Illustrious musicians from the vanguard to the nostalgic, some of who began plying their craft in the ‘60s, and others who are poised for big recognition in the 2020s, all shared a distinctive Southern California seaside aesthetic at the inaugural BeachLife Festival May 3 to 5. BeachLife, the biggest fest ever to blast its jukebox along the Santa Monica Bay at Redondo Beach, combined sun, sounds, sand, and surf and passed its acid test with flying colors.
It was a good day. Redondo Beach, California’s, inaugural BeachLife Festival got off to a splendid start on Friday, May 3, with Bob Weir, Chris Robinson, Slightly Stoopid, and Steel Pulse leading the way, and the undercard featuring lots of roots-reggae rock, all of which colorfully defined the SoCal beach vibe. Cool breezes from the adjacent Santa Monica Bay and the Pacific Ocean kept temperatures in the 60s while the early May SoCal sun beamed down on several thousand rosy-faced attendees.
LOCKN’ Music Festival, nestled in the natural beauty of the Blue Ridge Mountains in Arrington, Virginia, provides the ultimate atmosphere for live music. Now you could win the ultimate LOCKN’ experience as the personal guest of the festival’s producer, Peter Shapiro!
Who's up for a revolutionary evolutionary ride? DAVE'S PICKS VOLUME 30: FILLMORE EAST, NEW YORK, NEW YORK 1/2/70 captures the Grateful Dead as they make their first foray from the experimental 60s into their early 70s acoustic Americana period. Yes, this one is a little bit country and a little bit (psychedelic) rock and roll.
Wolf Brothers, consisting of Weir on guitar and vocals, Don Was on standup bass and Jay Lane on Drums, played a 1st set consisting of a mix of classic Grateful Dead songs including "Friend of the Devil” and “Althea" along with covers of Bob Dylan’s "When I Paint My Masterpiece" and Daniel Lanois' “The Maker” as well as a pair of Weir's solo and sideband (RatDog) in “Gonesville” and "Bombs Away” respectively. The first set ended with Barlow/Weir’s "Lost Sailor” segueing into “Saint of Circumstance.”
“In 1969, for their third album, the Grateful Dead eschewed outside producers and created Aoxomoxoa themselves, beginning a run of self-produced albums that would continue until 1977. Scrapping the first sessions, which were recorded to eight-track tape, the Dead now had 16 tracks with which to experiment their psychedelic sound, with an album that included entirely Robert Hunter-penned lyrics for the first time.” - Archivist David Lemieux
Bob Weir brought his newest project, The Wolf Brothers, to The Taft Theatre in Cincinnati on Wednesday night for an intimate and impressive performance that satisfied the theater full of his loyal fans. With a catalog as impressive and extensive as Weir’s, the band was able to curate a fantastic show full of songs spanning all of Weir’s career with The Grateful Dead as well as his side projects, solo work, and even some covers thrown in for good measure.
It’s not often that venerable guitarist, composer, and bandleader Steve Kimock appeases his hugely loyal fanbase by giving into song requests. Not that Steve overlooks the folks who’ve gone to every damn show since the days of his heralded archetypal band Zero, but for the veteran artist, music is ever-evolving and never about looking backward or forwards.