Like a train going westward, Dogs In A Pile (DIAP) spent the first weekend of February hitting three cities they’ve played before – but for the very first time as headliners. Texas greeted them back with open arms and has shown the band is firmly extending its reach to the South.

First up was Last Concert Cafe – Houston’s oldest live music venue. A "Westward" opened the run, an ode of sorts to moving on from a past love. As with many Dogs songs, the tune is peppered with motivational messaging that perfectly led into the uppity "Little Things". A 105-show "Magic Carpet Ride" bustout, the Dogs assured the "H-Town" crowd of a uniquely curated setlist for them. "You Didn’t Hear It From Me", written by Phish lyricist Tom Marshall, had another strong turn. "Spun" started a psychedelic string of jams that included a highlight cover of Lorde’s "Royals", another newer but fan-favorite tune "Shenanigans", and a set closing "G Song". A 22-plus minute "Shakedown Street" (featuring keyboardist Jeremy Kaplan scatting) showed off DIAP’s exploratory chops, much to the delight of those wearing Stealie hats and shirts. The loud cheers from the Houston attendees made the Asbury Park quintet smile from ear-to-ear as guitarist Brian Murray tossed his pick to a grateful receiver.

The Dogs then headed to the state’s capital to play iconic blues club Antone’s. Having built a solid buzz from previous opening shows with Twiddle and Pigeons Playing Ping Pong in Austin, DIAP sold out the venue that’s hosted legends such as Willie Nelson and Stevie Ray Vaughan.

A bit before music started, a successful "Dog Pound" (the affectionally dubbed name for the band’s fans) meetup occurred at a local restaurant The Jackalope. A new tradition endorsed by the band as of the start of their Winter Tour, the Dogs wanted to give their fans a known place for every headlining stop on tour to meet and forge new friendships along the way. Ross Peterzell, Dogs’ manager, has envisioned something of the sorts from the very beginning: "We want to put our fans in a position to become friends with other fans. Who knows what can happen from there? The day there’s a Dog Pound baby will be one of the happiest days of my life."

Local music fan and Buffalo, NY transplant Nikolle McMahon – adorned with her brown camouflage Dogs In A Pile bucket hat was also there with a group of friends: "This will be my third time seeing the Dogs. After being at their Peach Festival set last June, I knew I couldn’t miss them when they came to my town. I know a lot of my East Coast friends have been talking about them for a while. It’s nice to see it catching on in Texas. It says a lot about the band. Not every improvisational band draws a big crowd in Austin. Everyone is so friendly too. That’s just a bonus but it helps a lot."

A "Frosty" opener kicked off the two-set affair in Austin, followed by the twangy and country-infused "Look Johnny II" to get the crowd two-stepping. A staple DIAP song "Blues for Brian" stretched out to include a buttery "Also Sprach Zarathustra (2001)" cover. The classic "are they doing 2001?!" look and nod of approval occurred across the room as the audience heard it unfold. They transitioned back to finish "Blues for Brian" before Jimmy Law’s vocal showcase on Texas native Billy Preston’s "Will It Go ‘Round in Circles?". A rare second-set opening "Look Johnny" set the tone for a heavier second set and a cover of Widespread Panic’s "Greta" to follow. Heads banged and necks broke to the beloved tune that undoubtedly many young fans in the crowd grew up listening to. A trippy and synth-driven "Gumball" featured exceptional playing by the band’s rhythm section, bassist Sam Lucid and drummer Joey Babick. "Linus and Lucy" continued its streak of exciting peaks (Sony Hall’s 12/28/23 was also a notable version) while a standalone "EDM Song" into the ending of "Bubble" closed the show.

DIAP finished their Texas trio of shows in Dallas at Deep Ellum Art Co. An artsy and inspiring venue for an artsy and inspiring neighborhood of the “Big D”. Clearly, the Dogs were inspired as they settled comfortably into the night from the very first note. A "Rinky Dink Rag" and King of the Hill Theme combo got the fans hootin’ and hollerin’ early and often. A strong "Nicollete" jam, fun Kinks cover "Apeman", and "Bubble" kept the pedal on the gas into a smooth transition into Chick Corea’s "Spain". The Brian Murray-penned ballad "Back to the Start" provided a sentimental and poignant breather.

"If the hill was really that tall, would you climb it all? And if the world is really that small, would you be running in a circle just to get back to the start?" A message to those shootings for their dreams, something the Dogs can certainly relate to as they watch their dreams start to bloom.

Jerry Reed’s "Eastbound and Down" came next to close the first set as the crowd belted out "loaded up and truckin’!". The longest jam of the night, "Tillie", opened the second set. The extended composition of "Thomas Duncan, Pt. 3" laid the stage for a monster-rendition of "Bent Strange". "Ghost Riders in the Sky" was sandwiched in between the jam into a second-ever played "Riders on the Storm". The show was finished off by perhaps one of their strongest tunes as a collective jam unit "Samba for Sam". Jeremy Kaplan busted out his trumpet to start the mosh-inducing "Por Que Pedro" before the band ended "Samba".

The encore started off with Kaplan mentioning a run-in that the band’s equipment crew had with law enforcement due to a certain leafy green plant. The event occurred 54 years to the day that Jerry Garcia and the Grateful Dead got "busted down on Bourbon Street". The band made sure to send the crew and crowd off with a special treat – a first-time cover of "Truckin’". With the set of three headlining Texas shows in the books, one thing was evidently clear: the "Dog Pound" has arrived in the Lone Star State.

The Dogs released the pro-shot of Austin’s sold-out show shortly after its streaming release on Nugs and Bandcamp. They also delivered a compilation of some choice cuts from last year’s Fall Tour (Doggie Bag: Volume 1, Fall Tour 2023) across all major music platforms. They also posted a video cut of all but two of the songs on their YouTube channel. You can watch that and more here.

Dogs. So hot right now. Readily apparent by another pair of sold-out shows. This time at the Bluebird Theater in Denver, CO. The sellouts mark the third and fourth of the year out of seven headlining shows thus far. Coming off a mini-tour in the Midwest opening for Andy Frasco & The U.N., Dogs In A Pile (DIAP) landed back in the Centennial State – a place they’ve heavily familiarized themselves with over the past year. DIAP spent about a month in Colorado last year building towards leveling up in the state’s capital. Playing four consecutive weekly shows in March/April 2023 at the 75-cap Lost Lake Lounge clearly spread the word about the band as they packed Bluebird’s 550-cap room over the span of two rocking nights.

Continuing a newly minted tradition curated by the band and some of their closest supporters, pre-show meetups occurred before each gig. Perhaps none more special (so far) than the official “Dog Pound West” meetup at the Mercury Cafe. Familiar faces from DIAP’s native New Jersey, Garden State transplants who had moved to CO, traveling fans from Louisville and Seattle, and new fans alike – there was one thing they all had in common: an ear-to-ear smile at the event.

“From the sandy shores of New Jersey to the snowy mountains of Colorado – we are in the process of creating the biggest family ever. For a band that is still developing, still learning, still growing. All of it. The future is bright. We are going to take over the entire country”, said longtime DIAP family friend and event organizer Nik Lopomo.

With live music (complete with sit-ins by some of the members of the Dogs and Nashville bluegrass outfit Sicard Hollow), merch vendors, and food and drink, the well-attended gathering was an exercise in watching something come to life in real-time – a nationwide fanbase and culture unique to Dogs In A Pile.

Another sign of the rolling ball of momentum for the Dogs, a premier opening band. Local but rising prog-rock jam group Squeaky Feet started Friday and Saturday with a few heavy instrumental sets to establish the energy and tone for the weekend.

A reference to the snowy and frigid weather on night one, “Frosty” appropriately opened the Dogs first set. The surefire energizer bunny of a tune “Look Johnny II” came next – a bluegrass-infused number that allows each member of the band to warm up their pickin’ fingers. The reliable “G Song” led into the biggest bust out of the night “Boogie on Reggae Woman” (19 shows). Guitarist Jimmy Law sent the crowd into a blissful frenzy during the peak of “Fenway” – a cut from their second studio album Bloom. They expertly weaved through multiple tempo changes during a melty “Gumball”, led by DIAP’s synth and effect maestro keyboardist Jeremy Kaplan. The ending of “Thomas Duncan, Pt. 2” put a triumphant stamp on a successful initial set.

A “Blues for Brian” (at the BLUEbird Theater!) with a patient jam layered by guitarist Brian Murray’s signature tone, a psychedelic but hard rock-charged cover of “Magic Carpet Ride”, and a standout “Look Johnny” highlighted the second set. The band ended the night with their rendition of “No Quarter” in the encore slot.

“Bluebird thank you guys so much for joining us this second evening if you are returning. If not, welcome. We love Denver so much!”, said Law to begin the sequel to night one. The proof was in the pudding as many familiar faces locked down the same spots in the venue as they had 24 hours prior.

Night two featured special appearances in the first set, Andy Frasco’s World Saving Podcast (interview with DIAP from 2022 here) co-host and musician Nick Gerlach added a wonderful saxophone to the jazzy “My Disguise” (video here) while the soulful voice of Sam Walker from the Denver-based Clay Street Unit complemented a wicked rendition of “Whipping Post”.

A contender for the strongest set of the weekend, a second set-opening “Samba for Sam” showcased drummer Joey Babick’s ability to switch playing styles on a dime. Kaplan’s trumpet belted out something you would think to hear at a running of the bulls as bassist Sam Lucid put on his punk rock vocal hat to get the attendees moshing to “Por Que Pedro”. Lucid, a versatile songwriter, brought a hush over the crowd during a 71-show bustout of ballad “Lucia’s Secret” – a lyrical testament to destructive tendencies and wild nights.

An extremely rare and third-time-played “Cassidy” continued to exemplify the star power that Jimmy Law is cultivating with his on-stage presence, taking on some of the most beloved tunes from Grateful Dead’s timeless catalog. “Craig and Pat”, a whimsical jam vehicle, managed to culminate in a “Run Like An Antelope” tease that many a Phish fan cheered for.

If only to exhibit DIAP’s embarrassment of talented riches, “Thomas Duncan Pt. 3” and “Bugle on the Shelf” put the spotlight on Brian Murray to close out the set. Both songs feature the Long Island, NY native heavily on vocals and solos. With the former having a catchy chorus for all to sing. “La da da da, da da da” and the latter causing the theater to quiet so much before its brooding ending that you could hear a pin drop.

2023 – Lost Lake Lounge. 2024 – Bluebird Theater. 2025? If the weekend in Denver was evidence of anything, Colorado natives and traveling fans will be sure to come out in droves for whatever comes next for the Asbury Park quintet.

A full pro-shot of the first night of the run is available on the band’s YouTube channel here. The Dogs will have a week off to rest their bones before a two-night run on March 1 and 2 at Colony in Woodstock, NY.

In this insightful interview, Jeremy Kaplan, the talented keyboardist from Dogs In A Pile, shares his remarkable journey from a high school student supported by Billy Joel's generous foundation, to a flourishing musician intertwined with Joel's legacy. Kaplan's connection to Joel extends beyond a mere meeting; it's a narrative of inspiration, opportunity, and the transformative power of music. From his formative years at Long Island High School for the Arts to the establishment of his band, Kaplan's path is a testament to the impact of mentorship and support in the arts. His reflections on meeting Joel, the influence of piano legends, and his evolution as a musician offer a glimpse into the life of a passionate artist navigating the complexities of creativity and collaboration. As Kaplan and Dogs In A Pile continue to captivate audiences with their dynamic performances, his story stands as a beacon for aspiring musicians everywhere, highlighting the importance of community, perseverance, and the enduring legacy of musical icons like Billy Joel.

Grateful Web: Tell us about your connection to legendary pianist Billy Joel. Have you met him?

Jeremy Kaplan: I did meet him once. I went to this art school on Long Island called Long Island High School for the Arts, aptly named. The school was desperately underfunded as most arts programs are and it was about to flop. The Joel Foundation came in and donated enough money to keep the school running.

That resulted in a series of publicity events with Billy Joel, his foundation, and my school. There was a program at the Tilles Center with a Q&A with him. He's done plenty of college lecture talks that you can find on YouTube which are all great. It was that kind of format where he would play a tune, people would ask questions, and it would be an open forum with him – which was really cool.

I wasn't initially going to go to college. I had already started working as a musician. I was doing a lot of musical theater stuff, musical direction, playing in bands – all sorts of junk. I wasn't going to apply for any kind of secondary education, but eventually my story – or whatever of it existed at that point – was run up the flagpole to his business manager and then to Billy Joel. It was pushed that they give me a scholarship so I can go to school and it turned out to be very fortuitous because that's where I met Brian [Murray] and Sam [Lucid]. From there, we put together the group.

GW: What do you think about your story or playing style stuck out to Mr. Joel?

Jeremy Kaplan: I think it was mostly a “piano player from Long Island” type deal. That's what really did it. I did have aspirations to do essentially all the same stuff that he's been doing for the last 40-50 years. Putting out records, playing shows, and writing music.

GW: Are you excited for his new single that recently came out?

Jeremy Kaplan: Yes! It’s funny I was recently in a thrift store on Long Island and there were two Billy Joel CDs for sale. His first album called Cold Spring Harbor and his second to last album River of Dreams. I had never listened to either one. So, I bought them. I had a long drive back to Jersey and listened to both. Man, Cold Spring Harbor is a f****** beast of a record. And River of Dreams is great too. There's a bunch of cuts on there that I had never heard before. Both albums really stuck out to me.

GW: You met him in person at Madison Square Garden in 2017. Did he have any words of advice for you?

Jeremy Kaplan: It was pretty rapid, but he imparted advice and just talking with him was the biggest learning experience. He was extremely affable and funny. It was overwhelming and I honestly don't remember much. It seemed like it was up and over in a minute. It's crazy.

GW: Why did you choose to play the piano?

Jeremy Kaplan: I didn’t, actually. I started on a drum set. It was the first instrument that I wanted to play. I got Rock Band for my 11th birthday and was playing the plastic drums. They had “YYZ” by Rush in there. I was playing that and thought: man, this is the s***. This is what I need to be doing. I would beat the crap out of those plastic drums every day until I could finally convince my parents to get me a real drum set.

Beyond that, it was just diving heavy into music as a whole. My grandparents had this Casio keyboard in their basement. I would go down there, put it on the organ setting, and mash the lowest keys to create this horrific rumble. That's how I started playing keyboards.

GW: Who initiates tempo changes in a live show?

Jeremy Kaplan: Part of the joy of being in an improvisational group is that anything can come from anywhere at any moment. As far as tempo changes, groove changes, key changes – these could all come from anybody's suggestion. I like that word “suggestion”. Have you ever tried to carry on a conversation with five people simultaneously?

GW: I do it every day.

Jeremy Kaplan: [laughs] So you know it’s extremely difficult. We can suggest that certain things happen in the context of conversation or a jam. That could come from anybody's piece.

GW: Where do improvisation and “practiced” songs meet in a live show?

Jeremy Kaplan: If we pull back to think about jazz musicians – you have the tune. Which is built of a melody, chord changes, and some sort of rhythmic backing most of the time. Jazz musicians would take the skeleton of these popular songs – often Broadway-type theater tunes or Tin Pan Alley – and improvise on top of that. So that's not wide-open improvisation. I guess that's what you would call “type 1” jamming, where we stick to a form but can improvise on top of that form within a certain kind of framework.

As things got developed, we started building into the “type 2” jamming, which is some of the more “out” jazz stuff that you might hear. Later Miles [Davis] like Bitches Brew and things like that. Where they're abandoning the form of the music, listening to each other, bouncing ideas off each other, and reacting in real time. It could be any key, chord, melody or everybody's coming up with it all on the fly. There is a way to blur the lines between these two and if you have a great ensemble of players, then it doesn't matter what happens. You have the trust in the rest of the band to be able to take things out at any moment.

There's some amazing jazz recordings where this happens. They're plotting along playing the tune and it's easy to keep track of, but then it falls apart somehow. You don't know where beat one is. You don't know what key you’re in anymore. There's no hint of a melody from the original bit of the song, but they're all still together and somehow they find their way back into the “head” – the melody – and take the tune out.

GW: You mention jazz. Do you think you all consider yourselves jazz musicians first? In terms of the way you perform your improv on stage?

Jeremy Kaplan: I would say no. This is tough. I don't really know the definition of jazz. It's difficult to say what exactly it is. The definition in the 40s is different than what it was in the 60s, again in the 80s, and so on and so forth until now. You have things that are labeled as jazz that have very loose connections to what was going on in the 50s. So it's tough to say. I know all of us are interested in jazz, and that is the basis of improvisational Western music.

I wouldn't say that we're all jazz musicians because that's a very specific kind of person. The jazz musician is the one that you see at the jam session that knows all the standards, knows all the tunes, knows the hip tunes, the modern tunes. Stuff by Wayne Shorter and Roy Hargrove. All the newer cats. They know these tunes that are within the compendium. It's not really who any of us are, but we all love and practice it.

GW: What do you consider yourself?

Jeremy Kaplan: It's the constant self-discovery thing. Also, humans love labels and we love to compartmentalize so it's helpful in a lot of ways, but I like a lot of different things and so does everybody else in the group. One day it'll be Frank Zappa. One day it'll be Bill Evans. One day it'll be show tunes and everything else inside of that. I think that comes from my background of musical theater because almost every single genre of music is represented in it. You have the modern rap shows – your Hamilton and your In the Heights. You have the rock musicals – Little Shop [of Horrors] and Jesus Christ Superstar. You have the classics – Carousel and My Fair Lady.

Being in that world allows you to experience all these musical genres and beyond that – great writing in all these genres. So it's tough to say what I am, because I like all this stuff. It’s such a cop out to say: “oh I like all music”, but sometimes it's the best answer.

GW: I feel like as jam band musicians and fans, it's actually true when we say that. That's what jam is, right?

Jeremy Kaplan: Yeah, totally. Jam bands are the same thing. We could be in a reggae then metal groove and then who knows what happens next?

GW: Does the band debrief after shows to analyze what went well and what didn’t necessarily “work”?

Jeremy Kaplan: We've been up and down with this. You'll never get everybody on the same page as far as liking or disliking the show immediately after it happens. That's because there's too much emotion attached to it. We're too involved with the whole process top to bottom to be like: this one was good, this one was bad. Without taking yourself out of the moment and… review, as unbiased as possible. I've taken to pushing us to not talk about it and just be like: yes, that was a good show or sometimes that was a fine show, and just get off of it. Think about something else.

It can be unhealthy if you personally feel like you had a bad show or you didn't like something that somebody else was doing. It can eat at you. To harp on points like that and the emotionally vulnerable state you are in after a gig – it can be unhealthy.

GW: Do you think musicians, like athletes, go through hot streaks? So maybe one of you goes through a string of shows where you're just on fire and driving and elevating the other guys to be better?

Jeremy Kaplan: I think it could, but I don't know if it's necessarily like: I've just been tearing it up the past seven days and now I'm just doing whatever. I don't think it's quite so boxed in like that. Especially being in a temporal art form. Over time, there's so much that can happen and so much you can forget. It’s tough to say. Until you can go back, listen at a later date, and understand what the whole product was. What we're listening to in our in-ear monitors is so different from what the crowd will hear. It's almost impossible for any of us to tell.

GW: What do you hear in your ears?

Jeremy Kaplan: We all hear everything and everybody. We hear all the musicians on stage. That's the goal, but we have to make sure that we're hearing ourselves a little bit better than you would in the context of a whole mix. The idea of mix is that everything sits in its place and you can hear everything, but the important bits pop out when they're supposed to.

If I'm playing chords comping for a guitar solo, I don't need to hear the guitar solo above my quiet chordal playing. Then I won't be able to tell if I miss a note, if my timing is off, or my voicing is ugly. Whatever it could be. I have to make sure that I can still hear myself while that other instrument has the focus at the moment.

GW: Was it important for you to be in a band that you could sing in?

Jeremy Kaplan: Yes, so when I was talking about “voicing”. You have a chord, right? You can play that chord in many different ways. The way you play it is the “voicing”.

Regarding my singing though, I didn't get into singing at all until my first bar band, when I was maybe 15. I was just doing backups, and I could never hear myself on stage. I never knew if I was any good at it or not. I never worked at it. Until this band started going. Then I thought: I probably can sing. I just need to practice it.

Over the last couple years. It's been a lot of difficult conversations with myself in getting over the awkwardness of hearing your own voice. Everybody has the experience where they've listened back to their voice on a video or on an audio recording and they think: who the hell is that? That's the worst noise I've ever heard.

Beyond the physics of that, which is very interesting, the way sound resonates in your head. It's tough to listen back to yourself and pick apart a performance. To practice and be so inside of that is really ugly. It's necessary though and everybody can sing. Like anybody can play the piano, guitar, or drums. It's a matter of practice.

GW: I understand that you enjoy nerding out on tech. What's an essential piece of on stage equipment – that isn't an instrument – that you can't play without and why?

Jeremy Kaplan: The first big investment into the band's infrastructure as far as the stage is concerned was our in-ear monitoring rack. That has gone through many revisions to make it to where it is now, but that's arguably the most important thing that we have. It allows us to hear ourselves in a way that is conducive to what we need and to capture recordings. It's nice because it’s plugged in and set up for us every night. You just plug in all the bits and then the mixes are all set. It doesn't take a half hour out of soundcheck to go back and forth with a monitor engineer saying: I need more of this, less of that. It's all set up for us and we can do little tweaks from our phones. Which is crazy. We can dial in our mixes from any internet connected device. It's really really cool to be able to have that and it makes everything so much easier. Set up, tear down. It's amazing.

GW: I notice you use a lot of electronic and EDM type effects. Is this something that you're continuously learning about and mastering?

Jeremy Kaplan: Definitely. I do not come from an electronic dance world, but I've been exposed to it steadily my whole life just as anybody my age has. Also with Jim [Law] being really into bass music. It helps me hear a slightly hipper side of it than just the untzy club s***.

Hearing what people are doing with synthesizers is amazing. It always has been amazing. From the first time the big Moog modular was introduced. It's being able to create sound from nothing. From electronics, transistors, resistors, and capacitors. It's insane. You can create any kind of sound. Especially now with the digital technologies. You can appropriate any sound of the orchestra on a single keyboard.

Beyond that, creating new textures and timbres is exciting, engaging, and amazing. I've been adding synthesizers. The rig has been pretty much the same for two and a half to three years now, but the synthesizers have been piling on.

GW: I've noticed!

Jeremy Kaplan: I just got another one, which I've been playing with. As far as I can tell, it’s the first real advancement in keyboard technology in a long time apart from adding electronics to a keyboard and making an electronic instrument like that. This is the first time the actual playing of the keyboard has been altered in hundreds of years. [pauses though he wants to talk about something *very* nerdy, but is resisting]

GW: Do you want to expand on that or…?

Jeremy Kaplan: Yeah, sure. I mean I find it so interesting and cool.

There's this keyboard called Osmose by the company Expressive E. This thing just came out about a year ago. I picked one up at the beginning of January and it's one of the most amazing keyboard instruments ever. It's got so many degrees of expression. You think of a piano: you hit the key. It's like an on/off switch in a way. You hit the key, the note rings. You lift off the key, the note stops more or less. You have dynamic range in that. Loud and soft. That's more or less how it works.

The keys in the Osmose have side-to-side action, so you can wiggle the key and produce vibrato or any other effect that you want. You can push the key down until it stops and then push it down further for another effect. Most of the time it has something to do with the filter or another pitch-type deal. It also recognizes the difference between a tap and a slow press on a key. You can swell into a note or get a percussive attack. It does many other things, but these are the bigger revolutions in the way that keyboards are made. I don't suspect that every keyboard is going to have this technology. However, it's going to be super valuable for synthesizers and expressive playing.

GW: That’s cool. I'm glad I asked you to expand on that!

Jeremy Kaplan: Very f****** cool. I’m hoping to bring it out as soon as possible. Just have to find a nice case for it. [laughs]

GW: Do you have any particular influences from the electronic synth-driven world?

Jeremy Kaplan: The cats that Jim [Law] turned me on to like Jade Cicada and Tipper. Cicada uses jazzier chords with extensions on them. Complicated dense chords.

GW: Would you ever play classical music? Do you have any pianist heroes from the 19th century?

Jeremy Kaplan: My engagement in classical music is different from most piano players. Most come up in a classical world. They start at a young age. Playing Beethoven and Mozart. I never heavily dug into classical piano music. I’m familiar with the Rachmaninoff Piano Concerto, a bunch of Beethoven sonatas, [Claude] Debussy, and [Maurice] Ravel. All sorts of really nice stuff. The thing inside of the classical music world that got me was [Igor] Stravinsky. He’s an early 20th Century composer.

I'm not that familiar with any piano pieces he has, but his orchestral work is amazing. There's this one piece called The Rite of Spring, which is my favorite by him. It was so insane to the people at the time. I think 1913 is when it premiered in Paris. There was a riot apparently. It's a crazy piece of music and a ballet as well. In fact, it's so amazing that John Williams clipped a section of it note-for-note orchestration-for-orchestration and put it into “Star Wars”. It's precisely the same.

GW: From causing riots to being in one of the biggest movies of all-time. That's awesome.

Jeremy Kaplan: Yeah!

GW: Do you find yourself listening to any one member of the band to drive your on-stage decisions? Does it differ night by night?

Jeremy Kaplan: I would say that I try to listen to everybody equally. I often hold myself back because we have five people on stage. There's so many ideas happening at any given time that I like to sit back and see where things go. Then it's all about waiting for your moment. You wait, you listen. There's a gap here. I can fill that. And you're in.

Now you're really contributing to the larger piece as opposed to: I'm here playing the piano and there're also some other musicians around. It's more of the communal building of a whole thing. Joe [Babick] and I have a strong musical connection. We always line up on hits and there's a moment in DC where I remember distinctly we were playing and Jimmy was taking a solo. It comes out of nowhere, but we hit this rhythm together. We didn't talk about it beforehand and I don't know how we ended up playing it perfectly at the same moment. There's something in the air between the two of us or perhaps the whole band on stage that said this is what needs to happen here. We hit it and gave each other that look like: ah motherf*****!

GW: The Dogs have been noticeably increasing their sit-ins with other musicians, whether it be the openers at shows or festival slots with other bands that share the bill. How do sit-ins happen and how difficult is it to connect with a group of players that you haven’t practiced with?

Jeremy Kaplan: They can happen one of two ways: the first way is a musician meets a musician, they become friendly, and then they kiss. Then you have lovely music. [laughs] The second is your manager tells you “you should have this person sit-in”. Then it’s a little awkward, but most of the time it's not an issue. Musicians are cool people and we're all down to play with whoever whenever. It always ends up feeling natural. Musicians are in their element with an instrument or a microphone in their hand. It's a lot easier to put together than you might think on the interpersonal side. There are so many musicians that I've played with that I still haven't spoken a single word to. That's because the musical connection transcends any sort of emotional or physical thing that could be happening.

The reason we've been able to do it more frequently is because we've been going around with a sound engineer who is able to help us put together the logistics to get that going through the speakers.

GW: In late 2022, you played in a Phish Fall ‘97 tribute show at Ardmore Music Hall. Talk to me about that experience and some of your standout moments of the night.

Jeremy Kaplan: I had a great time. It was great to play with all those cats. Adrian Tramontano, Chris DeAngelis, and Cal Kehoe – all of whom I've gotten to play with a number of times now. Great people and musicians. Everybody's undeniably a pro in that group and we all came in knowing the material. We had a ton of fun for a couple hours and it was easy to put together. That was one of the first times I met [Phish lyricist] Tom Marshall. It was great to be able to hang and chat with him for a little while. Great conversations in the green room with him and the whole band. There were a bunch of horn players that came in too. Top to bottom it was an awesome evening.

GW: You seem to tease a lot of songs in your playing. How do you know so many songs? Do you have a photographic memory?

Jeremy Kaplan: [laughs] If you're realizing that I tease a lot of tunes, then the amount of tunes that you think I tease is half of what I'm actually doing – which is my favorite part about teasing stuff. I prefer the term “quote”. Tunes have melodies and you can quote a melody just like you can quote somebody's writing. So, I prefer that term.

They could mean different things. A quote, to me, is one person hints at this kind of tune perhaps in a roundabout way so you don't immediately realize that's what they're doing. A tease is more like the whole band is getting into a groove and a statement that reflects something pretty accurately.

I'm quoting stuff all the time because that's how my brain works. I happen to know a lot of songs. I don't think I have a photographic memory, but I have a damn good musical memory. When I first started playing, I learned to play mostly self-taught. The first five or so years that I was playing, I was really on my own and learning tunes. That's how I started to develop my library. They just happen.

GW: The DIAP original “EDM Song” blended into “Let U Go”. Now, the “EDM Song” part of “Let U Go” seems to be one of the higher-octane moments at a Dogs show. How did the songs melt together?

Jeremy Kaplan: You have “Bubble”, right? That exists for two and a half years. We came up with the ending of “Bubble” when we were recording the first album because we used to use a piece of the song “Spain” by Chick Corea as the ending. Then we said: okay, this is bull****. We have to figure out a real ending.

So, I kind of came up with that little bit. We were jamming on the groove in B and I started playing what is now the traditional ending of “Bubble”. Then Sam writes “EDM song” on its own. We were all feeling that it was great, but weren’t sure what we were going to do with it. It felt a little weird like we couldn’t drop into it out of nowhere. We decided it's in B minor and we could plug it into “Bubble”. Perfect. That's what we did and how it existed for a long time after that.

Then, Sam says: no I'm not done yet. He shows us “Let U Go”. He said he was also thinking about putting “EDM Song'' in there. He said we'd have to change the key, but it was totally the right vibe. He was right and that's how it goes. It's perfect for the moment in that tune. It lends itself to the rest of the tune. The feeling and poppy aspect of it.

GW: If someone asked you to play one song to show off what makes Dogs In A Pile unique, what would it be?

Jeremy Kaplan: I like that question because the idea is that the preface you have to give when you show them the one song is: this is a band that can do many different things. They can do all sorts of styles and musical beats.

For my money, it's something musically invigorating. I don't want to say all over the place, but interesting over time in that it'll evolve and different things will happen. Something like a “Samba for Sam”. Where there's all sorts of musical and theatrical nonsense happening. Quiet and loud moments. Different grooves.

GW: You make a ton of eye contact with the crowd during shows. What are you looking at? And why are you so intensely staring at me?

Jeremy Kaplan: It's the only way I can assert my dominance. [laughs] That's why people know I'm for real. No, I don't know. I can't control myself when I'm back there. It's overstimulating. There's a lot going on. I don't know what I'm looking at. There's something about the interchange between the people on the stage and the people in the crowd. Feeling that energy. First of all, I like to make eye contact with people so it feels more personal for them and me.

Joe’s dad told me this great story about Willie Nelson. He went to see Willie and told me that he made eye contact with every single person in the crowd. He made it feel like it was just you and him in the room, and that's something that I hope for. To make that connection with people.

It's so interesting. Seeing the dynamics within the crowd. The way energy shifts throughout it. Really bizarre. Seeing security guards go up to people to tell them to stop vaping or whatever, and then seeing how that ripples in a little area. There's now a containment zone of harshed mellow. It’s like fluid dynamics. It's crazy to watch that s*** go.

When I'm playing I try to get into that space. Where there's nothing happening up here [points to the top of his head]. There's no thought there. It’s just existing in the moment man. I'm not consciously paying attention to anything. A person like me, I like to be involved and aware of as much as I can. Being aware of the musicians on stage and seeing where everybody's head is at. I'm not good at it when I'm walking around being a regular person, but when I'm behind the instrument – I can look at somebody and give them the It's Always Sunny ocular pat down and know everything about them in that moment. It's easier with the people that I know well like the band. I look at them on stage at any moment and know exactly what's happening.

You can do that out in the crowd too. Like I said, you see these waves of things happening. It's pretty out, man. It's pretty out.

GW: What's it like playing 141 shows in a year like you did in 2023. How does the vigorous touring affect you? Have you observed any changes in your mindset as time has passed?

Jeremy Kaplan: I think I've gotten a little bit chiller. You learn to roll with the punches. There is relatively little you can do when bad things happen on the road. You're mobile so you don't have all the resources that you have built up in your geographical area over your whole life. Beyond being able to deal with that just on a personal emotional level – you also learn how to be more of a go-getter and say: alright, this is a problem that we have to fix and this is how we're going to fix it.

Historically I've been that way anyway, but to apply that now to a group of people that all need to get this job done – making decisions like that can be scary because you have a lot of people to think about. It's hardened me up for sure. Not that I needed it, but it's put hair on my chest.

It's a very different way of living. I really enjoy my home time, my alone time. I am mostly a solitary creature if it weren't for music driving me outside. It definitely changes a person.

GW: An example of you touring intensely, you went to Michigan four separate times within the last year alone, which I thought is pretty crazy considering you had never played there before that.

Jeremy Kaplan: Yeah, I was thinking the same thing while we were doing it. Like hang on, this is wild.

GW: Did you have any state, city, or region that surprised you with how much you enjoyed it? A place you’re looking forward to going back to.

Jeremy Kaplan: I have to say I was surprised with this DC show on the [January] 19th. We sold it out almost a week in advance. I guess we've been shoring up the area for a while. Between the two Ramble Festivals that we've done and the one DC show in 2022. But to sell out that room was very surprising. To briefly relate this to the previous point, it's really cool how you build up this thing in different areas and then you start to develop that network of people in that area. People who are going to help you solve problems when they come up.

We were in Vermont recently and our van and trailer were stuck in an iced over driveway. We got a guy to pull us out and now that's part of our network. Just like when we were in Upstate New York, and we found this guy that does roadside trailer stuff. So when our trailer’s tire literally popped off in the middle of the New York State Thruway, we got in touch with him and we're able to get going. To build up that network and meet amazing people that are doing unique things. There's nobody that has a roadside trailer business – that doesn't exist. This one guy does and somehow we got in contact with him. It's just amazing what you'll learn and who you'll meet.

GW: So maybe we can consider someone like that an honorary member of the “Dog Pound”. What does the Dog Pound mean to you?

Jeremy Kaplan: The amazing group of people that will travel long distances to catch the band and these people have all become family to us, which is even crazier.

It's people like Casey [McCarthy], who met us once and was like: I just like this and I want to be involved in whatever way I can. People like Jon and Heather Maruca, they've run the merch table for us on many gigs when we were short staffed. It's a group of well-doers that want to be involved with something a little bit bigger than just themselves. Which is incredibly cool.

GW: The band recently covered “I’m Just a Bill” by Schoolhouse Rock! You led the vocal effort. Do you enjoy playing songs that cater to the local crowd? Songs that allow you and the band to show your spontaneity and playful side?

Jeremy Kaplan: Oh yes, especially if we can get theatrical with it. I spoke before about my theatrical background and I love it. There's something that goes beyond the music show. That's making it more engaging, exciting, and unique for the crowd.

When we get to do things like that, I'm super excited. I always get tossed the wacky stuff and it's funny because I had brought that tune up a long time ago. We were listening to it in the van as recently as four or five months ago. It's lucky that the right time and place came around that we could do it. I'm always pushing for really out tunes and most of the time my calls go unheeded, but every now and again I sneak one past. It wasn't actually me that suggested it for that gig, but I was stoked when we decided on it.

GW: Any other locally-charged covers that you’ve enjoyed playing recently?

Jeremy Kaplan: The thing about it is that it never goes wrong. You could really butcher it, but people still love it. [laughs] I'm reminded of two occasions. The older one would be doing “Drain You” by Nirvana in Seattle. That was stupid fun. More recently, we did the Bruce Springsteen tune [“Born to Run”] at The Stone Pony. That was actually a redemption because we did it at Sea.Hear.Now Festival in 2022 and it went over really well, but we did not play it as well as we could have. We crushed it at The Pony though. [laughs]

GW: What can the Dog Pound expect from the band in 2024?

Jeremy Kaplan: There's a ton of great gigs on the way. Really exciting. That’s all I can say about that.

A new record. Lots of new songs. Stretching ourselves musically in new ways with the addition of new equipment and ideas. ‘24 should be good. We're not working as hard so we'll be a little bit more relaxed.

Dogs In A Pile are an eclectic five-piece band hailing from Asbury Park, New Jersey. The members include Jimmy Law (guitarist), Brian Murray (guitarist), Sam Lucid (bass), Jeremy Kaplan (keyboardist), and Joe Babick (drums).

Ready to join The Dog Pound? Head over to dogsinapileofficial.com for their latest soundboards, tour dates, setlists, merch, and much more… and stay tuned for Joe and Jimmy’s interviews!

Dogs In A Pile (DIAP) made their Stone Pony Summer Stage debut this past Friday to open the triple-threat summer tour being dubbed the “Pigeons Frasco Dogs Tour”. Andy Frasco graciously switched set times with DIAP to let the Asbury Park locals relish a little longer in the special occasion with their family, friends, and fans.

If there was one mental image that captured the jubilation of May 24, 2024, for the Dogs, it was guitarist Jimmy Law’s parents, Mr. and Mrs. Lawroski (known affectionately as “Big Jim” and “Mama Law”), dancing and embracing each other side stage as the band’s set drew to a close. For them, perhaps a lifetime of dreams was realized as they watched their son and his bandmates ascend to new heights.

Being a part of a “family” that goes from witnessing a band they adore playing smaller indoor clubs to a large outdoor stage is a feeling that needs some getting used to. As much as I was watching the show itself, I felt the need to continuously scan the crowd to see the smiles on many familiar faces. At times, they looked right back at me with a warm and all-knowing head nod. We all knew what this moment meant and to store and cherish it in a bank of many more of these moments to come.

I only use “family” in quotation marks to illustrate that most of us in the Dog Pound are not related by blood, but it almost feels disingenuous to not call each other family. A group of people who support, trust, and love each other. Sounds like family to me!

The authentic familial atmosphere when going to a DIAP show is readily tangible. No further evidence is needed than my own personal experiences. My very first introduction to the Dog Pound was seeing the Dogs open for Twiddle in 2022 at the College Street Music Hall in New Haven, CT. I visited the merch table (as most impressed first-timers usually do after a killer show) and was greeted with a large smile and pleasant conversation by none other than Mama Law. I wasn’t aware of who I had spoken to at the time, but came away from the simple interaction feeling valued as a fan.

Naturally, from attending Dogs shows over the past few years and hearing from others in the Dog Pound, many of us have met other family members of the band and even the band members themselves. It’s clear whoever raised these young men imparted the same attitude they exude when meeting anyone: being kind, gracious, and humble.

No strangers to playing multiple sellouts at the legendary indoor Stone Pony stage, the Dogs started their Summer Stage set with a fan favorite, “Can’t Wait for Tonight.” Vocalist/guitarist Brian Murray put extra emphasis on the lyrics: “this day’s been comin’ for a long long time now!” and changed the words to the hometown staple song “Tillie” to: “Summer Stage means time to call your friends. Oh yeah!” A topsy-turvy “Spun” followed with masterful work on the synth by keyboardist and adopted New Jersey son Jeremy Kaplan (Kaplan is originally from Long Island, NY).

“Go Set” came next – which saw an evolution in 2023 from a lyric-less jam vehicle to a whimsical lyric-driven powerhouse of a tune. “Get ready. Get set. Go!” Murray led the beachside crowd in unison. A love letter to his native New York and hometown of Manhasset (yes, another Long Islander turned adopted Jersey guy), the jam features an impossible-to-stand-still danceable bass foundation set by Jersey-born and raised Sam Lucid.

Lucid, displaying his signature headbang and sports team jersey – rocking a fresh Dodgers Ohtani look – had been coming to the Shore to see shows since he was a teenager. Now, he towered over a place where he had stood many times as a fan. He took the mic duties thereafter to celebrate the classic American cocktail “Jack & Coke.” Some of those in the crowd who knew the drill rushed to the concession stands to buy themselves the ice-cold beverage to share a toast with their fellow Dog Pounders. Lucid’s father Jack, integral to DIAP’s origin by providing them a local place to practice their jams during the pandemic, watched on beaming with pride.

“Rinky Dink Rag,” a cut off their debut album Not Your Average Beagle, led into a first-time cover of the Eastern Mediterranean folk song “Misirlou.” The cover contained a mashup of “Jack & Coke” and “Rinky Dink Rag” and was appropriately played as the surf rock version composed by one of the music genre’s pioneers, Dick Dale. The crowd-pleasing “Let U Go” into a cover of “Truckin” – much to the delight of lifelong deadheads Big Jim, Mama Law, and “Big Joe” (drummer Joey Babick’s father) – put a timely anthem to the intense touring life the quintet has led over the years.

They’ve just kept truckin’ on through successes and disappointments, high and low points, tears of joy and sorrow. Led by an incredible base of support from everyone who continues to rally around this special group of individuals. Truly Dogs In A Pile – each member as different as the last – but with a brotherly bond that shines through to bring us joy in the form of artistic creation. There are few things I find cooler in life than the ability to make another individual happy by doing what you love. The Dogs have seemingly always done that.

From backyard parties to Wonder Bar to the House of Independents to playing Sea.Hear.Now Festival to playing the big stage at The Stone Pony. Their friendly demeanor, on- and off-stage disposition, and ability to curate an experience that makes everyone feel welcome continues to spread across the nation. Bit by bit. But for now – a heck of a special evening at home in Asbury Park, New Jersey.

Watch the full set from DIAP’s Stone Pony Summer Stage debut here on the band's YouTube channel.

More photos by Ron Adelberg of some special folks (with many more not pictured):

Our interview with Dogs In A Pile (DIAP) guitarist Jimmy Law takes us through his musical beginnings, deeply rooted in the vibrant scene of Asbury Park, New Jersey. From picking up a guitar at a young age, influenced by his father's love for the Grateful Dead, to forming bonds with fellow musicians, Jimmy's story proves the power of connection through music. As we explore his early jam sessions, his dynamic relationship with DIAP drummer Joey Babick, and the band's evolution, we also delve into the inspiration drawn from their experiences on the road and the excitement surrounding their upcoming shows and projects. Jimmy shares insights into his artistic journey, the importance of community, and what it means to chase dreams alongside friends in the ever-evolving landscape of the jam band scene.

GW: When was the first time you picked up a guitar?

Jimmy Law: I think I was about three years old. My dad had an acoustic lying around the house, and some Jerry Garcia was playing in the background. He basically just handed it over to me and showed me my first chord, which was E minor.

GW: What was the first song you learned?

Jimmy Law: “Wharf Rat”

GW: You grew up close to Asbury Park, New Jersey. Tell me about growing up in the local music scene.

Jimmy Law: In Asbury, I was introduced to all the musicians around there through my dad. My parents moved to Point Pleasant [NJ] around the same time I picked up the guitar, so I started meeting people in the area. There were so many Deadheads and like-minded folk that it was easy for me to connect. Deadheads are usually such nice and welcoming people, so it was easy to make friends and meet other musicians who influenced me and took me to gigs. It was a domino effect, and I started playing with everyone, which eventually led me to Dogs In A Pile.

GW: Describe your relationship with drummer Joey Babick.

Jimmy Law: Our fathers are still very intertwined in our band now, providing help and inspiration. They grew up in the same town, Toms River, New Jersey. Joe's dad is a bit older than mine, but they knew each other through family back in high school and graduated a few years apart. They started hanging out again around 2010, when I was about 10 and Joey was a few years younger. As they began to reconnect, I would go to Dead shows, like Phil Lesh and Friends, with my dad, and Joey started coming along too. Joey barely spoke for the first couple of years we hung out, but eventually, he showed interest in music and our shared love for the Dead. He picked up some strings and eventually made his way to the drum kit. At that point, me, Joey, and Big Joe – Joe's dad – who has been a musician his entire life with Phil Lesh being his number one influence – would jam together.

GW: What was the musical nature of your early jam sessions with Joe? Take us inside that practice space. What did it sound like?

Jimmy Law: Joey knew a huge repertoire of Dead tunes at a young age – thanks to his dad’s influence on him. We would go into the practice space and start playing songs like "Bird Song," "Eyes of the World," or "Estimated Prophet." We were covering a lot of songs back then, just exploring. We would jam on "Eyes" for 25 minutes, which was really fun for me because I was the only guitarist in the rhythm section. I could play whatever I wanted over Joey, who never wanted to stop. It was my first experience feeling free to express myself musically.

GW: As a huge Deadhead yourself, do you have a favorite year or era of the Dead?

Jimmy Law: My favorite era is probably between 1987 and 1990, right before Brent died, but I also love 1973, 1974, and 1977. Those are all my favorites.

GW: Are there any gigs from your earlier playing years, outside of Dogs In A Pile, that were personal highlights?

Jimmy Law: I was in a band called Mad Kings. I actually had Joey fill in on drums for a couple of Mad Kings gigs, which was fun.

GW: How many shows did you play at The Stone Pony with Mad Kings?

Jimmy Law: We played The Pony a bunch, as well as the Wonder Bar, The Saint, and a lot in New York City, including Rockwood Music Hall. We even did a couple of tours throughout the country. We went south and through the Midwest, which was my first time there. We had one gig in Arkansas where they wouldn’t let us play because we weren't 21.

GW: The Dogs made their Stone Pony Summer Stage debut in May. Describe that moment.

Jimmy Law: That was just special. It felt exactly how I thought it would. It was as rewarding as I could possibly imagine. Honestly, it was picture-perfect; I'll never forget it.

GW: Your parents are massive Deadheads. Did you get a chance to glance over at them during your cover of "Truckin’"?

Jimmy Law: Absolutely. It was hard to concentrate because it was just so cool.

GW: Have you ever asked them what it means to have a son excelling in something they love? If you haven't asked them, how do you think they feel about it?

Jimmy Law: My dad is always speechless after really good nights. He tells me that living this dream is more than he could have ever asked for. Watching him, he’s like a kid in a candy store after shows. It makes me happy because he radiates joy. It goes both ways – we’re both living this dream together that we’ve been working on it my entire life, and it’s rewarding to see some of the payoff. It’s been fun.

GW: A lot of people are curious about this. When you close your eyes during a jam, what “place” do you go to?

Jimmy Law: I think of being up in the rafters. I know Trey [Anastasio] always talked about it. After watching guys like Jerry [Garcia] and Trey, I try to find that space on stage where I can get lost. As the crowd builds, it’s easy to get distracted by friends and people around. But I find that my best moments come when I can focus on a spot diagonal up top. I’m locked in, not on anything specific, just completely in the zone. My facial expressions happen as they do, but I don't really pay attention to them all the time.

GW: You’re an extremely strong blues guitar player among many other styles that you have mastered and continue to master. Do you have any blues guitar heroes?

Jimmy Law: Thank you! When I was in Mad Kings, one of my bandmates opened my world to a lot of Stevie Ray Vaughan, Jimi Hendrix, and Johnny Winter. Through his playing, I absorbed those vibes. We would smoke and listen to Stevie Ray albums together. As I continue to grow, John Mayer has become one of my biggest influences, and I’d place him in my top five guitarists.

GW: How do you think John Mayer's playing style complements what Dead & Company does?

Jimmy Law: I was surprised the first time I saw him with Dead & Co. But right from the start, I felt like it was a match made in heaven. The way he interprets the Grateful Dead is exactly how it should be translated. He does the best job of maintaining his original sound while also paying homage to Jerry [Garcia]. He translates the music as best as he possibly can.

GW: How would you describe your collaborative playing style with fellow band member Brian Murray? How do you communicate with him on stage?

Jimmy Law: Brian has opened me up in a whole new way. His finger-picking style is so unique. I’ve never played with anyone like him. He forces me to simplify my playing because his style is so rich and robust that it needs space to shine. We both learn to hold back and let each other’s best qualities show in the best scenarios. We can fill the same spaces, so it’s about figuring out when to do that.

GW: How does the band’s sound evolve over time? Is it something you actively work on in practice?

Jimmy Law: It’s crazy because there’s so much to consider. As a band, we’re not just creating music; we’re exploring all these other things that reflect our musical qualities. We try to be as natural as possible, and then it’s up to the universe and time to bring out everything happening around us. The connection with the audience is crucial for our growth. It’s like a baby growing into a human; it changes and evolves. It’s not really up to anyone except for our desire to shape it a certain way.

GW: So, you believe that the crowd and the environment absolutely affect the performance of the night?

Jimmy Law: 100%. It’s a two-way street.

GW: Within the last year, the Dogs have hired a full-time lighting designer in AJ Mussachio. Does the light show inspire you to play differently? If so, how?

Jimmy Law: When we're on stage, you don’t really know what’s happening with the light show behind you. The only thing I notice is when I’m in a solo and I can feel that something is about to peak. I can sometimes sense when AJ is about to go somewhere because I see the movement behind me. We can time things together, which is cool. It’s important to watch videos afterward to see what he’s doing. It’s a challenge to understand how people translate that into lights. You have to feel it out. Building a good relationship with AJ and talking to him has been great. I really appreciate him – he’s become one of my best friends. Discussing it with him, as well as hearing what the fans think, enhances the experience. I talk to Manny [Newman] – the Pigeons Playing Ping Pong lighting designer – a lot, who has been a huge influence on AJ. Manny taught him a lot. A few years ago, AJ didn’t know anything about lights; he was just a hungry kid. He’s incredibly smart and driven, and he learned to put everything together in the past three to five years. It’s impressive, and I really believe in him.

GW: He sounds like he’s working towards being a master of his craft. What are some of your favorite electronic shows that you’ve attended?

Jimmy Law: I’m a huge fan of Tipper, Detox Unit, J. Dub, and Resonate. Those are some of my favorites. I also really enjoy hard dubstep. J. Dub puts on one of the most original sets; I think he’s paving the way to become one of the biggest names in his scene. I’m going to an immersion festival in Jersey soon, and Tipper is just an incredible experience. I hope to create some music like that someday in my spare time.

GW: I don’t know much about Tipper. Can you tell me more?

Jimmy Law: Sure! He was at the forefront of this movement, starting in the '90s with a style that blends hip-hop with electronic beats. I don’t have in-depth knowledge of his beginnings, but he’s paved the way for psychedelic EDM music. He’s a master at what he does – he’s like the Grateful Dead of electronic music.

GW: Have you incorporated anything you’ve picked up from these EDM shows into your playing?

Jimmy Law: Definitely. What that music has done for me is open up my rhythmic senses. The sounds are so out there that I’m still trying to figure out how to replicate those sounds live on stage with a guitar. It’s challenging because much of it is done on computers. But the rhythms in that music are so complex and rich that they’ve made me more responsive to drums and bass, and just different elements in general.

GW: I feel like that’s what makes Dogs In A Pile so unique – these conversations have been so different with each one of you because you all have such varied influences.

Jimmy Law: Yeah!

GW: What’s your favorite Dogs In A Pile song to play?

Jimmy Law: I think it’s either "Thomas Duncan, Pt. 3" or "Bent Strange." Those two are definitely my favorites.

GW: Are you ever going to play the whole "Thomas Duncan" suite?

Jimmy Law: We’re definitely going to keep working on it. We’re not sure where it’s going to go yet, but hopefully somewhere really cool. We didn’t plan it out originally. “Thomas Duncan, Pt. 2” was finished first, and then we thought, “why don’t we finish this?”. Hopefully down the line, we’ll have a full suite for everyone.

GW: Is Philly a special place for you? How awesome was it to come out during a Phillies game recently and sing "Take Me Out to the Ball Game"?

Jimmy Law: I went to school at the University of the Arts in Center City, right on Broad Street in Philly. That was an amazing experience for me. I met a lot of great people, learned how to play jazz, and made many friends. I lived with Ross, our manager, for a while before he was even working for us. I’ve always loved Philly. I got into the EDM scene while I was there. Playing at the Phillies game was so cool!

GW: How did the band come up with the Guitar Hero-themed set for your upcoming Halloween show in Oklahoma City?

Jimmy Law: We always talk about different ideas for themes, and we brought this one up a while ago. It’s cool to think about art in general because, as you create, you’re influenced by your generation and the people around you, including your audience. Guitar Hero was something our age grew up with. I remember playing the first one right after it came out – it felt like the coolest game ever. It connected us to all the great music that our parents loved. Why not? Nobody's ever done it before, so we thought, why not go for it?

GW: You guys have done a couple of residencies over the past few years, which is a unique concept. It feels like it’s given you a chance to connect with the community and get comfortable in a space. Most recently in April, you played four nights each in Los Angeles (CA) and San Diego (CA). Did you have any favorite moments from that run?

Jimmy Law: That was a cool experience. We got to go back and forth between Venice West and Winstons, and I really liked Venice Beach. It’s such a vibrant area with a lot of old-school Deadheads. The Northeast has a similar vibe in the areas where older Deadheads like to migrate. Down in San Diego, it also feels like those '60s vibes are still alive. There’s a loving feeling there, so it was great to be part of it. At the end of the residency, it hit me – wow, we’ve been doing this for four weeks now. We learned a lot and grew as a band because we lived in our Airbnb together for a month. I turned 25 right when we got out there, and personally, a lot of things were changing for me. I started seeing things differently, and it felt like I grew up during that time. Coming back, it just felt like a lot had changed for the better.

GW: I believe you recorded at least a portion of DIAP’s upcoming new album out there. Can you give us a few words about what we can expect from the album based on those sessions?

Jimmy Law: It was an incredible time. We’ve already put out two albums: "Not Your Average Beagle," which was our first batch of songs, and then "Bloom," where we explored a different direction. "Bloom" has a more modern/pop vibe, and we worked with a different producer to gain a new perspective on our tunes. With this new album, we’re returning to what we love – just a very natural selection of songs. There are a couple of tracks we've been wanting to record for a while, and they span different genres. It’s a big fusion of everything we can do.

GW: So, it sounds like this album is, out of the three, the ultimate representation of what Dogs In A Pile is up to this point?

Jimmy Law: That’s exactly how it feels.

GW: We’re excited to hear it when it drops! You’re co-headlining two nights at the Capitol Theatre with Eggy. How does it feel to be on the bill at one of the most respected venues in the country?

Jimmy Law: It feels amazing. All of us in the band have been going to shows there for a long time – we’ve seen a lot of great acts. We’ve always looked at that stage, hoping that one day we’d get the chance to perform there. We’ve been lucky enough to open for some bands at the Cap, and now we get to co-headline with Eggy, who’s been working hard and doing something similar to what we’re doing. It’s cool to share this experience with another band that’s chasing the same dream. We’re both on this journey together, and it strengthens our relationship with them. We get to hang out more and get closer as friends and fellow musicians.

GW: You just went on tour with Pigeons Playing Ping Pong and Andy Frasco & The U.N., and now you’re sharing the bill with Eggy. How special does it feel to be a part of these moments with your contemporaries?

Jimmy Law: Being with those guys makes you feel less alone in this crazy world of being a musician. It’s a wild life, always on the road, and we’ve grown close with both bands. They give us respect as musicians and it’s an honor coming from them. Guys who have been at it longer – it creates a real sense of brotherhood. We learn so much from them about stage presence and professionalism. We’ve had so many great memories with them.

GW: In your early days as a band, you’ve played some incredible spaces. You have the Cap coming up, which you’ve already played, and you’ve done The Caverns, too. Do you have any bucket list venues left? What’s your dream?

Jimmy Law: After visiting The Sphere, that would be an amazing place to play. We’ve already played so many cool spots, like Mishawaka and others. But Madison Square Garden is the dream. I keep a picture of it on my refrigerator, and I’m aiming high. Why not shoot for the stars?

GW: For New Year’s Eve this year, you’re playing four consecutive nights at Putnam Place in Saratoga Springs, NY. Do you view a run of this length in the same venue as a challenge for the band?

Jimmy Law: We’ve been discussing how big of a rotation we can manage. I think we can do a six-night rotation with no repeats. It’s a good number to create a cohesive journey for everyone and use all our songs in their best spots. So, I think we’re all up for the challenge!

GW: I’ve asked every other member of the band this, and their answers have all been different and wonderful. What does the Dog Pound mean to you?

Jimmy Law: The Dog Pound is our family. They’ve been with us since the beginning when they were our only audience. We see familiar faces in the crowd, like Jon Maruca, who’s always in the front row. Every time he’s there, it makes us feel like we’re with family across the country. It gives us a confidence boost because these people believe in us. They also spread the word and make new fans feel welcome in the Dog Pound, which is the most important thing we have.

Dogs In A Pile are an eclectic five-piece band hailing from Asbury Park, New Jersey. The members include Jimmy Law (guitarist), Brian Murray (guitarist), Sam Lucid (bass), Jeremy Kaplan (keyboardist), and Joe Babick (drums).

Ready to join The Dog Pound? Head over to dogsinapileofficial.com for their latest soundboards, tour dates, setlists, merch, and much more… and stay tuned for the final piece to our Dogs puzzle – Joey’s interview!

In the final edition of our five-part interview series with Dogs In A Pile (DIAP), Joey Babick, the band’s powerhouse drummer, takes us through his musical foundations, influences, and the unique approach he brings to the band's sound. He opens up about the balance between aggressive, rock-inspired beats and the improvisational freedom of jazz, drawing from the legendary drummers who shaped his style. Babick also touches on the chemistry he shares with his bandmates, the thrill of playing in iconic venues, and his experiences on the road, offering a candid glimpse into the life of one of the jam scene’s youngest and most promising talents behind the kit.

Grateful Web (GW): What first drew you to the drums? I know you can also play bass, but how did you know drums were the instrument you'd stick with?

Joey Babick: I think it started when I was a kid. My dad played in bands and was a bass player, so I’d watch him perform. Then, later on, I saw Jimmy [Law] play in bands too, and by that point, I was already playing the drums. There was something about them. They just looked so fun and alluring.

GW: Jimmy Law previously told us you two grew up as family friends in Jersey, jamming with your dad. Earlier this year, all three of you shared the stage in Solana Beach for a cover of "Bird Song." Was it special to have your dad sit in and play bass with the band? What was that moment like?

Joey Babick: Yeah, it was really cool. It was funny because it was very last-minute. On the day of the show, we asked, “Do you want to sit in?” We knew Mission Control would be there, and he's one of the biggest Phil [Lesh] fans I know. I just thought, “When else would we get the chance to do this?” And honestly, he sounded great. But it was funny because he’s like me – he wasn’t totally confident about his performance since there was no time to practice. But still, I thought he played great, and it felt awesome.

GW: Looking further into your earlier days, I know your dad was involved in music, and you were in the Count Basie Theater program for a short time. What would you say was your biggest takeaway from that experience?

Joey Babick: I met a lot of great musicians there, especially young people who were very skilled at their craft. It was cool to make friends and jam with them. Musically, the program taught me to learn the parts exactly as they are on the record, which is important for respecting the music. But I also learned that it’s essential to be yourself in music. If you’re not expressing yourself, what’s the point? Music is supposed to be personal, and it should come from within.

GW: We’ve always felt your drumming creates such a unique, hard rock foundation for the band. How do you balance laying down a powerful, aggressive beat while leaving room for the improv and flow of jazz?

Joey Babick: That’s a great question. It’s something I’m always figuring out. I try to keep that solid foundation, but still have the freedom to interact musically with the band. I want to drive the intensity without taking over. It’s a balancing act, and every show is a learning experience.

GW: Do you get that aggressive style from any specific influences? Did that come from somewhere, or was it just natural?

Joey Babick: I grew up a huge fan of Bill Ward, John Bonham, and Roger Taylor. Those guys were my influences. Out of all the rock legends, John Bonham was probably my favorite. He had this aggressive style but with these incredible grooves. There was just something about those British drummers – they had these ridiculous pockets that are still unmatched today. Sabbath, Zeppelin, Queen – all very different but aggressive and with grooves that hit hard. And I guess naturally, I’m a bit of an aggressive personality too – especially when I was younger. So, that’s probably where it comes from.

GW: The jam scene is synonymous with tension and release guitar playing. Do you think you achieve that on the drums? Is that something you can drive, or is it more about being in sync with the rest of the band?

Joey Babick: It goes both ways. There’s definitely a tension-building aspect on the drums, especially right before a peak moment. But it’s also about the entire rhythm section dictating the dynamic. The whole band creates that tension, and then when everything comes together, it releases. It’s about what you do rhythmically and melodically before that big peak hits.

GW: It’s about restraint, right? Choosing the right spots?

Joey Babick: Exactly. Restraint is just as important as aggression.

GW: So, you mentioned the connection you have with the guys on stage. You seem to have that in spades with your keyboardist Jeremy Kaplan. Why do you think that connection exists? Does it feel like it’s always been there, or did it take time to build?

Joey Babick: I think it’s always been there, at least from what I remember. It’s a fun connection to have, especially with someone as talented as Jeremy. He’s great at everything he does. We just have a good musical chemistry. It’s kind of funny, I remember first meeting Jeremy, and some of our interactions were a little awkward – more personally than musically. But then, the first couple of gigs with him were just crazy. We had a few rehearsals, and then the gigs themselves were a blast. It was so much fun. It’s been great to connect with someone so involved in both harmony and rhythm within the group. He’s a very rhythmic player, and again, he’s just a fantastic player in general. It’s exciting trying to keep up with him, in a way.

GW: Being a huge Deadhead, did you learn anything from Billy Kreutzmann? Especially regarding his technical skills and stage presence? Are you a fan of "Drums/Space"?

Joey Babick: Yeah, definitely. I grew up with my dad being a big fan, so I was always exposed to that music. By the time I started listening to it on my own, I absolutely fell in love with his playing – especially the early stuff from the late '60s and 1973. I always thought 1973 was such a great year for him. His playing has this interesting touch, almost a musically inconsistent way of approaching different grooves. It’s really fascinating in some of those recordings. That was also my first real exposure to improvising on a drum set, too. So, yeah, for sure, I’d say it definitely sticks with me. And I’ve always enjoyed "Drums/Space." It’s fun, and it’s a great time.

GW: Being on the road can be tough with all its demands. Is there someone in the band or crew who keeps the morale high? Any jokesters or good prank stories?

Joey Babick: It's funny you ask. I’d say our lighting director, AJ, is a huge morale booster. He’s always lifting spirits. He’s also a fantastic lighting director. When we brought him onto the crew, he hadn’t been running lights for too long, but he’s already really good at it, and he’s only getting better. Plus, he’s super knowledgeable about all sorts of things – trailers, car mechanics, all that useful stuff when you’re on the road. He’s just a super funny guy and a great hang. He’s a blast to be around. Honestly, he’s just the man. A great dude.

GW: You debuted a new kit early last year. How has it affected your playing?

Joey Babick: Hopefully, positively. I like to think that I’m definitely more comfortable on this kit than I’ve ever been on any other drum set. It gives me the kind of feeling I’ve always wanted from a drum kit. It’s really cool to have something like that, and it was a fantastic process getting it all customized through the great people at Ocean County Music in Point Pleasant, New Jersey. They’re fantastic folks there.

Everything, from the hardware to the finish, the bearing edges – everything was custom. It’s exactly what I’ve been looking for as a drummer for a long time, and it’s been really fun. I’m still getting used to it; I had the DWs before this kit and was very used to those after seven years of playing them. But I’m a big fan of the new setup, and I’m excited to explore more Ludwig products. It’s cool stuff. I’m on their website all the time, checking out the latest gear. It’s awesome.

GW: Are there any recent new bells or whistles that you'd like the Dog Pound to know about, any special sound effects?

Joey Babick: I got a couple of new cymbals recently. I got a Meinl cymbal and a couple of Mongiello cymbals. Those are great. I wouldn’t say they’re custom to me, but they’re beautiful, handmade cymbals. The guy who makes them is Mike Mongiello, and I believe he's based in Philly. I was also gifted a Paiste 2002 24-inch ride. The thing’s a monster. Our friend Jim gave it to me. It’s sweet.

GW: For the less technically inclined, what does that piece do?

Joey Babick: It’s just a very large cymbal called a ride. You ride on it and play different patterns with either your right or left hand, while keeping the backbeat with your other hand. It’s a nice piece, for sure.

GW: How do multi-night runs at the same venue differ from a string of standalone shows in multiple cities?

Joey Babick: They’re way chiller because you don’t have to break down your gear every night, which is great. But, yeah, I mean, that’s the big thing for me at least. It’s great not having to break down the whole drum kit for three nights and just being able to walk in every day and sit down. Both are great. I like the standalones too. I like going from city to city and banging them out. It’s fun.

GW: Do you have a favorite venue that you've played at?

Joey Babick: I think probably the one that has interested me the most historically is the Crystal Ballroom in Portland, Oregon. It’s crazy. It’s a ridiculous room. It’s on the second or third floor of this big building, and the whole floor is spring-loaded. The whole perimeter of the floor is on these weird spring hitches. So when you're walking all the gear on the floor, you can feel it bouncing under your feet. It’s pretty scary because once you have a room full of people jumping around, it’s really freaky. The Dead played there. They did some impromptu acid tests in ‘69 or something – maybe ‘68. I think the place might’ve been closed at the time, though.

GW: Take us through last year’s New Year's Eve run in Saratoga Springs. Did it test the band’s endurance and mental prowess playing in front of mostly the same crowd for four nights in a row?

Joey Babick: I suppose you could say that. Each night, you just kind of get a little more comfortable. By the third set of the fourth night, though, you’re starting to get pretty fried. But, musically, I thought the second and third nights were really strong. Yeah, I mean, it was definitely a test of endurance. That was the first time I think we’d done four straight nights at the same venue. So that was interesting.

GW: “Charlie” from 12/30/24 was your longest jam ever. Did you go into the song knowing that it would be your longest jam? And how does the band decide to extend a jam past its typical length?

Joey Babick: Yeah, I had no idea. I don’t think any of us knew it was going to be that long. We had a whole setlist written out – I think I still have it in my phone somewhere. But yeah, there was no real decision made to extend it. We all just kind of felt it out, and it just happened. Everyone kind of thinks differently about it sometimes. It gets so long sometimes that I come off stage and think, "That was long. I hope it was worth it." Some people were super stoked on it, and yeah, I listened to a good amount of it. I thought it was pretty interesting.

GW: Is that the type of jam that you come off stage and immediately talk about it with your bandmates, or is that not really the dynamic of the Dogs?

Joey Babick: It kind of depends. Some of us probably did. I don’t think I really said anything about it right off the bat. But yeah, it depends. Sometimes, if something crazy happens, then yeah, like "Holy s***, that was sick!" But for me, I was in this unsure state, kind of like, "Damn, that was long." Obviously, you can’t remember all of it, so it’s like, again, I hope it was good.

GW: If it captivates our attention for 47 minutes, that’s an accomplishment. Yeah, it was GOOD.

Joey Babick: Thank you. [smiles and laughs]

GW: Why did the band choose “Chop Shop” as the first song to play in 2025 after the balloon drop?

Joey Babick: Good question. I think it’s a pretty hype song. It just goes hard. It’s fun as hell to play and very energetic. The crowd seems to like it.

GW: You started out this year on the West Coast, playing shows in Arizona, California, and the Pacific Northwest. Do you ever experience any type of culture shock out West? And how is it different than the East Coast?

Joey Babick: I mean, it’s weird because to me, it’s mostly just a vibe or an energy thing, for the most part. People are people wherever you go. There are nice people and not-so-nice people everywhere, that’s just the way it is. But yeah, out there, it’s hard to explain. It’s just something in the air, I don’t know. It’s just different. It’s strange. Also, just historically, out there, there’s a lot of cool stuff going on.

To me, that’s where it started. People say that there are different classes of hippies or whatever you want to call it. But you find some real straight-up hippies out there, and that’s not exactly something you see too much on the East Coast. I’m talking real down-to-earth hippies, and it’s really cool. The culture is still there. It’s still going. Especially in a place like San Francisco. The whole Haight-Ashbury area is just full of Deadhead stores and all these eclectic-looking folks hanging around. It’s a cool thing to see.

GW: Your future tour schedule features some unique stops. You’ll be spending about a week in New Orleans during Jazz Fest, with two headlining gigs at the Chickie Wah Wah and a featured spot on Trombone Shorty’s Shorty Fest lineup. Talk to us about what you’re expecting from that trip.

Joey Babick: That’s a huge, hard-hitting musical environment that is somewhat new to me – not new to my knowing or anything, but just new in terms of actual real-life experience. You’re surrounded by a ton of really, really good musicians. You want to lead with your best foot at all times. I’m excited to go back. It’s crazy down there.

GW: In June, amidst a robust summer festival schedule, you’ll be making your debut at Bonnaroo. Is the band excited to play on “The Farm”? Does it mean anything to you?

Joey Babick: I mean, I will say that it’s probably not the oldest festival, but it’s one of the first and only festival names that I remember hearing as a kid growing up – just the word “Bonnaroo.” Yeah, so it’s great, and there are a ton of amazing acts. I’m sure we won’t be able to see everyone, but it’s exciting to be a part of something like that musically. And yeah, we’re stoked.

GW: To wrap up our last (but not least) interview with all the members of Dogs In A Pile – we’ll ask a question we’ve asked all five Dogs now: what does the Dog Pound mean to you?

Joey Babick: The Dog Pound is great. We really appreciate everyone. It’s so cool to see. It’s incredible to see how supportive everyone is. Nothing’s perfect, and people are going to point that out sometimes. But it’s crazy to see, honestly, how somewhat rare it is in a lot of these environments. How everyone’s super supportive. As well as the regional fans who go out and drive X amount of hours to come to whatever show if we just so happen to be passing by one of the adjacent states – it means a whole lot and is super appreciated.

Check out other Grateful Web interviews with the rest of Dogs In A Pile: Sam Lucid (bass/vocals), Brian Murray (guitar/vocals), Jeremy Kaplan (keys/vocals), and Jimmy Law (guitar/vocals).

Ready to join The Dog Pound? Head over to www.dogsinapileofficial.com for their latest soundboards, tour dates, setlists, merch, and much more.