I have personally been harassing Floodwood’s management for the better part of the last two years to get them to come out to Colorado. Given Al’s predilection for skiing it’s kind of a no brainer. Ever since first seeing them at Summer Camp I have been smitten with their sound. Floodwood’s brand of punchy acoustic music anchored by two members of jam powerhouse moe is the perfect fit for any music fan. So finally it was announced that Floodwood would be embarking on their inaugural tour of Colorful Colorado. Their schedule included a short run into the mountains before two nights with Assembly Of Dust in Denver. Their first stop was a Tuesday night in Fort Collins. The evening began with local acoustic favorites, Gipsy Moon from Nederland.
Gipsy Moon is an utterly fun experience. Their music imparts an impression of a romanticized nomadic existence framed by the kind of strings that you would hear around a roaring campfire. Silas Herman son of famed bandleader Vince Herman takes the silent lead. He is quiet on stage by he simply shreds on the mandolin. Live Painter turned live musician; Mackenzie Page is another focal point from this young but impressive group. Their set lasted about an hour before they disappeared into the darkness behind the stage.
Al came out and gave us all a warm welcome before informing us that this was in fact Floodwood’s first time performing in the state. They opened with a tight but twangy original “In The Gravel Yard.”
Set 1: In The Gravel Yard, Revolving Door, You And Me, Spoon Kicks, I Know You Rider, Mother, Long Way To Virginia, Caught, Blue Eyed Son, Waiting In Vain, North Country Winds, 315, Nine Pound Hammer, Spend Some Time, Somewhere In Kansas, Chillicothe Clouds, Holy Sacred, Stomp It, Roll On, Waiting For The Punchline
Encore: Old Banjo, Cumberland Blues
Given the fact that it was a Tuesday and turnout was decent but only approaching half capacity, Floodwood opted to play one long set of music. This included several tracks off their new album including “North Country Winds” and a sublimely rowdy “Stomp It.”
“Every time I come to Colorado I can’t help but wonder why the fuck I don’t live here.” – Al
However the big news of the night was the release of their new live album This Is Live, which was available for purchase for the first time. Traditional bluegrass renditions of “Long Way To Virginia” and Merle Travis’s “9lb Hammer” took on a fresh feel while maintaining their nostalgic roots. We were treated to Al’s tribute to his autistic child “Blue Eyed Son,” which has become a regular on moe set lists as of late. Covers like Bob Marley’s “Waiting In Vain” and The Grateful Dead’s “I Know You Rider” were sprinkled in throughout the set for good measure. Nick Piccininni absolutely tore up his original instrumental “Chillicothe Clouds” which was a tune he wrote about his first experience at Summer Camp Music Festival.
“Pretty good for a Tuesday Night, pretty good for any night really.” – Nick
The audience was definitely comprised of a lot of moe fans that spent time yelling out silliness like, ‘Play Rebubula.’ Overall, the crowd was pretty attentive and definitely appreciated of the music. They closed with an amazing acoustic version of “Waiting For The Punchline.”
Floodwood returned for a two-song encore. First up was the bouncy “Old Banjo” followed by a bluegrass interpretation of the Grateful Dead’s “Cumberland Blues.” According to the setlist the last song was an audible. This was just a top-notch night of music from two of my new favorite bands. Gipsy Moon is definitely worth catching live whenever possible. Floodwood is an acoustic barnstormer that can’t help but impress music fans across this great country. I for one am thrilled that they finally made it out to Colorado. Let’s hope it’s the beginning of a new tradition for Floodwood.
Moe. has reliably made Colorado a part of their annual winter tour schedule since the late 90’s. This year was no exception. We were treated to two nights of the boys from New York at what has become their winter home in Denver, the Ogden Theater. Moe. at times has had trouble gaining a real foothold in Colorful Colorado. The dedicated .rons will always make it out. Despite being full for both shows, neither night was completely sold out. This particular run happened to fall smack dab in one of coldest streaks we’ve had in Denver this year. As we drove down from Fort Collins, the mercury was dipping well below zero.
moe. with Magic Beans 12.6.13
The Magic Beans are a Boulder band that has made great strides in developing a devoted fan base on the Front Range. Their bouncy jam infused sound is wholly approachable and quite enjoyable. They opened with their original, “Luck” that featured Casey Russell trading licks on the keys with Hunter Welles on guitar.
Set 1: Luck, Dying Day, Who’s Crazy*> Zumbai
*w/ Con Te Patiro tease
Their four-song set stretched to just under an hour as the crowd quickly filled in to just under capacity. Their set was a great demonstration of what The Magic Beans do well. A very clean show that culminated with a huge “Who’s Crazy.” The version was a great musical juxtaposition of their tight but relaxed sound and the frenetic rage jam that they are also known for. It also had a striking Con Te Patiro tease. They finished just before 10 PM. Keep an eye on these guys, as they continue to develop and reinvent themselves with each live performance. They are a lot of fun.
Fans that went outside were slapped in the face with a frostbite inducing -8 degrees. Many opted to hunker down and wait for moe. They opened with a healthy “Tubing The River Styx”
Set 1: Tubing The River Styx> The Pit> Kyle’s Song> Bear Song, Lost Along the Way, Tailspin> Timmy Tucker
Set 2: Big World> Ricky Marten> Time>Hi and Lo, Oh, Hanukkah, McBain> Down Boy> Billy Goat
Encore: Spine Of A Dog
Audio by Chuck Miller
Moe. brought the power early. “The Pit” went to the dark side and allowed the boys to flex their musical muscles. The band simply exploded into an amazing “Kyle’s Song.” The jam stretched on filling up an entire twenty minutes with multiple teases including a sly riff on Birdsong. And without missing a note the band launched into a sinister and intense “Bear Song.” They gave a nod to Lou Reed with a “Walk On The Wild Side” tease. It just seemed like the band was really having fun, which will always transmit to the crowd. Fans were finally able to catch their breath during the slower, Al sung “Lost Along The Way.” They went back into high gear with a tight “Tailspin” before the very suitable closer “Timmy Tucker.” This first set of music was at a very high caliber and a great indication of what was to come.
During the break kids debated weather a smoke was worth the bone-chilling cold. Others simply mingled with their neighbors. After a short wait they came back to the stage with the brooding classic “Big World.” Moe. wasted no time by segueing beautifully into a ridiculously funky “Rickey Marten.” The unexpected highlight came in the form of Pink Floyd’s “Time,” which has been played sporadically since 2000. After a brief “Hi and Lo” they busted out “Oh Hanukah” that featured some sick surf drum riffs from Vinnie Amico. This instrumental had not been played in 643 shows. “McBain” was another journey into the deep going a full 19 minutes with all the boys settling in nicely. It also featured some of the best back and forth guitar work of the night with both Chuck and Al taking it to the extreme on their instruments. “Down Boy” into the “Billy Goat” closer was another high point in a great show.
After Alnouncements, Moe. encored with a straight forward “Spine Of A Dog” before saying their goodbyes. The first set was the obvious winner, but the entire show was just solid. Musically there are very few bands that are as tight as moe. They’ve been together for so long and play with each other so consistently that there is an apparent effortlessness to every performance. Their first night in Denver was totally worth braving the cold. Fans bundled up and flailed for cabs on the corner. Others sprinted to hotel rooms. As I happily walked out into the crisp night air I kept thinking one down, one to go.
moe. with Technicolor Tone Factory 12.7.13
Saturday felt downright balmy with the mercury hovering right around 0 degrees. Most fans spend the daylight hours either hunkered down beneath layers of blankets or they opted to go the Jay Blakesberg Jam book signing. Rumor had it that moe. would show up and they most definitely did. After a short performance and a bit of revelry for Jay it was all over and time to focus on round two. Doors again opened at 8 PM with Technicolor Tone Factory starting up right around 9 PM. I’ve seen the TTF name floating around the Front Rage scene for a short while now. This was my first opportunity to see them perform live, and I have to say I was impressed. Tight riff-heavy jams were the hallmark of a band that defies categorization. It’s as if elements of Daft Punk and Jimi Hendrix went to a secluded cabin in the woods and came back with a love child. That love child is Technicolor Tone Factory. This five-piece is one to keep an eye on. Their original “Heist” into a spot on version of Ted Nugent’s “Stranglehold” was a real highlight of the entire evening. Their performance at The Ogden on Saturday was both musically skillful and totally proper given the audience. I wouldn’t be surprised if Technicolor Tone Factory makes their way to a festival near you this summer.
Moe. stuck to the game plan and again made their way onto the stage a little after 10PM. They opened up the night with a crunchy “St. Augustine” that contained some serious shredding from Mr. Chuck Garvey.
Set 1: St. Augustine> Wind It Up, Bluejeans Pizza*> Waiting For The Punchline, We’re a Couple of Misfits, Jazz Wank> Buster
Set 2: Queen Of Everything> George, Captain America> Seat Of My Pants>Yodelittle> Lazarus> Yodelittle, Dr. Graffenberg
*w/ Taylor Frederick of Technicolor Tone Factory
Audio by Brad Ziegler
Night two was a literal parade of crowd pleasers, several done with a great attention to detail and with much panache. “Wind It Up” was straight forward, but they invited TTF guitarist Taylor Frederick out for a little extended collaboration on “Bluejeans Pizza.” This particular version went well over fifteen minutes and included lockstep transition into a perfect “Waiting For The Punchline.” Moe. just knows how to build a proper set. Peaks and Valleys, ebbs and flows, they get it. “Punchline” just exploded into an all out dance party before the band gave a two minute tease with their punkish rendition of a rare tune off of their 2002 Season’s Greetings album, “We’re a Couple of Misfits.” “Jazz Wank” went sort of bouncy as they built the intricate layers of that song. They segued beautifully into the set-ending “Buster.” A great closer, this tune became a giant sing-along before moe. called it a set.
The Ogden overall seemed relatively relaxed. Perhaps the jitters of running a live music venue in the one of the first states to legalize it have finally subsided. The crowd too, seemed to be fairly docile and in tune with the band. There was a distinct lack of utter spunions dotting the perimeter. All in all, the atmosphere on Saturday night was damn near textbook. Moe. opened the second set with a tight and invigorating “Queen Of Everything.” Jim Loughlin and Vinnie Amico went back and forth on percussion, pushing the song to its absolute limit. The subtle segue into “George” did little to foreshadow the massiveness of this version. Al blasted off on vocals as the rest of the band fell into a stone groove. The band finally paused momentarily before again launching off into a much appreciated “Captain America.” Chuck and Al shared the microphone duet style for “Seat Of My Pants,” which went intensely metal towards the end. The “Yodelittle” sandwich with “Lazarus” as the baloney was the highlight of the second set. They closed with an incredible “Dr. Graffenberg” and continued the recent tradition of pushing this song into the psychedelic stratosphere through deliberate and distorted jamming.
Again Al, paid his respects before they wrapped it up with a one song encore. This time fans were treated to a high-energy burn in the form of “Akimbo.” Having seen moe. now 55 times I can honestly say that this is a band that comes to play. Night after night they throw down. Although their tour schedule has retracted a bit due to family and what not, they are still one of the hardest working bands in the live music scene today. Both shows at The Ogden were solid and despite the weather fans enthusiastically engaged in the experience. As we wandered out into the late night on Colfax I was struck by a thought. Summer Camp is just around the corner, until then moe.
Recently I got the opportunity to meet with a person who is an integral part of the music industry that often goes unnoticed. Dr. Charlie Kautz, DC., is a chiropractor who specializes in treating musicians before their performances. Dr. Charlie and I sat down and discussed his services.
Me: Dr. Charlie, your website states that you provide specialized treatment protocols for professional touring musicians. Can you elaborate?
CK: Hey thanks, Alex! I’m a licensed chiropractor and my business, “Epic Performance Integrative Chiropractic”, to put it simply, provides a service to musicians to decrease pain and increase function to allow them to focus on what is important while they perform – the music. Along with chiropractic adjustments, I utilize a soft tissue technique called Active Release Technique and the application of kinesiology sports tape in my typical treatments.
Me: What is Active Release Technique?
CK: Active Release is a technique designed to treat repetitive stress injury and there is a unique protocol for each muscle in the body. I identify the muscle that needs to be treated, based on the type of musician I am working on, and use my unique treatment protocols to improve range of motion, increase muscle memory speed and decrease pain.
Me: As a chiropractor, what happened to inspire you to focus specifically on musicians?
CK: I’ve always been a big fan of music and it’s been a huge part of my life. During chiropractic school, I had a “light bulb moment.” While everyone wanted to be a “sports chiropractor”, I spent time trying to figure out how I could be different. By becoming a “music chiropractor”, I could incorporate what I love with my professional aspirations by treating a group of people that I feel need chiropractic more than anyone. Between the repetitive stress they put on their muscles and joints everyday and traveling and experiencing the rigors of touring, every musician can really benefit from what we have to offer. My friend, Wes Bailey, is really the first musician I started doing regular work on. If you haven’t heard of his band, Moon Taxi, you need to jump on the bandwagon ASAP.Me: This sounds like a relatively new field of work. Have you come across other chiropractors that specialize with musicians, or would you say you’re starting a new trend?
CK: I’m a member of the Chiropractic Performing Arts Network (CPAN). It’s a national organization of chiropractors who share a common vision of providing natural healthcare to performance artists by enhancing performance, increasing vitality, and increasing overall body awareness. I would be surprised if there were many other chiropractors out there with the drive and motivation that I have to study musicians and their ailments, especially one who is also certified in several soft tissue techniques. It’s really a niche I feel I’ve discovered. It’s a great time working with and treating the talented people that I admire and then seeing the looks on their faces after a treatment and getting to watch them perform on stage.
Me: What does your typical work week look like? Are you more in the office or traveling to work with bands?
CK: I work Monday through Thursday at Chiropractic and Wellness on Pewaukee Lake in Pewaukee, Wisconsin. Any time bands are playing in the Milwaukee or Madison area, I will go to the venues and work with them. On weekends I do a lot of traveling between seminars and working on bands out of state. So, pretty much I am a really busy guy (laughs).
Me: So you’ve just been doing this for a few years now. What bands have you worked with? What has been the best experience so far?
CK: I’ve gotten my hands on a countless amount of musicians already but I’m somewhat limited to what I can say. I’ve received testimonials from members of Umphrey’s McGee, Moon Taxi, Roster McCabe, The Motet, Steez, Indigo Sun, and Undercover Organism, just to name a few. You can read their testimonials on my website. It was a lot of fun to be able to work Umphrey’s McGee recently during their Halloween run at The Riverside Theater in Milwaukee. They’re a great group of guys and even more talented than I ever imagined before getting to meet and talk music with them. I also recently had the opportunity to provide my services to John Densmore, legendary drummer of The Doors. That was a really cool experience for me. I discovered that at the height of their touring career, the band would have a chiropractor come to the venue at least twice a week to treat them before they played. Mr. Densmore explained that chiropractic has been a vital tool he has utilized throughout his career to help with all of the aches and pains associated with being a musician. That was great for me to hear and offered a sense of validity to the mission of my business and what I can offer.Me: What aspirations do you have for Epic Performance Integrative Chiropractic going forward?
CK: I’d really like to expand my services to music festivals and connect with event organizers and promoters. I’ve been able to connect and work 1-on-1 with the bands really well so far, but one of my goals is to totally redefine artist hospitality at the big summer music festivals by taking the pre-show massage to a whole new level. While a massage feels great, it doesn’t address the underlying structural problems often associated with pain symptoms and dysfunction. I’d also like to establish some sort of “residency” with the bigger venues in the states that I’m licensed in, like I’ve done with some of the venues in the Milwaukee and Madison areas. Who knows, maybe you’ll see me at Summer Camp (laughs).
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
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.
moe. - The most amazing thing about this whole experience was getting to meet some of the artists that I so admire. As a fan, one tends to think that there is this detachment between the performers and the audience – that they live in a different world made of stars. The first time I was behind the moe. stage on Friday, waiting for the big moment when I would have to get up on that stage and announce their first set, Rob Derhak came up to me and told me not to be nervous; he talked to me and helped stop my knees from shaking like maracas. Vinnie and Al were also so kind and gave me words of encouragement. Ever since that first time, whenever I saw them I was greeted and treated like any other person. I used to love moe. for their music, but getting to know how kind, sweet and funny they are makes me love them even moe.
Wavy Dave - After their day set on Friday, despite having jammed hard in the blazing heat, Wavy was kind enough to sit down with me and let me ask him a few questions. He is super nice and SO talented, he plays like a million instruments! The next day was his birthday; HAPPY BIRTHDAY!! And I was allowed to tag along to the celebration. It was really cool to be able to see the gathering and sing happy birthday. What was funny was that it was so hot that the icing was melting and the cake was falling apart as he blew out the candles; but it still looked delicious!
Gigantic Underground Conspiracy – I had the awesome opportunity to do an interview with Chris Michetti, Ben Baruch, Dominic Lalli, Jeremy Salken, Marc Brownstein, and Araon Magner, and it was hilarious. Again, that imaginary distance that one imagines exists between the artists and fan disappeared and we spent a great deal of time talking as if they weren’t big stars they are; I mean we discussed socks for like 5 minutes! These guys acted like they were brothers, and they were SO funny. I have no words to express how happy I am that I had the chance to meet them and spend some time with them. Please, check out the interview video and see for yourself!
G-Love - G Love is a very cool, very laid back guy. This was the first year we were able to catch his set so it was a little embarrassing going into the interview with him, since I didn’t know much about him. However, he was super awesome and made it very easy for me to get a great interview. His blue eyes are mesmorizing and he really has a great way with words. The story of how his career started is extremely interesting so don’t miss the video!
Kinetix – I was super excited to catch Kinetix for the first time – and they didn’t let me down; they played a great show and afterwards I went up to them and asked them if they didn’t mind doing an interview (make sure to watch it!) and they were so cool about it. The band consists of Adam Lufkin, Eric Blumfield, George Horn, Jordan Linit, and Josh Fairman. Another great group of guys, they were funny and it was a pleasure to meet them. This was their second year at Summer Camp and I hope they keep coming back.
Sun Stereo – I finally got to meet this band, which I have been interested in for a long time. They are locals from Urbana and have a very distinct sound that you have to hear. The main group consists of Kelly McMorris, Josh Houchin, and Jesse Greenlee but they brought some friends to add to the music with trumpets. They were all very sweet and Kelly has a great smile. Don’t miss out; check them out and the interview too!
As I have mentioned, I couldn’t believe how nice and welcoming everyone was. In particular, Vinnie seriously touched my heart with his kindness. I am an aspiring drummer and have always admired and looked up to him; at one point when I had a moment I approached him and asked him a wide array of questions and requested some tips on improving my skills. He not only answered them all and gave me inspiration and encouragement, he actually sat down with me on two separate occasions and gave me a private drum lesson. Vinnie was patient and sweet and he is just SUCH a cool guy; it was the most special moment of the weekend. I missed GUC’s late night set to get the second half of my lesson and don’t regret it for a second. THANK YOU SO MUCH VINNIE!! I had actually bought a pair of drumsticks in the hopes that he would sign them for me and told him that; but he didn’t sign them, instead, Sunday night after their last show he gave me the sticks he used during their last set and signed them, writing “you rock Maria” – tears are swelling up in my eyes as I write about this. I can’t express how much it means to me. Thanks again Vinnie – you’re amazing.
After night one of moe. at The Boulder Theater I couldn’t wait to get back into the room for round two. We got caught up in the day and ended up walking in just as the boys from New York ripped into Bearsong. This song was on a five-year hiatus in the early 2000’s but has been making it into steady rotation since 2004. However I have never seen it as an opener and I can tell you it most definitely set the mood for the entire night. It felt like a virtual continuation of the power and energy present on in Boulder on Friday. Here is the setlist from PT.
SET I: Bearsong> Runaway Overlude, One Way Traffic, Head> Hector’s Pillow> Bullet> 32 Things
SET II: Awesome Gary> Californ IA> Big World, Rainshine, Cathedral, Captain America> Mexico
ENCORE: Chromatic Nightmare> Rebubula
You can download the recording on Archive. Thanks to Chuck Miller for posting.
Bearsong was like jumping feet first into the hot coals of a raging fire. We got a chance to catch half a breath with the intro to Runaway Overlude before Chuck and Al went into dueling guitar solos. Al even made his way over to Chuck side for the musical battle. One Way Traffic, a Rob song off of Welcome To The La Las, confused a few in the crowd, but I enjoyed it. As I said in my review from night one I really dig how moe. transforms and expands on their newer songs in a live setting. They always seem to fit well into the overall mix for me and I’ve felt this way going back to Wormwood.
Head saw Al taking the reigns with the ferocity that made me a fan of his way back when. It was the beginning of the massive jam that they would ride through the end of the first set. Hector’s Pillow took us back to the rage tone that dominated the majority of the show. The crowd was literally making the floor bounce as they danced fast and strong. Again the energy in the room was powerful and contagious. It was slightly more packed than night one but still maneuverable. I know more than a couple people who jumped ship from Widespread to get some electric-fueled moe. goodness rather than sit through another night of acoustic music. Bullet was definitely the highlight of the first set stretching well over the fifteen-minute mark and showing the crowd that moe. was there to play. They closed with a ripping version of 32 Things that saw Rob slapping his funky bass sublimely.
moe. has been doing a second set opener contest on their Facebook page, picking up odds and ends from the tour and putting them in a box for the person who guesses the most correctly. I can only assume that the Awesome Gary opener was a curveball for their fans. This is yet another song that took an extended hiatus not being played for nine years and only recently making it back onto setlists. I for one had never heard it performed live so I was stoked to see them bust it out. Californ IA was a jam that the let the audience settle into the set before an intense Big World. Vinnie was a rock all weekend holding down the changes and keeping the band in line. Rainshine another newer track, which I got to witness the debut of at Summer Camp last year, was solid. This song just builds properly in live setting and I dig the overall rock attitude. After which they went into my favorite song off of Sticks And Stones, Cathedral. I could have left the show happy then, but the rest of the show would end up being classic moe. gold. Opium felt like a cool breeze washing over everyone in the room and Captain America could have easily been the second set closer. However the boys felt it would be prudent to toss in a seventeen-minute version of Mexico to shut her down correct.
They encored with Chromatic Nightmare, which could honestly be the intro to just about any song in moe.’s catalog before absolutely blowing the roof off the place with Rebubula. Now, the thing about Rebubula is that I edited my Summer Camp Counselor video to this track and they encored the last night of Scamp with it. They did the same in Boulder and I couldn’t help but feel it was another little pat on my back. I know it’s just a great tune to encore with, but a fat hippie can dream can’t he? Overall moe. came to Boulder and blew away all my expectations. The last few years they have worked hard to win over new fans and reinvigorate their fanbase in Colorado. I feel they accomplished just that and had an extremely successful two-night run on the Front Range. Now, I look ahead to another amazing run at Summer Camp and am ready to see them do what they do best at one of their home festivals.
Well Summer Camp made it happen again. As the Summer Camp Counselor it was my job to be their ambassador for moe.’s run out here in Boulder, Colorado. It’s a tough job but someone has to do it. Of course I say that a little tongue and cheek, but in all honestly the last year has been incredible. Summer Camp has come through time and time again to get some amazing coverage for this blog. Thanks Summer Camp.
After spending a week in New York City for work I couldn’t ask for a better homecoming than two nights of moe. at The Boulder Theater. This two-night run was originally scheduled for the Ogden, but due to the fact that Widespread Panic scheduled their Wood Tour a few doors down at The Fillmore the shows were moved to Boulder. I honestly couldn’t be happier. I love this room and with the update to their sound system it really is a first class Front Range venue. Amy picked me up at the airport, we cruised around town, and had dinner with some old friends before hitting the show.
We arrived at The Boulder Theater around 8 PM and I picked up my photo pass. I was slightly amused when I saw on the guest list that next to my name it said Summer Camp Counselor. I chuckled to myself as I walked in and found a spot Chuck side for the start of the show. I had been waiting for this night for months and it had finally arrived, I was almost giddy. moe. came to the stage and set the night off like a fuse racing towards a stick of dynamite with a crunchy Skrunk. Here is the rest of the setlist from moe.’s facebook page.
SET I: Skrunk, Nebraska, Zed Naught Z, Puebla> Darkness> Brent Black> Queen Of Everything> Brent Black
SET II: Deep This Time, Up On Cripple Creek> Blue Jeans Pizza> (nh) Smoke, Time Ed> George
ENCORE: Queen Of The Rodeo, Downward Facing Dog
Here is the recording from Chuck Miller on Archive – http://www.archive.org/details/moe2012-02-10.M300.
moe. came out of the corner like a punch drunk boxer with something to prove. With this wake up call entitled Skrunk the crowd snapped to attention and started their two-day boogie strong. They settled into the set with Nebraska. This track is one of my favorites from back in the day and I was happy to see it so early in the performance. The crowd was loosely packed, which made it easy for me to maneuver for photos. There was a distinct energy in the room, like everyone who made it to the show was meant to be there. Jim’s vibraphone bounced off the walls for Z0Z nicely and set up what would be the biggest jam of the first set. Puebla, one of the tracks off of What Happened To The La Las, evolved dramatically in a live setting taking on a dark tone, again accented by Jim’s percussion. The sinister sound went deeper with the segue into Darkness. They ended the first set with a massive Brent Black sandwich with Queen Of Everything taking the place of the roast beef. Clocking in at almost a half hour this was by far my highlight of the set one.
They opened up the second set with a brighter Deep This Time with Rob maintaining his stoic expression belting it out properly. Al took the spotlight on an unexpected version of The Band’s Up On Cripple Creek, which stretched well over the ten-minute mark. moe. transitioned beautifully into Blue Jeans Pizza and it was right around this point that I had a modest epiphany. Unlike many of the other jambands in the scene, moe. has never broken up or really even taken an extended hiatus. This is the reason they are perhaps the tightest band in the world of jam. They are all on the same page, and they make it work well, and in their twenty second year of performing live they are honestly sounding better than ever. After another new track off of La Las they gave us perhaps the best Time Ed I’ve ever seen them play. Stretching past the twenty-four minute mark it was one of those instances where they went so deep into the jam I had to ask myself, “Are they still playing Time Ed?” It was the epitome of sickness and only possibly equaled by the twenty plus minute George to close the second set. The end of the show was simply jaw dropping and proof that moe. may be one of the few bands left that truly jams. I mean you have to ask what other band out there in scene plays two songs for forty-five minutes to close a show? They encored with a quick Queen Of The Rodeo before giving us an extended take on Downward Facing Dog.
The whole show came off incredibly well and again reaffirmed my love of moe. They shred and aren’t afraid to really blow the backend out of their songs. I got to chill for a bit backstage after the show and let the boys know that they did Colorado right. I headed back to Fort Collins with a huge grin on my face and serious feeling of anticipation for night two in Boulder.