Tue, 07/24/2018 - 2:05 pm

Policulture, a Boulder based band, combines conscious lyrics, horns and roots rhythm into an authentic group best described as original mountain reggae music. No doubt that their environment growing up has not only affected their sound, but transcended them into a modern, mindful and inspiring collective.

Formed in 2010, deriving from the grounds of CU Boulder, Policulture now consists of Matt Niederhauser (lead vocals, guitar, melodica), Kyle Jerome (saxophone, vocals, percussion), Christopher Ball (bass guitar, vocals), Casey Theriot (drums), Nick Sumner (keyboards) and Thom Holum (trombone).

Niederhauser and Sumner were both raised in Hawaii and brought a great deal of those deeper reggae roots from one of the reggae capitols of the world to the mainland. Their background helped to dig those roots even deeper for Policulture.
Policulture

Sumner explained, “In terms of calling ourselves mountain reggae though, I think it's more of our collection of backgrounds with reggae we love combined with us living in Colorado. We are influenced by the music popular out here but more importantly the vibe living out here. There's definitely something to be said about the lifestyle living in the mountains.”

Ball talked about how taking time to go out by the river and be outside to breath everything in around them, including the people, really encapsulates their inspiration as both individuals and as a band.

Ball continued, “The excitement over reggae music and being in Colorado is really what helped us dive into this music and become so passionate about it all. We are so influenced by our environment that we make our music in and I think that’s really made Policulture the way it is. The outdoors, nature and beautiful surroundings of Colorado really shows in our music and lyrics. That mountain reggae vibe.”

Ball also took the time to talk about why their sound was perceived as more modern. Although Policulture is based from those old Jamaican or Hawaiian fundamental roots, their sound has developed into new age contemporary music coming from influences of American music, including the East Coast, as well as New Zealand, Germany and South America.
Policulture

Policulture also stressed that this new age feel comes from all the new technologies that are intertwined to modern music, such as the synthesizers and different effects that Policulture completely integrates into their tunes.

Mountains to Cross is Policulture’s newest creation. This is their second full length album and it was recorded in Rochester, NY at Black Dog Studio. Their supporting producer and part-owner of the studio is Matthew Goodwin of Riot City Sounds.

“We wanted to get away from our every-day lives and really take the time to focus on creating and recording the best music we possibly could. We had a lot of the songs written out but we also didn’t want to eliminate any kind of creativity that could happen in the studio,” Ball explained.

Policulture has a good deal of their favorite music stemming from Upstate New York where they find a lot of their favorite bands and influencers such as Giant Panda Guerilla Squad and Easy Star All Stars. Members of these bands also have guest appearances on Mountains to Cross.
 
Policulture on tour this summer

Matt Goodwin, producer of Mountains to Cross, was described by Policulture as being one of the best things that could have happened to them. Coming from an admirable background of reggae music, Goodwin encouraged the most creativity and invested some serious studio time into the band. Policulture took ahold of this opportunity and spent ten days in the studio from roughly noon to 4 am.

“A lot of the songs on the new album are about overcoming hard ships on any platform… where the world is today, beliefs, or our relationships. If there is one word the album is about it is perseverance. The mountains that are inevitable in all of our lives,” Ball said.

When asked about how this material was different from previous recordings Ball talked about how much better musicians they were at this point. From taking lessons, getting better at their own craft, and adding guest artists, Policuture aspires to have people invested in their musical craft more than anything.

“It’s a total democracy in our band, it makes everyone have really unique ideas with everyone chiming in. It makes us very hypercritical about things also. Reggae music being so refined also, with very important lyrics, it allows us to try out a bunch of different ways and challenge each other. All six of us," he elaborated.
 
Policulture

Policulture explained some of the challenges that they faced during their writing and recording period. The pre-producing stage was somewhat difficult to them as a group, not having much experience with at home recording. The band stressed that this whole learning process really helped them to grow and discover the process together.

Ball continued, “Once we got to the studio that was the easy part. All of us sang on the album. The back-ups are epic, and we all contributed to new ideas, lyrics and melodies. Matt was so open to our creativity also, so everything just blossomed during the recording process.”

Policulture’s group was described as resilient throughout the whole process and took on the challenges with positivity and passion. Ball gave a shout to Jerome for taking a main lead in the exquisite vocals that were produced and helping the band with booking their album release tour.

He also stressed that from this new album they have more concentrated and focused practice sessions, “We no longer run through five songs really quickly and then chat about what we want to fix. We will go through two songs specifically and really ask what we liked and didn’t like about what we played. Focused writing and playing is now a huge part of our routine. The time and effort is there.”
 
Policulture

Interestingly enough, Mountains to Cross is not a track on the album but a lyric of a brand-new song on the new release. Their leading track on the new album is called, “What is Right,” and was described as an up-beat, danceable song that frames the vibe of the new album perfectly in terms of melodies and composition.

One of the coolest aspects of Mountains to Cross is the sustainable Kickstarter album campaign associated with the new album.  Raising more than their goal of $10,000, Policulture promised to make their campaign as environmentally conscious as possible.

Talking more on the campaign, Ball explained “As a band, we wanted to make a positive influence any way that we could. Obviously, we need money to do things such as record an album, so we definitely wanted to give back what people were generous enough to give us. Also, being a band is a really great way to do that… It’s our main goal as musicians, to change the world in a positive way.”

This includes eco-friendly merchandise including shirts made of plastic bottles, compostable keychains, reusable cups. Also, each reward came with a member of Policulture returning a volunteer action such as picking up trash, homeless care kits and planting trees. This method completely tied into Policulture’s roots, meaning and overall essence as a band.

Ball dove into what a pre-show ritual looks like for them, “We always want to take the time to talk about a lot of the things we want to go right. Our intro, eye contact, the cover songs, speed of songs and the breaks in between songs and our transitions are our main focus.”

Policulture’s album release show is on July 28th at their hometown venue, The Fox Theatre. The band often reminisces on going to their first reggae show there together their freshman year at CU Boulder and truly wishing to be at that level. Since then, Policulture have headlined numerous times at The Fox and developed quite a fan base.
Policulture's album release party in Boulder @ The Fox Theatre

Holum added his thoughts on their Fox Theatre show, “It is so amazing to have the opportunity to release this music to so many friends and family.  Boulder, and especially the Fox, have had such a profound influence on our growth and development as musicians and individuals, and we literally could not imagine a better place for the release.  It is a powerful experience looking out from the stage and seeing hundreds of people that you love, and know love you.”

Policulture is going to be playing their new album in its entirety but will also be scattering in their classic tunes. They will go on right around 11:00 p.m. following their supporting bands and friends Elegant Plums and Dub Haiku. Guest appearances during Policulture are to be expected and anticipated.

Ball concluded with excitement about the album release show, “To be able to release an album there that we believe is our best material yet is so amazing. Also, to be able to do it with our family members and friends there and being supported by two bands we have known for a really-long time is going to be great. We have been working with the sound engineer and light designer at the fox also for the best production possible for everyone involved.”

Catch Policulture flourishing throughout their album release tour in the Pacific Northwest at the dates listed below; supporting monumental artist such as Soja and Satsang in the process.  

Fri, 08/17/2018 - 3:20 pm

Arise Music Festival’s eighth year was nothing short of passionate, creative and completely unified. There was no service on Sunrise Ranch, but a way deeper connection was found throughout attendees.

The fields began filling early Friday morning with a line of anticipated festival goers waiting to Arise to their fullest potential not only as music fans, but to thrive as a collective throughout the grounds.

The opening ceremony began and the cohesive chanting and drumming strode down through vendor row. Making a brief stop right before entering the concert bowl, the leader of the pact surrounded by a circle of attendees spoke and established tradition, connectivity and offering throughout the land.

Arise Music Festival | photo by Conrad Meyer

Touching briefly on Brazilian tradition and producing a unified chant, people began to feel the power of harmony that Arise brought to the table. The group making their way down to the concert bowl in front of the main stage formed a bigger circle enclosing white goddesses that began their synchronized routine to the organic sound of string, flute and percussion.

Offering water to the sky and conducting a prayer to the land, Arise Music Festival couldn’t have begun on a more integrated front.

After the opening ceremony, Dustin Thomas kicked off music with his soul folk and cognizant lyrics preaching and spreading love to perfectly ignite Arise.

Dustin Thomas | Arise Music Festival

Shook Twins took us throughout the afternoon with their indie folk tunes and even shouted out the CBD that had them feeling nice during their performance. Doing their little jig around the stage and pronouncing their female vocals throughout the ground provided for a very uplifting first set from the Shook Twins.

Leading into the evening on the first official day of the festival, Pepper got the crowd feeling rowdy and ready for the night. Performing classics, “Stormtropper,” “Rent” and “No Control,” everyone was feeling the groove and having a blast. Multiple times Pepper shouted out Slightly Stoopid and how amazing it was being on tour with them.

Nestled between Pepper, Stick Figure and Slightly Stoopid, The Jauntee played two sets in the Salt Stage placed directly next to the main stage.

Stick Figure and Pepper

The Jauntee has hit a couple of smaller festivals this summer but described Arise as being the biggest thus far for them. It being their first Arise they explained how although bigger, it was just as tight knit as the previous festivals they have hit this summer.

Jauntee is located in Boulder and have hit numerous shows throughout the country this summer. They took the time to explain that playing in Colorado and at Arise Music Festival there are more people who are willing to come explore new music; especially the kind that they master which tends to be very improvisational, mastering the art of feeding off from each other musically.

Tyler Adams, keyboardist, commented, “We always try to play for the crowd. Like here at Arise, we definitely will try to go groovier or dance infused, especially at our late-night sets. We stay within our sound but it is easy to feed off the crowd’s energy here.”

ARISE Music Festival  | photo by Conrad Meyer

The Juantee began their performance with “Astral Turtle Dance,” leading into a “When the Love is”> “Space Monkeys” to completely accelerate the crowd nestled in the tent. Ending with an extended “Have You Ever” to trance the crowd.

The Jauntee has a brand new live album premiering September 14th titled, “Always Never Knowing.” There will be presale packages that vary in price that include merchandise, video download, audio download and hard copies of the new album, recorded completely live in the studio. They will celebrate the premiere of the album officially at the Brooklyn Bowl with Leftover Salmon on September 13th, followed by more tour dates.

Stick Figure is also on tour with Slighty Stoopid and Pepper and they all enjoyed hopping on stage with each other throughout the night. Stick Figure played their fan favorite “Fire on The Horizon”> into “Above the Storm.” They also rocked out with Kyle McDonald from Slighty Stoopid performing “Choice is Yours,” and ending with “Smoking Love” to leave the crowd feeling right.

Slighty Stoopid | Arise Music Festival

Immediately after The Jauntee’s second set Slightly Stoopid began as the first official headliner of Arise. To say the crowd was excited and feeling good was an understatement. Doobies ready and dancing shoes on, Slighty Stoopid did what they do best.

Their performance consisted of many classics and Grateful Dead cover, “Franklin’s Tower” followed by Tom Petty cover, “You Don’t Know How It Feels,” later in the set.

Meanwhile during Slightly Stoopid, Zak Hoya Aka Plantrae, took over the Green Tea stage with his earthy beats featuring the viola. Mixing so adequately and seamlessly electronic music and live instrumentation its needless to say he stole the crowd’s affection.

Plantrae | photo by Sam Silkworth

His classical background playing the viola and violin is evident with his proficiency onstage. Zak talked about how every festival he plays is unique and the experience sticks with him. He was headed to Idaho to play with Beats Antique shortly after his set but he expressed he was excited to explore the grounds of Sunrise Ranch.

Zak continued to explain, “Festivals are usually a way higher energy with more people. People are more committed to sets at festivals and super into it. You generally get this wild night time energy and its outside so everything is really open, I for sure felt that at my set tonight.”

Zak incorporated a lot of songs from his new album, “Seeing in the Dark,” to his Friday night set at Arise. He explained that he really enjoyed incorporating the fresh album into his festivals sets and the process has been smooth. His album is available for download on all platforms.

Ott | photo by Sam Silkworth

Ott was one of the most anticipated performances of the weekend and he did not disappoint. The crowd was more than feeling his hallucinogen tracks. The set was heavy and way too easy to dance to.

Whether you stayed at Ott or ventured to another stage, incredible music was still happening throughout the grounds. Start Making Sense: A Talking Heads Tribute and The Wooks provided alternate experiences for attendee’s enjoyment.

The Wooks came from Whimmydiddle Country, John Hartford, and Festival of Bluegrass to their first Arise Music Festival. Winning numerous bluegrass awards, and finishing in the finals in the Telluride Bluegrass competition, The Wooks are way up in the bluegrass front.

ARISE Music Festival | photo by Conrad Meyer

When describing Arise they compared it to the some of the previous festivals they have played thus far. Arthur Hancock, lead guitar, briefly commented, “Arise is much more collective then a standard bluegrass festival. So, it’s cool to be a bluegrass band at a festival that is much broader on the spectrum of genres. Like here it seems genres don’t really matter as much, it’s just all about music.”

The Wooks continued to explain that they love the festival scene because that is where a lot of them really got into music and began their roots. They described the outdoor scenery of Arise as being very inspirational to them and they love how people who have never seen them before have the opportunity to check them out more at festivals.

The band made a point to say that these kinds of transformational events such as Arise don’t happen as much where they are from in Kentucky and they were very happy to be a part of the sustainable culture surrounding them.

ARISE Music Festival | photo by Sam Silkworth

The Wooks closed out Friday night at the Starwater Stage premiering two songs, “Halechewa” and “Little Sandy Queen” off their upcoming album. Roddy Puckett, bass guitar, explained his love for Jerry Garcia and because of his birthday that week they paid tribute by covering “Franklin's Tower” late Friday night.

The Wooks will have new music out that was recorded in Kentucky (for the first time), very soon so be expecting a presale date.

Saturday brought the heat, and the storm. Kicking off music on Saturday was Tubby Love and Amber Lilly who got about half of their set in before the hail came. They did perform a majestic “Road to Zion” cover before getting cut short.

ARISE Music Festival | photo by Conrad Meyer

Minutes after an MC coming on stage to announce the storm brewing and an emergency state the winds initiated. Not phased at all, attendees held on to their tents and took cover. Roars and encouraging shouts rang throughout the grounds as high speed winds, rain and hail bombarded down.

Not more than an hour after all was back to normal and music began. It was evident that everyone confidently and happily braved the storm and got right back to what mattered, the transformational and musical event of the summer.

Dubskin, Colorado natives, brought the reggae tunes to the Green Tea stage setting the vibes for the rest of the day. Followed by Dragondeer and ProbCause, amazing music was ringing throughout Sunrise Ranch.

Arise Music Festival

Living Legends was one of the more diverse acts on the lineup bringing raw hip-hop to the main stage of Arise. Personal connections on high levels were made throughout this performance as the collective performed and earned the respect of the mass crowd in front of them.

The Dustbowl Revival, an 8-piece roots, funk, American soul orchestra performed their very first Arise coming in strong from a show at Cervantes and Strings Fest. They described themselves as being old-school but ever evolving in style, explaining that they don’t ever want to pigeon hole themselves to playing one kind of music.

Their set on Saturday night on the StarWater Stage featured multiple covers by The Band including “Don’t Do It,” “Rag Mama Rag,” and “The Weight.” They also played some funkier tunes to get the crowd moving titled “Call My Name,” and “Honey I Love You.”

Loveland, Colorado | photo by Sam Silkworth

Sitting down with Zach and Liz from The Dustbowl Revival, both sharing lead vocals and slaying the ukulele and guitar, they expressed their love for Arise and how they were feeling all the maxed out “heavy vibes” floating around the festival. Hailing from a craigslist’s ad and coming together from all over the country, the group’s unique story and amazing talent is one to not miss.

Zach explained, “The songs that we play with such a diverse instrumentation, we have the ability to kind of shape shift into different ways of playing. I think that within the last couple of years we have really found our sweet spot and our own sound.”

He continued to describe that even though the group knows how to jam, it is really about the lyrics and the storytelling that is involved with song writing. Liz joined in and said as hard as it can be collaborating with an eight piece that comes from all different backgrounds, the end results are beyond marvelous intertwining sounds. The conversation couldn’t have tied in more with the theme and essence of Arise Music Festival.

Arise Music Festival | photo by Conrad Meyer

Catch them developing and testing out their new music, and slaying the classics on a nationwide tour over the next couple of months; also head to their website for updates and video previews of some new material.

Meanwhile during The Dustbowl Revival, CharlestheFirst, was a heavily electronic option, contrary to the roots music also happening. CharlestheFirst was mind-blowing and a great choice to go check out also.

Thievery Corporation was the headliner on the Eagle Stage on Saturday night, throwing down at their first appearance at Arise. Sitting down with Rob Garza, he talked about the organic sound of that derives from the electronic feel of their collective, and how for their set there was over 10 contributing artists.

Thievery Corporation | photo by Sam Silkworth

Garza spoke at Arise about the origins of their worldly sound, “Thievery Corporation has always been inspired by our record collections. When me and Eric met, we had a bunch of old jazz records, music from India, Jamaica, Brazil. Over the course of doing this for 23 years now we’ve had a chance to travel to most corners of the globe.”

He gave a shout out to the life that music has given him and enabled him to travel different parts of the world to give back. Garza has even started his own form of mezcal, which tequila is derived from, made from wild agave matured in nature rather than barrels, titled “Papa Diablo.”

When asked about the disco and house element that can be found in tracks of Thievery Corporation, Garza shouted out corners of the world such as Turkey and Persia where the disco elements really spoke to them.

Arise Music Festival

Thievery slayed the headlining spot and played a fan favorite, “Labanese Blonde” for an ultimate get down. The collective also performed “Facing East” and “The Heart’s A Lonely Hunter” to get the crowd involved in mind, body and spirit.

Garza communicated how he thought the Arise programming was unique with all the different lifestyle elements, forming a dynamic element to the festival.

Opiuo was a dynamic finish for the main stage that night, going above and beyond electronic dance music. His tracks included “Jelly,” “Sneakers,” and even remixed Pretty Lights, “Done Wrong” and Griz’s “PS GFY.”

Opiuo | photo by Sam Silkworth

For a classic end to the evening, many attendees headed over to Dead Floyd or Con Brio; both projecting psychedelic soul sounds to end a wonderful Saturday night of music at Arise.

Sunday morning tunes began a little later to give the third and fourth day attendees some time to soak up the sun and get some rest preparing for another music-filled day.

Intuit, a combination of numerous genres including reggae, blues, folk and funk, began their performance mid-day. Music destined to “bring us out of our heads and into our hearts,” flooded the concert bowl from this instrumental five piece.

Arise Music Festival | photo by Sam Silkworth

Intentions of love and worldly consciousness was evident throughout the afternoon as Tierro with Bridget Law from Elephant Revival followed Intuit on the main stage.

Tierro was derived from Arabian and Latin scales and was founded by Arise Music Festival producer Tierro Lee who has been generating instrumental music for over 20 years.

Chloe Watkins (Intuit) and Bridget Law were present more than musically throughout Arise. Both are women activists that share the love of music to help change the world. They are helping to produce and play at the tenth annual Sister Winds Festival, located near Fort Collins.

Arise Music Festival | photo by Sam Silkworth

Sister Winds Festivals will be held at the Mishawaka Amphitheatre on August 26th and is created to help celebrate women in music. Providing workshops to encourage healthy relationships and lifestyles with the surrounding people and the earth. This year is headlined by Ayla Nereo, Nina Storey, and Bonnie & Bridget from Elephant Revival.

Everybody was anticipating Kitchen Dweller’s set on Sunday, especially with the sun shining and one of the longest time slots on the bill. To say the crowd was hyped to stomp their foot to some bluegrass mid-day Sunday would be an understatement.

Their set included “Maud Only Knows” and “Up on the Hill Where They Do The Boogie” featuring Vince Herman from Leftover Salmon which the band described as being a very memorable experience. They also expressed how they owe a lot of who they are as a collective to Leftover Salmon.

Vince Herman with The Kitchen Dwellers | photo by Sam Silkworth

They continued their set with a lengthy “Visions of More” with a short Keller Williams' “Freeker by the Speaker” tease and ended with “Mountain” with an entrancing reggae outro.

After their set The Dwellers talked about how Colorado was one of their favorite places to play and how excited they were to be at Arise. The group elaborated on how the conscious and connected environment made it fun to participate in the festivities.

They are hitting the east coast hard in the next couples of months and they also announced that they have an upcoming tour with Pigeons Playing Ping Pong hitting Texas, Arizona and California.

The Kitchen Dwellers | photo by Sam Silkworth

Gasoline Lollipops, Tubby Love & Amber Lily and Bass Pyshics whirled attendees through the rest of the afternoon till Arise natives, Quixotic took over the mainstage.

Quixotic has been around performing at Arise since the very first year. The collective derives from Kansas City, and the origin of the name stands for organized chaos, or an unrealistic or exceedingly idealistic dream, which the group commented as being the perfect description for them.

Booming corporately and internally from a local TedX talk, the band attributes where they are today from that performance.

Quixotic | photo by Sam Silkworth

“We are beyond excited to be here [at Arise]; we have been prepping, rehearsing and we are just so enthusiastic to be here. We love this outdoor, beautiful venue and we are digging all of the stages and set ups.”

Quixotic came out hot, literally, with a ton of fire, aerial and specialty apparatuses that no one else has or have ever seen before. Performing both a DJ set and a live performance, it featured a London based trumpet player along with a violist, vocals and an electric harp.

Don’t forget the specialty projections and laser show, the live band left the crowd astonished from talent on Sunday night. Quixotic also hosted a yoga sanctuary on the grounds over the weekend.

Quixotic | photo by Sam Silkworth

During Quixotic, Roots of Creations Grateful Dub was performing in the Starwater Stage, an initimate tent located at vendor row. Mixing Grateful Dead and reggae beats they performed classics, “Sugaree,” “Ripple,” and “Fire on The Mountain.”

Before Trevor Hall took stage, a “Moment of Unity,” occurred on the main stage. Bringing out all the Arise staff and production team, the crowd and festival was blessed; wishing attendees a good health and a good life from elders of the land.

As quoted from the speaker of the land, “We are moving into a new reality and a new planet earth, that we are creating together. This spark of the universe is becoming conscious in us. Thank you.”

Arise Music Festival | photo by Sam Silkworth

After the crowd took in the words spoken on stage, Trevor Hall was introduced as a leader to guide us to better ways, and began his performance. The crowd was feeling the love and togetherness from the weekend creating an incredible aura throughout the grounds. Trevor performed “Lime Tree” and “Uncle Joe” to swoon attendee on the last evening of Arise.

Dumpstaphunk floored the Green Tea Stage with their funk and jazz gritty groove to keep the people dancing. Close by, Eminence Ensemble finished the StarWater Tent beginning with a strong “Hacer”> “Right Ahead”> “Techno Pho.” They finished up their set and closed out the tent for the festival with a Grateful Dead cover, “Friend of the Devil,” into “Here’s Your Shine.”

An abundance of workshops were available for Arise attendees that were run by teachers, shamans, artists, visionaries, yoga instructors and activists. Just as much as Arise is a music festival, it is a place for learning, healing and yoga.

Arise Music Festival | photo by Sam Silkworth

The yoga workshops were held at the top of GA camping at the yoga sanctuary and focused on practices such as Yoga Fundamentals, Bhakti Flow, Aromatic VinYin, Creative Contemplative Movement, Atha Vinyasa, Poetic Flow and Slow Flow practices. Everyone was welcome from any skill level and often these movements had a fun twist to the practice.

Other workshops often were highly awakening and activism based. These workshops stressed open conversation and breaking out of society standards. Often, they gave tips and different ways to break out of society standards sometimes politically or often personally.

The teachers provided ways to help attendees set goals, strive towards your better self and gave supportive life counsels. The workshops often focused on being your best self and the future of society pertaining to environment and political factors. The encouragement to share your voice and stand up for what is right was evident throughout all the lessons.

Arise Music Festival | photo by Sam Silkworth

The Songwriters in the Round workshops featured artists that were on the lineup that participated in an open-discussion based panels speaking and playing from their hearts. These intimate dialogue sessions featured different artists such as Ayla Nereo, Mike MacDonald, Brett Wilson, Amber Lilly, Ethan Tucker, and Chloe Watkins.

Walking throughout the grounds of Sunrise Ranch, this “Leave No Trace,” standard was held to an impeccable degree. Every corner and throughout most fencing areas there were reminders to recycle and rethink. Although these reminders were consistent and vast throughout the festivals, the looks of the grounds showed that attendees had no plans or interest on spoiling the land surrounding them for the weekend.

The different forms of art throughout the site was equal to as consistent as the recycling reminders and compost bins around. The main art hub was a centerpiece for Arise featuring numerous gifted artists showcasing their work as well as live painting. Right behind the Green Tea Stage and a couple minute walk from the Eagle Stage, the large tent comprising a maze of immaculate ability shined its light on many people.

What a weekend! | photo by Conrad Meyer

Some artists that were featured throughout the art dome were Adrianne Arachne, Wonder Harvest, Jilana McIntyre, Elizabeth Banker, Michelle Anderst, Mpek, Ian Spencer and Chris Surposa. These visionary artists ranged from intricate line drawing, engraved skateboard art, oil painting and colored pencil work to graffiti painting.

There was also a showcase of glass work that highlighted art from Zach Stubbs, Steven Tillman, Steve Cisneros and Green Bean Glass. These ranged from elaborate pipes and smoking rigs, to pendants and jellyfish inspired glass pieces. Creating a platform for a different physical form of art to be showcased was a great move for Arise.

Tsunami Publicity provided the outlets for artists to share their upcoming work and future projects, constructing organized and informative press conferences. This allowed for open conversation between artists and media channels to create the best coverage of this amazing event.

see you next year @ Sunrise Ranch | photo by Sam Silkworth

Paul Bassis, founder and producer of Arise Music Festival, was right when he emphasized that most of us come to Arise already awake. But, what does one do after awakening? Arise. It’s about what we do after we leave this conscious, musically-bound event, that really conveys the message of the festival.

Mon, 02/04/2019 - 4:42 pm

The two rising collectives, The Kitchen Dwellers and Magic Beans, have set off on their first national tour together as “The Kitchen Beans,” and have been throughout the country. The Magic Beans and Kitchen Dwellers have had an escalating friendship for around ten years, playing numerous shows together and shining with their collaborative efforts.

Starting off in a 250-capacity venue in Telluride, Colorado and making their way throughout different ends of the country, The Kitchen Dwellers and Magic Beans landed in Columbus, OH over the weekend for an intimate, high-energy show at the Woodlands Tavern.

Max Davies | Kitchen Dwellers

Max Davies, guitarist, and vocals, talked about touring with the Magic Beans and their longstanding friendship. “Everything is just flowing really well. It’s nice to work with people that you have known for so long and are really comfortable with. We’ve been collaborating every night, learning new covers and learning how to play each other’s songs. We’re all really stoked about it,” he said.

Davies also explained how mixing The Magic Beans funk and jamtronica style with their untraditional bluegrass has been great for producing an eclectic improvisational vibe on tour. He mentioned a highlight of their tour being a full night of “The Band” covers.

You can preview a Kitchen Dwellers’ Reheated, Vol. 1, featuring “The Band” covers here:

 

Davies continued to talk about how impactful and inspiring it’s been seeing their musical peers all reach new goals and rise together in the music scene. The Kitchen Dwellers just announced their first Red Rocks Amphitheatre show with Twiddle and Pigeons Playing Ping Pong set to take place on May 2nd in Morrison, Colorado. The Magic Beans are playing Red Rocks just five days before on April 27th in support of Lotus.

Scott Hatchey | The Magic Beans

Scott Hachey, guitar and vocals for the Magic Beans, commented on how being on the road with The Kitchen Dwellers has been so impactful, ”This tour has been a long time coming. It’s like bringing your family on the road if your family is a bunch of 20 something musical savages. There’s been a lot of good times, hard work, and great music.”

The Kitchen Dwellers opened up the night at the Woodlands Tavern in Columbus, Ohio. The venue had a rustic vibe, with tavern-style wood embellishments, and a full house surrounding the bar on the preceding wall of the concert area. Inside the intimate venue, the Dwellers opened with, “Paul and Silas > Old Dangerfield” giving the crowd the initial energy to spin, twirl and sway from the quick, staccato-style bluegrass.

The Kitchen Dwellers | Columbus, OH

As the crowd gained more energy and the radiantly luminous lights filled up the 150-capacity space, The Kitchen Dwellers returned the pizzazz and hit the crowd with a classic, “Ghost In The Bottle” with an epic “Three Weeks” jam.  

As the set came near the end, The Kitchen Dwellers covered Hunter/Garcia's “Mississippi Half-Step Uptown Toodeloo.“  By now, the tavern’s guests have all done the bluegrass “stomp and spin” and sang along with set the Kitchen Dwellers, as they swing into their last two songs, “Foundation” and “Don’t Do It.”

Chris Duffy | Magic Beans

Magic Beans came out hot in their set getting the crowd to yell along with the “Adonde” opener, completely accelerating the energy in the room. Their smooth transitions and groovy inner-workings laid down the funk as they played “As You Like It,” into a sensual, synth and bass-driven, “Dr. Bubbleman.”  

Casey Russell, keys and vocals, led the collective into the second half of the set with an upbeat and jivey “Luck,” into an “Inventor” closer. The Magic Beans fast-paced energy is always complemented by their quality collaboration and synchronicity efforts. They specialize at surging solos that build up to a stimulating euphoria, completely in unison.

Casey Russell | Woodlands Tavern

The “Kitchen Beans” came together for a closing set covering Doc Watson’s “Columbus Stockade Blues,” and Brandi Carlile’s, “Dying Day,” fully encapsulating the crowd’s attention for the grand finale.

Kitchen Dwellers | Woodlands Tavern

The two bands are heading back West to Colorado where they will end the tour at the Magic Beans, “Snowstalk” event that complements their summer festival, “The Beanstalk” in the Colorado Rocky Mountains.

Full Set Lists:

Kitchen Dwellers:

Paul and Silas >
Old Dangerfield
Auggie >
I’m On Fire
Ghost In The Bottle (1)
Broken Cage >
Five Candles (2)(3) >
Mississippi Half-Step Uptown Toodeloo
Foundation (4)
Don’t Do It

(1) w/ Three Weeks jam
(2) San Jose tease
(3) First Tube jam
(4) 2x2 teases

Magic Beans:

Adonde

As You Like It >

Dr. Bubbleman >

Hip to Be Square

808 jam > GefilteFunk

Luck

Inventor

Sat, 06/08/2019 - 1:02 pm

Michael Franti & Spearhead made their mark this week in Denver as their team curated two events, both downtown Denver and headlining Red Rocks Park and Amphitheatre, genuinely capturing the hearts and essence of the Denver community.

Michael Franti & Spearhead's Stay Human tour

Franti has been coming to Denver to play music for over two decades, this time around at the Civic Center, he gifted the public with a Red Rocks pre-party, featuring a free outdoor screening of his film, Stay Human, a full-length documentary featuring songs from their newest album. This gathering also included yoga, food, games and a dedicated section of the space titled, “Activism Row,” for attendees to participate and educate themselves on associated non-profits and current issues that Franti stands for. This event was the perfect leeway into a momentous night for the “Stay Human Tour” with Michael Franti & Spearhead at Red Rocks, with support from Snarky Puppy.

Red Rocks Amphitheatre | Morrison, CO

Like a usual night at Red Rocks, attendees began the party in the lots surrounding the park and amphitheater. The crowd was amped pre-show, sharing stories of the long history of music from Michael Franti & Spearhead, the immense talent that was about to perform on-stage, as well as the length of travel they took to be a part of this spectacular night. It was clear that this night at Red Rocks would be a family affair.

Victoria Canal | Red Rocks Amphitheatre

Victoria Canal opened up the night with powerful vocals that ricocheted throughout the amphitheater, and into the stairs, as attendees made their way up to their seats. Her powerful skill-set was shown through melodic lines giving an R&B feel throughout transitions.  

Victoria Canal | Morrison, CO

Snarky Puppy, a worldly and legendary collective excelling in jazz, funk, and soul music, shifted the crowds attended as all focused in to witness these multiple Grammy-winning artists.

Snarky Puppy | Red Rocks Amphitheatre

Snarky Puppy played all songs but one from their newest album, Immigrance, beginning with extended horns and rhythm swooning the crowd as it transcended into “Coven” > “Bigly Strictness.” 

Snarky Puppy | Red Rocks Amphitheatre

Snarky Puppy’s performance was full of individual solos, accenting each other’s talent with layered levels of musical support. Bobby Sparks, keyboardist, enhanced the crowd with incredible synths, supporting by short staccato beats that turned the collective into a groovy, dynamic jamtronica. They continued through Immigrance songs playing, “While We’re Young,” “Bad Kids to The Block,” and “Xavi.”

Snarky Puppy | Morrison, CO

Snarky Puppy ended the set with the only song not from their newest album, “What About Me?” including powerful brass combinations, high pace bongo and guitar solos, and a double drum jam off.

Snarky Puppy | Red Rocks Amphitheatre

There’s no energy like Snarky Puppy’s to led into an anticipated set. The crowd, delighted with enhancement and animation, patiently waited Michael Franti & Spearhead to take the stage.

Snarky Puppy | June 7th, 2019

Before Franti appeared, an advocate for the overall cause for the night, “Ending Gun Violence,” came on stage, to share with the crowd, how Franti shares his heart and soul with many causes, but tonight’s was important. She shouted to the crowd to “Stay Human” and explained that all the orange t-shirts in the amphitheatre represented human life.

Michael Franti's Stay Human tour | Red Rocks

As she walked off, a visual countdown came on the stage, encouraging the crowd to get up and move, raise their drinks to the air, shake their body, and make some noise. After a slight hiccup in production, a riveting video came on to introduce the “Stay Human” movement and get the crowd in their feels ending with the quote, “My hope is that you always feel free to be who you are.”

Michael Franti & Spearhead

Franti appeared, and a complete shift in energy came from the crowd. Everyone was on their feet for his opening song, “I’m Alive,” as attendees all sang together, “All I wanna do is be with you.” Franti was mobile all night and began his descent into the crowd for a powerful, “Yell Fire,” > “Little Things.”

Michael Franti | Morrison, CO

Franti continued to belt out lyrics and gain even more energy into the crowd. A special moment occurred on stage when he brought Oliver, a six-year-old boy, to sing to the 9,000 person crowd the lyrics of “The Sound of Sunshine,” followed by a back-to-back guitar solo.

Michael Franti | Red Rocks Amphitheatre

Franti then gave a shout out to all of the native Colorado attendees, praising them on their adventurous and spontaneous mindsets concerning music. He then made his way to the middle of reserved seating, dead center of the ampitheatre, for “Summer Won’t Last Long,” > “Only Thing Missing Was You” > “Just to Say I Love You,” while getting the crowd to participate on vocals.

Michael Franti's Stay Human tour

At this time everybody was busting out dance moves and putting their hands in the air, parrelling with Franti’s energy. He brought a guest on stage from Uganda to collaborate and chant, “Baby, don’t fade away from me if you need a friend.”

Michael Franti | Red Rocks Amphitheatre

Throughout the night Franti gave multiple shout outs, this particular one was for all the women in the crowd and the rights that they have to make their own choices, before beginning to play, “You’re Number One.”

Michael Franti | Red Rocks Amphitheatre

“Good Shit Happens Too” followed and was premiered as a new song to the crowd. Franti made his way to the right side of the amphitheatre above the halfway mark and right in the middle of a crowd of fans. He sang right alongside them for classics, “Get Myself to Saturday,” “Shake It,” and “My Lord.”

Victoria Canal with Michael Franti & Spearhead

After a brief encore and another encouraging video, Victoria Canal, showing no defeat, graced the crowd with her beautiful vocals and amazing story, as they transcended into a slow and powerful, “The Flower,” continuing on the nights focus of ending gun violence, and sharing a testimonial of how bullying is an extended part of the violence we are seeing throughout America.

Michael Franti | Red Rocks Amphitheatre

Franti continued on to talk about the devastating statistics of gun violence throughout America, as well as educating the crowd on a new non-profit funding that helps council and provides trauma relief for gun violence victims. He pointed out that students from Columbine and the Parkland shootings were there for support and memorial. With a huge cheer from the crowd, Franti also announced that one dollar from every ticket purchased that night would go to helping this movement and relief group.

Michael Franti | Red Rocks Amphitheatre

With the crowd feeling more motivated to move than ever, Franti finished strong with fan favorites including, “Life is Better With You,” “Stay Human 2,” and “Say Hey (I Love You). For his final song, “When The Sun Begins To Shine,” attendees got the feeling that this was no longer a typical “concert” but another momentous experience at Red Rocks that stood up for a movement, and transcended the hearts of all who attended.

Sun, 07/14/2019 - 4:31 pm

As attendees began to make their way from the parking lot into Red Rocks Amphitheatre for the night, there was an excelled energy running throughout the air. Loyal fans and newcomers were highly anticipating the night full of instrumental jams and pure funk. The disco pre-party that took place in the parking lot was in full swing, transferring that energy into the Amphitheatre as attendees prepared for monumental opening support from Moon Hooch before co-headlining acts Galactic and The Motet.

Moon Hooch | Red Rocks Amphitheatre

Moon Hooch, an explosive Brooklyn-based three-piece, led the raw and talented vibes for the night. Moon Hooch’s background stems from playing acoustic and energetic subway sessions throughout the underground of NYC. These collective pushes and crosses deep bass lines and catchy melodies with pounding rhythms that are celebrated as “electronic house music mixed with brawny saxophone riffs.” Moon Hooch is committed to different lifestyle elements, including environmentalism, veganism, philosophy, and peace into their music as well as their actions. Moon Hooch is hosting a Permaculture Action Day on Saturday after their Red Rocks appearance.

Moon Hooch | Morrison, CO

Coming out hot, as highly expected, this energetic trio was the perfect opening bill for a legendary night at Red Rocks. Their analog dubstep, supported by saxophone and breakbeat drums was the perfect leeway into an energetic instrumental night. Moon Hooch was consistent in bringing heavy synth-filled jams supported by the bass drum. Many different woodwind instruments were rotated between the two front men and at one point, one of the frontmen jammed a traffic cone into one of the saxophones.

Moon Hooch | Red Rocks Amphitheatre

Moon Hooch established their “Cave Music” genre with primal screams into the on-sax microphone by one of the front men. Overall the collective produced a very cathartic flow and great transitions for the beginning of the party at Red Rocks Amphitheatre.

Moon Hooch | Morrison, CO

After a brief intermission, Galactic got the crowd right back on their feet as they entered the stage. Galactic played the previous night at the intimate Belly Up Aspen and came prepared to bring the same energy to a packed Amphitheatre. Galactic is New Orleans based and utilizes a wide variety of instruments to bring the purest form of funk to a crowd.

Red Rocks Amphitheatre | photos by Derek Miles

Their progressive sound that takes a twist on electronic instrumentation and modern rhythms captured the crowd’s heart instantaneously. Galactic began with a heavy drum intro and Ben Ellman coming into the front row to show off his immense skills on the saxophone.

Erica Falls with Galactic | Red Rocks Amphitheatre

During the second song, Erica Falls made her first appearance, completely encapsulating the crowd. Her powerful and fierce vocals rang throughout Red Rocks Amphitheatre bringing a fresh feel of R&B, leading into a wild guitar solo by Jeff Raines. The band occasionally brought the beat to a slower pace to accentuate each artist’s talent and make the crowd feel the underlying funk groove.

Galatic | Morrison, CO

The leading brass players of this collective never failed to stand proud and upfront completely uplifting the Amphitheatre’s energy. Their talent and stigma were a highlight of this night of music at Red Rocks Amphitheatre.

Galactic | Morrison, CO

Erica Falls occasionally slowed down her vocals to let the crowd passionately feel every note. Her spunk and talent really shifted the crowd’s appreciation towards her powerful uproars supported by deep bass undertones. The band created layers to her vocals with extended electronic synth jams, that literally made the crowd yell in excitement, as well as consistent horn duos supported by drums, bass, and keyboard.

Galactic | Morrison, CO

As the set progressed, the energy level rose. Galactic produced short, staccato beats that surfaced an overall melody. Ben Ellman conducted a raging harmonica solo into the infamous “Does It Really Make A Difference,” leading the way into The Motet’s set.

Scramble Campbell doing his thing @ Red Rocks

The Motet came out shortly after into a mist of blue lights, not giving the crowd a chance to lose any energy from the previous sets. This seven piece, Colorado-based collective, fuses “fiery funk, simmering soul and improvisational inventiveness,” to create an unforgettable live music experience. Their talent scope ranges from different levels allowing each individual musician to hold a spot in contributing to their overall sound.

The Motet | Red Rocks Amphitheatre

The Motet had ten people total on stage instantly bringing the electronic funk and major build ups to match the crowd’s energy for an opening “The Fountain” into “Damn!” Lyle Divinsky (Lead Vocalist) was having a dance party on stage all night when he wasn’t blasting out his vocals into the night. Although Lyle represents a lead for The Motet, he gave each member and the overall band more than enough space to show off their talents and overall groove. The band continued through their set with classics, “That Dream,” “Supernova,” “Speed of Light,” and “Whatcha Gonna Bring.”

The Motet | Morrison, CO

Jennifer Hartswick and Natalie Cressman provided their diverse talents supporting The Motet on vocals all night as well as showing their multi-talented skills when playing different brass instruments. At one point, the crowd was all singing along with them shouting “Shining On,” creating a powerful unison effect. The Motet continued to bring the heat through “Joke’s On Me,” and “Get It Right.”

Joey Porter | The Motet

The infamous Joey Porter, was ever so prevalent on the keyboard throughout the night bringing insane melodic synths as well as altering his voice to match the melody and give a discoteca vibe. Porter resembled a lead in the band throughout the night, continuing to awe the crowd at his talent.

The Motet | Red Rocks Amphitheatre

Lyle at one point gave a shout out to all of the Colorado Music Scene, praising attendees for being able to create a space to share creativity and funk in. Following, an intense and powerful double drum solo took place as the crowd changed their rhythm to match the vigorous and dynamic beats supported by immense percussion instruments including the bongos. At this point, The Motet was supported for this drums and percussion breakdown feat. Stanton Moore (Galactic) and Jeff Franca (Thievery Corporation).

The Motet | Morrison, CO

After, the ladies that were stationed in the back came forward with Erica Falls to show off their compelling vocals, supported as always, by the brass talent on stage. The ladies covered “What Have You Done For Me Lately” by Janet Jackson. As they receded, Lyle took back over shouting to the crowd “Everybody wants to get high, right? We are in Colorado!” Which the crowd absolutely loved and continued to cheer him on through “Contagious,” “Death or Devotion,” and “Keep On Don’t Stoppin.”

The Motet | Red Rocks Amphitheatre

Numerous solos took place throughout the night showing the collective’s respective dynamic and influence. Lyle, as well as the whole crowd, never stopped moving throughout this disco, funk, all-out party at Red Rocks Amphitheatre. The Motet closed the night after their encore with “Highly Compatible” and “The Truth.”

Full Motet Setlist:

The Fountain

- Damn!

- That Dream

- Supernova

- Speed Of Light

- Whatcha Gonna Bring

- Joke’s On Me

- Get It Right

- Drums/Percussion breakdown feat. Stanton Moore (Galactic) and Jeff Franca (Thievery Corporation)

- What Have You Done For Me Lately

- Contagious

- Death Or Devotion

- Keep On Don’t Stoppin’

- Closed Mouth Don’t Get Fed

<<<<

- Highly Compatible

- The Truth

Check out more photos from the show.

Mon, 07/15/2019 - 12:49 pm

Ghost Town Drifters, a Denver-based bluegrass five-piece, is comprised of band members Oren Paisner (Mandolin), Scott Vincent (Upright Bass), Alex Tocco (Fiddle), Mike Testagrossa (Dobro) and Tom Mueller (Guitar). Hailing from different parts of the East Coast, this collective found its way to each other through mutual friends, local jam sessions, and previous band experiences, leading the way right to each other.

Ghost Town Drifter’s journey initiated as a pick-up gig with local bluegrass folk who were just looking to jam out. After a while, their player lineup solidified, and they began making ways in the Denver bluegrass scene, propelling themselves into a whirlwind of pickin’ and foot-stompin' throughout the local community. Scott Vincent mentioned how they owed their coming together to the interconnected and decentralized bluegrass scene.

Cervantes Other Side | Denver, CO

The band reminisced on their first performance at Cervantes almost a year ago opening for a Sublime Cover band as well as recently performing as support for The Jeff Austin Band at Cervantes for his last run of Denver shows before he passed away. On Thursday, July 11th, Ghost Town Drifters headlined their first show at Cervantes Other Side and completely shredded to a full house of friends, family, and bluegrass lovers.

Ghost Town Drifters came out with a new CD this week titled, “The Olive Street Sessions,” which they fully incorporating into their set at Cervantes. Oren did mentioned that this album is a little more “tame” than their live performances, but fully encompasses and excels what this band is made up of. All the band members had a significant part in producing this album, all attributing to the lengthy but concrete jams, as well as the raw and unique storytelling aspect of the sessions. Their creative process stems from each member bringing content to the table, and letting the whole collective interpret that content to produce the finalized tunes.

Oren Pasiner | Ghost Town Drifters

Oren Paisner, band manager, and lead mandolin player, commented on this historic night in their music careers, “This gig is really meaningful to us, we’ve all spent a lot of time at Cervantes for these Thursday shows. I’ve been coming here since 2014 seeing great acts and tons and tons of great bluegrass bands. It’s crazy that no matter who is playing here on a Thursday, a bunch of people show up, regardless. Just to dance to this music and get down. I’ve previously been outcasted for listening to this “out there” and “weird” music, but here, being able to see this scene taking off is crazy. This is a huge deal for us to come back exactly a year later from opening for some band to headlining tonight.”

Alex Tocco and Oren Paisner have known each other for years, jamming together since the age of fifteen. Alex Tocco is previously from The Dirty Grass Players, he spoke on the transition and newly acquired role in the Ghost Town Drifters, “I decided to make the move out to Colorado to join Oren’s band, and it has been a wild ride ever since. With him being one of the first people I ever jammed with in the first place, for him to offer me a spot in the band was awesome. I see a lot of room for growth and opportunity in this project, so I’m happy to see where I can let my abilities as a fiddle player grow in this band, as well as helping everybody else grow as well as a band altogether. I’m looking forward to being a part of the Colorado music scene here.”

Ghost Town Drifters | Denver, CO

Oren mentioned special moments hanging out in the greenroom with Jeff Austin and Bill Nershi. He have a shout out to Cervantes for consistently putting them on with national acts and being able to curate those experiences.

Their headlining show at Cervantes was a night to remember. The night began on the outer patio area with support from that Damn Sasquatch and The Deer Creek Sharp Shooters, both improvisational bluegrass bands that lifted the crowd’s energy to led into the night.

Ghost Town Drifters | Cervantes Other Side

Ghost Town Drifters came on promptly at ten on the Main Stage of Cervantes Other Side. As the vibe picked up, dedicated fans and newcomers began to do the classic bluegrass twirl and really get moving. The collective was shredding scales and picking through melodies as they went through their first songs curating a lengthy, “Beyond the Cosmic Mesa” > “Lonesome Fiddle” > “Beyond the Cosmic Mesa.”

The energy only continued to excel throughout the night. Ghost Town Drifters were consistently balancing energies, yet taking turns to respectfully show off their individual talents and stigma.

Ghost Town Drifters

Oren was ripping out full vocals, bringing a physical feeling of fullness to Cervantes. They continued on playing, “Drifting Away,” and “Through The Canyon,” while Scott led us into a hearty “Trucker Speed.” (Fred Eaglesmith) Vocal support was shown throughout the whole lineup of Ghost Town Drifters.

Alex Tocco was soft on the fiddle throughout most melodies, waiting for the perfect time to showcase the fiddle’s power and his immense talent. The lights began to transcend and share energy with the crowd as they played through, “Best of Me Yet,” “Grass Time,” and “Free of Gravity.”

Ghost Town Drifters | July 11th, 2019

Ghost Town Drifters brought the crowd into a space bluegrass wormhole, manipulating their strings for a trippy sound effect through, “Running” > “Southern Flavor” > “Grains.” The collective occasionally slowed down the jams to accentuate and accent a specific melody, which often led to perpetuating solos.

Ghost Town Drifters finished off their first headlining show at Cervantes Other Side with Alex Tocco’s piece, “Hammers,” into “Space Rail,” and “Exile.”

Ghost Town Drifters | Denver, Colorado

Be on the lookout for future shows in the local Denver area as well as surrounding states as the band branches out. Be sure to check out their latest release as well, “Olive Street Sessions,” just released this week.

Wed, 08/14/2019 - 5:37 pm

Attendees gathered gracefully for the 7th Annual ARISE Music Festival at Sunrise Ranch in Loveland, Colorado to set intentions, relish in world-renowned teaching, and dance their hearts away to some of the best national musical acts and pioneers in our beloved music scene. With over 450 programmed acts, Arise Festival covered a lot of ground in bringing top-notch entertainment and education to their guests. This gathering was full of abundance for attendees, as well as the staff and land residents at Sunrise Ranch, who play a vital role in throwing the sacred event that is, Arise Music Festival.

Paul Bassis, Arise Founder & Producer, talked about the ethos of the festival really coming down to the guiding principle, “Always do what’s best for the fest.” He elaborated that when producing this festival throughout the years, this principle has been crucial in providing for a successful Arise Music Festival every year.

ARISE crew getting ready for another big year

Bassis continued, “Arise is this place. You can do a lot of things, a lot of different places. But you can’t do this, anywhere else but here. Because This Valley is profoundly special. There are a lot of beautiful places in other places. But only this place is this place. And there is a vibe that is intact here and I knew it since I first stepped in this valley. And everyone else can feel it as well. This vibe that is intact has a huge part to do with the loving and respectful community that has been here for over 80 years. That vibe is elevated by all of the people that come here.”

He explained further thoughts behind the original intention behind the idea of Arise, “It is an honor to live up to the intention that we brought to this when we first began this endeavor. This intention got elevated as we collaborated with the Sunrise Community Ranch here.”

ARISE staff - Sunrise Ranch

David Karchere is a resident and prominent community member at Sunrise Ranch. He talked about the day that Bassis brought the Arise idea to the spiritual community at Sunrise Ranch. “We were looking for a way to share what we were experiencing in this valley, and as a community, with the world. It was a crazy idea that was actually good enough to do. Now it has come to this beautiful gathering.”

He continued, “This Valley didn’t question you when you arrived. The Valley just welcomed you here, that’s how This Valley is. It holds us, just like The Whole Earth holds us. My community here is the same. We are just here to hold you and love and to keep you safe. Give a vibe that you can connect with. Creating space for people to come here to shine their lights.”

Sunrise Ranch - photo by Justin Bilancieri

The opening ceremony was held in the main concert bowl in front of The Eagle Stage early on Friday afternoon. The performers were prepared with a synchronized dance routine that symbolized calling in the divine masculinity and femininity to hold a space for healing and offering as we kicked off Arise together as a collective. The leader of the ceremony announced to attendees that being stewards of kindness to each other and helping to take care of each other, and the land, is what truly makes this gathering so special. The performance constituted as medicine and radiated unity and harmony, through the blessing of balance, on the sunshine-filled first day of Arise.

There was only a couple hours of the day that you couldn’t find a musical performance or a workshop taking place on Sunrise Ranch. Even as attendees were still entering the grounds on Friday morning, the full festivities had kicked off throughout the grounds. At the Yoga Sanctuary, located right on the top of a beautifully-settled hill overlooking all of Sunrise Ranch, Talaya Thomas led “Breathe. Move. Pray.” with soft and settling music by Akoa.

Yoga @ ARISE

One of the more unique aspects of programming for Arise Festival at the Yoga Sanctuary was that each practice was accompanied by live music performed at the stage under the tent. Different practices throughout the day also included,” Soar Like An Eagle Bhakti Flow,” led by Steph Schwartz with music by Miraja, “Presence and Belonging” by Marti Nikko with music by DJ Drez, and “Sew Self Love,” led by Elle Beau accompanied by Hidden Groove DJ set. DJ Drez also performed a headlining set at the StarWater Stage at the sun began to set on Sunrise Ranch.

Simultaneously, numerous opening ceremonies were held throughout different stages including the StarWater Opening Ceremony at The Pirate Stage and the Opening Fire Ceremony at the Wisdom Village, led by a native to the land, Grandfather Little Thunder, Aumrak, and Ahva.

Opening Ceremony @ ARISE - photo by Justin Bilncieri

Meanwhile in the Big Sunrise Dome, a new amenity for hosting workshops this year at Arise, the first Global Harmony Playshop began with Leah and Chloe from Rising Appalachia. They warmed up the attendees with vocal and relaxation practices to get people loosened up for further instruction. Leah and Chloe were present throughout the whole weekend at Arise; they are activists in the music scene, as well as world-travelers that translate their experiences into folk-song.

The Workshop Tent, which was filled to the brim with attendees all weekend, was hosting speakers all throughout the day on Friday, including “Quantum Flower Power,” by Sara Jane Taylor, “Permaculture in Principle and Practice,” by Stone Hunter, Avery Ellis and Patrick Padden, and “Behind the Artist and Painting Techniques,” by the legendary MPEK.

ARISE Music Festival - photo by Michael Emanuele

The Healing Village was home for many attendees over the weekend as they sat and took in all the wisdom that resonated throughout the space. Friday’s workshops at The Healing Village consisted of “Herbs for Creative Expression,” by Sarah Truitt, “Techniques of Ecstasy,” by Joy Vita Verde, and “Embodied Warrior,” by John Michael Wasmer. Numerous sound journeys, ecstatic dance practices, and improvisational jams happened throughout the day as well.

Music began at the Main Stage with Bella Duro, followed by Tenth Mountain Division who rang their lyrical and melodic tunes throughout the festival grounds, as well as featuring covers from The Doors “Break On Through  and Eric Clapton's’ classic “Way Home.” At one point, members of Leftover Salmon came on the stage as well. Tenth Mountain Division commented about their time at Arise, “We really enjoyed our time at Arise this year. It's an awesome festival that features a wide variety of music really bringing together many fans of various genres and scenes here in Colorado.”

ARISE Music Festival

John Craigie followed as attendees prepared for Beats Antiques to take the stage.

Beats Antique | photo by D Maddy

Beats Antique graced the stage with their elegant performers, completely captivating the crowd's attention, with an opening dance piece titled “Grand Bizarre.” Beats Antique played numerous unreleased tracks throughout their set including “Flying Machines,” “Aerial,” “Lullaby,” and “Grace Kelly.” Most pieces were accompanied by ecstatic dance routines that make up the heart and soul of Beats Antique. The collective encored with “Beauty Beats” into “Killer Bee.”

Tipper, fan-favorite of the weekend, came out strong and heavy for his first set on The Eagle Stage at Arise Music Festival. With stimulating visuals and his unique and raw live scratching, the whole crowd was cohesively bobbing to the sounds in unison.

Tom Petty tribute  photo by Emily Elizabeth photography

Meanwhile at the Terrapin Care Stage, a legendary Tom Petty Tribute feat. Jay Cobb Anderson and John Craigie began.

Following, Leftover Salmon began their first acoustic set playing classics, “Steam Powered,” “Analog,” and “Bossa Nova.” Their second electric set that followed featured hits “House of Cards,” “Southern Belle,” ending with a jammed out “Boogie.” Bridget Law also came on stage to sit in with the collective.

Vince Herman | Leftover Salmon - photo by D Maddy

DeadPhish Orchestra took over the StarWater stage for a singalong session that included the Grateful Dead’s’ “Casey Jones,” “Terrapin Station,” and “I Know You Rider,” featuring Andy Thorn on the banjo. They also covered Phish’s “Possum,” with Arthur Lee on guitar.

The Salt Stage hosted more electronic acts leading into the night, including Sortof Vague, Marvel Years and Defunk. Defunk hosted a party for all in attendance and played his newly released song, “Waiting.” Defunk commented on his newly released tunes, “Waiting was a chance for me to test out new territory by touching on a more melodic, more operatic approach. I really wanted to create something that would evoke strong emotions through the synths and melodies."

ARISE Music Festival - photo by Somertime Photography

Saturday morning was led by a “Guided Sunrise Painting” and “Singing Up The Sun,” at the Wisdom Village. Yoga initiated for the day shortly after, with a “Music and Yoga Sharam” in the early hours of the morning. Workshops began to ignite throughout the grounds, and attendees began making their way to the food vendors for some healthy and local food to start their day.

An ideal Saturday at Sunrise Ranch for Arise would begin with renewing your energy and heading to the vast amount of workshops that are offered throughout the day, whether it be “Breathe Yourself Awake,” by Rainbeau Mars, “Get Off Your Grass and Create Edible Lawn,” by Brigitte Mars and Bethy Lovelight, or “Conscious Music, Conscious Lives,” by Bethy Lovelight at the Workshop Tent.

ARISE Music Festival -photo by Michael Emanuele

A whole other level of education was being presented every minute of the day at the Wisdom Village. This space hosted people from all over the world and really connected attendees to those indigenous, conscious roots that make up who we are. These different workshops included everything from sound attunement, creating sacred energy, activating land projects, and spiritual healing, to different traditional medicine dances.

At yet another sacred space on the grounds of Arise, there was also continual workshops being conducted. The Healing Village hosted different workshops to educate on different forms of reiki, ritual movement, sound healing, and intimacy all throughout the day. These spaces that were created help to transcend all the Arise attendees to their fullest potential, as well as creating a safe space for community gatherings to be held.

ARISE Music Festival

Music on Saturday began with More Than Physics on the Starwater Stage. The Main Stage ignited for the day with a Rhythm Sanctuary featuring Porangui, into Mikey Pauker. Tubby Love & Amber Lilly reached their heartfelt lyrics and amazing energy into the crowd, making for a memorable Saturday evening.

Tipper graced us again for a Saturday night “Journey Set,” that turned into the hard and heavy Tipper that attendees had seen live the previous night. The crowd completely consumed all of the energy that Dave Tipper was giving off and it turned into the ultimate throw down, forever blessing fans with his unique, raw and live scratching powers.

The Main Squeeze | photo by Rowdy Roots

The Main Squeeze brought the funk to attendees and kept the crowd’s energy at a maximum high from Tipper’s set beforehand. The Main Squeeze brought their powerful vocals as well as the immense instrumental talent to the Terrapin Care Stage playing, “Dr. Funk > WDWG,” and “Only Time > It Ain’t Me.” They ended with a strong “I’ll Take Another,” feeding off the liveliness of the crowd.

The Main Squeeze commented on their time at Arise, “We loved the collaborative nature that Arise encourages including our improv. set with Ghost Tapes and all the other sit-ins we saw throughout the weekend. The crowd for our set was also incredible and we appreciate them reflecting energy and enthusiasm back to us for a beautiful crowd/band relationship.  We hope to be back many years to come!”

Clozee - photo by Dark Matter Photography

Clozee came on the Eagle Stage shortly after and delivered one of the most iconic sets of the weekend. Clozee’s set was heavier than usual, and she used live editing on her tracks to mesmerize the crowd. At a later point, Clozee pronounced that Arise was one of her favorite sets of the year, and gave a shout out to Android Jones for absolutely killing the visuals at her set.

Two sets of Voodoo Dead is precisely what the crowd needed to root down and let Saturday night begin. Aqueous was sandwiched in between the two sets of Voodoo Dead and performed their heavy-jamprovational rock series that loyal fans and newcomers loved. The night also ended with a rare Frameworks Live Band set at the Salt Stage.

Steve Kimock with Jackie Greene

As another “Singing Up The Sun” session ignited around the sacred fire place, the last day of Arise simultaneously begun. Sunday provided for a cool day with great cloud coverage for attendees to sleep in and get the rest they needed.

When looking at the printed schedule, the Children’s Village at Arise Musical Festival had the most continuous programming. Arise is a family-based event where artists, programmers, and directors have been able to share the experiences of these community-focused gatherings with generations to come. A large grassy lot behind the Big Sunrise Dome housed the Children’s Village containing another smaller dome with a stage in the center, multiple play areas, and creative spaces for weaving, painting, juggling, rainbow parades and the annual Rainbow Lightning Talent Show. During the first annual ARISE RAP Sessions hosted by Blooming Footprint, many long-time Arise staff and musicians commented on how impactful it is seeing their child be on the grounds of Arise to participate in all that is happening at Sunrise Ranch.

ARISE Music Festival - photo by Michael Emanuele

The Art Gallery on-site was also a form of showcasing that Arise excelled in this year. Annie Phillips, Art Gallery Director, has experience in creating large-scale art projects and installations and did not disappoint when curating this year’s Arise gallery. Phillips selects from over 250 applications and bases acceptance throughout a range of skill levels, mediums, cultures, ethos, and geolocations.

Whitney Holburn is a local and progressive Denver-based artist that showcased her work at this year’s Arise Festival. Holburn had several pieces featured at the Artist Gallery, as well as live painting all weekend directly in front of the main stage. Holburn commented on her Arise experience,” This was my first year being able to participate and bring my art to Arise!  I’m so blessed to be a part of this growing and supportive art community in Denver, Colorado; it was really lovely to be there with familiar faces.  It was also my first real, local festival, and it was nothing short of amazing. Arise Festival and being able to participate means a lot to me, and what I’m doing in my career now.  I’ve been working so hard the last year and a half since I have moved to Colorado to get my art out there, and to be asked to be a featured artist at such a prestigious festival is surreal.”

art gallery @ ARISE

Whitney Holburn is throwing a solo show at Grassroots Colorado on September 6th at 5 p.m. She will be premiering a merch collaboration with Grassroots featuring hats and joggers with her artwork. Live music at the event will feature BreakNasty, Phlo, and Mr. Truman.

As all the Yogis came to their final day of practice at Arise Festival, they shifted throughout numerous sessions including “The Love Movement,” by R.R. Shakti with music by Buddha Bomb, “Live Your Purpose,” by Patrick Harrington with music by More Than Physics, and a “Closing Kirtan Jam,” with Katie Wise and Bhakti Explosion, before the Yoga Sanctuary turned into a late-night stage. Meanwhile, at the Big Sunrise Dome, the ARISE Pick sessions were happening with members of Railroad Earth, Meadow Mountain, and Bridget Law.

TIERRO BAND with Bridget Law - photo by Michael Emanuele

Bridget Law (formerly of Elephant Revival) was an artist at large at Arise this year and has been attending the festival since the beginning. Bridget participates in numerous workshops, songwriting panels, and musical sets during the weekend on Sunrise Ranch. Bridget Law & Friends was a special set that took place Sunday afternoon at The Salt Stage.

Bridget elaborated about what Arise means to her, “Arise is so much more than a music festival. It is almost like a summit of expression, with so many colors — one of the most colorful expressions of humanity that I've ever witnessed. And we get to witness that every year and I just love that. Especially in Colorado, the consciousness in Colorado and the people here who love the mountains. It’s a wonderful place for collaboration here. I played with three of my friend’s band’s last night. You show up here, and you bring your brightest colors, and we will create the most beautiful rainbow we can.”

Bridget Law | photo by Alan Crandall

Satsang came on the main stage for a meaningful and liberal set playing his top-hits, “Grow,” into a “Don’t Go Chasing Waterfalls“ sandwich. He also performed “Between,” and welcomed Tubby Love on stage, creating a graceful lead into the last night of Arise.

Lunar Fire showed feminine pride while performing at this year’s Arise. They projected their tribal and distinct musical chanting into the crowd while continuing to awe everyone with their synchronized dances and costume attire.

Railroad Earth - photo by Murray

Railroad Earth, a highly anticipated set for the weekend, came on the Eagle Stage to provide two full sets to the Arise crowd. Matt Slocum sat in on keyboard with Mike Robinson on the pedal steel, guitar, and banjo for the entire show. Also, accompanying Railroad Earth, Bridget Law sat in for “Fisherman’s Blues,” all the instrumentalists on stage assisted in ultimately raising the crowd’s energy as they explored their improvisational, yet traditional, form of bluegrass.

Carey Harmon, the drummer of Railroad Earth, commented on their love for Arise, “Cheers to everyone at Arise! From the team that made it happen to the community that reflects it back at them, you all made us feel a part of your family for the day, and we appreciate it. Sunrise Ranch is full of love and committed to doing it sustainably. Congratulations and keep it happening. Leave no trace!”

Todd Sheaffer | RRE | photo by Michael Emanuele

Railroad Earth’s first set featured, “Stillwater Getaway > Only By The Light” as well as a long and intricate and closing “Raven’s Child,” into “Spring-Heeled Jack.” Their set second began with “Bird in a House,” and transcended into “Farewell to Isinglass > Captain Nowhere,” into the classic Mighty River.”

Tubby Love & Amber Lilly graced the crowd with their second performance for the weekend as the sun began to set on the Terrapin Care Stage. Goopsteppa threw down in the StarWater Stage Tent playing a new track co-made with Atyya to initiate the crowd’s intimacy. He also played “Heavyweight,” and “Sour,” letting the crowd sink into the deep wubs of sounds.

Rising Applachia | photo by Michael Emanuele

Before Rising Appalachia took the stage, the annual Moment of Unity took place on the Eagle Stage. All of the crucial Arise staff and natives on the land came on stage to bless the crowd and draw people together to practice gratitude and thankfulness as we all leave to go our separate ways and make different impacts throughout the world.

Rising Appalachia begin their North America Tour at Arise Festival, where the guests from their latest album, “Leylines,” were present on stage to bring their hints of traditional folk music. This Rising Appalachia six-piece will be present throughout all of the dates of their current tour.

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Read A Full Inside Out Perspective Interview with Rising Appalachia Here

Rising Appalachia | ARISE Music Festival

GW: Can you elaborate on the background of your latest album release, “Leylines?”

RA: “It is more of a sort of long-term study of all the different roots of southern folk music. And so the origin of a lot of southern music is both in the traditions that have crossed the Atlantic from Africa, West Africa, traditions that crossed over from Ireland and the British. Mixing different music and different folk songs is really like blending it in to make a lot of the origin of Appalachian music. So this album is the first album where we brought in a west African player, an amazing player named Aroona Diarra. Also, an amazing Irish player, Duncan Nickel, who does hold those traditions, which is something we've done with all of our albums. We always wanted to tell the story of the roots of music, which we study all kinds of different music. But this is I think the most nuanced kind of weaving of all these different styles.

GW: What other kinds of influences or specifics led to the creation of the sacred spaces you hold throughout “Leylines?”

RA: A lot of the lyrics are stories from the journey pieces of what we've learned from a different audience members. We've had an amazing, I had an amazing men come to one of our shows years ago, and he had been diagnosed with cancer and seeing one of our shows live was his last wish. And he came like days before he passed, and a whole part of the song “Novels of Acquaintance” was really for his story. And for so many of the stories of people that come to our shows sick and they're coming, you know, to find some meaning in the music. So there are so many places where the stories come out from our experience and then are put into the songs. Resilient is a session on a story. It had to do with our time at Standing Rock and had to do with the elections, and you know, our own sense of deep anxiety and disappointment in our country and the hope that that actually we can as a people be resilient and continue to stand strong. You know that for sure. And all the songs have their own storytelling component, but that one means a lot to us.

Rising Applachia | ARISE Music Festival

GW: What is it like being a woman activist in the music industry?

RA: My existence as women in the music industry is already sort of a statement. And I don't think that that's enough. Or even by design at all. It's just we're, we run our own business, and we're two women, and we're sisters, and we are the songwriters, and we are at the top of all the production decisions, and where you do all a direction for the videos, and we just have our hands in everything, and it's a wonderful way to run a business and run a career. And there's no reason that that would be shocking. You know, it's just so often we'll walk into a venue, and the stagehands will be like, okay, you're the singers, where's the manager or whatever. And we're like, well actually we're also the managers. So there's, I think there's still a wave of stereotypes about who's doing what in the world. And it's, it's also a choice. We choose to run things really gracefully and diplomatically. We don't want to sort of force our system into the dominant square system of the music industry or really of our lives. You know, we try and also really have a feminine touch in how we lead. I love it.

GW: How have you seen that translate to more modern times?

RA: Yeah, I think that's really important. I think if folk music is all about holding onto old traditions, then it gets brittle and that's very much not what we want to do. We want to make music that that tells some of the stories of its foundation and its roots and also feels very alive and relevant for us. That's a lot in our lyrics. You know, and also in our, what we study, the music we listened to, and we are as deeply influenced by the era of political hip hop as we are by any era of folk music because that's also a contemporary story storytelling, you know, and it's all, everyone considers all these genres really separate. But there are storytelling genres. So I think it's really important that the music moves and bends and flexes. And I also hold a lot of appreciation for people that are just students of traditional music.

Rising Applachia | photo by Michael Emanuele

GW: How would you say that your story writing process has changed or even the recording process or recording process has changed a lot?

RA: We brought in a producer, which we'd never done before, his name is Joe Henry. He was a really amazing wizard, and we were very nervous about it at first. We've never let anybody in the studio with us before. I mean we don't do our own engineering, but we lead the engineering process, and this was the first time we brought in an outside. It was really stressful at first. You know, we really questioned if we were selling out honestly, and if we hadn't made the right move, it's good to keep that question in mind. Keeps you real. We were nervous until the last second. And then as soon as you walked in the studio, you know, he's this wonderful character. He holds a lot of the old school kind of New Orleans vibe. They're dapper, very poetic and he just, he made it so that we could get out of our own way. We had sort of an outside ear that could make the final calls, and we could really just focus on the creative moment. And it was an amazing, awesome. Yeah.

GW: Traveling is such a crucial part of your guy’s storytelling. How do you adjust to different environments and playing all throughout the word?

RA: You know, we are kind of chameleons in our style of music. So, we are hired from everything from a giant electronic music festival to a tiny like herbal medicine gathering. And bluegrass festival one day and the next day, you know, we're at the burning man, and it's a really kind of fun part of our job. Although it is also a little disorienting and we don't have a genre, we don't have a scene.

Transitions are hard for all of us in all of our lives, and we are in transition daily between different climates and different energetics. And we have to adjust based on what is expected of us off the stage. So the transitions can be tricky, but at the same time, we've spent a lot of energy trying to be good at reading an audience and definitely steer it. It's crucial and a fun.

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As the night drew later, Maddy O’Neal brought the heat and the house vibes to the Salt Stage. For one of the first times, she invited a turntablist, drummer, violinist, and guitar on stage with her for a “Maddy O’Neal Live Band” preview.  She commented on her time at Arise, “I think this is one of my favorite festivals that I’ve played. It’s always a good audience to be able to test out new tracks too; they are very receptive and open. So that is exactly what I am going to do here.”

ARISE Music Festival 2019

Cycles closed out the Saltwater Stage with their strong instrumental tone, beginning their set with Madonna’ cover, “Ray Of Light,” into their original, “Hang It Up On The Wall.” They played numerous Disclosure covers and ended the set with a Lil Nas X cover, “Old Town Road.”

ARISE Music Festival 2019

Tucker McClung, bass and vocalist of Cycles, commented on their Arise experience, “Our set at Arise was a culmination of our Summer Tour and the perfect way to end it. It was the last Cycles show of the tour, the last set at Arise and couldn't have been more serendipitous and awesome for us!"

ARISE Music Festival 2019

As the night of music began to end, Evanoff, Denver-based trio, finished off the Salt Stage successfully. They began their set with an unnamed and unreleased tune, coming fully into “Dahlia” and “Hot Like Sauce,” featuring Hook St. Horns. They covered Tipper’s “Dreamsters” and ended with “Whomp Rat.”

ARISE Music Festival 2019

Evanoff commented on playing Arise, “We were so excited to return to Arise. Just two years ago, our set was cut short fifteen minutes in due to lightning, so this was our redemption set. It was an honor to join so many of our favorite artists and muses on that lineup. Honestly, outside of all of the great people that we met and awesome music we saw, our favorite part of the festival, was the sense of community and how the lack of cell phone service allowed everyone to be more present. We overheard a lot of excellent types of conversations this weekend, with people who were just meeting at the moment and enjoying each other. It was a blast closing out this awesome festival, and we are happy to have made some new friends and fans. The energy of the crowd during our set it was unreal. It was truly amazing to have the hooker street horns on with us. We love those guys so much as people and have them on stage with us was really a blessing they made the night super fun. All of the staff at Arise was incredible. It’s a slice of musical heaven.”

Mon, 08/26/2019 - 6:43 pm

Dark Star Orchestra is coming to Colorado to perform two sold-out shows at the Boulder Theater, on September 6th and 7th, followed by their annual show at Red Rocks Park and Amphitheatre on September 8th. This three-night run in Colorado continually re-establishes the beloved sense and faith of the Grateful Dead throughout the Colorado music scene.

Dark Star Orchestra | Red Rocks Amphitheatre

Having surpassed their 20th Anniversary and approaching 3000 shows, Dark Star Orchestra continues to thrive off of the Dead’s extensive catalog, as well as weaving their own beloved style throughout each song. Each show they perform based off of an exact setlist from the Grateful Dead, using their 20 plus years of show experience to showcase their individual instrumental talents, as well as their evolving harmony as a collective. 

Dark Star Orchestra | Boulder Theater

Throughout continual improvisational assets, encapsulating the crowd with familiar novelties, and fully embracing the original sound of the Grateful Dead, Dark Star Orchestra will consistently perform a quality show to their growing fanbase. The band has past featured guest performances from six original Grateful Dead members including Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. This three-night run throughout the Greater Denver Area will no doubt be a monumental gathering in Colorado. 

Hot Tuna will open up at Red Rocks this year!

The first two nights of the run are hosted at the legendary Boulder Theater, located right off of Pearl Street in Downtown Boulder. This historic venue accompanied by such good graces of music will light up Boulder for the weekend with that familiar flare of the Grateful Dead. Their Boulder-run is followed by one night at Red Rocks Park and Amphitheatre where Dark Star Orchestra will be recreating the Grateful Dead's set on 9/8/83, also from Red Rocks, with extraordinary guests Electric Hot Tuna.

Sat, 08/31/2019 - 11:33 am

Joe Russo’s Almost Dead took over Red Rocks Park and Amphitheatre last Thursday, August 29th, igniting a monumental weekend of music throughout the Greater Denver Area. Attendees began their night socializing and connecting to fellow Deadheads in the lots, as others had their finger up looking for their miracles for this legendary sold-out show at Red Rocks.

Joe Russo's drum kit

As attendees made their way up The Rocks, their first sight was Joe Russo’s drum kit centered in the middle of the stage, looking sharp and ready for a wild night of music. The weather was perfect, and the Amphitheatre held much excitement for the performance that was about to begin. The music began promptly at 8 p.m. as the sun became purple and pink, setting down on the park.

Joe Russo's Almost Dead | Red Rocks Amphitheatre

JRAD began their set slow and prestigious as they tuned in for a night full of heavy and open jams, igniting the beginning of the set with a lengthy cover of The Beatles' “Why Don’t We Do It In The Road,” into “Foolish Heart.” The crowd was instantly connected to the traditional and instrumental tone of the band, backed with heavy keys, a wailing saxophone and Joe Russo leading the way.

Joe Russo | Morrison, CO

The familiar tone of “Shakedown Street” began and the crowd really began to move their bodies for the first time, as they sang along to the words. There were heavy saxophone solos scattered throughout the night and the brass instrumentation really put a nice zest on the overall sound of music for the night. After the “Shakedown” grooves accompanied by a lovely flute melody, the band teased Phish’s “First Tube,” exciting nearly half of the crowd that were to be in attendance of Phish at Dicks Sporting Goods Park for the weekend.

Stuart Bogie | Red Rocks Amphitheatre

Yellow lights transcended on the crowd while simultaneously the beats and melody of the band got heavier, as they transitioned into “Terrapin Station.” With more hints of saxophone and powerful vocals, the crowd sang together, “I’ll get up and fly away, fly away,” for a meaningful and intense “Wharf Rat.” The set ended with an extended “Hell in a Bucket.”

Joe Russo's Almost Dead | Red Rocks Amphitheatre

A slow, instrumental build led us into set two at Red Rocks Park and Amphitheatre transitioning into “Bird Song,” > “I Feel Like A Stranger,” with heavy keys throughout both songs. Next, JRAD played a fifteen-minute JGB “Cats Under The Stars,” showing off each band members individual talent as well as playing whole-heartedly and distinguishable as a collective. Guitar highlights were leading the way as they came back to “Bird Song.”

Drew Dreiwitz | JRAD

The set continued with a Bob Dylan cover, “Momma,” into another cover by Jane's Addiction, “Mountain Song.” Benevento was consistently keeping the energy up by playing lively and staccato notes throughout the whole set. Followed by Joe Russo's lead and ecstatic brass & bass, it allowed for there to be hints of all genres of music throughout the night but also led by the familiarity of the Grateful Dead.

Tom Hamilton | Red Rocks Amphitheater

The set ended with the whole amphitheater singing along to “I Know You Rider.” Joe Russo’s Almost Dead came back on stage to encore with “Brokedown Palace,” a heartfelt ballad in honor of Neal Casal, who passed away earlier that week.

Marco Benevento | JRAD

This six-piece collective that made up Joe Russo’s Almost Dead for the night was demonstrating their individual instrumental talents yet respectively feeding off of each other’s energies, as well as the crowds, for the whole night. Consistent build-ups and extended solo’s allowed for complete musical freedom, supported by the Grateful Dead’s songs, on this evening at the legendary Red Rocks Park and Amphitheatre. This night of music in Colorado is followed by three nights of Phish at Dicks Sporting Goods Park.

Scott Metzger with Stuart Bogie

Check out more photos from the show.

Mon, 09/09/2019 - 11:04 am

After a brief storm and rain delay, the night featuring Electric Hot Tuna and Dark Star Orchestra began at the legendary Red Rocks Park and Amphitheatre. Whether fans were preparing for the third night in a monumental three-night Colorado run following two sold-out shows at the Boulder Theater, or just coming in to not miss this Sunday show, the excitement was pouring throughout the venue as Deadheads made their way up the stairs.

Jack & Jorma | Red Rocks

The show began almost precisely an hour after the scheduled time from the rain and lightning delay. Electric Hot Tuna came out strong to push the energy to the crowd, igniting the night. Electric Hot Tuna’s prominent guitar shreds rang throughout the amphitheater, giving fans a taste of their heavy rock influence, supported by lengthy jams. Jorma and Jack continued to face each other throughout the night, testing each other’s jams and balancing out the energy of their talent.

Hot Tuna | Morrison, CO

With much anticipation, Dark Star Orchestra came next to a large applause from the audience. Rob Barraco, the keyboardist, thanked Electric Hot Tuna for contributing many years of fantastic music to the scene and even reminisced on a memory of them playing until the sun came up at a gig.

Rob Barraco | DSO

As DSO tuned their instruments and started testing out their sounds for the night, the energy was building throughout the crowd. The crowd was full of people of all ages, and their tie-dye shirts were littered throughout the seating area. This event was deemed extremely family-friendly, and you could see different generations that have shared the same love of the Grateful Dead for years.

Dark Star Orchestra | Morrison, CO

DSO came out hot with a “Shakedown Street” opener, shining proud purple and green lights on the crowd. The twang and spunk of DSO’s sounds for this “Shakedown” opener fully embodied the Grateful Dead spirit. The band continued throughout the piece harmonizing and layering the familiar lyrics.

DSO | Red Rocks Amphitheatre

After an erupted applause from that high-energy opener, Barraco led the band with his keys into “Mama Tried.” This song was extremely up-tempo, and it seemed as if the whole amphitheater was in unison. DSO continued with spunky and melodic jams leading into “Big River” > “Ramble on Rose.”

Jeff Mattson | Morrison, CO

Passionate guitar riffs lead us into the next series of “Hell in a Bucket,” into “Brown Eyed Woman.” Jeff Mattson’s powerful and intense vocals rang throughout the night, shouting familiar lyrics that everyone could relate to.

Rob Eaton | Red Rocks

They next transitioned into “Looks Like Rain,” what seemed like an ode to the earlier storm that cooled down the venue and made for clear skies at Red Rocks Park and Amphitheatre. The moon was also extremely present on this beautiful night on The Rocks, placed directly over the left side of the amphitheater.

Red Rocks Amphitheatre

DSO closed out the set with funky “Deal” accompanied by the most extended and most powerful jam of the night.

Dark Star Orchestra | Red Rocks

After a brief intermission, DSO came out strong with an upbeat and fiery “Scarlet Begonias,” instantly regaining the crowd attention and energy. The lighting production for the night was mesmerizing and featured circular lights that expanded throughout the night. As the sky got darker, the circular lights expanded throughout the rocks and onto the crowd.

Skip Vangelas | Red Rocks

After a lengthy second-set opener, they transitioned into “Fire On The Mountain,” a familiar tune that resonated with a lot of the crowd. Red lights ricocheted and shone throughout the night, matching the tone of the lyrics that were being belted out.

Dino English | DSO

DSO continued to gain energy as the setlist excelled into “Estimated Prophet,” as the crowd simultaneously echoed the lyrics throughout the night. Next came an extended “Terrapin Station,” leading into a deep and dark “Drums” > “Space.” This period of the night allowed the crowd to explore the depths of the sounds that DSO was producing, as well as indulge in the spacey and transcending light production.

Rob Koritz | DSO

Coming back to what seemed like a defined reality, DSO played “Throwing Stones,” into “Black Peter,” being sure to not lose any energy along the way. The surrealism and precision of sound of the Grateful Dead that DSO captures leave the crowd in awe every time. The exactness of this sound continued as they closed with a high-energy “Good Lovin’” into “It’s All Over Now, Baby Blue.”

Dark Star Orchestra | Red Rocks

This Dark Star Orchestra set recreated the Grateful Dead’s Red Rocks set from 9/8/83. This sold-out show at Red Rocks completely embodied the Grateful Dead’s spirit and sound. The Colorado community that continues to relish in this spirit will never fail to keep representing the love and tradition that makes up the Grateful Dead. Attendees left the amphitheater relishing in the community and happiness that was poured in this re-creation.

Red Rocks Amphitheatre | 9/8/19

Check out more photos from the show.

Thu, 09/26/2019 - 3:57 pm

Tash Sultana, a newfound global sensation, just performed her grandest North American headlining show to date at Red Rocks Park and Amphitheatre. Tash’s performance featured her immense instrumental talent and world-class looping and electronic skills. This show at Red Rocks was live recorded to be further featured in a behind-the-scenes look at Tash’s musical career. Last night’s stop of the “Flow State Word Tour,” is backed by the supported album, and features future stops in California, South Africa, New Zealand and ending in her home-country Australia.

Red Rocks Amphitheatre

The night began with the extended line of cars reaching down to the highway from the top of the Amphitheatre. Thousands of fans came together in the fall weather and brisk wind to crowd together to see Tash Sultana, some for the first time, and others who sported merchandise from previous stops on tour. The rows and seats were overflowing as Tash’s Sold Out Red Rocks Park and Amphitheatre show began.

The Tesky Brothers | Red Rocks Amphitheatre

The Tesky Brothers ignited the night with their high-energy performance, capitalizing on their latest album, and highlighting songs, from “Run Home Slow.” Their smooth vocals and tranquil rhythms pointed the way to a night of monumental music.

Tash Sultana | Morrison, CO

When all the lights blackened and Tash Sultana’s silhouette appeared on stage, light scales of her caressing the guitar began. She began with soft vocals, flashing a bright smile to the crowd and singing lyrics “Love, I’m Coming Home To You.” Soon enough her powerful vocals were ringing throughout the Amphitheatre, exciting all the fans that traveled so far to see her.

Tash Sultana | September 25th, 2019

Tash continued with a funky groove and deep basslines. Tash was mobile throughout the whole night, continually crossing the stage and coming back to the centerpiece that was risen in the middle of the stage. Her light-up rainbow and flamingo were the perfect iridescent glow to draw attendee’s attention to center-stage. Her layering and looping of tracks continued to build into a far-out and sensational melody.

Tash Sultana | Red Rocks Amphitheatre

Glitter lights shone throughout the crowd as Tash respectfully showed off her multi-instrumental skills, keeping the crowd entertained and swaying to the rhythm. Both Tash's and the crowds’ energy were flourishing simultaneously throughout the night, completely intertwining smiles, energy, and talent as the music continued.

Tash Sultana | Morrison, CO

Tash led into the next song heavily playing the trumpet, shooting brass notes throughout the Amphitheatre, as the crowd resonated with the sound. She added layers of keys and percussion to finalize the harmony, all while continuing a progressive beat on the electronic drum pad. She continued with a heavy rock guitar solo with electric undertones.

Tash Sultana | Red Rocks Amphitheatre

At one point, Tash got down on her knees for a shredding guitar solo then threw the guitar on the ground and ran to the rest of her instruments to continue the instrumental electronic looping. The sequence ending with iridescent and vibey melodies for attendees to relish in all the feels of the night.

Tash Sultana | Morrison, CO

As the music continued, it seemed as if each note was adding on to a whole bigger picture of sound for the night. Everything was perfectly placed and matched to the crowd’s energy.

Tash Sultana | Morrison, CO

Tash then played crowd favorite, “Mystic” leading with the trumpet and excelling intensity as the song continued. The lights and noise occasionally erupted into a full-on disco party throughout the night, shining colors of the rainbow all throughout the crowd. As energy was building, Tash even ran into the crowd to play right next to fans on the ride side of the Amphitheatre.

Tash Sultana | Red Rocks

Sensual grooves continued throughout the night as we reached the half-way point of the show. Tash came forward and spoke to the audience for the first time, asking how they were doing, explaining that this was all live-recorded and even shared a personal memoir to inspire the crowd to chase their dreams. Tash mentioned how she noticed at all shows across the world; this was becoming a safe place for all genders, ages, sexuality, and race.

Tash Sultana | Red Rocks

The second part of the night continued with an acoustic and gentler style, letting the crowd go on a wild sensual sound exploration. Tash even showcased her beat-boxing skills, leaving the crowd in awe. Tash ended the set with crowd favorite “Jungle” and encored with a beautiful version of “Blackbird” to capitalize on a fantastic night at Red Rocks Park and Amphitheatre.

Tash Sultana

The overall uniqueness and power that came through Tash Sultana’s femininity and voice left the crowd with respect and awe as they saw a movement sequencing through this progressive sound and culture. 

Tash Sultana | Morrison, CO

Check out more photos from the show.

Mon, 10/14/2019 - 6:18 pm

Rising Appalachia and Ayla Nereo are taking over the Ogden Theatre this Sunday, October 20th for a night filled with blissful folk music and serene feminine energy. Both Rising Appalachia and Ayla Nereo embody a progressive and enlightened voice that is setting standards on forward-thinking, yet impressively melodic and instrumental music, to come for generations. Although acoustically different, these two collectives are sure to bring a euphoric experience to any venue in the country.

Ayla Nereo is a performer who is looking to weave light into this world through her conscious lyrics and powerful vocals. Over the past year, Ayla has sold-out multiple dates throughout the U.S leading into her full-length album breakout titled “By The Light Of The Dark Moon,” along with a successful and almost sold-out Red Rocks Park and Amphitheatre appearance with Nahko & Medicine For The People and Trevor Hall.

"By The Light Of The Dark Moon"

Ayla Nereo’s musical performances have been deemed as “soul music” throughout her loyal fanbase.  Her on-stage performance consists of her dancing her heart out, accompanied by her bassist and drummer supporting her compelling vocal skills and conscious lyrics. Ayla performs consistent electronic looping during her performance that mashes together her effectual vocals, self-produced beats as well as the live instrumentation on-stage. As well as her musical execution being full of love for planetary healing, environmental activism and the love all of the creatures, she also takes listeners on an electric journey of sound.

Ayla’s music is beginning to take a global appeal and spreading to different corners of the world as fans and supporters are hearing the environmental activism and progressive movements in the undertones of her melodies. Ayla’s music and energy will take her on an upcoming European tour to wider her audience and spread love even further than before.

Her latest album “By The Light Of The Dark Moon,” has been a spread of comfort, hope and realism to fans throughout the world. The album takes you throughout an array of musical collaborations and showcases traditional idegenious music. Ayla’s music will take you through a state of awe and wonder as you relish in her sacred storytelling and pure and raw energy transfers.

Rising Appalachia

Rising Appalachia has been a staple and icon in the folk-music scene for over a decade. Their progressive and strong storytelling skills have excelled them through a successful music career alongside making a different throughout environmental and progressive activism. These women have pathed a path for many to follow in the act of all things good and pure in the world including beautiful music. Rising Appalachia freshest album came out last May titled, “Leylines,” supported by a cross-country tour featuring all six members who contributed to the album.

These two eclectic forces, Rising Appalachia and Ayla Nereo, are coming together this Sunday for a prestigious night at The Ogden Theatre. Come together for a conscious gathering leading into another week in the Denver music scene.

Thu, 10/17/2019 - 5:14 pm

Papadosio is heading to Denver this Friday, October, 18th and 19th at the newly remodeled Summit Music Hall in the heart of Downtown. Their progressive rock influence transfused with their improvisational and electric sound will call for a hearty two-night run this upcoming weekend in Denver. The Papadosio team is still thriving off of an incredible performance at The Caverns in Tennessee as well as their exemplary music festival in Slippery Rock, PA, titled Resonance Music Festival.

Papadosio played at Belly Up Aspen on Wednesday night to kick off their fall tour in Colorado. The intimacy is running deep throughout this series of shows and continually building energy to excel throughout the rest of the tour. Papadosio is known for their eclectic and spacey interweaving of melodic sounds and will continue to showcase their distinct sound, along with continuing the journey of creating new beats, throughout compatible albums and new tracks. Papadosio has a sense of long-lasting tradition through their fans as well as the recognized continuation of their evolution of sound.

The Summit Theatre is an intimate space and exposed music venue that suberly showcases the talent that crosses its stage. Resembling an open-ended box, this venue pressures attendees to feel the unsealed energy in the air and divulge in the acoustic nature of the space. Papadosio is an impeccable collective to fill out the 1,100 capacity venue.

Papadosio recently premiered a high-definition video of “The Catalyst” performed at The Caverns in Tennessee. This video will take you on a journey of sound as Papadosio explores the depths of chromatical scales as well as combining electronic and synth elements that make up their distinct style. This video will showcase the energy that is present at all of their live performances as well as show you how their collective capitalizes on intimacy and craftsmanship. Every Papadosio show features a new experience and creation of sequences that all line up to the balance of sound.

Papadosio is continuing their tour throughout the East Coast after these Colorado shows and circling back to two nights at The Sheridan Opera House in Telluride, Colorado for the closing shows near the new year. List of full tour dates here:

Tour Dates:

10/18/19 - Summit Music Hall - Denver, CO

10/19/19 - Summit Music Hall - Denver, CO

10/31/19 - Headliners Music Hall - Louisville, KY

11/01/19 - Egyptian Room - Indianapolis, IN

11/02/19 - House of Blues - Cleveland, OH

11/08/19 - Basement East - Nashville, TN

11/09/19 - Basement East - Nashville, TN

11/15/19 - Empire Control Room & Garage - Austin, TX

11/16/19 - Deep Ellum Art Co. - Dallas, TX

11/22/19 - Visulite Theatre - Charlotte, NC

11/23/19 - Visulite Theatre - Charlotte, NC

11/29/19 - Magic Stick - Detroit, MI

11/30/19 - Magic Stick - Detroit, MI

12/06/19 - Shady Park Tempe - Tempe, AZ

12/07/19 - Shady Park Tempe - Tempe, AZ

12/13/19 - Meow Wolf - Santa Fe, NM

12/14/19 - Meow Wolf - Santa Fe, NM

12/27/19 - Isis Music Hall - Asheville, NC

12/28/19 - Isis Music Hall - Asheville, NC

12/30/19 - The Bluestone - Columbus, OH

12/31/19 - The Bluestone - Columbus, OH

01/08/20 - Belly Up - Aspen, CO

01/10/20 - Sheridan Opera House - Telluride, CO

01/11/20 - Sheridan Opera House - Telluride, CO

Thu, 11/19/2020 - 9:36 am

In tarot culture, the number three is often referred to as the “trinity of creation,” which is seen as an expression of the creative power of life itself, tapping into all the resources that manifest through creative actions and processes. It also stands for the duality of the power of two to create a whole — often represented by a triangle — which is one of the strongest structures available.

Lespecial — a nationally-known power trio hailing from Connecticut — has composed and produced their latest album titled “Ancient Homies” based on the numerical, symbolic and mystical theme of the number three. Ancient Homies releases December 4th.

Lespecial

Lespecial is comprised of “low-end wizard” Luke Bemand (Bass, Vocals, Synth), who is the man behind the foundational heavy grooves and choppy basslines; Rory Dolan (Drums), who captures and holds the consistent modulation of the rhythm; and “upper-end magician” Jonathan Grusauskas (Guitar, Synth, Vocals, Sampler), who harmoniously handles everything from lyrics and samples, to guitar and keys.

Lespecial states, “The album contains 3 “interlude” tracks, or the “Homie Improvs”, on tracks 3, 6, and 9. These mostly improvised tracks are based around a sort of scale or modality, or a musical language, that is prevalent throughout the album. The scale isn’t a typical Western sounding scale with a clear “major” or “minor” tonality. It is based around an unstable tonic, containing small chromatic groupings of 3 notes and has a cryptic, ambiguous and almost mystical quality.”

The backdrop is an illusive array of expressions, assertions and perceptions that have been musically formulated to take the listener through a mystical interpretation or esoteric doctrine from start to finish.

lespecial

Bemand explains the backstory of Ancient Homies:

“This album feels to us like the most true representation of lespecial. The name itself — Ancient Homies — is a sort of paradox that feels true to our character. The term “Ancient” evokes feelings of mysticism and omnipotence, and yet at the end of the day, we are just three homies, three lifelong friends who have embraced our calling to make music together. While some of the material is dark, the overarching absurdity of life and of our music reminds us to not take it too seriously.”

He continues, “This album captures the qualities and sides of our band that we feel best represents ourselves and our music. There are moments of intensity, darkness and heaviness that call to our influences in the prog world…”

lespecial

The euphonious live looping and recognizable samples collectively delivered by lespecial tap into a cumulative and authoritative sound that is multi-generational: it is both primitive, yet contemporary. Some say their ability to produce an improvisational, multi-generational, and multi-genre sound is key to flourishing in the jamtronica sphere.

Ancient Homies is a true showcase of growth from lespecial, and truly hones in on their unique sound formulated from their variety of influences, including Tool, King Crimson, Nine Inch Nails, and Flying Lotus. Ancient Homies is a dynamic and creative musical journey providing a platform for listeners to feel, move their bodies, and metaphysically be transferred to different listening planes.

Get a taste of the album -- listen and watch "The Vessel" today before the whole album comes out on December 4th!

Fri, 12/04/2020 - 9:39 am

In tarot culture, the number three is often referred to as the “trinity of creation,” which is seen as an expression of the creative power of life itself, tapping into all the resources that manifest through creative actions and processes. It also stands for the duality of the power of two to create a whole — often represented by a triangle — which is one of the strongest structures available.

Lespecial — a nationally-known power trio hailing from Connecticut — has composed and produced their latest album titled “Ancient Homies” based on the numerical, symbolic and mystical theme of the number three.

Lespecial is comprised of “low-end wizard” Luke Bemand (Bass, Vocals, Synth), who is the man behind the foundational heavy grooves and choppy basslines; Rory Dolan (Drums), who captures and holds the consistent modulation of the rhythm; and “upper-end magician” Jonathan Grusauskas (Guitar, Synth, Vocals, Sampler), who harmoniously handles everything from lyrics and samples, to guitar and keys.

lespecial

Lespecial states, “The album contains 3 “interlude” tracks, or the “Homie Improvs”, on tracks 3, 6, and 9. These mostly improvised tracks are based around a sort of scale or modality, or a musical language, that is prevalent throughout the album. The scale isn’t a typical Western sounding scale with a clear “major” or “minor” tonality. It is based around an unstable tonic, containing small chromatic groupings of 3 notes and has a cryptic, ambiguous and almost mystical quality.” The backdrop is an illusive array of expressions, assertions and perceptions that have been musically formulated to take the listener through a mystical interpretation or esoteric doctrine from start to finish.

Bemand explains the backstory of Ancient Homies

“This album feels to us like the most true representation of lespecial. The name itself — Ancient Homies — is a sort of paradox that feels true to our character. The term “Ancient” evokes feelings of mysticism and omnipotence, and yet at the end of the day, we are just three homies, three lifelong friends who have embraced our calling to make music together. While some of the material is dark, the overarching absurdity of life and of our music reminds us to not take it too seriously.”

He continues, “This album captures the qualities and sides of our band that we feel best represents ourselves and our music. There are moments of intensity, darkness and heaviness that call to our influences in the prog world…”

The euphonious live looping and recognizable samples collectively delivered by lespecial tap into a cumulative and authoritative sound that is multi-generational: it is both primitive, yet contemporary. Some say their ability to produce an improvisational, multi-generational, and multi-genre sound is key to flourishing in the jamtronica sphere.

lespecial

Ancient Homies is a true showcase of growth from lespecial, and truly hones in on their unique sound formulated from their variety of influences, including Tool, King Crimson, Nine Inch Nails, and Flying Lotus. Ancient Homies is a dynamic and creative musical journey providing a platform for listeners to feel, move their bodies, and metaphysically be transferred to different listening planes.

“Snells Feet” — the group’s second single and album’s first track — ignites the soundtrack with the misty, complex and intermittent sounds of lespecial that fans call the most familiar. The buildup continues with heavy, teasing riffs as the sounds come together to their full power, before finally flourishing into prominent basslines.

The heavy — yet delicate — sounds elude from multiple spectrums, while showcasing the diversity and skill of each member of the collective. Together, they work through progressive scales and sophisticated sound layers to deliver a whole-hearted opening track. “

The album’s second song fully encapsulates the band’s “owned sound.”  When you walk up to a lespecial late-night festival set looking and yearning for a multi-dimensional, translucent ride through sonic wavelengths...this track delivers.  It allows you to both dance and headbang, and feel as though you are at both an epic electronic show and a punk-metal rager.

The lyrics of “The Vessel” stimulate you  and leave you pondering life’s greater wonders... “And who knows what we can find, stretching behind the constructs of one’s mind...”

Following “The Vessel” is the first of the three “Homie” features on Ancient Homies. The track begins with an electronic and experimental feel, including multiple samples and solid bass-beats encouraging  you to move your whole body. It explores the depths of sound and rhythm through layered synthesizers accumulations.

As the album goes on, both “Repeater” and “Tonberry” feature mesmerizing and interactive lyrics and all while signature low-layered bass texturizers from Bemand stem throughout the two tracks, contributing to their distinguishable and collective sound.

Followed by the second homie improv, titled “Homie Numero Dos (Cryptic Triptych),” which delivers a slower and rhythmic collaboration of distorted guitar work. This track holds a progressive-rock experimental vibe while also doubling as a vigorous and psychedelic record.

“Machine Elf” is next on the Ancient Homies tracklist, and continues us down the journey  of lespecial’s distinguishable and prominent sound. Through captivating lyrics and explorations into  depths of sound and texture, this track provides listeners with a calm, yet enticing feeling. This track’s sound cuts deeper into the  listener’s mind because of its playfulness and fathomage.  “Machine Elf” contributes deeply to the overall mysticism portrayed throughout the tracklist.

The next two tracks are just over two minutes in length, but heavy in collective purpose. “Egg Time” has the power to make everyone’s heads nod in unison, while also prompting you to get up and dance.  Both euphonic dub and heavy rock use contemporary technology to skew their unique sound for enhancement.

lespecial

Now we transition right into “Homie Numero Tres (Homies Blurring Into One,” the third and final ”Homie Improv” of the album. This track sets the standard and the high mark for collaboration on improvisational and progressive tracks. Each musician helped define a beautifully chaotic and profoundly stimulating work of musical art to send the album into its final tracks.

“Boundary Dissolution” is stationed to be one of the most remarkable tracks on the album. Combining powerful lyrics and melodic harmonies with the distinctive sound of the band, this track tells a story that, once listened to, cannot be forgotten. It combines a moody feel  with a hip sense of purpose and clarity. This track allows you to feel with deep sensation, while also allowing you to forget everything and just move.

The final track “Tritome” is ignited with a seductive, exquisite keyboard melody for the final send-off of sound, bringing the melodic experience to totality and allowing the listener to cap off the journey they just experienced. In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones. The tritone is often referred to as being “ambiguous” and “unresolved,” commonly leaving the listener wanting more.

“In the end, we want this album to take listeners on a journey. Wherever and whenever the destination is could differ for everyone. Your mode of transportation is your own to decide, whether it be a centuries old naval vessel, a futuristic spaceship, or just putting on a pair of headphones and closing your eyes, we want you to go somewhere else. Escape reality, embrace a sense of other-worldliness and discover a new plane, maybe one that’s always been there, with Ancient Homies as your guide.” - Luke Bemand

Listen to Ancient Homies here.

Recording Artist Producers:

Tracks 1, 3, 6, 7, 9, & 11 recorded by Jamie Saft at Potterville International Sound, Kerhonkson, NY

Tracks 2, 4, 8, & 10 recorded at the Music Cellar, Millerton, NY

Track 6 recorded by James Hendrick at Beartrax Studio, Millerton, NY

Bass on tracks 2 & 4 recorded at Bemand’s Bassment, Sandy Hook, CT

Drums on track 2 recorded by Jules Jenssen at Shabby Road, Housatonic, MA

All tracks mixed by David Sanchez at Riffs or Die

All tracks Mastered by Anthony Thogmartin

All songs written and produced by lespecial

Album art by Sam Eckstein (Esseks)

Additional art by Feather Vansvik and Billy Martin, aka Illy B

Mon, 06/07/2021 - 8:47 pm

Papadosio took over Red Rocks Amphitheatre this past Wednesday, June 2, with support from Bluetech and Dirtwire.

This concert came as the Asheville-based jam band’s first headlining post-pandemic amphitheatre show, following Resonate at Spirit of Suwannee Music Park in Live Oak, Florida on May 19. Papadosio and the supporting acts came equipped with a team of visionaries and live artists that scattered the stairs of the iconic venue Wednesday, bringing life and color into the park for the night.

soundcheck in Morrison

With the Colorado sun still radiating throughout the park, Bluetech set the tone for the modular exploration of the night, creating new resonant patterns for the crowd, and pushing the limits of sound...sounds which resembled water splashing, and exuberant, wet, wild and free soundscapes.

Red Rocks Amphitheatre | Morrison, CO

Dirtwire followed with folky, psychedelic swing music that quickly amplified into a certain energy, letting the crowd know they were all in for a treat that night. Dirtwire showcased their collaboration with Trevor Hall, “Strength in One,” and also showcased  a fan favorite, “Shish Kabob”—coupled with a beatboxer—to cap their performance. Their string instruments radiated throughout Red Rocks Park and Amphitheatre, and set the high-frequency energetics of the night.

Papadasio | Red Rocks Amphitheatre

Papadosio came to the stage high off the success of their latest album, “Microdosio”—a piece of art that perfectly encapsulates the band’s improvisational talent that is also doubled with their sonic exploration, appreciation, and love for all psychedelic essences. This Wednesday night with Papadosio reminisced us with fan favorites, as well as explored new tunes yet to be seen live.

soundboard - Morrison, CO

The energy from Dirtwire lingered as Papadosio magnetized the theatre with their presence. The stage lighting was set to a dark blue hue, as a steady beat—highlighted by bright green strobes—began to encapsulate the crowd. Their intro was impressionable, steady and focused, as the attendees took in hints of the intricate performance that was to come.

Rob McConnell | Papadasio

Seamlessly transitioning into their first track, “By The Light of the Stars,” each note was perfectly synthesized for the crowd’s delight. The crowd was instantly cued into synchronization from bassist Rob McConnell’s energy and thorough rhythms ricocheting  deep vibrations throughout the Red Rocks. The lyrics, “Your eyes, Your hands, Your heart, Your head…” were sung in tandem with the crowd, as sensational visuals dropped to the stage backdrop for the first time.

Papadasio | Red Rocks Amphitheatre

A lengthy version of Microdosio’s leading track, “Fly Agaric,” followed. The song both perfectly highlights each band member’s unique talents, while simultaneously creating a unified,exemplified soundscape. The new track contains extraterrestrial samples—that were thoughtful and groovy—which were layered with musical scales to provide depth.

A beautiful transition led attendees into an elegant and dignified “Garden”—a true highlight off the setlist of the night. The outro jam then transitioned into an extended version of “Reishi,” the final track on their latest album release, Microdosio. The synthesized, upbeat, and modular track led the crowd to dance along to the consolidated jam.

Billy Brouse | Papadasio

Papdosio’s well-known high-energy, technologically perplexing, and utterly engaging synergy was fully established by the time guitar riffs led us into two of the most listened-to tracks off the new album, “Versicolor” > “Cubensis,” with a special solo highlight of Billy Brouse on keys.

Anthony Thogmartin

Shortly after, lead guitarist, keyboardist and vocalist Anthony Thogmartin expressed his gratitude for “us all coming together once again,” as well as highlighting the band's fifteen years of performance together.

The music continued with stage visuals from supporting on-site artists (artist lineup below). Each member’s respective talents and formulas graced the collective soundtrack of the night. The setlist continued with funky teasers and jazzy interludes, as the band led attendees through an experimental—yet respected—“Geoglyph.” Papadosio tested the bending and breaking of sounds to engage and activate the crowd. Knowing where their power lies, the band displayed control and beauty with every note.

Mike Healy | Papadasio

Following, Papadosio covered “Everybody Wants To Rule The World” by Tears for Fears.  After the sing-a-long, Mike Healy’s heavy drums led us into the night’s closer,  “Puddles for Oceans” > “Right Now” from the fan-favorite album “TETIOS.”

The extended jam was traditional, yet explorative, and gave attendees the dance party they know and love. The cohesive and collaborative build-ups to Papadosio’s full amplitude was sensational to witness when doubled with the immense feeling of gratitude for the band’s raw and organic nature.

Sam Brouse | Papadasio

After a brief intermission, Papadosio ignited their encore with “All I Knew.” As the first notes of the song resonated throughout the amphitheatre, the crowd shared an enthusiastic honoring of this special, beautiful and representative track.

Papadosio closed the night with “Snorkel,” showcasing spacey, erratic, elongated jams as the band reached peak aptitude. Papdosio performed throughout the night as though they were expediting the passion and lost time that took place in the music scene during the pandemic.

Papadasio | Red Rocks Amphitheatre

The night was supported by encapsulating stage visuals, as well as a lineup of visionary artists scattered throughout the amphitheatre, leaving attendees feeling blessed for the return of live to the park, and radiating happiness from the showcase of raw talent and community that took place throughout the evening.

Live Artist Lineup:

@andrew.norris.arts

@bobbykruseart

@professor.rainbow

@morphisart

@derekcarpenter

@elizabethbankerart

@emilythefunkypriestess

@jakeamason

@johngayart

@johnspeaker

@morganmandala

@peterwestermann

@randalrobertsart

@sethmcmahon11

@shannon.miguela_art

@stephen_kruse

@sw33t_sat0r1

Setlist:

Intro >By The Light of the Stars >Kicksville

Fly Agaric XL >Garden >Reishi XL

Versicolor >Cubensis

Geoglyph >Everybody > Puddles >Right Now

Encore:

All I Knew

Snorkle

Thu, 06/24/2021 - 2:22 pm

Luke Miller, aka Luke the Knife, known primarily for his vital role with Lotus, a multi-genre jamband, took the stage for his debut album release party at Club Vinyl last Saturday. The newly released album, titled Disco Nap, was produced solely by Luke Miller to set a perfect comprehensive sonic journey and ambiance for the club scene. It also allows listeners to dive deeper into the more tranquil and groovy tracks that are showcased throughout the album.

Club Vinyl was the perfect setting for his debut album release party on Saturday, June 19th. Miller mentioned that he can ride his bike here with only a backpack of necessary equipment, being a local Denver resident. The atmosphere was cooled down from rain showers on this Saturday, and the house was packed as attendees awaited their upbeat house music-filled afternoon. Miller phrased the event as “a collective party of Denver family and friends to celebrate this album debut.”

First off, Miller spoke to Grateful Web of his reverence creating his DJ side project, as he reaches almost ten years of existence: “[When I first started] I was doing disco flips and taking old disco songs and making them more modern sounding, even with some, like, indie dance songs, and kind of flipping them into more dance stuff. As I've progressed, I've learned how to mix better and how to have a set that works at a festival, and that works at a straight up club like where we are today at Club Vinyl.”

Luke Miller with Grateful Web's Madeline Crandall

He continued to speak on his evolution as Luke The Knife: “At first I was somewhat uncomfortable with it. You're just standing up there by yourself, but then I've kind of accepted that's what DJing is. It's more about creating the atmosphere. At the beginning I always wanted to have a drummer there or something, but more and more, I just want it to be, like, just the pure kind of DJ thing without anybody else playing with me.”

When speaking on the influence of the album, Miller stated, “I think this is a part of me that radiates the electronic dance side, like the producer side of me, whereas like Lotus is more the [musically positioning] production side of me.” He also cued in Grateful Web that Stevo Darko and Flamingosis were influences for the album.

Miller actually consolidated Disco Nap from two album structures, plucking selected tunes from each to finally get the derived version of Disco Nap. He also let Grateful Web know that the ~ten tracks not featured in this album will be released throughout the year.

Luke Miller | Club Vinyl

Miller set intentions to make his debut album while in a ceremony circle at the new year. Since the album was built primarily throughout the pandemic, Miller mentioned he often imagined how the live crowd would react to be able to sync the energetics with the production of the album.

Miller explained that contributing to a solo DJ act definitely puts on the pressure. Since it is not so much a collective masterpiece with band members, you end up really “putting yourself out there.” He elucidated that, although years of working with Lotus has made him confident, contributing all aspects of a debut album release is quite a vulnerable process. He continued that “just like the motivation to write music, [the vulnerability] is always gonna be there.”

When speaking on the name of the album, Luke anecdotally described a desert trip with friends where they were floating on the river where the album name was derived from.

Luke Miller | Denver, Colorado

“Their suggestion encapsulated the full piece because there [are] elements of disco, but there's stuff that's more on the chill side too. So I wanted something to be a little bit tongue-in-cheek. I think I'll let you know, Lotus [could be taken] on the more serious side, and I feel like Luke The Knife is supposed to just be about having fun and partying.”

When canvassing the components of curating a full-length album, Miller mentioned that the “devils are in the details.” He touched on the fact that perfecting the “kick” and “punch” of each track was critical to the development of the album.  He explained, “It's not as easy as just putting together a loop. You have to know when to build and when to break it down. It’s a different structure than a chorus-bridge situation. At first I had to wrap my mind around that, just getting structures of songs together.”

Club Vinyl | June 19th, 2021

He continued, “[The album] starts off very disco-based, and then it kind of moves into more of a heavy house structure in the end. It then chills out and gets into some more downtempo tracks."

He mentioned that the album was built with intro and outro segments, and that is featured beautifully on a continuous DJ mix of the whole album. Miller described the mix of the album to come out very “full” and “punchy,” and like listeners, was satisfied with the end result.

The best way to purchase and support the debut album and the continuous mix for listening is on Luke The Knife’s Bandcamp here. Luke the Knife’s next performance will take place at City Bisco in Philadelphia, PA on July 9th & 10th, followed by two sets of Lotus.

Album Review by Song

Luke The Knife: Disco Nap

The opening track of Luke the Knife’s debut album, Disco Nap, opens with "Hit Em’ With the Boogie," a high-energy track coupled with thick basslines that instantly give you a head-nod sway. Sprinkled with funk, the track quickly gets layered with a grooviness that propels a listener to simultaneously connect with the “Oh, Yeah..  Hit Em’ With the Boogie.” Hit Em’ With the Boogie” is dense with production, making you appreciate each and every sound of the collective rhythm, including the distant percussion.

Next is "Beware," a high-energy track withs a strong build-up to catapult listeners into an electro-funk groove. The precision of these layered musical notes, combined with synthesized vocals, provides the perfect soundtrack for a night out on the town, encapsulating the perfect club setting. It will keep your pace up, yet make you stop to bust a move perfect for the occasion.

"She’s So Damn Fire"—produced and collaborated with Cherub—is one of the lengthier tracks on the album. The song gives listeners an elated burst of euphoria, with a consistent energy brilliantly provided by Cherub. With a steady house music tempo, the song radiates playfulness and a steadfast meter, which eventually accelerates into an irresistible and alluring liveliness.

Luke The Knife | Denver, Colorado

Next on the album is the pre-released "Sau Paulo"—which was supported by both a Kickstart effort and an epic music video—in order to highlight Luke’s debut album efforts. This track holds a divine intention and mechanism of sonic explorations. Miller utilizes a variety of soundscapes to create an overlaid lamination of auditory arousal. There is a hint of classic jazz influence that also adds beautifully to the song.

Things pick right back up with "Bounce It."—a track with a staccato effectiveness which accelerates into elongated and classic house beats. Following that is "Better Mind," another collaboration masterpiece from Denver-based vocalist Raven Jane. Luke deemed this track to be a “reimagination of an old field recording of a blues song,” which translates into a calming and surreal jubilation many would seek and hold on to.

“Disco Nap” encapsulates the full essence of Luke The Knife’s debut album, a modern and tech-based swing on an imperative essence of house music. The dynamic and high-capacity sonic limits of this track are the ideal soundtrack for a night out with Luke the Knife.

Luke Miller - photos by Carmen HouseCat Photography

The ultimate grooves and resonance are brought with “Head’s In The Sky,” a track that encases and cocoons Luke’s derived talents throughout the years. Utilizing a multitude of instrumental capabilities and knacks, coupled with skilled production, this track allows for listeners to go on a personalized pilgrimage of a narrative. Featuring keys, percussion, synths and vocals, this track is concise and explorative.

The final track, “Dawn Light Hits the Snow”—a seven-minute track to close the album— opens with mystifying, attention-grabbing soundscapes which are quickly intercepted by a bassline propelling powerful—yet subtle—extended expansions of sound. After reaching full sonic force, the track allows for listeners to gently flow out of the album with grace and poise.

Sun, 06/27/2021 - 11:07 am

Excitement lingered in the summer air as thousands of concert-goers lined up at Red Rocks Amphitheatre to see the legendary Austin-born and based Shakey Graves. The buzz and anticipation for a night filled with blues, folk, country, and rock and roll, was lighting up each attendee’s face. Being only his third show post-pandemic, many loyal fans and attendees were enthusiastic to welcome his music back to the stage.

Lucy Dacus | Morrison, Colorado

The musical experience began with opener Lucy Dacus. Dacus’s sweet and soulful voice filled the Amphitheatre with an acoustic, joyful sound. Her playful and powerful melodies were supported with foundational and tremendous talent by supporting guitarist Jacob Blizard.

Red Rocks Amphitheatre | Morrison, CO

The gratitude for artists sharing their craft is perhaps appreciated now more than ever. Her fans were there singing along as she propelled us into the night, doing an excellent job warming up the crowd for an evening of fun and upbeat music.

When Shakey took the stage, he opened up to the crowd, joking that he often wished the world would stop, but never realized it actually would. He yelled, "Be careful what you wish for!" to the eager audience, and laughter traveled up and down the steps that had been vacant all spring.

Shakey Graves | Red Rocks Amphitheatre

Shakey Graves took to the stage just as the sun set, and the nearly full moon softly glowed just to his right. He yelled out to a packed audience,igniting the night—and reflected back at him were smiling fans ready to be shaken by Shakey Graves’ sound. Post-pandemic thrill energized the crowd.

With the total energy of a one-man band, Shakey grasped the audience with his opening rendition of the folk song "Tomorrow." The crowd was captivated and fully engaged and there was a quietness, respect, and attentiveness rare among such large gatherings. He shared that the song is about not knowing what is coming next, and about being completely attuned with that. Donned in a cowboy hat and farmer-like overalls, he kissed the mic and launched into his set.

Red Rocks Amphitheatre

Weaving sound seamlessly, he slowed the song down and it morphed from "If Not for You," into a unique and inventive version of The Pixies’ "Where Is My Mind?". To no one’s surprise, the crowd began singing along with him during the main section of the melody and into the chorus.

Beautiful purple lighting framed Shakey Graves as he wound down this crowd-pleaser and his supporting band entered the stage. He spoke of stories and experiences in South Carolina, giving the audience a glimpse into his world beyond music. The band went on to play "The Recipe" and "Mansion Door" with a psychedelic rock feel, as the rainbow lights weaved in between them.

Shakey Graves | Morrison, CO

As the audience settled into the band and into the experience of being together, tiny raindrops began to fall. Still, they were merely kisses, and the night continued without any weather dampening the party.

The band had a unique way of weaving each song into the next, really taking the audience on a musical journey. They played "Bully's Lament" into "Late July," and "Strange Days" with plenty of energy; and Shakey Graves displayed his incredible vocal power and range, as you could truly feel he was singing with everything he had.

Shakey Graves | Morrison, CO

Shakey Graves and the entire band eventually did a costume change, and re-entered with sparkle jackets that Shakey shouted reminded him of disco balls. After that, the band launched into a psychedelic set that weaved their songs "Strange Things" and "The Point" into another cover of David Bowie's "Starman."

After launching the audience into space, the band left, and it was just Shakey Graves on the stage in his magnificent jacket as he re-expressed his pleasure to share new music with everyone. He sang his heart out and thanked the audience for letting him “just be him.”

Shakey Graves | Red Rocks Amphitheatre

As an attendee, one could feel the genuine exchange between the audience and the artist at this moment before Shakey exited the stage for a brief intermission.

Without making fans wait too long, he returned for a solo encore with the fan-favorite and long-awaited performance of "Roll the Bones." The foggy haze, blended with the colored lights framing him and the stage, eventually seeped out into the audience, where the line between performer and audience blurred. The foggy purple lights faded as Shakey exited the stage, and the crowd roared with enthusiasm as he closed out the night.

Thu, 07/08/2021 - 7:31 am

The jam band enthusiasts—“aged Deadheads”—and hipsters alike, all made their way out from the depths of the Colorado Front Range for a night of Grateful Dead tribute and homage. Dark Star Orchestra made the Dead fans of Denver “Get Up, Get Off, Get Out of the Door,” to suit up for an original setlist and production at Red Rocks Amphitheatre on July 5th, 2021.

DSO fans @ Red Rocks | 2021

Dark Star Orchestra is enthusiastically recognized for their twenty years of formulated experience curating live Grateful Dead experiences. Their shows are built around the Dead's extensive catalog and the talent of these seven fine musicians. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era, while simultaneously offering their own informed improvisations.

Dark Star Orchestra | Red Rocks

A sense of familiarity filled the air. If positioned from the top of the amphitheatre, looking out in the distance, you could see the moon beginning to softly blank the city in a red glaze. From the top of the site, the screens on either side of the stage showcased the many multi-aged fans draped in tie-dye attire in the front row. Remembrance filled the air, and music began for the night.

Rob Barraco | DSO

Rob Barraco, keyboardist and dedicated Phil Lesh Band member, led the way throughout most of this Wednesday night, as staccato keys and a wildly melodic groove induced the crowd into “China Cat Sunflower” and “I Know You Rider.” The energy was high right off the bat, synced with the surging winds throughout the rocks.

At the chorus, thousands of hands raised to the sky as the crowd echoed the lyrics, ``I wish I was a headlight… on a northbound train!”

Red Rocks Amphitheatre | Morrison, CO

You could feel each of the crowd members paying gratitude to a lost friend or family member. Three heavy-layered guitar strums closed out the jam with a collective cheering from the Amphitheatre. Immediately following, lead guitarist Rob Eaton rang out on vocals ``It's so good to be home.”

Jeff Mattson | DSO

Next up was “Black Throated Wind” where a spotlight laid over Jeff Mattson, vocalist and guitarist, channeling a blazing synergy from the crowd. Then the band shouted out that the next [song] was a “positive one,” and they transitioned into “Here Comes Sunshine.”

DSO then welcomed former contributing guitarist of twelve years, John Kadlecik, onto the stage for a lengthy “Cumberland Blues.” A consistent harmony was ignited between Kadlecik and the rest of the band, making it a beautiful guest appearance. Last night was Kadlecik’s first guest spot with Dark Star Orchestra since his departure from the band twelve years ago.

Skip and Dino

Soft, melodic guitar riffs; highlighted by jumpy, staccato keys; led entranced fans into the passionate and desirous “Box of Rain.” The crowd was fully engaged, and a steamy aroma ensued.

Lisa Mackey | DSO

Vocalist Lisa Mackey ripped sound resonance into the amphitheatre with a cover of Loretta Lynn’s “You Ain't Woman Enough (To Take My Man).” Her raging vocals serenaded fans with this powerful, magnetic feministic lullaby; and from this  moment; an instantaneous, symbiotic relationship was formed with the crowd. Simultaneously, lights and visuals appeared onstage for the first time (for those not psychedelically-induced), as the sun officially dropped, and we eased into the night.

Dark Star Orchestra | Red Rocks Amphitheatre

“Going Down The Road Feeling Bad” lyrics encompassed the amphitheatre as the classic jam reached its peak. As the crowd swayed in unison, it then transitioned into a slower groove, highlighting each individual band member’s talent before they exited for set break. The keen and familiar commonplaceness of the Grateful Dead experience was lingering in the air as the crowd awaited more.

Rob Koritz | DSO

Purple and blue lights obliquely lit up the stage as a spotlight highlighted the vocalists. The crowd was eased back into a beautifully stimulated “Morning Dew,” leaving them in awe at the synchronization of the drummers (Dino English & Rob Koritz) centered to the back of the stage. During the ravish song, white lights highlighted the whole crowd, while deep, intentional and elongated music notes filled the air. Mattson shredded a gnarly guitar solo before the sounds neared a silent stop—for a breath—then detonated into a thunderous applause, which could only be translated into accreditation for his intention behind each note.

Rob Eaton | DSO

The stage resembled a portal, and the symphonies ranged from low frequencies to high vibrational pitches that attuned to a euphony, still shaken and rattled from the savviness of the percussion. Rob Eaton took over the microphone to announce, “[Playing here] is the last thing I ever thought I would do, “and thanked the fans for their appreciation and support.

Dark Star Orchestra | Red Rocks

“St. Stephen” addressed the crowd with folksy layers of sound with light guitar accents and continued to move the sonic waves throughout the night. A legendary harmonica takeover occurred on-stage while the electronics of the strings compatible paralleled each other to reach harmony. Lisa Mackey contributed her talents on the harp during the duration of the captivating tune.

Dino English | DSO

The alternating musical pace and soft, lasting notes enraptured attendees into a continuous boogie. A deep and savvy “Drums & Space,” accompanied by didgeridoo companionship accents, led the attendees in the amphitheatre to sit down and take in each and every essence of the journey.

DSO | Red Rocks Amphitheatre

Ripping out of “Drums & Space,'' an explosion of energy shot attendees back to their feet to collectively sing the lyrics “Coming, Coming, Coming Around.” supported by accompanying guitar shreds for a wild, extended jam of “The Other One.”

DSO | Morrison, CO

Layering and capitalizing beautifully on each other’s musical abilities, DSO then transitioned into a coveted “Alligator,” full of passion and animation. The crowd’s energy, the music and the lights allowed for a full trifecta powerhouse feeling to be established before exiting the band excited the stage after their closing song.

Dark Star Orchestra | Red Rocks Amphitheatre

The final song of the night was “Viola Lee Blues,” which was projected and played with a funky, jazz-based, rock n roll flair. All the musicians of Dark Star Orchestra were feeding off of each other, being complementary, yet comprehensive in their delightful efforts. Funky basslines that contributed to the finale left the crowd feeling fulfilled, high-energy and jazzed up.

Red Rocks Amphitheatre | Morrison, CO

Dark Star Orchestra truly offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about the feeling that grabs listeners and takes over.

Sun, 12/05/2021 - 12:29 pm

lespecial returned to Denver, Colorado for the second leg of their “RepeaTOUR” December 2nd at Cervantes’ Masterpiece Ballroom. Denver was the first of the band’s four-night Colorado run. The night held a reprise of metal in the air, while Lespecial showcased a wide variety of originals, covers, and epic sequences. Lespecial excelled in the continued exploration and delivery of their latest album, Ancient Homies.

Progressive metal power trio—lespecial—took to the stage with flashes of green ricocheting off the Ballroom’s disco ball, and partnered with climatic and sensational music… all juxtaposed the  vivid moments just in time for the show’s start. As suspense for the tunes began to build, the band tweaked and tuned their instrumentals, creating a unified feeling of attunement for, not only their instruments, but also the crowd.

Luke Bemand | lespecial

lespecial opened with “Fruit Wolf Dance>21st Century Iron Man,” instantaneously building up the crowd, whilst simultaneously premiering the lazer light show. The crowd was taken through heroic guitar shreds from Jonny G., while Luke Bemand—Bass & Synths—conducted synthy interlopers on keys. Slight funky layers of sonic exploration crept in with melodic consistency, while vocals rang from dummer, Rory Dolan.

They then transitioned into “Machine Elf,” which lives on their latest album Ancient Homies. When this track allows itself to be visually represented, it takes the shape of negative space…with each drop of each note dipping into that space, with a splash of color. As the notes develop, they curate a melodic dialogue,  partnered with enticing lyrics, encompassing even more depth.

lespecial | Denver, Colorado

Luke calls out Denver for being “a second home [to the band],” and expresses his gratitude for being back in town, just before three back-to-back originals are played. First is “Repeater,” the headlining track for the tour. Next is “Snell’s Feet,” a track that truly takes the form of a sonic journey, encapsulating  the crowd to full presence. Following, Bemand gives a shout to the crowd that the next song is a “love story” and they transition into “Egg Time.” A song that is synthesized to the root of perfection for such an active and engaged crowd. Bemand also calls out his love for breakfast food simultaneously.

Next, they dive into a series of covers, namely Nine Inch Nail’s “Sanctified.” Metal-heads (almost everyone) took hold of their opportunity to physically get riled up. Following, lespecial gracefully covers CYK’s “96 Quite Bitter Beings,” before transitioning into their own original “Pressed For Time.” The band’s seamless passages between beloved tributes and their own originals allow for attendees to be reminded of how flawlessly the band can switch genres.

An absolutely epic drum solo from Rory Dolan then projected conflagrantly throughout the venue. Each attendee is fully focused on Dolan’s divine drumming talent and skills. They perform “Jackwise” and “Rays,” with backlayers of pronounced funk, capitalizing on the band’s cohesive multi-genre skillset.

lespecial Takes Over Cervantes’ for the First of Their Four-Night Colorado Run on National “RepeaTOUR”

Next is “Onlookers” and “Tonberry,” two original tracks exemplified by heavy guitar shreds and explorative soundscapes, as the band members balance each other's energetic capabilities and capitalize on their synchronicities, scaling their musical stamina to stimulate the crowd.

They give another shout out to Ancient Homies, and bust out with a jazz jam session. A moshpit is cued by Luke Bemand, and the crowd approaches their final energetic peak. There is a feeling of epic collaboration in the building, as the band encircles the drums, finishing the set with their brand new song, “Lungs of the Planet.”

lespecial | Cervantes Masterpiece Ballroom

For the encore, Lespecial comes out with Primus cover, “Pudding Time,” as the whole venue sings the lyrics in unison. The last sequence of the night is lespecial fan-favorite, “The Vessel, >Homie” into an crowd-energizing mash up of Metallica's "Enter Sandman" and Darude's "Enter Sandstorm,” reminding attendees that lespecial can definitely be categorized as an electronic jamband, to cap off an evening of delightful music.

Lespecial is on tour now

lespecial will be in Fort Collins (12/3), with two nights in Steamboat Springs following (12/4 & 12/5) for their Colorado leg.

Cervantes Masterpiece Ballroom Setlist 12/2/21

Fruit Wolf Dance>21st Century Iron Man
Machine Elf
Repeater
Snell’s Fleet
Egg Time
Sanctified
96 Quite Bitter Beings>
Pressed For Time
Drums>
Jackwise
Rays
Onlookers
Tonberry
Lungs of the Planet

E: Pudding Time
The Vessel>Homie>
Enter Sandstorm

Mon, 12/06/2021 - 12:26 pm

Papadosio, five-piece improv-based jamtronica, curated a comprehensive audiovisual experience to stimulate a full-sensory empiricism. Papadosio was supported by a stellar musical lineup (Random Rab, Atyya, Blossomn), all facilitating the appearance of a hefty Denver-based live painting lineup (Emily Kell, Jake Amason, Krystelyez, Morgan Mandala, Mr. Melty, Peter Westerman, Randal Roberts, Seth McMahon, Stephen Kruse, Sweet Melis). The righteous audio lineup was partnered with stage visuals from Videometry & Nedriod of Microdose VR, along with a pop-up Virtual Reality experience that was offered to attendees in the concert hall. Papadosio’s latest album Microdosio was exemplified throughout the atmosphere of the evening, showcasing the importance of visual representation and immersive creative spirit.

“Our goal is to create a truly unique auditory and visual experience; highlighting the co-creation of all artists at Denver’s newest and hottest venue, the Mission Ballroom,” Papadosio manager Jake Ottmann said in a statement.

Mission Ballroom | Denver, CO

And boy, did they succeed! Walking into the venue, the conceptual experience was already ignited, as attendees were instantly presented with live painters lining the walls. Very distinguishable Papadosio and local arts fans absorbed the entire optical experience, including the ecstasy associated with an event fueled by unique collaboration. A sense of comfort filled the air, as attendees felt the sacredness of a space driven by creative expression, musical discord, and community.

Mission Ballroom | Denver, CO

Blossomn ignited the night with his intentional electronic music rooted in sampling, instrumentation, and experimentation. Blossomn allowed for an audio gateway for a night of incredible music, as well as held the space for attendees to attune to the visual sensations of the gigantic screen projections behind him.

Atyya followed with his legendary heavy bass tunes and layered downtempo vibes. Fans who have followed his musical path for a while were pleased with the wide range of mysterious and anecdotal tunes he played. He tapped into the audience with a cover of Drake’s “Behind Bars,”  ricocheting a whole vibration throughout the crowd.

Random Rab | Mission Ballroom

Random Rab came out next with a sparkly sequined jacket patterned with a musical rig resembling a “one-man-band” setup. His establishment as a distinguished producer was evident throughout his set, as the Mission Ballroom began to fill. Random Rab carried us throughout the beginning of his set with deep tribal-like beats, which translated into groovy melodies. The surrounding visuals heightened the tone, and the instrumental rhythmic flow enchanted the crowd. Random Rab gave a shout-out to Emancipator for a new track they produced together, as well as announced that they are releasing a collaborative project called “Dose.”

At this point, the bass was vibrating throughout the crowd’s chest bones. Random Rab premiered a track he pronounced he wrote the day before, which was then followed by a cameo from Lxdy’s Kathlyn Hooper. The track consisted of her strong, powerful vocals, which was coupled with a speech about how, while the overwhelming feeling of the earth deteriorating can be a lot to take on, you should “never feel bad about feeling good.”

Papadosio | Mission Ballroom

Papadosio then took to the stage and congregated into the middle of a beautifully devised stage plan. Their huddle centered around a main synthesizer, where the band members theatrically played around with the sound modulation, embarking a fierceness throughout the venue. The initial sounds curated were ominous and mysterious, enveloping the crowd.. Stage visuals allowed for Papadosio to be pronounced in their initial synthesized huddle.

The band hit a consistent groove as they repositioned themselves back on stage. Anthony Thogmartin led the way, creating a shrill of audio that was contemporaneous with the stage’s growing visual projections. Papadosio placed notes in a lively, improvisational manner that we all know and love. As they dove into their custom sound, there was a tangible presence from the crowd as everyone began to absorb Papadosio’s sounds of the night. They truly owned the stage with their comfortable and explorational groove.

Papadosio | Mission Ballroom

An emancipation was felt throughout the audience as they shifted into their first sequence led by Microdosio’s “Chaga > Dream Estate.” The familiar guitar riffs and lyrics allowed for attendees to completely let loose and fully engage the dance party mode for the first time. Not enough recognition can be given to the simultaneous visual experience taking place. Each band member had an individual LED screen behind them, both accentuating the talent behind the visual projections, and physically showing the musician power taking place. The harmony and kinship between the audiovisual interrelation was just the right amount of stimulation.

Thogmartin led the way into “Smile and Nod,” as the crowd sang along with the proposed lyrical question, “If you know just that you know, how could you know what way to go?” Billy Brouse was on keys, his keyboard scaling producing an unmistakable and legendary jam session. The band worked together, providing heightened summits of sound in a collective buildup that the audience could not get enough of. Their musical skill sets were striking, and their collaborative experience allowed for an enticing journey to unfold.

Papadosio | Mission Ballroom

Papadosio then gave a shout-out to Denver and a big, warm, excitement-filled hello. They called out the power of mushroom medicine and the ancestral knowledge associated with the movement, showcasing the theme of the night Microdos(io).

Papadosio | Mission Ballroom

Following was a hefty “Cubensis > Versicolor” that started with a slow intro, coupled with extraterrestrial sounds. It took the shape of a more tribal melody that was littered with dramatized samples and complementing back lights. The keyboard led the way, and each band member emphasized each note. The band was acting in totality; a true sense of teamwork and equality was established for a very respected overall tone. A true power ensemble was seen and appreciated from the audience. Their playfulness and teasing nature was heard and felt.

Papadosio | Mission Ballroom

Ecstatic and elated soundscapes were produced from the extended sequence of “Unparalyzer > Shiitake > Unparalyzer”, a true Microdosio sandwich was produced and fully devoured. Their comprehensive sound was groovy and natural, much like the powerful effects of psilocybin, and the sonic journey unfolded. The dance floor was at its peak during the “Unparalyzer” jam, and a trifecta of bass, jams and funk formed accolades of sound. This sequence allowed for a much appreciated familiarity of old soundscapes meeting new explorations from the band. It was a proud moment for long-time Papadosio fans.

Papadosio | Denver, Colorado

The party continued with another Microdosio album track, “Lions Mane.” Not once did the band’s power dwindle as they reached the end of their set. Flowing between peaceful melodies and potent jams, Papadosio concluded the set with a valued “We are Water,” leaving attendees speechless and out of breath from the dance floor’s constant groove.

Papadosio then encored with a lengthy “Find Your Cloud” to cap off a perfect evening of expression.

Mission Ballroom | Denver, CO

It is beautiful to note there are three superfood mushrooms featured in the setlist: Lions Mane, Chaga and Shiitake. Mushrooms have potent medicinal properties and are commonly known for their therapeutic properties. Mushrooms not only act like loving and careful creatures but they also help other organisms grow. Similar to the artistic and holistic community present at the show, mushrooms breathe and consume life forms throughout their root system called the “Mycelium Web,” the root system beneath the earth. These root systems can become quite large depending on the amount of nutrients that are needing to be shared. Similar to the mycelium network, the ever-evolving and growing fan community at Papadosio shows, are consistently looking for ways to provide “nutrients” to aid in each other’s growth. Gratitude was in the air for the band for curating a night that contained the spirit of the plants throughout the entirety of the Microdos(io) show.

Tue, 01/18/2022 - 3:00 am

The 14th Annual Gem and Jam Festival in Tucson, Arizona is the epicenter of the world-renowned Tucson Gem, Mineral and Fossil Showcase, while also a staple in the jam and electronic music festival stratosphere. The scenic desert landscape fabricates a full-on bazaar-of-sorts, pushing past the boundaries of a typical music festival and perfectly coalescing the worlds of workshops, performers, visual artists and installations. The eclipse of these mediums allow for this experience to move past just the most epic gem show in North America, into a fully stimulated and sensory-provoked musical experience.

The multi-genre musical performances set to showcase at Gem and Jam festival encapsulate national talent and adhere to their reputation of supporting local artists at The Opal Stage. Fans are still high off the phase two announcement of the lineup featuring Shpongle (Simon Posford), STS9, Liquid Stranger, Claude Vonstroke, and Lotus.

As we approach the less than a month away mark, Grateful Web wants to shine a light on acts making their Gem and Jam festival debut. In conversation with Grateful Web, these debut acts showcased preview tracks to get to know their tunes pre-festival, highlighted upcoming releases and projects and some even hinted at some of their favorite gems and minerals.

Here Grateful Web Spotlight Debut Artists Include: Shpongle (Simon Posford), Rising Appalachia, TAUK, Jimkata, Tripp St., MZG, & Moontricks. Get to know these acts from the below profiles and let the excitement of the approaching festival captivate your spirit.

Shpongle (Simon Posford):

Shpongle (Simon Posford) | Red Rocks - photo by Phil Emma

Psychedelic duo Simon Posford and Raja Ram are Shpongle, an ambient / electronica project formed in 1996 after the pair viewed a solar eclipse in India. After that event, they entered the studio and attempted to duplicate the experience in sonic form, and the result was a 20-minute track, "...And The Day Turned To Night," which was featured on Twisted Records label compilation titled Eclipse. Shpongle's full-length debut album, Are You Shpongled? was released in early 1999. Their sophomore effort, Tales Of The Inexpressible arrived in 2001 and featured the additions of Spanish and East Asian instrumentation. In 2005, the duo released their third album, Nothing Lasts...but Nothing Is Lost (Remastered, 2019) which was intended to be their final project. However, Shpongle returned in 2009 with Ineffable Mysteries, which incorporated world music themes, and the God Particle EP in 2010. Museum of Consciousness followed in 2013. Their sixth album, the appropriately titled Codex VI was released in 2017. In 2019 they played 2 sold out shows at Red Rocks, Colorado with the full live band. Work has already started on their 7th studio album to follow in 2022.

[Track to listen to Pre-Gem and Jam Festival]

Shpongle's music is quite diverse, from the Latin vibes of My Head Feels Like A Frisbee, to the psychedelic madness of Nothing Lasts, so it makes it quite hard to pick a single track that encapsulates the whole of Shpongle. I suppose Divine Moments of Truth is a fun gateway for those who've never heard our music before.” - Shpongle (Simon Posford)

Before or after your set, where is the first place on the festival grounds that you want to go to explore?

“I've never been to Gem & Jam before, so I wouldn't know where to go, but I'm fascinated by the whole "gem" side of the festival... I might try to acquire some more rocks.”

Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?

“I had my solo lockdown project (Flux & Contemplation) released since I was last in the US, but I can't imagine I'll play much of it at the festival.... It's a bit too isolated & alienated in atmosphere.. I feel we need to be more celebratory right now!”

If your musical act could encapsulate one gem/crystal's energy, what would it be?

“I don't know enough about gems or crystals, but I've always found opal to be rather magical... Like captured liquid rainbows.”

[Learn More] | Facebook  | Instagram | YouTube  | Spotify

Rising Appalachia:

Rising Appalachia - photo by Phillip Solomonson

Rising Appalachia brings to the stage a collection of sounds, stories, and songs steeped in tradition and a devotion to world culture. Intertwining a deep reverence for folk music and a passion for justice, they have made it their life’s work to sing songs that speak to something ancient yet surging with relevance. Whether playing at Red Rocks or in rail cars, at Italian street fairs or to Bulgarian herbalists, this fiercely independent band has blazed a unique and colorful path across the globe. 11 years into their movement, Rising Appalachia believes that the roots of all these old songs are vital to our ever evolving soundscape. Led by the collective voice of sisters Leah and Chloe, and joined by their beloved band - percussionist Biko Casini and bassist/guitarist David Brown - Rising Appalachia is a melting pot of folk music simplicity, textured songwriting, and those bloodline harmonies that only siblings can pull off. Listen for a tapestry of song, clawhammer banjo tunes, fiddle, double bass, acoustic guitar, djembe, barra, bodhran,  spoken word, and a wealth of musical layering that will leave you called to action and lulled into rhythmic dance simultaneously.

[Track to listen to Pre-Gem and Jam Festival]

Have a listen to Catalyst from our newest album, “The Lost Mystique of Being in the Know.”This gives a feel for the direction we are taking in our music in terms of instrumental openness and playful folk.” - Rising Appalachia
 
Before or after your set, where is the first place on the festival grounds that you want to go to explore?
 
“The Gem Vendors! We have never attended a festival such as this so we are super curious to see what folks are making and bringing as far as gems go.  We have some stones from our grandmother set in rings and would love to pick a few folks' minds on what they might be.”
 
Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?  
 
“We are doing our second full band livestream concert (from Preservation Jazz Hall in New Orleans!) on January 27th [right before Gem and Jam] and it will be available through the end of January to watch. We are thrilled to return to our favorite city in the world, a city that helped raise our musical career many moons ago, and create a night of music with our band and some of our favorite musicians in the city. You can go to our website for ticket info. Join us!”
 
Show Performances Before Gem and Jam 2022 [Catch them in your city beforehand?!]:

Thursday, January 20th | New Orleans, LA
Thursday, January 27th | New Orleans, LA
Saturday, January 29th | Austin, TX
Wednesday, February 2nd | Santa Fe, NM

[Learn More] | Facebook  | Instagram | YouTube  | Spotify

TAUK:

TAUK - photo by Melissa Bailey

TAUK may be an instrumental band, but even without words,the group’s extraordinary new album, Chaos Companion, manages to speak volumes about the ups and downs of a year that challenged—and transformed—us all. Forced off the road for the first time in years by the COVID-19 pandemic, [the band] used the rare break from touring to stretch themselves as writers and instrumentalists, leaning into the sense of liberation and possibility that came with an empty calendar and letting it guide them toward uncharted musical territory. The resulting songs push TAUK’s sound to bold new heights, fearlessly fusing elements of progressive rock, funk, soul, EDM, and hip-hop into a richly melodic, groove-driven blend, one that’s complemented perfectly here by the equally adventurous production work of longtime collaborator Robert Carranza. Add it all up and you’ve got an evocative, cinematic collection that hints at everything from 70’s film scores and 80’s video game soundtracks to 90’s R&B and modern dance music, an immersive, transportive record that blurs the lines between the analog and the electronic as it balances old school grit and futuristic sheen in equal measure. It’s a dose of the familiar in the midst of the foreign, a wordless album that’ll leave you speechless.

[Track to listen to Pre-Gem and Jam Festival]

All of them, on repeat, nonstop, over and over and over. Or Dormammu.”
 
Before or after your set, where is the first place on the festival grounds that you want to go to explore?

“Festivals are always so great because we get to hang with our musical peers. It’s a time we all get to chill and share road stories and talk shop. I’m always looking forward to just walking around and taking in the vibe and meeting some new fans.”

Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?

“Our newest album, Chaos Companion. came out last year and we’re still taking all of these opportunities to play that new material live. We’re also cooking up some brand new stuff in the studio that you should keep an eye out for.’

If your musical act could encapsulate one gem/crystal's energy, what would it be?

“Smoky Quartz
 
*Answers contributed by TAUK's guitarist, Matt Jalbert.

[LEARN MORE]  | Facebook | Instagram  | Twitter | YouTube  | Spotify  | SoundCloud

Jimkata:

Jimkata

Jimkata, New York-bred synth-rock band, has been pairing playful, buoyant melodies with weighty, emotive lyrics since its members - three lifelong friends - formed the project in 2005. The group notched nationwide festival performances and released a series of critically-acclaimed studio albums before taking a hiatus in 2017. Now, four years later, Jimkata is back, this time with a renewed sense of purpose and an extraordinary new album to show for it. The songs here are at once modern and classic, blurring the lines between the organic and the electronic as they reckon with doubt, struggle, and perseverance in a search for truth and meaning. Bonfires delivers transcendence in tight, dance floor-ready packages, but there’s a sense of freedom at play on the collection that pushes the trio’s performances to new emotional heights, a kind of liberation that can only come from learning to let go of expectation and embrace the moment.

[Track to listen to Pre-Gem and Jam Festival]

It's hard to pick one.  Our songs run the gamut from light and dancy to heavy dark grooves. If I had to exemplify this with the latest album it would be Roots Down and Writing on the Wall. I also recommend checking out our latest music videos, like the one for Wanna Go or Blessings in Disguise.”

Before or after your set, where is the first place on the festival grounds that you want to go to explore?
 
‘I always like walking the grounds and checking out the vendors just to catch a vibe in the crowd.  And of course catching any sets that we can and hanging with or meeting other musicians.”
 
Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?
 
“We just released our new album Bonfires in 2021 and have been finding cool ways to incorporate the new tunes into our live sets.  We used the fall as a chance to get our live show dialed in and reconnect with our fans so we're psyched to keep that going.’
 
If your musical act could encapsulate one gem/crystal's energy, what would it be?
 
“I have an amethyst sitting on my desk that I got from my great uncle.  It's my birthstone apparently.  Not gonna lie, I don't know a whole lot about that world but surely it must have something to do with our energy and I look forward to learning more about it.”

Show Performances Before Gem and Jam 2022 [Catch them in your city beforehand?!]:

Wednesday, January 26th | Steamboat Springs, CO
Thursdays, January 27th | Fort Collins, CO
Friday, January 28th | Boulder, CO
Saturday, January 29th | Denver, CO
Wednesday, February 2nd | Costa Mesa, CA
Thursday, February 3rd | LA, CA
Friday, February 4th | Ocean Beach, CA

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Tripp St.:

Tripp St. - photo credit: 📷: @treevalds

DJ under the moniker, Tripp St., has seemingly materialized out of thin air and has taken the electronic scene by storm at an alarmingly quick pace. Making a grand entrance with a plethora of all original mixtapes, he immediately commanded attention by the masses through his unique integration of deep freeform bass and apparent boom bap influences. Having an extensive background attributed to hip hop production and studio engineering, he plucks elements of genres he loves, showcasing his ability to create and fine tune an entirely new range of sound. Paying homage to his roots in every sense imaginable, he brandishes the name Tripp St. from the street he grew up on. Paired with a nationwide tour and a slew of major market appearances under his belt, Tripp. St has already positioned himself to become one of the most highly anticipated acts in dance music.

[Track to listen to Pre-Gem and Jam Festival]

"This is Me" or "Thoughts" are the tracks I think explain the person I am without having to say a word. They say music is the universal language, so in my mind these tracks would be my best introduction or first impression.” - Tripp St.

Before or after your set, where is the first place on the festival grounds that you want to go to explore?

“I really like to roam around and check most of the acts. Best thing about being anonymous is that I can get changed and blend into the crowd to enjoy the festival as an attendee. I usually like to be farther back in the crowd so there's a lot of space, or being in front of the house.”

Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?

“Yes, I am currently finishing up my 3rd Album for Odyzey Music and it will be in heavy rotation for Gem and Jam. There's always new stuff I'm working on to play out—my favorite part about all this is being in the studio creating. It's my happy place where I don't have to think, I can do whatever I'm feeling and it's very fulfilling.”

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Moontricks:

Moontricks - 📷: Louis Bockner Photography

Moontricks, nestled deep in the beautiful Kootenay mountains of Western Canada, lies the home of a duo whose timeless sound captures the essence of their rugged roots. Combining their love of folk, blues, and electronic music, Nathan Gurley and Sean Rodman are blazing their own trail, merging musical worlds previously unacquainted and capturing audiences along the way. Since connecting in their rural hometown through a shared love of music, the pair’s chemistry was instantly apparent. With Gurley at the production helm and Rodman on songwriting and vocals, they’ve birthed an authentically raw and seductive sound infusing grassroots blues, wistful soul, and gritty, boot-stomping bass. From rural beginnings to global festival stages, this humble duo is now taking on the world. Dazzling audiences with their infectious vibe and unmistakable rhythm, Moontricks are clear proof that originality and passion can spark a creative odyssey.

[Track to listen to Pre-Gem and Jam Festival]

Check out Mountains, it’s about freeing ourselves of troubles and we could all use a bit of that.”- Moontricks

Before or after your set, where is the first place on the festival grounds that you want to go to explore?
 
“We’re looking forward to our first time at Gem and Jam and in Tucson. We’ve heard so many great things about the festival and its vibes! We’ll be exploring through the festival grounds and doing some gemstone hunting! We’re big fans of a lot of the acts booked so we can’t wait to see what Opiuo, Rising Appalachia, Sunsqaubi, Random Rab, Attya and Cloudchord have been getting up to with their music over the last couple years!”

If your musical act could encapsulate one gem/crystal's energy, what would it be?

“We love the Moonstone (orthoclase feldspar) being the one gem that was believed to have been derived from solidified rays of the moon by the ancients. It also happens to be the Florida State Gemstone, designated in 1970 to commemorate the moon landings which launched from there.”
 
Show Performances Before Gem and Jam 2022 [Catch them in your city beforehand?!]:

February 3rd - 5th | Brainquility Music Festival

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MZG:

MZG

MZG consists of twin brothers, Zach and Charles Weinert, who spent many years working on separate musical projects, but in 2014, they relented to the inevitable and joined forces. Shorthand for “monozygotic” (the scientific term describing identical twins), the name MZG describes the unique bond these two share. After honing their craft in Jacksonville, FL, the pair began playing out for audiences. MZG’s reputation for setting dance floors aflame saw them soon sharing the stage with like-minded acts such as Griz, Herobust, and Manic Focus, as well as earning residency at Florida festival mainstay Suwannee Hulaween.  These self taught musicians and producers deliver bass driven, hip-hop influenced electronica while sharing a chemistry on stage that is natural and infectious. The undeniable energy the pair offers has MZG poised to bring their identical powers to ears worldwide.

[Track to listen to Pre-Gem and Jam Festival]

Definitely check our song ‘Boolin’ w/ Kyral x Banko.” - MZG

Before or after your set, where is the first place on the festival grounds that you want to go to explore?

“We like to get a lay of the land and check out the vibe of every stage. Then of course it’s food vendors lol, even with catering we still like to go see what’s popping.”

Are there any music/projects that you have been working on that correlate time-wise with your appearance at Gem and Jam that you would like to shout out?

“We have 5 records coming out before June that are tapped in for sure. Included are a couple of throwback remixes from the MZG team that you should be on the lookout for soon.”

If your musical act could encapsulate one gem/crystal's energy, what would it be?

“Lemurian Quartz because it teaches oneness, while reminding us that although we are individuals we are connected to each other, and are all equal in Spirit.”

Show Performances Before Gem and Jam 2022 [Catch them in your city beforehand?!]:

February 3rd - 5th | Brainquility Music Festival

[Learn More] | Facebook | Instagram | Twitter  | SoundCloud  | Spotify

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Along with the Grateful Web spotlight debut artists, headlining first-time debut acts for Gem & Jam Festival consist of Shpongle’s Posford and Liquid Stranger. Shpongle’s Simon Posford will make his highly-anticipated festival debut at the 14th annual Gem & Jam with a special live mind-melding set. Known for his shape-shifting mix of psychedelic trance, and world music, Shpongle promises to create an immersive experience replete with kaleidoscopic visuals, backed by scenic desert landscapes.

Equally exciting, Liquid Stranger has mastered his ability to slip in and out of genres whilst honing in on his own personal style. Liquid Stranger has earned his reputation of incommensurable talent ,taking his audiences on a soul-stirring aural journey of genre-bending beats on the dancefloor.

Dubbed the “Crown Jewel of the Southwest Festival Scene '' by Huffington Post, Gem & Jam is a completely unique and memorable gathering intentionally bringing together music, art, performance, gems, and community. Join us to celebrate recurring musical acts, as well as festival debuts this February in Tucson.

Fri, 02/18/2022 - 1:23 pm

Animated attendees gathered for The 14th Annual Gem & Jam Festival (February 4-6, 2022) in the scenic desert landscape of Tucson, Arizona, to be taken away by the audio, escape in the visual, and indulge in a full-spectrum sensory experience—an experience encapsulating even the non-physical depths of community. This art and music festival— with over 250 programmed acts—once again, delivered  unforgettable entertainment, education, and natural beauty.

Here, Grateful Web dives deep into the multi-sensory experience that is Gem & Jam Festival 2022… to re-indulge, if you were an attendee, and to dive in, if you missed out.

1. Touch:

Immediately upon entering the festival gates was the Family Zone...a world of abstract objects awaiting people of all ages to come, touch, and play! From arts, crafts, and projects—to hoops, balancing and aerial equipment—to juggle props ... the interactive co-creation was thick.

Gem & Jam Festival - photo credit: Tanya Nesta

Next was the vendor row—a “Shakedown Street”—of colorful, exquisite and enthralling shops, brimming with shifting fabrics, tactile gems and minerals, illuminating tchotchkes, and just way too much more you wanted to sink your hands into.

Interactive benches, jungle gyms, playhouses—and even immaculate art installations—were scattered throughout the grounds, readily available to touch and explore with your crew.

2. Sight:

The “sight sense” was fully thriving this past weekend throughout Gem & Jam 2022. The pronounced and dexterous stage production effortlessly complimented Arizona’s prominent mountainous backdrop.  Most evenings, while cascading pink sky hues embellished the desert scapes each night.

Gem & Jam Festival 2022

Parades of performers flooded the main road— sprinkled with shiny gems and minerals—to the Emerald Stage, taking fest-goers on a visual ride past circus performers, hoopers, acrobats, stilt-walkers, and multitudes more.

3. Smell:

When you passed the fire performers, smelling burning fuel along the way. These oh-so-common festival scents allowed for a sense of nostalgia to instantaneously fill you throughout, giving you the feeling, “I’m right where I need to be at this moment. I’m home.”

Thanks to all the hard working folks who feed us at fests! - photo credit: Tanya Nesta

4. Taste:

The food vendors upheld both smell & taste….This sensory experience is self-explanatory. Read on for Grateful Web’s delectable food vendor spotlights:

  • Super Heady Tacos
  • Grilled Cheese Incident
  • North indian Cuisine
  • Organical Grillaz
  • Funky Pita

 

Rising Appalachia | Gem & Jam Festival 2022

5. Hearing | Music

After a slight delay due to high winds, the Quartz and Opal Stages kicked off musical programming Friday afternoon.

Shortly after gates opened, The Bennu’s psychedelic, progressive, and electronic rock symphony was felt throughout. Unique improvisational sensibilities and funky female-led vocals welcomingly invited attendees into the grounds, many planting themselves onto tapestries.

Gem & Jam festival

Wind carried vibrations as day one of the festival commenced. At this point, electronicac was the sole genre, and Project Aspect played the Quartz Stage, featuring Melody Lines’ Nick Hadden on drums. MZGa Gem & Jam Festival debut artist—delivered infectious hip-hop-influenced electronica to a packed Opal Stage.

Random Rab’s Emerald Stage sunset set felt like a true family reunion, as travelers holistically came together for the fest’s first headliner. The crescendo of music from Random Rab was synced with the rise of the evening euphoria.

Gem & Jam Festival 2022

Leading with “Harmonize,” the vigor—yet gentleness—of the strings and vocals of Rising Appalachia strewed over the crowd like a profound blanket. Dressed in winter furs under the crescent moon,they stood tall in the middle of the stage, huddled together with a multitude of instruments, and shouted out it was one of the coldest shows they have ever played.  The fruitful set contained crowd favorites like “Pretty Lil’ Foot” and “Medicine.”

Lab Group | Gem & Jam Festival - photo credit: Greg B

Lab Group continued Emerald Stage festivities with a poignant CharlestheFirst memorial, giving praise to the community and holding up a crown as the crowd collectively shouted “Charles” into the air.  People from all walks came on stage to speak tributes of CharlestheFirst, while visuals displayed precious memories. The set was slow and intentional, and it built up to be one of the most musically and rhythmically stimulating of the weekend.

Plantrae provided his familiar deep frequencies to ground all, for a somatically synced experience.  Violin paired with electronica will always be a crowd-pleaser.

Daily Bread - Gem & Jam Festival

Skip over to the indoor Onyx Stage, where Daily Bread—vinyl cut-master and electronic hip-hop soul project— began to play a much anticipated set. Opening with “Street Treasure,”  he ended with “Thicker Than A Snicka,” managing to throw an epic Gorillaz, “Dirty Harry” remix in between.

Closing Friday’s main stage was Liquid Stranger, who gave an instantaneous shoutout to Arizona for its badassery. Multiple collaborations and shoutouts were sneaked into the free-form bass set, including an appearance by Wreckno performing vocals for their new collaborated single, “HOLLA.”

Lotus - Gem & Jam Festival

Lotus debuted, quick and heavy,  with a “Hammerstrike.”  Jam-centric tunes and hypnotic visuals, flowed the audience through “Catabombs” > “Shimmer and Out.”. They closed with an extended “Greet the Mind” and “128.”

Wreckno closed Friday night with high-energy  4 AM musical goodness.

A bright and beautiful sunshine-filled Saturday had attendees flooding the camp grounds, as they  prepped for day two of the festival.

Gem and Jam Festival - photo credit: Silky Shots

Capyac’s instrumental disciplines were celestial in funk, as they captivated the sun-bathing audience, from improvisational jams, to heavy layered funk. Jimkata, hot out of a four-year hiatus, served the crowd their cultivated synth-rock flow. Meanwhile, Moontricks busted out with both  “No Diggity”  and Opiuo covers, before finishing the set with their original fan favorite, “Home.” Then… the crowd was enchanted and ready to dive into the multi-genre, ever-changing bass artist people know as Maddy O’Neal.

Maddy spoke to Grateful Web about her Gem & Jam 2022 festival experience:

“Gem & Jam has always been one of my absolute favorite festivals for years. I've played, like, six or seven of them, between my old music projects and now... [it] always has such a family vibe and certain people I only run into at that fest, which makes for an epic reunion.”

Maddy O’Neal - photo credit: Greg B

What’s her signature sound?  Think deep experimentation, incorporating soulful melodic overtones, mixed with driven basslines, glitched out hip-hop grooves, and modular drum set rhythms.

“I debuted a couple new songs in the Gem & Jam set....one coming out in April which is a rad collaboration with my bud Homemade Spaceship. We've worked together before on my song "Extra Celestial," so you know if there's a round two, it automatically levels up. My festival sets lately have been a super fun opportunity to try out new things, like tease new songs, and interweave more of this DJ style in with all my originals as well. Lots of fun blocks of tunes I haven't played before.”

(View Full Maddy O’Neal Interview Below!)

Shortly after, Yak Attack graced the Quartz Stage, their music highly electronic with some underlying bass tones.

OPIUO | Gem & Jam Festival

OPIUO’s set featured tons of new music, exemplifying his hard work in the studio, and e producing a glitchy, hip-hop heavy set for Gem & Jam fans.

Dirtwire - photo credit: Tanya Nester

Then Dirtwire began their set with a beautiful  reverence and acknowledgment of the local indigenous land.. The slow, quiet desert air fell onto attendees right before the fiddle erupted.

Shpongle | photo credit: Silky Shots

And then, there was Shpongle. The familiar, yet mystic, journey of Shpongle’s sound, partnered with an other-worldly visual journey, produced an auditory apogee “Divine Moments of Truth” knowingly perplexed the crowd, and a unison of sensory exploration was created.

Shpongle - photo credit: Silky Shots

Head Counselor of Dirtybird Campout, Claude Vonstroke, set the vibes high for a late-night, house-music filled warehouse extravaganza, bringing lovers of all genres to come party under one roof. While his first hour  brought classic,  familiar Dirtybird tracks, the second hour brought more experimental. Some shades of his other persona, Barclay Crensha, and a segment of DnB, brought the wubs out for all the homies.  Following, Jack London closed out the night.

 Claude Vonstroke - Gem & Jam Festival

Sunday on the Emerald Stage was a festival-goer’s (and bluegrass lover’s) dream. The high-altitude bluegrass brought to the stage by Hot Buttered Rum was the perfect setting for having a damned good time. Vocals embellished their indie folk root system, while guitar, banjo, mandolin, drums and keys formed a patchwork of lively melodies.

Hot Buttered Rum commented on their experience:

“Our buddy Rae Irelan came and sat in with us in San Diego. It was fun, so we invited her to LA the next night. That was fun too, and we had an extra seat in the Sprinter van, so we invited her to come to Flagstaff and then Gem & Jam. It was great to sing with her, and I loved the spontaneity of the whole thing, something I've missed in the last two years!”

Gem & Jam Festival - photo credit: Silky Shots

Brothers Comatose—five-piece bluegrass/country/rock band—introduced the Emerald Stage to another string-filled nighttime set, filled with lengthy violin riffs, as well as covers of  =Ginuwine’s “Pony” and Amy Winehouse’s “Valerie.”

Brothers Comatose | photo by John Verwey

(View Full Hot Buttered Rum Full Interview Below!)

Then Sunsquabi arrived, high off their headlining Mission Ballroom show. Their much anticipated set completely delivered a musical journey, beginning with the steady, funky beat “Pablito” off their album, Odyssey. The transcension from tenacious rhythms, to deep and spacey jams, rooted in funk.

Sunsquabi - photo credit: Greg B

When asked about the progression of their embossed genre, Sunsquabi keyboardist and synth player, Josh Farmain, commented, “We don't really like to limit ourselves genre-wise. It's more like, we either come up with something live, or one of us will have an idea. We don't limit ourselves to one sound, you know? I mean, it just is basically, like, do we all like it?”

Gem & Jam Festival - photo credit: Tanya Nesta

Kevin Donohue added, “It’s awesome when we’re in the studio, because it's just like, we're just having fun. You're not really trying super hard. And it doesn't feel like you're working on the album. You're whittling this thing into exactly what you want it to be. And yeah, obviously, we're like our worst critics. We're always being, like, I hate it, delete it now. Do it again, actually.”

Sunsquabi | photo credit: Howlenvy Media

They showcased a new track, “Middle of the Night,” with vocals from Iya Terra Lead Singer, X, which was a seasoned nod to their full-time duty of progression, and hard work in the study. Sunsquabi spoke specifically about how the evolution of “Middle of the Night,” a collaboration with Nate from Iya Terra, is their favorite song of their upcoming album release this fall. Chris Anderson (drums) concluded, ”Josh: “We’ve always had a big connection to Gem & Jam, and the people who put on the festival. So, like, it really does feel like coming home when we come out here.”

(View Full Sunsquabi Interview Below!)

Next up…ATYYA. His set felt grounded into the desert, as if the translation from audio was directed right towards nature, and it was not only accepted, but brought forth in a tribal spirit throughout the frequency waves. Elongated beats allowed for a deep understanding and trance-like state, bringing passionate and ecstatic dance throughout the crowd. It was like being tested and teased to go into a deep flow-like state where the unknown lies.

ATYYA spoke of his experience at Gem & Jam:

“It was amazing. The festival was super vibrant and fun. I was only there for 7 hours, but It was the best 7 hours on the road in 2022 so far! I saw a bunch of friends, and checked out a few sets and the art gallery.”

Atyya: Cycles In Flux

He also spoke of his inspiration for his latest album, Cycles In Flux (Out Now!) to Grateful Web:

“I'm always creatively exploring when I make music, and in this album, I had some new inspiration with the bassline grooves, and layering some midbasses in cool new ways. I also tried a new mastering technique on this album with transient shapers and clippers that gave a new level of fatness to the drums.“

(View Full ATYYA Interview Below!)

STS9​​ brought the “sonic heat and kinetic energy in the cold desert air.”

Sound Tribe Sector Nine | Gem & Jam Festival

The “ABCees” opener was a familiar and grounding exploration of their fascinating improvisational structure they are known for. Not before long, they entered into their full power, and shifted into a slight DnB backbeat for a more non-traditional ending to the song.

Compassionate lyricism transcended into a rhythmic “Blu Mood.” The “Crystal Instrument” felt appropriately placed, as they sandwiched into “Dragon City,” for a full-on Sunday party at church, back into “Crystal Instrument.” The ever-changing pace kept the crowd on their toes, as they allowed the tribe to hit their full power. The set continued with “Looking back on Earth,” and “Like I Do,” and then into a gnarly and extended “ReEmergence” and “Menacer.”

The consistent testing and tribulations of how they can so seamlessly build off each other is the best part of a live STS9 show, and is what makes these experiences so priceless. The respect is ever-present for a full-force jam-tronica five-piece to completely triumph over the electronic music scene.

Gem & Jam Festival | Tucson, Arizona

Fest fave, “Strange Games,” soon followed, which got the crowd right where they energetically needed to be. “Common Objects Strangely Placed'' and “Glogli '' closed out the set, as Tiberus on visuals focused all light beams on the giant beaming quartz center- stage. 

Melvin Seals & JGB closed the whole festival with an incredulous tomfoolery of good times. Marcus Rezak (Artist at Large) joined the band for their appearance at the indoor Onyx Stage.

Gem & Jam Festival -

The five senses are commonly and scientifically linked to the full-spectrum functions of the human physique. In text, “the five [senses] are directly related to a [person’s] ability to perceive the external environment in which [they live.]” These senses, both singularly, and as a collective, allow us to fully absorb our surrounding environments in totality for optimum presence.

This pioneered event is a gem of an exhibition (no pun intended) in the duality of the art and music industries, providing an abundance of diverse interactive extracurriculars on-site as well.


Full Interviews | Appendix:

Maddy O’Neal

Overall, how was your Gem & Jam experience? Did you get to enjoy any music or elements or the festival pre or post-set?

Maddy O'Neal - photo by Greg B

Maddy: “Gem and Jam has always been one of my absolute favorite festivals for years. I think I've played like 6 or 7 of them between my old music project and now... always has such a family vibe and certain people I only run into at that fest which makes for an epic reunion. I got to catch a lot of music actually : Veil, Opiuo, Shpongle, Claude Vonstroke and Jack Lndn.... all very epic sets to catch!”

Any new projects that are coming out soon or that just came out that you would like to highlight? (New Music, Shows, Collaborations, ETC)

Maddy: “I have a song coming out this Thursday actually. It's a single titled "Evergreen" and it's one of the last lingering singles that made it out of 2020 finished and just now getting out. It features Liinks on vocals and it's a VIBE. LOTS of new music in the works gonna be trickling out the entire year... Working on larger projects so definitely stay tuned on Spotify! Also have some of my most exciting festival announcements for the summer still coming soon ! It's going to be a great year!”

How were these new projects interwoven into your G&J set this past week? 

Maddy: “I debuted a couple new songs in the Gem & Jam set....one coming out in April which is a rad collaboration with my bud Homemade Spaceship. We've worked together before on my song "Extra Celestial" so you know if there's a round two it is automatically a level-up. My festival sets lately have been a super fun opportunity to try out new things like tease new songs and interweave more of this DJ style in with all my originals as well. Lots of fun blocks of tunes I haven't played before.”

Have you had any revolutionary or “A-Ha” moments when making new music lately? Any new waves of inspiration for this album?

Maddy: “Honestly, yes so hard! After having that year off touring I realized that I had really needed the down time to refocus my vision and really listen in a way that I hadn't been when I was just in my go-go-go mode. It's so important for writing and for achieving that next level of your creativity and it feels so good to feel like the more I write the more and more "ME" I am becoming. It's really a pretty incredible feeling. Everything comes in waves and I'm definitely riding one right now in the studio.”

Maddy O’Neal - photo credit: Greg B

If you could use your musical platform to truly achieve your wildest dreams, what would that be and how? 

Maddy: “I think the highest purpose I have for doing what I do is to inspire others... that is the ultimate goal...I want to be able to use my platform to show people that anything is possible...to keep pushing no matter who you are or what you do...your future is in your hands. The fact that I am a female role model on top of that has always been a source of importance to me because starting out I had very few female role models to look up to and hardly any options for mentors so if I can be that for someone else to achieve their dreams that is the dream…”

Any other set highlights from your time at G&J?!

Maddy: “The whole festival is a vibe....One of my favorite parts is really just the people it brings together. The crowd was super friendly and respectful and the lineup was a perfect blend of musical stylings ...those are always my favorite festivals. No one wants to see the same thing for a weekend straight!”


Sunsquabi: Featuring Kevin Donohue (Guitars/Keys/Production) Josh Fairman (Bassist/Synth) and Chris Anderson (Drums)

Sunsquabi - photo credit:  Greg B

Kevin Donohue (Guitars/Keys/Production): “Phenomenal. I mean, it's really hard to describe it, to be honest, but it feels like that venue feels like an inside version of Red Rocks. Getting to play a show that you've had on the books for, like almost two years is phenomenal. We've just been waiting for this to happen and the climate to be okay to do it. And so there's an element of that! It’s like, we're finally here, making it happen, at a brand new venue that they built from scratch. It's a really world-class place and it's five minutes from my house. All our people showed out there and it really turned out to be a huge show for us!”

Josh Fairman (Bassist/Synth): “Plus, [giving] our crew, sound and lights, a place like that... It's like giving them the right tools to showcase their skills. Our crew got to shine. They were thriving. Yeah, it was like it was the best production we've ever put on in Denver.:”

Sunsquabi - photo credit: Howlenvy Media

Awesome! You guys have some mountain shows coming up, right?

Kevin: “Totally! We're playing Winter Park, we're playing Vail, we're playing Crested Butte, Steamboat Springs and Frisco. We’re at this point a couple big runs or shows a year at really big venues, and then a little rounds in the mountains. At this point [Post-COVID], we’ve only got to play a couple of times in our home state and it just makes it sweeter, you know, to sleep in your own bed after that.”

Y’all have a new album coming out. Want to share some of the vision?

Kevin: “So, some of the songs we wrote during the pandemic, some of them we wrote like again two or three years ago. Others were like jams that we had been doing [jammin’ live during practice]. And then, at the Mishawaka, we did a couple of that turned into songs!  Our last album was really organic like that. As well, we're just refining our process a lot, it's really exciting.”

Josh: “Yeah, it's like we have some good friends and some new people that we've been collaborating with, like over track with the guys from Cherub, like basically stemmed out of like an inside joke at Summer Camp Music Festival.” 

Sunsquabi - photo credit: Howlenvy Media

Chris Anderson (Drums): “Wasn't that at Bonnaroo?”

Josh: “Oh yeah. So it continued, for so long I forgot the origin - HA!. Yeah. And then we got Dom from Big Gigantic you what to do to do a track with us. And that was really cool.”

Kevin: “It's so great in Colorado, man. It's the Colorado community, but it's also collaborating with people remotely, too. We just [remotely] finished this [new song that] actually has lyrics on it! That's what's amazing nowadays. Music has always been that tool to connect everybody together. But now we have these tools that, like I think over the pandemic times, everybody got really good at using the tools because this is the only way we could connect with each other. Which makes it awesome to collaborate, especially if we've never met.  It's wild.”

Editor’s Note: *Referring to the new song, “Midnight Panther,” featuring California-based, Mike Love from Iya Terra

Chris: “Yeah, we feel more like a band now. We had so much time! When we’re on the road, we're just so tired, going from show-to-show and it's really going over your head. You're kind of taking things for granted. And now it's like, you don't want to miss anything, you want to make everything count.”

Awesome. So you guys have some festivals coming up this summer as well. Are you excited to integrate the new album into the festival site? 

Kevin Donohue - Sunsquabi -  photo credit: Howlenvy Media

Kevin: “Yes! There’s still four or five songs that we haven't really fully worked out as the live version. So over the next year, we're trying to save lives during the festival season, they'll be ready to go. We have a thing with, like, holding on to a live version of a song before we release it. Basically because we feel like the live versions will evolve when we play them so many times.

We'll come back and finish in the studio with stuff that we discover from playing a lot. And it's like, you know, by the time we've played it out live, obviously with this album now, we're like, OK, it's done. We're sending it to master. That’s what has happened for the last three years. Every show that you might add a little part for me, like, I don't really like this part here, and that's kind of a fun part. I don't get the audio recording. You listen to you like I was like, This didn't like this, right? And then it keeps growing, and that was the best.”

What do you like most excited to play from the new album Live? Sort of like a certain song or like a new vibe

Kevin: “Yeah, definitely. All of our favorite songs to play right now are from the new album. We're throwing it down tonight [at Gem and Jam] with Midnight Panther, the one we did with Nate from it with the lyrics. There's this huge section in the middle that just always gets everybody, you know, name in and it's like, just feels amazing. But like, yeah, definitely the favorite song to play right now.”

Sunsquabi | photo credit: Howlenvy Media

So you guys describe yourself as “hydro-funk.” Has that evolved? Do you still feel that fits the description of your collective?

Josh: “You know, I think it used to be more hydro funk, and now….”

Kevin: “It's more like it's more of a rock thing now.”

Josh: “Yeah, it’s more electronic fusion. We have always had more funky songs. But now, we're a little heavier. And honestly, the 

Kevin: “The guitar playing & hitting the drums so hard. That's just kind of bringing in elements of new music you're listening to.”

Josh: “Yeah, but just this past year, I mean, it's still like there's house jams and funky. There's funky elements, forever.”

Kevin: “Forever!”

Josh: “I think it's like electronic fusion, like rock electronic-fusion..”

Sunsquabi - photo credit: Howlenvy Media

Josh: “Yeah, that's more accurate.”

Kevin: “It used to be a more fluid-funky kind of stuff. I mean, we're so we're just sort of all over the map that it's hard to like say! “

Chris: “Definitely more of a rock-feel now. Sometimes electronic reggae, hip-hop vibes.”

Josh: “We don't really like to limit ourselves genre wise. It's more like we either come up with something live or one of us will have an idea. And if it moves like if Kevin's like, check this thing out and I'm like, Oh, I like that, then we work on the song more.If one of us is making the music and the other one likes it, it works. We don’t limit ourselves to one sound, you know? I mean, it just is basically like, do we like it? Do all of us like it? Then we decide.”

Kevin: “Which is awesome here in the studio because it's just like, we're just having fun. You're not trying like, really try. And it doesn't feel like you're working on the album. You're whittling this thing into exactly what you want it to be. It's just like, we're just paying you, figuring we're just like, you know, having fun. And yeah, obviously, we're like our worst critics. We're always being like, I hate it, delete it now. Do it again, actually.”

So what's in store for tonight? What can we expect?

Sunsquabi | photo credit: Howlenvy Media

Kevin: “Oh yeah, everything! But it's Chris’s last festival Saturday before he is a dad. Yeah. So there's a lot of energy, right?

Josh: “Yeah. Just coming out of The Mission again,  it’s just really inspiring to me. And, you know, so many friends working here [at Gem and Jam]. And it's just a really family vibe here. We’ve always had a big connection to Gem and jam and the people who put on the festival. So like, it really does feel like coming home when we come out here.”

What is upcoming for you all? 

Chris: “We have upcoming Resonate at Suwannee, where we're doing three sets, one of which is a Keller/Squabi set, which is a collaboration we put together, like last year when he invited us out to Summer Camp. Which is so dope because it was like the best impromptu thing we’ve ever done. As well as Domefest (Legend Valley), Electric and High Sierra. We always have gone up there. We're finally making it back to, you know, we're going to the caverns with Papadosio as well. You can expect a big Fall tour as well.”


ATYYA

Overall, how was your G&J experience? Did you get to enjoy any music or elements or the festival pre or post-set?

Tyy: “It was amazing. The festival was super vibrant and fun. I was only there for 7 hours, but It was the best seven hours on the road in 2022 so far! I saw a bunch of friends and checked out a few sets and the art gallery.”

ATYYA - photo credit: Dark Matter Photography

You recently came out with a new album - in your own words, how is this an evolution of your musical journey? How was it getting to interweave these news songs into your G&J set?

Tyy: “My new album Cycles in Flux just came out on Jan 19, 2022. It's a part of my 140-centric musical direction that set course back in 2018 with the creation of 'Limitless LP' and continued with singles "Ritual" and "Animalistic". However, During Lockdown I took a brief pause from that sound, and made a beautiful 8 track downtempo album called "Odyssey". It features future Garage/Chillstep Drum Patterns, Rhodes, guitar, and vocals woven together with lush sound design. Once shows started filling my calendar again I continued on the Deep Dubstep-focused style, but with some extra excitement to have some fresh content for the dancefloor. I think that's what helped this album be my favorite 140's to date. I definitely played most of the album out at my set, and loved it!”

Have you had any revolutionary or “A-Ha” moments when making new music lately? Any new waves of inspiration for this album?

Tyy: “Most definitely. I'm always creatively exploring when I make music, and in this album I had some new inspiration with the Bassline grooves and layering some Midbasses in cool new ways. I also tried a new mastering technique on this album with transient shapers and clippers that gave a new level of fatness to the drums.”

If you could use your music career to truly achieve your wildest dreams, what would that be and how?

Tyy: “I'd love to have my career grow to a place where I can afford to buy a nice house in BC Canada with a mind-blowing custom-built music studio, guest bedrooms, a pool, sauna, and a home gym. I'd like to be able to afford to fly my friends and family to any of my gigs whenever i'd like to. Traveling alone can get lonely sometimes. Finally, I also want to help thousands of music producers make the music they dream of through music education. I believe through staying dedicated to my career and true to myself, all can be achieved.”

Do you have a favorite crystal or gem?!

Tyy: “My favorite gem is Gem and Jam!”


Hot Buttered Rum | Nat Keefe

Overall, how was the band's G&J experience? Did they get to enjoy any music or elements or the festival pre or post-set?

Nat: “What a scene! You can tell it's a long-standing tradition. I could have stayed longer. We got to catch the Sunsquabi set, and of course our buddies Brothers Comatose, both stellar sets.”

Hot Buttered Rum | photo credit: John Verwey

Any new projects that are coming out soon or that just came out that you would like to highlight? (New Music, Shows, Collaborations, ETC)

Nat: “ I'm happy about how the band is playing these days. New for us is having a sixth member, Jeff on piano and organ. We're trying to make the big moments bigger, and the small moments smaller, trying to do the bluegrass moments authentic bluegrass, and the jams deep and open, trying to sing honestly and real. There's a great social chemistry in the van these days, it's a lot of fun to be in Hot Buttered Rum! We just take the shows we think will be fun and meaningful, and don't do anything we won't have fun with. I think at a certain point in my life I was more set on world domination, but I'm happy with how things have shaken out. I'm exactly where I want to be.  We're working on an album to record in March. Erik and I have been writing some stuff from the ground up. We've been trying some things on stage but there will be some things on the album we've never played live, which isn't how we've done it in the past. It will be interesting to see how it goes! We'll keep you in the loop as the process goes on.”

How were these new projects interwoven into your G&J set this past week?

Nat: “Our buddy Rae Irelan came and sat in with us in San Diego. It was fun so we invited her to LA the next night. That was fun too, and we had an extra seat in the Sprinter van, so we invited her to come to Flagstaff and then Gem & Jam. It was great to sing with her, and I loved the spontaneity of the whole thing, something I've missed in the last two years!”

Hot Buttered Rum | Gem & Jam Festival - photo credit: John Verwey

Any other set highlights from your time at G&J?

Nat: “On the Gem and Jam stage, singing "Busted In Utah," I remembered the time we got busted in Arizona, in 2004. I'd been up all night being ridiculous with friends, and was sleeping in my bunk of our old coach bus as it barreled along I-8. Then Bryan shakes me awake and says, "the cops are making us all get out of the bus!" Not what you want to hear when you're hungover! The cops made us stand in a line on the side of the road and questioned us as the dogs sniffed around the bus. Not a highlight of my life. They didn't find anything more than a little cannabis, and sent us on our way. It could have been a lot worse, and likely worse if we'd had different color skin or whatnot. Was this a good use of public resources?? Probably not.”

special thanks to Adrian Salinas for helping with edits!

Sun, 05/01/2022 - 4:58 pm

An animated, serene warmth swept through the Red Rocks Amphitheatre audience night one for highly-anticipated—and two year delayed—Rising Appalachia, Trevor Hall, Citizen Cope, and Gone Gone Beyond this past Thursday, April 28th. Throughout the night, every artist expressed their deep gratitude, excitement and appreciation of their fans’ patience throughout the delays of the show.

Red Rocks Amphitheatre | Morrison, CO

Gone Gone Beyond ignited the Red Rocks performance with “Things are Changing,” before transitioning into “Canyons” and a beautifully, vocally highlighted “Riptide.” Continuing, they played fan-favorites, “By the Sea” and “Little Moon,” from their latest album release titled “2030,” and concluded with their melodic and passionate tunes, “Another Earth” and “Coast.”

Rising Appalachia

Next, world-traveling folk sister-duo, Leah and Chloe Smith of Rising Appalachia, gracefully took the stage. For nearly two decades, Rising Appalachia has merged multiple global music influences with their own southern roots. Their music is lush in form, deep in ardor, and rooted in activism, insinuating a virtuous, reframed view of the world.

Chloe Smith | Rising Appalachia

Leah and Chloe’s vocals radiated throughout the amphitheater with “Bright Morning Stars,” a song from the Costa Rican Bribri First Nation. They stood directly behind their painted “Resilient” sign positioned on the stage as the amphitheater dropped deafeningly silent. The way they completely captured the audience’s audience was admiral in the purest form.

Leah Smith | Rising Appalachia

The duet sing-along transitioned into “Wider Circles” as their band members came onstage, and the sensuous sound of strings surfaced with massive percussion support from Biko Casini (world percussion, n’goni).

Rising Appalachia | Red Rocks Amphitheatre

The audience erupted in delight at “Swoon” next, with Duncan Wickel (fiddle, cello) perfectly accenting the ladies’ harmonic intersections. Following, Leah commented on the hard trials and tribulations of the last two years—and how powerful “channeling the parts within” is—as they started a beautiful rendition of “Make Magic.”

Rising Appalachia | Morrison, Colorado

Next from Rising Appalachia was their dedicated love song, “Harmonize.” The music was dense and so smoothly delivered, that a collective impactful sensation struck every attendee, deep gratitude projecting through their eyes.

Rising Appalachia | Red Rocks Amphitheatre

“Catalyst” followed, from their latest album release, The Lost Mystique of Being in the Know. Leah briefed the audience of the inspiration and ideation of the album, and brought on a special guest on the banjo, X, whomst the album was created with. The band members, exempt from Leah and Chloe, then exited the stage.

Rising Appalachia | Morrison, Colorado

A beautiful, poetic “Resilience” came next from Leah and Chloe, as the lyrics “Make a mighty roar…” erupted from the crowd into the night.  The delightfully primitive noises ricocheted throughout the amphitheater, as daytime turned to night with accompanying orange and pink hues.

Rising Appalachia | Red Rocks Amphitheatre

The duo’s supporting musicians returned to the stage with fierce energy, transitioning the set into a hefty, folk-string jam session, and showcasing each individual band member's talents  in concluding the set.

Rising Appalachia | Red Rocks Amphitheatre

A stillness present throughout the amphitheater that evening was rooted in collective gratitude, respect and admiration of the raw talent coming from the stage, and was later commented on directly from Rising Appalachia:

Red Rocks Amphitheatre | Morrison, Colorado

Music is a joyful noise. A mighty yawp over the rooftops of the world. It feels so good to be playing for you all again after our collective uncertain hiatus, at Red Rocks to say the least…natural amphitheater of stone and dust in Colorado’s highlands. We could hear a pin drop during soft songs, then hear all the hoots and howls on the rowdy ones. It tickled the skin. This art is not meant for screens and keyboard, but blood and bone, throat and sweat. A living breathing organization that needs humans to gather in joyous form to give and receive sound…

Citizen Cope | Red Rocks Amphitheatre

Citizen Cope appeared next, as Clarence Greenwood took the stage with a light, accompanying drum roll to “Hurricane Waters.” Other fan-favorites were played, including “Sideways” and “Let the Drummer Kick.”

Trevor Hall | Red Rocks Amphitheatre

Trevor Hall then took the stage to a highly vibrational crowd applause. His solo acoustics rang throughout the amphitheater, as he opened with “To Zion” transitioned into “Moon & Sun,” and guided the way to “The Mountain” via passionate guitar solos…all before giving his own shout-out to the crowd about his appreciation of finally getting to play for them after a long-awaited two years.

Trevor Hall | Red Rocks Amphitheatre

Trevor next played “My Own,” adding his rendition of Bob Marley’s “Could You Be Loved” at the end. The same sequence followed with “Bowl of Light” morphing into a jammed-out version of Foo Fighters’ “Everlong.”

Gone Gone Beyond | Morrison, CO

Trevor’s Road to Red Rocks Tour was accompanied by Gone Gone Beyond, who were brought to the stage right as a light sprinkle of rain hit the amphitheater. Following was the track “Green Mountain State.” Afterward, Trevor brought out guest and co-creator, Marieme, with a monologue about the importance of mental health as they performed their song “Two Oceans” together.

Trevor brought out guest and co-creator, Marieme Red Rocks Amphitheatre

The set continued with an epic and momentous visit from Leah and Chloe for a collective version of Trevor’s fan-favorite, “Lime Tree.”

Trevor Hall with Rising Appalachia | Red Rocks Amphitheatre

The conclusion of the set radiatied with passion and appreciation for the reunion of all musical acts in the same place…under the Colorado sky…in harmony.

Trevor Hall | Red Rocks Amphitheatre - photos by Angela Ricciotti

Check out more photos from the show.

Red Rocks Amphitheatre | Morrison, CO - photos by Angela Ricciotti

Mon, 05/16/2022 - 6:36 pm

Lightning in a Bottle, taking place this Memorial Day weekend (May 25- May 30, 2022) is known for its multi-faceted level of entertainment brought to attendees by festival producers, DoLab. Given the epic music lineup and perfect California scenescape …what else makes this festival an exemplary model of a transformational festival experience? 

Compass Lineup | Lightning In A Bottle Festival

The crossroads of the music festival subculture with a full-spectrum Learning & Culture Lineup (LIB Compass) allows attendees to—not only embark on a deeper journey of consciousness throughout the weekend at Buena Vista Lake—but also be provided with the knowledge, educational practices, and practical toolkit to bring back with them into their own communities … and then create a ripple social effect.

Research from Sage Journals shows that the popularity of festivals has been steadily increasing over the past few years, potentially even despite COVID-19, where these festivals and the commonwealth's value were showcased, at a time when events ceased to exist.

These on-site festival experiences are sacred, and many in the music festival subculture (or, “scene”) are aware of the energetic power stream that takes place when thousands of people come together in one space. It is the purest moment in time—that feeling of ecstasy—that allows us to tap into our greatest potential at that very moment and have no doubts about the possible realities we can create. Festival grounds are a place where we all know how to communicate with each other, to live side-by-side, united by a collective vision for a better future. They provide a surreal understanding of what really matters in life. 

Photo by Eric Allen

Research on the culture of music festival fandoms shows that the music festival subculture is fueled by a sense of identity and a taste for belonging to a culturally conceptualized community. People will continue to travel far and wide to these fest locations just to be with other fans and to share in the mutual joy of the music. In almost a religious context, the music serves as a communal event.

Commonly, we see it in national concert venues where fans congregate outside the venue hours before and after the show simply to interact with others. Experiences such as these also illustrate how vastly this fest community embraces technologies to quickly distribute information and stay connected.

84% of those surveyed feel there is a connection between themselves and other fans that like the same music. Contrast this with the 63% who feel a connection between themselves and the music artists they like. Fans feel a stronger connection to other fans than they feel with the artists they enjoy. Fans perceive an increased value of a live concert because they are getting much more than just the music … They are also getting a community experience. 
Source: https://www.meiea.org

Many of the global problems and systems in need of healing could use a similar communal force that the festival grounds contain. 

This is where the intersection comes into play

It is the intersection between this subculture’s collective power of unison and LIB’s Learning & Cultural Hub. LIB Compass’s curriculum covers all bases where powerful, life-changing programming is concerned … where the delivery of this educational content is, not only admirable in design but capable of truly tapping into the potential of this unique subculture …capable of delivering the right information to the right people … of impacting how future generations co-create, plan and thrive.

Photo by Watchara

The Learning & Culture Hub (Compass) on-site at LIB is an immersive area offering a diverse array of educational opportunities designed to engage the senses, expand the mind, and inspire community action. The experience includes talks, workshops, and panels by world-renowned visionaries, experts, and thought-leaders, in areas like indigenous cultures, psychedelic medicine, climate change, love & relationships, healthy eating, and so much more. The programming is contemporary, rooted in educational activism, and equipped with a teaching style designed for impact.

Highlighted talks and discussions in this year’s programming include Regenerating Soil with Microbes, Cryptocurrency: The Ownership Economy, Queering the Liminal, Technology of Prayer, Fire Adapted Communities: Building A Wildfire Resilient Future, Transforming Fulfilling Prophecies into Love, Resilience of Chamorro Food and more.

More likely than not, your typically-conceived festival goer is coming for the epic headliners (did we mention Glass Animals, Kaytranada, GRiZ, Black Coffee, Four Tet, Big Wild, Chet Faker?!), but these fest-goers thrive because of the community. And who knows, the curriculum at The Compass could radically impact their lives with the trifecta of all these elements—music, education, community,

Not only is The Compass a win for LIB, as well as for attendees, but it is also a collective win for the future of the music industry, the future of the festival industry—and most importantly— for the hope in humanity.

Photo by Jessica Bernstein

Fri, 06/03/2022 - 9:48 am

The Grand Artique Stage at Lightning in a Bottle 2022 defined an aptitude for an inventive teleportation station.

The experiential stage mutated reality, and took you directly to an Old West town titled Frontierville. The town’s westerly presence contained a General Store Trading Post, a Saloon, and—adjacent to the stage—a two-story viewing house,which allowed attendees to travel back in time through the two-story homestead, and also led to a viewing dec, equipped with a record player, books, and all the tchotchkes. Costumed characters fully conceptualized the set design,allowing for an unforgettable experience.

photo credit: Juliana Bernstein - @gettiny

With over a decade of experience, Grand Artique has assembled an exceptional roster of diverse talent.  From creators and builders, to producers, performers and collaborators, Grand Artique serves to enhance the imagination by curating fully immersive performance theatrics. Take those efforts—teamed with diverse musical acts and circus talent—and you get the perfect LIB experiential stage.

*In chronological order.

1) Gone Gone Beyond

Gone Gone Beyond is the synergy of David Block, Danny Musengo, Kat Factor, and Mel Semé, which delivers a potent message of hope, and the desire to return to humanity. The collaboration captures the story of beautiful uncertainty in an ever-changing world. Their music pays homage to the traditions of American folk songwriting, whilst combining  a myriad of influences, from electronica and jazz, to soul and world music. Gone Gone Beyond paints a new kind of sonic landscape, situated  between the roots of the California redwoods and the vastness of the Pleiades constellation. They have been described as "mesmerizing future folk" (Consequence of Sound), blending organic and electronic music.

photo credit: Eric Allen - @ericallenphoto

At LIB, Gone Gone Beyond’s powerful vocals and melodies rang throughout the Grand Artique Stage. The crowd was mesmerized and tuned into the collective exploration of their unique sound. Opening with“Gravity,” they continued with crowd favorites, “Riptide” and “Little Moon.”

2) Dirtwire’s Psychedelic Hoedown

Dirtwire sits on the back porch of Americana’s future, conjuring up a gris-gris of sound with an amalgamation of traditional instrumentation, world-beat percussion, and electronic soundscapes. Comprised of multi-instrumentalists David Satori (Beats Antique) and Evan Fraser (Hamsa Lila; Stellamara), the result is a rebirth of Americana, and a beacon for a post-millennial return to downhome goodness.

photo credit: Juliana Bernstein - @gettiny

At this LIB, Dirtwire’s Psychedelic Hoedown was pertinent to the vibe of the Grand Artique—a true testament to the  Dirtwire community. Inspired by Grand Artique’s curation and overall vibe, Dirtwire invited some of their favorite artists on stage, including the rhythm and horns sections from the intergalactic San Diego-based dub band, Boostive. The stage was packed, and the vibes were high. For days to come, attendees mentioned the Hoedown as being one of the top performances and collaborations throughout the weekend.  This full improvisational set was led by a white board as a conductor - inspired by their work with the Everyone Orchestra to conduct the jam.

See Full All-Star Lineup:
 
Evan Fraser - keys, Kalimba, Jaw Harp
Mark Reveley - Guitar, Synth
David Satori - Guitar
Briana Di Mara - Violin
Wesley Etienne - Trombone
Nathan Kocivar - Sax
Chris Hoog - Sax
Anthony Meade - Trombone
Seiji Komo - BASS
Malachi Johnson - DRUMS
Tahib - Ngoni
Cassandra Lewis - Vox
Turqouise - Vox
Shiloh - Vox
Heather Christi - Vox
Vir Mccoy - Guitar, Saz, Conducting
Anthony Ward Flowers - Performance art
Larry Yazzie - Traditional Native American Dance

3) Global Brunch with Danni G, Spekti, Andreasone & Beatalks

Samuli Huhtala, professionally known as Spekti (and previously as Aspekti and Uncle Damn), is a Finnish rapper; Andreas Smith is a DJ providing AfroBeats, World House and Hip-Hop; and Beatalks is a Venezuelan-born drummer and percussionist!

photo credit: Mike Kim - @mikeeekimchi

The Global Brunch consisted of eclectic performances dominated with Venezuelan culture. With the Venezuelan flag majestically flying through the air, the essence was felt throughout the crowd, via the combination of the live DJ, drums, and overlaid vocals. Specialized dancers took turns on stage showing off their footwork, then making their way into the crowd for partner dancing. The best part, though, was the complimentary Venezuelan food station situated behind the audience, which was shared with attendees, and passed throughout the crowd for a true taste of culture.

4) The Brothers Comatose

Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows. The Brothers Comatose is composed of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Scott Padden (bass, vocals), Philip Brezina (violin), and Greg Fleischut (mandolin).

photo credit: Jamal Eid - @jamal.eid

At one of the only pure bluegrass setsat this year’s LIB, fans were ecstatic to see them on the lineup and perform on Sunday afternoon. The combination of raw, authentic string music, after a predominantly full weekend of electronic music, provided for a refreshing vibe throughout the Grand Artique. Fans were (literally) stompin’ their boots, dancin’ to swing, and getting called  out from the stage for kicking up dirt throughout the scene. It was a dusty,ragin’ good ole time. The Brother’s Comatose opened their set with “Angeline,” and played fan-favorites, “Tops of the Trees,” and “Valerie.”

5) El Papachango

Argentinian DJ sensation, El Papachango, has been at the forefront of the West Coast bass music scene, blending South American music with West Coast underground beats, and creating unique and infectious grooves wherever he goes. His sound is characterized by sexy, soulful banging Global Bass fusion, with a Latin sazón that is quintessential to his name.

photo credit: Brian Ngo - @brianngo.photos

The stage was packed full and hips were moving. El Papachango provided a cultural deep-dive to attendees at LIB. The purity and love, coupled with the electronic cultural music, provided for a truly unforgettable Sunday set at the Grand Artique Stage. The combination of the latino lyrics with a high-paced energy allowed for a deep stimulation throughout attendees that pulsed through their veins.

LIB GRAND ARTIQUE

GRAND ARTIQUE
Dirtwire’s Psychedelic Hoedown The Brothers Comatose
Tommy Guerrero Hermanos Gutiérrez Gone Gone Beyond
Moontricks Smooth Hound Smith El Papachango
Red Giant Project High Step Society Ofier Kaipora
Buyepongo Sofaz Shane Hall Carlo Hello Yes
Zebra Moodlite MitchUm Yacoub Shovelman
Andrew Sheppard Mírame by Brittany Quidang
Q.varo Par Avion Miss Federoff Jahgun & Justifyah
Mylk && Honey Cassandra Lewis The Wandering Menstruals
“The Grand Auction” Kiyoka Pivot to Presence
Evan Schiller Renegade Opera Sunday Revival
Grand Artique Talent Show

photo credit: Ysabella Lopez - @y.s.a

Tue, 07/19/2022 - 12:23 pm

First performance together since both bands (The String Cheese Incident + Leftover Salmon) have been inducted into the Colorado Music Hall of Fame in the Official Class of 2021.
Show covers include The Grateful Dead and Bob Marley.
Full setlist at the end of the article. Key below for reading.
* = w/  @leftoversalmonmusic
FTP (First Time Played): New Speedway Boogie, Dear Mr. Fantasy

The String Cheese Incident came in strong for their annual five-night Colorado run. Their flaming-hot in-the-saddle Saturday night Red Rocks performance with Leftover Salmon was preceded by their annual Dillon Amphitheater shows (Tues & Wed) and their opening night at Red Rocks (Friday).

Billy Nershi | The String Cheese Incident

This highly-anticipated and perfect summer Saturday was a renowned occasion for all to soak in the Colorado Bluebird Sky atmosphere at Red Rocks, and to bask in the rosy pink sunset that fell into the night.

Keith Moseley | The String Cheese Incident

The String Cheese Incident is an emblem of the jam-band subculture for their Rocky Mountain roots and curation of nation-wide party atmospheres. The strength of the community was exceptional and welcoming, showcased by dedicated fans high-fiving each other, riding off of the previous nights of shows, primed for whatever the genre-bending String Cheese Incident would deliver.

And WOW… they delivered!

Vince Herman | Leftover Salmon

Leftover Salmon’s supporting set began first with a hefty and powerful “We’ll Get By,” “Show Me Something Higher,” and “High Country,” verbally shouting out the beauty of the packed amphitheater and surrounding landscape.

Drew Emmitt | Leftover Salmon

The band referred to Colorado as home, and shouted out for Scramble Campbell, resident Red Rocks Visual Artist, saying thank you for “[representing and showcasing] what family truly feels like in art form.”

Leftover Salmon | Morrison, Colorado

The synergy between the electric strings and vocals was authoritative, compelling and truly paramount to the sovereignty of audio that was blasted from Leftover Salmon.

Kyle Hollingsworth | The String Cheese Incident

Coming out to big applause, The String Cheese Incident took the stage right as an epic pink sunset fell upon the amphitheater. They opened with “Jack Mento Intro, On The Road, These Waves > Djibouti Bump > This Must Be The Place (Naive Melody), > Bhangra Saanj.” These sequences of sounds were melodic in their extended jams, while beautifully layered with Jason Hann’s (percussion) staccato drumming and the high-energy foundation of keys from Kyle Hollingsworth.

Jason Hann | The String Cheese Incident

The music was explorative and soft, whilst consistently building up pace for high-level musical peaks. Supported by compelling shreds from Keith Moseley (bass guitar) and Michael Kang (violin), for a heart-centered sequence of, “Joyful Sound > Beautiful,” familiar lyrics rang throughout the crowd coupled with Bill Nershi’s omnipotent vocals.

Michael Kang and Jason | Morrison, CO

Next, Leftover Cheese (The String Cheese Incident and Leftover Salmon Collab) took the stage for a legendary Grateful Dead cover, “New Speedway Boogie* (FTP)” and set-closer, “Reach.* (FTP)”

Vince and Nershi - photo credit: NOCOAST

Following, Bill Nershi gave a wonderful shoutout to Leftover Salmon for just recently being inducted into the Colorado Music Hall of Fame, alongside The String Cheese Incident for the Official Class of 2021.

Bill Nershi | Morrison, CO

After the set break, The String Cheese Incident returned and asked the crowd to participate in a “Get Well Phil,” a video to Phil Lesh for being unable to attend the shows this weekend due to COVID-19 exposure. It allowed for a unifying and blissful moment before set two.

Michael Travis | The String Cheese Incident

The band teased and played their way through “Trip the Light Fantastic” and “One Step Closer > BollyMunster.” They continued with “Lend me a Hand,” into a fabulous fan-favorite, and the inventive, “Jellyfish,” into a “Land's End > Dear Mr. Fantasy > Glory Chords > Rosie.”

Salmon & Cheese @ Red Rocks - photo credit: Running the Route Media

Their foundational music base was heavily rhythmic with deep support from each band member, as the evidence of their decade-long reputation was once again instantaneously felt and fulfilled. Their jamtronica superpower essence, dueled with bluegrass roots, allowed everyone to easily move in frequency with the audio waves and high vibrations.

Cheeseheads in Morrison, Colorado

They ended this legendary Saturday Night Cheese performance with a Bob Marley cover of “Could You Be Loved” with supporting vocals from the attendees. As everyone took in the magic of what they just witnessed—the true illustriousness of the night—each attendee was hit with a feeling of divine epicness… of what was one of the best live-music-filled Colorado weekends… since the last Cheese Week that was!

Stay grateful, my friends.
~ Maddy Crandall

Red Rocks Amphitheatre | July 16th, 2022

Morrison, CO - 7/16/22

S1: Jack Mento Intro, On The Road, These Waves > Djibouti Bump > This Must Be The Place (Naive Melody) > Bhangra Saanj, Joyful Sound > Beautiful, New Speedway Boogie*, Reach*

S2: Get Well Phil, Trip the Light Fantastic, One Step Closer > BollyMunster, Lend Me A Hand, Jellyfish > Land's End > Dear Mr Fantasy > Glory Chords > Rosie

E: Could You Be Loved

* = w/  @leftoversalmonmusic
FTP (First Time Played): New Speedway Boogie, Dear Mr. Fantasy

Thu, 10/20/2022 - 2:36 pm

The more diverse music one has experienced, the better idea one has in forming a complete definition of music… Cultural expression and learning operate within a boundary. Diversity comes from outside of this boundary and leads to more learning, which enriches cultural expression...”  - C. Victor Fung | The Role of Musical Diversity in Redefining Music: Towards Rich and Meaningful Life Experiences

Music is a fluid phenomenon. It consistently transcends, embodies, and actualizes, throughout the differential matter of time and space.

While the recomposition and redefinition of music are no longer geographically or generationally limited, the desire for expansion is present. It all breaks a cyclical pattern, allowing for a deeper exposure into the human experience.

Suwannee Hulaween is that integral cascade of musical diversity; a thriving polyculture of diversity.

The Suwannee Hulaween 2022 bill showcases a stimulating and exquisite cross-genre lineup. The bevy of artists across the genre spectrum include: alternative rock/indie bands Rainbow Kitten Surprise, Portugal the Man, and Black Pumas - to Atlanta Rapper JID - for their Hulaween debuts; festival veterans, such as bluegrass/ folk legends Leftover Salmon, and award-winning funk band Lettuce- a fan-favorite; a Desert Hearts house music takeover; electronic pop duo Sylvan Esso; prestigious electronic jam-band STS9; and, of course, three nights of festival founders - The String Cheese Incident.

This contemporary evolution of music is necessary in order to keep our polycultures thriving…to push the edges of our “norms”... and, to reconstruct the culture in which we want to participate.

Although we are born within cultural boundaries, our deepest expression is oftentimes felt at events where we are privileged to witness deep exposure to diversity.

This unified awareness, intellectual growth, cultural transformation, media transmission, and technological invention that occur during these events are staples of the cultural expansion.

Suwannee Hulaween’s ninth edition returns home to the Spirit of the Suwannee Music Park in Live Oak, Florida from Thursday, October 27 through Sunday, October 30.

Source:
https://www.imc-cim.org/programmes/WFM2/Fung.pdf

Wed, 10/26/2022 - 4:18 am

Bob Weir & Wolf Bros brought another affluent articulation of the extended Grateful Dead catalog to the architecturally and acoustically stunning Hult Center on Friday and Saturday nights in Eugene for back-to-back shows. [NIGHT TWO REVIEW]

Hult Center | Eugene, OR

Weir emerged with his core Wolf Bros—Don Was (bass), Jay Lane (drums), and Jeff Chimenti (piano), along with accompanying brass and string musicians who alternated stage presence with solo performances, supporting the evening's holistic sounds.

Jay Lane | Hult Center

“My Brother Esau” led the show, the biblical annotation and persistent lyrical mysterium allowing for an unwaning and steady transition into the night.

Hult Center | Eugene, OR

“Queen Jane” followed with a sort of Hawaiian twang to it, coiled with an acclimating slow-building melody. Sweet and delicately pronounced keys from Chimenti took the first swing on taking attendees on individual instrumental journeys.

Bob Weir | Hult Center | Eugene, OR

Bobby’s vocals were strong and articulate in the immaculate venue. With each breath and break of sound, there was a uniform pause of appreciation for music’s keen ability to maintain culture over time.

Hult Center | Eugene, OR

In alignment with Bobby’s fluid control, the band dropped into a layered harmony of instrumental bliss with ease, as they transitioned into “Row Jimmy.”

“Catfish John” followed, with Bobby’s sensual, supporting guitar shreds.

Don Was | Eugene, OR

“Tennessee Jed” was next, combined with expository light spectrums visually emulating the crowd’s energy.

Weir and Wolf Bros | Eugene, OR

Throughout the evening, Bobby’s vocals were the root of the exploratory jams, deliberately making every attendee mumble to themselves, “Damn. That’s why we’re here...” as the familiarity of the culture set in once again.

Barry Sless | Hult Center

The combination of the Wolf Bros with the quintet of horns and strings allowed for energetic support and exploratory transitions. It created the true essence of presence, with the orchestral notes perfectly encapsulating the Grateful Dead improvisational technique.

Hult Center | Eugene, OR

Horns mimicked the crowd, and the crowd mimicked the horns powerful “ashes, ashes, all fall down…” as the first set closed with “Throwing Stones.”

Bob Weir | Hult Center

Set two busted out with the Grateful Dead in full force, with a delightful acceleration complimentary to the first set. They began with “I Need a Miracle,” transitioning into a funky “Scarlet Begonias.” Bobby allowed for the crowd to lead, as if he were registering their energy directly into the audio.

Hult Center | Eugene, OR

Cued by a Bobby head nod, each additive orchestra member joined in the remaining songs, each with highlighted solos.

Bob Weir | Eugene, OR

Red lights poured throughout the venue for “Fever,” accompanied by a blues-driven trombone solo, while "Uncle John’s Band" beautifully highlighted the saxophone solo. Then “Morning Dew” was ever so passionate with a seemingly flawless trumpet solo.

Hult Center | Eugene, OR

The paradox of the encore was the pinnacle of the evening — the highly electric “One More Saturday Night” progressing into the blissed-out “Brokedown Palace.”

One More Saturday Night in Eugene, OR

As the Grateful Dead guitarist continues to tour, and he continues to keep the merriment of the Grateful Dead subculture alive and thriving… the music will never stop being chronicled and honored in all its forms.

See you all next time!

Fri, 11/11/2022 - 10:05 am

Greensky Bluegrass swept through Eugene’s McDonald Theatre for a night of fall-tastic bluegrass. The essence of the evening illuminated the transition of the seasons, from the epic lyrical storytelling, to the graceful auditory buildups.

McDonald Theatre | Eugene, OR

The tour bus parked outside the venue came into view, as attendees rounded the corner of the show’s line beneath the animated marquee.

McDonald Theatre | Eugene, OR

Then the night began. Greensky Bluegrass ignited the evening with “Don’t Let Your Deal Go Down.”

Greensky Bluegrass | Eugene, OR

The crowd embraced the band’s organic representation of  traditional bluegrass, which was combined with a newly-generational lyricism and storytelling technique; and the eloquent string-picking notes simulated the sounds of leaves gently falling to the ground.

Michael Bont | Greensky Bluegrass

“Lose My Way” was next—with Hoffman’s vocals ringing strongly—supported by an epic banjo solo from Bont, and followed by a true showcase of instrumental storytelling from Beck on the dobro.

Greensky Bluegrass | Eugene, OR

A twangy and classical bluegrass start to “It’s Not Mine Anymore” followed, continuing with an elongated and spacey strumming, which then finished with a dramatic pause and re-entry to close out the entirety of the tune.

Paul Hoffman & Mike Devol

Hoffman called out to the audience, “Hello Eugene!”

Happy Birthday, Anders Beck!

It sure has been awhile!” shouted an attendee from the crowd, wishing Anders Beck [dobro] a birthday congratulations.

McDonald Theatre | Eugene, OR

Next was “Universal Sound,” with an intense, highlighted solo from Devol on the upright bass. Then Hoffman screamed out about how good a time he had playing that song, and how he hoped the audience enjoyed it just as much as he did. “It’s just vibey,” he said.

Greensky Bluegrass | Eugene, OR

“Growing Bananas” and “All for Money” followed, projecting a rippling kaleidoscope of visuals, coupled with advanced string plucking.

Bont, Hoffman, & Devol | Greensky Bluegrass

Greensky’s years of experience touring on the road showed, as they covered Norton Buffalo’s “Ain't No Bread in The Breadbox” to close the set.

Paul Hoffman | Greensky Bluegrass

With a little jig from Hoffman (seen a lot throughout the night), the band retook the stage with “Just Listening” into “Like Reflections”—a wholesome duo to ignite the second half of the evening. The level of harmonic synergy heightened with  the crowd, for a full-blown disco bluegrass party during “Train Junkie.”

Anders Beck | Greensky Bluegrass

“Stress Dreams” closed out the second set with deep excitement and animation from an enthusiastic dobro player. After a brief encore applause, Anders Beck [Dobro] led the band back onto the stage as the MC for a very rowdy version of “Casual Wednesday.”

Greensky Bluegrass | McDonald Theatre

Beck deliberately and passionately walked the front of the stage, amping up the crowd and explaining, “Today is a very special day. Because it is ‘Casual Wednesday,’ and it’s so simple to feel this good just once a week.”

McDonald Theatre | Eugene, OR

Beck rejoined the band for an astronomical musical closeout to his beautiful MC opening.

Greensky Bluegrass | Eugene, OR

Greensky Bluegrass closed the evening and second encore piece with ripping Phish cover, “Chalkdust Torture,” the true whip cream on top of this casual Wednesday pumpkin pie.

Greensky Bluegrass | Eugene, OR

This fall-themed set adhered to the ups and downs and the gracefulness of storytelling that comes with autumn…the smell of brew throughout the venue…the gentle ability to go from fast to slow and build up the energy—whilst utilizing and exploring each other's key ingredients to make that sweet dessert…that we call Greensky Bluegrass.

McDonald Theater | Eugene, OR

Wed, 05/17/2023 - 1:08 pm

Do LaB welcomes the 20th anniversary of Lightning in a Bottle, North America’s original boutique festival taking place Memorial Day Weekend at Buena Vista Lake in Southern California this May 24-29, 2023.

At Grateful Web, we have put together the top five experiences we recommend for attendees to fully experience the holistic intimacies of Lightning in a Bottle's 20th anniversary celebration

photo credit: Eric Allen

So gear up, adopt a "yes" attitude, and get ready to dive into the array of top-tier music curation, creative art, immersive environments, and educational classes and workshops that fuel the inspiration and creative environment that is Lightning in a Bottle.

1. Explore the New Musical Additions!

First and foremost, it's crucial to highlight the enormous new additions to the music lineup at LIB 2023. One of the beautiful things that LIB is known for is their diverse array of music that captures the souls of all kinds of music lovers.

photo credit: Eric Allen

This year's Lightning Stage is known for highlighting some of the most cutting-edge artists in the game, providing festival-goers with access to the hottest music in the industry. Headliners include Rezz, known for her moody, dark-hued production style, pop-duo Sofi Tukker, celebrated for their inclusive and global perspective on electronic music, Grammy-nominated musician and producer Zhu, and the Phantogram duo, who produce "street beats and psych pop." Additionally, up-and-coming Houston-based enigma Tobe Nwigwe is not to be missed.

The Thunder Stage represents the epitome of electronic music, featuring headliners such as Liquid Stranger, Tokimonsta (DJ Set), and The Glitch Mob, as well as special performances like "Lightcode" by LSDream and a "Sunday Service" with The Polish Ambassador. The Thunder Stage showcases the full spectrum of sonic boundaries and genre-mixing that defines the experimental electronic scene.

photo credit: Brian Ngo

The Woogie Stage for 2023 promises a technicolor wonderland filled with house and techno music, all on one stage. Headliners Diplo, Purple Disco Machine, and Blond:ish will perform alongside live sets from Ben Bohmer and Stephan Bodzin.

2. Don’t Miss the Returning Musical Acts!

Reaching a twenty-year milestone for a festival requires a strong community. Don't miss fan-favorite returning acts, including the influential three-piece electronic band The Glitch Mob, TOKiMONSTA, a full theatrical performance from Beats Antique, as well as psychedelic and experimental artist Random Rab, El Papachango, Dimond Saints, multi-instrumentalist David Starfire, and a special performance by William Close & The Earth Harp Experience

[BONUS!]: Did we mention new stage designs?!

photo by Don Idio

For the 20th Anniversary Celebration, attendees can look forward to new stage designs at the Lightning and Woogie Stages, as well as a newly revitalized Thunder design. Programming on the newly designed Woogie Stage will begin on Thursday, providing an additional day for attendees to explore the stage's new design. Plus, The Grand Artique has once again assembled an exceptional roster of diverse talent, curating fully immersive performance theatrics with an Americano twist, to enhance attendees' imaginations and create the perfect LIB experiential stage.

3. Attend The Iconic 80s Prom!

photo credit: Get Tiny

You heard it right! Traditionally hosted at Favela, the smaller house stage at Lightning in a Bottle, the 80s Prom is making its themed return to this year’s LIB. Think disco balls, 80’s tracks and bold and eclectic styles, influenced by the vibrant fashion trends of the era. The 80s were designed to make a statement, with a focus on individuality and self-expression, and that’s just what this 80’s Prom on Thursday night at Lightning in a Bottle is doing.

4. Learn at the Compass & Learning Kitchen!

photo credit: Eric Allen

The LIB Compass & Learning Kitchen offers an immersive and diverse educational program for festival-goers. Attendees can deepen their consciousness and gain knowledge to bring back to their communities. The program includes talks, workshops, and panels by world-renowned experts on topics such as indigenous cultures, psychedelic medicine, climate change, and healthy eating. The contemporary programming is designed for impact and inspires community action.

5. Explore the Interactive Townscapes!

Rink-a-Dink Roller Rink - photo credit: Don Idio

Be sure to peel yourself away from other extracurriculars to make time to explore all the interactive art exhibits that are stationed throughout the festival site. Explore the interactive townscape of Bark Kitten, the Jive Joint, Unicorn Palace, The Mixtape, the Rink-a-Dink Roller Rink, Big Leroy’s Karaoke, Fungineers Ice Cream Truck, and Martian Circus… Sounds like a dream, but we promise it's the best kind of reality.

Twenty years as a festival is like a respectful elder who has accumulated all the wisdom, experience, and good vibes to make this year the best and quirkiest celebration yet! To fully celebrate this significant and enduring event, make sure to check out these top five crucial elements of the festival listed above. They will guarantee a holistic experience for attendees at this year’s Lightning in a Bottle.

photo credit: Get Tiny

Fri, 06/02/2023 - 11:00 am

Lightning in a Bottle's 20th anniversary unfolded at Buena Vista Lake in Southern California from May 24-29, 2023. This milestone event epitomized a unique and electrifying experience for all attendees. With an immersive fusion of music, art, and workshops, the atmosphere buzzed with a slight overstimulation that grounded the nervous system, fostering profound connections with oneself and others.

photo credit Sydnee Wilson

This year’s Lightning in a Bottle felt like a living, breathing art installation, brimming with inspiration at every turn. Although it was impossible to be everywhere at once, this realization fostered a deep sense of presence in the moments stumbled upon throughout the festival. Each encounter felt divinely orchestrated, as if destined to be experienced at that precise moment.

photo by Jess Gallo - Atlas Media

With each stage boasting its own distinctive ambiance, this year’s event facilitated seamless transitions between different musical vibes, allowing attendees to curate their desired experiences. While traversing from the Lightning Stage to the Woogie may have seemed like a substantial journey, it offered countless opportunities to tailor the journey to one's preferences, ensuring an ideal and fulfilling experience along the way.

MUSIC

photo credit: DIVISUALS

Attendees arrived on Wednesday, setting up their camping experience in preparation for an epic Memorial Day weekend. Though the sun was hot, the vibes were even hotter. The once-empty Bakersfield transformed into a kingdom of camping suites, providing shelter from the blazing California sun and a comfortable home away from home for the weekend. SAAND closed out the Wednesday night pre-party at the Junkyard, setting the ambiance with his rhythmic and soul-focused beats for the journey ahead.

The Stacks stage | Lighting in a Bottle Festival

Thursday brought an exciting highlight as attendees geared up their style for the day's events. Some got dressed in purple for Purple Disco Machine, while others curated a funky elegance for the Iconic 80’s Prom. With programming commencing on all stages, attendees had the freedom to hop between acts. They could enjoy a hearty "Renegade Opera" at the western-themed Grand Artique, indulge in a sunset "Little Dinosaur" set where funky threads and grooves filled the air until the sun dipped below the lake, or join the bassheads at the grand opening of The Stacks stage for an epic set by "ION" and "Kowta".

photo credit: DIVISUALS

David Starfire set the tone for an uplifting Friday on the Thunder Stage, surrounded by a myriad of misters glistening in the daylight. Throughout his set, he skillfully mixed some Beatles songs, creating a sense of gratitude that permeated the crowd. Hamdi took the stage next, captivating attendees with his signature fusion of Dubstep, UKG, and Grime, igniting a fire within their bodies that lasted throughout the day.

photo credit: DIVISUALS

Over at the main Lightning Stage, Dimond Saints electrified the atmosphere with their unique waves of sound. Following their performance, Uncle Waffles, hailing from South Africa, treated the audience to her diverse musical stylings, with a special focus on her track "Tanzania," accompanied by a captivating multimedia music video released in 2022. As always, Uncle Waffles showcased her unmatched talent as an amapiano musician, lighting up the dancefloor with her infectious moves.

photo credit:  Jess Gallo - Atlas Media

Meanwhile, Marty O'Reilly graced the Grand Artique with his presence, blessing the crowd with his authentic and powerful vocals. His soul-stirring rendition of the fan-favorite "Dreamcatcher" reverberated through the air, as attendees twirled and spun in perfect harmony, their boots stirring up clouds of dust.

The Polish Ambassador - photo credit: Wink

As night descended upon the festival grounds, The Polish Ambassador enchanted the audience at the Thunder Stage with a slight departure from his usual sound, delivering a more house-oriented performance. The Stacks stage was taken over by the dynamic duo of Duffrey and Josh Teed, providing electronic beats that compelled bodies to move and groove.

photo credit: DIVISUALS

Sad Night Dynamite, hailing from the UK, delivered a high-energy performance that left an indelible mark on the audience. Their hit song "Psychedelic Views" caused a whirlwind of sensual excitement, captivating all who were present. The Lightning Stage was brought to a climactic close by the electrifying duo Sofi Tukker, who showcased their latest track "Trompa" during their set and the  finale of the Lightning Stage for the evening.

photo credit: DIVISUALS

To end the night with a bang, electronic music fan-favorite Diplo took the stage at the Woogie stage, offering an eclectic mix of his timeless tracks that kept the crowd on their toes until the very end.

photo credit: DIVISUALS

Saturday dawned in Bakersfield, California, gifting festival-goers with another glorious day. The Rainbow Girls graced the stage at the Grand Artique, infusing the atmosphere with their enchanting presence. Their gentle and graceful energy created a safe haven for exploration, as their pristine vocals captivated the audience. The melodic strains of "Meet You at the Gate" resonated through the air, inviting everyone to sway and groove to their lovely tunes.

photo credit: Sydnee Wilson

Meanwhile, over at the Lightning Stage, Beats Antique took the crowd on a rhythmic journey that demanded movement. With their world-fusion sound and the mesmerizing performances of their renowned bellydancers, they transported attendees to another realm of musical experience. Simultaneously, Chmura delved into the depths of sound and audio exploration at The Stacks Stage, while Wreckno masterfully merged the spirit of Pride Month with the vibrant festival atmosphere, occasionally joining the dancers in the front to create a truly captivating performance.

photo credit: DIVISUALS

As the sun began its descent, setting the stage for an epic night of music, Mind Chatter took the spotlight as a beloved fan-favorite. Delivering two exceptional sets, one at the Lightning Stage and a late-night performance at the Grand Artique, his talent shone brightly. With his live vocal translations and a moody electronic ambiance, he commanded deep respect for his production skills while creating a unique and engaging dancefloor experience. LTJ Bukem w/ Armanni presented a magnificent showcase of drum and bass, heightened by the presence of a sensational MC. And just when the night seemed complete, Moontricks wowed attendees with their energetic and electrifying string performance. Their collaboration with Gone Gone Beyond, "Coast," and the beloved track "Home" left the crowd buzzing with excitement.

ZHU | photo credit: Juliana Bernstein//Get Tiny

Finally, the mainstage was set ablaze by Zhu, whose high-energy electronic performance ignited the Lightning Stage. The entire area was awash with the radiant glow of festival totems, enthusiastic attendees, and the eclectic vibe of the music, culminating in an unforgettable closing act.

photo credit: Jess Gallo - Atlas Media

Sunday brought a delightful blend of musical energies, as My Baby took the mainstage by storm. Their performance encompassed a dynamic fusion of house music, blues, and elements of country, accompanied by enthralling live vocals. It was a midday treat that offered both entertainment and an exciting atmosphere. Meanwhile, Daily Bread graced the Thunder Stage with his electrifying bass music, weaving a captivating visual journey alongside his distinct southern influence. The genre-spanning prowess he displayed made for an epic Sunday Funday under the refreshing misters.

photo credit: Juliana Bernstein//Get Tiny

At the Woogie Stage, Sabo & Goldcap held the crowd spellbound with two hours of consistent beats that propelled bodies into rhythmic motion. Their seamless collaboration provided the perfect soundtrack for success. parkbreezy, representing the all:lo collective, delivered a head-bobbing set, infusing it with dancey vibes that showcased the undeniable talent within the collective and solidified their reputation as rising stars worth witnessing.

photo credit: Jess Gallo - Atlas Media

For those fortunate enough to catch Jahgun & The Justifyah Band jams at the Grand Artique late into the night, the experience was a guaranteed smile-inducer. The infectious rhythms and soulful melodies created an atmosphere of pure joy.

photo credit DIVISUALS

Tobe Nwigwe was a must-see for festival attendees, as his musical performances were masterfully intertwined with theatrical elements. This unique combination brought storytelling and hip-hop to life, captivating the audience's senses. As the Lightning Stage drew to a close, Rezz took the stage, delivering yet another epic performance that added to the grandeur of Lightning in a Bottle's 20th anniversary celebration.

photo credit: DIVISUALS

And lastly, if you were among the fortunate souls present for the awe-inspiring Earth Harp experience, gratitude should fill your heart. The massive harp strings, fastened to the main stage, transformed the environment into a symphonic wonder. These transcendent performances fostered profound connections, showcasing true innovation, auditory satisfaction, and the creative use of nature and space to produce purposeful melodies. Witnessing such a unique spectacle was undeniably special, leaving an indelible impression on all who experienced it.

photo credit: Jamal Eid

Indeed, it is a beautiful and mesmerizing experience to witness talented artists refining their unique sounds on stage, infusing electronic elements to captivate and enchant the audience of this year’s event.

photo credit: DIVISUALS

ART:

The power of art is transcendent, and Lightning in a Bottle showcased this power in numerous ways. This year's intentional creativity was vast, featuring dozens of talented artists in the scene. The festival grounds were adorned with captivating visual displays, such as the Electric Dandelions and Lumiverse Transporters, which transformed their appearance from day to night. These mesmerizing visuals were impossible to miss, creating a feast for the eyes.

Lighting in a Bottle Festival

Walking underneath the prismatic portals and crystalline fantasia hanging from the trees offered a kaleidoscope-like experience, leading attendees to their next destination within the festival. Art cars like the Vibeapple Art Car and The Giving Tree Art Car rolled throughout the grounds, creating a mobile dance-party sensation with live music and friends.

photo credit: Stories By Say

One of the most beautiful aspects of the art during the weekend was stumbling upon these powerful creations at any moment. Whether you unexpectedly came across a performance at the Unicorn Palace or the Jive Joint during the evening, or intentionally explored the ArtClave to admire portraits, prints, or live painters, destiny seemed to bring forth exactly what your eyes desired at that time.

To view the ArtClave lineup and find more information about the interactive art you encountered last weekend, please visit [link].

CONSCIOUS LIVING:

photo credit: Jess Gallo - Atlas Media

Lightning in a Bottle, the transformative festival experience, provided an abundance of enriching opportunities to expand one's knowledge and skills across a diverse range of subjects. Throughout the event, attendees had the privilege to immerse themselves in an array of workshops, each offering a unique and profound learning experience.

photo credit: DIVISUALS

These workshops not only served as a respite from the vibrant energy of the festival but also acted as catalysts for personal growth and the cultivation of a culture centered around transformation. They provided a safe and welcoming space for attendees to venture beyond their comfort zones, exploring topics they may not have previously considered.

photo credit: Wink

The variety of workshops was staggering, each offering a distinct perspective and imparting valuable insights. At The Compass, participants delved into practical skills and received guidance from experts in various fields. The Eco-Hub presented a platform for discussions and practices that nurtured a deeper understanding of sustainable living whilst The Learning Kitchen allowed individuals to explore the culinary arts. 

photo credit: Stories By Say

Workshops such as "D.I.Y Guide to Personal Care Products" empowered attendees to take control of their self-care routines, while "The Secret Intelligence of Water" uncovered the profound mysteries of this life-giving resource. The mesmerizing art of "Fusion Bellydance" captivated participants, guiding them through graceful movements and cultural exploration. And who could resist the allure of "Edible Poetry," an imaginative fusion of gastronomy and literature that delighted the senses and sparked creativity.

photo credit: Jamal Eid

As participants navigated through these spaces at Lightning in a Bottle, a profound sense of connection and community permeated the air. The workshops not only fostered personal growth but also facilitated deep connections with fellow festival-goers, as everyone embarked on their own unique journeys of exploration and self-discovery.

photo credit: DIVISUALS

Lightning in a Bottle truly transcended the boundaries of a typical festival, offering a transformative experience where knowledge, inspiration, and personal development intertwined seamlessly. It was an extraordinary environment where individuals felt a profound sense of relation, safety, and growth, propelling them to forge meaningful connections and embrace new perspectives throughout the entire weekend.

photo credit: DIVISUALS

If you were lucky enough to encounter the Colorful Cheerleaders at this year's event, you witnessed rays of sunshine in motion. Their exuberant dance moves and captivating performances caught the attention of passersby, drawing them into the contagious spirit of celebration.

photo credit: Jess Gallo - Atlas Media

These cheerleaders embodied the essence of Lightning in a Bottle, encapsulating the festival's core values of freedom, self-expression, and embracing the present moment. They were living, breathing embodiments of the festival's ethos—unapologetically bold, authentic, and filled with a zest for life.

photo credit: DIVISUALS

But beyond their eye-catching appearance and electrifying performances, the Colorful Cheerleaders represented something deeper. They symbolized the unity and connection that could be found within the Lightning in a Bottle community. Their infectious spirit transcended barriers, bringing people from different walks of life together in a shared experience of pure bliss.

photo credit: Wink

So, let us take a cue from the Colorful Cheerleaders and carry their spirit of spontaneity, innovation, and the pure desire to dance beyond the festival grounds. May we remember to infuse our lives with the same vibrant energy and unapologetic joy, creating our own moments of celebration and spreading contagious positivity wherever we go. Because, just like the Colorful Cheerleaders, we too have the power to light up the world with our own unique brand of magic. 

Wed, 07/19/2023 - 1:48 pm

Come jam with us for the inauguration of Cascade Equinox, a brand-new three-day event coming to Central Oregon on September 22 - 24, 2023, held at Deschutes County Fairgrounds.

This enticing first-time festival announcement brings a unique opportunity for the music festival subculture to converge at the nexus of diverse genres, fostering a vibrant celebration within our tight-knit community amidst the beauty of nature.

This festival is jam-packed with top-tier national performance acts, a renewal of the best kind of Pretty Lights, and extracurriculars to foster our personal development within the community, all against the ceremonious backdrop of the Pacific Northwest.

Still need more convincing? Explore the Top 5 Reasons to Come Jam at Cascade Equinox!

1) Jam-Packed Harmony at Cascade Equinox

Trevor Hall - photo by Angela Ricciotti

Well, of course! Get ready to jam to an incredibly diverse array of music at this year's Cascade Equinox. From Trevor Hall's unique blend of folk, reggae, and acoustic rock, to his curated live performances known for their intimate and captivating nature, leaving listeners with a profound sense of connection. And don't miss the innovative duo, Dirtwire, creating a rich sonic experience that defies categorization, blending traditional and modern sounds into an organic and mesmerizing whole.

This year's lineup showcases Big Wild, known for his vibrant and genre-blending sound. Fulfilling the jam-which is Fruition, Oregon natives, who will grace us with their soulful blend of folk, Americana, and rock music. While fan-favorites Goose are appearing as headliners, who are currently creating a wave in the jam-band scene as one of the latest "must-sees." Connecticut jam band Eggy is also heading west for their first-ever headlining West Coast tour, including an appearance at this year's Cascade Equinox.

Fruition

Other unmissable acts include Moontricks, who share the foundation principles of Cascade Equinox through their songwriting, delving into themes of nature, self-discovery, and personal growth, reflecting their deep connection to the natural beauty of their surroundings.

The Main Squeeze always shows up for their fans with high energy and their characterized infectious grooves, powerful vocals, and impressive instrumental performances, creating a truly exhilarating live experience.

Goose = photo by Patrick Giblin

The Talking Dead and Blackstrap Bluegrass will showcase the underground sound of strings that we all know and love, satisfying our craving for that sweet spot of jam satisfaction. Cascade Equinox also promises to highlight regional acts by creating a full local stage dedicated to showcasing artists from the Pacific Northwest.

2) Pretty Lights…. Duh!

The long-awaited moment has arrived – Pretty Lights is back! After a five-year hiatus, Pretty Lights returns to Cascade Equinox with the Soundship Spacesystem Tour.

At the helm of this influential and innovative electronic music project is Derek Vincent Smith. Pretty Lights has captivated audiences worldwide with his distinctive sound, seamlessly blending vintage samples with cutting-edge production techniques. His music takes us on a journey that is both nostalgic, harkening back to the golden era of vinyl records, and futuristic, with electrifying beats that keep the dance floors alive.

Pretty Lights

As one of the two festival sets that Pretty Lights has announced for the summer - Cascade Equinox presents a rare opportunity to catch a mesmerizing festival set by Pretty Lights, alongside an epic lineup of musical acts. Plus, it's a chance to experience the magic of Pretty Lights live, outside the confines of sold-out venues.

To witness Pretty Lights perform in the heart of the Pacific Northwest, surrounded by a close-knit community, at this extraordinary first-time festival, is an experience like no other. It's the perfect way to see the Pretty Lights shine unless you're lucky enough to catch the entire tour, of course!

3) Explore Central Oregon

As one of the most desirable places to explore the outdoors in all of North America, Central Oregon is a highlight of the Pacific Northwest. The Pacific Northwest is a region of unparalleled natural beauty, enchanting visitors with its breathtaking landscapes and diverse ecosystems this area is a haven of verdant forests, majestic mountains, and picturesque coastlines.

Beautiful Oregon! - photo by Maddy Crandall

Cascade is taking place at The Deschutes County Fair & Expo Center a 320+ acre site located in Redmond, Oregon. It is placed strategically at the hub of the tri-county area (Deschutes, Jefferson, and Crook Counties) together known as Central Oregon. It is 15 minutes from Bend (the largest city in the region), 20 minutes from Prineville or Sisters, 25 minutes from Madras, and 5 minutes from Redmond Airport. Making it an accessible and easy festival to get to, whilst surrounded by deep and abundant nature.

But the allure of the Pacific Northwest extends beyond its physical beauty. The people who call this region home exude a unique blend of warmth, creativity, and environmental consciousness.

4) Extracurriculars

Cascade Equinox goes beyond being a typical music festival. With an outstanding musical lineup and immersive experiences like visual and performance art, workshops, kids' activities, camping, and carnival rides, it's a true sensory delight.

The Mother Hips

Indulge in a diverse array of local and regional cuisine at The Culinary Commons. From classic festival foods to exotic global flavors, the food vendors have it all. Experience The Cosmic Drip, an interactive art installation wonderland, where creativity and imagination flourish, connecting you with the festival community. Find your zen at the Cascade Healing Garden, a sanctuary for self-care offering various modalities like Reiki, Akashic recording, Acupuncture, Thai Massage, Sound Healing, and more.

Discover unique crafts and creativity at The Nomadic Market, and let the kids have a blast at The Orbit, a joyful and exciting kids' zone at Cascade Equinox.

5) Jam at a First-Time Festival on the Autumn Equinox!

Presented by the trusted Gem and Jam + 4 Peaks Present, you can bet these guys know how to throw a party. Don't miss the chance to be a part of this special inaugural event, featuring one of the most diverse and carefully crafted music lineups of the summer. As one of the biggest festivals to hit Central Oregon, it feels like the start of something truly beautiful.

Eggy - photo by Jamie Huenefeld

Notably, this festival is curated on the sacred day of the Autumn Equinox, symbolizing the beginning of a new cycle of growth. It's a time when we can embrace a grander vision and strike a perfect balance between experience and adventure, collaboration and community. Get ready to fully immerse yourself in this reimagined festival, creating unforgettable memories together.

CASCADE EQUINOX FESTIVAL LINEUP

Pretty Lights
Goose
Big Wild
Phantogram
Emancipator
Fruition
Of The Trees
Trevor Hall & The Great In-Between

Dirtwire
Frameworks
Gone Gone Beyond
LP Giobbi
Maddy O’Neal
Manic Focus
Moontricks
Opiuo
Polyrhythmics
The Main Squeeze
Tripp St.

An-Ten-Nae
Christian Martin
Diggin Dirt
Eggy
Free Creatures
High Step Society
Jaenga
Jeff Crosby
Josh Teed
Lespecial
Mz. Worthy
Phyphr
Rose City Band
Small mIllion
Soohan
Talking Dead
Tara Brooks
The Librarian
The Mother Hips
Thought Process
Vincent Antone
Watkins Glen
World's Finest
Yak Attack

Ashley Flynn & The Riveters
Blackstrap Bluegrass
Blü Egyptian
Call Down Thunder
Clear Rivers
Fractal
Game 6
Gbots & The Journeyman
Hillstomp
Honey Don’t
Jahmontree
Jeshua Marshall & The Flood
Joel Chadd
Matt Haze
Oregon Fryer
Skillethead
Steelhead
Swindler
Takimba
The Hasbens
Threedom
Travis Ehrenstrom Band

Sun, 10/01/2023 - 10:02 am

Upon arriving at the Cascade Equinox grounds in Redmond, Oregon, just outside of Bend, attendees were welcomed by an atmosphere pulsating with anticipation. Festival-goers filled the air with tunes from the featured artists on the lineup, soaking in the majestic mountainous surroundings, and forming caravans as they made their way into the fairgrounds for a weekend brimming with live music, autumnal festivities, and communal camping.

A stroll through the festival grounds revealed a diverse array of attractions. Tiny corners hosted captivating art installations and altars, while dedicated spaces beckoned attendees to engage in learning and playful activities. An epic ferris wheel dominated the center of the venue, and six stages were strategically scattered throughout the festival experience. Among them, the epic main stage stood tall with its mountain-inspired abstract tapestry. Multiple outdoor side stages curated live music spanning various genres and tastes, housed in barn-like structures adorned with captivating LED lighting. The venue struck a harmonious balance between simplicity and vibrancy, promising a rich experiential journey filled with play, unforgettable moments, and artistic marvels around every corner.

Cascade Equinox - photo by Courtney Scout

Friday marked the commencement of the festival, with the gates swinging open to the sound of the Grateful Dead resonating from the Harvest Stage. The "Watkins Glen" band graced the stage as one of the weekend's inaugural live acts, invoking the timeless lyrics, "Roll away... The dew..."

Following their performance, Yak Attack took command of the Harvest Stage, drawing a diverse crowd of attendees spanning all age groups to the dance floor. Despite the festival's multi-genre lineup, the spirit of jam music prevailed, captivating enthusiastic crowds. Yak Attack delivered a high-energy performance, with a focus on their signature synthesis that never failed to resonate with jamtronica aficionados. Special guest Kellen (Keyboardist/Vocalist) of Fruition joined them for a memorable collaboration on an original called "Don't Give Up Before Your Time."

Emancipator at Equinox Stage | photo by Sensation Media

Emancipator stepped into the spotlight shortly thereafter, claiming the opening headliner slot on the Equinox Stage. A sense of utter relaxation washed over the crowd as these beloved producers took the stage, enveloping attendees in their harmonious, violin-infused melodies. Fan-favorite tracks like "Land and Sea" and "Greenland" graced the setlist, characterized by a slightly more electronic undertone and punctuated by deep bass drops, adding a spirited twist to their eclectic sound.

The Main Squeeze took the festival stage with a setlist that was bound to make you move and a vibe that made for an unforgettable musical journey. They kicked things off with the high-energy "Sweat," setting the tone for a night of non-stop groove. "WWC" kept the momentum going, followed by the infectious rhythm of "Little Bit." The band took the audience on a sonic adventure with "When I See Darkness," seamlessly transitioning into the captivating "WDWG."

As the night unfolded, be prepared to feel the love with "Love Yourself" and let loose as "Sun Goes Down" filled the air. The Main Squeeze showcased their musical prowess with "Dr. Funk," a song that's sure to get the crowd moving, and then they wrapped up the setlist with "I'll Take Another," leaving the audience wanting more.

Grateful Web sat down with The Main Squeeze and talked about their upcoming new music and special projects they are curating. Rob "Skywalker" Walker (Bass, Keys, Vocals) said, “I feel like the most passionate we're at right now is just, like, creating a bunch of new music, trying to get to a place and elevate our sound. We've been doing that for about the last six months pretty nonstop, so we're really finding that niche right now, and it's really hitting. So it's been great.”

In the spirit of those unforgettable jam sessions known as The Squeeze House (mentioned in the full interview below), The Main Squeeze is now venturing into new sonic territories with the same spirit of collaboration. They are thrilled to introduce "The Vibetape," a full-length collaborative mixtape featuring the talents of fifteen other artists (Full Interview with The Main Squeeze below!)

Corey & Max from The Main Squeeze | photo by Sensation Media

Grateful Web also sat down with Fruition and had a stellar conversation on the evolution of the band’s identity and also gained anticipation for their upcoming album. Kellen Asebroek on vocals, rhythm guitar and piano said, “ I want to emphasize that I think this batch of tunes is, and of course, artists tend to say this, but it truly represents some of the most mature work we've ever created. This art is a genuine reflection of our souls, and the people who have heard it so far agree that it captures our essence. It's like we've finally cracked the code.” (See Full Interview Below!)

Fruition at Harvest Stage | photo by Sensation Media

Fruition took the next headlining slot on the Harvest Stage, the beloved band known for their captivating live performances, graced us with a setlist that left the audience spellbound. Highlights from their performance included "Labor of Love," a soulful rendition of "I Lost It" (originally by Lucinda Williams), and the crowd-favorite encore, “Mountain Anne” and "The Meaning." Fruition's seamless blend of musical prowess and heartfelt lyrics created an enchanting atmosphere that resonated with fans, making their performance a standout moment at the festival.

Bild Wild, Manic Focus and Opiuo delivered electrifying nighttime performances to conclude Friday night's festivities.

Big Wild | Equinox Stage | photo by Courtney Scout

Amidst Oregon's typical damp and smokey afternoon, festival attendees had the opportunity to recharge for a vibrant Saturday night. They could leisurely explore the festival grounds, whether by immersing themselves in the serene atmosphere of the Healing Village—an oasis for relaxation and self-care—or by starting the day with a visit to the Culinary Commons, boasting an exceptional array of food vendors. Additionally, the culturally rich Nomadic Market offered unique fashion, one-of-a-kind artwork, and earth-conscious crafts that echoed the essence of Oregon's landscape.

Courtney Scout Photo | Vendors

The festival saw a significant presence of families, creating a wholesome and well-rounded atmosphere. Cascade facilitated two different forms of day camp experiences in collaboration with Wildheart Nature School and Waldorf School of Bend, catering to various age groups and affording parents the opportunity to partake in the festivities.

Cascade Equinox | photo by Courtney Scout

Diggin’ Dirt, the epitome of west funk and soul, ignited the Harvest Stage on Saturday afternoon, playing to a full crowd of engaged attendees and flaunting songs “Mac N Cheese,” “Superstar,” and ending with a big “Mississippi Queen,” that were coupled with full-band huddled jam sessions on stage, cheering each other on musically and perfectly engaging reaction with the crowd, who were specifically enticed by the dramatic horns on stage.

photo by Sensation Media

On the Equinox Main Stage, Moontricks captivated the crowd with a memorable performance. They paid homage to the energetic audience with a nod to the "boot stompin'" vibe, featuring their beloved collaboration "Coast" with Gone Gone Beyond and showcasing their harmonica skills during their collaborative track Dirtwire while playing "Alone." Their set included a soulful rendition of Bill Withers' "Ain't No Sunshine When She's Gone," and Nathan Gurley (Moontricks) stepped to the front of the stage to deliver a rap performance over their live production and banjo. They closed their set with the crowd-pleasing classic, "Home," leaving the audience excited and united.

Cascade Equinox - photo by Courntey Scout

Dirtwire's recent performances have embraced the realm of electronic music, weaving a captivating tapestry that seamlessly merges the live and electronic realms. Their shows consistently pay homage to the indigenous heritage of the land they perform on, inviting the first peoples of the land to perform on-stage mesmerizing choreography that harmonizes with their music and eludes rich cultural representation. Their set exuded a potent and profound energy, infusing cherished classics with a rich, electronic allure, leaving the audience spellbound by the deeper dimensions of their sound.

Pretty Lights unquestionably stole the spotlight, evoking profound emotions and indelible memories. It's challenging to encapsulate the transformative experience that Derek and his ensemble offer. A wave of nostalgia washed over the crowd as he skillfully interwove cherished classics from our collective past with his signature new-age power and crystalline sound.

The performance started with such intensity that it tripped the stage's power breakers within the first minute, a moment that signaled something extraordinary was unfolding. Tracks like "Finally Moving" and "Still Night,” Steve Miller Band “Fly Like An Eagle” Remix and so much more, left the audience in awe, marking Pretty Lights' triumphant return to the festival stage after nearly five years. The evening was a testament to the enduring impact of his music and the profound connection it forges with the hearts of listeners.

Pretty Lights - photo by Courtney Scout

Saturday evening and Sunday afternoon, offering welcome coverage from the rain, provided an excellent opportunity to explore the Cosmic Drip—an enchanting realm of artistic wonder. This immersive space showcased interactive installations, live painters, and a diverse fusion of creative brilliance that left attendees feeling inspired and awe-struck. It served as a delightful setting for art exploration with friends and featured a thoughtfully designed stage for sound healing, elevating the overall experience.

Live Painting at the Cosmic Drip - photo by Greg Bollinger

Sunday's schedule was thoughtfully curated, placing a renewed emphasis on acoustic headlining acts. Gone Gone Beyond graced the Equinox Stage with their soul-stirring vocals and unwavering passion, treating the audience to beloved classics like "By the Sea," "Riptide," and "Coast."

Gone Gone Beyond | Equinox Stage | photo by Greg Bollinger

Trevor Hall's performance was a heartwarming family affair, with attendees of all ages coming together under the gentle drizzle just after sunset. He delivered fan favorites such as "Lime Tree," a tribute to the Hawaiian people of Maui with his song "O Haleakala," and another hidden gem, "All of My Lessons." It was a moment of pure musical enchantment as the raindrops glistened like stars overhead.

Trevor Hall in the Rain | photo by Greg Bollinger

Goose kicked off their performance with a commanding 20+ minute rendition of "Tea in the Kitchen," instantly establishing themselves as a formidable presence in the jam world. As festival headliners, they showcased their profound musical prowess to the audience. From the very start, the crowd enthusiastically sang along and swayed in harmony to the extensive jam that launched their set. They seamlessly transitioned into the fervent and emotive tracks "Silver Rising" and "Arrow," treating the audience to intricate solos by their lead guitarist and captivating instrument exchanges among the band members.

Ben Atkind | Goose | photo by Courtney Scout

Throughout their set, Goose skillfully blended funky jams with emotionally resonant vocals, capturing the undivided attention of a rain-soaked crowd that joyfully danced to their headlining performance. A highlight was their electrifying cover of "Can't Get You Out of My Head" by Kylie Minogue, a crowd-pleaser that invited spirited sing-alongs and featured the lead's captivating synthesized vocals in the midst of the rain-soaked revelry.

Rick Mitarotonda | Goose | photo by Courtney Scout

Acknowledging the crowd's relentless energy on the festival's third day, Goose expressed their appreciation and launched into the energetic "726." They concluded their epic Sunday night set with a stellar rendition of the fan-favorite "Arcadia," sealing the deal for an unforgettable musical experience under the rain-soaked festival skies.

Goose | Equinox Stage | photo by Courtney Scout

On the closing night of Cascade Equinox, festival-goers were treated to a truly exceptional musical experience at the Tilt Stage. LP Giobbi, renowned for her eclectic style and innovative electronic beats, brought an unexpected and delightful twist to the festival with their "Dead House" set. The result was an extraordinary fusion of house music and the iconic jams of the Grateful Dead.

Some of the standout tracks featured during LP Giobbi's performance included "Fire on the Mountain," "Sugaree," "Friend of the Devil," and "Deal." Each song was reimagined with a contemporary electronic twist, breathing new life into these beloved classics.

As the curtains gracefully descended on Cascade Equinox, an enchanting and unforgettable performance unfolded, providing festival-goers with a truly romantic and formal musical experience. "The Talking Dead," a collaboration featuring LDW and Garcia Birthday Band, held the privilege of closing this exceptional festival with a flourish. The stage came alive with an exquisite fusion of acoustic melodies and rock-solid shredding solos, creating an atmosphere charged with the highest of energies. The artists delved deep into their catalogs, treating the audience to a mesmerizing journey through the realms of Phish, The Talking Dead, and the Grateful Dead. Every note played was a cherished favorite, evoking a sense of nostalgia that left hearts aflutter.

Talking Dead | Equinox Stage - photo by Courtney Scout

Adding a layer of sheer elegance to the performance were the radiant female vocals that graced the stage. In the late-night barn, where history met harmony, the echoes of the Grateful Dead's enduring legacy reverberated throughout the crowd. It was as if time had stood still, and the spirit of community and togetherness, synonymous with the Grateful Dead's music, enveloped every soul present.

The festival reached its crescendo, and the memory of this closing performance would forever be etched in the hearts of all in attendance. Cascade Equinox, for those embarking on their first journey into its magical realm, proved to be an all-encompassing experience.

It effortlessly covered every aspect of what a festival should be, from captivating performances to a sense of enduring camaraderie that transcended the ordinary. For those fortunate enough to partake in this celebration of music and unity, it was clear that returning to this festival would become an annual tradition—a testament to its undeniable allure.

Corey & Max from The Main Squeeze | photo by Sensation Media

Grateful Web: Tell me about your Summer Tour in Europe - let’s start there. Any favorite cities?

Smiley (Keyboardist): "We were in Barcelona, just outside the city, for a festival earlier in the year. A month later, we returned for a two-week tour in London and various cities across Spain, which included a few festivals and several club dates. This marked our fourth time playing in Europe and our second full tour in Spain, and the experience was truly amazing.

The London show was a sold-out event at the legendary Jazz Cafe, and it was a special experience to perform in that iconic venue. The Spain tour was equally incredible, being so far from home yet receiving such overwhelming love and support from the audience."

GW: Why was Spain such a destined spot on your tour?

Smiley (Keyboardist): "We got lucky. This guy found us on YouTube, and honestly, we didn't know if it was real when we received the email at first. We had no idea until we got there. It was our first time there, and we had no clue what to expect. We found ourselves in front of around 7000 new people at these festivals where he had us headlining. He had discovered us on YouTube and was a promoter who organized this entire tour for us in Spain. Without hesitation, we said, 'Yes, of course.'"

GW: Good thing the guy showed up at the airport!

Smiley (Keyboardist): "Yes, we were hoping that it was real. And then, it was real. (laughs*)"

GW: And you have a Fall Tour around the corner - in the Midwest?

Maximillian Newman (Guitar): "Yes! We're starting on October 12th in Las Vegas, which also happens to be Corey's birthday. Then, we'll be touring through the Southwest, followed by the Midwest, and finishing up in the Mid-South. It's a relatively shorter tour for us, spanning three weeks, but we're incredibly excited. Next year, we're planning to embark on a much larger tour in support of our new album."

Corey Frye (Lead Vocalist) “Chicago, October 20th at Thalia Hall – it should be a great one. We've also got a big date scheduled for December 16th in Denver at The Ogden. We're planning something special for that particular show, a version of our “Squeeze House” collaborative super jams where we'll have a bunch of artists and surprise guests join us on our original songs, bringing our house party jams to the stage for a unique two-set show. We're especially excited about our Halloween show in Nashville. We've always loved performing there, and though the venue we used to play at, called the Exit/In, is no longer open, we're going to make it a fun one.  
And of course, we have our annual 'Squeezegiving' show in Indianapolis, IN my hometown. It's a tradition that takes place on the Wednesday night before Thanksgiving at The Vogue, and these are some of our bigger shows.

Additionally, we're heading to Reuben’s hometown in Goshen, IN for two nights – it's going to be amazing. This year marks the ten-year anniversary of our very first full-length album "The Main Squeeze LP", which we'll be performing live in its entirety for the second show. It'll be the only date on the entire tour where we do this.”

GW: Give us the in. Squeeze House vs. Squeeze Vault?

Corey Frye (Lead Vocalist) "The Squeeze Vault, okay, so there have been a couple of incarnations… The original Squeeze Vault was essentially a collection of content from our YouTube videos. We created various videos on YouTube, including covers and original songs, and we wanted to make the audio from those videos available on Spotify. That was the concept behind the original vault.

However, what you probably saw is the version of the vault we created with Volume. Volume is a music-focused streaming platform, somewhat akin to Twitch but exclusively for music. We partnered with them to film and record our live shows during our tours, and then we release these recordings through the Volume platform within the vault. They are there to capture the live experience, streaming it, and making it available afterward.

And then there's the Squeeze House. That's kind of a whole saga in itself because it originally started as what we simply called 'our crib.' We've had a Squeeze House since our college days in Bloomington, Indiana."

GW: Who was the most studious at college?

*Everyone looks at smiley and laughs.*

GW: How has the Squeeze House transcended since college?

Corey Frye (Lead Vocalist): "Back then 'Squeeze House' became the name of the live stream shows that we did from our house during COVID. Yeah.

So, we always created those YouTube videos from the beginning. It was something we did when we started out, filming our journeys on the road and weekends with friends, and some of those videos gained popularity during that time. When COVID hit, it presented an opportunity for us to reconnect with the audience we had already built. Reuben spent about three and a half weeks fine-tuning the sound to make the transition seamless. Once we got it right, it turned out to be a blessing in disguise because we already had a dedicated following, and a lot of people had free time due to the pandemic. The algorithm really pushed our content, which was a big help. When we eventually returned to touring, we found that people had discovered us during COVID and had been following us for years. It was a fortunate turn of events, perfectly timed, and we're excited to build on it with new music and continued growth.

Unlike many bands that have been together for as long as we have, a lot of our members live in the same city. When COVID hit, other bands had members in different cities – a keyboard player in LA, a bass player in Chicago – but we've always had a shared house. Even as some members have moved out, there's always a sense of community and connection in the house. People still live here, but even those who don't, they often return, and the vibe of the house remains intact. It's something that has always kept us connected, with people coming over for hangouts, jam sessions, magical musical moments, and parties.

And it's interesting, they just keep getting bigger and nicer. Bigger and nicer"

GW: That never goes away. Beautiful. So out of these initiatives like The Squeeze House and the Squeeze Vault and live touring, what would you guys say that you're most passionate about right now?

Rob "Skywalker" Walker (Bass, Keys, Vocals): “Yeah, I feel like the most passionate we're at right now is just, like, creating a bunch of new music, trying to get to a place and elevate our sound. We've been doing that for about the last six months pretty nonstop, so we're really finding that niche right now, and it's really hitting. So it's been great.”

GW: And when you say elevate your sound, what does that mean to you?

Rob "Skywalker" Walker (Bass, Keys, Vocals): "I think it's ultimately about pushing ourselves to the next level. We all know that the five of us can achieve whatever we set our minds to, but we want to commit to something that will take us to a whole new level."

GW: Any cool new influences that are really inspiring you guys right now?

Rob "Skywalker" Walker (Bass, Keys, Vocals): We definitely love Shakes, love bands like Khruangbin and a few others, but definitely just some of those elements.

Corey Frye (Lead Vocalist): "The biggest thing for us is always drawing inspiration from different bands but figuring out a way to make it uniquely ours and be original. So, yeah, I think what we're most excited about is that the music sounds like something you might be familiar with but in a cool, distinctive way. Our focus is on creating timeless songs, things that people will want to play forever."

GW: When I was in line this morning, people were blasting your music. I literally went by a car, and they were blasting Dr. Funk, and I was like, that's such a good sign. It was cool. You guys definitely are known for doing covers with your own unique twist. What's typically the creative process around that?

Reuben Gingrich (Drums): "Well, a lot of times, we'll start playing them live, and many of the covers we've played live for a long time, and it just kind of evolved from there. We never necessarily sat down and said, 'Let's do something new with this.' It would just happen organically through playing it. And sometimes, we would decide to take a cover and make it our own, elevate it, switch it up, and add our unique touch to it."

Corey Frye (Lead Vocalist): "One thing I would add is that when we started in Bloomington at IU, we were primarily a cover band initially. It was all about getting out there, playing shows, and although we didn't have our own original songs at the time, we were already skilled musicians. Many of us had attended the music school there, so we knew how to put on a great live performance. Our mindset was, 'Let's just play covers for now, and we'll develop our own original material over time.' So, we played a wide range of songs, from Grateful Dead to Stevie Wonder, Michael Jackson, Kanye, and Dr. Dre, covering a diverse spectrum of music.

We would adapt our setlist depending on the venue. If we were at a party bar, we'd keep it more on the upbeat side, maybe throw in some Grateful Dead tunes, and just have a great time. We even ventured into full-on rap covers. It served as a way for us to get to know each other's musical tastes and gave us the versatility to perform in various settings. This approach worked well until we began creating our own original music. Then came the question: 'Where do we go from here?' The answer was essentially, 'We can do anything.'

Our early songwriting process was very live-centric, involving jamming during rehearsals and refining the songs during live shows. As we've evolved and transitioned from Chicago to LA, we've delved deeper into the songwriting process. So, it's different now, but it has given us a clearer focus."

Maximillian Newman (Guitar): "Yeah, it was also cool for us because we come from such different musical backgrounds and diverse life experiences in general. In contrast to many bands, we faced the challenge and hurdle of these differences. It's not about being better or worse, just different. So, we approached it like, 'Oh, these are the songs that Corey grew up with that I had never heard before.' And he'd be like, 'I want to cover this.' It became a way for us to explore each other's music, understand one another better, and leverage each other's strengths, among other things. This approach worked exceptionally well for us, and we've continued it while striving to maintain an authentic, non-digital feel."

GW: So you guys said when you were in college, you were kind of changing your sound for different venues and depending on the vibe. Do you guys still do that per atmosphere, like, today’s set, for example?

Corey Frye (Lead Vocalist) "Different covers, but yeah, the versatility is key. If we're playing at a blues and barbecue festival in the backwoods of Indiana, the set might differ from what we'd play at an Equinox late-night event. There might be some similarities, but our versatility gives us the flexibility we need.

We describe our music as a blend of funk, soul, and rock and roll, and that's how we present it to people. So, some Squeeze sets can get really funky, others can lean towards rock, and some might have a dreamy and slightly weird vibe. We can adapt to all of that, thanks to our versatility. As I mentioned, this versatility makes our music adaptable and flexible."

Maximillian Newman (Guitar): "Yeah, it's nice to have that flexibility, although we generally stick to one cover per set; that's sort of our rule. So, as Corey mentioned, it's a way for us to decide whether we want to kick off with a rock vibe, start with something more dance-oriented, or begin with something happy and uplifting. Throughout the set, we usually touch on all those aspects, but where we start really sets the tone."

GW: How is it at Oregon’s first Cascade Equinox Festival?!

Smiley (Keyboardist): "Yeah, it's early in the festival, so we're excited to experience it and see how it goes. I love Oregon; I think it's going to be beautiful."

Corey Frye (Lead Vocalist): "First, time festivals are always so much fun. I love watching them evolve and seeing how they grow, as well as seeing the people who have been there from day one."

As mentioned above, as we delve into The Main Squeeze's captivating journey, it's worth noting that a few years back, they embarked on a unique adventure by moving into a shared house in LA, and thus, The Squeeze House came into existence. What made this era truly special were the countless parties and jam sessions hosted at The Squeeze House, which served as a melting pot for musicians and artists from various backgrounds to come together under one roof. Here, they nurtured their craft, collaborated, and shared their musical expressions.

In the spirit of those unforgettable jam sessions at The Squeeze House, The Main Squeeze is now venturing into new sonic territories with the same spirit of collaboration. They are thrilled to introduce "The Vibetape," a full-length collaborative mixtape featuring the talents of fifteen other artists.

This exciting project explores a diverse range of musical genres, including R&B, Hip Hop, neo-soul, and more. "The Vibetape" is a testament to their evolution, with Smiley, also known as @smilehigh, taking on the role of executive producer and guide for this creative journey.

"The Vibetape" kicks off with today's release of the first session, "Real," featuring Abhi The Nomad and Tiffany Gouche. Listen here.

 Fruition |  Kellen Asebroek on Vocals, Rhythm Guitar and Piano in photo | photo by Sensation Media

Grateful Web: So, we are in Oregon! I know this place holds deep roots for Fruition. Yeah?

Kellen: “Yes, we met there in 2008. I moved there in 2005. I mean, we [Fruition] all moved to Portland out of a desire for creative inspiration and out of necessity. At the time that we moved there, Portland was a really fertile ground for artists to come and not spend all of their money just paying rent.

It's not to say that we did it the right way. We all quit our jobs and started touring and stuff and we're playing for our dinners and scraping by for rent and essentially street performers for the first couple of years of our band's career.”

GW: Seems like you owe your success to Busking?

Kellen: "Yeah, it's a crazy thing about busking. I mean, for one, it gave us an opportunity to really sharpen our skills – singing, playing, and getting to know each other deeply. We were out on the street, in the sun, in the rain, and whatever the elements threw at us. Dealing with people face to face, both the good and the bad, taught us how to communicate and how to handle sometimes brutal criticism.

When you're trying to catch the attention of passersby, they often just keep walking, which can be a little soul-crushing. But you learn to toughen up a bit and, more importantly, you learn what works and what doesn't. Early on, we discovered that vocal harmonies are what really work.

We're belting this music out so loudly you can hear it from three blocks away. People see us and hear the sound of a full-string band, an upright bass, and a guy with a drum kit all spilling out of this van, looking like the characters from the Little Rascals or something.

So yeah, we've learned how to grab people's attention, which is increasingly difficult in today's world. And that can be challenging. It's tough to find that balance between getting people's attention, not compromising your values, yet being willing to compromise a bit to attract more people to your music, the stuff you truly love and believe in."

GW: Tell me about the 10-year mark of “Just One of Them Nights” as an album.

Kellen: "Just last year, we finally pressed it to vinyl, which was beautiful. When we first released it, finding a vinyl pressing plant was actually harder a decade ago than it is now. Vinyl has made a strong resurgence, with more people pressing records due to increased demand.

It's been awesome. Seeing the artwork in a larger format and hearing it on a record player is a unique experience. Music sounds different with the needle in the grooves. Having your own art on vinyl was an early goal when I got into this business, and now that we've achieved it, it's like a milestone.

As for the Fruition section of my vinyl collection, it's always growing. They're there, and it feels good."

GW: How has your songwriting process evolved over the years?

Kellen: "Coming out of COVID, it's been challenging to regain our momentum and get back in the right zone. However, we've finally started amassing songs. In our band, we have three songwriters, so we've been accumulating a substantial collection of songs.

We recently entered the studio with a long list of material we wanted to record. We not only recorded everything on our list but even more. As we left the studio, we realized we had enough material for two albums. We've already scheduled more recording sessions in the calendar.
Our goal is to stockpile records and music, maintaining a consistent release schedule and getting back into the rhythm of the album cycle. This involves recording, mixing, marketing, building anticipation, and then releasing the music.

Following that, we embark on tours, and those are always the best. For us, these purpose-driven tours are the only ones we want to do."

GW: And for the new music on the horizon - what do you have for us?

Kellen: "It's coming, so stay tuned. I want to emphasize that I think this batch of tunes is, and of course, artists tend to say this, but it truly represents some of the most mature work we've ever created. This art is a genuine reflection of our souls, and the people who have heard it so far agree that it captures our essence. It's like we've finally cracked the code.

Over the years, we've grappled with how to market ourselves within a genre because we encompass folk, soul, indie rock, blues, bluegrass, and more. We became so concerned about avoiding pigeonholing that we didn't allow ourselves to establish a clear identity. This led to some ambiguity in our genre over the years.

With this album and our future direction, we've collectively recognized that we are an Americana band. It's a broad category that encompasses many of the elements we've explored."

GW: What were some of the key things recently that made you really come to that realization to make this new artwork? I know that's a huge question but was there a breakthrough?

Kellen: "I believe a significant factor was the time off we had [In Covid] – a chance to step back, reflect on what was working and what wasn't. What were we striving for, and where did we want to go in the long run?

We initially gained recognition in the jam and bluegrass scenes, but neither felt like the right fit. Our songs are relatively short, around three to four minutes, and we don't quite fit the jam band or traditional bluegrass mold. We hit a ceiling in both worlds.

We realized that to break through, we needed to identify our niche, and for us, it's Americana. Surprisingly, we found success in this direction.

Luckily, our music fits well in eclectic festivals like this one – not strictly jam or electronic, but a celebration of music.

Our new album serves as both a coming-of-age record and a debut, introducing our true identity. It's a vulnerable yet exciting experience, like the first day of school – relatable and energizing, especially after all these years."

GW: What’s next for you all?

Kellen: "Well, the thing is, actually, we were waiting to announce our New Year's plans on stage here [at Cascade Equinox). We'll be doing a New Year's run in the Pacific Northwest.

Bellingham, Seattle, and two shows in Portland. We haven't played there in years, and it felt like the right time to go up there and share some of our music with the fans. And our goal is to go out there with something we're proud of, explode on stage, and hopefully, the energy we bring will resonate with the audience in a positive way.”

Wed, 10/11/2023 - 8:32 am

*This article contains image-like descriptions of violence that can be triggering.*

On the morning of October 7, 2023, the inaugural "Supernova Sukkot" psytrance rave near the Gaza Strip resulted in over 260 fatalities and hundreds of injuries. Promoted as a "journey of unity and love," the event has left over one hundred festival attendees unaccounted for, either held captive or awaiting recovery.

Militants from Gaza targeted this desert rave shortly after sunrise, following a night of dancing. The festival-goers, numbering in the hundreds, were plunged into chaos as the event was overrun by terrorists. Supernova attendees commented to The Guardian and said the first rocket blast “sounded like it was part of the music”.

As missiles streaked through the rising sky above the rave, panic set in, with many people leaving the dance floor and fleeing into the desert with their loved ones, all in search of safety. The treacherous events that happened right on the dance floor of the rave included brutal rape, looting, and point-blank murder of people from Israel and overseas.

Footage captured from the air and shared on social media displayed numerous vehicles lining the road near the festival entrance. Some were charred, while others had missing windows and open doors. On the dry coastal lowlands, their lifeless bodies from the rave were uncovered last Sunday, with numerous others still unaccounted for, held as hostages in Gaza.

Israeli Rave Fan, Amir Ben Natan, spoke to Rolling Stone after fleeing the murderous scene, “This was a nightmare. Shocking. I couldn’t dream in my worst nightmare something like this. I know in Israel, there are terror attacks once in a while. But this was an army of attackers. This is why it took us so much time to understand. We couldn’t imagine that hundreds of terrorists could invade Israel like this. I feel like I was hunted. They tried to kill me. Not just me, everyone at the festival. We were helpless. We were unarmed civilians who just wanted to have fun.”

The Israel Defense Forces have now declared a "state of preparedness for war" and initiated retaliatory aerial strikes in Gaza, an expanse of 140 square miles where 2 million Palestinians have been living under a blockade enforced by Israel and Egypt since Hamas took control in 2007. The rise of conflict seems to be just the beginning of more related hate-crimes to come.

Across the globe, we have observed widespread protests, including major cities Sydney and New York City, where people are voicing their concerns and grievances regarding the situation involving both Palestinians and Israelis. Additionally, support has been expressed for the Hamas organization, an entity with a known history of targeting Jewish individuals.

As more information emerges and becomes exposed regarding this invasion, it is evident that this is not merely a political issue but a grave humanitarian crisis. There can be no justification for the acts of rape and brutal mutilation inflicted upon men, women, children, and even infants within the last seventy-two hours.

Many readers have experienced the exhilaration of witnessing the sunrise at a music festival, surrounded by hundreds of like-minded individuals. The unimaginable and shocking turn of events is that over one hundred festival attendees during this sunrise have been taken captive, a scenario previously deemed beyond belief.

Families are still out there looking for their loved-ones that were in attendance at the rave. The videos and news circulating throughout the globe are of utmost importance for us to share, relay and distribute throughout our musical community to bring these captives home safe to their families. This is an urgent call to the international music community, one of which has deep roots in Israel.

For the peace and love of the dance floor we all know and call home, it's our time to share this message.

Ways to Provide Non-Political Relief:

The Jewish Agency’s Fund for Victims of Terror

A first responder when terror strikes, providing immediate assistance to terror victims, arriving with checks within 24-48 hours of an attack, and following up with long term rehabilitative support.

https://www.jafina.org/crisis-in-israel/ 

Alliance for Middle East Peace

ALLMEP is a coalition of over 170 non-governmental organizations, including tens of thousands of Palestinians and Israelis, for Palestinian and Israeli peacebuilding. 

https://www.allmep.org/donate-now/

The United Nations Relief and Works Agency

UNRWA estimates that more than half of the 123,000 people internally displaced in Gaza from the latest round of fighting are sheltering in dozens of schools. It has designated emergency shelters to host them and provide critical aid.

https://donate.unrwa.org/gaza/~my-donation 

International Red Cross

ICRC is an impartial, neutral, and independent organization with a humanitarian mission to help victims of armed conflict and violence. It has called for an end to the violence between Israel and Hamas militants. 

https://www.icrc.org/en/donate 

The Carter Center

The Carter Center has been promoting peace in Israel and Palestine since the 1990s. 

https://rb.gy/lhm6w 

Citation:

Dillon, N. (2023, October 9). “I Felt Hunted”: Israeli Rave Fan Describes Fleeing Massacre. 

Rolling Stone. https://www.rollingstone.com/politics/politics-features/israel-supernova-music-festival-attendee-1234849331/

Hurst, D., Karp, P., & Rose, T. (2023, October 9). Australia’s leaders condemn “abhorrent” 

scenes after anti-Jewish chants filmed at Sydney rally. The Guardian. https://www.theguardian.com/australia-news/2023/oct/10/pro-palestine-rally-sydney-opera-house-protest-australia-leaders-condemn-anti-jewish-chants

Parnaby, L. (2023, October 8). Pro-Palestine groups rally in NYC’s Times Square. Mail Online. 

https://www.dailymail.co.uk/news/article-12607931/Times-Square-Palestine-rally-Hamas-Israel.html 

Rosenfeld, J. (2023, October 9). Israelis Scramble to Find Rave Survivors and Scream: “How 

Could We Be So Weak?” Rolling Stone. https://www.rollingstone.com/politics/politics-features/israeli-rave-survivors-families-gaza-hamas-1234849064/

Sherwood, H. (2023, October 9). How the Hamas attack on the Supernova festival in Israel 

unfolded. The Guardian. https://www.theguardian.com/world/2023/oct/09/how-the-hamas-attack-on-the-supernova-festival-in-israel-unfolded 

Williams, P. P. M. R. W. L. J. (2023, October 9). Israel festival revelers shot at point-blank range, 

video shows. CNN. https://www.cnn.com/2023/10/09/middleeast/israel-hamas-music-festival-aftermath-intl-hnk/index.html