Lettuce kicked off their first annual Fool’s Paradise event last night, hosting artists like Goldfish, Marvel Years, and GRiZ at the St. Augustine Amphitheatre in St. Augustine, FL. Not only did Lettuce perform a full set of raging tunes, but the band performed their first-ever collaboration with GRiZ. Dubbed “Lettuce-GRiZ,” the beloved saxophonist/producer unplugged and jammed hard with Lettuce for what was a major highlight of the first day at Fool’s.Among the songs performed was GRiZ’s funky tune, “Stop Trippin’.” Thanks to joshua lapoint, we have some fan-shot video from the performance:Keep it tuned to Live for Live Music for more Fool’s Paradise content! Today’s event will feature performances from Lettuce, Brasstracks, The Nth Power, Vulfpeck, and Chris Robinson’s Soul Revue (ft. Neal Casal, Ivan Neville, George Porter Jr., and more). More information for the festival can be found here.[Photo by Jeremy Scott]
Perhaps one of the most well-known moments of crossover between Phish and Grateful Dead worlds came in April of 1999, when bassist Phil Lesh hosted a Phish-y “Friends” performance at The Warfield Theatre in San Francisco, CA. The run took place between April 15-17, featuring Trey Anastasio and Page McConnell from Phish alongside Steve Kimock and John Molo.Though these legendary shows have certainly held a noteworthy spot in the jam history books, few have gotten to watch the pure chemistry between the five band members. Fortunately, a new video has emerged onto YouTube, capturing the first night of the stand in its entirety.Thanks to a number of people, including taper Art Granoff and uploader Kevin Tobin, we can sit back and watch the magic that was Phil Lesh & Phriends. Enjoy…Setlist: Phil Lesh & Friends at the Warfield Theatre, San Francisco, CA – 4/15/99I: Viola Lee Blues, Big Railroad Blues, Jack-a-Roe, Cosmic Charlie, Wolfman’s Brother -> Uncle John’s BandII: Alabama Getaway, Sugaree, Like a Rolling Stone > I Know You Rider, Row Jimmy, Shakedown Street -> The Wheel > Not Fade AwayE: Mr Tambourine Man
Turkuaz is a complete force to be reckoned with. While the funk powerhouse stands strong on their own, they of course get stronger with numbers. Percussionist Nate Werth of Snarky Puppy will be joining the 9-piece “Powerfunk” outfit from now until December 4th. Currently on tour with The New Mastersounds, the nation sweeping tour will make stops at The Fillmore in San Francisco, Park West in Chicago, the 9:30 Club in Washington DC, Terminal 5 in New York City, and beyond.It’s safe to assume these shows will sell out quickly, so we recommend you get your tickets on the fly!
Tool fans have been waiting patiently as their favorite band works on the highly-anticipated follow up album to 10,000 Days (2006). Tool has toured very infrequently over the last few years, though they did play a handful of performance in 2016. It seems that they’ll continue that trend with more scattered performances in 2017, according to a report from the reputable source, Consequence of Sound.CoS is reporting that Tool will be among the headliners for this year’s Governors Ball Music Festival, which is set to take place in New York, NY from June 2nd through the 4th. This would be Tool’s first New York performance in 11 years! Consequence of Sound also has a great track record for reporting information before it is released, as they correctly predicted LCD Soundsystem’s reunion and many major festival headliners over the last few years.Despite all of that, Governors Ball is keeping their lips sealed on the subject. Their only response to these reports: “The full Governors Ball lineup will be announced early next year, at which point tickets will also go on sale.”If Tool does headline at Governors Ball, this of course raises questions about the band’s future plans. Will they be releasing the new album next year? Will there be more tour dates? While this remains to be seen, we’re very optimistic about this exciting news!
In 1996, People Magazine ran a story about then-14-year-old Ivanka Trump, who at that time gaining exposure from some modeling gigs–as well as the fact that she was the daughter of well-known businessman Donald Trump. While most people only know the Ivanka they saw on the campaign trail with her father last year, the ’96 interview gives us some amusing glimpses into who she was as a child.According to the article, written by Michelle Green, “When she isn’t modeling, Ivanka spends time as her schoolmates do—waking up at ‘a horrible hour, 7 o’clock,’ she says, jumping into her uniform (pleated skirt, white shirt) and cabbing to Chapin. Back at 5, she does homework in her bedroom (with its canopied bed adorned with a pillow that says, “When a Woman Is Tired of the Plaza, She Is Tired of Life”), phones friends and watches Beverly Hills, 90210. She snaps up CDs by Phish and pigs out with pals at McDonald’s. “I’m a big eater,” she says. “After all, I am 14.”Yep, you read that right. Among the details one might expect to hear about a young heiress, we find out that young Ivanka was a Phish fan. Or, at least, she was enough of a fan to mention it to People.Whether or not Ivanka is still into the band is unknown, but now that we’re aware of her early fandom, we’ll be keeping an eye out for her at the Phish’s Baker’s Dozen run at Madison Square Garden this summer.[via People, 1996]
Today, decorated British singer/songwriter/multi-instrumentalist Jeff Lynne announced that he will be bringing his Electric Light Orchestra stateside next summer for his first North American tour since 1981, the better part of four decades ago. The announcement comes on the heels of a their memorable return to London’s Wembley Stadium in June, which was immortalized via their upcoming live album/concert film Wembley or Bust, due out this Friday, November 17th. It also follows the recent death of Lynne’s former Traveling Wilburys bandmate Tom Petty.Jeff Lynne’s ELO Performs In The US For The First Time In 30 Years [Video]Known as one of the most iconic forces in music history, Jeff Lynne’s ELO has spent the last two years with a critically acclaimed and chart-topping album, a sold out run of UK and European shows, as well as a 2017 induction into the Rock and Roll Hall of Fame. In a statement, Lynne commented on the long-awaited North American ELO tour: “Our audiences are amazing. It’s like they’re in the group. We can’t wait to play for them again.” The tour will hit 10 cities, starting in Oakland, CA at Oracle Arena and wrapping up in Philadelphia, PA at Wells Fargo Center. (See below for a full list of dates).American Express Card Members can purchase tickets before the general public beginning Wednesday, November 15th at 10am local time through Thursday, November 16th at 10pm local time. The Live Nation pre-sale begins Thursday, November 16th and public on-sale begins Friday, November 17th starting at 10am local time with tickets available on Ticketmaster.All pre-orders of Wembley Or Bust made at Jeff Lynne’s Electric Light Orchestra Official US Store prior to 4:00pm EST on November 14, 2017 are eligible to receive a ticket pre-sale code for 2018 U.S. tour dates. Codes can be used during the pre-sale window for access to tickets before the general public on-sale. One (1) code is granted per customer and allows access to purchase up to four (4) tickets. Tickets will be available while supplies last and pre-sale codes do not guarantee inventory.Watch the official preview for Wembley or Bust below via ELOVEVO:For information on ticket on-sale information, pre-orders, and more, head to the ELO website.2018 Electric Light Orchestra U.S. Tour DatesThu Aug 2 Oakland, CA – Oracle ArenaSat Aug 4 Los Angeles, CA – The ForumWed Aug 8 Denver, CO – Pepsi CenterFri Aug 10 Houston, TX – Toyota CenterMon Aug 13 Dallas, TX – American Airlines CenterWed Aug 15 Rosemont, IL – Allstate ArenaThu Aug 16 Detroit, MI – Little Caesars ArenaSat August 18 Toronto, ON – Air Canada CentreTue Aug 21 New York, NY – Madison Square Garden, *NY on sale Saturday at 10:00amFri Aug 24 Philadelphia, PA – Wells Fargo Center[Cover photos via Wembley or Bust]
Live For Live Music: With so many songwriters in Fruition, I always wonder how much of a scrum the sessions are. How many songs did you have to choose from for the new album?Jay Cobb Anderson: It was difficult. There were a lot of songs on the table. In the past, we’ve tried to split it up more equally so you heard from each songwriter. For this album we wanted to pick all of the songs we felt the strongest about. I ended up having more songs on this record than the others, but we think these songs fit together the best and were the strongest. This was an especially difficult one though.L4LM: Have you guys considered a double or even a triple album?JCA: Absolutely. Seeing how this one goes…that may end up happening for the next record. We have so much material. That said, another thing we want to do is get a live record out there too. We might end up putting two things out, a live record and an LP. We’ll see.L4LM: I feel like you have a rabid-enough fan base that you could put out two records a year, easily.JCA: I totally agree with you. That’s the thing with being self-promoted. Our whole goal as a band has been to build a strong enough team, including funding, to be able to put out records as much as we would like. That’s been difficult. But we did just sign on with LoHi Records, and this whole experience working with them has been great. We loved working with them. They love us. Watching It All Fall Apart, the new record, it’s a product of that love.With that love in mind, we are already starting to think of stuff for a new album, like I said. We hope this is the start of a long and successful friendship. We’re really excited about that. The way the music industry works now, everything is on you. We want to make more music, but when it’s all on you it’s a lot more difficult.L4LM: Tim Carbone (Railroad Earth) and his partners really seem to have put something wonderful together with LoHi Records. Did you get to work with Tim on Watching It All Fall Apart?JCA: He didn’t work on the record itself, but he was the catalyst for us joining on LoHi. He sat in with us at the Hillberry Music Festival, and when we got done with our set he asked us what we planned on doing with our new material. That was about the same time when we were considering what to do ourselves. He listened to what we had and said he loved it and invited us to work with LoHi.It was perfect timing. We had been shopping around for a home for the music and hadn’t found any offers we liked. Then we chatted with the crew at LoHi and it evolved into what it is now. And we’re really stoked.Fruition – “Labor Of Love” – Northwest String Summit – 7/12/17[Video: Live For Live Music]L4LM: When writing songs do you ever have moments where you think…”This is it, this is one of the good ones,” or even the opposite like, say, “This blows. No one is gonna dig this at all.” If so, how often are you right?JCA: Absolutely! It’s funny. A lot of the time I get it wrong. Our first single, “I’ll Never Sing Your Name”, wasn’t even on the table for the new record. I thought it was just this little crappy song that I wrote and it ended up being the first single.That happened in the past too…on our album Just One Of Them Nights, I thought the title track was no good at all. Then I played a solo show with my buddy Brad Parsons and he was like “Where did that song come from?” I said something dismissive and he was like, “No man, you need to play that. You need to play that for your band!” And then it became the title track of that album. So I guess I’m not that good at predicting…L4LM: How many shows did Fruition play last year?JCA: Oh god, I have no idea. At least 150. Probably closer to 200.L4LM: Are you folks looking to match the same pace this year?JCA: Oh yeah. We’re on the first leg of a two-and-a-half month tour. I think we’re doing five weeks, taking ten days off, then another five. Then, for spring into the summer we start doing all the one-offs, week-long runs and, of course, the festivals!L4LM: The glorious festivals!JCA: YES!L4LM: When Fruition gets going, you front-line folks have been known to slam around the stage in an almost basketball team-style weave. Ever slip up and slam into each other when you get all caught up in the music?JCA: Oh yeah. A lot of that energy you see, at least like what you are describing, started out in our origins as a busking band. When you’re out on the street playing for cash and trying to get attention, you tend to move around a lot. So much of that stuff, like our movement, comes from that era. Most of the worst instances of banging into each other happened back then…Once we started playing on stages, we got to the point where we had a lot more room. Luckily most of the stages these days give us enough room.L4LM: You gotta watch out for Mimi…she looks like she could take you out with those elbows.JCA: I worry mostly about me and my lanky self.Fruition – “Hey Hey What Can I Do” (Led Zeppelin cover) – Hoxeyville Music Festival – 8/19/17:[Video: Live For Live Music]L4LM: Your live performances are exhausting to watch, but damn exciting too. Do you feel like the new record captures that live Fruition vibe?JCA: Most of the songs that we recorded for this disc are ones we hadn’t played live. It was fun to try and translate that energy into them. I do think this one captures the energy better. The song “I’ll Never Sing Your Name” [on the album] was recorded totally live. There are a couple of tunes on this record that were recorded almost completely in-the-moment.L4LM: Do you feel like the zeitgeist influences your songwriting? The world is getting kinda weird and harsh lately…JCA: I think with this album it definitely did. Like you said…it’s a strange world out there. There’s no big social commentary on this album, but I think Watching It All Fall Apart kinda works for a title and a description of the way the world seems sometimes.We want to make more of a political statement, but you have to be careful. It seems one of the big problems is the splitting along lines and the dividing that is happening among people being so hard on one side or the other. We don’t want to make that gap bigger…we want to bring people together.For a full list of upcoming Fruition tour dates, head to the band’s website. You can listen to their new album, Watching It All Fall Apart, below via Spotify:Fruition – Watching It All Fall Apart[Cover photo via Sam Shinault] Over the past year, Fruition has seen their stardom rise on a national scale, slowly but steadily climbing up the bills of renowned music festivals and performing at iconic venues like Colorado’s Red Rocks Amphitheatre. We caught up with Fruition lead guitarist Jay Cobb Anderson as he prepared to load in for a gig in Kansas the same week the band’s released their newest disc, Watching It All Fall Apart. The life of a touring musician may be a dream come true, but no one ever claimed it was easy. Even with all that going on, Jay was more than happy to talk about the stellar selection of new tunes on Fruition’s new album and the process the band went through to composing and selecting the tracks.
The String Cheese Incident has added a new Colorado run to their schedule, rounding out a 7-show stint in their home state set to take place this July. The band will now hit the newly re-done Dillon Amphitheater on the shores of Lake Dillon on Tuesday, July 17th and Wednesday, July 18th. This new run fits snugly in between the band’s two-night stint at the RIDE Festival in Telluride on Saturday, July 14th and Sunday, July 15th and their three-night return to Red Rocks Amphitheatre the following weekend, from July 20th – July 22nd.As the band says in their announcement post:Summer in Colorado just got a whole lot sweeter! We are pleased to announce two Incidents at the newly renovated Dillon Amphitheater this July! This completes a can’t-miss week of shows in SCI’s home state, starting at The RIDE Festival in Telluride on July 14+15, followed by a stop at Lake Dillon on July 17+18, and ending over July 20-22 with three nights at Red Rocks!Aside from The String Cheese Incident’s 7 nights in Colorado over the course of a week and change, the only summer engagements on the band’s calendar are the two weekends of their Electric Forest Festival in late June and early July, a two-night stint at High Sierra Music Festival on July 5th and 6th, and a pair of shows in Eugene, OR on July 7th and 8th.A limited amount of SCI pre-sale tickets for the Dillon, CO run will go on sale through website the String Cheese Incident’s website this Friday, March 9 at 11 a.m. MT. After the SCI pre-sale, a public on-sale will take place on Friday, March 16 at 11 a.m. MT.For more information about all of The String Cheese Incident’s summer tour dates, or to purchase your tickets to any of the other upcoming shows, head to the band’s website.
Funk favorites Lettuce have announced some big summer performance plans set to take place in a small room: New York City’s Blue Note Jazz Club, the West Village room where countless legendary musicians have taken the stage since its opening in 1981. Lettuce will play 12 sets over the course of five nights at the Blue Note this summer, from Wednesday, June 27th through Sunday, July 1st.On June 27th, June 28th, and July 1st, the band will play two sets per night (at 8:00 p.m. and 10:30 p.m., respectively). On Friday and Saturday night June 29th – 30th, the band will play an additional late-night set at 12:30 a.m.The residency marks a change of pace for Lettuce in the New York City market, where they normally play larger venues like Brooklyn Bowl and Playstation Theatre. With a higher number of smaller shows, fans will get the chance for a uniquely intimate experience with the band.In addition, the newly-opened Sony Hall in Times Square is being owned, operated, and programme by Blue Note Media Group as part of an extensive brand co-sponsorship with Sony, so perhaps the Blue Note residency is part of an agreement that will also include some bigger shows at the beautiful new venue.Tickets for Lettuce‘s Blue Note residency are available now via the band’s website.
Photographer Michael Weintrob has been working in the music industry for twenty-plus years. Since his early days, shooting bands at the Aggie Theatre in Fort Collins while attending Colorado State University, he has allowed his creative juices flow, and back in 2000, while he taking photos of The Derek Trucks Band, the earliest beginnings of his beloved InstrumentHead project was born.The photographer, a staple of New Orleans Jazz Fest, will once again deliver a pop-up exhibit at Jacques Imo’s gallery space from April 27th to May 6th (info here), featuring his collection of works—including images of Bootsy Collins, Mickey Hart, Junior Brown, Scott Avett of the Avett Brothers, Anders Osborne, and more—and live music from some of his longtime musician friends from NOLA and outside the Crescent City.The exhibit will open on April 27th with live performances from Papa Mali and Bobby Vega, which will begin at 9 p.m. and benefit the New Orleans Musicians’ Clinic & Assistance Foundation, an organization that “offers occupational and comprehensive health services for musicians, performers, cultural workers and tradition bearers of New Orleans.” Following the opening-night ceremonies, on Saturday, April 28th, Weintrob’s InstrumentHead exhibit will host a trio of performances, including a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance by Will Bernard.Right around Jazz Fest time last year, Weintrob released the official InstrumentHead book, a collection of portraits published by Magnet Bound Press and that includes images of 369 musicians and their instruments. The 11” x 15” full-color book comes with the choice of three different cover options. The book will be on-sale at the exhibit, with Michael Weintrob on hand for a special book signing session as well.We had an opportunity to discuss the InstrumentHead project, the NOLA exhibit, and more with the legendary photographer. Check out what he had to say below!Live For Live Music: How did the concept for this long-time project take form?Michael Weintrob: I was a house photographer at the Aggie Theatre in Fort Collins, Colorado, in the late 90s and early 2000s. The Derek Trucks Band performed there one night in 2000, and I was taking a portrait of the band backstage after their show. Todd Smallie, the bassist, came a little late and had his bass. I said, “Do something crazy. I don’t know put your bass down your shirt.” So he did. From then on out, it became part of my creative process when doing portrait shoots with bands. It wasn’t like I was hit by a bolt of lighting and the InstrumentHead project was born. It was just something I did in photo shoots. It was one of my licks as a photographer.I moved to Brooklyn in 2003 seeking a new life experience, and to learn more about the pro photography world. I met with editors at Spin, Vibe, Rolling Stone, Time, and others. They all basically told me the same thing: that was that my live music photography was excellent, but if I wanted to be a portrait photographer in NYC, I needed to do some studying and find my voice. Over the next five years, I learned about lighting and shooting in the studio. I started shooting these faceless portraits in a controlled lighting situation. The images ended up on album covers, such as George Porter Jr.’s It’s Life and Karl Denson’s Lunar Orbit, and were used for promotional images.In 2008, I wandered into a bookstore on Bedford Avenue and saw a coffee table book with a beautiful cover featuring all of these awesome bands logos on it. I opened it up, and it was a fine art book made by photographer James Mollison called The Disciples. Mollison had photographed fans of bands, and the idea was to be able to tell which bands they were fans of by their appearance. All of the images were shot with the same lighting, look, and background. I thought it was brilliant. I wondered how I could create a guessing game with musicians and photography. I realized that I had been shooting these faceless portraits the whole time.That is the moment I decided to start focusing on this as an ongoing art project. I started contacting musicians I had relationships with from shooting bands for so many years. Eventually, I met their friends and then their friends. I would say to them, “How are we going to tell your story? What is it about you that makes you special?” The musicians would show up with their instruments, clothes, and props that would help to tell the story of who they are.I eventually started traveling around the country using music venues as my studio because they were big open rooms that were empty during the day. In most of the cities I would travel to, I knew a couple of musicians who lived there, and I put a call out looking for musicians who were known for their instrument, look, and style. In 2014, I traveled to Nashville and shot over 35 local musicians who lived in the area for a big exhibit I was going to do at OZ Arts Nashville. My goal was always to do a book of this work. I had met with many book publishers who really did not get it. In 2015, I decided to launch a crowdfunding campaign on Indiegogo to produce the book. In 45 days, I raised the funds to make my own book with my own publishing company I formed called Magnet Bound Press.What Is InstrumentHead?[via Instrumenthead]L4LM: What are a few of the most memorable photo sessions you have had with the InstrumentHead project? Michael Weintrob: There are so many memorable shoots. I like them all for different reasons. The best part about doing this work is the personal connection that I have made with the musicians while shooting these portraits—breaking down walls to get to the real person is what I love. Some of the shoots that stick out in my mind are shooting Mickey Hart of the Grateful Dead at his home studio, Bootsy Collins in Cincinnati, Uncle Lionel Batiste and Big Chief Monk Boudreaux at Preservation Hall, Chris Frantz and Tina Weymouth of the Tom Tom Club and Talking Heads in my studio in Brooklyn, Derek Trucks and Susan Tedeschi at my Brooklyn Studio, the great South African bass player Bakithi Kumalo backstage at the Capetown Jazz Festival, Bill Summers of the Headhunters, Big Chief Donald Harrison in Bill’s home studio in New Orleans, and Johnny Winter at the Carriage House Studios in Stamford when he was recording his final record.L4LM: It seems like New Orleans, especially during Jazz Fest, is the perfect atmosphere for such an exhibit to return back to. How has the city influenced your own art and life over the years?MW: This will be my twentieth year going to New Orleans during Jazz Fest time. For many years, I would shoot the festival during the day and stay out all night shooting the late-night concerts. I still do the daytime shoots on the fairgrounds and some night shows. I have formed so many relationships with people in the music scene in New Orleans. The sites and sounds of the city are infectious. I have had the great honor of working with some of the cities most influential musicians.In 2013, I showed a large-scale exhibit of my InstrumentHead work for the first time on Frenchman Street in the warehouse behind the Frenchman Street Art Market. It was the perfect storm in the perfect location. Over seven-thousand people saw my work that year. I have had so much support from the musicians of New Orleans and the fans of their music. Jazz Fest time is my favorite time of the year to be in the city.L4LM: New Orleans is all about community, and this exhibit will help benefit the New Orleans Musicians’ Clinic & Assistance Foundation. How important is it to you to help a local cause such as this?MW: I have been working with the New Orleans Musicians’ Clinic for over a decade. I believe that all of us in the music scene, from photographers to musicians to the production crew, all eat from the same table. NOMC helps musicians with healthcare when they can not afford it. They are a charity that does good work for the community with the funds that they raise. I have a great relationship with Bethany Bultman and Erica Dudas who run the clinic. We have been helping each other for years.L4LM: An opening night celebration featuring Papa Mali & Bobby Vega will kick your upcoming InstrumentHead exhibit during Jazz Fest off, followed by an equally special event on Saturday, April 28th, with a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance byWill Bernard. Sounds like a solid group of musician friends to have!MW: I am really looking forward to it! I have known all of these guys for many years. Throughout my career as a photographer in the music scene, I have developed relationships with many great musicians. I am so excited to be able to create this hang on Oak Street and that all these musicians are open to coming and playing their music in my gallery space. Over the full two week exhibit, there will be musicians popping in to perform.L4LM: Thank you so much for the in-depth responses, Michael. We wish you the best of luck down in NOLA with the InstrumentHead exhibit this year!Check out Weintrob’s InstrumentHead website for more information on the photographer. For more information about his upcoming InstrumentHead exhibit at Jacques Imo’s gallery in New Orleans during Jazz Fest, join the Facebook Event page. Order the InstrumentHead book here.