Beats Antique -- Track 29 -- Chattanooga, TN – 10/16/2013

THE Nth POWER INTRODUCTION

Greensky Bluegrass--Freebird Live--Jacksonville Beach, FL--10/2/2013

Sweet Knievel – Red Light Café – Atlanta 10/12/2013

Honey Island Swamp Band ~ Peachtree Tavern ~ Atlanta, GA ~ July 26, 2013

The Great White Hope: St. Paul and the Broken Bones ~ The Docks at Lowe Mill Arts and Entertainment—Huntsville, AL—04/02/2013

Kung Fu – Smith’s Olde Bar – Atlanta GA – Mon Nov 11 2013 

On a cold Monday night in November, I caught an amazing show by Kung Fu at Smith’s Olde Bar in Atlanta GA. Kung Fu is a killer little jam band from New Haven Connecticut, made up by members of a past band called Psychedelic Breakfast and joined on tour by a member of RAQ. The guys funk’d it up and rocked the house with their unique sound that defies description. Complex jams and improvised dance music set the sound for this unexpected ‘wakeup-your-Monday’ show.  

Kung Fu practices serious musical discipline and have been trained by musical masters. This training gives them what some might call a ‘black belt in chops’. I would try to describe their sound as Frank Zappa meets The Average White Band, throwing in hints of Umphrey’s McGee and an electric jazz funk sound. 

The guys raised the roof, and the crowd couldn’t help themselves from dancing and partying the night away. We got it all:  a killer drum solo, guitar solos, saxophone solos, funkin’ thumpin’ bass and stellar keys. These guys are truly masters of their instruments.   

Seriously, take the time to see these guys live while they’re on tour. You won’t be disappointed. Check out their web site for upcoming tour dates at kungfumusic.com and “like” them on facebook for up-to-date information and tour dates. 

Great Music, Amazing Chops, Enter the Dragon!

Photos and Review by: Lucas Armstrong #lukebox17

Edited by: Rosemary A.W. Roberts

The Nth Power Announces Landmark Tour!

New Supergroup Proves Soul Music Is Exponentially Greater Than The Sum of Its Parts;
On the Road for the First Time in December 2013

* Video Short: Welcome To The Nth Power *

New Orleans, LA (Tuesday, Nov. 12, 2013) -- Today, The Nth Power announces their debut national tour, hitting the road Dec. 3-14, 2013 for the first time since the underground ensemble joined forces in New Orleans less than a year ago.

Finding a brief window apart from the bandmembers' various other touring projects, fans in Washington, DC; Greensboro, NC; Charleston, SC; Asheville, NC; Raleigh, NC; Atlanta, GA; Nashville, TN; St. Louis, MO; Chicago, IL; New York, NY; Portsmouth, NH and Providence, RI will get a rare first listen of what could easily be the next marquee supergroup of soul music.

Few artists pack as much punch in a five-piece, all-analog ensemble as The Nth Power. The formula starts with heavy-hitting drummer Nikki Glaspie (Dumpstaphunk , Beyoncé)'s deep pocket, explosive energy and silky vocals, compounded by bassist Nate Edgar (John Brown's Body), whose quiet confidence lies in perfect contrast to the emphatic, funky low-end he creates. Next, Nigel Hall (Lettuce, Warren Haynes Band, John Scofield)'s unmistakable vocals and innate ability to preach with a keyboard hit the groove in full force. Over the top comes frontman Nick Cassarino (Jennifer Hartswick Band, Big Daddy Kane), oozing more soul in one finger than most guitarists could create in a lifetime, and with a voice that immediately wraps the room in sex appeal. West African percussionist Weedie Braimah (Toubab Krewe, Kreative Pandemonium) is the final X-factor, creating a rhythmic symphony through the djembe that ties the whole equation together with undeniable finesse.

Together, The Nth Power wants to change your life through a message of musical love and understanding -- one that will inspire you to dance, groove, make love or just stand there with goose bumps. 

"Just know that when you hear this music, you're going to feel something -- you're going to connect with something higher than yourself," Braimah explained.

December's tour follows the April 20, 2013 release of Basic Minimum Skills Test, a six-song EP the group unleashed on the streets of New Orleans during Jazzfest. There, early buzz about The Nth Power's transcendent live performances first took hold, and the band has since appeared on a handful of festival lineups, including Electric Forest and Gratitude Harvest Festival, as well as Bear Creek Music Festival this coming weekend. 

Currently recording at Music Shed Studios in New Orleans, The Nth Power plans to release a full-length album in 2014.

"The sound we create is built on a strong foundation of love," said Hall. "We're just getting started, the best is yet to come."

TOUR DATES:

12/03/13 - Gypsy Sally's - Washington, DC
12/04/13 - The Blind Tiger - Greensboro, NC
12/05/13 - Charleston Pour House - Charleston, SC
12/06/13 - Asheville Music Hall - Asheville, NC
12/07/13 - Pour House Music Hall - Raleigh, NC
12/08/13 - The Vinyl - Atlanta, GA

12/10/13 - 3rd & Lindsley - Nashville, TN

12/11/13 - 2720 Cherokee Performing Arts Center - St. Louis, MO

12/12/13 - Concord Music Hall - Chicago, IL (w/Lettuce)
12/13/13 - Sullivan Hall - New York, NY
12/14/13 - Thirsty Moose Taphouse - Portsmouth, NH

12/15/13 - The Spot Underground - Providence, RI

BAND LINKS:

www.thenthpowermusic.com

Facebook.com/TheNthPower

Twitter: @TheNthPowerVibe

Beats Antique -- Track 29 -- Chattanooga, TN – 10/16/2013

Written by: Adam Gilliam

Edited by: Rosemary A.W. Roberts

To say the electronic dance trio Beats Antique does not mind pushing the envelope for artistic expression would be recklessly incorrect. Track 29, located on the campus of the famous “Chattanooga Choo-Choo”, was an incredible venue to host a journey into unknown realms on this soggy Wednesday in southeastern Tennessee. This tour is concurrent with the band’s newly released A Thousand Faces album and is a full multi-media extravaganza that is not for the faint of heart.  The new album is being released in two parts, with the first one being released Oct. 15; so in a way, this evening’s show was a cd-release party, which the band did mention.  Their inspiration for this new production comes from Joseph Campbell’s The Hero With a Thousand Faces, in which a hero receives a calling to enter an unknown world full of strange powers and events, to face challenges and arise victorious. The A Thousand Faces tour takes the audience to unexplored, mystical places both musically and visually with incredible artistic fervor that only Beats Antique can provide.

The show began with Tommy Cappel seated behind his drum kit stage right, and instrumentalist David Satori standing stage left, each shrouded in a complete blackout. As the first bass notes of the world fusion mix rattled the air, the lights engulfed the stage revealing a setup that could be changed instantaneously as the adventure began. Transforming the stage from a psychedelic barrage to an eerie arrangement of glowing houses displayed how powerful this light setup could be. It would not be a Beats Antique show without third member and world renowned belly dancer Zoe Jakes, and she made her arrival onto the scene as the set revamped into a spiritual temple, fit for a dancing goddess like herself. Zoe disappeared as quickly as she came, with this being a common theme to allow for elaborate costume changes. Sorne frontman Morgan Sorne joined Satori and Cappel for a chilling ballad in which he belted out falsetto ranges from his knees then arose to become an almost demonic presence drenched in pink light.

Audience participation brought on a new meaning as the track “Doors of Destiny” required a volunteer to join the act on stage for a devilish carnival game. The vaudeville atmosphere turned dark as more dance beats once again made their presence known and an inflatable monster emerged, reaching to the ceiling while staring down upon the spectators. Satori asked those in attendance if they would like to meet the devil himself, queuing the song “Beelzebub” which on the album features Primus bassist and genuine archangel Les Claypool, though he was not in attendance this night.  Zoe Jakes appeared soon after garnering antlers atop her head and performed another sultry number for the masses. Fan contributions comprised the next stage attire as David Satori announced the thousand faces to be seen were sent to them by admirers. The night would soon come to a close; yet words do not do this manifestation of imaginative performance art justice. Satori and Cappel’s multi-faceted musical talents along with Jakes’ stunning dance performances, combined with a state-of-the-art visual concept make for a night to never be forgotten with Beats Antique.

Sweet Knievel – Red Light Café – Atlanta 10/12/2013 

After nine straight shows on the road, Sweet Knievel came through Atlanta Georgia to rock out a solid 2 hours at the Red Light Café. Directed by lead singer / guitarist Jonathan Brill, Sweet Knievel noodled the night away with some impressive out of the box songs. The band honestly has no one particular style; I heard hints of bluegrass, funk, jazz and even a little ragtime. 

This four-piece band seems to have a clear agenda at the center of their diverse styles: to play the music they love while leaving enough room to improvise. I was unfamiliar with their songs so I cannot give you a set list, but I can say that I was entranced by their skill and musicianship. The music of Sweet Knievel is full of dipping-diving winding space funk, back and forth between the piano and guitar all held down by a solid drum and bass. 

When I asked Jonathan if he had any formal guitar lessons he replied no, but then chuckled and said yes. He attended college at the University of Vermont and the Atlanta School of Music giving him some formal music training. But only after falling in love with the sweet sounds of Jerry Garcia and The Grateful Dead did he decide that he wanted to learn how to play their songs, and this lead him to learn how to jam.  

Sweet Knievel is a wonderful and talented band that will not leave you hanging. Their skill really shows in their ability to read each other during improvisation. Their melody and harmony builds in intensity to a climax of sound and then snaps back to a groove that will keep you hooked and wanting more. Make sure you take some time to check them out on youtube or visit their website http://sweetknievel.com/ for upcoming shows and information about the band. 

Great times, Great people, Sweet grooves. Sweet Knievel. 

Written by: Lucas Armstrong #lukebox17

Edited by: Rosemary A.W. Roberts

Greensky Bluegrass--Freebird Live--Jacksonville Beach, FL--10/2/2013

“One More Saturday Night”

Looking back, the Greensky Bluegrass show that took the floor at Freebird Live on October 2, really reminded me of the popular Grateful Dead song “One More Saturday Night”. It was a very lax week night in Jacksonville Beach and with it being the tour opener, I was very curious to see how Greensky was going to fair that evening. It seemed as if the evening was shaping up to be just “one more wednesday night”.

The opening act Fruition hit the stage and there was hardly a soul in the building. I began to worry about the turnout for the headliners, Greensky Bluegrass. This would be my 4th time seeing them and was really hoping for a good show. The last time they were in Jax beach, there was a line around the building and tonight it was as if the town was dead. Fruition did a great job and although I am not familiar with them or their music, I would certainly go to see them again and am looking forward to the opportunity. A harmonic blend of vocals elevates the instrumental melodies to an unexpected, higher level of musical enjoyment. This is one of those bands that if you're seeing them for the first time, a permanent imprint of talent and rhythm will forever mark the experience.

After Fruition completed their set, the changeover was a bit extended so that the people could come piling in the door, but unfortunately it never happened. I thought the night was going to be a “Let’s hear a few songs, snap some photos and call it early” type of night. I couldn’t have been more wrong. In true Greensky Bluegrass fashion, they didn’t let the attendance affect their show at all. They jammed like it was “One More Saturday Night”. They played like the venue was packed with fans that traveled from their hometown, Missoula. They opened with “No Idea”, setting the pace for the whole evening. They sounded great, production was on point and it just seemed as if all the pieces fell into place allowing them to jam in their comfort zone. They killed the second set midway through, with a “Break Mountain Brokedown>Kerosene>Dry Bottle”. With all the cards on the table, it truly allowed for some excellent improv jam segues bridging the songs.

Greensky Bluegrass is not your everyday bluegrass band. Bluegrass has reared its acoustical head back into mainstream music with bands such as Mumford and Sons or The Avett Brothers. Introduction of these mega-bands has developed a new genre I like to call “Newgrass”. Whether you're a fan or not, this wave of acoustical influence has provided opportunities for bluegrass bands of all kinds to get some spotlight and really get an audience to play in front of. The attention has paved way for new and old bands alike to get well deserved stage time, bands like Flogging Molly who have been around forever or bands like Greensky who are just getting their feet wet. With that said, it seems many bluegrass bands will play obscure covers to attract attention from this newly acquired audience. It is very entertaining to hear a cover of “Tear the roof off the Sucker” (Parliament) or “Whipping Post” (Allman Brothers Band); and even though Greensky will joyfully play around with covers, it is the improv jams in between that set them apart from most bluegrass bands and making them a jamgrass band of sorts. It is not every day that you get to see a band with that caliber of talent and such pure intent. When combined, ticket price and attendance become obsolete and unadulterated bliss prevails. 

Written by: Joey Pye

Edited by: Rosemary A.W. Roberts

Widespread Panic ~ Tuscaloosa Amphitheatre ~ Tuscaloosa, Alabama ~ 10/3/2013

With the fall season quickly approaching the Deep South, Widespread Panic wasted no time turning the thermostat up a notch with their return to Tuscaloosa, AL.  Upon arrival at the venue, the usual crowd had gathered with lot goods aplenty and the usual hooping, dancing, and sampling of burritos taking place on the lawn across the street. Amidst homecoming festivities for the University of Alabama in full swing, the town got a solid dose of rock & roll to add to the party. 

The boys from Athens, GA got busy setting the tone for the evening with the conventional "Holden Oversoul" sandwich opener. Paying homage to the Grateful Dead, a "Cream Puff War" in the middle really got the energy flowing throughout the venue. The band then brought some deep, blues rock back to the south with "Little Kin" into Chuck Berry's "Let It Rock" which always hits home in Alabama. A change of pace came briefly with the soulful "Tickle The Truth".  JoJo Hermann seemed really psyched to be in Tuscaloosa, as evident by his play and vocals in "1 x 1" setting up "You Got Yours". The dancing slowed a bit with a beautiful cover of the Talking Heads "City of Dreams". When the crowd sings along with John Bell on the line "Southern U.S.A.", fans are reminded there is no place they would rather be.  As quickly as dreams of southern belles and sweet tea arrive, they disappear with a jolting rendition of Jerry Joseph's "North". "Imitation Leather Shoes" closes out the first set which is classic Panic dating back to the Don't Tell The Band album of 2001. 

The 2nd set immediately got started in the right manner with a "Disco" opener. The disco ball on the screen behind the band was a nice touch by Paul Hoffman. Dave Schools’ bass seemed super heavy as it dropped into "Second Skin". The darkness of that tune gave way to the lighter, well known "Space Wrangler". After an eleven year absence, Panic brought "Quarter Tank of Gasoline" back into their rotation in 2011 and Tuscaloosa was fortunate enough to hear this Bloodkin cover next. Set 2 was getting into full swing when a town known for its "Bear" (Bear Bryant) received an eleven minute version of "Bear's Gone Fishin'". The "Driving Song" sandwich that followed turned the heat up to the level of scorch, with the meat being a rager of "Tie Your Shoes", quickly becoming the highlight of many a fan's night. "Breathin' Slow" into "Drums" brought a reprieve from the intensity of the previously mentioned seguesterpiece, only to be a false advertisement for calm as "Fishwater > Life During Wartime > Drum solo> Bass & Drums > Jam > Fishwater" put the crowd back into its frenzied state. From the bass bombs dropped by Dave Schools to the surgeon-like precision of Jimmy Herring's guitar playing and everything in between, it left the crowd wanting mo' mo' mo'. Fortunately, encore was yet to come. 

With great anticipation for what would unfold, one couldn't help but think back to 2011 when Widespread Panic made its return to Tuscaloosa and the venue was at full capacity. The crowd on this night seemed small, maybe reaching 60%, but it’s about quality over quantity right? Encore started off slow with the grievous "Old Joe" making its way back onstage. Some love it, but to each his own. Things improved one hundred percent with "Tail Dragger", a dirty, Howlin' Wolf cover that John Bell can belt out better than anyone. "Love Tractor" brought back more classic Panic memories and put the cap on a fantastic night of music in Tuscaloosa. By the time this is read, WP will have destroyed a two night run with progressive jam band favorite, Umphrey’s McGee, in Charleston, SC.  No doubt, this will be another run for the memories. 

More photos:  HERE

Written by Adam Gilliam

Edited by: Rosemary A.W. Roberts

Photos by Roger Patteson

Honey Island Swamp Band ~ Peachtree Tavern ~ Atlanta, GA ~ July 26, 2013

Pics and Review by Luke Armstrong

Edited by: Rosemary A.W. Roberts 

The Honey Island Swamp Band stormed on Atlanta, Friday night July 26, 2013 at the Peachtree Tavern in Buckhead. It was one of those gigs where you show up to the venue and the band had their tour bus parked right on the front doorstep. I’ve typically had good luck in situations like this as it’s a reflection on bigger and better things yet to come. This means that they are a hard-working, hard-touring band.  I said to myself, the next time I get to see these guys I probably won’t be able to get this up close and personal.  

The Honey Island Swamp Band is a killer party band with a great vibe and fun sound. Their style is funky and southern. They hail from New Orleans, Louisiana and it’s apparent in their music. Average blue collar guys make up this 5 piece band, who actually met in San Francisco after retreating from NOLA during the aftermath of hurricane Katrina. Aaron Wilkinson (vocals, guitar, mandolin, harmonica) and Chris Mule (electric guitar and vocals) met Sam Price (bass and vocals) and Garland Paul (drums and vocals) at the Boom Boom Room in SF where Bay Area music lovers would meet up for their live shows on Sunday nights. The guys were given the opportunity to record an album in 2009 and the rest is history.  

Friday night the guys were on fire; Trevor Brooks was on tour with the guys playing the Hammond Organ, which really polished the sound.  They jammed songs like “Cane Sugar”  “Prodigal Son” and “One Shot”.  The venue was small but the crowd was seriously into it. Hints of Jerry Garcia and Greg Allman could be heard in Aaron Wilkinson’s vocals. He had a southern charm to his presence that had the ladies staring. There were many fans there who knew the band well, in addition to several stragglers that were lured in from the street to catch the live show. People crowded right up to the stage and danced and sang along with the band. It was great. Normally, in situations like this, the crowd stays back and watches from the back of the room; but not tonight. The band was up-beat and happy to be there, while drawing from the vibe of the fans. The sound was intoxicating and even had the bartenders dancing.  

I really enjoyed hanging with these guys. If you can, I recommend seeking out the opportunity to see them live. Check out their website www.honeyislandswampband.com for videos and upcoming shows near you.

Widespread Panic ~ Oak Mountain Amphitheatre ~ Pelham, AL ~ 7/19/13

Review by:  Jared Murray

Widespread Panic turned Pelham, Ala., into a city of dreams for their fans on night one of the tour closer at Oak Mountain Amphitheatre on Friday night.  The site has gone down in history in the plethora of venues that Panic enjoys to play the most. The amphitheater holds some good memories for Widespread Panic, and Friday night set an everlasting stamp from the solid jams to the bust-outs, which added more memories to the atmosphere. The boys have always been known to deliver the goods at Oak Mountain, and did more than just that with their 23^rd appearance in the good ol’ South.  Well, lets get down to business shall we?

The first set took sail with “Lets Get Down To Business,” a tune from the side project band with Vic Chestnut known as “Brute.” Getting down to business is exactly what Panic had in mind for the rest of their Friday night. From the jaw dropping bass lines from bass player Dave Schools to the phenomenal guitar playing from lead guitarist Jimmy Herring, this show took a astonishing stance for the start of a tour-closing run. One of the highlights of the first set was the phenomenal guitar play by Jimmy in the stunning “Pleas” > “Mr. Soul” segue while paying respects to a certain Neil Young.  Other highlight’s included the Howlin Wolf original “Smokestack Lightning” which indeed foreshadowed more covers to come, and also contained some very soulful John Bell vocals. The crowd then jumped up on the camels back for  “Last Straw” and typical set opener/closer “Give.”

The 30-minute set break gave fans just enough time to get their $5 water’s and prepare for the throw down that was about to take place during the second set. Opening the second half would be a dark “Thought Sausage,” which laid the groundwork for “B of D”. From the inspiring and stretched out “Bust it Big” to the “Maggot Brain” that followed, this set had the crowd locked in right from the start. After the large amounts of rain the south has seen this summer, it laid off for this night of Panic, but the crowd still failed to stay dry because of the classic dark “Chilly Water” that was up next. With the surrounding area (Birmingham) being heralded as “magic city”, the boys from Athens would then transcend into bust-out city with a Muddy Water original “Baby Please Don’t Go” which had only been played twice in Panic history and was last played on October 28, 2011, in Chicago.  Next in rotation was the first ever “Tie Your Shoes” > “City of Dreams” > “Tie Your Shoes” sandwich, which left the crowd in awe and was a major highlight in set two. Then “Conrad the Caterpillar” slid right in to end the second set just right.

Widespread Panic ~ Oak Mountain Amphitheatre ~ Pelham, AL ~ 7/20/13

Written By: Emily McCormick

The second round of the famous Oak Mountain double-header certainly didn’t disappoint.  On a warm, damp summer evening, the boys got us going with the classic kick-off crowd pleaser, “Ain’t Life Grand” with JB on mandolin. From JoJo’s dance-worthy notes to those unforgettable lyrics, we can all agree the night was in full gear.  The second song of the evening, “Hatfield”, slithered in for what would be fitting for the rainy evening in store.  As we all gathered in for Charlie’s story, a sweet little “Born on the Bayou” tease entered the game.

“Love Tractor” a fan favorite ragged in hard and fast, as Jimmy certainly disappoint.   He defiantly keeps the momentum going throughout this jam.  After everyone had settled in nicely for what would be one of the finest shows on this year’s tour, we were able to catch our breaths with the mellow “Blue Indian”.  JB’s voice is on-point in this sweet little tune, and the guys were meshing well, tight and clean.  Next in line comes Howlin’ Wolf’s “Tail Dragger”.  Nothing could follow up an old classic like a good, hard-core, Jerry Joseph tune, “Climb to Safety”.  There again, Jimmy’s power is front and center here and the momentum continued as it moved into “Proving Ground” with a bluesy shift in attitude and  energy.  There wasn’t a soul in the venue that didn’t get chills when the sarcastic favorite, “Jack” hit the scene.  This song is truly a favorite of mine as I remember days of old.  Set one was rounded out by “Chest Fever” – a fun energetic tune followed by Henry Parsons Died.  Perfect end to a perfect first set. 

Set two opened up with a powerful “Holden Oversoul” to set the stage for more excitement, keeping with the earthly theme led by Hatfield, Tractor and Henry Parsons Died.  “Sleepy Monkey” was a welcomed reggae tune, making its mark before the high-energy songs that were to follow.  The SM > “Sharon” was amazing and strong.  Sharon is always highly-anticipated as a mountain staple or any two-night run for that matter.  What seemed like a second set crescendo finally gave way to a nice breather with “On this Mountain Side”, which was introduced by the boys during the recent four-night Red Rocks run.  It gave us a moment to enjoy JoJo’s skills while preparing us for the rest of the second set which was mind-blowing Panic at their best.  As always, “No Sugar Tonight/New Mother Nature” a high-energy Guess Who tune blew it up.  JB & Co brought the heat as we strapped in tight for a “Rebirtha > Coconut > Fishwater ride.  Coconut always finds its way into sets in just the right place. After we all regained our composure, JB and JoJo tugged at our hearts with a heart-felt “Vacation” – a song that, well, you know…pulled us in.  The last song, a Talking Heads song, “Life during Wartime” rounded out the final set.

The encore started out with a phenomenal “Genesis” which showcases JB at his best.  We got things going again with “All Time Low”, of course Jimmy killing it.  Winding down what I consider one of the best shows of the tour, was the Vic Chestnut “Protein Drink/Sewing Machine” combo.  The dark and dirty Protein Drink played against the fun Sewing Machine was a perfect way to end our time at the most magical venue around.  This combo was a strong finish and certainly kept the fans wanting more.  

PHOTOS BY ROGER PATTESON ~ MORE PHOTOS & TARVER SHELTON ~ MORE PHOTOS

Jerry Garcia Symphonic Celebration featuring Warren Haynes

Thursday, June 20, 2013 at Red Hat Amphitheater, Raleigh, NC

 On a beautiful night in Downtown Raleigh, NC, Jerry Garcia’s guitar “Wolf” had life again.  Warren Haynes played Garcia’s guitar tonight and was accompanied by the North Carolina Symphony in the Jerry Garcia Symphonic Celebration at the Red Hat Amphitheater.  The symphony, conducted by Albert-George Schram, who normally conducts the Columbus and Charlotte Symphonies, was a beautiful addition to the music of Jerry Garcia.   Warren Haynes was joined by Jeff Sipe (Drums, Aquarium Rescue Unit), Lincoln Schleifer (Bass), Alecia Chakour (Background Vocals, Warren Haynes Band), Jasmine Muhammad (Background Vocals, Pittsburg Opera), and of course Conductor Schram and the NC Symphony.

 The first set started with “Dark Star Orchestra,” which seemed a likely choice to start one of the sets.  They quickly moved into “Bird Song”, which really highlighted the backing vocals from Chakour and Muhammad right from the beginning of the show.  The next song, “Crazy Fingers,” was slow and has a Caribbean theme.  The jam between “Crazy Fingers” and “Scarlet Begonias” was very reminiscent of the Grateful Dead.   They next played a very funky version of “Shakedown Street,” which had a very playful intro into this song for several minutes.  Warren had some great jams in this song that Jerry would have been very proud of.  They then played “Standing on the Moon,” which is a very soulful song, and then “China Cat Sunflower.”  There was an orchestral solo at the end of the song and they quickly moved into the last song of the first set, “Morning Dew.”  This was such a great song to have closed the set, with such a powerful build.  When I think of a crescendo, I immediately think about an orchestra and how powerful this sounds with several dozen instruments of various types building up the intensity and energy.  Close to the peak of the build, a train came and blew its whistle, which seemed to energize the crowd even further, and the crowd quickly screamed back in unison at the train.  At the end of the song, Warren hugged the conductor and they walked off the stage together.  

The second set started with “Mission in the Rain” and then was followed by a captivating version of “High Time.”  They then played the slow and bluesy “Black Peter”, which had Warren on the slide.  The next section included “Uncle John’s Band,” “West LA Fade Away,” “If I Had the World to Give,” followed by a short drum solo.  All of these songs were very smooth and slower versions, which worked well with the orchestra.  The final song of the second set was “Terrapin Station.”  This was by far the best song of the night and I really enjoyed hearing this song with the symphony backing.  The song included a Slipknot teaser section in the middle.  As they went back into Terrapin, it became a completely instrumental version with the background singers chanting “Terrapin” over and over.  The build in this song was reminiscent of the build in “Morning Dew” in the first set and was so hauntingly beautiful that it brought a tear to many eyes in the audience.  The encore included a Warren Haynes tune called “Patchwork Quilt,” which is a song that honors the life and music of Jerry Garcia.  Before the song, Warren told the crowd that he was honored to be part the first musician to be asked to take part in this celebration, which was organized by the Jerry Garcia Foundation.  The show ended with “Stella Blue” with the lyrics “and when you hear that song come crying like the wind it seems like all this life was just a dream.”   It somewhat felt like a dream in Raleigh tonight listening to the music of Jerry Garcia played by Warren Haynes and backed by the North Carolina Symphony.  

Written and Edited by: Kerr Wall

Photos by: Courtney Wall

Widespread Panic, June 9^th, 2013 at Redhat Amphitheater, Raleigh, NC

What a beautiful day for a Widespread Panic show.  In Raleigh, the rain had finally stopped from Tropical Storm Andrea, which had moved through the area the previous few days and brought several inches of rain.  When there are several days of built up energy from fans, you expect either a great show or at least a great crowd.  Widespread Panic more than delivered, and as fans left the venue after the show, the outro music by The Gap Band flooded the streets of downtown Raleigh with “You Dropped A Bomb On Me.”  Widespread Panic definitely “dropped a bomb” this evening and the 3 and a half hour show incorporated songs from nearly every album that spans 30 years of studio work and relentless touring.

The first set started with the John Lennon song, “The Ballad of John and Yoko.”  This was a great song and I’m glad I finally heard this since they started playing it over a year ago.   The band next moved to “From the Cradle” (Earth to America, 2006) and then “Bust It Big” (Night of Joy, 2004).  Both of these songs were pretty dark and “From the Cradle” was perfectly placed considering the lyrics “Broke and soaking wet, floating around”, could easily describe all of the rain we had in the Raleigh area the previous week.  JoJo Hermann sung and commanded “Bust it Big” with a lot of help from many dark Jimmy Herring jams and then the band gracefully segued into “Henry Parsons Died” (Everyday, 1993). 

The next section included “Little Lilly” (Don’t Tell the Band, 2001) > “Cotton Was King” (Dirty Side Down, 2010), and “Tail Dragger” (Wood, 2012).  “Little Lilly” is a very uplifting song and Herring had a very nice Houser sound in the jam.  During this section the band turned on the new light show and video screen that began displaying images, usually related to the songs.  The first image was a picture of a cotton ball surrounded by fire as they started “Cotton Was King,” which had a fantastic keyboard jam from JoJo.  “Tail Dragger” is a very bluesy song with great Herring blues licks throughout.  The final section of the first set included “Driving Song” (Space Wrangler, 1988) with “Down” (Don’t Tell the Band, 2001) sandwiched in between.  Pictures of leaves filled the screen during “Driving Song” to represent the first line of the song - “the leaves seen through my window pane remind me that it’s time to move my life again.”  “Holden Oversoul” (Space Wrangler, 1988) closed the set and it was a great version, although it could have been jammed a little longer.  Really great first set!

The 2^nd Set started off with “Ain't Life Grand” (Ain’t Life Grand, 1994) with John Bell (JB) on the mandolin.   Such a great song to start a set and it had the crowd dancing and singing.  The band next went into the Bob Dylan tune “Fixin' To Die” and then “Up All Night” (Free Somehow, 2008).  “Up All Night” had some great synthesizer play from JoJo intertwined with some very melodic and patient groves from Jimmy.  This jam was very Dead sounding and I could have listened to this jam for much longer, but sadly they brought the song back around and ended it.

The next section included a powerful set of songs “Rebirtha” (Bombs & Butterflies, 1997) > “Greta” (Bombs & Butterflies, 1997) > “Stop-Go” (Space Wrangler, 1988).  For me, this was the best part of the night.  The funk from “Rebirtha” was incredible and jaw dropping.  Herring’s solo was beautiful and things got real quiet and then JoJo started a very rhythmic organ sound and then the funk ensued.  Dave Schools started a pretty dirty bass line with nice backup licks from Herring.  The segue into “Greta” and the middle jam were very spacey and the bass solo from Dave Schools in the middle of “Stop-Go” was his best work of the night, with him really strumming the guitar. The song ended with a vocal piece of the Bob Marley tune “3 Little Birds,” which is always a wonderful treat during this song.  I have to say that the most improved member of the band from the last time I saw them nearly 2 years ago was Herring, who is much more patient and respectful with his jams and solos. 

The next section included “Walkin' (For Your Love)” (Widespread Panic, 1991) > “Arleen” (Riley) > “Papa's Home” (Everyday, 1993).  We got stop about halfway through “Walkin’”, which is always great, but the best part of the song was the jam out into “Arleen.”  The middle section of “Papa’s” was fantastic and this whole section is why you come to Widespread Panic.  If you don’t like the songs and more importantly, don’t like the jams in these songs, you probably won’t come back to see Panic.  “Arleen” began at exactly 10:13 EST, which the band did several times when Mikey was still alive but not sure if they have done this with Jimmy.  The line from “Arleen” is "Well I get up every morning about 10:13, Six pack of stout, and a stick of sensi.”  I definitely heard “LA Woman” teases before they dropped into “Arleen.”  This was also one of the better “Papa’s” that I’ve heard live over the years.  The 2^nd set closed with the Jerry Joseph tune “Chainsaw City.” 

The band encored “Can't Get High” (Ain’t Life Grand) and “Can't Find My Way Home” (Steve Windwood).  As I stated earlier, the outro music leaving the venue was “You Dropped A Bomb On Me” (The Gap Band, 1982) and Widespread Panic definitely “dropped a bomb” on Raleigh June 8, 2013.  Great show!!!

Setlist

Set 1: The Ballad of John and Yoko, From the Cradle, Bust It Big > Henry Parsons Died, Little Lilly > Cotton Was King, Tail Dragger, Driving Song > Down > Driving Song, Holden Oversoul (66 minutes)

Set 2: Ain't Life Grand, Fixin' To Die, Up All Night, Rebirtha > Greta > Stop-Go*, Walkin' (For Your Love) > Arleen > Papa's Home, Chainsaw City (88 minutes)

Encore: Can't Get High, Can't Find My Way Home (9 minutes)

Notes:  *w/Three Little Birds rap

Written By: Kerr Wall

Photos By: Courtney Wall

Edited By: Rosemary A.W. Roberts

Smashing Pumpkins ~ Tuesday, May 7, 2013 ~ Red Hat Amphitheater, Raleigh, NC 

The Smashing Pumpkins rocked the Red Hat Amphitheater for more than 2 hours on a beautiful, yet chilly (at least for North Carolina) night in downtown Raleigh, NC.  Although Billy Corgan is the only remaining member of the original lineup, the new sound still has the same rough and guitar-heavy sound that we have come to love about the Smashing Pumpkins over the last 25 years.  The current lineup, which consists of Billy Corgan (guitar/vocals), Nicole Fiorentino (bass), Jeff Schroeder (guitar) and Mike Byrne (drums), played in front of approximately 4,000 fans and marched through a set that contained a few songs from most of the band’s albums over the last 3 decades.  However, the newest album, Oceania, was the main focus of the night with eight straight songs in the middle of the set. 

The show started off with some powerful songs which were known by fans old and new.  The first three songs, “Where Boys Fear to Tread”, “Zero”, and “Starz”, were really rocking and the crowd was treated to a mini drum solo. After that, they slowed it down for “I of the Mourning”, a very guitar heavy song which segued beautifully into David Bowie’s “Space Oddity”. Corgan’s hauntingly unique voice works wonders on this song. The next three songs brought it back to the 90’s with “XYU”, “Disarm”, and “Tonight, Tonight”.  The crescendo building ending to “Tonight, Tonight” gave credence for a little banter with Billy. He informed the crowd that, due to a decibel level restriction (this venue is located in the middle of downtown Raleigh) they couldn’t play as loud as normal and if anyone had a problem with it they should take it up with their local government.  He also discussed the band’s newest album, Oceania, sarcastically stating that it is a really good album if you are on drugs. 

The next part of the show was completely dedicated to Oceania, where the band played 8 of 13 songs off of the album, including the single “Celestials”.  All of these songs were in the same style and sound of their older material.  Some of the standouts were “One Diamond, One Heart” with its unique keyboard intro by Schroder and “Pinwheels” which was a slower song with a nice guitar intro.  The band closed out the Oceania portion of the show with “Pale Horse” and then moved into “Ava Adore” with its harmonic guitar duo. 

After “Ava Adore”, there was some confusion from the stage as Billy started playing a song from earlier in the show and apologized with a maniacal laugh before launching into “Cherub Rock”.  During “Stand Inside Your Love”, it was hard to take your eyes off of Nicole Fiorentino as she sexily swayed with her bass guitar.  The set closed with the usual patriotic “United States”, complete with tripped out American Flag electronic backdrop.  They walked off stage only to return to their standard encore starting with “Bullet With Butterfly Wings”.  After this song Corgan asked Jeff if he noticed the girls up front that were making out the whole show. He then asked the crowd if that is what we do here in Raleigh, to which Nicole responded “I don’t know but I like it”. They then went in to the sing a long friendly “Today” which was a crowd pleaser and a great way to end the show.  Overall it was a great night in downtown Raleigh, and I look forward to seeing the Smashing Pumpkins again here, decibel restrictions and all. 

Setlist:

Where Boys Fear to Tread, Zero, Starz, I of the Mourning, Space Oddity (David Bowie cover), X.Y.U., Disarm, Tonite Reprise, Tonight, Tonight, Oceania, Violet Rays, Quasar, The Chimera, One Diamond, One Heart, Pinwheels, The Celestials, Pale Horse, Ava Adore, Cherub Rock, Stand Inside Your Love, United States

Encore: Bullet with Butterfly Wings, Today

 

Written By: Kerr Wall & Courtney Wall

Ian Neville Interview ~ May 17, 2013 ~ Article & Interview by Roger Patteson 

                JPM had the pleasure of sharing a few moments with guitar virtuoso and deliverer of the funk, Ian Neville of Dumpstaphunk.  On a day in Omaha, NE, while preparing for a set at the Lovefest in the Midwest festival, the son of funk pioneer, Art Neville, answered the phone and opened a door into his life. 

JPM:  May through August, Dumpstaphunk has 13 festival appearances and only 8 regular shows.  This has become a well received trend amongst touring bands.  Is it due to the unity of musicians, a “bang for the buck” phenomena, more fun for the artists, or is it an exposure thing?

Ian:  “13? Wow, I didn’t even know that!  I think with festivals like Summer Camp, where we’re playing next week, it gives us a chance to check out bands that we like to listen to and we love that opportunity.  Sometimes at a festival, a person will have never heard of us, then Dumpstaphunk happens and they’re hooked!”

JPM:  Been around for 10 years and never head of Dumpstaphunk?

Ian:  “Believe it or not, they’re out there.”

JPM:  Is there any other town or community that resonates with music and culture like New Orleans does?

Ian:  “Yeah I’d definitely have to say San Francisco.  They seem to have a real strong NOLA connection.  Maybe it has something to do with the Neville’s relationship with the Grateful Dead for so many years.”

JPM:  Have you filled your dad’s shoes yet?

Ian:  <he laughs> “Cannot be filled.”

JPM:  What’s it going to take to achieve that?

Ian:  “When you look at the Meters’ influence on so many bands, so many bands that cover Meters’ music, the amount of hip hop artists that sample them……He helped pave the way.  He helped people recognize an entire town (New Orleans).”

JPM:  If you had said “Yes”, what would pops think of that?

Ian:  “Pops is a D-phunk fan, first and foremost.  He loves coming to our shows and I see him getting down out in the crowd.  <he laughs> This is a good stamp of approval.  If we’re playing in NOLA, he’s usually there.  It hit me this year at Jazz Fest that I had more sets than he did.  That’s nuts!”

JPM:  If the family influence had never been there and music wasn’t on tap, what is Ian Neville doing for a career?

Ian:  “Probably making movies.  And, maybe the acting part but also the directing and creativity of film.”

JPM:  And, actually, you already have a little experience with that, right?

Ian:  “Yeah we (Ivan and Ian) played as the band in “A Little Bit of Heaven” and we were in an episode of Treme (HBO).  But I would probably still be doing something with music.”

JPM:  So, when you’re not doing anything with music, what makes up your downtime?  Any hobbies?

Ian:  “Probably playing video games.  I’m waiting on the new Grand Theft Auto to come out.”

JPM:  Oh snap! Like a worn out thumbs “gamer”?

Ian:  “Ha. Yeah.  When we have a tour bus and a long ride ahead, I’m probably running over pedestrians and shooting up cars.”

JPM:  We had a chance to listen to the new album, “Dirty Word”.  It’s nice.  Good stuff.

Ian:  “You’re just saying that ‘cuz I’m on the phone, right?”

JPM:  No, for real, we really like it.

Ian:  “Thanks”

JPM:  What was the motivation and inspiration for these new cuts?

Ian:  “Well, you know, the motivation came because it was just time to record new stuff that we’ve been working on.  A lot of the inspiration came from Nikki (Glaspie, drummer) coming into the band.  It was time to get in the studio.  We would sit in the studio and one of us takes off on a riff and the others join in or sometimes each of us had our own idea and they just blended together.  This free form of development led to a real painless effort of recording.  The last record seemed like we wore it out before it was even released.”

JPM:  When choosing cover songs to play does it come from a “serious” or “humorous” state of mind?

Ian:  “We’ve been working on some new stuff like the Meters set we played at Wanee.  That’s all out of love, ya know?  I grew up watching and listening to these guys and it’s a real treat to jam their stuff.  We got some Parliament P-Funk stuff coming up too.  Anytime we’re around those guys, they like to come up and play with us.

JPM:  That’s got to do wonders for the self esteem.  Some feel good stuff.

Ian:  “Oh yeah, for sure.  We also did some crazy covers back at the Voodoo Fest, like Nirvana.”

JPM:  Going to have to YouTube that one.

Ian:  “Yeah, I’m sure it’s there.”

 

JPM:  And that’s why it’s important to capture moments in music history.  Our folks knew where they were when Kennedy was assassinated, we have Kurt Cobain.

Ian:  “Ha, yeah man. I remember.”

JPM:  Came home from school, flipped on MTV…

Ian:  “…and there was Kurt Loder…”

                Ian and Dumpstaphunk are set to funk the stage in many of the country’s finest fields and venues this summer.  Check www.dumpstaphunk.com for exact dates and locations.  Big thanks to JP Cutler Media and Margaret Willard.

The Great White Hope: St. Paul and the Broken Bones

The Docks at Lowe Mill Arts and Entertainment—Huntsville, AL—04/02/2013

Written & Photos By: Todd Powers

Edited By: Rosemary A.W. Roberts

Gracious, in his Birmingham drawl, Paul Janeway seems more like a buddy from the local watering hole than a front man of an up and coming soul band.  The face of St. Paul and the Broken Bones, Janeway, his poignant vocals, charismatic stylings, and dapper wardrobe lend themselves to a time when the smooth sounds of Motown intersected with the gritty soul of Stax Records.  Paying homage to these roots, Janeway and his compatriots are blazing new in-roads to the possibilities of modern soul. Facing the potential for a meteoric rise, St. Paul and the Broken Bones have played packed out shows at Music and Scenic City Roots, crashed SXSW, and are currently weekend warrioring it through the southeast.

The future did not seem so certain a few short years ago.  Before the advent of St. Paul and the Broken Bones, Janeway and bassist Jesse Phillips cut their musical chops in a band that could be best described as “diverse”. With diversity came tension and a disingenuousness that left the duo in musical limbo. Janeway divulged that “early on”, he was “not being true to myself or the music”. The lack of security and a brooding sense of unknowing led both Janeway and Phillips toward consideration of “being big boys and getting real jobs”. 

Serendipitously, Janeway and Phillips were talked into coming back into the studio for one last shot. According to Janeway, they went into the studio with “no real direction” and what emerged was a budding collaboration “deferring to feel and emotion”.  Pulling in some Birmingham musicians and a Shoals’ guitarist, St. Paul and the Broken Bones quickly solidified as a young soul-rock ensemble.  Leaving behind the identity crisis of earlier efforts, St. Paul and the Broken Bones emerged to conquer the southern metropolitan bar scene. In an instant, Janeway went from being a guy who wasn’t singing two years ago to the front man of a promising soul band.

Janeway is something of a natural.  A self-described “feeler”, Janeway never took a voice lesson.  He grew up singing religious music in the Pentecostal church with a dab of Sam Cooke and some old school soul sprinkled in for good measure.  According to Janeway, he always had an appreciation for soul music.  “I thought those guys (Cooke, Redding, etc.) were great singers”, but “never thought I would be in a band like that”.  Janeway relates, “It’s tough (to be a soul singer), it takes a lot of feel and you got to prep for that”.   As things have taken off, Janeway shares “we (now) think of ourselves as a soul band”.  “Even in the studio we didn’t know, but we’re a soul band” says Janeway “with some rock tingling” as an aside. 

Affirmation of Janeway’s soul credentials came quickly when he was asked to fill in for Percy Sledge at February’s premiere of the documentary Muscle Shoals. Janeway quipped he “was not the promoter’s first choice”. “They were trying to get Percy”, but they “asked would you be ok doing When a Man Loves a Woman” out of the gate. Backed by Muscle Shoals Rhythm Section greats David Hood, Jimmy Johnson, Spooner Oldham, and Will MacFarlane among others, Janeway cranked out a soul stirring When a Man Loves a Woman and Land of 1000 Dances to open the show.   Janeway related, “I don’t get nervous; amped up, but never nervous; that was the only time I have ever been nervous”. Janeway continued “I embraced it, couldn’t think about, because I would lose it”. 

St. Paul and the Broken Bones are an exciting enigma in an industry that has cornered the market on slick productions and engineered recordings.  Genuine in his approach, Janeway opined “I think we are in the day and age where people search for authenticity”.  Taking this approach on the road, Janeway and his compatriots are gaining converts along the way.  An awkward trip to SXSW certainly helped the process along.  Janeway deemed St. Paul and the Broken Bones the “stepsons of South By”.  “We played an official party at the last minute thanks to our manager, snuck into other parties” but ultimately had no official access”  Janeway relates “we could not even go back stage”.  “We went with a chip on our shoulder”, but on the whole, “we gained some new fans and a better understanding”.

The future is wide open for Janeway and his band mates. “The horn players are finishing college in May” says Janeway. “After May we are on the road as much as we can be”.  Janeway has personally sacrificed for success.  The SXSW foray cost Janeway a job as a bank teller. “The rest of the guys work” and ultimately decisions will have to be made. “It’s tough playing a festival and people are loving you, then you have to go to work on Monday” explains Janeway.  Going from rock star to cubicle to rock star is a very difficult process. “The weekend runs are generating a little bit of revenue, so I’m not living on the street”.  “Business is picking up a lot and we all are entrenched, engulfed, obsessed with the process” related Janeway.

The price of popularity is exhaustion, but fortunately Janeway is a person who genuinely likes people.  In fact, he and his band mates are living the rock and roll dream.  Janeway expresses his excitement about his chosen path, “I get to talk about something (music) I’m madly in love with”. “I don’t feel I am a big time rock star who should avoid people”.  Janeway does admit the process can be wearing. “Playing a show for a couple hours, which is already emotionally draining, followed by talking and thanking people after the show can be a (strenuous) routine”, recounts Janeway, “but this is the dream”. 

Catching up with St. Paul and the Broken Bones at Huntsville’s Concerts on the Dock resulted in a raucous free-for-all of soul. A crowd of a couple of hundred folks packed the green space at the foot of the dock as Janeway’s soulful voice and animated gyrations were on full display.  It didn’t take long for Janeway to bound off the stage and get out in the audience with concealed snickers from the band.  These guys are young, but they have done their homework.  Integrating originals with Solomon Burke, Otis Redding, and Sam Cooke are bold propositions for any band, but Janeway is an entertainer and his band mates have the musical aptitude to back it up.  St. Paul and the Broken Bones cross generational divides with solid musical skills and a confidence that can be envied by the ablest of bands.

Umphrey’s McGee—Georgia Theatre—Athens, GA—04/15/2013 

It was a beautiful evening outside as fans started to line up at the Georgia Theatre in Athens, Georgia. It was a sold out show. There was tension in the air as people struggled to get in the door to claim their seats. The crowd mostly consisted of local Georgia University students, but several fans also traveled to the show from areas of the Southeast. The feature was a band from Chicago called Umphrey’s Mcgee. 

Their music is almost impossible to describe; it’s like no other band I’ve heard before… hints of heavy metal, classic rock, and funk rock all with a jam band delivery. It consists of beautiful melodic harmony, in unison with speed solos by Jake Cinninger who is one of the world’s best guitarists. The band is also held down by a drum, percussion, and a bass section that could put any other band to shame.  These guys are not just some found musicians put together by a production studio. They found each other, by some cosmic wonderful connection that shines through in their ability to work together and improvise some of the most complicated progressive music you can see live on tour. 

There was no opening band for this headlining group. “No need for one”, said a fan in line as we discussed the opening song selection from their most recent shows. The venue is small, and for those of us who know the Georgia Theatre, remember it as it used to be before the tragic fire that burnt it down in 2009. The now renovated theatre has a large open floor, two balconies, and a renovated rooftop bar. The outdoor bar displays the concert on TV screens, allowing fans a place to sit and relax. 

The lights dimmed and anticipation filled the air as the band slowly made their way to the stage. The show opened with “Tango Mike”. This song offers everything needed to slowly rev up the crowd in preparation for the hard hitting turns and sweet speed guitar that has given the band its reputation. Heading into the second song of the night, “Domino Theory”, the band seemed to realize that for a Monday night, this house was keeping up with their energy. They also seemed inspired by the level of commitment from the crowd of fans. Brendan Bayliss, the lead singer, came to the mic and thanked the crowd for coming out on a Monday.  He then said, “We promise to make it feel like a weekend night”.

The second set started off with “Nothing Too Fancy”, a song that’s a mesh of rock and almost a techno jam. Taking some dark and mysterious turns the band kept the crowd on the tips of their toes, dancing and grooving all night for another hour and a half, giving us covers like “Baba O’Riley” by Pete Townshend of The Who and “Girlfriend is Better”, by the Talking Heads. Is there anything these guys can’t play? 

The fans’ love of Umphrey’s McGee was evident in the faces of the crowd. They knew every song played. The crowd screamed during moments of improvisation, encouraging the band to play their solos harder and longer. 

Umphrey’s McGee is a band that always delivers, always shows up to play their best. They tour hard, play hard and work hard. I foresee a long and great future for these guys as they continue to do what they do best and bring their blend of great styles of music to the stage. On a Monday night, Umphrey’s McGee brought down the house in Athens, Georgia. Who would have thought that on a Monday night, I caught one of the best shows I’ve seen in a long time. Be sure to catch this band whenever you can; you won’t be disappointed.

 

Written by: Lucas J. Armstrong

Edited by: Rosemary A.W. Roberts

Photography by: Lucas Armstrong

Elton John ~ March 23, 2013 ~ UTC McKenzie Arena ~ Chattanooga, TN 

With a career spanning more than 4 decades, creating more than 30 albums, and delivering more than 3,000 live shows, Sir Elton John is no stranger to performing, and perform he does.  At two days shy of the age of 67, Elton effectively laid down a rock show to remember in the UTC McKenzie Arena in the downtown area of Chattanooga, TN. 

Traffic was at a standstill for every direction approaching the college venue.  Fans of all ages and backgrounds decided to park blocks away and make the trek.  If you were lucky enough to park near the venue, a generous fee of $5 was all that was charged.  Hospitable arena staff and Live Nation personnel were happy to help the sold out crowd of 10,000 to their seats.   Front row security guards had a full time job keeping eager fans in their actual seats.  From anywhere in the venue, the small, bright, rectangular screen of a smart phone could be found held high in the air.  Instagram and Facebook would, in effect, also be at the show. 

The lights dropped, the crowd roared, and the band led off with the intro riffs of “The Bitch is Back”, in truly well played timing, as Elton emerged up the steps to the stage.  The crowd was treated with the dancing on the piano antics of yester year as Bitch closed.  “Benny and the Jets” opened next, followed by “Tell Me When the Whistle Blows”, an emotionally charged “Levon”, and the blue jean baby’d, LA lady’d “Tiny Dancer”.  Before starting “Holiday Inn”, the song’s inspiration was explained with a short narrative describing when he first started touring the U.S.  Apparently, playing the same venues in the same cities over and over results in a fondness for certain accommodations and the green and yellow hotel chain became the obvious choice. 

“Believe”, “Mona Lisas and Mad Hatters”, “Philadelphia Freedom”, “Candle in the Wind”, and “Goodbye Yellow Brick Road” gave a relatively calm crowd a reason to stay in their seats.  This would change at the mere mention of “she packed my bags last night pre-flight, zero hour 9a.m.” as “Rocket Man” began.  Gaining approval was a giant cloud of smoke that blew around Elton when he said he was “…gonna be high as kite by then…”.  “Hey Ahab” launched from Rocket.  A sweet, slow, bluesy piano jam started “Guess That’s Why They Call It The Blues”.  The arena was treated to some sick drums and lights during “Love Lies Bleeding”.  The funk of “Take Me to The Pilot” and Yellow Brick Road’s  “All The Young Girls Love Alice” kicked things up a notch before a three song emotional and heartfelt medley of “Daniel”, “Sorry Seems To Be The Hardest Word To Say”, and an Elton solo mission, “The One”, emerged. 

With the spotlight brightest on the man at the piano, a moment was taken to share the love for his companions along for the ride.  On drums, Nigel Olsson; Matt Bissonette on bass, after Bob Birch’s untimely death last year; Davey Johnstone on guitars/vocals; Kim Bullard on keyboards; Ray Cooper on percussion; and a host of beautiful backup singers lead by mother and daughter Rose and Lisa Stone of Sly and the Family Stone fame. 

Like a true survivor, “I’m Still Standing” brought its early 80’s synthesized flare to life.  For a moment, we were treated to a little tease of “Camptown Races” before a throwback to the tunes of the 50’s with “Crocodile Rock” materialized.   The “La la la la la” being chanted by the crowd was as loud as the blue sequined, “Fantastic” embellished coat being worn by Elton.  Delivering the same set list as the previous night in Montgomery, AL, the weekend show would appropriately receive a “Saturday Night’s Alright For Fighting” to end the two hour set. 

One thing for sure about an Elton John show is the absolute unquestionable love he has for his fans and the desire to please them.  At the end of every song, minus two, he stood and bowed, to all 4 directions of the 360 degree arena seating, making direct eye contact with many a fan and telling them “Thank YOU”.  Add that to the approximate 50 autographs he signed for the front row fans and a solid, class act is what you have.  To top it off, a return to the stage encore would conclude the evening with a song netting over 1700 times played and being fully dedicated to the fans with “Your Song”. 

Elton’s tour continues with stops in Texas, Tennessee, Ohio, North Carolina, and an impressive thirteen night stay in Las Vegas, Nevada at the world famous Caesar’s Palace.  In June, the madman across the water heads back to Europe for the majority of the rest of 2013.  Check out his new website at www.eltonjohn.com for the latest news and thanks for sitting in on another segment from Jams Plus Media.

Review and Photos by: Roger Patteson

Edited by: Rosemary A.W. Roberts