24Hendrick MotorsportsJeff Gordon 17Roush Fenway RacingRicky Stenhouse Jr. 39Stewart Haas RacingRyan Newman Robust roster of 35 Sprint Cup teams set for three-day test Car No.Team NameDriver 16Roush Fenway RacingGreg Biffle 21Wood Bros RacingTrevor Bayne 55Michael Waltrip RacingMark Martin PRESEASON THUNDER BROADCAST SCHEDULESprint Cup Series testing; all times EasternLive stream: Watch Preseason Thunder morning sessions on SPEEDtv.comThursday, Jan. 109 a.m.-noon – SPEEDtv.com1 p.m.-5 p.m. – SPEEDFriday, Jan. 119 a.m.-noon – SPEEDtv.com1 p.m.-5 p.m. – SPEEDSaturday, Jan. 129 a.m.-noon – SPEEDtv.com1 p.m.-5 p.m. – SPEED The entry list, which includes defending Sprint Cup champion Brad Keselowski, was released Tuesday by NASCAR in advance of Thursday’s opening day of the three-day test at Daytona International Speedway.The test session features seven hours of testing each day, providing teams the chance to shake down the sixth-generation Sprint Cup car that will make its competition debut on the 2.5-mile oval next month. A select number of teams will participate in the newly renamed Sprint Unlimited (formerly the Budweiser Shootout) on Feb. 16 as a prelude to the Feb. 24 Daytona 500 — NASCAR’s crown jewel race.The test, which includes a fan festival and autograph session for spectators, will mark the first laps for the Gen-6 car on a restrictor-plate track since October’s one-day session at 2.66-mile Talladega (Ala.) Superspeedway. SPEED will broadcast live coverage of testing on all three days from 1 to 5 p.m. ET, and have live streaming coverage here from 9 a.m. to noon ET each day.Hendrick Motorsports and Richard Childress Racing will have the most representation at the three-day event with four teams each in attendance.While the Hendrick contingent will comprise its four full-time drivers from last season, the Childress bunch will include an extra entry for Austin Dillon, last year’s top rookie in the NASCAR Nationwide Series.Dillon is scheduled to make his Daytona 500 debut and compete in a handful of Sprint Cup races this season in preparation for a full-time ride in NASCAR’s premier series in 2014.While Keselowski returns with the same crew chief, car owner and car number all intact, the Roger Penske-owned championship team will continue to bond with new teammate Joey Logano and adjust to a switch in manufacturers. Penske changed from Dodge to Ford in the offseason, returning to the blue oval fold after a 10-year absence.See below for the complete preliminary entry list: 88Hendrick MotorsportsDale Earnhardt Jr. 99Roush Fenway RacingCarl Edwards 95Leavine Family RacingScott Speed 42EGRJuan Pablo Montoya 5Hendrick MotorsportsKasey Kahne 36Tommy Baldwin RacingDave Blaney 11Joe Gibbs RacingDenny Hamlin 20Joe Gibbs RacingMatt Kenseth A total of 35 cars make up the preliminary entry list for this week’s Preseason Thunder, the first on-track activity for the NASCAR Sprint Cup Series this year. 31Richard Childress RacingJeff Burton 47JTG-Daugherty RacingBobby Labonte 33Richard Childress RacingAustin Dillon 9Richard Petty MotorsportsMarcos Ambrose 83BK RacingTravis Kvapil/David Reutimann 14Stewart Haas RacingTony Stewart 15Michael Waltrip RacingClint Bowyer 10Stewart Haas RacingDanica Patrick 18Joe Gibbs RacingKyle Busch 29Richard Childress RacingKevin Harvick 43Richard Petty MotorsportsAric Almirola 51Phoenix RacingRegan Smith 38Front Row MotorsportsJosh Wise 48Hendrick MotorsportsJimmie Johnson 22Penske RacingJoey Logano 56Michael Waltrip RacingMartin Truex 27Richard Childress RacingPaul Menard 78Furniture Row RacingKurt Busch 2Penske RacingBrad Keselowski 1Earnhardt Ganassi RacingJamie McMurray 13Germain RacingCasey Mears
Fresh off a powerful three night run at the Brooklyn Bowl in Las Vegas, NV, legendary bass master Phil Lesh has announced his next performance, celebrating the fourth anniversary of his own Terrapin Crossroads. Lesh opened the doors to the intimate San Rafael, CA haunt back in 2012, and a number of great performers have made appearances throughout the four year history.The anniversary concert will be held on March 7th, featuring Larry Campbell, Theresa Williams, John Molo, Scott Law and Jason Crosby. The announcement also indicates that this is the first of a “March Madness” series at TXR, with many more concerts to come in the days ahead.For tickets and more information, head to the official venue website.
A new report from TMZ reveals an unfortunate fate for Prince’s final days, as it appears an overdose on the prescription painkiller Percocet was to blame for his untimely demise. Prince was found dead at his Paisley Park home yesterday, at the age of 57.TMZ has been accurate with all of their reports thusfar, from Prince’s hospitalization to the breaking news of his death yesterday. According to TMZ’s report, Prince had taken so many Percocets last week, his plane had to make an emergency landing so doctors could administer a “save shot” to keep him alive.Prince was photographed going in and out of the same Walgreens a total of four times in the week before his death. The prescription came to Prince for a corrective surgery on his hips back in 2010, reportedly.While an official autopsy will confirm this report, with TMZ’s track record on reporting this story, it seems likely that this is indeed the tale of Prince overdosing a couple of days prior to his death. Of course, we choose to remember Prince through his incredible legacy of music, with dozens of albums and singles that have inspired musicians from all genres.This is an ongoing story, and we will update with more information. You can read TMZ‘s report here.
The addition of triple threat Big Grizmatik – the rare supergroup comprised of electronic giants Big Gigantic, Griz, and Gramatik – to this year’s Summer Camp Festival lineup had fans in for a real treat. To close out the three day festival in Chillicothe, IL, the live electro-funk producers threw down a raging set of epic proportions, drawing one of the largest crowds of the weekend to their party.The legendary George Clinton, who was on the grounds to play with Parliament Funkadelic earlier in the day, even joined in on the action, generating an enthusiastic “We Want The Funk” chant from the audience. With contagious energy and infectious beats, the squad played banger after banger from each of their own catalogues and beyond. It was the perfect closer to a memorable weekend, ending things on the highest of notes.Check out a recap of the sit-in from GRiZ himself.Setlist: Big Grizmatik at Summer Camp Music Festival, Chilicothe, IL – 5/29/16I Don’t Mind – GRiZ (Unreleased) C’mon – GRiZ x Big G (Unreleased) Get Em High – Big GIt’s Just a Ride – GramatikWe Want The Funk (with George Clinton)Before I Go – GRiZ (Unreleased) I Gotta Know – Big G (Unreleased) The Anthem – GRiZExpect Us – Gramatik Good Times Roll – GRiZ x Big GDLIMF – GrizmatikFunk With Me – Big G x SnailsCorporate Demons – Gramatik Talkin’ My Freedom – Grizmatik Feelin’ – Big G (Unreleased) Wicked – GRiZ (Unreleased)23 Flavors – Gramatik Wave (remix) – Big GWar Of The Currents – Gramatik Touch The Sky – Big GRather Be Free – GRiZ (Unreleased)Can’t Hold Us – Big GBluestep – GramatikEncore: Little Things – Big G[Photo via Big Gigantic Facebook]
Panorama Festival is fast approaching, and New York is getting amped up for this brand new festival. Their killer lineup features Arcade Fire’s only 2016 U.S. tour date, one of Kendrick Lamar’s only North American festival sets this summer, and a sure-to-be-incredible hometown comeback show by the one-and-only LCD Soundsystem. With The National, Alabama Shakes, Major Lazer, Sia, Run the Jewels and more on the bill, it’s sure to be an unforgettable weekend of music on Randall’s Island. However, music isn’t the only thing on Panorama’s mind, as the festival intends to blow attendees away with an incredible, interactive experience called The Lab. ***Scroll to the bottom to enter to win a pair of 3-day passes to Panorama NYC!***The Lab will be a state-of-the-art installation for all Panorama attendees to enjoy. It will feature a museum-like room filled with multiple interactive exhibits and a massive theater that provides a fully-immersive audio/visual experience, all contained inside of a unique structure with a projection-mapped exterior. Panorama looks to be the first festival of this scale to feature technology as one of its main components, and The Lab will be that dream brought to life. The project itself is the brainchild of Panorama promoters Goldenvoice and META.is director Justin Bolognino, who is a huge Phish fan, is one of the founding fathers of Brooklyn Bowl, and is an all-around champion of technology-based art.Justin is a man of many hats. As the former Creative Director of Brooklyn Bowl, Justin helped shape the brand and experience of the beloved multi-room venue. Bolognino then sold his Learned Evolution and Meta Agency companies to mega-promoter SFX and formed the in-house creative solutions studio FX1, where Justin brought unique and interesting experiential marketing to festivals like Electric Zoo and Mysteryland. Finally, as the head of META.is, Justin works to elevate artists who use creative technology as a medium. I recently sat down with Mr. Bolognino to discuss all things The Lab, as well as some insight into working with Phish and working on the creation of Brooklyn Bowl. Click here for full details on The Lab via The Verge, and see below for a full transcript of the interview with Justin BologninoLive For Live Music: Break down The Lab for us? What is it? What isn’t it?Justin Bolognino: Well, The Lab is maybe the largest scale, single festival experience activation in history, as far as I’ve seen. There are three main components to The Lab: there’s the architectural façade, with is being projection-mapped by VolvoxLabs, then there is an 150×30 foot exhibition space that will host some six different interactive installations from leading New York City creative technology studios. We also have one other interactive installation—Emilie Baltz’s “Cotton Candy Theremin Universe”—that’s going to happen as a pop-up throughout the weekend. The Dome, which is the final component; we are creating a custom seventy-foot immersive audio-visual experience that’s the exclamation point on what should be a pretty inspiring tour. Hopefully you walk out of this thing a little knocked off your axis, that’s the idea. L4LM: How did you dream up for such an ambitious, multi-media experience?JB: I think such a resonant thing about this project is it didn’t feel like I dreamed it up or that there was anything active about it, it just feels natural. It wasn’t like an arduous task where there was a lot of brainstorming, it kind of flows beautifully. Really, it’s the culmination of everything I’ve done over the past ten years, all in one environment. It’s not so terribly different from Brooklyn Bowl at the end of the day.L4LM: How so?JB: I think the idea is in the simultaneity, we live in a very linear world that needs things one after the next, whereas, you can perceive reality to be happening simultaneously, and so, that was the big challenge when we built Brooklyn Bowl, people said ‘how will you have bowling, and music, and food all at the same time? That’s not going to work.’ And if you focus enough on the experience and focus enough on the feel and focus enough on how all of these elements are going to integrate, then I do think that level of simultaneity works and The Bowl obviously has only proven the fact.L4LM: What makes NYC and Panorama the perfect place for this vision?JB: Well, [festival promoters] AEG and Goldenvoice brought the catalyst of this idea to me. They wanted to create a festival that celebrates creative technology as a high form of art. That’s what Meta is predicated on, and I think that’s ultimately why they came to me, and the reason why I won the job in the end. I was able to create a story that includes not only the artists that we (Meta) rep but our competitors. I brought in people that we are normally pitching against to be a greater part of this community. I think that’s incredibly exciting; there’s a sea change happening around this, and that sea change is elevating creative technologists to the level of talent, and AEG wanted that. So we built that, then we took that same message to HP [Hewlett Packard], and HP is into that, so, this is kind of big. I’ve been in this for a long time and never seen so many partners so willing to tell this story…Quickly, back to your question about what it isn’t, it isn’t a festival activation where you’re going to walk out of there going ‘well that was cool, but who the hell did all of that?’ I think that’s one of the biggest problems that we solve on a daily basis at META.is, and especially at The Lab. We’re putting extensive lengths to make sure you know who these artists are. All the talent will have what we’re calling ‘exhibition pods’ on-site, so every single exhibit has a free standing structure that talks about the talent, that shows their reel, that shows content, that has their bio, and that’s a level up on how this type of talent normally gets treated, especially when they’re up against music.L4LM: Do you see this as being a new trend in festivals, or do you think that this is something that is specific to a festival like a Panorama or a company like an AEG who can get behind it. JB: Yeah! I think it has to be, I think the market’s going to demand it, I think that creative technologists are the next rock stars, and if festivals don’t catch up with that then they’re going to get left in the dust.I want to be clear, this isn’t just different for the sake of different, but telling a colloquial story that’s relative to the region that the festival is being built in. Coachella can only exist in the California desert, period. And Panorama could only exist in New York City, and that’s the idea, that they’re reflective of each other. It’s not just a stage with musicians performing on it like some of the other events that happen in New York on this scale. There’s a story, there’s a thread, we’re pulling together a community based around a narrative, and that narrative is: creative technology is amazing, and it’s time to respect that, and make it a quintessential part of the festival experience. And this came from AEG, this was their mandate, it’s not like I pitched them on that idea and that’s why it’s so exciting, because they want to tell that story. They don’t want to just have a genre-specific festival, they don’t want to have just a few headliners and throw up a stage in a parking lot. They want to tell a story, and I’m pretty blessed to have the opportunity to help tell that story.L4LM: A lot of information has been released about The Lab, including the artists involved, the pieces they are making, etc., and it seems well curated with thought provoking pieces. Are there any surprises in store for people who make their way to The Lab?JB: Maybe! There’s only one way to find out! How cool would it be to have a surprise DJ set in a 360-degree, immersive video dome? L4LM: It would be pretty cool!JB: Well I think that would be pretty awesome. Whether or not that happens, who knows?The Cotton Candy Theremin in the exhibition is kind of like that that but it’s not going to be a surprise, it’s publicized. We’ll probably release set times for it and everything.L4LM: What are you most excited about for The Lab?JB: The thing I’m most excited for is just getting all of the humans that are involved in this thing in one space together, I mean, these guys are known for their work, but the collective consciousness of the eleven different studios that are involved with this thing all in one place resonating together, that’s really exciting.L4LM: What music are you looking forward to seeing at Panorama? Can we expect to see any of The Lab’s amazing artists collaborating with any musicians on the festival lineup?JB: Well, I hope so, that would be awesome, surely it’s a great opportunity for all of the artists involved with this project, but that remains to be seen.In terms of music, obviously LCD Soundsystem should go without saying, one of my all time favorite bands, one of the best live bands ever, I believe, and I like to dance. So, that’ll be awesome.Honestly I think it’s the best lineup of the summer, headliners on down, and I’m not just saying that. How much music I’ll be able to see, I’m not so sure. I want to see FKA Twigs, I’m very excited about that, and also I haven’t seen Alabama Shakes since they played Brooklyn Bowl many, many years ago.L4LM: Besides Panorama, what other festivals stick out to you as being technology-forward?JB: I was just in Barcelona for Sonar, which is the best example, and they do it so right. They have daytime activities that shine a spotlight on creative technologists, on people using creative technology to build new instruments, on the digital side of the music game, they had a whole VR area, and at night they premier new stage designs, pair together visual and musical talent and they do it on a grand scale with the most amazing vibes. So Sonar wins, thus far. I really like what Moog Fest is doing…Day For Night is doing a really nice job at this down in Houston. But there’s a lot of room, there’s a lot of room to bring creative technology into the live music and experiential festival space. L4LM: As one of the original people involved with the project, and one of the key designers of the fan experience at Brooklyn Bowl, do you have any stories that stand out in your head?JB: The thing that sticks out most about The Bowl, led by Mr. [Peter] Shapiro and Charley Ryan, who are the masters of this, but every single thing about Brooklyn Bowl was created for your experience. I have this one anecdote where, there’s the wall that separates the lanes from the general admission area, and there’s the big screens at the end of the lanes. We built that wall to the height that we had specified, and we stood in the middle of the general admission area, and noticed that the wall was blocking the bottom quarter or so of the screens up on the lanes. And we literally ripped the wall out and re-built it to be low enough for an averaged height person to be able to see the screens from the GA. And I have one hundred more stories like that that surely highlights how every square pixel of that place was thought through and re-thought through based on how it would feel for the attendee to be in that room. From the content that’s on the screens to the nature of the branding, the consistency of the branding, the environmental design, I mean every single thing; it was an Apple-like approach to a venue, and I don’t know that there’s many venues out there that took that many detail to focus on the quality of your experience. That’s why we got hired originally to do that job, we share in that desire to uphold quality, but also that continues to inspire me to this day, to deliver that level of quality for attendees. Experience is everything, that’s what we do; Experience first, make money later. Shaprio has built an empire with that philosophy, and it’s as genuine and authentic as anything I’ve seen in the business world.L4LM: What was it like working for Phish? I know you’re a huge Phish fan, and were lucky enough to help organize the video that played before Festival 8’s Exile on Main Street set. Can you tell me a little bit about the process involved in collaborating on something so important with Phish?JB: It was crazy, I mean, we did the entire video that opened for Phish at festival 8 for their Rolling Stones Exile on Main Street in about 3 weeks. That year they did that really amazing marketing campaign where they built this online portal that had 99 different classic record covers with haunted, Halloween style music. And every day, you’d check back and a dagger would fly out and kill three or four of the records, leaving only ten left by the end of the month. At the time I was representing video-remix-DJs Eclectic Method, and I had this idea to have all 99 albums-worth of content remixed into a video that would open up the show. And it’s one of those insanely rare opportunities and cold-pitch, and push a project through. First of all, the [non-disclosure agreement] I signed to be able to be told what the cover-album was, was like first-born child level; I didn’t even tell my wife what it was, true story, It was that protective. So, we made it happen, and the whole process was done within less than three weeks, maybe two-and-a-half weeks, and that’s collecting 99 pieces of video content all relating to 99 albums. We had twelve people and a massive spreadsheet for people to search everywhere for content, DVDs, YouTube, etc., and it was a huge undertaking in and of itself just to source the content. There are three guys in Eclectic Method; each took a chunk, and they created a masterpiece. That video they made in the time they made it, with the pressure and everything else was just an extraordinary piece of work. Funnily enough, it is ended up accidentally being four minutes and twenty seconds long, and I’ll take that as a happy accident.Two big things: the whole thing was done through management, I was never allowed to talk directly to the band (which, as a huge head, was probably the reason that they did that) and the second thing is that they reserve the right to not do it, that was part of their contract that, if, on the day of show, they didn’t wanna do this thing they didn’t have to. So, I flew out to Festival 8, handed the DVD to [Jason] Colton [ed. note: one of Phish’s managers] on Saturday the day of the show, and it’s like ‘alright, taking the final back to the band’, and I didn’t find out if they had approved it until 3:00pm that afternoon, and that night, it happened. And let me tell you, it was an out of body experience, the whole thing. I didn’t even have the capacity to enjoy it because it was such a surreal thing. I think my favorite memory At 3pm I get the text that “it’s on” and that night it happened.L4LM: Do you have any thoughts on Phish’s new LED Rig?JB: I think if there’s one band in the world that doesn’t need LED lights, it’s Phish, and I think that addition does not equal evolution. I would say that true creativity is taking things away until all that’s left is the essentials, and I don’t think there’s anything essential in this rig. But, if they are here to stay, I think there is a wide-open canvas with-which to produce very high-level content.Enter To Win A Pair Of 3-Day GA Passes To Panorama NYC!
Details for this year’s The Bridge School Benefit have emerged, and music fans should be very excited about this one. The annual show, which will take place this year on October 22nd and 23rd, acts as a fundraiser for The Bridge School, a non-profit organization that aims to provide people with severe speech and physical impairments with the help they need to lead normal and active lives in their communities. Neil Young and his former wife Pegi organize the event each year at Shoreline Amphitheater in Mountain View, CA, and they’ve put together a truly stacked weekend for the event’s 30th anniversary.Neil Young & Promise Of The Real sit at the top of the card, and they’ll be joined by rock heavyweights Metallica, Roger Waters, and My Morning Jacket. Willie Nelson. Additionally, the festival will see sets from Norah Jones, Cage The Elephant, Nils Lofgren, and case/lang/viers. The shows at The Bridge School Benefit are typically all acoustic sets, so we’ll be interested to see what Metallica has in store for the crowd, and of course we are hoping Roger Waters and MMJ collaborate in some way after their epic joint performance at Newport Folk Festival in 2015.See below for the official lineup announcement video:Tickets go on sale next Monday, August 29th, and you can find more information via the official Bridge School Benefit website.
Phantom Vanity is the combined spirit of many, summed up by the dreams of singer/songwriter Boyd. With inspirations drawing from funk, folk, and soul, this powerhouse collective is about bringing truth and inspiring dance within their listeners.Behind the vivacious vocals are some excitingly familiar musicians, making statement-like appearances throughout the entire record. Nick Cassarino (The Nth Power) is the co-writer on most of the tunes featured on this EP, also delivering his ferocious guitar-playing throughout. Providing the thump and rhythm on drums are heavy hitters Louis Cato (Marcus Miller, Late Show with Stephen Colbert) and Bryan Morton (Bed & Breakfast Productions). Joining on bass is Joey Secchiaroli (Reign of Kindo, Gin Wigmore) who also co-produced most of the EP.104th generation djembe player Weedie Braimah is featured on the first single, “Perish”. Playing on separate tracks on keys is Reuben Cainer (Amimus Rexx), Nigel Hall (Lettuce), and Rob Lewis (MD Christina Aguilera).Also recruited for this debut recording is Elenna Canlas (Big Everything), and Corey Bernhard (Killiam Shakespeare, Bilal) on keys. Dmitry Gorodetsky is a secret musical weapon of New York city, providing a rich bass throughout the record. Added flavor is Steven Padin (Reign of Kindo) on drums, and Rodney Flood on axillary percussion. On trumpet is Joel Fuentes (3CP, Lifted Crew) and Matt Owens. Wrapping up this roster is ripping tenor saxophonist James Casey (TAB, Animus Rexx) who also aided in producing a track.With the recording process now completed, Phantom Vanity is currently beginning to stretch into the real world and share a message of hope, love, and determination to make change.Phantom Vanity is a musical effort of friends; some of their relationships spring back over 10 years ago. Coming out on October 11, 2016, the Vintage Slacker EP is composed of 8 tracks that uniquely speak about the trials and growth that humans endure on this small planet. Today, we are thrilled to share the single “Sensual Playground” ahead of the release:Co-written by Boyd and Cassarino, the track also features Dmitry Gorodetsky, Nigel Hall, Elenna Canlas, Steven Padin, and Rodney Flood.“‘Sensual Playground’ speaks about how love can transcend generations, genders, and lifetimes,” explains Boyd. She continues, “With this EP I wanted to highlight who I am as an artist and a taste of where I want to go. This is just the beginning.” And we can’t wait to see what else Phantom Vanity has in store! In the meantime, stay up to date with Phantom Vanity here.On October 2, there will be an album release party at Pianos from 10pm-11pm, with an afterparty to follow upstairs. More information here.Check out Phantom Vanity’s music video for “Perish”, also featured on the upcoming album:
On his last Under The Scales podcast, Phish lyricist Tom Marshall spoke with former High Times managing editor Jen Bernstein, discussing the beginning’s of “Divided Sky” and the history behind the Rhombus. In this latest edition, Marshall is joined by Jake Huffman, drummer of the band McLovins.Phish Lyricist Tom Marshall Visits The Rhombus With High Times Editor Jen Bernstein In New VideosThe two discuss the McLovins’ earliest days, where they released an on-point and rather impressive version of Phish’s “You Enjoy Myself” as a 14-year old trio. They quickly became a hit in the Northeast jam scene upon the initial release of that video on the world wide web, and within a short amount of time were playing around the country.They also chat about collaborating on the track “Cohesive” which was written with Marshall in 2010, the writing process, the evolution of the McLovins, play a couple of tracks (“P.T.” and “Talk About It”), working with Bill Sherman who produced music for the Hamilton soundtrack and is the musical director for Sesame Street, writing a song that Ed Sheeran sang, and much more.The band also recently spoke with us about this particular cover, in a feature that you can read here.Take a listen to the Under The Scales podcast:McLovins cover Phish’s “You Enjoy Myself”:The McLovins are heading out on the road next week for a lengthy Winter tour, which will begin in Colorado and see the band make their way back East to Maryland, Virginia, North Carolina and further South. Check out tour dates below. The next Under The Scales podcast on February 6th will take an in-depth look at Trey Anastasio’s guitars, signal chain, and amps.
Moe. headlined the annual Jam Cruise Pre-Party in front of a packed house of festive Jam Cruisers and moe.rons on Thursday evening, January 19th, at Revolution Live in downtown Fort Lauderdale, FL. The band put on a two set, 3+ hour jam session, filled with their classic original material including a monster, 30 minute “Opium > St. Augustine” in the first set.Another big moment of the show was the band’s tight cover of Frank Zappa’s “Cosmik Debris” followed by the fan favorite, “Okay Alright.” Check out videos of the first set run and the encore below, courtesy of CHeeSeHeaDPRoDuCTioNS.moe. – “Opium > St. Augustine”moe. – “Cosmik Debris. Okay Alright”moe. will set sail on Jam Cruise 15 later today, upon which they are scheduled to headline. They’ll then hit the road throughout the winter, so don’t miss out. You can see the full tour schedule below, and head to the band’s website for details. The full setlist and audio from last night can be found below.Setlist: moe. | Revolution Live | Fort Lauderdale, FL | 1/19/17Set I: Annihilation Blues (nh), Puebla > Big World, Opium > St. Augustine, The Road > Skrunk > The RoadSet II: Defrost >(nh) Time Ed, Blue Eyed Son, Mar-DeMa > The Ghost Of Ralph’s Mom, Wind It Up > GeorgeE: Cosmik Debris, Okay AlrightFull set audio:Moe. 2016-2017 Tour ScheduleJan 20-25: Jam Cruise 15 – Norwegian PearlJan 26: Jannus Live- St. Petersburg, FLJan 27: The Plaza Live – Orlando, FLJan 28th: Georgia Theatre – Athens, GAJan 31st: Bijou Theatre – Knoxville, TNFeb 2nd: Penn’s Peak – Jim Thorpe, PAFeb 3rd: Higher Ground – South Burlington, VTFeb 4th: Calvin Theatre – Northampton, MAFeb 17th: Marathon Music Works – Nashville, TNFeb 18th: Iron City Birmingham – Birmingham, ALFeb 19th: Sweetwater Brewery – Atlanta, GAMar 4th: F Shed At The Market – Syracuse, NYMar 30th: Wellmont Theater – Montclair, NJMar 31st: College Street Music Hall – New Haven, CTApr 1st: The Paramount – Huntington, NYApr 5-8: The Sinclair – Cambridge, MAApr 27th: Le Petit Theatre – New Orleans, LAApr 28-29: The Civic Theatre – New Orleans, LA (w/ Turkuaz)Jun 30-Jul 2: moe.down 16 – Turin, NY (seven sets!)[Cover photo courtesy of Tim Breaseale @ TB Photography, LLC]
Brooklyn-based rockers Woolly Mammals continue to make a name for themselves, rising up the ranks through their exciting original music and truly fun live performances. The band has a self-described sound that comes across as the love child of Frank Ocean and a Nintendo 64, but they’ve also been compared to groups like Vulfpeck, Daft Punk, Prince and more. It’s that funky groove-laden music that keeps listeners coming back for more!The band consists of Will Sacks (Vocoder Bass), Noah Ross (Guitar and Sub Guitar), Kyle McCarter (Drums) and Andrew Koehler (Keyboard). The Vocoder Bass allows for Will Sacks to both sing and play bass simultaneously, creating a unique effect. Says Sacks, “As Noah is playing both guitar and bass at the same time, I have freedom to combine what what I’m singing with what I’m playing on bass.” The full effect can only truly be appreciated in real time, which certainly informed their decision to head to the studio for a live video session.Woolly Mammals put their electric soul to the test at the Peter Karl Studios in Brooklyn, which included a performance of their song “Moonrise” in a single take. Sacks talks about the structure of the song, saying “The real heart of ‘Moonrise’ comes from its sweet, soulful melody tugging against its hypnotic latin groove. It’s a breakup song about expectations, and the overall structure mirrors its message. We have two very different approaches between a flowing, melancholy melody and the stubborn, aggressive rhythm section, and it becomes about watching the two sides duke it out.”He continues, explaining the song’s meaning. “‘Moonrise’ is a meditation on unmet expectations—waking up to realize who exactly shares your bed. Recently, the relationship in ‘Moonrise’ has come into focus for me as a microcosm of our current social and political climate. The bridge is the culmination of the narrator’s howling anguish: wordless, indescribable, and urgent.”Watch the footage of Woolly Mammals rocking out to “Moonrise” in the studio, streaming exclusively on L4LM via the video below!For more from Woolly Mammals, be sure to follow along on Facebook.