In this dim December hush—on the eve of December 30th, 2024—when the moon’s gaze drifts across our fretboards and the shadows dance in percussive rhythms upon the stage of our memories, we summon the immortal specter of Bo Diddley. A conjurer of that primal, syncopated heart-thump, he fashioned a new kind of rock ’n’ roll heartbeat with the cunning of a raven poet and the wandering soul of a road-bound troubadour.

The Grateful Web is thrilled to bring you a live-streamed performance of the Garcia Birthday Band (GBB), straight from McMenamin's Mission Theater & Pub in Portland, Oregon. GBB isn’t just a Grateful Dead cover band – they’re a living, breathing celebration of the Grateful Dead’s musical legacy and a vital heartbeat of the Pacific Northwest's Deadhead community.

The Recording Academy has announced the 2025 GRAMMY® Award nominees, and acclaimed guitarist and vocalist Sue Foley has earned a nomination for Best Traditional Blues Album for her remarkable solo acoustic project, ONE GUITAR WOMAN (Stony Plain Records).

Acclaimed Louisiana Bayou blues guitarist Tab Benoit kicks off 2025 with a voyage on The Big Easy Cruise, setting sail from Fort Lauderdale aboard the Holland America Line Eurodam from January 5–11, 2025. Fans can expect electrifying performances alongside a celebration of New Orleans culture, music, and cuisine. For more information, visit Big Easy Cruise.

Dogs In A Pile's annual holiday show at The Stone Pony in Asbury Park, NJ, on December 21, 2024, was a lively celebration for the band's loyal “Dog Pound” following. The performance showcased the group’s distinctive blend of jam-band improvisation, jazz fusion, funk, psychedelia, and classic rock. The night featured a mix of originals, live debuts, covers, and a few surprises for the dedicated fanbase.

As it has so many times over the past 100 years, the legendary Cervantes' Masterpiece Ballroom became the epicenter of jazz and funk fusion on Friday night, as a stellar lineup of musicians gathered to pay tribute to one of the genre’s greatest visionaries: Herbie Hancock. Long before Cervantes’ earned its reputation as one of Denver’s premier venues for jam bands, hip-hop, and electronic music, the space had a profound legacy rooted in Jazz excellence.

Watching them, it doesn’t hurt that the junior Allman and Betts share their dads’ genetic exteriors. Betts, in particular, has features that emulate his famous father. Better still, Devon and Duane’s voices have tone and timbre similar to Gregg and Dickey, and their guitar shredding and (for Devon) organ skills would make their papas and Uncle Duane proud. I’m still going to vote for Derek Trucks as the top of a very impressive heap in this generation of Allman Bros. spinoffs—but he actually played in the Allman Brothers, so maybe he doesn’t count. I suppose that bumps D & D up to the pinnacle.

This month, the hallowed halls of the Kennedy Center got themselves a little shake, rattle, and roll as the 47th Annual Honors broadcast on CBS. On a night filled with pomp and circumstance, something altogether more cosmic entered the mix—our beloved Grateful Dead, riding the long, strange trip right into the arms of America’s cultural canon.

Progressive bluegrass is inherently demanding music, requiring technical mastery and creative vision. The best in the genre—whether it’s the original pioneers like David Grisman, Sam Bush, and Béla Fleck; modern innovators like Nickel Creek and Sierra Hull; or rising stars such as Mile Twelve and Shadowgrass—share a rare ability to make the complex feel clean, fluid, and effortless.

From the ancient Greeks to medieval court jesters to modern late night talk show hosts, taking comedic jabs at those in power can be as persuasive as a sword. Retired legendary rodeo clown and now musical satirist Sloppy Scales has assembled a world-class band of musicians to create his debut album This Machine Mocks Fascists: The Sloppy Scales Songbook that's released today. It's a hilarious Latin countrypolitan blues-rock bulldogging of America’s far-right politics. It’s refreshingly incendiary in its raw condemnation of injustice.