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There is clearly no way to be at every NYE show. Even with a team of talented writers and photographers spread out across this great land, we still couldn't get a piece of every show. What we did get was a blur of photographs and a wash of words, just a glimpse of the glory that went down as 2006 made its debut.
New Year's Eve 2005 by Brett Saul |
Some bands packed stadiums, others - small bars. Some were beachfront and basking in the sun, others hit the mountains. New Year's Eve takes on many shapes and sizes, but it always forces one to reflect, even if it's just for a few moments as the clock strikes midnight. NYE is also a chance to catch up with friends and family who we just don't see enough. It's a special time of year, and for those who live their lives as slaves to sound, it's our only real "Holiday" of the year - the only time we know we aren't going to work. In the pages that follow, we go coast-to-coast as we check in with some of the hottest bands in our scene. Of course we didn't hit 'em all, but we got a good taste of those final moments of 2005.
I noticed something else this year too. With each passing NYE, it's that time spent with the closest of friends that is paramount to the experience. Lucky for us, our worlds revolve around live music; for many, it's the backdrop of our existence. I know most of my best memories have something to do with a show. As you look at the pics and words that follow, hopefully we can aid your memory, helping you cement 2005 into your vault as we stride full speed into 2006. We've all got our work cut out for us. I know my desk is already overflowing with music that needs hearing and articles that need writing, but for now, we hope y'all enjoy one last look at the year that was. Good luck from all of us, and Happy New Year everyone.
Oh, and thanks to everyone who participated in our WHAT DID YOU DO FOR NYE? feature; please feel free to continue sharing your thoughts with our "comments" section at the end of this article.
-Kayceman
WIDESPREAD PANIC :: 12.31.05
PHILIPS ARENA :: ATLANTA, GA
Images by Michael Saba
UMPHREY'S McGEE :: 12.31.05
ARAGON BALLROOM :: CHICAGO, IL
Words by SuperDee :: Images by Brett Saul
Brendan Bayliss :: Umphrey's McGee
12.31.05 :: Aragon Ballroom, IL |
Forty-five hundred pairs of arms are in the sky. The walls are shaking, and ear drums are rattling with a robust roar. The six-headed monster of a band has triumphantly reached the pinnacle of their anthem "All in Time." It is only the first song of the first set of the last day of the year, but the roof has clearly already been blown off. We are at the epicenter of a two-night New Year's Eve stand at the majestic Aragon Ballroom in the fine city of Chicago.
Umphrey's McGee :: 12.31.05 :: Aragon Ballroom, IL |
Umphrey's McGee wrote a new chapter titled "This Is How You Do It" in the book called Live Music on New Year's Eve. No stone was left unturned with their five sets of music, a horn section, special guest vocalists, a vibrant and timely balloon drop, and an elaborate stage set including the smoking nostrils of a tiki god and fiery torches. The Umph nodded musically a few times to events of the year just past including a cover of newly converted Umphreak Huey Lewis's "I Want a New Drug" and a NOLA-reminiscent medley sung by local Chicago soul man Paris Delane. The lounge version of drummer Kris Myers graced us with an emphatic version of "Just a Gigolo" leading the whole crowd in chorus singing "I-I-I-I-I-I-I ain't got nobo-o-o-o-o-dy."
Williams & Stasik :: Umphrey's McGee
12.31.05 :: Aragon Ballroom, IL |
The inclusion of Keller Williams in this two-night event was brilliant. The large ballroom floor was full early on each night to welcome Keller to the stage. I'm sure there were more than a few people busting into windmills as Keller streamed and looped through his unique performances. His collaborations with Umphrey's throughout the entire weekend were just fantastic – Keller McGee? Umphrey's McWilliams? Umphrey's McKeller? Call it what you like, but I believe this is not the last time we will see such a pairing.
Bayliss :: Umphrey's McGee
12.31.05 :: Aragon Ballroom, IL |
Musical highlights included the soaring "Ocean Billy" > "Glory" > "Ocean Billy" followed by a fierce "40's Theme," the first night second set opener of "Plunger" > "Jimmy Stewart" > "Play This (with Keller)," and the aptly placed "Resolution" just after "Auld Lang Syne." But what the kids will be writing home about will be that encore: a dub version of Pink Floyd's "Breathe," followed by the original version of "Breathe," followed by "Great Gig in the Sky" with guest singer Michelle Hallman on the legendary screaming vocal ending that was originally intended by Pink Floyd to sound like an orgasm. Not a bad way to end the evening. This was topped off by a newer Umph original, "Believe the Lie," which is a strong testament of their maturing song-writing. With just a few minutes left before the Aragon staff would go ballistic, they got everyone up on stage for a celebratory cover of Ray Charles's "Night Time is the Right Time."
Yes, they gone done it - a successful year and a thrilling New Year's run in the bucket. With a European tour and a new album on the horizon, the Umphrey's McGee train shows no signs of slowing down. Jump on for a ride and join the fun.
DRIVE-BY TRUCKERS :: 12.31.05
FOX THEATRE :: BOULDER, CO
Words by Kayceman :: Images by Pamela Martinez
Mike Cooley & Patterson Hood :: Drive-By Truckers
12.31.05 :: Fox Theatre, CO |
I like rock & roll. It's what got me into music when I was a young lad, and it's what speaks to me when I am most in need. Some folks like to be wooed, wined-and-dined; some like to take it easy and noodle around the meat. Other people like the edges all pretty and clean, perhaps they like to escape a bit as they slip into a pleasant evening of easy sounds. Not me - I actually hate that shit. Give it to me straight. Don't beat around the bush and don't hesitate; just lay it out. I want to know how much it's gonna cost and if it's gonna hurt. No need to make nice, let's cut to the chase. Like I said, I like rock & roll, and there ain't no band on the planet playing meaner, nastier, more honest rock & roll than the Drive-By Truckers.
Jason Isbell & Scott Danborn (Centro-matic)
12.31.05 :: Fox Theatre, CO |
2005 was particularly grueling in many ways. We lived through the Tsunami, the Hurricanes, the War, depleting health care, and increased poverty. It's thoughts like these that infuse the working-man's brilliance found tucked into the Drive-By Truckers' music. And in the first hour of 2006, as guitarist Jason Isbell sang the words to "Never Gonna Change," there was no better rock band than DBT and no better storyteller than Jason:
My brother got picked up at Parker's, got him a ride in a new Crown Vic. They said that he was movin' on a federal level, but they couldn't really make it stick. Take it from me, we ain't never gonna change. We ain't doin' nothin' wrong. We ain't never gonna change, so shut your mouth and play along.
Patterson Hood :: Drive-By Truckers
12.31.05 :: Fox Theatre, CO |
Some people don't relate and I can understand that, but for those who "get it," it don't get much better. This is music for hard-luck fools who were never given nothing and have been scraping by since they left home. There aren't many happy endings (the last song of the night was "People Who Have Died"), and you best not come expecting any romance - unless of course you include the outstanding rendition of Patterson Hood's "18 Wheels of Love" towards the end of the night. This is real-as-hell rock & roll: loud, gritty, three guitars that never relent and never apologize. Lyrically, there are few bands that have penned more poignant, gut-wrenching songs, and musically, when it's really firing, it's almost scary. Like a wild animal clawing out of a cage or reminiscent of fighting a force of nature, the music is impossible to contain - every guitar crunch spilling over the edge and every transition slamming into your ribs.
Hood, Tucker, Cooley :: 12.31 :: Fox Theatre, CO |
Sure, there were more tender moments at The Fox like "My Sweet Annette" and "The Sands of Iwo Jima." And there were certainly lots of smiles and glasses being raised during the epic, guest-packed, post-countdown rendition of "Let There Be Rock." But at their best the Truckers pull you into a dark, menacing tale as they did on "Nine Bullets."
After a year that found many of my close friends battling the law, my mom fighting for life, and pretty much everyone I know bottoming out financially, New Year's Eve with the Drive-By Truckers seemed like just the place to be. Flanked by those you love with music as powerful as that conjured up by the Drive-By Truckers, it's hard to not barrel full-speed into 2006. Something about laying out all your pain, all your sins, aggression, loss, and hope - something about pouring it all onto the floor with one of your favorite bands sparks some type of catharsis. It allows us to gain some type of closure while also gearing up for the year ahead. May we meet our demons and rise above in 2006.
SOUND TRIBE SECTOR 9 :: 12.31.05
THE TABERNACLE :: ATLANTA, GA
Images by Kevin M. Quinn
STS9 :: 12.31.05 :: Atlanta, GA |
STS9 :: 12.31.05 :: Atlanta, GA |
STS9 :: 12.31.05 :: Atlanta, GA |
STS9 :: 12.31.05 :: Atlanta, GA |
Hunter Brown :: 12.31.05
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Hunter Brown :: 12.31.05
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Dave Murphy :: STS9 :: 12.31.05 :: Atlanta, GA |
David Phipps :: STS9 :: 12.31.05 :: Atlanta, GA |
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Zach Velmer :: STS9 :: 12.31.05 :: Atlanta, GA |
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STS9 :: 12.31.05 :: Atlanta, GA |
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STS9 :: 12.31.05 :: Atlanta, GA |
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STS9 :: 12.31.05 :: Atlanta, GA |
Words by Tyler Hammer :: Images by Sewell Hatcher
The String Cheese Incident :: 12.31.05 :: Concourse Exhibition Center :: San Francisco, CA
Michael Kang :: SCI :: 12.31.05 |
One minute I was twirling in the feel-good spell of Michael Kang's violin as it soared with the African hospitality of "Mouna Bowa;" a few moments later I found myself walking through a glowing jellyfish giddy with delight, only to have my ears pull me towards the heavy, primal beats being pounded out by drummer Brian Viglione of The Dresden Dolls. A few steps down the path I became hypnotized by a talking corn-on-the-cob puppet spouting out the wonders of bio-diesel. If I didn't know any better, I would have tried to pinch myself awake, but this was New Year's Eve – Sea of Dreams style.
With a kaleidoscopic variety of music, games, psychedelic art, costumes, puppet shows, circus acts, onion art tables, and belly-dance performances, this New Year's party stretched the limits of my senses. Sure I've been to festivals before – but not like this one. This New Year's bash charted into unknown waters - waters where the conventional "jam band" scene seemed to grow up a little bit and evolved into something new. Indeed, as advertised, this surely was a New Year's Eve-O-Lution.
SCI :: 12.31.05 |
As a night of daring cultural convergence, the folks at Madison House and Peak Experience Productions joined forces with long-time art/event promoters Anon Salon (creators of the Sea of Dreams NYE events as well as Burning Man Decompression). The night was billed to be the most over the top event the West Coast has ever seen. These production companies seemed to have said to themselves, "What if we brought seemingly different cultural communities together and had them ring in the new year? What would happen then?"
Sea Of Dreams :: 12.31.05 |
With a hodgepodge ensemble of bands like The Dresden Dolls and Yard Dogs Road Show playing alongside The String Cheese Incident and Luna Groove, the night brought together people from a variety of musical tribes. In all, there were over 27 bands, DJs, and entertainers – many of whom I never would have imagined playing under the same roof. Yet despite our apparent differences, everyone got along fantastically. The positive energy was teeming. Everyone came to celebrate something we all have in common – an affinity for diversity, acceptance, art in whatever form it takes, and of-course the love of a good time. Was it all peaches and cream? No, not quite. But then again, what show really is? But I tip my hat to the promoters and entertainers who had the vision to try an experiment such as this. Experimentation is, after all, the lifeblood of the music scene we all know and love.
Yard Dogs Road Show :: 12.31.05 |
As with any festival, there was simply too much going on to take in all the music. I will do my best, however, to give you a few snapshots of what I did manage to see in this Sea of Dreams.
With a penchant for the naughty, nastier side of Vaudeville entertainment, the Yard Dogs Road Show wowed all those in attendance with their burlesque circus antics. A wildly insane collection of horns, drums, guitars, singers, dancers, and god knows what else, the Road Show started off with a dark and sultry performance of some very mischievous prison girls dancing on stage. As with all their performances, the music tends to take a back seat to the zany characters on stage and their stories. Yet, the offbeat drums, nimble guitar riffs, and bellowing horns created a hobo-style blues music that should be appreciated in and of itself. After 45 minutes of mayhem, the show climaxed with a man shoving a three-foot razor-sharp sword down his throat right after it sliced through an orange.
Jason Hann :: SCI :: 12.31.05 |
The headliner for the night was, of course, the String Cheese Incident. Keith, Michael, Billy, Travis, Kyle, and Jason definitely knew this and seemed up to the challenge. Although, the set list was sub-par (with some very notable exceptions), the boys seemed ready and willing to turn up the energy. Starting at approximately 10:00 p.m., SCI opened with a safe bet in "Outside Inside." A nice transition then rocked the audience out of their pants with the slam-jamming bluegrass song "Rollin' in My Sweet Baby's Arms." As with most of their bluegrass favorites, Billy stole the spotlight as he weaved his fingers around the guitar, much to the delight of a frenzied crowed. The rest of the set was solid, ending with a long-time favorite "It Is What It Is." After a brief set break, SCI came back onstage to meet the festival attendees ready to ring in the New Year with them.
Amanda Palmer & Kyle Hollingsworth :: SCI :: 12.31.05 |
The atmosphere was electric, and the mood festive. SCI perfectly matched the vibe as they opened with "Rhum 'n' Zouc." As we counted down the final moments of 2005, a colorful procession of giant jellyfish, oversized African masks, extravagantly costumed stilt walkers, and more weaved their way through the crowd, adding to the carnival-like atmosphere. In what has become a New Year's tradition as of late, SCI broke into "Rollover" at the stroke of midnight. Within the obligatory jam they worked in a very nice "I Want to Take You Higher" that definitely managed to take the crowd to a higher plane. Things then settled down a bit, until DJ Lorin Bassnectar made his presence known. Midway through "Way Back Home," the boys explored their newly discovered electronic side as Lorin laid down some heavy break-beats. (I have to say this was the best showing I've seen from Cheese's electronica side.) The highlight of the night was clearly a great ending to their second set with "Little Hands" > "Shine On You Crazy Diamond" > "Texas" > "Shine On You Crazy Diamond" > "Texas." After a heart-warming "Little Hands," Cheese was joined by Amanda Palmer on keyboards and Brian Viglione on percussion from Dresden Dolls and Patrick Cress of Telepathy on saxophone for an eerily beautiful tribute to Syd Barrett and Pink Floyd with "Shine On You Crazy Diamond." I stood transfixed and spine-chilled as Cheese and friends nailed the song to close out the set.
Bill Nershi :: SCI :: 12.31.05 |
After Cheese's set, the entire party was focused on one person for the first time – DJ Lorin (Bassnectar). I can emphatically say he didn't let anyone down. Warming up the turntables at about 2:00 a.m., Lorin kept the party going until after 4:00 a.m. with some slammin' break-beats, psychedelic trance, and downright cool music that had everyone moving in a sea of positive vibrations. With such wide-ranging samples like "Last Splash" from that old-school band The Breeders to "Dirty Harry" from new sensation Gorillaz, Lorin demonstrated his musical prowess. He commanded the attention of everyone left standing and launched us all into 2006 on the highest of notes.
The night was a wild success for most everyone involved. Sure there was the music – and I most certainly enjoyed that - but to me, this New Year's was more about the Eve-O-Lution of the scene itself. It was about searching out new kinds of music, intermingling with people from different tribes, and trying something completely new. Jerry Garcia once remarked, "The only problem with so many Grateful Dead fans is that they are only fans of the Grateful Dead." I'm thrilled to have been a part of a festival that acted on Jerry's sentiments!
GOV'T MULE :: 12.31.05
BEACON THEATRE :: NEW YORK, NY
Images by: Dino Perrucci & Robert Chapman
...and the following images are courtesy of Robert Chapman
SET LIST
Set 1:
Bad Man Walking, Lay Your Burden Down, About To Rage, Don't Stop On The Grass, I'll Be The One, Life Before Insanity, I'm A Ram, Loser > Terrapin Station > Loser, Train Kept A Rollin' w/ Danny on Guitar
Set 2: (w/ Ron Holloway's Holographic Horns* and Jimmy Vivino on guitar)
Intro Theme (San Ho-Say) No Warren, Can't Turn You Loose Warren on Vocals Only, no guitar, Shake Warren on Vocals Only, no guitar, I've Been Loving You Too Long (To Stop Now) Warren back on guitar, Down & Out In New York City, What Is Hip?, Thelonius Beck Interlude, I Shall Return, Thelonius Beck Interlude, The Letter, Thelonius Beck Interlude, I Believe To My Soul, New Year's Countdown, Night Time Is The Right Time, Bad LIttle Doggie, Papa's Got a Brand New Bag w/ Danny on Guitar
Set 3:
30 Days In The Hole w/ Jimmy Vivino > I Don't Need NO Doctor w/ Jimmy Vivino, Beautifully Broken w/ Jimmy Vivino, Effigy > w/ Jimmy Vivino, Folsom Prison Blues w/ Jimmy Vivino > That's What Love Will Make You Do w/ Jimmy Vivino and Ron Holloway's Holographic Horns, Blind Man In The Dark w/ Ron Holloway
Encore:
Hurts Me Too w/ Hook Harrera and Alvin Youngblood Hart
Encore 2:
Soulshine w/ Ron Holloway's Holographic Horns and Jimmy Vivino on keys
*: Holloway Horns are: Chris Battistone on trumpet, David Zalud on Trumpet, Chris Karlic on Baritone Sax, Ron Holloway on Tenor Sax
PHIL LESH & FRIENDS :: 12.31.05
BILL GRAHAM CIVIC AUDITORIUM
SAN FRANCISCO, CA
Words & Images by Susan J. Weiand
Phil Lesh :: 12.31.05 :: San Francisco, CA |
For decades, the long-standing tradition in San Francisco was for the Grateful Dead to play a multi-night run to close out the year. Though the Dead are now gone, Phil Lesh continues to carry the Deadhead torch with three year-end shows at various venues of increasing size: December 29th at The Fillmore Auditorium, December 30th at The Warfield Theater, and finally, New Year's Eve at the Bill Graham Civic Auditorium. All shows offered John Mayer Trio as an opener, a stripped down blues rock trio which in addition to Mayer on guitar and vocals included Pino Palladino on bass and Steve Jordan on drums. Mayer is a darling of the MTV set. Many in the audience were there just to see him, and his sex appeal to women of all ages is apparent. He does have the guitar chops to back up his idol status, though each set did not vary much from night to night, playing various Jimi Hendrix covers and originals from their latest CD Try.
Phil Lesh & Friends :: 12.31.05 :: San Francisco, CA |
Osborne & Adams :: 12.31.05 :: San Francisco, CA |
Phil Lesh brought his friends Ryan Adam, Joan Osborne, John Molo, Barry Sless, Larry Campbell, and Rob Barraco out for three sets of music, the second one starting just before midnight when a woman dressed in white rode in on a white swan descended from the ceiling near the back of the hall and Pan hanging above the stage on a trapeze. Once Pan landed, he banged a big stick back and forth in sync with the countdown. At midnight, ten huge blasts of flame erupted behind the stage, and thousands of pastel balloons dropped on the crowd as the band launched into a spirited version of "Truckin'." Stilt walkers dressed as flowers danced through the audience, and a huge mirror ball twinkled with yellow light. The music was enjoyable for the most part, and somewhat experimental with Ryan Adams singing lead on many of the Dead songs as well as a few of his own compositions and Joan adding her own bluesy spin to "Sugaree." Dead standards like "China Cat Sunflower," "Eyes of the World," "Wharf Rat," and "Terrapin Station" were given new edge and direction, mostly due to the lead of Adams. The band returned for an extended third set that lasted until 2:40 a.m. Even though it was advertised, Mayer did not join Phil's band during any part of the evening.
THE SLIP & APOLLO SUNSHINE :: 12.31.05
PEARL STREET NIGHTCLUB :: NORTHHAMPTON, MA
Images by Jon Bahr
The Slip & Apollo Sunshine :: 12.31.05 |
Andrew Barr :: The Slip :: 12.31.05 |
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The Slip :: 12.31.05 |
The Slip :: 12.31.05 |
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M. Friedman & B. Barr :: The Slip :: 12.31.05 |
The Slip & Apollo Sunshine :: 12.31.05 |
YONDER MOUNTAIN STRING BAND :: 12.31.05
THE FILLMORE AUDITORIUM :: DENVER, CO
Images by: Joel Johnston
THE BLACK CROWES, TREY ANASTASIO, NORTH MISSISSIPPI ALLSTARS :: 12.31.05
MADISON SQUARE GARDEN :: NEW YORK, NY
Words by Dennis Cook
The air was thick. Thick the way dreams look in the movies or the soft focus of sweet memories. An hour into 2006, the Black Crowes had better than 10,000 people singing "My Morning Song" exultantly as any church - a joyful noise ringing out in the big city. My spirit swelled, and I welcomed this feeling of elation, let it slip into my pores.
Some say the expectations surrounding New Year's Eve shows are crushing. We want entertainment from a band but also something more. These are the final hours of an old year and the first minutes of a fresh one. We remember such times with acute detail. Our hopes and fears, our aspirations and disappointments gather around us. Like it or not, each New Year's Eve we stand at a marker on our cosmic timeline. When we congregate in concert halls on such nights, I think we're hoping to be lifted above what's been, bathed in high spirits, washed clean for what's ahead. In their first NYE performance in 15 years together, the Crowes more than satisfied these expectations.
Before delving into just how they did so, let's spare a thought or two on the openers...
North Mississippi AllStars |
There's No Blue Like A Southern Blue
Perhaps the best compliment you can pay a band is wishing they'd played longer. After just 30 minutes, the North Mississippi AllStars cleared out, but the general feeling was that more would have been nice. Very nice. There's a pleasant ferocity to the NMA. You can feel their hunger. They're after the music like a bloodhound, a thoroughbred. Their set showed a crowd-pleasing rawness they picked up at the foot of blues veterans like R.L. Burnside and Junior Kimbrough. MSG might be a big roadhouse, but they shook it on down just the same as if it were a clapboard shithole somewhere in Bygone Holler, Georgia. The songs had a focused hardness missing from their recent studio efforts. And a sit-in from "Mr. Trey" steered them into early Santana or perhaps John Scofield territory. Anastasio's huge imagination piled up note clusters that splattered prettily against the gritty foundation of the AllStars. Mighty pleasing.
Trey Anastasio :: 12.02 by Susan J. Weiand |
Listen To The Sounds As The Night Speaks
Despite my recent poor experience with Trey Anastasio and 70 Volt Parade in San Francisco, I went in with relatively high hopes. Lots of factors were in their favor – an evening charged with positive vibrations, a focused 90-minute slot, a venue Trey adores. And by gum, they had me dancing from go.
"Push On 'Til The Day" is a happy clarion call and nigh perfect opener. The group is clearly enjoying playing together, and that's more than a little infectious. With limited time, they kept everything up-tempo, a sunny ruckus of interweaving lines. It didn't hurt that they played one of my favorite Phish tunes after "Push." "Sand" is packed with inherent menace that befits a night in NYC. This performance as well as the versions of "First Tube" and "Come As Melody" signaled a greater kinship with the Talking Heads for Trey's new band than even Phish once had. It was grand to flow through the hourglass with this Studio 54, three rails past capacity, dirty funk version.
Lighting director Chris Kuroda produced a dazzling and immediately empathetic visual complement to the proceedings. His familiarity with Anastasio's rhythms gave him an insider's edge. Thankfully, he also saved some of his most impressive spectral moves for the Crowes' headlining sets. One of the invisible merrymakers in New York, Kuroda deserves a toast from everyone who "oooh'd" and "aahh'd" at his handiwork.
"Night Speaks to a Woman" unfurled like some lost track from Robert Palmer's Sneakin' Sally Through The Alley, bursting with the same swampy mood Little Feat and the Meters brought to those sessions. One line jumped out, resonating more deeply because it was NYE, "Inside I see a tiny piece of me, spread out on the pages I once knew." Les Hall laid in some incredible bottleneck slide below Anastasio's lead. In fact, Hall was on it all night, inserting spicy accents and Bernie Worrell-style keys everywhere.
Trey's Parade proved a great deal of fun, especially if you like a LOT of guitar. The brevity of their set suggests this band might really thrive by NOT doing 3-hour shows. The limitations produced a polished zeal that one would have to be pretty mean-spirited to reject.
Truth in a fable, faith in a rhyme
Then as it was, then again it will be
An' though the course may change sometimes
Rivers always reach the sea
Chris Robinson by Darren Ankenman |
It's impossible to know why the Black Crowes had never performed on NYE before this year. Maybe there was always somewhere else that felt more right than a stage. But as the electric candles flickered and the lads launched into a tough-minded, freedom-chasing "No Speak No Slave" opener, it was clear that their year-long love affair with their music had led to this night.
My Lord, what a presence! Dressed in vintage suits, long hair swinging, cigarettes dangling from lips, they were the very model of everything classically rock n' roll. They swaggered with undeniable confidence. Projecting enough force to fill a cavern like MSG isn't something most bands can muster. Natural as the wind, the Crowes gathered the attention of thousands in minutes. Four rows back from ground zero, I felt the surge on a metaphysical level. After "Sting Me," Chris Robinson, a streetwalkin' shaman decked out in royal white, announced, "This is now officially the most rock n' roll place on the planet. And we're gonna prove it." Close as I was, I picked up the faint clank of brass balls.
You know a band is firing on all cylinders when they can take one's least favorite song and make you enjoy it. "Lickin'" has always rubbed me the wrong way. It's a relative to Aerosmith's "Love In An Elevator" or Billy Squier's "The Stroke." Mainly it's the chorus that makes me think this since the actual verses are Chris's usual poetic briar patch. But dang me if I didn't dig the hell out of the nasty riffing and bilious vocals on NYE. One of the Crowe lessons of 2005 has been to trust their instincts even when we might imagine things a different way. The reward for such faithfulness has been their juicy exploration of the tremendous catalog they've amassed over the past 15 years. I think even they've been a bit surprised at how much they have to work with.
The pre-midnight highlight was a heart-melting "Bad Luck, Blue Eyes, Goodbye" leading into a mind-blowing, jam-filled "Soul Singing" that often felt like being adrift on a vast ocean, wondering when Poseidon would resurface and sweep us upward on a foaming wave. Or maybe it was more like brainwaves interpreted as notes, REM sleep thoughts bleeding into the day, leaving us high and safe and sound. Played with massive fervor, it conjured a feeling of life undiluted.
As the magic hour struck, they cut short Joe Cocker's "Space Captain" and brought their families and the opening bands on stage to celebrate as what can only be described as a prolonged confetti storm (followed briefly by glitter and bubbles) buried the audience. Their kids tossed things at the front rows, and genuine warmth radiated from the stage. They played a sloppy "Auld Lang Syne" as most of the visitors filtered off. I suppose it's obligatory, but part of me wishes that tune would fall down a well never to be heard again. They quickly recovered with a nicely ramshackle "Will The Circle Be Unbroken" that transformed the Garden into a king-size hootenanny with Trey, the NMA boys, and guitarist Marc Ford all taking verses.
Chris Robinson by Darren Ankenman |
After a brief respite, they returned hydrated and ready to live up to Robinson's pronouncement as the most rockin' spot on the globe. They began with the wistful wisdom of "Wiser Time" where I realized just how spot-on and unflabby every guitar solo Ford and Rich Robinson took throughout the evening was. I had the sense they'd put some forethought into what they wanted to say. This almost-composed feel had an eloquence that permeated and inspired the rest of the band.
"My Morning Song" was massive and mysterious, fragrant like a ripe apricot or pheromones on your lover's neck. As it built, teasing the ending for ages, it felt like a fever breaking when they barreled into the last chorus. Sweaty, grinning from ear to ear, I watched the crowd go nuts as they flowed into the archetypal opening chords of Led Zeppelin's "Ten Years Gone," followed by an ugly beautiful take on Zep's "Wanton Song." Unlike Plant and Page's recent skewed recreations, the Crowes channeled the original vibe from Physical Graffiti with blazing eyes and trembling hands. At the risk of overreaching, one had the feeling of a mantel being passed by the Rock Gods.
The Left Coast Horns, who'd played with them at The Fillmore in August, joined them to take things down on "Seeing Things," which the brass molded into a sad coronation for loneliness. Exquisite stuff, and I don't use that word lightly. They stuck around for a messy "Hard To Handle" that brought Anastasio back out. Everyone was clearly trying to sync up, but what Trey does and what the Crowes do, well, they're different animals and sometimes you can't make 'em mate. Things got back on track with a "Remedy" that I guarantee helped get a few people laid. There's panty-moistening indestructibility to this gliding, sliding bit of lasciviousness, and they worked it for all it was worth in New York. A rough, quick-time cover of the Rolling Stones' "Street Fighting Man" was the encore cherry on our early Sunday morning.
We often do not ascribe meaning to those things that are most important to us. We're content to simply feel their significance. Walking away from Madison Square Garden, on the way to share the good company of fellow fans at Twins, the NYC bar we'd taken over, I pondered just what it is in the Crowes' music that hits me right in the heart. The answer that came to me was this:
They make me feel a little less alone in the universe.
Something in the emotional texture of their music vibrates on my frequency. As strange as one's thoughts can seem at times, it's good to know there are freaks out there that get it. Your it might well be different from my it, but one thing a number of us share is the sense that the Crowes get some part of it. Isn't this exactly why our favorite music is our favorite?
The Crowes tap into the same energies that made my teenage self get lost in the supermarket with the Clash or go out of my brain with The Who every 5:15. It's a primal thing - the recognition of some part of our selves in another - that situates us on our soul's bedrock. It's a grand place to find one's self on such an auspicious night.
ALO :: 12.31.05
THE DIVINE BALL :: SANTA BARBARA, CA
Words by Tanner Wyer :: Images by Casey Flanigan
ALO :: 12.31.05 :: Santa Barbara, CA |
2005 has most certainly been a milestone year for the Animal Liberation Orchestra. The California-based quartet played almost every major festival, went on a nation-wide summer tour with Jack Johnson, signed a deal with Johnson's Brushfire Records, and picked up a considerable amount of momentum and buzz. It would seem that the fates were pushing ALO to play their best show ever for NYE 2005, and they did. Just not in the way you'd think.
Throwing all conventional methods of tradition to the side, ALO (and some of their closest friends/fans) took celebrating the New Year to an entirely different level. After playing two smokin' sold out shows on the 29th and 30th at the SoHo in downtown Santa Barbara, the party got mobile and went to the top of the mountain. The band gave permission to throw a private event at the acclaimed 'Mountain House' (graciously hosted by Mike Summers and Sean Marnane) in Los Padres National Forest. Dubbed 'A Divine Ball,' this masquerade event was to be a "Liberation of Gods and Goddesses" and ended up being a full-on costume frenzy that created a lifetime of memories in one night.
ALO :: 12.31.05 :: Santa Barbara, CA |
I can say with 100% conviction that there was nothing like this any other place in the country. The SB Music Phreaks were the hosts and organizers for the evening, and they put MONTHS into planning and preparation to ensure that the night was everything that it could have been. Aside from proceeds for the band, there was no profit gained from this event. This was a crazy, albeit conscious group of music lovers. A portion of money gathered from each ticket was donated to the Los Padres Forest Watch in an effort to give back to the land that was giving us this ultimate celebratory experience. And celebrate, we did.
Steve Molitz with ALO :: 12.31.05 :: Santa Barbara, CA |
Musically speaking, the band was at the top of their game. Starting around 10 p.m. and carrying on until the golden and pink rays of the sun started to shine over the Pacific Ocean the next morning, ALO delivered the most amazing performance I've ever seen them give. Playing each song with massive amounts of intent, their song selections flowed seamlessly into each other, creating sonic explosions of funk, elating the attentive crowd to new heights. ALO heavy-hitters like "Walls of Jericho," "Time is of the Essence," and "Animal Liberation" were mixed in with choice covers of Bill Withers' "Lovely Day," Barry White's "Never Gonna Give You Up," and Jimmy Smith's "Root Down." The musical highlight of the evening occurred somewhere during the middle of the third set when Particle keyboardist Steve Molitz joined the band for an absolutely jaw-dropping rendition of "Sneaking a Peek," which included ALO singer/keyboardist Zach Gill demonstrating that his Hand Sonic abilities are just as developed as his colorful key work. To sum up ALO's performance, it was mesmerizing - everything you'd want in a band for an evening, rife with spontaneity and focus, and ready to play till the sun came up.
Steve Adams :: ALO
12.31.05 :: Santa Barbara, CA |
What would it take to make the ultimate party? A shuttle from your car to the event? Unlimited beer and wine with admission? Food as well? No curfew on the music? Ice luges? 260 stoked attendees in full-on god/goddess garb? Four sets of mind-blowing, experimental funk music? A picturesque sunrise overlooking the Pacific Ocean? A huge breakfast to replenish the marbles you lost the night before? A shuttle back to your car?
The Divine Ball had all of these elements, but the one thing that took it truly over-the-top was how special each person felt by being there. The love that went into this party was equally dispersed back throughout the night. This event was made possible because the fans of ALO wanted to make it happen and because ALO wanted to give their most loyal fans the opportunity to celebrate in the appropriate manner.
As I read the words that I've just written, I realize that there is no way anyone could capture the magic evoked on top of that mountain. H.L. Mencken himself would be at a loss for words. As simply as I can state it, there will probably never be another party like this.
But if there is, you'd better make sure you're there.
Listen to ALO's NYE Show HERE.
TEA LEAF GREEN :: 12.31.05
THE INDEPENDENT :: SAN FRANCISCO, CA
Images by Josh Miller
Tea Leaf Green :: 12.31.05 :: San Francisco, CA |
Ben Chambers :: TLG :: 12.31.05 :: San Francisco, CA |
Scott Rager :: TLG :: 12.31.05 :: San Francisco, CA |
Trevor Garrod :: TLG :: 12.31.05 :: San Francisco, CA |
Josh Clark :: TLG :: 12.31.05 :: San Francisco, CA |
PERPETUAL GROOVE :: 12.31.05
GEORGIA THEATRE :: ATHENS, GA
Images by Adam Gulledge
Perpetual Groove :: 12.31.05 :: Athens, GA |
Perpetual Groove :: 12.31.05 :: Athens, GA |
Perpetual Groove :: 12.31.05 :: Athens, GA |
Brock Butler :: Perpetual Groove :: 12.31.05 :: Athens, GA |
Adam Perry :: PGroove :: 12.31
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Adam Perry :: PGroove :: 12.31
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Perpetual Groove :: 12.31.05 :: Athens, GA |
SHANTI GROOVE & MOONSHINE STILL :: 12.31.05
CERVANTES' MASTERPIECE :: DENVER, CO
Images by Tobin Voggesser
Shanti Groove & Moonshine Still :: 12.31.05 :: Denver, CO |
Shanti Groove & Moonshine Still :: 12.31.05 :: Denver, CO |
Shanti Groove & Moonshine Still :: 12.31.05 :: Denver, CO |
Shanti Groove :: 12.31.05 :: Denver, CO |
Shanti Groove & Moonshine Still w/ Vince Herman :: 12.31.05 :: Denver, CO |
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Shanti Groove & Moonshine Still w/ Vince Herman and his son on washboard
12.31.05 :: Denver, CO |
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Shanti Groove & Moonshine Still :: 12.31.05 :: Denver, CO |
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Moonshine Still :: 12.31.05 :: Denver, CO |
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Moonshine Still :: 12.31.05 :: Denver, CO |
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Moonshine Still :: 12.31.05 :: Denver, CO |
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Shanti Groove & Moonshine Still :: 12.31.05 :: Denver, CO |
NEW MONSOON :: 12.31.05
THE BANK :: ST. PETERSBURG, FL
Words by Randi Whitehead :: Images by George Weiss
New Monsoon 12.31.05 :: St. Petersburg, FL |
Rising jam stars, Bo, Jeff, Rajiv, Brian, Phil, Ben, and Marty of San Francisco-based New Monsoon rocked the South for two shows, New Year's Eve "Eve" and New Year's Eve at The Bank, a newly opened nightclub and concert venue in St. Petersburg, Florida, respite with vaults intact.
Fans at the pre-New Year's show were treated to an Ameridelican-style opener by Earth Bombs Mars, before the seven rockers hit the stage hard about 10:30 p.m. with the intense beginning of "Journeyman," the first song of the eight-song set arranged by fan Casey Zinser, winner of a contest created by the band. Set two traversed from "Romp" through "Blackjack" and "White Sky Rain," ending with an encore of War's "Cisco Kid."
Carper & Bernstein :: New Monsoon
12.31.05 :: St. Petersburg, FL |
Less than twenty four hours later, this seemingly ordinary venue was magically transformed (with the hard work of the Texan Tribe and other band friends) into the "Sandgri-La," complete with turquoise-lighted metallic palm trees, snowflakes, and artificial snow-covered blue flamingos flanking the stage. Fans in the know wore all white to complement the décor, which reflected most mysteriously in the black lights mounted over the dance floor in the 11,000 square feet of the club, with dancers abounding throughout.
Buffalo Strange opened the evening, and shortly before midnight, after Rising Jupiter's Ted Freed announced the line-up for Uphonia II, the musically diverse sounds of New Monsoon's cover of Clapton's "After Midnight" wafted through the party. Appearing on stage in sparkly costumes, including Rajiv's real army shirt decorated with gold embellishments by the blue-haired diva of the evening. Marty was sans shirt (after a couple of costume changes) complete with cowboy hat but leaving his large gold star in the center of his chest. Ben's sparkly feelers and Bo's pimp-daddy style rounded out the rest of the band's costumes.
New Monsoon 12.31.05 :: St. Petersburg, FL |
A few minutes before the stroke of midnight, Father Time (aka Dave Nelson from Houston) commenced the countdown as he threw the last ten seconds of the year (in placard form) into the rocking crowd. The band played a mini version of "Auld Lang Syne" while kissing couples framed the backdrop and band members jumped off stage to hug fans and friends while stars and confetti rained down on the dance floor.
Minutes later, the dancing grew intense during the cover of the Allman Brothers' "Jessica," the band's first break-out of the evening. "Jessica" included additional percussion members from Buffalo Strange, along with a belly dancer on stage while Brendan, the caped marionette man, twirled with Quasimoto and Cornelius.
"Waterview" and "Calypso" then led into a gyratious cover of Little Feat's "Spanish Moon" before the second surprise break-out of the night, Santana's instrumental "Toussaint L'Overture," reminiscent of his own version from Lotus. The New Year's show ended too soon with "Daddy Long Legs" but with no time for encores.
While jamband fans in other parts of the country were treated to the likes of String Cheese Incident or Yonder Mountain String Band, we barely had to travel, over Tampa Bay on the Sunshine Skyway, to find an amazing evening of music and friends to usher in the new year with one of the jamband scene's continually rising stars. May our old acquaintances never be forgotten, and may we find many new friends and new music to share with the old in 2006.
DEREK TRUCKS BAND :: 12.31.05
VARIETY PLAYHOUSE :: ATLANTA, GA
Images by Josh Mintz
Derek Trucks :: 12.31.05 :: Atlanta, GA |
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Gregg Allman with Derek Trucks Band :: 12.31.05 |
Todd Smallie Derek Trucks Band :: 12.31.05 |
Derek Trucks :: 12.31.05
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Susan Tedeschi :: 12.31.05 |
ROBERT RANDOLPH & THE FAMILY BAND :: 12.31.05
9:30 CLUB :: WASHINGTON, DC
Images by Adam McCullough
Robert Randolph :: 12.31.05 :: Washington, DC |
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Danyel Morgan :: Family Band :: 12.31.05 :: Washington, DC |
Marcus Randolph :: Family Band :: 12.31.05 :: Washington, DC |
Robert Randolph :: 12.31.05 :: Washington, DC |
Robert Randolph :: 12.31.05 :: Washington, DC |
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The Family Band :: 12.31.05 :: Washington, DC |
Robert Randolph :: 12.31.05 :: Washington, DC |
Robert Randolph :: 12.31.05 :: Washington, DC |
JUPITER COYOTE & THE BLUE DOGS :: 12.31.05
THE WINDJAMMER :: ISLE OF PALMS, SC
Words & Images by Jenn Mahoney
Jupiter Coyote & The Blue Dogs
12.31.05 :: Isle of Palms, SC |
The Windjammer's NYE featured Jupiter Coyote and The Blue Dogs. They played individual sets and then combined to form The Canine Conspiracy, where both bands simultaneously played the final set and encore.
Jupiter Coyote featured Matt Mayes (guitars, guijo, banjo, vocals), John Felty (guitars, vocals), Steve Trismen (fiddle, vocals), Sanders Brightwell (electric bass), and Noel Felty (drums, vocals). Never disappointing, they captured everyone's attention from the first note. The set included tracks off Waxing Moon, Wade, and Here Be Dragons, and they were joined by some of The Blue Dogs and special guest Beth Wood of Arlington, TX. Noel sang lead vocals and drummed to his composition "A Little Like Me."
Jupiter Coyote & The Blue Dogs
12.31.05 :: Isle of Palms, SC |
The Blue Dogs featured Bobby Houck (guitar, harmonica, vocals), Hank Futch (stand-up electric bass, vocals), Jason Hawthorn (guitars, vocals), and Greg Walker (drums, percussion). This high-energy set included cuts from their latest release Halos and Good Buys, and JC members joined in for tunes from Soul Dog Food, Blue Dogs, and Letters from Round 0. They rocked out to the Grateful Dead's "Brown Eyed Women," (Greg and Jason, who filled in for regular guitarist David Stewart, once performed in the Dead cover band The Other People). Bobby led the countdown, and everyone rang in 2006 with a nostalgic "Auld Lang Syne."
The Canine Conspiracy ruled the stage thereafter, featuring original tunes by both bands and great covers, like Willie Nelson's "Whiskey River" and Pink Floyd's "Wish You Were Here." This set launched into the stratosphere with JC's "The Ballad of Lucy Edenfield" and "Real Thing." Beth joined in while Sanders ripped some serious bass lines on JC's "Rose Hill," which segued into the Dead's "Not Fade Away" and back into "Rose Hill." Hank led a rousing rendition of "Marie Laveau" from BD's Music for Dog People. Bobby played drums, Greg played riffs on Hank's beautiful Maplewood Alembic Classica bass, and Hank and Greg linked arms and jigged center stage. Bobby kicked off the encore with a drivin' version of the Allman Brothers' "South Bound." Then, they fully re-banded for JC's "Crazy Women" from Cemeteries and Junkyards.
Jupiter Coyote & The Blue Dogs
12.31.05 :: Isle of Palms, SC |
Chosen family: Hank and Bobby were cub scouts together. John and Matt knew each other in their formative years. Bobby and Matt attended boarding school in Virginia, where they naturally befriended and taught each other songs. Today, they still play the acoustic Takamine guitars they bought together years ago. John and David were fraternity brothers in college, and Noel is John's nephew.
They pursued different musical directions and endeavors after school, but they'd continually reconnect, always supporting rather than competing with each other musically. Their interest in music of all genres is evident; each brings a wealth of creativity to the woodshed. The resulting compositions are different and fresh. It's come full circle, and the wheels still turn, continually generating complementary tunes with room for everyone's contributions. They've maintained their bonds throughout the years, tours, midnight madness, roadside diners, and hazy highways. Musical synergy abounds.
OLD UNION :: 12.31.05
BELCOURT THEATRE :: NASHVILLE, TN
Words & Images by Brad Hodge
Old Union :: 12.31.05 :: Nashville, TN |
The full flavor of Nashville's homegrown music scene was served up at Hillsboro Village's historic Belcourt Theatre. Last year, the tradition of the Midnight Special began with Old Union and The Foggy Bottom Band. This year, Old Union teamed up with up-and-comers Corleone and Mile 8 for their year-ending celebration.
Corleone's opening set seemed heavily inspired by the rich texture and groove of STS9. Guitarist John Peters and bassist James Fox seemed to command their set and to lock in the groove-oriented vibe they were looking to achieve.
Old Union :: 12.31.05 :: Nashville, TN |
Mile 8 and Old Union have shared similar paths throughout 2005, from both playing at Bonnaroo to sharing a West Coast tour from Nashville to the High Sierra Music Festival and back home. They teamed up at Halloween and created a seamless night of alternating sets and monstrous jams, and on this night, Mile 8 would set the stage for their brothers in fine fashion. Their set was very inspired and really began to spark up the evening. Chris West (horns in Guy Smiley, Bump City, Ballhog!) was in the house to play with the Union and his Junkyard Horns, so he lent some fine sax work alongside Adam Livingston.
For most, the night was about Old Union and how they would bring it for the New Year. There had been some speculation throughout the tight Nashville scene as to what the band, accompanied by the Junkyard Horns, would come with. There set opened with a combination of Mile 8 and the Union on a huge cover of the Average White Band's "Pick up the Pieces," and just like that, the place was grooving.
Old Union & Guests Celebrate the New Year
Nashville, TN |
Old Union's vast arsenal of material was perfectly complemented by a great selection of covers, like the Ides of March "Vehicle." Chuck Foster's "Thousand New Ways to Fly" is really budding into a phenomenal song and led off a nasty string of original material. The band ran through a hot streak of "Drifters Prayer," "Ragged Blue," and "Where Angels Cry" with the Junkyard Horns really letting their presence be felt. Chris West is truly an amazing musician and a blessing to have as a part of the local landscape. The horns contributed such a live and energetic vibe to the already soulful vintage rock and roll of Old Union.
What came next had been on the minds of many Old Union fans for quite some time. The seemingly shelved "Guardshack" > "Message to the Maker" combo reappeared with a vengeance. This combination has the ability to tumble tall buildings, and this resurgence came with devastating force. Then another stupendous cover, "Bitch" from the Rolling Stones' songbook, turned the historic venue on its side. "Motels and Highways" and "Travelin Show" brought the set to an end in what seemed like way too short of an evening. Isn't that the way all the good ones feel?
Even though it passed too quickly, the night wasn't finished. The Union guys were joined by a large cast to end the evening: Johnny Few (JoJo's Mojo Mardi Gras Band / Johnny Few and the Holy Smoke Band), Randy Russell (Ballhog!), some if not all of Mile 8, and guitarist Steve Swertfeger's brother Mark joined in on another Rolling Stones cover, "Sympathy for the Devil." This monumental evening of music may very well mark the beginning of a wonderful year for the Union.
EKOOSTIK HOOKAH :: 12.31.05
PROMOWEST PAVILION :: COLUMBUS, OH
Words by Samantha Hanford :: Images by Scott Preston
Ed McGee :: ekoostik hookah
12.31.05 :: Columbus, OH |
Setlist predictions for ekoostik hookah's NYE show started particularly early this year, due to the unexpected events of 2005. In August, the band announced that it would be taking a break after their annual New Year's Eve gig, a devastating blow to those who have incorporated hookah's music and community into their lives for more than 14 years. Shortly thereafter, percussionist Johnny Polansky left the band, and speculation as to the future of ekoostik hookah ran rampant. And as if that weren't enough, in October guitarist and vocalist Ed McGee announced that NYE would be his last show with ekoostik hookah. New Year's Eve was suddenly going to mean more than the close of another year, but instead the end of an era. Talk about a momentous occasion.
ekoostik hookah
12.31.05 :: Columbus, OH |
Billed as three sets, the possibility of an opener was abandoned early, which is exactly what the true fans wanted - as much hookah as they could get in one night. Emotional from the start, an introduction to the evening was appropriately delivered by longtime fan, former employee, and devoted archivist Greg Frahn, aka "Dubba," who gave thanks to the band for their many years of hard work and entertainment.
The night was full of surprises, with a few old favorites to round it out. Drummer Eric Lanese broke out a guitar to showcase a new song, and typically silent guitarist Steve Sweney gave the crowd a thrill by belting out his sultry "Blues Forgotten" once more before the band's break. Bassist Cliff Starbuck snuck a few must-have covers into the evening with raging versions of Van Morrison's "Caravan" and Stevie Ray Vaughn's "Couldn't Stand the Weather," while a good number of McGee's songs like "Lady Vanilla," "Spiders," and "Sundial" saw the last light of day with ekoostik hookah.
ekoostik hookah :: 12.31.05 :: Columbus, OH |
During the first set, it was announced that in order to play longer, the band would instead play two long sets, taking the stage for set two just before the stroke of midnight. As the clock struck, a giant float with a larger-than-life Father Time and a huge glowing dragonfly crossed the stage, complete with dancing bead-throwers and a crazy mix of 'midnight' tunes featuring pieces of The Grateful Dead's "Midnight Hour," "Midnight Rider" by the Allmans, Jerry Garcia Band's "Midnight Town," and "Burning the Midnight Lamp" by Jimi Hendrix (to name a few). All of the midnight shenanigans were courtesy of well-known member of the scene "Tapecat."
ekoostik hookah
12.31.05 :: Columbus, OH |
Certain songs were a given for the last hookah show before a break, and particularly for the last show with Ed. The night wouldn't have been the same without "Dragonfly," a quick-paced and crowd-pleasing favorite played at nearly every Hookahville (all but one!) since the song's inception in 2001. Similarly, the inclusion of "Keepin' Time" was fitting as it represents the early days of ekoostik hookah and yet still gets the same warm reception every time it's played.
But what would Ed's last song be? And would that song end the show before the long break until Spring? That's what the fans wanted to know. The encore choices were fitting on all accounts: Ed led the guys in a mind-blowing rendition of "Through Hiker," a song about leaving to follow his dreams, perfectly appropriate as he prepared to pack up to devote more time to his up-and-coming new band, One Under. And to close this chapter of ekoostik hookah, the remaining members of the band reminded the crowd that they would be back by doing one last uplifting version of "Somewhere Down the Line." Rather than tears and sadness, it was a celebratory end to an emotional evening. Dave Katz made sure to leave the night on a high note by singing "You always know there'll be another show."
SETLIST
Set I:
Dan & Dubba Intro, Utopia, Lax, In the Clouds > Two Sometimes, Caravan, Thumper, Another You, Waterbear, Dragonfly, New Untitled Eric song > Keepin' Time, Anthony's Song, Lady Vanilla, Spiders
Set II:
Tapecat Father Time float > Auld Lang Syne > Slipjig Through the Poppy Fields, Fantastic,
Another Good Man Gone, Sundial, Couldn't Stand the Weather, Loner, Ohio Grown, Surround, Blues Forgotten
E: Through Hiker, Somewhere Down the Line
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