lineup of real talent.
Musically and stylistically Floodwood is pushing the boundaries while still maintaining a reverence for traditional bluegrass. Their songwriting is top notch. I am incredibly curious to see how they will develop the sequences of tracks on the album and what they will do to further the instrumentation of the individual songs. So much time and energy is put into working on a studio album. Kickstarter has become a real and viable tool to actually make new music happen. In essence a supporter is basically preordering the new album. However most campaigns offer high end off the wall rewards for large pledges. For instance if you donate ten grand Floodwood will make arrangements for a VIP weekend ski trip with the entire band. The van is important as well as I would like to see Floodwood branch out from primarily playing in the Northeast. It’s time to share Floodwood with the world.
Their campaign ends on September 4th so if you have a few bucks or are able to share this link on your various social media sites that is greatly appreciated.
Here is a video of Floodwood at Summer Camp 2013
Word of a new musical endeavor swept up and down the Front Range this summer. At first glance many people assumed that Arise Music & Arts Festival was a yoga conference on performance enhancing drugs. They were incorrect. In one word Arise was ambitious. This aspiring event saw some of the best and brightest music producers collaborating to create a festival on the size and scope of Bonnaroo here in Colorado. Located at the Sunrise Ranch outside of the heart of Loveland, it would have been difficult to find a more picturesque and pristine place to throw a festival this side of the Continental Divide. The Sunrise Ranch is also the national headquarters for the Emissaries of The Divine Light who teach Attunement, which is the belief that “positive shifts in consciousness release healing energy.” Some have called them cultish however my experience over the weekend with members of that community did little to dredge up thoughts of Jonestown or Charles Manson. In fact what the attendees found was a holistic approach to a music festival. Workshops, activism opportunities, and panel discussions were dotted throughout the schedule, which seeded to go from sunup to sunup for all five days of Arise.
Now there were definitely a few logistical hiccups along the way, but all in all I would say Arise was spot on with scope, budget, and personnel. The biggest and most obvious issue was the fact that Arise occurred on the same weekend as Bohemian Nights: New West Fest. This yearly tradition pulls in about 30,000 people a day for three days, is free, and was headlined by Ben Harper this year. The fact is that historically New West Fest has been the second weekend in August, but this year it fell on the third weekend. So by accident really Arise took a big hit to possible attendees from the start. Secondly the festival began on Wednesday and ended Sunday afternoon. This made it hard for people to get there early and stunted the first couple days of Arise. Finally the beer situation was confusing. The Beer Garden offered mixed drinks and Odell’s, which is fine, but you were not allowed to leave the beer jail with your drink.
All that being said everything else was well executed and done with great care. Solid food and vendors lined the edge of the massive main stage area. The valley floor was a huge swath of beauty dotted with incredible art installations and great music. The lineup was absolutely appropriate. One end of the festival grounds featured tall rock walls and the opposite side features a massive reservoir. It was just an incredible place to camp, convene with friends, and see live music.
On my lunch break on Thursday I headed up the canyon to Arise and set up my tent. I met with the press coordinator and got my credentials for the weekend. My wife and I wouldn’t make it back until Keller and The Keels emerged from backstage around 6:30 PM. Keller and The Keels is another demonstration of the fractional mind of Mr. Williams. He is concurrently playing with his funk band More Than A Little, continuing to play with the Travelin’ McCourys, and also playing solo looped performances. That is just in the last year. The Keels are immensely talented in their own right and add a full bluegrass sound to Keller’s picking style. They played classic versions of the Butthole Surfers’ “Pepper” and K-Dub’s opus “Breathe.” Keller stepped up to the microphone and said, “Ladies and Gentlemen please welcome acoustic reggae music,” before he went into Foster The People’s “Pumped Up Kicks.” By this point music had been going all day and people were getting acclimated to the flow of the festival. Unfortunately Genetics was on at the same time as Keller so I raced over to catch a short snippet of their set.
These guys continue to add depth and range to their musical repertoire. They recently had a lowly attended show at Hodi’s. Rather than playing angry or rushing through the show they took the opportunity to host an epic instrument-swapping jam that was truly impressive. They were messing around at Arise playing heavy rock riffs for the small assemblage of people. They were by far living the closest to the fest, residing just ten minutes from the grounds. They are a band with enormous potential and true thirst to learn and play together. Genetics is most definitely worth checking out live.
The Motet played a very different set than what I witnessed in Telluride a couple weeks prior. Once again this band is showing that they are one of the most versatile groups touring today. They shredded through almost two hours of electro-pop funkiness that turned into an all out dance party. Songs like “Closed Mouth Don’t Get Fed” and David Bowie’s “Fame” were obvious highlights from this crowd-pleasing set. Dave Watts continues to be one of the tightest and most dynamic drummers in Colorado. They were a great choice to play on the big stage at Arise.
We wandered around in the darkness as the various art installations took different shape under spotlights. DJs and EDM Producers played in the Syntonic Stage area until the wee-est hours of the morning. Kan’Nal also took center stage before the night was over. There was a distinct flavor to the lineup and performances. Everyone seemed to have their space with the more popular groups playing the two larger stages. We headed back to the tent to get ready for Friday.
Under the ill advice of a disc tossing wookie, my friend and I drove up to Buckhorn for an early morning round of disc golf. He said it was about 15 minutes up the road, which turned out to be just under an hour. Afterwards I jumped right back into it with Shimshai who is a crunchy acoustic singer-songwriter. He had reggae flair and powerful riff-heavy guitar work.
Earth Guardians were one of the most impressive bands that I had not heard of prior to Arise. This group of young leaders spreads positivity and change through hip-hop. Lead by brothers Xiuhtezcatl Roske-Martinez and Itzcuauhtli Roske-Martinez they sing songs like “The Hope Is In Our Hands” and “Live as if our Future Matters.” It’s obvious that the Earth Guardians are working at a more conscious level than most other 9 and 13 year olds. They have a bouncy, approachable style that is full of optimism and encouragement.
Fort Collins favorite Better Than Bacon was up on the Solar Overdrive Stage next. They have paired down to a straight forward power trio
“Welcome to the dust bowl.” –James Yearling
Dust only really became an issue under the thousands of feet of Franti fans as he urged them to jump and or move, but we’ll get to that. Bacon only got 45 minutes, which seemed to be pretty typical for the smaller stage. They opened with their take on a boogie jam with “Texas Tune.” The band sounds trimmer and more concise with just three members. Their set was enjoyable, but I was left wanting more. They also played originals “Pounding Nails” and “Loosing You.”
On the Center Stage was Nahko & Medicine For The People. This was definitely the breakout surprise of Friday. Their acoustic bombardment is chocked full and energy and a real passion for life. Reminiscent of Rusted Root from an earlier time, Nahko leads a robustly talented group of musicians who seem very much in tune with each other onstage. With only an hour to perform they truly succeeded in leaving an impression on me. Great energy, great set.
I headed over to the press conference, which took on a very eclectic feel. Chali 2Na along Nahko & Medicine For The People would later be joined by Xiuhtezcatl Roske-Martinez for some questions from the press. They discussed their music and eventually moved on to activism in a festival setting. Nahko talked about the variety at Arise and about his own group.
“We don’t fit into a genre, (Arise is) all types of genres and all types of vibes.” – Nahko
When the young Martinez arrived he turned heads with his eloquence and wisdom. It was an enlightening event, but I left before the end to catch Greensky Bluegrass. This band has been on fire all summer long. They tour relentlessly and continue to play to larger and larger audiences. Bluegrass was scattered on the lineup so it was nice to see a band of this caliber on the Center Stage. Their set at Arise was yet another top-notch experience from a band that is becoming known for constantly delivering. Their progressive style of bluegrass has elevated them beyond the label of a simple touring string band. Greensky Bluegrass is a powerhouse in the world of bluegrass and their set at Arise was an example of just that.
Xavier Rudd took on the headlining slot for Friday night.
“I need to watch what I say… instead of say what I watch.” – Xavier Rudd
He is yet another musician who focuses on positivity and delivering a visceral live experience. Relying on percussive instrumentation primarily, Rudd can simultaneously blow on a didgeridoo and knock out a beat on the kit. He began his set solo, but was soon joined by another drummer. This gave him leeway to bust out a guitar and demonstrate his amazing skills as a multi-instrumentalist. He is Australia’s native son and he is a true ambassador of their indigenous music. His version of Bob Marley’s “Buffalo Soldier” was impeccable. This was a real highlight of my weekend at Arise.
The night was rounded out with hippie hop favorite Chali 2Na. Perhaps it’s going back to his days with Jurassic 5, but 2Na is a member of an elite group of rappers that seems to have a real connection with jam and festival crowds. Artists like Big Boi and 2Na are well known in this realm and for good reason. Chali’s set at Arise was bouncy and a great way end my Friday. Music bumped on literally all night long with sets from The Magic Beans and Michael Menert.
Saturday saw a few more fresh faces that had made it for the final full day of the Arise Music & Arts Festival. I awoke in desperate need of a shower so I made my way over to them in general camping. I have to say this may have been the best festival shower experience I’ve ever had. As you enter, you are greeted by a Zen garden of cleanliness. Operatives offer to wash your feet as you wait for a stall to open. I declined, but it was a nice gesture. They cleaned each shower before use and were very attentive to their customers. It was a brilliant way to start my last day at Arise.
I spent an hour or so joining in an aerial photography that reenacted the logo for the festival with human bodies. It was punctuated by a massive group hug before everyone floated on. I was disheartened to hear that Grant Farm had actually performed on Friday having switched set times with another band. I opted for some activism instead and went to the Sunrise Dome for a panel discussion with Daryl Hannah and Julia Butterfly Hill moderated by Rock The Earth’s Mark Ross. Hill discussed her harrowing experience living in the ancient redwood affectionately known as Luna for 738 days. Hannah talked about her work to stop the Keystone Pipeline for which she has been arrested twice. Mark asked intelligent and wide-ranging questions that covered both of their careers and work as activists. He also fielded a number of questions from the audience. The 90-minute talk flew by and it was time for She Said String Band.
They are another local group with a very genuine approach to the bluegrass tradition. They had an almost wholesome sound that was truly inviting. TIERRO was back on the Center Stage with their fiery tribal beats. They were fun but musically Zap Mama was on another level. They are a self-proclaimed blend vocally of “Polyphonic” and “Afropop.” To me it was amazing harmonies backed by a sometimes-jazzy sometimes hip-hop flair. Zap Mama originates from Belgium and they have received international recognition for their tremendous sound.
Finally it was time for the main event in the form of Michael Franti and Spearhead. Having just played a show at Red Rocks Franti is well loved and well attended here in Colorado. The fact that he was the festival headliner made perfect sense. Again his brand of positive, inviting performances is exactly what Arise seems to be all about. His use of funk, world, hip-hop and reggae stylistically in his music also demonstrates the eclecticism of the festival itself. How could Franti not headline the first Arise? His set was a series of fan favorites with a few newer tracks tossed in for good measure. Franti invited young Jayden Carlson up to the stage. At the tender age of six watching Spearhead, Carlson decided that she wanted to, “make people happy like that.” She had performed earlier in the day with her band and let me just say that kid can shred.
“It’s cool to be at Arise on the day it was invented.” –Michael Franti
Spearhead continues to be a high impact group capable of backing the full on musical assault of Franti. He regularly jumped off the stage and mingled directly with the crowd still singing into his wireless microphone. The enthusiastic crowd caused a serious storm of dust as they jumped and danced. Crowd pleasers like “The Sound of Sunshine” and “Life Is Better With You” energized the audience. The bassist took a turn at the microphone with a baritone rendition of Sly & The Family Stone’s “Family Affair.” They also ripped through a smoking version of “Say Hey (I Love You)” and teased the crowd with Daft Punk’s “Get Lucky.” All in all it was one of the best shows I’ve seen from Franti and company.
We wrapped up our Arise experience with east coast favorite Twiddle. This band has a Phishy demeanor and rarely makes it out this far west. They are a powerfully talented group that played well into the night. They too invited young Jayden Carlson up to the stage to jam.
Twiddle blasted through originals like “Doinkinbonk!” and “Box.” However the highlight of their set was a huge jam that included “Gatsby The Great” into “Big Country” into “Divided Sky” back into “Big Country” and back into “Gatsby.” This run featured some of the cleanest jamming I witnessed all weekend. These guys need to get out west more often.
The great thing about Arise Music & Arts Festival is that it is literally the “Choose Your Own Adventure” of music festivals. The experiences had by any given attendee have the potential to be incredibly different and varied. For the activist there was plenty of film screenings and discussions. For the burner that was plenty of electronic music and wholesome community interaction. For the music fan that was literally live music happening at any given time over the course of the 96 hours of Arise. There was obviously a nascent community beginning to form at Arise and I for one am interested to see how it grows. Not only is this something we are truly lacking in Colorado, but more importantly the organizers seem to have a solid road map by which to develop this festival. Time will tell if their ambition will match the overall outcome. I hope it does.