With all the rumblings after Phish teased Huey Lewis’ ‘Sports’ as their Halloween cover album, Huey Lewis himself has tweeted from his band’s official Twitter account, commenting on the talk.This could be a @phish fake out, but it is still nice to be considered http://t.co/sOTx3cwrJx— Huey Lewis (@Huey_Lewis_News) October 25, 2013Sorry guys, but even Huey Lewis knows its a fake out.
Marco Benevento has shared a fresh batch of 2015 tour dates, as the pianist will hit the road to promote his most recent release, Swift. Benevento has a few remaining dates in 2014, but will tour extensively next year, with stops all across the country. The tour kicks off on January 29th in Northampton, MA, and continues through April 3rd!Check out the full schedule below. Tickets and more information can be found on Benevento’s official website.December 19 – Brooklyn, NY – Brooklyn Bowl December 20 – Albany, NY – Parish Public House January 29 – Northampton, MA – The Parlor Room January 30-31 – Portsmouth, NH – The Press Room February 26 – New Orleans, LA – Blue Nile February 27 – Houston, TX – Warehouse Live February 28 – Austin, TX – The Parish March 4 – Phoenix, AZ – Rhythm Room March 5 – San Diego, CA – Winston’s March 6 – Los Angeles, CA – Bootleg Theatre March 7 – San Francisco, CA – Independent March 10 – Napa, CA – City Winery March 11 – Arcata, CA – HumBrews March 12 – Cottage Grove, OR – Axe & Fiddle March 13 – Portland, OR – Mississippi Studios March 14 – Seattle, WA – NectarMarch 27 – Pittsburgh, PA – The Rex Theater^ March 28 – Buffalo, NY – Buffalo Iron WorksApril 2 – Boston, MA – Great Scott April 3 – Portland, ME – Empire^ = with Mike Dillon Band
Free and open to the public, the second annual Oak Street Block Party welcomes a huge roster of funk legends for a daytime extravaganza on Wednesday, April 29. If you though the party stops between Jazz Fest weekends one and two, you thought wrong (this is NOLA we’re talking about). With 7 hours of music across two outdoor stages and the Maple Leaf, food and alcohol vendors, local artists and more, this is sure to be a daytime rager of epic proportions.This stacked lineup features The Oak St. All-Stars (Oteil Burbride, Kofi Burbridge, Roosevelt Collier, Adam Deitch, Adam Smirnoff, Jesus Coomes, Ryan Zoidis, Maurice Brown, & Natalie Cressman), Leftover Salmon, The Nth Power, The Heard, Kung Fu, Eddie Roberts’ West Coast Sounds, Sonic Bloom & Hard Proof.The event is a benefit for the Oak Street community, and WWOZ will be on site collecting donations.
Thanks for everything, Phish. We’ll see you in Mexico… if not sooner.Setlist: Phish at Dick’s Sporting Goods Park, Commerce City, CO – 9/6/15Set 1: The Landlady, Free > The Moma Dance > Seven Below > Prince Caspian > Backwards Down the Number Line, The Line, Scent of a Mule, Saw It Again, Halfway to the Moon, The Birdwatcher, FrankensteinSet 2: Wilson > Down with Disease > Carini > Steam > Piper > Also Sprach Zarathustra > Tweezer > The Horse > Silent in the Morning > Slave to the Traffic LightEncore: Tweezer Reprise, Harpua > After Midnight > NO2 > Keyboard Army > Your Pet Cat, Once in a Lifetime > United We Stand Fish on Marimba Lumina. Page on keytar. Unfinished. Unfinished. Narration included Jimmy being a guy from the east coast coming west and needing an oxygen tank. Trey sucked from an oxygen tank. Included narration from Mike about eating Poster Nutbag. Phish debut.Notes: This show was webcast via LivePhish and featured several bustouts: The Landlady (last played December 3, 1994, or 768 shows), Birdwatcher (June 28, 2012, 134 shows), Keyboard Army (December 14, 1995, 684 shows), and Once In A Lifetime (October 31, 1996, 634 shows). Scent of a Mule and NO2 featured Fish on Marimba Lumina. Frankenstein featured Page on keytar. Down with Disease and Harpua were unfinished. Piper included a quote of Rocking Down The Highway. Harpua included narration about Jimmy being a guy from the east coast coming west, having a breathing problem, and needing an oxygen tank (with Trey sucking from an oxygen tank). Trey then said “I wonder if I should’ve gotten the oxygen in the lot after the show.” Harpua also contained a Glass Onion quote with Trey saying the Walrus was Page. Your Pet Cat included narration from Mike about eating Poster Nutbag. Once In A Life Time contained Harpua quotes. This show featured the Phish debut of United We Stand. During Harpua, Trey mentioned that people writing down the setlist would want to only count Harpua once (by doing this, the encore spelled out THANK YOU).[Cover Photo via Phish From The Road, Setlist via Phish.net] Best encore ever! (SorryNotSorry for the exciting banter)Posted by Phishlove on Sunday, September 6, 2015 There’s a certain element of unpredictability that accompanies a Phish concert. Sure, you can ask “what will they play next?” at just about any moment of any given show, but there are some shows where that question could literally be answered by anything. The final night at Dick’s Sporting Goods Park was one of those magical nights.In a summer tour marked by the appearance of seven new songs, including “Blaze On” and “No Men In No Man’s Land” on heavy rotation, not to mention the recurring “Martian Monster” (and various other Halloween 2014 tracks) and Fuego tunes, Phish opened the show with the unexpected: the first stand-alone “The Landlady” since 1994, a 768 show gap. The latin mamba had a bit of a love-hate relationship with “Punch You In The Eye” in the early 90’s, but eventually made its way back into that composition. Why did the band decide to bring it back now? Perhaps the better question is, why not?The first set had a real flow to it, with “Free” jamming into an extra-funked out “Moma Dance” before the delightful “Seven Below”. Free-flowing guitarwork from Trey Anastasio ushered in the powerful tones of “Prince Caspian”, which flowed smoothly into “Backwards Down the Number Line”. After “The Line”, a fun-loving Fuego tune, the group started getting out there. “Scent of a Mule” featured some experimental jamming from the group, as to be expected, going deep into uncharted waters before pulling it back and ending the song properly.Phish Breaks From Spelling Tradition, Covers Pink Floyd In Dick’s OpenerKeeping the set going, Phish plunged deeper into the darkness with “Saw It Again”. The rarity featured some humorous howling vocals, whirling the crowd into a frenzy. “Halfway to the Moon” followed, a Page McConnell original that provided a brief reprieve before two final intriguing selections. “The Birdwatcher” came next, a bizarre tune written for the Trey Anastasio Band and adapted as an a cappella piece for Phish. The lyrics are extra weird, but all too perfect for a Phish Sunday show at Dick’s. “Frankenstein” closed out the set, with McConnell rocking the keytar for this blistering Edgar Winter cover. Trey egged on the shenanigans, wearing a “Let Page Stand” shirt. The second set played out a bit more traditionally, so to speak. After a rockin’ “Wilson” opener, the band steered into a monster “Down With Disease” jam. The band kept it light, staying in shallow waters and steering through various key signatures. Of course, the lightness was abruptly interrupted by the opening riff of “Carini”. Never ceasing to rile up a crowd, “Carini” and his lumpy head raised the energy in Dick’s to the point of no return. Phish was flying high at this point.The jams kept on coming in the second set, with Carini seguing into “Steam” into “Piper” into “2001” into “Tweezer”. You may accuse me of brevity here, but that 40+ minutes of music was simply one mega funk-a-thon. On any other night, this would have been the highlight, but this isn’t any other night. This is a summer tour closer at Dick’s.Phish kept moving through set two, jumping into “The Horse > Silent In The Morning” before closing out set two with the beautiful “Slave To The Traffic Light”. It was a monster set, undoubtedly, but this is a show that will remain infamous for its encore.After a “Tweezer Reprise”, the three following words said it all: “oom pa pa.” The sheer length of this “Harpua”, which included a grand total of five other songs intertwined, elevated this encore from a show closer to a full blown third set. Anastasio’s narration featured Jimmy as a East Coast fan traveling West to Colorado and getting lost to some local edibles. As Jimmy listened to some of his favorite classic rock tunes, the group slipped into a cover of JJ Cale’s “After Midnight”.Unfortunately for Jimmy (but fortunately for us), the potent potable took a turn for the worse. Things got weird during a spacey “NO2” > “Keyboard Army”, that is, until Jimmy was reunited with his furry friend, the cat Poster Nutbag. As Anastasio/Jimmy mused about the nature of pet cats, the group went into the Halloween instrumental “Your Pet Cat”. Played for only the third time, the instrumental broke down into a Mike Gordon narration, where the bassist accidentally caused Poster’s inevitable demise by, well, eating him. Evoking some “awwws” from the audience, Phish smiled and braved on through “Harpua”. This being one of those “why not?” type of Phish shows, the ending of the tune segued into a cover of the Talking Heads’ “Once In A Lifetime”. Phish is no stranger to Talking Heads covers, but this beloved classic rock tune had only been played once prior, back in 1996. 634 shows later, “Once In A Lifetime” returned to Dick’s with McConnell handling lead vocals. The band even included the “a dog… a dog…” segment in “Lifetime”, wrapping up “Harpua” before thanking the audience and seguing into a debut cover of the patriotic “United We Stand” song.As fans spent the past couple of days speculating what the band would spell out, as has become tradition at Dick’s, Trey delighted the crowd by announcing that “people writing down the setlist would only want to count ‘Harpua’ once.” Finally it was discovered that the band spelled out “THANK YOU” in the SEVEN SONG encore. What a way to maintain tradition and conclude a fantastic tour. The FUCKING BIRDWATCHER!Posted by Phishlove on Sunday, September 6, 2015
With the recent news that David Bowie would be releasing a new album, Blackstar, in early 2016, the prolific songwriter has released the 10-minute title track from the release.The composition is typically bizarre, featuring some cosmic art-rock with chanting, classical elements, and a healthy mix of Bowie’s iconic vocals. The song fits in with some of Bowie’s space-themed compositions, like “Space Oddity” and “Life On Mars?,” but gears away from the radio-friendliness and into the depths of Bowie’s twisted imagination.Listen to the new release below:
The lineup for the 2016 Governors Ball Music Festival is upon us. Held on Randall’s Island in New York, NY from June 3rd to 5th, the festival has revealed that Kanye West, Beck, The Strokes, The Killers and Robyn will all be giving headlining performances for this year’s celebration.The full lineup includes such participants as Death Cab For Cutie, M83, HAIM, Of Monsters And Men, Chet Faker, CHVRCHES, Father John Misty, Jamie XX, Bloc Party, Gary Clark Jr., Miguel, Big Grams (Big Boi + Phantogram), Matt and Kim, Action Bronson, Lord Huron, Joey Bada$$, and so many more. The lineup also features the first US performance from Eagles of Death Metal since their concert was victimized by terrorist attacks in Paris, France.Tickets and VIP packages are on sale now, and more information can be found via the festival’s website. Check the full lineup card below:
Certainly one of David Bowie’s greatest muses was outerspace. It’s a theme that carried throughout the great musician’s career, emerging in early works like “Space Oddity” and coming to the forefront on the 1972 Ziggy Stardust album, with songs like “Starman” and “Star.”With Bowie’s recent passing, Belgian radio station Studio Brussels decided to pay an incredibly-fitting tribute. Along with the MIRA Public Observatory, the station registered a seven-star, lightning-bolt-shaped constellation in honor of Bowie. Not only that, but the star pattern is located near Mars, playing into the “Life on Mars?” theme as well.Hayley Jane, Members of Big Gigantic, Particle, & More To Perform David Bowie TributePhilippe Mollet from MIRA discussed the constellation, saying, “It was not easy to determine the appropriate stars. Studio Brussels asked us to give Bowie a unique place in the galaxy. Referring to his various albums, we chose seven stars – Sigma Librae, Spica, Alpha Virginis, Zeta Centauri, SAA 204 132, and the Beta Sigma Octantis Trianguli Australis – in the vicinity of Mars. The constellation is a copy of the iconic Bowie lightning and was recorded at the exact time of his death.”The station has also launched an interactive web tribute featuring the constellation, where fans can click on a point within the lightning-bolt shape and leave a note with their favorite Bowie song. That “Stardust For Bowie” application can be viewed here.[Via DDB Brussels]
In the wake of David Bowie’s unexpected passing several days ago, the Stratosphere All-Stars have announced plans to play a special David Bowie tribute set during their upcoming run of shows around the Northeast. From January 28th through the 30th, the band will be performing at NYC’s Highline Ballroom, Washington DC’s The Howard Theatre, and Fairfield CT’s The Warehouse, respectively. Joining them for the run will be sensational vocalist Hayley Jane (Hayley Jane & The Primates) and electro-funk outfit Turbo Suit, both of whom will join Stratosphere in paying tribute to the Star Man. The lineup for this Stratospheric collective will feature David Murphy (formerly of STS9) on bass, Steve Molitz (Particle) on keys, Marcus Rezak (Digital Tape Machine) on guitar, and William Lane Shaw (Pnuma Trio) on drums. Singer Hayley Jane (Hayley Jane & The Primates) will be sitting in on a few songs and providing vocals for two of the three shows as well!Indianapolis live electronic trio Turbo Suit, comprised of David Embry on production and vocals, Nicholas Gerlach on tenor sax and EWI, and Jeff Peterson on drums will be supporting Stratosphere on all three dates. With infectiously danceable beats, and super sensual saxophone melodies, this trio knows how to throw down a dance party. Expect some interesting sit-ins throughout the three night run.All shows will feature a traditional Stratosphere set, as well as a funky set of Bowie tunes to pay tribute to the Thin White Duke. Check out the tour dates below:Stratosphere All-Stars w/ Turbo Suit Tour Dates:Thursday – January 28th at Highline Ballroom – New York, NY *^Friday – January 29th at The Howard Theatre – Washington DC *Saturday – January 30th at The Warehouse – Fairfield, CT *^* w/ Turbo Suit^ w/ Hayley JanePurchase GA Tix For Highline Ballroom HERE.Purchase GA Tix for The Howard Theatre HERE.Purchase GA Tix for The Warehouse HERE.
Some of EDM’s premier DJs came out to Arizona last weekend to spread the love for an all-out Valentine’s rager of epic proportions. Keys N Krates, Seven Lions, Jauz, Netsky, Borgeous, Wax Motif and more brought high-energy sets to Crush Arizona for hours of nonstop beats and over-the-top production. The annual Insomniac/Relentless Beats event took place at Rawhide, just south of Phoenix, AZ.Photographer Tony Cottrell captured the essence of the fest, from the production to the people. Check out some photos, with a full gallery at the bottom. Load remaining images
For artists of the Renaissance, the key to truth and beauty lay in the past. Renaissance artists assiduously studied the sculptures and monuments of Greece and Rome and emulated them in their own work. The inspiration they found in those ancient models has echoed down the centuries, influencing the appearance of Western art and architecture to this day.If those 15th and 16th century artists had looked more closely, however, they might have found something that would have changed their vision of ancient art and had a profound effect on their own practice. That element was color.We now know that the unblemished white surface of Michelangelo’s “David” or Bernini’s “St. Teresa in Ecstasy” would have been considered unfinished according to classical standards. The sculpture and architecture of the ancient world was, in fact, brightly and elaborately painted. The only reason it appears white to us is that centuries of weathering have worn off most of the paint.So entrenched has the association become between classical art and the look of white, unblemished marble, that the idea of an Athenian acropolis as colorfully painted as a circus wagon is difficult to imagine if not downright blasphemous. But now an exhibition at the Sackler Museum can help us envision what a color-drenched classical world might have looked like.“Gods in Color: Painted Sculpture of Classical Antiquity” features full-size color reconstructions that challenge the popular notion of classical white marble sculpture, illustrating that ancient sculpture was far more colorful, complex, and exuberant than is often thought.The reconstructions are the result of more than two decades of painstaking research by a pair of married German archaeologists, Vinzenz Brinkmann and Ulrike Koch-Brinkmann. The exhibition was organized by the Stiftung Archäologie and the Staatliche Antikensammlungen und Glyptothek of Munich, Germany, and has already been shown in a number of European cities. The Sackler is its first U.S. venue.The Brinkmanns used various methods to detect the almost invisible traces of paint on the surfaces of the sculptures they studied. Among these was the use of raking light to reveal incised details as well as subtle patterns caused by the uneven weathering of different paints on the stone surface; ultraviolet (UV) light to bring out slight surface differences; and techniques such as X-ray fluorescence and infrared spectroscopy to analyze the types of pigments employed.While not the first to notice the traces of color on ancient sculpture — scholars were arguing the case for painted classical sculpture as early as 1815 — the Brinkmanns are the first to bring the full armament of scientific equipment to the task.The results are spectacular and reveal much about the way ancient Greeks and Romans viewed their world. Take, for example, the life-size figure of a Trojan archer from the temple of Aphaia on the Greek island of Aegina (excavated in 1811 and acquired by King Ludwig of Bavaria). The figure wears a shirt and leggings covered all over with an intricate red, yellow, blue, and green diamond pattern. Over this he wears a bright yellow vest inscribed with lions and griffins. A tall yellow hat with a flower pattern completes the costume.Lest one think that all this color and pattern may have come at least partly from the Brinkmanns’ imagination, photos on the wall show how UV light revealed each of these details on the weathered and faded original.But why is the archer so elaborately clad? According to Susanne Ebbinghaus, the George M.A. Hanfmann Curator of Ancient Art and one of the curators for “Gods in Color,” the archer probably represents Paris, who started the Trojan War by running off with Helen, the wife of King Menelaus of Sparta, and who later killed the hero Achilles by firing an arrow through his heel.As Ebbinghaus explained, the Greeks of the classical period often represented the Trojans as Persians, whose armies they had successfully repelled in the early fifth century B.C. Persian warriors were generally shown as exotic and a bit overdressed compared with the manly and largely naked Greeks.The contrast between Greeks and Persians can be seen in another reconstruction, that of the so-called “Alexander Sarcophagus,” discovered in Lebanon in 1887. Here the Greek warriors fight entirely naked except for a bronze helmet (apparently taking precautions against head injuries did not reflect badly on one’s valor). The Persians, on the other hand, are garbed like Venetian revelers during Carnevale. Did the Greeks actually fight in their birthday suits? Ebbinghaus was asked. “Oh, no,” she replied. “They were armed to the teeth.”Sculptures on the pediments of large buildings have perplexed scholars who wonder how people could have made out the details of such groupings from their vantage point on the ground. The use of color helps answer that question. The Brinkmanns’ study of sculpture from the “Treasury of the Siphnians” (c. 525 B.C.) has shown that not only was color used to emphasize the details of the figures, but their names were also inscribed on the wall behind them, allowing viewers to identify both the characters and the drama in which they took part.The Romans too painted their statuary, including the marble portrait busts whose realistic features convey such a vivid sense of the appearance and even the personalities of upper-class Romans. With the addition of color, these busts take on an illusory realism comparable to the wax figures at Madame Tussaud’s.A particularly striking bust the Brinkmanns have pointed to is one of the Emperor Caligula (37–41 A.D.). Even taking into account the probability that the artist felt under duress to flatter his imperial subject, it is hard to equate this fresh-faced, earnest young man with the prodigy of cruelty and perversion we read about in the history books.There is much more to see in this eye-opening exhibition, including a room devoted to the earlier art of Egypt and Mesopotamia, which shows that, by coloring their buildings and sculptures, the Greeks were merely carrying on a tradition that had begun many centuries before the flowering of their own civilization. Throughout the exhibition, the Brinkmanns’ painted reproductions are juxtaposed with original Greek and Roman art from the museum’s own collection.The exhibition runs until Jan. 20, 2008. Gallery talks are planned in which Ebbinghaus and others will discuss the use of color in the ancient world and its rediscovery by modern scholars. Accompanying the exhibition is an activity book featuring outline drawings of the sculptures, allowing young visitors to decorate the artwork with their own choice of colors.