There are two videos circulating that has many people talking and others’ blood boiling, and rightfully so. Last night, at the Trey Anastasio w/ the National Symphony Orchestra show in Washington D.C.’s Kennedy Center, one clueless fan decided it was cool to interrupt the flow of the show by attempting to either take a picture of her sitting front row at the show, or wanting to show Trey a video of something. Either way, regardless of the point she was trying to make, she is out of line and ignorant. The other video, is of some dude with a nitrous tank right in the outside lobby of the show just filling up balloons as nonchalantly as can be, like nitrous is commonplace at such an event.First, we will discuss the young “lady” and her immature decision to interrupt the show with her nonsense. Most of us think that what she did is completely idiotic and out of line; others think that it is all in good-natured fun. While what she was doing can be seen as innocent, funny, or cute (the vein in my temple is popping out while using these words), what this girl did is EXACTLY what you don’t do when you are at a show of this caliber. Yes, Trey Anastasio is the guitarist of Phish, your favorite jamband that you go see during the summer and enjoy partying to; however, he is also a composer, and is playing a very special show with an orchestra at a classy venue. Everything about this performance begs to be treated differently than your average Phish show, so treat it that way.Next, the nitrous tank….where do I begin? Everything about this, including those that actually bought and huffed a balloon, is indicative of why people think the way they do about the Phish scene. While many of us have grown up, earn a living, and still like to party, we at least know the right time, the right place, and how to behave when doing so. It’s that other faction of fans that just don’t get it, or refuse to get it. It’s the scenesters, the wooks, the people that are just there for the party and NOT for the music (which should always be the number 1 reason why you attend any concert, unless you have forgotten). And by scenesters and wooks, I don’t mean those with dread-locks, or patchwork pants, wearing heady crystals, or whatever out-there look you are going for – though, dressing up occasionally is not conforming, just to put that out there.I am talking about those fucking assholes that ruin it for everyone else. Those selfish pricks that think they are too cool for school, and have been to “like 140 Phish shows”, but can’t even remember half of them because they get K-rocked all the time, or just simply don’t know when to say when with whatever it is they are doing; the people that don’t know how to function or act when put in a normal setting; those that couldn’t have a normal conversation if it slapped them in the face; or those that decide to interrupt a performance by an orchestra because “I, like, just have to show Trey this, like….”; oh yeah, and that dude that sells nitrous in the lobby of said show.Such behavior is completely unacceptable and cannot be tolerated. People need to grow up and act like adults. Learn to party like a professional, then you won’t make a fool out of yourself and get lambasted for it; it’s embarrassing. Show even just a smidgen of class in your everyday lives, it will go a long way. Show the people around you respect, as opposed to acting like an entitled ignoramus. That is not to say that accidents don’t happen, because they do. And sometimes you have a little too much. But the blatant acts that are being witnessed here is completely inexcusable and have to be pointed out.Man, it felt good to get that out.The rules when attending a performance like this:1. Dress in nice attire – you don’t have to look like a wook everywhere you go, it’s absurd.2. If you are going to imbibe, then do it like an adult. Be classy, learn to party like a professional. If you can’t, STAY HOME!3. Be quiet. You should be able to hear a pin drop. Applaud after the song has ended. These are professional musicians; they have perfected their craft, are serious about what they do, and don’t need to be distracted by your ongoing conversation, or your need to “show Trey this video.”4. Do not take pictures. Your flashes distract the musicians. Don’t you want to hear the best possible version of a song, and not have it get messed up because you needed to take a picture? How selfish!5. 99% of the people attending the show paid with their hard-earned money, and want to enjoy what the musicians are playing, NOT your childish behavior.Video of the girl interrupting the Trey Orchestra show:Nitrous Video:
The lineup for this year’s Ravinia Festival has been announced, and it includes one major noteworthy performance: Umphrey’s McGee will be returning with accompaniment from the Chicago Mass Choir.On August 14th, the jam band will head to Highland Park, IL (just outside of Chicago), and will be joined by the choir for several songs throughout their performance. This isn’t the first time they’ve performed with the choir; in fact, this has been a long-running tradition. Check out UM with the Chicago Mass Choir from 2011:The Ravinia Festival includes shows from Tedeschi Trucks Band and Sharon Jones & The Dap Kings, Steely Dan, Steve Miller, Brian Wilson, The Doobie Brothers, ZZ Top and more, throughout the summer months. Check out the full calendar for more information and ticketing details.Check out our Umphrey’s McGee tour log to keep tabs on the band throughout their winter/spring tours!
L4LM is proud to premiere a track from Turkuaz‘s new EP, Stereochrome. “Gettin’ A Little Closer” is a return to roots for the Brooklyn-based funk army, showcasing the band’s ability to dig into their influences and pull out something groovy.The new EP Stereochrome, released earlier this week, is a drastic departure from the band’s previous works, using an all-analog approach to recording the tracks. As co-founder and guitarist Dave Brandwein said, “We didn’t use a single piece of gear that was made after 1970.” The result is a raw and powerful approach to funk at its finest. Read on to get the full story from Dave Brandwein in this exclusive L4LM interview.Check out the track, and be sure to come see Turkuaz at Irving Plaza on May 2nd! More info about that show can be found here.L4LM: How was Turkuaz founded?Dave Brandwein: Taylor (Shell) [bassist] and I went to Berklee College of Music together in Boston. Back in 2008, while there, I had a home studio that I built there, which has now turned into our studio here in NY, called Galaxy Smith Studios, but back then it was just a home studio in our house in Boston. We were working on a bunch of different projects with a bunch of different artists and bands and whatnot, but we didn’t really have a specific project that represented the music that we played when we just jammed for fun, ya know, that funk and dance kind of stuff. So we just started making these demos which at the time we just called “The Funk Disco Project”…we didn’t really have a name for it. Then one day our friend actually submitted these demos into Berklee’s record label, without us even knowing! A few weeks later he comes back to us, explains how he submitted these demos, and that they really loved it and want us to perform on their compilation mix and perform at their showcase. We ended up saying yes, but didn’t have an official band or even a name at that time, so we had to throw together a band of our close friends essentially a month before this showcase. So 5 out of the 9 current members were actually there since the very first show. The only place we would hang out, besides practicing at our home, was actually the Turkish market across the street from us, so when it came time to decide a name we used the Turkish market across from us as our inspiration.L4LM: Turkuaz is currently a nine-piece band? What are the advantages/disadvantages of having such a large lineup?DB: For Turkuaz, it really wouldn’t be Turkuaz without the big group. Since the inception of it, it had to have horns, several vocalists, lots of keys, lots of guitars, and drums. So, I mean, it’s one of those things we don’t even spend time debating or contemplating. For the advantages of it, there is the power and excitement we all create on stage, and there is definitely more of a group dynamic. For example, you aren’t trapped in a car with the same 3 or 4 people for 200 days of the year; instead we get a bigger, family type of vibe traveling and having a blast on the road. In regards to disadvantages it really only comes down to a numbers game: more mouths to feed, more money to go around, the self-explanatory things. But, again, we don’t drive ourselves nuts agonizing over “What If?” because its one of those things that just has to be what it is.L4LM: Can you provide us with a little context to your single “Gettin’ A Little Closer” off of your EP Stereochrome. What was your inspiration for the song? How did you go about writing it? What is the songs subtextual meaning? etc.DB: It’s funny that song was actually written way, way back in those days that I mentioned where the band started around 2008-2009. It just came together really quickly, it’s one of the few [songs] that was written by just sitting with a guitar, which, for Turkuaz, doesn’t happen a lot of the time. We made a demo of it way back then, and for the lyrics its one of our more linear takes on them and didn’t take much time at all. Obviously the song draws its inspiration from classic soul/classic rock even 1960’s kind of sound. The lyrics correspond with that feel, kind of a uplifting, positive kind of message. We actually recorded it for our second album, Zerbert, but we didn’t achieve that vintage, classic sound that the song really needed. With Stereochrome we actually recorded the whole thing analog, on this old tape machine, and decided to instead re-record this tune which what was once called “Gettin’ Closer” and then appropriately was changed to “Gettin’ A Little Closer” L4LM: Over the last few years, Brooklyn seems to be the epicenter of the up-and-coming indie music scene and, especially lately, the funk revival. It is reminiscent of the grunge scene of Seattle in the 90s, or the drug-fueled music scene of Haight Ashbury in the late ’60s. How has living amongst the Brooklyn music scene influenced Turkuaz’s sound?DB: I think that it has helped us work on our craft. With SO many great bands coming out of Brooklyn, and not only that but so many great funk bands, it really keeps us on our toes. We love being in a community with a thriving music scene, it is really good for us, even if we are only here 100 days a year. I really do wonder sometimes if this era, this place and time, will be looked back as something along the lines of what you mentioned. Brooklyn Bowl alone has generated that new, thriving scene where any given night what may seem like a small crowd of 100-200 people, or even 500-1000 on some nights, could be the thing that everyone is talking about looking back historically at this era of music. L4LM: You have an upcoming show in Irving Plaza with Black Taxi and Kat Wright and the Indomitable Soul Band on Saturday, May 2nd (GET TIX HERE). Does this show hold any significance for you since it is so close to home?DB: Absolutely. Because we are touring so much, especially now, we only get to play NY about twice a year at this point. This will be one of two shows we are really excited for, especially since it is coinciding with the release of Stereochrome, and such an amazing venue for us to finally be able to headline.L4LM: Additionally, can you expand on why you chose these two opening acts for the Irving Plaza show and how they contribute to the sound Turkuaz embodies?DB: We are really excited for both bands. Kat Wright is opening for us April 11 in Burlington, a place that she has a really strong following. It sort of just made sense to do a couple of “show trades” with them, us in their home town and vice-versa. With Black Taxi, we actually used to play with them a lot 3-4 years ago around NYC, places like The Mercury Lounge and whatnot. We really love their music, but we are especially excited because they bring out such a different crowd than ours. With Jazzfest going on at the same time, we didn’t want to stick to our roots and have a similar sounding band, we thought it would be cool to mix it up and have something different, maybe draw the other NY crowd. Overall it should be a great night of music across the board and we are really excited for it.L4LM: You have mentioned that your new EP is a “departure” from your typical sound. How does Stereochrome differ from your last album, Future 86? DB: Strangely this EP is more of a departure from what we are going to be releasing (laughs). What actually happened is we went to record our full length record (Digitonium) which won’t be released until the fall, and that album is a very, very exciting, modern, synth-y, funk kind of sound…a much more modern approach to funk, incorporating ‘80s and ‘90s kinds of sounds. We are really excited for it, but it was a very different and meticulous recording process for us. So we wrapped that up, came back to Brooklyn, and said, “You know what…lets just do an EP that we can throw together in three days, record it on tape, just do it old school, and bang it out and release it as soon as we can.” Essentially it was more of a departure from our future album. We wanted to record something that was really organic, really fun, and put that out before our next big album release.L4LM: Stereochrome was recorded at Brooklyn’s Galaxy Smith Studios on vintage gear and captured on 1/2 inch tape with analog production techniques. How has this recording process altered Turkuaz’s sound, and what challenges and/or opportunities did this unique recording experience provide?DB: We didn’t use a single piece of gear that was made after 1970 so it was definitely a different process, especially in juxtaposition to the Digitonium recording process. In regards to the challenges it posed, it without a doubt put more pressure on each performer, because we are deprived of all the editing capabilities of a modern studio. Yet at times it made it easier because you know you have to commit to what you have played and you don’t even have a chance to go back and second guess it. It’s easier in some ways and harder in others.L4LM: Lastly, can you give us any details on your upcoming full-length studio album Digitonium?DB: Again, really, really exciting. Polar-opposite from Stereochrome, but both are some of my favorite things that we have ever worked on. I think Digitonium is by far our best album to date, and its got some really fun themes and surprises about it that we’ll reveal along the way as we get closer [to its release]. It is different than what you may have heard from Turkuaz so far, but I think by far our best recording effort. *** Purchase Tickets for Turkuaz’s Irving Plaza show w/ Black Taxi and Kat Wright on Saturday, May 2nd ***
Electric Forest has expanded upon their 2015 lineup! The festival, which is held in Rothbury, MI from June 25-28, previously announced headlining performances from String Cheese Incident, Bassnectar, Skrillex, Kaskade, Flume, Big Gigantic, Edward Sharpe & The Magnetic Zeros, Joe Russo’s Almost Dead, Yonder Mountain String Band and more. Electric Forest also announced the addition of two new stages – The Hangar and Jubilee.The lineup will now feature performances from Keller Williams’ Grateful Grass, Leikeli47, Chaz French, Adam Deitch (DJ Set), Dabon, and more! 10 Magnificent Things You Will Only Find Inside Electric Forest!You can see the full lineup below. Tickets have been sold out since the initial announcement, but more information, including the full daily schedules, is available here.
Grateful Dead archivist David Lemieux has just revealed plans to release the 15th installment in his Dave’s Picks series. This archival release will highlight the Dead’s show at the Municipal Auditorium in Nashville on April 22, 1978, and is due to be released on August 1st.One of the famous Betty Board tapes, the 1978 concert showcases the Dead at one of the pinnacles of their career. The sturdy setlist features tunes spanning the band’s entire career, which you can check out below. Head to Dead.net to place a pre-order, as only 16,500 copies will be printed. You can watch Lemieux discuss the release as part of his ongoing Seaside Chat series here: Dave’s Picks Volume 15 – Municipal Auditoium, Nashville, TN – 4/22/78Disc 1 1. Bertha> [7:27] 2. Good Lovin’ [6:48] 3. Candyman [7:26] 4. Looks Like Rain [8:16] 5. Tennessee Jed [9:33] 6. Jack Straw [6:12] 7. Peggy-O [8:16] 8. New Minglewood Blues [6:12] 9. Deal [7:24] Disc 2 1. Lazy Lightning> [3:38] 2. Supplication [6:42] 3. It Must Have Been The Roses [8:22] 4. Estimated Prophet> [12:36] 5. Eyes Of The World> [12:25] 6. Rhythm Devils> [14:09] Disc 3 1. Not Fade Away> [11:20] 2. Wharf Rat> [12:06] 3. Sugar Magnolia [10:07] 4. One More Saturday Night [5:12][Via Jambase]
Chris Robinson Brotherhood came to the Turner Hall Ballroom in Milwaukee, WI last Sunday, October 4th, and treated the crowd to a dance-ably rocking good time. The group has continued building support with their soulful music, and the performance lived up to every expectation imaginable. Check out the full gallery of photos below.Certainly at almost any Chris Robinson show, fans are treated to covers. Sunday night was no different. In the first set they played a particularly twangy and upbeat version of Dylan’s “A Hard Rain’s A-Gonna Fall”. It was so unusual and yet so pleasant to hear this classic with a faster, solid 4/4 drumbeat to set the tone. It was a real treat. In the second set they led a raunchy version of the Dead’s “West LA Fadeaway”. Most people in the crowd knew immediately what it was as soon as guitarist Neal Casal started playing the introductory notes. It was quite a fun version.Other highlights included “Poor Elijah”, a song that seemed to feature it all. It had a strong melody, strong vocals from both Chris Robinson and Casal, and some great guitarwork by Casal featuring the slide. “One Hundred Days of Rain” was a slower song that sounded really soulful. Being a Sunday show, it seemed fitting that they played “Sunday Sound”, a song that really left the crowd feeling forgetful that most had to work the next day. For an encore they played an elegiac “The Last Place that Love Lives”. They belted out the refrain in beautiful harmonies!CRB’s performance pleased fans old and new alike. They even brought their tasty beer to Milwaukee, Brotherhood Steam, which is not exactly usual. It was a tasty lager and went down well with the beautiful music of the evening. These guys are talented, professional, and fun. They provide a great evening of music, so go see them when they come to town!Setlist: Chris Robinson Brotherhood at the Turner Hall Ballroom, Milwaukee, WI – 10/4/15Edit this setlist | More Chris Robinson Brotherhood setlistsFull gallery of photos below, courtesy of Daniel Ojeda: Load remaining images
Nestled into the Ozark of Arkansas, Mulberry Mountain will play host to the 7th annual Highberry Music Festival from June 30 – July 4. Today, the festival revealed their initial lineup, offering up a diverse group of talent like Papadosio, The Jeff Austin Band, Cornmeal, The Desert Dwellers, Forgotten Space, That 1 Guy, and Friends of the Phamily.Mulberry Mountain was the site of Wakarusa Festival, the organizers of which recently declared that they would be dealing with legal issues in lieu of holding the annual event. Highberry is stepping into the grounds, and plan to add more artists on January 26th.The festival anticipates as many as 25 bands performing on their two stages, with early bird ticketing underway now at the festival’s website here.
Ah, Jam Cruise‘s Piano Lounge. It’s a place where jamming treasures like Marco Benevento or Ivan Neville can sit down and just play without any pretense or expectation. We had the good fortune of being in the room when Umphrey’s McGee keyboardist Joel Cummins was playing his heart out, jamming on the music of Radiohead’s classic Kid A track, “Everything In Its Right Place.” Interestingly, the song has never been played in full by Umphrey’s McGee, though the band has teased and even jammed on it during live performances. You can enjoy footage of the crowd-pleasing piano cover below, as captured by Rex Thomson:
Community Gifts kicks off season of givingNovember marks the beginning of the monthlong Community Gifts Through Harvard campaign — the University’s workplace charitable giving campaign. The goal for this year is $1 million. Last year, more than 600 human service agencies and charities in the Greater Boston area received funding from Harvard affiliates. For more information, or to pledge online, visithttp://www.community.harvard.edu/communitygifts.Vendor fair to explore the ease of being greenHarvard Strategic Procurement will hold its preferred vendor fair on Nov. 1 from 11 a.m. to 2 p.m. at Radcliffe Gymnasium. Representatives from Harvard’s printing partners, IKON, B&H Photo and Video, and OfficeMax will be on hand to discuss offset and digital print needs, the latest technology in imaging and audio visual products, environmental trends in the industry, and selecting the right office products for the right job. The fair will also include free educational seminars, giveaways, business card drawings for door prizes, and refreshments.HILR’s new Green Committee spotlights transportationIn conjunction with the Harvard Green Campus Initiative, the Harvard Institute for Learning in Retirement (HILR) recently launched a green committee. The new committee aims to raise the environmental consciousness of the institute’s members, who number more than 500. The committee is currently spotlighting alternative modes of transportation, including public, biking, and walking, as meaningful ways to combat global warming.Using the Commuter Cost Calculator (managed by University Operations Services), HIRL members — and indeed, the whole of the University community that regularly commute to Harvard Square — can see just how their choice of transportation affects not only the environment but their wallets as well. Access the calculator athttp://www.uos.harvard.edu/cgi-bin/cc/survey.pl.Upcoming Goethe-Institut concert to feature Harvard composerAn ensemble–in–residence at Harvard University, White Rabbit, will perform chamber music by Department of Music doctoral student Karola Obermueller on Dec. 8 at the Goethe-Institut Boston (170 Beacon St.). Presented in cooperation with the Consulate General of Germany, the concert begins at 8 p.m. A donation of $10 is suggested.Safra Foundation seeks fellowship applicantsThe Edmond J. Safra Foundation Center for Ethics is now accepting applications from graduate students for its 2008-09 fellowship in ethics. Eligible students are either writing dissertations or engaged in major research on topics in practical ethics, especially ethical issues in architecture, business, education, government, law, medicine, public health, and public policy.Students should be enrolled in a doctoral program of the Graduate School of Arts and Sciences or in one of Harvard’s professional Schools, and should have completed all course requirements and general examinations by September prior to the fellowship year. In professions such as law or medicine, where a doctoral dissertation is not required for an academic career, advanced students taking leaves of absence, recent graduates, and Harvard affiliates engaged in postgraduate training are also eligible.The application deadline is Nov. 15. Visit http://www.ethics.harvard.edu/ for more information.Holyoke group art show seeks submissionsHarvard employees who work at the Holyoke Center are invited to participate in the eighth annual group art exhibition, to be displayed from Dec. 7, 2007, through Jan. 2, 2008, in the Holyoke Arcade’s exhibition space. The goals of this exhibition are to showcase the artistic talents and creativity of Holyoke Center staff and to celebrate the Holyoke Center community.For more information, contact Deena Anderson, events and exhibitions coordinator at the Holyoke Center, at [email protected] The deadline for submissions is Nov. 15.Arboretum seeks T-shirt designs for Lilac SundayIn commemoration of its 100th Lilac Sunday event (set for May 11, 2008), the Arnold Arboretum is now accepting T-shirt designs that capture the spirit of this annual tradition. Designs must be original, limited to two colors, and intended for the front of a T-shirt.The deadline for submissions is Nov. 30. Please submit a photograph or digital file of the design (each artist may submit up to three designs) to [email protected] Original artwork will not be accepted. Please note that the winning design will become the property of the Arnold Arboretum and will be printed on the official Lilac Sunday 2008 T-shirts, along with the artist’s name.Submissions will be evaluated on how well they reflect the spirit, history, and beauty of Lilac Sunday. The winning design will be selected by January 2008 and all finalists’ designs will be displayed in the Arboretum’s Hunnewell Building throughout January 2008 and again on Lilac Sunday.The artist of the winning design will receive a one-year membership with the Friends of the Arnold Arboretum and 10 free 2008 Lilac Sunday shirts. T-shirts will be available for sale on Lilac Sunday 2008. For more information, [email protected]
Besides his forays into racing in the USA, Day’s success in NASCAR’s European circuit — stacking up six victories in his first two seasons — has resonated back in his homeland. Early in January, he was recognized as Israel’s Athlete of the Year in a newly announced category for motorsports. Alon Day has made a path where just five years ago, he says, none existed in his homeland of Israel. The road races played to Day’s wheelhouse and he capitalized on his expertise with a 13th-place finish in his XFINITY debut at Mid-Ohio. But his truck time — at New Hampshire and in the Homestead-Miami finale — provided a valuable training experience. “I grew up without any motorsports — nothing,” says Day, who fantasized about NASCAR and Formula One as a youth. “When I started racing, which was in 2012, actually motorsport was illegal in Israel.” While he’s still working on making his dreams of racing in the states a reality, he’s also changing popular conceptions of what NASCAR means in his home country. There are several traditional routes to stock-car racing’s big leagues. Several stars have emerged from asphalt Late Model circles, others from the sprint cars ranks, either on pavement or dirt. The eagerness led to opportunities for the 25-year-old Day in two national series last year: Two road course events on the XFINITY tour with Carl Long‘s team, and a pair of Camping World Truck Series races on ovals for owner Carlos Contreras. “In Israel, if I would be very honest, people always — until now — think that NASCAR is just people who turn left and that’s it. Sitting in the car and just turning left,” Day says. “And now when I actually get more success in NASCAR and especially winning the Athlete of the Year, people get more and more interest now. The NASCAR races are broadcast in Israel and I’m really glad. RELATED: Meet the 2016-17 NASCAR Next class “It’s still a different kind of racing for me,” Day says. “I’m still learning as much as I can in ovals. I try to absorb as much information and more knowledge about oval racing, which is not easy. So definitely the two races I did in trucks were probably the most valuable races I’ve done.” Day’s presence in NASCAR’s pipeline reaffirms the notion that there are no uniform directions to the national stage. The NASCAR Next driver’s roundabout journey has taken him from his home in Tel Aviv, to racing single-seaters and other vehicles in Europe, and stock-car sojourns to the United States more than once. It’s a journey, he says, that’s not nearly complete. “That’s my main priority, for sure, being here in NASCAR, in Trucks or XFINITY or doesn’t matter — but be here, in the United States and not in Europe,” says Day, who has spent the last two years in the NASCAR Whelen Euro Series. “For me, going back to Europe is probably going to be a step down because I feel ready enough to race here, but that’s life. It can be tough sometimes.” “People really have the opportunity to understand it and realize that NASCAR is one of the toughest races in the world.”