Setlists

X-Mas Jam
2011-12-10
The Asheville Civic Center
Asheville, NC

Warren Haynes
And It Stoned Me

Kevin Kinney & The Christmas Family Band
Never Gonna Change
Ain’t Waiting on Tomorrow
Breathe >
Rocket Man >
I’ve Got A Feeling

Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen)
Solo Improv >
Jed Clampett
Monkey See
Spanish Point
Scapegoat Blues
Soulgrass

Los Lobos
Neighborhood
Don’t Worry Baby
Revolution
Venganza de Los Pelados
Chuco’s Cumbia
I Walk Alone
Bertha with Warren Haynes

Phil Lesh & Friends (Warren Haynes, Jackie Greene, Jeff Chimenti & Joe Russo)
Shakedown Street >
Deal >
Viola Lee Blues >
Caution (Do Not Stop On Tracks) >
Viola Lee Blues >
China Cat Sunflower >
I Know You Rider
Dark Star >
She Said, She Said >
Dark Star >
Wharf Rat >
The Other One > with Jimmy Herring
Sugaree with Jimmy Herring

Encore
Angel Band

Gov’t Mule
Railroad Boy
Beautifully Broken
Thorazine Shuffle
Banks Of The Deep End
Low Spark Of High-Heeled Boys with Bill Evans & Phil Lesh
Dear Prudence with Jimmy Herring
Inside Outside Woman Blues
When The Music’s Over

Audio

Phil Lesh & Friends

Gov’t Mule

Video

Warren Haynes – “And It Stoned Me”

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Kevin Kinney & The Christmas Family Band - ”Never Gonna Change”

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Kevin Kinney & The Christmas Family Band - ”Ain’t Waiting on Tomorrow”

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Kevin Kinney & The Christmas Family Band - ”Breathe > Rocket Man”

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Kevin Kinney & The Christmas Family Band - ”I’ve Got A Feeling”

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Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen) - ”Solo Improv > Jed Clampett”

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Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen) – “Monkey See”

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Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen) – “Spanish Point”

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Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen) - ”Scapegoat Blues”

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Bela Fleck/Jeff Sipe (with Jimmy Herring, Bill Evans, Taylor Lee & Casey Driessen) – “Soulgrass”

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Los Lobos – “Chuco’s Cumbia”

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Los Lobos – “Neighborhood”

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Los Lobos – “Don’t Worry Baby”

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Los Lobos – “Venganza de Los Pelados”

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Los Lobos – “I Walk Alone”

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Los Lobos – “Not Fade Away> Bertha (with Warren Haynes)”

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Phil Lesh & Friends (Warren Haynes, Jackie Greene, Jeff Chimenti & Joe Russo) – “Viola Lee Blues>Caution”

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Phil Lesh & Friends (Warren Haynes, Jackie Greene, Jeff Chimenti & Joe Russo) – “Caution > Viola Lee Blues > China Cat Sunflower > I Know You Rider”

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Phil Lesh & Friends (Warren Haynes, Jackie Greene, Jeff Chimenti & Joe Russo) - “Dark Star (with Jimmy Herring)”

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Phil Lesh & Friends (Warren Haynes, Jackie Greene, Jeff Chimenti & Joe Russo) - “Jam”

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Gov’t Mule – “Beautifully Broken”

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Gov’t Mule – “Thorazine Shuffle”

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Gov’t Mule – “Banks Of The Deep End”

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Gov’t Mule – “Low Spark Of High-Heeled Boys (with Bill Evans & Phil Lesh)”

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Gov’t Mule – “Dear Prudence (with Jimmy Herring)”

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• Thu, Apr 5th – Wang Theatre – Boston, MA
• Fri, Apr 6th – Wang Theatre - Boston, MA
• Sat, Apr 7th – Toyota Presents Oakdale Theatre – Wallingford, CT
• Mon, Apr 9th – Beacon Theatre – New York, NY
• Tue, Apr 10th – Beacon Theatre - New York, NY
• Thu, Apr 12th – Beacon Theatre - New York, NY
• Fri, Apr 13th – Beacon Theatre - New York, NY
• Sat, Apr 14th – Beacon Theatre - New York, NY
• Sun, Apr 15th – Beacon Theatre - New York, NY
• Tue, Apr 17th – Beacon Theatre - New York, NY
• Wed, Apr 18th – Beacon Theatre - New York, NY

For more information, including on sales, showtime, and more, go to the Furthur Tour Page

The night didn’t start with Leftover Salmon, however. Touring buddies for the week and the rock-a-billy jam band outfit known as Cornmeal, opened the festivities with an hour set. Cornmeal features a guitarist, banjo player, fiddler, bass, and drummer. Their music packs an energetic punch of country and bluegrass esq jams, mixing in psychedelic-rock in the improvisational periods as well. A nearly 20 minute version of their original, “Onward,” was a perfect example of these strung-out jams, during which all the stringed musicians shared licks in the most psychedelic sound their instruments could produce. Their hour long set ended with a rock-a-billy rendition of Paul Simon’s “I Know What I Know,” that had the Brooklyn Bowl jumping for more of their unique sound.

Leftover Salmon was able to carry the torch and bring the already ecstatic crowd to a new level. The lineup features Vince Herman on acoustic guitar (and on occasion; washboard), Drew Emmitt on mandolin and electric guitar (sometimes with a slide on both), Greg Garrison on bass, Jose Martinez on drums, Andy Thorne on banjo, and Bill McKay on the organ and piano.

There are a few different sides to Salmon’s personality. For one moment, Drew Emmitt would be singing in his high-pitched bluegrass voice as he plucked away at his mandolin. The next, Bill McKay would be going to town on his keys in a blues jam as if he were trying to channel Pine Top Perkins. The other, Vince Herman would be babbling lyrics on top of Salmon’s famous festive demeanor. Drew Emmitt’s mandolin and electric playing was probably the most impressive instrumentation of the night, especially when he incorporated a slide on both the mandolin and electric guitar. The best moments were when he would start strumming fast, picking up as much power and reverb as possible, followed by a smoking solo that managed to pick up the energy every time without fail.

Brooklyn Bowl has a reputation of special guests. The night would keep up the extravagant venue’s title with “Shenandoah Breakdown” and “Ain’t Gonna Work” that featured Punch Brothers banjo player and Leftover Salmon alumni, Noem Pikelny. Noam helped the band end the first set on a high note, playing on a few bluegrass songs, leading into a slew of sit ins during the second set.

The second set brought out the best moments of the night. Drew Emmitt brought some fun to the table with a rendition of “New York, New York” (appropriate, given the location), leading into “Wild Bill Jones.” The Leftover Salmon classic would reach a speed of mock-10, bringing upon a slew of head banging all the way through an equally fast rendition of “Reuben’s Train,” during which Drew turned to Jose Martinez to help transition into Led Zeppelin’s “Whole Lotta Love,” and after three minutes led back into a mixture of “Reuben’s Train” and the famous Zeppelin “Whole Lotta Love” chorus.

Todd Livingston, a Dobro player and friend of the band who resides in Colorado was the next addition to the guest list. He would stay on through the rest of the second set, until the encore. “Breakin’ Through” was a perfect introduction to Livingston, as his Dobro playing suited the upbeat country style of the song. The rest of the set displayed the bluegrass aspect of Leftover Salmon, especially with a sandwich containing ”I Won’t Get Drunk No More” > “Hot Corn, Cold Corn” > “Name Of The Place” > “Hot Corn, Cold Corn” >”The Other Side.” Drew Emmitt stole the show with his mandolin during “The Other Side,” using a slide to get a twangy and electrifying sound from an instrument that is typically regarded as straight-forward bluegrass and country.

The last two songs of the second set foreshadowed what was to come; more sit ins. Todd Livingston stayed onstage, and joining him was Cornmeal fiddle queen Allie Krall, and Elephant Revival washboard player Bonnie Paine. Elephant Revival had an earlier show in New York City, to which they took the trip over to catch Leftover Salmon; a band that they had opened up for earlier in the week. With the new additions onstage, the bluegrass tradition of a picking party began with Drew Emmitt’s “Get Er Rollin’.” In the nature of any picking party, solos were traded across the stage, and got more intriguing as the song matured. The end of the second set added Cornmeal’s Chris Nowak on acoustic guitar, and Dave Burlingame of Cornmeal on banjo for the Rolling Stone’s “Bleed On Me.” This was a perfect ending to a set full of surprises and friends, especially when the lyrics reference unity and having your friends around. The bluegrass orchestra fed off of the energy between themselves and the crowd, leading to an energetic run through of a rock and roll classic.

Credit: Terry Rogers

As if the four and a half hour show thus far wasn’t enough, Leftover Salmon encored with seven songs along with their Elephant Revival friend Bonnie Paine, and Cornmeal friends Allie Krall, Chris Nowak and Dave Burlingame. The first of the continuous strand of songs started with a bluegrass interpretation of the famous melody from the Grateful Dead’s “Fire On The Mountain,” known as “Pasta On The Mountain.” The band and guests were all in sync, hitting their own parts with precision, kicking off with tight jams right from the start. The circus then moved in to “Roadkill,” which wasn’t all too exciting until the energy was picked up to transition back into the “Pasta On The Mountain” jam. With a loose transition, Salmon and friends were able to go into “I Know You Mother” (a parody on a traditional song known to the Grateful Dead community) into the straight forward Grateful Dead version, “I Know You Rider.” The sandwich would end by moving back into “Pasta On The Mountain,” and finally landing with Salmon’s famous stoner anthem, “Wake and Bake.”

Overall, if you’re in search of a party band that has the chops, songwriting skills, and experience to put on a great show, Salmon is a perfect match. Though, if you don’t like dancing, I suggest you stay away, or glue your feet to the ground. There is no reason why Leftover Salmon shouldn’t be touring non-stop again, and I think as more and more people head back to enjoy their talents, that feeling will be mutual among many.

The order is latest to oldest, and will be updated on a soon-as-possible basis.

Enjoy!

Mathilda

Lever Boy

okay — here’s the first one from “The Dungeon” — a recording that never became a Phish or TAB song, and wouldn’t otherwise ever see the light of day. I’m releasing it to you now…fly away little starling…fly fly fly… Sorry, that was my inner Hannibal talking. So “Lever Boy” was recorded on 12/10/2008 in a sweet New York hotel that Trey got for us, and had it loaded with recording equipment and instruments. 2 Tascam 8-track machines and a Mackie mixer are the core of Trey’s awesome mobile studio…but there are also some gorgeous preamps and AtoD’s and beautiful mics as well. There was a Kurzweil keyboard there, a Languedoc bass and a Languedoc electric, and a Martin acoustic. Roland V-drums too. The reason we were there was to write songs for a new Phish album…the one that eventually became “Joy”. During this session we also wrote Kill Devil Falls and Ocelot, but before we got really into it, we played around with our studio-away-from-studio and came up with this unusual song. Trey and I both love it, but feel it might never transcend its current version. For those of you playing along at home, this one (possibly) completes the “-Boy” series of songs…Lawn, Life and Dog Faced being the first three.

The Wedge

Sometime in late 1992 I handed Trey these lyrics inspired by the rhythm of the song Pocahontas by Neil Young. Trey wrote this one completely by himself soon thereafter in his home studio in Vermont, and the first time I heard it was over the phone and we both flipped out over how cool it was. Trey’s interesting overdubbed solo carried through to the studio version as well to my delight. Phish started playing it in early 1993 when it came out on Rift. One of my live favorites, I always think back to this first version when I hear it…

Walls Of The Cave

This one holds a great deal of significance for Trey and myself. It was a dark period in both our lives. It was a dark period for the country. I wrote this poem for my son…it read almost like an epitaph for my own grave. It was depressing. Trey and I also (due to my work situation which was dire) were holed up in a dark, miserable NJ hotel right near Newark airport. But one thing we knew how to do was write and record songs. Trey liked these lyrics, and with me essentially on the sidelines, he created this entire song…piece by piece. The most impressive to me was his piano intro. He’s quite a good pianist, and he uses it as a compositional tool very effectively. Those chords just kept building and building…heck, the song has FOUR intros if you count them like I do…until finally a bed for the lyrics appeared. And he sang them…I didn’t get involved, he was on a mission from god. I just handed the lyrics to the song-machine and my job was done. Later I found that people thought this was a tribute to the World Trade Center…WTC = Walls of The Cave=World Trade Center. So is it? Trey says yes. I say probably…but unintentionally on purpose.

Backwards Down the Numberline

This one was the one that reunited Trey and me again after a long silence in September 2007.Trey was in Saratoga Springs, NY, working very hard in his Drug Court program — helping himself, helping others…but not communicating with anyone…on purpose.His dad was key to breaking the silence and said I could email Trey a Happy Birthday and he “might answer”.At first I thought he was joking, because until that moment, Trey NEVER used email!So I sent off a birthday poem…these lyrics.2 hours later I received an “Oh My God, Tom” email.Then soon after, a phone call where he played me this song.Our writing conquered the chasm…the rift.The thing we did best and did forever, songwriting, reignited our friendship.

Silent In The Morning

This song, “Silent in the Morning” was eventually released on Rift, and split into two songs: Horse and Silent in the Morning, for some reason I never was made aware of. Anyway — this is the very first version, and it was recorded in late 1991 in my house in Princeton NJ on a Fostex 4-Track cassette machine in my “studio” — a room that would be eventually occupied by my (then nonexistent) daughter. Singing along with Trey and myself are Marc Daubert, and our late good friend Amanda Lake.

I Am Hydrogen

The ORIGINAL I Am Hydrogen. Me on keys, Marc Daubert on acoustic and Trey on his Ibinez…and a Fender amp I think.Recorded on a stereo recording Walkman (cassette).In this configuration we called the band Bivouac. I think in 1984

Backwards Food For Backwards Folks

Mike and Trey in the studio create an awesome version of a song that Trey and I wrote a long time ago…this came out on an unofficial leaked project called “Flotsam Five” — this wasn’t a Phish release or anything, and no one knows anything about it — but it had a compilation of interesting songs.

Skip The Goodbyes

A limited amount of tickets are available via the bands ticket lottery system. The request period for all four nights begins now, and ends Monday, October 24 at 11:59 AM, EDT. You can put in your request using this link. http://phish.portals.musictoday.com/

Phish - 6/10/11 - Credit: Tyler Curtis (Shakedown Blog)

Rhythm guitarist John Bell did a majority of the singing, scatting, and humming in a melodic form that certainly classifies the voice as an instrument in more ways than one. Behind him, is a band that features lead guitar god Jimmy Herring, outstanding bassist Dave Schools, John “JoJo” Hermann on organ, drummer Todd Nance and percussionist Domingo “Sunny” Ortiz. The flow of music is crucially dependent on how the musicians jive, and Widespread Panic has that aspect under their belt and with ease.

The jam portions of the night were similar to most other jam bands, although other jam bands don’t have Jimmy Herring. Herring’s talent lies in his noodling capability that’s able to lead to somewhere, whereas other solo-wanking guitarists don’t use emotion or direction in their solos. John Bell’s rhythm guitar work and Herring’s lead work is a current-day pairing of Bob Weir and Jerry Garcia, where Bell’s not the strongest rhythm guitarist, but fits Jimmy’s playing perfectly.

The highlight of the night came with the opening of the second set; “Disco > Tie Your Shoes > Rock.” The band seemed to be the most locked in here, and featured the best John Bell performance of the night, during “Tie Your Shoes.” The leader was Dave School’s, picking along on his bass with ease and precision, setting the moods, tempos, and direction of the improvisation. Though most of the night’s jams were very similar when you break them down, Herring’s playing managed to be intricate enough to keep the crowd alive. Many people don’t find southern-rock amusing due to the bore factor, but Widespread Panic is the exception.

Photo: Tyler Curtis

As for the production, the light show was reminiscent of a Phish show, and added a nice touch given the other lights surrounding the venue, being that Manhattan was just across the river.

It’s a shame that Widespread Panic will find themselves in a direction of departure for an unknown duration soon, however, its sound advice to see them as soon as you can.

The Steeljam festival featured a handful of the best local and national touring jam bands in a more intimate setting. Spanning four days over labor day weekend, it brought out a decent amount of people for its inaugural year. Unfortunately, I was only able to experience the tail ends of Friday and Sunday, but, both times gave me the urge to come back the following day.

Beginning with Friday, I made my way into the lobby, obtained my credentials, and headed up for a psychedelic-rock trio known as Flux Capacitor. The venue ended up being three flights of stairs up, with a perfect view of the steel stacks as a backdrop for the stage. A bar on each side and a private balcony completed the small club atmosphere, which you would swear was in a nice part of Williamsburg, had it not been for the view of industrial history behind the band. With a name that is already appealing, Flux Capacitor’s organic vicious jam style fills the room with head banging hippies, but manages to stray from being your typical jam band due to their heavy rock personality. Even without a bassist, the keyboardist managed to keep the drummer in time, while the guitarist noodled away with ease. I didn’t notice them taking more than a few breaks, moving from pure rock-and-roll to electronic Disco Biscuit style jamming in the blink of an eye, and they gave little to not time for applause when they did stop.

Following Flux Capacitor came Americana-jam band Railroad Earth, whose hometown, Sparta, NJ, is an hour or so drive from Bethlehem. Railroad Earth’s set contained swift bluegrass picking to exploration in the form of their prog-grass side, which is a big appeal to their jam band fans. A song could be anywhere from five minutes, to fifteen minutes, and feature a different lineup of instruments as the band features almost all multi-instrumentalists, though some change their instruments more often, while others may only do so for one song. By the end of the night, the crowd had done their share of twirling, and the magic had taken its tiring toll on everyone.

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Railroad Earth - Steel Jam (Photo: Tyler Curtis [Shakedown Blog

As Sunday came around, I was excited to catch From Good Homes. Their self acclaimed style, known as “Hick-Pop” isn’t found anywhere else in music, and has been the main reason their fan base has supported them for twenty plus years (even including a 10 year hiatus from 1999 to 2009). Guitarist Todd Sheaffer is also the singer-songwriter in Friday’s band Railroad Earth, even sharing some of the same songs in both band’s catalogs, but in different arrangements.Their ability to jam came through on pretty much every song, but, showed moments of enchanting lyrics and emotion enriched songwriting as well. Showing the community aspect of the band, they brought up fan and musician Brian Colbourn for a rowdy rendition of their celtic-pop themed “Maybe We Will.”

From Good Homes at Steel Jam (Photo: Tyler Curtis)

The final band on Sunday was prog-rock-jammers, Umphrey’s Mcgee. Their set featured consistently amusing jamming, (aka noodling that has a direction), in the manner of progressive-rock and metal. Their fourteen years as a band has paid off to the point that their live shows are consistently held in high regard, and typically with a heavy turnout of a younger crowd. They’ve been known to play funk-pop songs, like Michael Jackson’s “Don’t Stop Til You Get Enough,” but, their only cover was The Beatles’ “I Am The Walrus,” which has a darker spin on it, considering the artist who’s covering it. The communication between the band was apparent, featuring hand signals and eye contact that leads their layers to be consistently mind blowing. They finished the night up with “Mulches Odyssey,” which was a twisted dark metal frenzy, displaying a colorful light show courtesy of light director Jefferson Waful.

Umphrey's Mcgee at Steeljam (Photo: Tyler Curtis)

Overall, I’d expect much more to go on at the SteelStacks, that will appeal to a wide audience. The staff there seems to have everything under control, and knows what they’re doing. The venue alone should bring you to any artist or performance you enjoy, because any show seems to be much more energetic and special there than most other places in the area.

Bob Weir stopped by the studio the night before leaving for Furthur tour to record his new song Big Bad Blues for the website. The video of this powerful solo version was directed by Justin Kreutzmann. Enjoy!

 

http://tristudios.com/

Weir will take his solo gig on the road this August, but in the meanwhile he’ll be performing with his most recent touring band, Furthur in July.

Furthur

All Good Music Festival

7/15/11

Set 1

Set 2