For a band that excels in the live music setting, Umphrey’s McGee have not really released a whole lot of live material in the past, at least not when compared to a lot of their jamband counterparts. Outside of Live at the Murat and a few Hall of Fame releases, most of their official projects have come out of the studio lately. Now with the band working to spotlight their standalone streaming platform on the UMLive App released less than a year ago, the demand for live performances has become greater than ever before.
For over 20 years, the genre defying sounds of Slightly Stoopid have satisfied the West Coast and the world’s need for psychedelic, bluesy, soulful, rock with a heavy hint of island reggae. The bands newest album, Meanwhile… Back at the Lab finds its way to eclectic listeners at the end of June just days in advance of their summer tour, Everything is Awesome. Slightly Stoopid will take on the road and more than 40 cities with The Dirty Heads, The Expendables (select dates), and Stick Figure (select dates).
On a Friday night at 6 pm you won’t usually find folks in Fayetteville, AR packed into the back room of a bar. But there are special occasions for such shows; one of which happened June 12 at George’s Majestic Lounge. Punctual as ever, the older-than-usual but rambunctious audience stood waiting for Samantha Fish to grace the stage. The crowd was buzzing with the anticipation of the fantastic blues rock show at hand.
With another summer tour looming the “Phab Phour” from Vermont have whet the appetites of their fan base by unleashing another monstrous concert box-set. The band continues their string of excellent archival releases with the newest addition to their ever-expanding live catalogue; an 8-disc collection presenting three incendiary shows performed at the Paradiso in the Netherlands during their heralded 1997 European tours, which for all intents and purposes will be called Amsterdam ’97.
In less than ten years, Pennsylvania alt-grass group Mason Porter has built an honest following. Genuine musical expression and staying true to one’s roots can be challenging when critics marginalize through categorizing and genre labeling. It seems as if the quintet isn’t really bothered by anybody else’s opinion on what type of music they play, or could be playing. Their authenticity has won over a loyal family of fans.
Never one to shy away from giving fans something unexpected, prog-rockers Umphrey’s McGee have surprised their followers by releasing their second studio in album in less than a year. Just ten months after the fantastic Similar Skin was produced, the band took advantage of an once-in-a-lifetime opportunity to record music in the famed Abbey Road Studios in London; the same room that iconic artists like The Beatles, Pink Floyd, The Hollies, Fela Kuti, and Radiohead all recorded some of their best work.
Last summer, Analog Son released one of the strongest debut albums I’ve heard in quite some time. Guitarist Jordan Linit and bassist Josh Fairman composed the tracks and enlisted 18 musicians – ranging from nationally recognized to locally cherished – to imbue the songs with a euphonious blend of fusion and funk.
It is no secret that most Phish fans consider the band’s finest, or at least most grand, performances were heard over the 1999 New Year’s Eve run at Big Cypress Seminole Indian Reservation in Florida. Even the band members themselves have hinted that those shows may have been the pinnacle of their storied history. Phish-heads have been clamoring for years that the organization needs to release legitimate soundboard copies of those epic NYE shows, and although those cries have so far proven fruitless the band has decided to deli
Stuck somewhere between obscure, psychedelic Frank Zappa B-sides and the soundtracks to retro Sega Genesis videogames you’ll find the ultra-versatile, moog-driven sounds of Northeast-based jam quartet Dopapod. Between the recent release of their fourth studio effort Never Odd or Even, and an extensive collection of East Coast and Midwest dates alongside the incomparable Umphrey’s McGee, it’s clear the future is looking exceedingly bright for the progressive dance-rock group.
Grace Potter & The Nocturnals, long known for their rock’em sock’em live shows, are the latest group to tap into their vast vault of concert recordings for official release. They launched the series, dubbed Vaulturnal, with the release of a complete headlining show recorded at the Tanglewood Music Center in Lenox, MA on the night of Aug. 19, 2013.