It has been four years since The Shins released Port of Morrow (2012), their fourth studio album which presented itself after a five year hiatus. While frontman James Mercer is the only original member remaining, the current lineup consists of drummer Joe Plummer (formerly of Modest Mouse), guitarist Mark Watrous, bassist Yuuki Matthews, and keyboardist Richard Swift (The Arcs, The Black Keys). This lineup maintains the alternative folk rock persona that The Shins created in 1996, while adding elements of dream pop to their recent configuration.After some hints on their website earlier this week, the suspense has been built, and the air is now cleared. Today, the release of this music video for a new track “Dead Alive” promises a future for the upcoming release. Mercer calls the video “a Halloween gift while you wait for the album.”The new album is officially on its way, yet it remains untitled with no exact release date. The previously-released teaser included an ominous message, which read: “In a dead-end town, a car salesman is in great danger. It’s something he can’t run from, something in his subconscious.” Stay tuned![via NPR]
Earlier this year, bass master Freekbass was approached by Stonefield Music Instrument Company about creating a Signature Bass model. Elated, Freekbass didn’t want to just promote the new instrument, he wanted to go all out.He tells us the story, saying: “When Stonefield Musical Instruments approached me about doing a Freekbass Signature Model we wanted to do something a little different from the normal demo videos you see with new instruments. Both Tomm [Stanley, owner/head luthier at Stonefield] and myself are big comic book and science fiction geeks, so we came up with this concept, along with filmmaker Richard Bell, to take the bass to a galaxy far, far away.”The result is Looking For The Bassmaker, a short film that sees Freekbass embark on a quest for the perfect instrument. “Filming this SciFunk mini-movie in New Zealand was so surreal and so inspiring,” he tells us.We’re delighted to premiere Looking For The Bassmaker here! Check out the new video, streaming below.
A Shadow of Jaguar is a rock and roll duo from Boulder, Colorado who share a common foundation of rock, blues, and soul. Fronted by Brian Hubbert(Cold River City) on vocals, slide guitar, and bass, and drummer/vocalist Andrew Oakley (West Water Outlaws), the dynamic duo provides a new musical identity that’s chemistry is undeniable. Their sets are a combination of original songs and improvisation, making every show unique. A Shadow of Jaguar is gaining a reputation as an energetic live band, leaving it all on the stage night after night.“Keep on Knocking” is the latest release from the now-Brooklyn-based rock duo. The single comes as the long awaited follow up to 2015’s “Mama Needs the Bottle” music video. Originally written and recorded in 1976 by the legendary pronto-punk band, Death, “Keep on Knocking” was not released until 2009. It is known as one of the earliest examples of true punk rock in America.A Shadow of Jaguar entered the studio in the spring of 2015 to begin work on their forthcoming debut album. As an homage to America’s rock pioneers, they recorded their rendition of “Keep on Knocking”. Like it’s predecessor, the song is loud, fast and unadulterated. In the modern musical environment where so much of our music is programmed to perfection, “Keep on Knocking” is a much needed reminder that rock and roll is here to stay.Give it a listen:A Shadow of Jaguar will be performing at NYC’s Bowery Electric on Friday, December 16. Tickets are available here. Keep up with the band on their Facebook!
Royal Highnesses Crown Prince Haakon and Crown Princess Mette-Marit of Norway recently visited New York for a few days to celebrate the 50th anniversary of the United Nations Development Programme (UNDP), which operates to eliminate poverty around the world. Our own Bob Weir was tapped to play at the event, and he did so with a solo acoustic performance. The guitarist/vocalist sifted through Grateful Dead originals, along with covers of Robert Johnson and Bob Dylan that are regularly in Weir’s repertoire.The UNDP has shared professional video of the performance, which you can watch below.Setlist: Bob Weir | Philips Auction House | New York, NY | 12/5/16Loose LucyWalkin Blues (Robert Johnson Cover)When I Paint My Masterpiece (Bob Dylan Cover)The Other OneThrowing Stones
Load remaining images For six of the last seven New Year’s Eves, the band Phish has chosen to ring in the new year at the world famous New York City venue, Madison Square Garden. With a history of such unique and thoughtful New Year’s performances at the Garden, each year end becomes a veritable guessing game of possibilities for the fans. The band’s creativity ultimately encourages this guessing game, and this year’s stunt was certainly one of their most creative. For 2016, Phish treated fans to a full theatrical production of their newest composition, “Petrichor.” It was, without a doubt, an awesome spectacle.Let’s start at the beginning, though. Before the rains came down, Phish had come into the 31st with three incredible performances behind them. The first three nights of the run simply smoked, with big jams, bust out tracks, and some fun and unexpected song mashups, like the “Kung” in “Twenty Years Later” or the “Party Time” in “Light”. Along with some really inspired moments, it was this playful nature that encouraged such memorable performances, as 2016 will go down as one of the best MSG runs in the band’s 33 year history. It’s certainly hopeful for 2017 to have 2016 end on such a high note.The fourth and final show certainly lived up to expectations, albeit in a different way. The first set was filled with some of Phish’s tried and true crowd pleasers, including the fourth consecutive a cappella opener in “Don’t Bogart That Joint” – a tune last played during the band’s Little Feat Halloween back in 2010. The fun early bust out gave way to another Halloween track, “Your Pet Cat” from the Haunted House in 2014. The song’s opening narration never fails to get fans excited, and the subsequent jam kept the house rocking at MSG.Watch “Don’t Bogart That Joint” and “Your Pet Cat” below, courtesy of LivePhish.The band then moved into a trio of rock n’ roll-type tunes, with Trey Anastasio wailing on the opening notes of “Kill Devil Falls.” Phish connected on a great jam session on “KDF”, before keeping up that early show swing with another upbeat number, “Back On The Train.” The band quickly locked into a thick funky groove on “BOTT,” which they promptly worked into a joyous “My Soul,” led by some energetic piano rolling from Page McConnell. He was all soul, all night long.After “My Soul,” Trey took a moment to tell a story about Phish’s earliest touring days, and the weird dreams that Mike Gordon used to have, where the band would be performing but something would be off – floating microphones, bass turning to butter, etc. Weird stuff. Trey said that he felt like he was in one of Mike’s weird dreams, because the stage on New Year’s was much longer than it had been the previous nights, throwing off his depth perception in relation to the crowd. With the extra stage space, Trey encouraged Page to come out from behind the pianos and sing “Lawn Boy”. He obliged, and brought Gordo along with him for a fun bass solo in the midst of the MSG mayhem.The band would ultimately come to reflect on said mayhem during the next song, “Divided Sky.” The great Phish instrumental piece was executed to perfection, complete with the momentary pause in the middle where Phish and the audience bask in each other’s presence. It’s become something of a New Year’s run tradition, and is always a welcome moment of celebration.They kept up the fun in set one with a great “Ya Mar,” letting loose on the island groove with another soulful performance from Leo himself. “Character Zero” came next; an unusual placement for a song that typically ends a set or a show. This “Zero” was more patient than any of its previous iterations in recent memory, as the band built up a steady peaking jam behind Jon Fishman‘s tight drumming. By the song’s end, the Garden was truly on its knees. The fans would be rocked once more, as Phish closed out the set with a tight “Walls Of The Cave.”After a short respite, Phish returned for their second of three sets, ultimately starting what would be an hour of non-stop musical exploration. The band wasted no time finding a groove, as they opened up the set with a loose and funky “2001.” The space odyssey was short and sweet, before Trey ripped the opening notes of a remarkable “Carini.” This would ultimately begin an improv-heavy segment of the show, as “Carini” transferred into a deep, dark jam driven by the band’s rhythm section. Page got in some funky work on the clavinet, while Mike powered the groove through his funky tones. Trey helped lead the jam into a new key signature, opening the door for the next song of the jam, “Twist.”Watch “2001” below, courtesy of LivePhish.“Twist” has been a reliable jam vehicle of Phish over the last few years, and came through potently amid a jamming second set. The song started in an ambient funk jive, before Trey let loose with his patented melodic exploration. The whole band linked up to that melodic place, only encouraging Trey even further. He led the peak of the “Twist” jam with some arpeggiated runs, capturing the crowd at the right moment before ultimately shifting into “Piper.” It was that moment that Fishman decided to introduce yet a new mashup, turning the “Piper” intro into an opportunity to sing the opening lines of the 2016 specialty, “Ass Handed.” We got our ass handed to us, that’s for sure. After playing the short song, Trey returned to the opening bars of “Piper,” which wound up as one of the stand-out jams of the night. The song started off with some rock n’ roll grooves before Trey hopped over to the Marimba Lumina to really get into it. Mike followed suit, putting down his bass and joining Page inside the keyboard box for some “two-on-two” jamming, as it were. The crowd cheered on the keys-and-drums jamming, a hallmark of Phish’s exploratory paths within 2016.After the “Piper” shenanigans, Fishman rocked the beat into a funk-fueled frenzy known as “Sand.” Though the rhythm kept the song going, it was Trey that was in the driver’s seat, as he locked in early and helped to deliver one of the show’s musical highlights. It was a hose jam, through and through, as the crowd hung on Trey’s every note for this “Sand.” The sweet groove led into another Phish favorite, “Slave To The Traffic Light,” as the band worked through the classic song with style. They closed the set with a powerful rendition of Big Boat tune “More,” entreating fans to sing along triumphantly with its optimistic lyrics. It was the perfect message for a stressful year in the world of music, as Trey confidently reminded that “there must be something more than this!”During the second set break, the crew assembled some additional risers on the stage, platforms that would ultimately hold four additional musicians for the remainder of the show. These four include the three horn players from Trey Anastasio’s band, trombonist Natalie Cressman, trumpetist Jennifer Hartswick and saxophonist James Casey, as well as percussionist Andres Forero. Forero met the members of Phish when they caught the Broadway production of Hamilton after last year’s MSG run, and he would ultimately contribute to a number of Big Boat tracks during the band’s recent studio session. The full horn section and percussionist served to enhance the festivity of the celebration, bringing the Big Boat songs and other choice selections to life with a fuller instrumentation.With the new musicians revealed to the fans, the third set began promptly with a rendition of the newest opus song, “Petrichor.” This would serve as the meat of Phish’s New Year’s stunt, as the band essentially choreographed a theatrical Broadway-style production of “Petrichor” for the performance. This included magical raindrops that poured down on the stage (it must have been silica balls or something of the sort, but it really looked like rain), as well as a troupe of masked stage dancers with a well-rehearsed routine. The dancers were dressed in “Singin’ In The Rain” style garb with fedoras, suits and umbrellas, though they were masked initially. One performer in the center took off his mask, and started juggling umbrellas in the midst of the rain-soaked proceedings. Eventually, floating umbrellas were lowered down from the top of the stage, and those began rhythmically bouncing up and down along with the routine. The theatrical “Petrichor” was only enhanced by the playing of the eight musicians on stage, who locked into a tight jam near the song’s end. While the band jammed, the dancers put up a “Back In Five Minutes” poster, though the raindrops never stopped flowing and the umbrellas never stopped dancing in the sky. Finally, as the band returned to the song’s composed finale, the dancers returned and took off their masks, with a celebratory dance that would ultimately usher in the final moments of 2016.Though the band was a couple minutes fast, Trey literally said “ah fuck it” and began the countdown anyway. Really, anything to get us out of 2016! They broke out into “Auld Lang Syne” as thousands upon thousands of balloons filled the venue, including a number of inflatable cats and dogs that rained out over the crowd. The Phish New Year’s balloons will never cease to amaze me, every single year. It’s just such a beautiful sight.You can see most of the “Petrichor”/”Auld Lang Syne” celebration in this video, uploaded by kembra allen on YouTube.The show was far from over, however, as the band broke out into the last song they played live with a horn section, “Suzy Greenberg” (from the Dick’s “LUSHINGTON” show back in 2014). During “Suzy”, the dancers remained on the stage but took off their Singin’ In The Rain overcoats f0r a more brightly colored costume to accompany the “Suzy” celebration. The stage was literally covered in balloons, mostly the dog ones, as stage hands began hilariously attempting to clear out Trey and Mike’s rigs during the ensuing celebration. Gordo got in a couple of karate kicks to some balloons throughout the triumphant affair.What followed was ultimately a Phish set with horns and a second drummer, as the band treated us to an array of Big Boat songs like “No Men In No Man’s Land,” “Breath and Burning” and “Tide Turns.” Fans may critique some of these choices as a slower end to a high-energy run of performances, but the energy and enthusiasm from the band was quite palpable. Trey, especially, served as a gratefully emotive beacon for the performance.Not content to just play songs from their new album, the band broke out into Mike Gordon’s song “555” with a composed horn and percussion section. The funky tune never strayed too far from its roots, but the horn lines added a new element of funk to the Gordo jam. They also added a new element in “Ocelot,” the subsequent selection from Phish. This was a jubilant moment of the show, as the band moved towards the end of the night was a bouncey upbeat tune. They would close out the third set with a TAB classic, “First Tube,” as Trey held his guitar firmly overhead to usher in the final notes of this great, great set.To close it all out, the full eight piece band returned once more with a cover of The Rolling Stones’ “Loving Cup.” It was a chance for everyone to reflect on the majesty that they had just experienced through four nights and nine sets of music. “What a beautiful buzz,” indeed.Thank you for a great year of music, Phish, and thank you for remaining a beacon of light throughout such a tough year in the music community. Between this all-out New Year’s celebration, the David Bowie Halloween and more, it’s been an absolute honor and a pleasure watching you perform this year.Check out the full Phish.net setlist below, as well as further clips highlighting the New Year’s celebration. A full gallery from Jeremy Scott Photography appears below. Setlist: Phish | Madison Square Garden | New York, NY | 12/31/16Set 1: Don’t Bogart That Joint, Your Pet Cat, Kill Devil Falls > Back on the Train > My Soul, Lawn Boy, Divided Sky, Ya Mar, Character Zero, Walls of the CaveSet 2: Also Sprach Zarathustra > Carini -> Twist > Piper -> Ass Handed > Piper > Sand > Slave to the Traffic Light, MoreSet 3: Petrichor > Auld Lang Syne > Suzy Greenberg, No Men In No Man’s Land, Breath and Burning, Tide Turns, 555, Ocelot, First TubeEncore: Loving Cup Trey on Marimba Lumina. Mike on keys. With horns and Andres Forero on percussionDon’t Bogart That Joint was last played on 10/31/2010 (238 shows). Twist contained Low Rider tease. Piper fetaured Trey on Marimba Lumina and Mike on keys. Horn section consisting of Natalie Cressman, James Casey, and Jen Hartswick and Andres Forero on percussion joined Phish for third set.
The London Souls have been one of the best young bands on the scene for some time now. With catchy songwriting, impressive musicianship, and the dynamic pairing of guitarist Tash Neal and drummer Chris St. Hilaire, the London Souls are a reliable source of pure, unadulterated rock’n’roll each and every time they hit the stage. Whether it’s on stage at Brooklyn Bowl or at one of their many festival sets, the band operates as a well-oiled machine, with both band members feeding off each other, weaving in and out of their songs with a constant flow of connected improvisation.Recently, The London Souls stopped by eTown, a nationally syndicated radio program that puts bands on a solar-powered stage and in front of a live audience for a storytellers-like approach. The band gave some insight on their friendship and musical relationship, while also delivering a few tunes. The performed “When I’m With You”, “Bobby James”, “Hercules”, “Alone”, and “Steady”, as well as a joint performance of Curtis Mayfield‘s “People Get Ready” with fellow show guests Wood & Fire. The band also participated in an on-stage interview where they gave some background on the band and their musical upbringing.eTown has made the full performance available online, and you can watch them below. There are individual videos for each song, as well as a full video of the band’s interview.“When I’m With You”“Bobby James”“Hercules”“Alone”“Steady”“People Get Ready” by Rod Stewart (with Wood & Fire)Full London Souls interview w/ eTown
For the past seventeen years, John Mayer has been one of the biggest pop stars on the planet. Since the release of his debut record, Room For Squares, Mayer has battled with the pressure of achieving acceptance from the masses while also seeking the approval of the music world at large. It’s been a somewhat controversial journey for Mayer that has often rubbed people the wrong way, from a string of tabloid-staple A-list romances to publicly egotistical episodes that include particularly cringe-worthy 2010 interviews in Rolling Stone and Playboy, after which the guitarist began a period of self-imposed “obscurity.”However, in recent years, Mayer has re-emerged as an artist that seems truly comfortable in his own skin, and his songwriting and blistering guitar playing continue to reflect that. This journey apparently started with his discovery of The Grateful Dead and his subsequent acceptance as a full-time member of Dead & Company, and it has now peaked with his The Search For Everything tour, which stopped at Madison Square Garden last night. The show featured Mayer delivering a mix of material from throughout his career, while also showcasing his different abilities as both a songwriter and a master guitar player. The performance was breathtaking, as Mayer has elevated himself into rare air, the kind only breathed by artists like Eric Clapton, whose influence was surely felt throughout the evening.The show was broken up into multiple sections, meant to feature Mayer’s versatility as an artist. After a quick band introduction using the stage’s video screen, the caption “Chapter 1: Full Band” flashed on the screen, and Mayer and Co. emerged to roars from the crowd. The show started off with “Moving On and Getting Over” and “Helpless” from his new album, also called The Search For Everything. Mayer then took time to tell the crowd how thrilled he was to be there, and that, after seven records, he and his band were prepared to play anything from his now-massive catalog. As the crowd screamed with excitement (note: he’s still a pop star, and still gets the screaming girl treatment as if he were the second coming of the Beatles), he and his band launched into Continuum track “Slow Dancing in a Burning Room,” a gorgeous ballad that allowed Mayer to show off his confident vocals and lyrical guitar playing. Drummer Steve Jordan teased the audience with a drum solo that led into Mayer’s mega-hit “Waiting on the World to Change,” which dropped into a bluesy cover of “War” by Bob Marley. The band then finished “Chapter 1” with “Something Like Olivia” from his 2012 record Born And Raised.As “Chapter 2: Acoustic” popped up on the screen, most of the band left the stage and left Mayer and his two backup singers to perform a few stripped down songs. The stage was quickly transformed into what looked like a Japanese garden, and Mayer dropped into another Born And Raised song: “Walt Grace’s Submarine Test, January 1969.” Search For Everything ballad “Emoji of a Wave” followed, after which Mayer took a minute to profusely thank the crowd for being so accepting of his new material. He expressed that he hadn’t felt this good in a long time, and explained that “if this is what getting older feels like, I absolutely love it.” He brought the mini-acoustic set to a close with his beloved cover of Tom Petty & The Heartbreakers “Free Fallin’.” Mayer’s voice is back in full swing, after years of issues with his vocal chords, and he sounded and looked like an artist that was simply comfortable on stage. It’s tough to fill a room as large as Madison Square Garden with just an acoustic guitar and your voice, but Mayer accomplished this with ease.As the acoustic set ended, the lights went out and a short video package started playing on the screen that focused on the well-loved and oft-missed John Mayer Trio. Trio members Steve Jordan and Pino Palladino play in Mayer’s full band, but now his fans would get an opportunity to see the mythical, improv-heavy blues-rock trio that rocked the world after the Continuum recording sessions took place. The video sent the crowd into a frenzy, and when the lights came back on, the band swiftly started building up their energy, releasing as Mayer dropped the opening notes of “Crossroads,” the blues classic written by Robert Johnson and popularized by Clapton and his blues trio Cream in the 1960s. The band was firing on all cylinders, as Jordan and Palladino held down the tight groove while Mayer added a blistering solo mid-song.A stunning version of Continuum standout “Vultures” followed, turning the poppy single into an out-of-this-world blues number, with the band locking in for a tasty mid-song jam. The Trio finished up their set with a raucous version of Mayer’s fan-favorite re-imagination of Jimi Hendrix‘s “Bold As Love,” giving him one more opportunity to crush some guitar solos with Palladino and Jordan backing him. This portion of the night was easily the most exciting musical segment of the evening. It wasn’t John Mayer and band, it was clearly three musicians who love playing together doing what they do best, and they left the MSG crowd begging for more.The video screen then announced “Chapter 4: Full Band (Reprise)”, and a grinning Mayer picked up an acoustic guitar and led his band into a beautiful version of Battle Studies ballad “Who Says,” which then transitioned into melancholy Continuum track “Stop This Train.” Mayer then took a minute to address the crowd, explaining how dumbfounded he was to continue to be gaining fans this many years into his career. He said “this simply doesn’t happen, and I promise to keep being the artist you want me to be for the rest of my life.” In one moment, the once-egotistical young pop artist seemed to transform into a humble and thankful man, and suddenly the theme of The Search For Everything album and tour became abundantly clear: after “doing his time” and making his amends for the tribulations of his youth, regaining his voice and his love for music, Mayer is decidedly grateful to finally be following his own path. Now, he can be an artist that has it all–pop star, rock star, guitar icon. He can be all of these things, and people will love him for it.With that, Mayer switched to the PRS guitar that he uses in Dead & Company, and he and his band ran through Born and Raised track “Queen of California,” which he then led into a spot-on cover of the Dead’s “Fire on the Mountain.” Mayer showed a true love for the material, as he does in Dead & Co., singing the song passionately and then soloing like the true guitar god that he has shown himself to be. It was an awesome moment for many of Mayer’s newer fans, a true nod to the Grateful Dead legacy that he is now a part of.The band then played the new single from The Search For Everything, “Still Feel Like Your Man,” a song which shows a great mix of Mayer’s pop sensibilities, his recovered falsetto vocals, and his guitar prowess. The main set finished with the lone song from Room for Squares from the evening, a joyous version of “Why Georgia.”For the encore, Mayer delivered another new song “Love on the Weekend,” before delivering an awesome version his ethereal hit “Gravity.” The crowd sang along with ease at this beloved classic, and the bluesman let the crowd take a verse or two before unleashing one more incredible guitar solo while repeating the song’s “keep me where the light is” refrain.With the show seemingly over, “Chapter 5: Epilogue” flashed on the screen. The band left the stage, and a solo piano was brought to the center of the stage. Mayer then sat down at the piano and performed The Search For Everything ballad “You’re Gonna Live Forever In Me,” giving the grateful artist one more opportunity to perform in front of his adoring fans before the evening was over.John Mayer proved himself to be an artist for everyone at last night’s show, and fans who have tickets to other shows on this tour should be beyond excited. His guitar playing, singing, and artistry were on full display throughout the evening, and rarely has a performer ever been come off as so grateful and so humbled by his place in the world.Edit this setlist | More John Mayer setlistsJohn Mayer Band, Moving On And Getting Over [Stephen Hurtes]John Mayer Band, Slow Dancing In A Burning Room [Stephen Hurtes]John Mayer, Walt Grace’s Submarine Test [Mandi G]John Mayer Trio, Crossroads [Stephen Hurtes]John Mayer Trio, Vultures [looks style]John Mayer Trio, Bold As Love [errockman]John Mayer Band, Why Georgia [Mandi G]John Mayer, In Your Atmosphere/MercyJohn Mayer, Piano [The Millionaire Dude][Photo via @stacehiggins]
The legendary music venue in Live Oak, Florida, Spirit of Suwannee Music Park has just announced a brand-new event dubbed the Suwannee Summer Clusterpluck. Produced by Purple Hat Productions and the park, the two-day event spans across June 23rd and 24th and will be bringing the best of American bluegrass and new-grass to our favorite Florida spot.Thus far, bluegrass superstars Larry Keel and Jenny Keel, Jon Stickley Trio, Grandpa’s Cough Medicine, and Albert Simpson are each slated to perform two sets during the weekend. More foot-stomping acts are due to be announced in coming weeks. Weekend passes with camping as well single-day tickets are available now here, while those more into glamping can join the waitlist for cabins, golf-cart rentals, and RV hook-ups calling the park at (386) 364-1683. Don’t wait on this festival, as the inaugural year of this clusterpluck is set to a raucous good time![Photo courtesy of Eric Rayburn]
Though six years have passed since her death, the undeniable power and emotion of Amy Winehouse’s music lives on, and will continue to do so for years to come. Six years ago today, London Ambulance Service was called to rising star singer Amy Winehouse‘s Camden flat. Unfortunately, the medics were too late—Winehouse was found dead, having succumbed to her arduous battle with drug and alcohol abuse at just 27 years old. Though she released only two albums before her death—2003’s Frank and 2006’s Back To Black–her work on the two releases catapulted her to worldwide success and recognition. Back To Black netted the singer five Grammys (including Best New Artist, Record of the Year, and Song of the Year) in 2008, tying the record for most wins by any female artist in a single year at that time.Forever 27: Both Jim Morrison and Brian Jones Died On This Date At Age 27, Making Them Members Of An Eerie And Mysterious “Club”Winehouse’s tragically brief career was defined as much by her remarkable talent as it was by her struggles to keep her life together offstage. From an early age, she dealt with a litany of health issues, from drug addiction to alcohol abuse to eating disorders. These problems were only intensified as she saw her popularity and notoriety increase. As Winehouse explained to The Telegraph in her last interview before her death, “I’m not a natural born performer. I’m a natural singer, but I’m quite shy, really…You know what it’s like? I don’t mean to be sentimental or soppy but its a little bit like being in love, when you can’t eat, you’re restless, it’s like that. But then the minute you go on stage, everything’s OK. The minute you start singing.”Winehouse’s live performances were the stuff of legend. As she told The Telegraph, it was clear that she was at ease when singing, particularly in intimate settings where she could forget about the problems that plagued her life as a whole and focus on doing what she did best. For a taste of the magic of Winehouse’s shows, throw on this video of her May 29, 2007 gig at Shepherd’s Bush Empire in London, immortalized in her live video album release I Told You I Was Trouble: Live in London:
The Berklee College of Music has announced the new Mike Gordon Endowed Scholarship, a grant that will go to, “Berklee students studying bass who are also well-rounded artists, with skills in other areas such as songwriting, production, arranging, or creative entrepreneurship.”The prestigious Boston music school celebrated the new scholarship on Friday with a student-only seminar led by Mike Gordon himself. Jambands.com reports that the Phish bassist discussed topics like meeting Trey Anastasio, Phish’s longevity, meditative listening exercises, and Phish’s “no analyze” rule between sets. “It’s about being open, being able to say when we don’t like something, finding compromise despite the differences,” Gordon said of the secret behind Phish’s longevity. “Of course there have been rifts—leading to a whole album named Rift!”Some of Gordon’s friends were also in attendance during the seminar, including event moderator and associate professor Loudon Sterns, who helped Gordon build the interactive REEL keyboard that has appeared at many of his solo shows since 2016. Professor Pat Pattison and associate professor Linda Balliro, who provided vocal coaching for Gordon, were also there.[H/T – Jambands.com]