Hot off a new release date drop, Spafford visited the American Furniture District, located in the center of the Piedmont Triad in North Carolina. They played at CoHab Space, which is a new eclectic outside venue in High Point, NC that operates with the well known Tar Heel state promoter, Ziggy's. The venue included local artist art, sculptures and woodwork on debut throughout the surrounding beautiful brick buildings that are beside an active train line. Patrons and fans could walk through the beautiful sculptures placed throughout the grounds, both before the show and during set break. It was the perfect venue to welcome the beautiful spring weather with Spafford.
Spafford literally brought the heat to CoHab space in High Point, North Carolina. The beautiful warm day and nice breeze had everyone in a very jovial mood. Before the show, the crew were playing around in the green room, which was an inspiring and refined environment. Teeming with hippy and psychedelic vibes, the green room comprised an old school bus with all the seats removed. Vintage couches and furniture were installed inside, which gave the band a very relaxing and chill habitat while not on stage.
The band has two new band members, Shon Gordon (bass/vocals) and Cory Schectman (keys). They seem to exquisitely unite together on and off stage along with the two original band members, Brian Moss (guitar/vocals) and Nick Thachyk (drums/vocals). For example, Shon, the new bass player, jokingly hid and jumped out to scare Nick as he exited the bus. These musicians are so in tune with each other that a single note, look or vibe communicates that intent and purpose on stage.
Spafford opened with a majestic, twenty-six-minute, twangy version of ‘Hollywood’ that beautifully transitioned into their well-known, astonishing improvisational ability and off-the-cuff extended jams. This opener was the perfect fit to bring the crowd immediately to their feet and dancing.
'Hollywood' eventually cascaded into a beautiful melodic tune before coming back into another twangy southern jam. The crowd and band were so in tune together from the moment they came onstage that the band was immediately able to find their groove. As the trains came, they added more magic to the jam by blowing a couple of toots, which caused the crowd to explode. 'Fake the Fate' and 'Darkness Singularity' followed, as the darkness came over us and the sun set. Overall, the energy was high and the jams were smooth in what proved to be a stellar three song set.
The set break gave fans the opportunity to go see all the beautiful sculptures, furniture, art and food. They were able to sit in the beautiful open outside atmosphere which included sculptures built as fire pits, along with seats and places to relax as the band took a much needed break.
Spafford’s magic was truly untouchable, even for a Thursday night. The energy from the first set spilled through the audience's veins as they craved the start of the second set. No one cared about having to work the next day, as everyone was waiting for more energy to be served. And Spafford did not disappoint. Before the band returned to the stage, Chuck Johnson took the mic and attempted to fill everyone's cup by reading a beautiful poem called ‘Lady Luck.’
The band reappeared on the stage for the second set, and were immediately back in the swing with 'Chuck's Dream' by Lady Luck. This was followed by more head with 'Night After Night.' The song had an amazing beat where the guys came together so well. Cory’s keys were untouchable as well. Each member tuned in more and more to the rest of the band, and which fostered the magic on stage. The crowd looked like a sea of people dancing in waves within this beautifully built artistic village surrounded by the light show filled brick buildings.
The quartet then found their way into a melodic 'Windmill', which eventually flowed into an outstanding 'Galisteo Way.' After some banter with the crowd, they left the stage momentarily. The crowd continuously cheered for them to come back on stage for an encore. They ultimately finished the night with 'I Wouldn’t Want To Be Like You' by the Alan Parsons Project. As the show was ending, another train auspiciously traveled by the venue. It's final horn blows ended the night, which induced many high fives and smiles amongst the crowd.
Spafford's tour has ended, but they are back in action starting June 12, 2025 in Allentown, PA at Archer Music Hall. Tickets are available via this link. This followed by a performance at Le Poisson Rouge in New York, NY on June 13, 2035. Head on over to their tour page for more tasty summer dates.
Ziggy's and Cohab.Space have a lot of great shows in store as well, including Big Something on May 2nd and Umphrey's McGee on May 25th. Visit their page for more details on their exciting upcoming show ledger.
Check out more photos from the show!
Band: Spafford
Date: 4/17/2025
Venue: Cohab.Space
Location: High Point, NC
Set One: Hollywood > Fake The Fate > Darkness Singularity
Set Two: Chuck's Dream [ 1 ], Night After Night, Windmill > Galisteo Way
Encore: I Wouldn't Want To Be Like You [ 2 ]
Notes:
[ 1 ]: Lady Look
[ 2 ]: The Alan Parsons Project
On a crisp spring evening in Raleigh, NC, the Indiana-based jamtronica band Dizgo brought their 2025 Outer Space Tour to Bowstring Pizza and Brewyard, marking their first-ever performance in the North Carolina capital. Situated in the heart of the Research Triangle—a region known more for college basketball rivalries than groundbreaking musical experimentation—the city proved to be fertile ground for Dizgo’s fusion of jam band improvisation, electronic textures, and rock energy.
The evening opened with 'Never On Time,' an appropriately self-referential nod to the nature of jam band start times. The band’s relaxed entrance and onstage chemistry immediately put the audience at ease. Keyboardist Jake Evatt, who joined the band in 2022, exchanged a light-hearted moment with a fan before diving into the music. From the first few measures, it was evident that the quartet required no warm-up—their dynamic control and tight synchronization were apparent from the outset.
'Zagaz' followed, and was an early standout in the set. The track began with a heavy electronic pulse, quickly transitioning into layered funk grooves that demonstrated the band’s seamless interplay. The recent additions of Evatt and drummer Justin Clark have clearly expanded the group’s sonic palette. Their integration felt complete, enhancing both the depth and range of the band’s arrangements. The rhythm section, anchored by Clark’s precise drumming and Kevin Hinnefeld’s fluid bass lines, provided a solid foundation for extended impromptu passages.
Backstage, Kevin reflected on the band’s nine-year evolution, noting that the past two years have brought the most significant transformation. He credited Evatt’s arrival as a pivotal moment, one that redefined the group’s approach to composition and live performance. "Jake brought more than just keys—he brought a new layer of direction and dynamic energy," Kevin shared. He also praised Clark, calling him "one of the most grounded, steady presences both musically and personally."
Midway through the set, Dizgo launched into 'It’s Alright,' a fourteen minute exploration of melodic development and rhythmic build. The track’s climax featured a soaring guitar solo by Andrew Pickel, whose tone called to mind the emotive power of classic rock icons. His solo was unhurried, methodical, and ultimately cathartic—eliciting spontaneous cheers from the crowd. The performance was not only a technical showcase but an emotional one, capturing the essence of what makes live music so impactful.
'Lightenup' offered a tonal shift, delivering an upbeat groove with uplifting harmonies and a dance friendly rhythm that re-energized the audience. It’s a track built for movement, and the crowd responded accordingly. Dizgo’s ability to shift effortlessly between mood and tempo speaks to their maturity as a live act. Each transition felt intentional, each moment earned.
The evening concluded with two of the band’s more expansive pieces—'Singularity' and 'Rainbow Lightening.' These final selections underscored the band’s capacity for both thematic depth and musical exploration. The quartet constructed sonic landscapes that are at once complex and accessible, capable of resonating with both casual listeners and seasoned music fans. As the final notes were played, the audience lingered, reluctant to let the night end.
Dizgo crushed their performance at the Bowstring Pizza and Brewyard, and is currently on tour in Florida with The Motet. They are up next on May 1st at Cafe Divinici in Deland, followed by Terra Fermata in Stuart on May 2nd and Jannus Live in St. Petersburg on May 3rd. Head on over to their tour page for more details on these shows and more from their stacked tour.
Check out more photos from the show!
Date: April 26, 2025
Band: Dizgo
Location: Raliegh, NC
Venue: Bowstring Brewery
Set: Never On Time, Zagaz, It's Alright, Lightenup, Singularity, Rainbow Lightening
On Friday, May 2nd, 2025, North Carolina’s beloved, genre‑bending jam band Big Something returned to the stage at CoHab Space in High Point, NC, supported by Chicago‑based funk‑rockers Sneezy, for a night filled with electric energy, local pride, and powerful music. Promoted by Ziggy’s NC, the event drew a lively crowd despite the looming threat of storms. With lightning flickering in the distance and a breeze drifting through the air, it felt like a hometown show for Big Something, who only had to travel an hour to get there.
Sneezy kicked things off with an incredibly fun and intimate set, energizing the audience and setting the tone for the evening. Building off that momentum, Big Something took the stage under hazy lights, opening with a fiery rendition of “Wildfire,” followed by “Smoke Signal,” a performance that seemed to echo across the region with its intensity.
For those unfamiliar with CoHab Space or Big Something before the show, this night served as an unforgettable introduction.
The first set was stacked with fan‑favorite originals—what one might lovingly call “jam sammiches”—keeping the dance floor alive and buzzing. The crowd, glowing like constellations under the night sky, swayed and smiled through each groove. Toward the end of the first set, Destiny Pivonka from Sneezy rejoined the stage to lend her saxophone brilliance to a funky, standout version of “UFOs Are Real.”
After a short intermission, the band returned, diving into the synth‑soaked “A Simple Vision,” which melted seamlessly into “EWI 4000.” The synergy between the band and the audience was palpable—at one point, it felt like Josh Kagel’s keys might literally lift off the stage from the sheer vibration of connection.
Lost in the music, with breezes matching the fluid jams, the night felt like a dream—the kind of escape everyone needed at week’s end. The set wrapped with “Algorithm > Megalodon” before Big Something was cheered back for an encore that began with a soul‑stirring cover of Funkadelic’s “Maggot Brain.” Members of Sneezy joined again for the closing number, a communal and heartfelt “Thank You” (originally by Sly & The Family Stone), sealing the night in gratitude.
Setlist – 5/2/25 – CoHab Space, High Point, NC
Wildfire
Smoke Signal
Tumbleweed >
Sundown Nomad
Bob And Weave
UFOs are Real¹
A Simple Vision
EWI 4000
Song For Us
Pinky’s Ride
Algorithm >
Megalodon
Encore:
Maggot Brain²
Thank You³
Notes:
¹ w/ Destiny Pivonka (Sneezy) on sax
² Funkadelic cover
³ Sly & The Family Stone cover, w/ members of Sneezy
From the first note, DK Harrell makes it clear that Talkin' Heavy isn’t just a title—it’s a statement. The rising blues powerhouse and award-winning guitarist steps into the spotlight with a voice that’s gritty, guitar work that’s golden, and a sound that pays homage to the greats while carving his own path. This album is a bold declaration from an artist who’s not simply riding the wave of the blues revival; he’s helping lead it.
I had the absolute pleasure of sitting down with DK Harrell on The Jamily Chick podcast to dive into the inspirations behind his new album, Talkin' Heavy. We explored the deeper meaning behind the title and how it reflects the weight of the world—and the many ways people carry it. DK also shared the surprising pop-culture spark behind both the album and its title track: a nod to Back to the Future, where the phrase “That’s heavy, Doc.” stuck with him as more than just a line. It became a lens through which to view the emotional gravity of life, music, and storytelling.
At just 27, DK Harrell isn’t merely honoring the legends; he’s carrying the torch and lighting a path forward. With Talkin' Heavy, he makes it clear that the roots of blues, jazz, and rock-and-roll aren’t meant to fade into the background of modern genres—they’re meant to show a new generation the soul, grit, and fire that started it all. In our interview, he shared how deeply he feels this responsibility: not just to preserve the sound, but to evolve it, grow it, and let it speak louder than ever. Much like Billy Strings did for bluegrass, DK is on a mission to push blues into the mainstream spotlight.
While the band and record label bounced around ideas for the album’s name, the final decision came after thoughtful conversation and creative reflection. DK explains that every track played a pivotal role in shaping the record’s direction. “Grown Now”—inspired by blues legend Lil’ Milton, whose classic “That’s What Love Will Make You Do” remains a cornerstone of soulful blues—was one such touchstone, allowing Harrell to pay homage while carving his own lane.
Rather than leaning into the familiar trope of heartbreak and sorrow—the “my woman left me and I’m feeling low” kind of blues—he aims to bring a fresh, modern sensuality to the genre. “I want to make blues affectionate, even sexy,” he says, “while keeping that raw feeling alive on stage.” It’s about honoring tradition while giving fans something real and new, mirroring the same heart they’ve given him through their support.
DK Harrell’s humility, warmth, quick wit, and signature dimples light up any room—on or off the stage. During our conversation, his genuine nature shone through most when he spoke not of accolades or fame but of his fans. For DK, the real highlight of his career isn’t the awards; it’s the moment of connection—like the time fans in Norway drove more than 14 hours just to bring him a birthday cake. “That,” he says with a glowing smile, “was the best moment of my career.”
The songs on Talkin' Heavy speak heavy truths, but they’re told with a grace and relatability that invite listeners in. Whether through sharp, soulful lyrics or expressive instrumentation, each track draws from lessons DK has lived. Music has always been central to his world; his mother and grandfather spotted his gift early on, noting that he wouldn’t even talk unless there was good music playing.
From the smooth groove of “A Little Taste,” to the Lil’ Milton-inspired “Grown Now,” to “Liquor Stores and Legs”—a clever track born from his grandmother’s advice to a cousin that “the only thing open this late is liquor stores and legs”—every song is a snapshot of lived experience. The album even nods to his debut record: “What Real Men Do” responds to his earlier track “The Answer to Your Queen.” Together, these songs form a blues record that’s authentic, bold, modern, and unmistakably DK Harrell.
Don’t miss DK Harrell’s powerful new album, Talkin' Heavy, dropping June 20. It’s more than just blues—it’s truth, soul, and storytelling from an artist carrying the genre forward with heart.
