Bloc Party played the first of three sold-out shows at NYC’s Terminal 5 last night. It has been 3 years since the band has played New York, and they came back with a vengeance. Opening with “3×3″, a new track from their upcoming album titled Four, the band settled in rather quickly for what was to be a 90-minute set full of new songs and old hits. After plowing through “Hunting for Witches”, frontman Kele Okereke said to the crowd, “New York City, I can tell it’s going to be a party tonight, because all I can smell is reefer”, which drew a round of applause, and also drew out some security guards and their flashlights. Upon playing “Song for Clay (Disappear Here)”, with a smooth segue into “Banquet”, the crowd erupted and the party was in full force; hands were in the air, feet were off the ground, and Okereke was smiling from ear to ear.Highlights of the show were “Banquet”, “One More Chance”, “So Here We Are”, “Flux”, “Helicopter”, and “This Modern Love”. The light show was pretty impressive, with newly employed lasers that added to the atmosphere ten-fold. Overall, it was a good start to what is sure to be a memorable 3-night NYC run for Bloc Party. The Drums and Them Jeans opened the night.For those unable to get tickets for the shows, The Bowery Live will be streaming the show tonight from Terminal 5. Bloc Party goes on around 9pm.Live Stream Tonight’s Show Here:Setlist:3×3, Trojan Horse, Hunting for Witches, Positive Tension, Real Talk, Song for Clay (Disappear Here), Banquet, Blue Light, One More Chance, So Here We Are, The Prayer1st Encore:Day Four, Octopus, Flux, Helicopter2nd Encore:Ares, This Modern Love
[All photographs by Twitch] Origins of the term “cloak and dagger” can be traced back to the 19th century, when individuals wielding both items were suggestive of ‘melodramatic intrigue and/or action usually involving secret agents and espionage’. It seemed appropriate then, that the inaugural Cloak & Dagger Music Festival, held last weekend in downtown Denver, piqued the curiosity of discerning dance and deep house fans unsure of what to expect.The festival boasted a small but impressive lineup, with Norwegian producer Cashmere Cat and Dirtybird Records royalty Justin Martin headlining the one-day event. Funky disco beat maker Moon Boots, French producer Pomo and Michigan native Sango were all at the top of my must-see list, as each has a unique musical aesthetic that differentiates themselves from a — if we’re going to be honest — heavily saturated market of dance/electronic DJs.Similarly, trendy Tropical house producer Thomas Jack was slated to play Cloak & Dagger; many attendees even purchased the festival ticket just for his performance, but unfortunately his much anticipated set was unexpectedly canceled. Techno/garage/house duo Golf Clap (clad in golf gear, naturally) filled in with a two-hour B2B set, which felt longer than it needed to be, but fun nonetheless. Fans of Ta-ku, Kaytranada or hip hop and R&B-infused dance tunes would appreciate Sango’s laid-back vibe and song selection, which included original tracks as well as memorable remixes of Tinashe, The Weeknd and Aaliyah.The primary festival venue, City Hall, has a distinctively “warehouse” feel. Two sizeable, industrial rooms side-by-side make up two larger stages. Despite two entirely different shows being separated only by a huge cement wall, sound was never an issue. Festival goers could seamlessly walk from one show to the other, and because it was the first year of the event it wasn’t overcrowded.Showcasing Colorado musical talent, the “locals-only” stage on the third floor included Marcelo Moxy, Samples and Ill-esha, to name a few. Denver-based hat and apparel company Grassroots California, dance music culture brand Fluo Apparel and medicinal marijuana beverage brand Keef Cola set up shop on the third floor, which allowed for a casual break from the hype down below.Although I’d heard tickets at the door were upwards of $70, the price leading up to hours before the event were $35-$40 — a more than fair price for to see a roster of up-and-coming producers play in such an intimate setting. Such an opportunity rarely exists except at festivals like SXSW in Austin (during which nearly every bar and club in downtown becomes a live music venue), and there definitely won’t be any Keef Cola.Located a few blocks from the main venue was the secondary Club Vinyl, known around town for its top notch house and techno acts, LED production and crystal clear Funktion One sound system, housed the remaining acts, including the closing set from Justin Martin. Holy Ghost! held down City Hall until the end of the night with a groovy, nu-disco dance set, but most attendees were packed in like sardines at Vinyl, and they didn’t seem to mind. Justin Martin knows how to keep the party going, and he did so pretty much until the venue closed, leaving a motley crew of sweaty club kids to find somewhere else to go.Of course the festival had a few hiccups, like most first-time (and recurring) shows do. The music was a highlight, demonstrating the potential of Cloak & Dagger Music Festival in future years, as well as the power of what can be accomplished with a cooperative effort among the music community. Here’s to hoping the next one is bigger and better. Until next year!
After much anticipation, David Gilmour and Nick Mason of Pink Floyd have finally released their swan song album, The Endless River. Taken from instrumental session work that was recorded for The Division Bell in 1994, the album is predominantly ambient instrumental tracks, and features keyboard from the late Richard Wright. The only song with vocals is the final song, “Louder Than Words.”The album is streaming in full via Spotify, listen below:What do you think of the new album?The Endless River Tracklist1. Things Left Unsaid 2. It’s What We Do 3. Ebb And Flow 4. Sum 5. Skins 6. Unsung 7. Anisina 8. The Lost Art of Conversation 9. On Noodle Street 10. Night Light 11. Allons-y (1) 12. Autumn’68 13. Allons-y (2) 14. Talkin’ Hawkin’ 15. Calling 16. Eyes To Pearls 17. Surfacing 18. Louder Than Words 19. TBS9 20. TBS14r21. Nervana
Arizona Superintendent of Public Education John Huppenthal has sent out a notice of “non-compliance” to the Tucson High School district, highlighting two musical violations: using Rage Against the Machine’s “Take The Power Back” in a Mexican-American history class, and a history of hip-hop introduction by KRS-One in an English class.According to Huppenthal, who issued these non-compliance notices on his last day on the job, these teachings violated a piece of legislature by attempting to “promote the overthrow of the United States government,” “promote resentment toward a race or class of people” and “advocate ethnic solidarity instead of the treatment of pupils as individuals.” According to The Arizona Republic, the school’s funding may be cut by 10% if they do not comply by March 4th.Meanwhile, RawStory is reporting that a lawsuit hoping to overturn the controversial laws will be heard by the 9th U.S. Circuit Court of Appeals later this month. The teacher of the ethnic studies class, Corey Jones, felt “embarassed” to live in a state with this type of politics, and defended his use of the Rage lyrics from a social justice perspective.In Rolling Stone, Jones said, “When you’re banning and censoring material, for a state that proclaims local control, for a state that proclaims so much freedom – and yet in Phoenix you’re having one of the highest elected officials of the state comb through my curriculum and say, ‘This is illegal, you can’t teach that’ – the contradictions are glaring.”Even Rage guitarist Tom Morello commented about the situation on Twitter, saying “It’s only dangerous if u teach it right.” The statement from Huppenthal reads: “I am deeply concerned by the fact that the noncompliance appears to extend beyond classes taught from the Mexican-American perspective and now also includes classes taught from the African-American perspective…” Huppenthal continues, saying he wants “students, regardless of their race or ethnic background, [to] have access to a high quality education…. In issuing this finding before classes resume, I am hopeful that the district will take immediate action to comply with the law.”Meanwhile, AndrewWalanski, the African-American studies teacher, said that he “thought the selection that was cherry-picked as being illegal because they think it ‘promotes ethnic solidarity’ was a little absurd.”Walanski explains that he feels contemporary African American literature has been marginalized, and wants his students to “engage with it.” In the end,Walanski was urged by the local school district to keep on teaching his class as usual. “I’m just going to focus on my kids and the classroom and continue to teach.”Diane Douglas, who will be replacing Huppenthal, will review the situation at length before releasing a press statement about the issue at hand. Honestly, this is the type of situation that inspires one to listen to Rage Against the Machine in the first place.
With Apple gearing up for the launch of their Beats Music streaming service, Taylor Swift made headlines by pulling her music, including the popular 1989 album, from the service’s catalog. With her motives questioned, the pop singer wrote an open letter to Apple detailing her concerns with the new service.To sum the note in two sentences, Swift concludes her note with a telling analogy. “We don’t ask you for free iPhones. Please don’t ask us to provide you with our music for no compensation.”T-Swift is referring to Apple’s plan to provide a three month free trial service of Beats Music, all the while not compensating artists for those three months of music. She admits that the three months won’t actually affect her, but that it will affect the music community as a whole.“This is not about me. Thankfully I am on my fifth album and can support myself, my band, crew, and entire management team by playing live shows. This is about the new artist or band that has just released their first single and will not be paid for its success. This is about the young songwriter who just got his or her first cut and thought that the royalties from that would get them out of debt. This is about the producer who works tirelessly to innovate and create, just like the innovators and creators at Apple are pioneering in their field…but will not get paid for a quarter of a year’s worth of plays on his or her songs.”Swift also gives Apple the benefit of the doubt, calling them a “historically progressive and generous company” and asking them to reverse “this particular call.” You can read the full letter here.
According to sources at Billboard, the five Grateful Dead “Fare Thee Well” concerts were estimated to have brought in upwards of $55 Million! While that figure doesn’t include the costs associated with the production, the figure is not particularly surprising.Not only did each concert Soldier Field set the attendance record for the venue, but the shows also broke the record for largest audience for a pay-per-view event. With over 70,000 people in Chicago, IL each night, and tens of thousands in Santa Clara, CA, the estimation certainly fits the bill.30 Photos That Perfectly Capture The Magic Of The Grateful Dead’s Final Fare Thee Well ShowsThe other main contributing factor was merchandising. Reports say that the average amount spent on merchandise was upwards of $25 per person, on opening night alone.Of course, the cost to produce such an amazing performance certainly offset some of the profits. The fireworks displays alone must have cost hundreds of thousands, not to mention the dozens of cameras and budgets for all staffed employees.The Funniest Things Overheard At The Grateful Dead’s Final Shows in Chicago (Updated)Shapiro’s comments were mostly focused on the success of the shows themselves. The promoter said, “I got multiple emails from people yesterday saying it was the best weekend of their life… The best thing when you put on a great show is, when it’s over, nothing can change it. It’s in the books, and you can’t change that book. It’s been written and printed.”They were great shows indeed, Mr. Shapiro. Thanks for everything.[Via Billboard]
In a new interview, Primus bassist Les Claypool opens up about a unique experience auditioning with Metallica in 1986, after the death of the band’s founding bassist Cliff Burton. Claypool’s first recollections was that the audition was “fucking loud,” but then he elaborates on how poorly he fit with the band’s image.“I didn’t fit the bill at all. I showed up with this bass that was a hunk of driftwood, I had two different-coloured tennis shoes on, bleach-blond mohawk, baggies, skater pants – I didn’t fit the bill, especially for Metallica back then.”The One on One With Mitch Lafon interview reveals that, although Lars Ulrich was intrigued, the remaining band members were much more skeptical. “Lars was probably the most enthused about the audition. They were all still pretty messed up about the Cliff Burton thing. But James, you could just tell, was like, ‘Who the hell is this fucking weirdo?’”He did add, “It was fun. I enjoyed playing through Cliff’s rig.”Meanwhile, Claypool founded Primus in 1984, though the band went through some lineup changes of its own before settling in with Larry LaLonde and Tim Alexander. They gained popularity in the Northern California area around 1986, allowing Claypool to have the opportunity to audition with Metallica. It seems, though, that Primus was a better fit for Claypool.“I just think of us as this little band from Northern California that caught a wave and rolled it into the beach. We’re on the same beach making the same sandcastles. We just do our thing, make some racket, throw some Oompa-Loompas on stage, try and have fun and make a living at the same time.”The Oompas-Loompas refer to the band’s recurring Primus and the Chocolate Factory shows, of which they’ve been touring on and off since they released the album of the same title back in October of 2014. While their final Chocolate Factory tour dates will be this September, the band will be playing their original tunes when they hit the Philly waterfront next Thursday, July 23rd, bringing along Dinosaur Jr. for a great night of music.You can watch the full interview below:
Needless to say, Widespread Panic’s sold-out run from the world famous Red Rocks Amphitheatre earlier this June was one for the books. The Athens, GA products offered up a fiery red-hot three-night run that featured covers of The Band, Tom Waits, Traffic, Yes as well as the Grateful Dead, fittingly enough the same weekend the Core Four members of the Dead kicked off their Fare Thee Well shows in Santa Clara, CA. Now, you can relive Panic’s take on the Dead’s “Cream Puff War” as well as their classic tune “Holden Oversoul” with some pro-shot footage from the Rocks that weekend. Take a look below. Holden Oversoul > Cream Puff War > Holden Oversoul (6/27/2015)Holden Oversoul > Cream Puff War > Holden Oversoul at Red Rocks Park and Amphitheatre, June 27, 2015.Shot & edited by Andy Tennille PhotographyMixed by Brett OrrisonPosted by Widespread Panic on Monday, August 17, 2015 Setlists: Widespread Panic at Red Rocks Amphitheatre, Morrison, CO – 6/26/2015 – 6/28/2015Friday:Set One: Pilgrims > Pigeons, Wondering > Ophelia > The Shape I’m In, Proving Ground > Chilly Water > Proving Ground, Pickin’ Up The Pieces > NorthSet Two: Makes Sense To Me, Dyin’ Man, Conrad, Shut Up And Drive, Blight > Life During Wartime, It Ain’t No Use* > Drums > Jam* > Ribs And Whiskey*, Walk On, Ain’t Life GrandEncore: Cease Fire, Jamais Vu > Goin’ Out WestEntire show with Duane Trucks on drums* with CR Gruver on keyboardsSaturday:Set One: Surprise Valley > Junior > Old Neighborhood > Bust It Big > Cotton Was King, Walkin’ (For Your Love), Steven’s Cat, Honky Red > Surprise Valley > Love TractorSet Two: Let’s Get Down To Business, Little Kin, Barstools and Dreamers, Saint Ex, Airplane > Rebirtha > Jam > Drums > Diner, Blue Indian, Holden Oversoul > Cream Puff War > Holden OversoulEncore: Low Spark Of High Heeled Boys* > Tie Your Shoes > Low Spark Of High Heeled BoysEntire show with Duane Trucks on drums* with Bill Bass on percussionSunday:Set One: The Take Out > Porch Song, Street Dogs For Breakfast, Sleeping Man, Can’t Get High > Who Do You Belong To?, All Time Low > Rock, B of D > One Arm Steve > Jam > Use MeSet Two: Let’s Get The Show On The Road > Up All Night, Sell Sell, Chainsaw City, Degenerate > Jam > Driving Song > I’m Not Alone > Driving Song > Breathing Slow > Drums > Jack > Impossible > Imitation Leather ShoesEncore: Lean On Me > Vacation, Stop Breakin’ Down BluesEntire show with Duane Trucks on drums[‘The Fish’ jam after ‘Drums’][‘James Bond Theme’ tease during ‘Diner’]
After some significant weather patterns forced Lockn’ Festival to close their campgrounds and cancel the first day of festival performances, the organizers have been working tirelessly to ensure that the show will go on! As such, they’ve released a three-day schedule that has enabled some of the Thursday night performers to play throughout the remainder of the weekend. The festival has also announced that the campgrounds will officially open at 6 AM tomorrow morning.Check out the revised schedule below:Among the notable reschedules are Mickey Hart & EOTO and the Doobie Incident (a crossover between Doobie Brothers and String Cheese Incident), both of whom were scheduled to play on Thursday night. Billy & The Kids were scheduled for Thursday night, but they were also scheduled to perform on Saturday, and have announced a make-up show for tonight at a nearby venue. Make-up shows were also scheduled for Moogatu and The Southern Belles, and a separate free show for Strangefolk as well.Unfortunately, it seems fans eager to see Soulive, Little Feat, Deer Tick and Galactic are out of luck. Most importantly, however, we’re particularly grateful that no one was severely injured by the inclement weather.
Colorado Phish fans rejoice! The Clinic Marijuana Center in Denver, CO has just announced a new strain, called YEMOG, described as a potent indica. The dispensary has released the following video, describing YEMOG in depth:Considering the strain is descended from GhostOG and Phishhead Kush, it seems that a Phish fan must have been the grower! Well done.