Category Archives: Video

Color Wars: Looking back at the hues of Lollapalooza 2012 [Vids,Pix,Words]

Diversity was a major selling point of the original Lollapalooza.  Anyone who’s never seen video of Perry Farrell and Ice-T staring each other down as they perform the Sly Stone classic “Don’t Call Me Nigger, Whitey” should probably google that immediately.  I don’t want to suggest anything other than coincidence here, but the “Black” and “White” nature of the headliners’ names was hard not to notice (not to mention the undercard).  Top that off with Jack White’s color scheme and one band of each gender, and you could get the feeling that this is a festival of extremes and no middle ground.  That’s not at all the case, but the theme of diametric opposition was nowhere more apparent than the epic struggle between rock and roll and EDM each night.  Grant Park felt like a cultural battlefield every night, except the vibe was admittedly peaceful and mostly respectful, and nobody suffered.  In a fierce musical competition between styles and/or scenes, everybody wins.




Arrival on a sweltering Friday afternoon was soundtracked by The White Panda, bass booming from the expanded Perry’s DJ area.  Having this stage so close to the main field on the south end would occasionally result in bullying of the mellower artists at the Sony Stage, but overall it was a great setup; the trees surrounding Perry’s provided much-needed respite from the sun and it was easy to slip away from the bigger-name action and relax with some beats.  Particularly good was Totally Enormous Extinct Dinosaurs, whose eclectic percussion samples, waves of noise and soothing Britpop vocals made for a wholly enthralling, not-too-frantic afternoon set, danceable but in an afterparty/chill-out-room sort of way.  (Unfortunately, I had to miss the Black Angels’ set during this slot.)  No doubt Bassnectar’s set here Friday night was a killer way to end night one, based on the last ten minutes as he outlasted The Black Keys; any night that ends with a Motörhead remix ends well.

So the electronic spectrum was particularly strong on Friday, but there was no denying the rock attack.  A strong contender for best set of the day was Tame Impala, who managed to blow minds despite significant equipment/sound problems (which plagued the Sony Stage all weekend).  Frontman Kevin Parker blamed the heat; “One of my pedals has melted,” he apologized halfway through the set, which got the engineer off the hook, perhaps, for the patchy guitar sound.  As a result, this may have been the least psychedelic Tame Impala set ever, and Parker was forced to let his relatively clean wailing sell the songs, which turned out to be no problem at all.  He’s got a David Gilmour-esque narrative quality to his lead guitar playing (and that’s not to mention the iconic descending riff from Pink Floyd’s “Money” that snuck, slightly altered, into TA’s new single, “Elephant”), and through several super-slacker garageadelic jams, the only missed opportunity was not playing a Sabbath cover.  Parker is a commanding presence, an indie rocker with swagger–is that coming back?  Has that even been a thing before?  Like it or not, improv is infiltrating the hipsterverse, and Tame Impala is at the forefront of the operation.

Sadly, there is only one stand in all of Grant Park that sells decent beer; it’s just north of Buckingham Fountain, well within earshot of the nearly extinct dinosaurs of Black Sabbath who shook the Earth from the Bud Light Stage.  The band’s lone U.S. appearance of the year was hampered only by the nu-metal stylings of fill-in drummer Tommy Clufetos, who seemed determined to put his stamp on the material, exactly what nobody wanted.  He didn’t diminish the power of monumental songs like “The Wizard” and “Behind The Wall Of Sleep,” though; he was only a mild annoyance musically but surely a significant absurdity to diehard Bill Ward fans.

Meanwhile, Black Keys were staking the first claim to Supreme Garage Superstar, throwing down the gauntlet for Jack White.  When you multiply critical and commercial success, the Keys are the reigning rock band of the moment; Timbaland ain’t got nuthin’ on Dan Auerbach in the insanely catchy pop hook realm, and devotees of radio are bracing for the herd of soundalikes about to rise up.  But while Brothers and El Camino showcase an increasingly mainstream sound, the songs from those albums received a blistering, bluesy makeover live, sounding like they could’ve come from the band’s ten-years-prior incarnation.  The band is augmented by bassist Gus Seyffert and keyboardist Jon Wood for much of the set nowadays, but it is undeniably still a two-man show; Patrick Carney’s rough-and-tumble drum gallop is inescapable, but he showed unusual finesse at times, particularly throughout this incredible performance of “Everlasting Light.”

While there was nothing overtly unpredictable about the set, it was a delight start to finish for anyone with a passion for the dirty-sweet grind of an electric guitar in the hands of a dude who has devoted his life to the thing.  Auerbach has a great singing voice too; even his falsetto is full-flavored and kind of manly, but his guitar sounded more like an animal, and it howled and growled and generally made a spectacle of itself to cap a really good day of festy music.



Black Keys @ Lolla- “Little Black Submarines”



Saturday started off innocently enough; the early highlight was a relaxed Umphrey’s-esque set by Moon Taxi, but interrupting Neon Indian around 3:30, Lolla spokespeople came onstage and told everyone to calmly leave the grounds in advance of the approaching thunderstorm.  Many fans apparently felt this was an arbitrary gesture; the childish indignation (i.e., “This is BULLSHIT, man!”) was pretty hilarious.  Surely these kids have weather apps on their phones…but whatever.  When day turned to night in the span of an hour and the fierce lightning and horizontal rain appeared, everyone was probably grateful to be under some sort of shelter.  There was no official word on whether or not the festival would even continue for the evening until 6, when it was announced that the park would reopen…at 6.  So we were lucky to get back inside in time to catch the last couple songs of The Tallest Man On Earth, which were great, but damn.

This year’s event was largely bereft of old geezers (no, that’s not a Sabbath pun) who might’ve shown these kids a thing or two about how to perform (such as Love And Rockets in ’08, Lou Reed in ’09, Mavis Staples, Jimmy Cliff and Devo in ’10, etc.), so it was up to Franz Ferdinand to get the party started back up after the storm.  No, they’re not exactly ancient, but it was tough to imagine these Scots’ straightforward dance-rock fitting into the modern Lolla landscape.  But rock was winning the battle thus far, and FF’s live show leaned decidedly in a punk direction, shedding the studio sheen in favor of a pogo-inducing guitar speedrace, and it was quite invigorating.  If the storm had deflated the spirit of the fest, the boys of Franz breathed some life back into it.

Following this, it was a tense twenty minutes or so in the friendly confines of the Google Play Stage as a small gathering waited impatiently for Twin Shadow to finish soundchecking.  When George Lewis Jr. finally came out to play, there was only a half hour left of his time slot.  And holy shit, did he make the most of that half hour.  If you listen to his albums, you get a moody, low-key synthpop/new wave feel, like you’re either in a seedy after hours chill-out room or crying alone in your bedroom.  This was an all-out guitar assault; the band Lewis has assembled turned out to be an incredibly intuitive and powerful ensemble, crafting monumental crescendos of post-rock din to augment Lewis’s own impressive guitar heroics and tear-your-heart-out emotive belting, and underneath it all were those magnificent Chris Squire-caliber basslines, supremely melodic, intricate and danceable all at once.  When George sang “Please leave us alone/When we’re dancing,” even though the song itself is far too depressing to be a festival anthem, it came off like the birth of a new motto for live music fanatics of all stripes.  This was easily the best 30 minutes of Saturday and one of the best sets of the weekend.

Almost as good, though, was Frank Ocean, who might’ve gotten skipped if it weren’t for Avicii dwelling on a single sample motif for so damn long it got nauseating. Tim Bergling is an entertaining presence behind the tables, and the Swedish DJ phenom knows how to keep the beats rolling but his set really lacked dynamic in the early goings; minus-one for EDM.  Ocean was this year’s token Pitchfork-darling R&B guy, but it turns out he’s way more than that.  He’s at the top of the heap in terms of magnetic stage presence, soulful voice and, um,  rockin’ live band?  Yes indeed, perhaps Uncle Perry started this crazy traveling circus twenty-plus years ago with the destruction of genre in mind, the merging of cultures to the point where it was just one big suspension of humanity through music, and despite the polar opposites of the night”s headliners (sorry Chili Peppers, “Red” wasn’t one of the weekend’s chosen colors) these two side-stage sets felt like we were entering a plane that had no plausible ID3 tag.

Ocean’s performance was like the perfect melding of Marvin Gaye and Bruce Springsteen, populist working-class soul with as much grit as beauty.  Eschewing any semblance of “Hotel California,” the new arrangement of “American Wedding” sucked the collective heart of the crowd into its throat, and we all hung on every word of Frank’s aw-shucks between-song banter like he was a long-lost friend in confessional mode.  It was an incredibly communal, familial atmosphere, draped over disbelief; this cat is a huge star just rising, and we were all a part of the comet-tail during the last hour of Saturday night.



Red Hot Chili Peppers @ Lolla- “Under the Bridge”



When White Rabbits toured with The Walkmen back in 2008, they were a ramshackle garage/psyche/pop band that relied on gaudy, manic vocal harmonies that flowed like 100-proof vodka and knocked you on your ass.  After a disappointing sophomore effort (2009’s It’s Frightening), the band fell off the radar somewhat, but if Sunday afternoon is any indication, they lost none of their onstage potency.  The impact is more polished, more professional, and if anything more powerful than when it seemed like they were barely keeping it together.  The focus has shifted away from the vocals and more to the piano talents of Stephen Patterson; he controlled the momentum for most of the performance, although those classic percussion hooks are definitely what put the wiggle in “The Plot” and “Kid online casinos On My Shoulders.”  Unlike in ’08, White Rabbits edged out The Walkmen on this day.  They’re probably tired of being described as “reliable,” but that’s what The Walkmen are; reliably awesome, no doubt, and blessed with one of the greatest underground rock singers ever in Hamilton Leithauser.

There are hundreds of bands in the world who still do nothing but imitate Mogwai. Sigur Rós is not one of these, but it sounded like one for the first few songs of its highly-anticipated set at the Red Bull Stage; “Svefn-g-englar” and “Varúð” are both very straightforward examples of the gibberish>play louder and louder formula.  Yes, sometimes there are actual words, but they’re not sung to be understood; the meaning behind Sigur Rós lyrics is almost always listener-assigned.  There were some intense peaks, particularly when the horns would go nuts, and the essential “Hoppípolla” sent the crowd into raptures, but the subtleties that set this band apart from the post-rock pack were lacking until the last couple of songs.  “Hafsól” is Radiohead-caliber and -esque, although the tapping bowed guitar core of the song is like no other band.  The untitled final song (the last track on 2002’s () album) built to a walloping crescendo only hinted at on the studio version, shattering the most intense musical memories of the weekend.  In broad daylight, Sigur Rós transfixed a crowd of thousands with pure musical bliss.

Lolla features at least a couple of legendary reunions per year, and At The Drive-In certainly qualifies.  The band played a handful of dates in April including Coachella, and reports indicated an oddly lethargic Omar Rodríguez-López; those reports were no joke. He took nothing away from vocalist Cedric Bixler-Zavala, whose energy and often hilarious banter made up for Omar’s lack of interest.  The still-unrivaled music–Relationship Of Command is the only post-hardcore album you will ever need–sounded fantastic, even timeless, so fans could either join in Omar’s disdain for this cash-grab nostalgia trip or be grateful that he played the old tunes competently and that the rest of the band seemed to give a shit.  With eyes closed, it was a brilliant set.

Jack White.  He paved the way for The Black Keys to get huge, who in turn made the world safe for Jack’s transmogrification into a pop star.  At this point, in terms of pallor, personal peculiarity, seemingly pretentious public persona and performance prowess, White is approaching Michael Jackson levels.  He inspires obsession in a boldly calculated fashion, but also through unbridled talent and an unrivaled commitment to performance as art.  He’s the rare example of a musician whose substance lives up to his extreme theatricality and mythology.  He just released perhaps his weakest collection of songs ever, his solo debut Blunderbuss, after breaking up his cultishly adored band, The White Stripes, last year, but if he tried to tell me that his entire career was only preamble, preparation for getting out on tour with these musicians he played with at Lollapalooza, I’d believe him.

If he tried to tell me that jamming with Jimmy Page, however awkwardly, during the making of It Might Get Loud, had no influence on him, I’d laugh in his face, though.  If there’s been one guitarist since Page that gets the tight-but-loose aesthetic, it’s White, and particularly on “The Same Boy You’ve Always Known” and portions of the “Cannon” medley you could imagine yourself (for a brief moment) under different stars, circa 1970 as Zeppelin was tearing you a new face.  Whereas Dan Auerbach was the essence of Claptonesque fluidity on Friday night, Jack played the grungy, passion-over-precision maestro on Sunday, destroying the validity of the term “shred” for most other guitarists.

It would be pointless to suggest that this solo endeavor is better or worse than The White Stripes were, but obviously White’s ambition exceeds what he and Meg could accomplish alone.  The head-scratching concept of Jack not playing guitar on “Dead Leaves And The Dirty Ground” actually turned out amazingly well; he manned the keys and turned the tune into a Band-esque shuffle, and the quaint, Elton John-ish ditty “Take Me With You When You Go” blossomed into a virtual “Bohemian Rhapsody” of proggy dramatics (relatively speaking, of course).  The players he had onstage with him made (The Buzzards and The Peacocks–guess which is which!) up possibly the two best rock and roll bands at the festival, assuming you factor Jack into both. There wasn’t a ton of improv, but both bands succeeded in turning on dimes to the occasional mystery whim of their leader within and between songs, a communal intuition far beyond just being good musicians.

It was Jack’s flesh-rending guitar work more than any other single factor that carried the show, though.  Obviously, “Ball And Biscuit” was ridiculous, the type of energy you experience more as electricity slicing through your soul than as sound.  The set closed with the Stripes’ biggest hit, “Seven Nation Army,” and it featured the deepest, least-musical guitar tone possible; it sounded like a two-ton steel brick being dragged across concrete.  When it was all over, the crowd chanted the guitar riff all the way to Michigan Avenue and beyond, à la Arcade Fire’s “Wake Up” in 2010.  Still waiting to hear reports of crowds singing any Justice songs on their way to the train station…



Jack White @ Lolla- “Take Me With You When You Go”


Check out more Lollapalooza videos on the Lollapalooza YouTube Channel.

For more from writer, Cal Roach, check out








[PHOTOS] Outside Lands, 2012 | 8/10/12 – 8/12/12

[FESTIVAL REVIEW | PHOTOS] Sealing the deal: Hangout 2012 thrives in its junior year

[FESTIVAL REVIEW | VIDEO | PHOTOS] Lollapalooza : 20 years and still leading the party

[FESTIVAL REVIEW | VIDEO | PHOTOS] 360° at Austin City Limits: Interviews, Photos, Video & Review

[NEWS] Sharon Van Etten continues tour behind ‘Tramp’

[FESTIVAL REVIEW | PHOTOS] Times they are a-changin’: An in-depth look back at Bonnaroo #11

[NEWS] The Raconteurs to Release 2008 Montreaux Performance on DVD, Blu-ray



Outside Lands, 2012 | 8/10/12 – 8/12/12

Outside Lands Festival
Golden Gate Park
San Francisco, CA
August 10-12, 2012



The fifth installment of Outside Lands Music Fest, once again was held in San Francisco’s Golden Gate Park, and it proved to be the biggest and best yet. Through three great days of music, comedy, gourmet food, beer and wine, their wasn’t an ear displease or a palate that wasn’t quenched.

Friday’s stellar lineup included a rousing set from Beck who showed the versatility of the veteran that he has become and a high octane set the Foo Fighters that found front man, Dave Grohl, sprinting through the crowd to play from the soundboard.

On high above the rest though was definitely Neil Young and Crazy Horse. Opening the electric set with new material that included a long, grungy version of “Walk Like a Giant,” Neil would eventually provide the audience with the stripped down performance of “The Needle and The Damage Done.” Crazy Horse later rejoined their front man to put the nail in the coffin with classics like “Cinnamon Girl” interspersed with material that one can only surmise will be featured on the band’s forthcoming album.



Saturday brought an extra special guest in hometown hero, Bob Weir, who joined songstress Norah Jones for a performance of The Grateful Dead’s “Must Have Been The Roses” for some oh so sweet harmony.



The Alabama Shakes packed The Sutro Stage and leader Brittany Howard served up a soulful helping southern goodness that proved that she and her boys are here to stay.  Opening with a captivating and bluesy version of the band’s present catalogue crown jewel, “Hold On,” Howard’s voice whisking the crowd away. At one point, the singer commented on the size of the crowd, humbly stating “There’s a lot of you here.”Indeed there were. In fact, the band that less than a year ago were just gathering YouTube footing had easily drawn the biggest gathering that any “smaller stage” outfit would see throughout the weekend.

In their attempt to remain atop the gods of heavy metal chart, Metallica‘s set came complete with the loudness that one would expect coupled with a pyrotechnic/ laser show that could be both seen and heard a mile away at the Twin Peaks stage during Sigor Ros‘ dreamlike set. Mission accomplished.

Sunday did not disappoint. Trampled by Turtles played a set that would have made Graham Parsons proud,  Fun warmed up the crowd at The Lands End stage with a bubbly set and Franz Ferdinand played an upbeat set that included a bit of Donna Summer’s “I Feel Fine.”

Regina Spektor took the stage for a set that yielded her standard setlist of beautifully sung cutesy narratives that satirize seriousness. The Russian born caroler had the audience in the palm of dainty hand as she reeled through a series of tunes that put her Steinway piano to fervent use and her crystalline voice out front.  Jack White had been a true sport throughout the closing day, having played a surprise set n the woods with his all-female band earlier in the day. Not surprisingly, the White Stripe played a strong set, ending with one of his most well known and beloved gems, “Seven Nation Army,” from 2003’s Elephant.

Stevie Wonder closed the festival with a set of nonstop hits that drove the fully engaged throng wild. Starting things off with “Master Blaster” and (seamlessly) “Higher Ground,” the hits just kept coming.  There was something truly magical about being in Stevie’s presence. He was funny, loving and compassionate. The best part is that his breathtaking talent remains as intact as it has ever been, whether as child prodigy in “Fingertips — pt. 2” days or those when he just called to say he loved you (or any other of his dozen number one songs).  In short, Wonder’s set was the perfect way to close out three perfect days of music in the Bay City.


Click the thumbnail to view more photos from photos Outside Lands by Susan J. Weiand

If you’d like to keep up with Susan’s busy photo journey, click HERE to join her Facebook Group.

The Wall in the Queen City: Photos, Videos and a Look Back

Roger Waters: The Wall
Time Warner Cable Arena
Charlotte, NC
July 10, 2012



At some point in Roger Waters’ life, someone must popped off the “don’t let a good thing die” quote to him because that is definitely what he has adhered to in regards to Pink Floyd’s The Wall live show. 

Originally scheduled to run through 2010 and barely into near mid-2011, it is a show that leaves no setlist guesswork to be had and one that’s songs never deviate from the way they were played the night before. For that matter, the songs are played damned near identically to the way they were debuted by the premier progressive gods in 1979. But none of that matters. And now as we head into the 4th quarter of 2012, the tour is still alive and well.

Never minding the fact that the loosely autobiographical album is an epic, the massive production that has carried its tales to massive audiences since 2010 causes the evenings spent with Waters and company to transcend the word “concert” and run headlong an all new meaning of the word, “event.”

Each night, the production wins new admirers of the provocative set that demands attention, touches on nearly every human emotion and evolves slightly to remain relevant to recent international social change.

On this night, it did so in the Queen City of Charlotte and Honest Tune‘s Brad Kuntz was on the scene. For the third time since its inception (see the bottom of the page for previous coverage), we are proud to present beautiful images from the tour that seemingly, and hopefully, will never end.


Click the thumbnail(s) to view photos from Roger Waters : The Wall

by Brad Kuntz

⇓See below the gallery for Brad’s videos from the evening…⇓




Video from Charlotte, 7/10/12 (Brad Kuntz)


“Vera,” “Bring the Boys Back Home” & “Comfortably Numb” [HD]


“Don’t Leave Me Now,” “Another Brick in the Wall Part 3” & “Goodbye Cruel World” [HD]


“Run Like Hell,” “Waiting for the Worms,” “Stop” and “The Trial” [HD]




Previous Honest Tune coverage of

The Wall 

 Click the photo for Honest Tune coverage from Atlanta, 2010

(Photo: David Shehi)


Click the photo for Honest Tune coverage from Indianapolis, 2012

(Photo: Aaron Lingenfelter)






Wakarusa: Live, Backstage & Unplugged, part I with ALO & SOJA

Closing out May in style, Wakarusa once again descended upon Mulberry Mountain, transforming the remote location into a musical heaven of sorts. By possessing a lineup that was fit for kings (and queens), there was music to be heard from morning to morning, providing weekend residents the option to dance under the blended azure skies of the days all the way through the crystal starry skies of night (that can only be found in an area as “untouched” as Mulberry) and the wee morning.


With so many bands on the bill and the vast genre representation found therein, we drooled at the prospect of lugging audio and video gear into the backstage area to capture some special moments. Fortunately for us, Wakarusa was game. So were a handful of carefully selected artists. As a result, we are now able to exclusively & proudly present Live, Backstage & Unplugged at Wakarusa, part I — with ALO & SOJA.


ALO: “Blew Out the Walls”

Album: Sounds Like This


For more on ALO, check out


SOJA: “Strength to Survive

Album: Strength to Survive

For more on SOJA, head over to:




Matisyahu premieres new video; Tour to launch in July


Matisyahu has premiered the music video of his new single, “Sunshine” from his fourth studio album, Spark Seeker, out on July 17thWATCH BELOW. 


For this video, Matisyahu returned to the beautiful deserts of Israel where he recorded the album. Directed by Gil Green (John Legend, Usher, Timbaland), the cinematography is breathtaking and inspiring, making you feel as if you are a part of the Israeli landscape and culture. The video illustrates one of the key messages of the album which is seeking the spark; finding the self which you left behind and reconnecting with your inner child. The vivid footage seamlessly captures the essence of “Sunshine’s” uplifting lyrics and sweeping melody, proving it to be the perfect summer song and video. For an inside perspective on the making of the video, See BELOW or visit Matisyahu’s Facebook and Twitter.


Since first emerging on the international stage in 2005, Matisyahu has established a reputation for transcending boundaries- from the stripped-down roots reggae of the gold-certified Live at Stubb’s to the trippy ministrations of the Grammy nominated Youth to the polished pop eclecticism of Light. Then, in 2010, he returned to the venerable Austin venue that introduced him for Live at Stubb’s, Vol. II, demonstrating that all of his travels had only strengthened his connection to his musical bedrock. Selling over 2 million albums worldwide, it was a whirlwind half-decade journey, one that earned Matisyahu a place in pop culture at large.

Now based with his family in Los Angeles, Matisyahu blasts off yet again with Spark Seeker, a bold new studio album that finds the one-of-a-kind vocalist and songwriter exploring uncharted territory with help from an expansive cast of collaborators from around the globe.  The album mixes ancient traditional sounds with futuristic electro beats, rapping with singing, and songs of the spirit with songs of the body.

Spark Seeker, produced by Kool Kojak (Nicki Minaj, Travis Barker, Ke$ha) is set for release on his own label, Fallen Sparks Records via Thirty Tigers/RED. He recorded the 13-track album in Los Angeles, New York and Israel. You can purchase, “Sunshine” on iTunes and Amazon.  The album has a depth to it as well as a lightness, which alludes to the most essential theme of the record–that everything in life, especially music, exists in mixtures and blends.  “Things are not as black and white as we would like to think.  Not everything can be oversimplified,” says Matisyahu.  As one of America’s most successful touring artists, Matisyahu has also announced the first leg of an extensive Summer tour supporting the new release with co-headliners Dirty Heads.



Tour Dates:

**Denotes date w/Dirty Heads


7/3 – Del Mar, CA – Del Mar Fairgrounds

7/5 -Quincy, CA -High Sierra Music Festival **

7/8 – Vienna, VA – The Wolftrap **

7/9 – Baltimore, MD - Rams Head Live **

7/10 – Boston, MA – House of Blues **

7/11 – Hampton Beach, NH – Hampton Beach Casino Ballroom **

7/12 – Stamford, CT – Alive at Five

7/14 – Philadelphia, PA – XFINITY Live!

7/15 – Costa Mesa, CA – OC Fair and Event Center

7/18 – Providence, RI – Lupo’s Hearbreak Hotel **

7/19 – Albany, NY – Northern Lights **

7/21 – Atlantic City, NJ – Showboat Atlantic City House of Blues **

7/22 – Asbury Park, NJ – Stone Pony Summerstage **

7/23 – Huntington, NY – The Paramount Theatre **

7/25 – Portland, ME – State Theatre **

7/26 – Buffalo, NY – Town Ballroom **

7/28 – Floyd, VA – Floydfest

7/29 – Randall’s Island, NY – Catalpa Festival

7/30 – Pittsburgh, PA – Carnegie Music Hall of Homestead **

8/4 – Grand Rapids, MI – The Orbit Room **

8/5 – Detroit, MI – Fillmore Auditorium **

8/7 – Chicago, IL – The Congress Theatre **

8/8 – Milwaukee, WI – The Rave **

8/9 – Minneapolis, MN – First Ave **

8/12 – Des Moines, IA – Simon Estes Amphitheatre **

8/14 – Houston, TX – Cynthia Woods Pavilion *Supporting Sublime

8/15 – Dallas, TX – Gexa Energy Pavilion *Supporting Sublime

8/16 – St. Louis, MO – Verizon Wireless *Supporting Sublime

8/18 – Raleigh, NC – Lincoln Theatre Outdoors **

8/19 – Charlotte, NC – The Fillmore **

8/20 – Norfolk, VA – Norva Theatre **

8/21 – Glen Allen, VA – Innsbrook Pavilion **

8/22 – Chattanooga, TN – Track 29 **

8/23 – Atlanta, GA – Masquerade Park **

8/25 – Myrtle Beach, SC – House of Blues **

8/27 – Mobile, AL – Soul Kitchen **

9/5 -Tulsa, OK -Cain’s Ballroom **

9/6 – Council Bluffs, IA – Harrah’s Casino at Stir Cove **

9/9 – Aspen, CO – The Belly Up **

9/11 – Albuquerque, NM – The Sunshine Theatre **

9/12 – Phoenix, AZ – The Marquee **

9/15 – Las Vegas, NV – Hard Rock Hotel Pool Stage **

9/22 – Portland, OR – Crystal Ballroom **

9/26 – Boise, ID – Knitting Factory **

9/27 – Lake Tahoe, CA – Montbleu **

9/29- Mountain View, CA- Shoreline Amphitheatre


Matisyahu: “Sunshine”


Matisyahu: Making of the video




Steve Kimock, 5/26/12

Steve Kimock
Variety Playhouse
Atlanta, GA
May 26, 2012



When Steve Kimock announced that he would be launching a “large-scale tour” back in March, immediate excitement pulsed through the tight knit jam community. Having become somewhat road reclusive, the tour — that amounted to a grand total of 13 cities over 17 days — would be the first time that the beloved Kimock hit the road in over three years. For those who have not been fortunate to be in a location where Kimock has played (Jam Cruise, New York City, etc.) during the hiatus, it would be the first time that they had been able to experience the signature sound in much longer than they cared to recall.The unfortunate part: it was over almost as soon as it had begun.

On the night that things were initially planned to wrap, Kimock and his touring band of noteworthy notables rolled into Atlanta for what would be a spectacular evening; a literal showcase of exactly the type of badass that Kimock is.

With classic and new originals including the spine chilling instrumental, “Tongue n Groove,” and “Tastes Like Chicken” (Kimock/Worrell — see below for stream) combined with covers that included the second set opener, “Stella Blue,” (see below for video) that saw Kimock playing the slide in such a soothing manner that it made one wonder if his instrument would actually shed tears, the audience was taken on a journey filled with beautiful vistas and high-flying acrobatics.

We can all only hope that it doesn”t take Steve another 1000 days to hit the road again.




I: You”re The One > Pusherman > You”re the One, TLC, 54-46, Ice Cream, You Can”t Do That > Thank You (Falettinme Be Mice Elf Agin) > You Can”t Do That > Super Stupid > You Can”t Do That
II: Stella Blue, Take Me To The River*, 16 Tons*, Part For, One For Brother Mike, Tongue N Groove, Congo Man Chant > Get Up Stand Up*, Red Hot Mamma*

Notes: * w/ Marshall Ruffin


Click HERE to download an audience recording of the show.


Click the thumbnail(s) to view photos from the show by …






Going deep with Delta Rae: Live, Backstage, Unplugged & Photographed

In mid-May, history repeated itself here at Honest Tune when an email and subsequent phone call came in from Warner Brothers Records.

While on the scene at Hangout 2011, the phone rang. On the other end of the line was a gentleman who had “an act that was about to release an EP.” He thought that the artist would be a perfect fit for our little Southern Journal of Jam and was imploring that we check him out when he passed nearby on a tour that would lead up to Bonnaroo. The tour (Bonnaroo Buzz) would be headlined by Grace Potter and the Nocturnals and opened by the Futurebirds and a little known artist from Austin that the publicist said was one of the most promising acts he had seen in “a long time.”  He was referring to Gary Clark, Jr. and he could not have been more right. During the call, he suggested that if we “liked what we heard that we should consider something deeper.”

Though acoustic performances had been something that had intermittently been published, it was from this phone call and a subsequent meeting with Clark that officially birthed Honest Tune’s Live, Backstage & Unplugged series was born.

Fast-forward to this year. A similar call came in from the same Warner Brothers label. On the line was a excited representative who was referring a band as “the pride of Durham, North Carolina.” She went on to describe their sound as “Americana meets alternative meets bluegrass meets pop.”  The band is Delta Rae and off the top, we were enthused by these statements.



Consisting of three siblings, Brittany, Ian & Eric Hölljes along with Elizabeth Hopkins, Mike McKee and Grant Emerson, the ensemble — that rides high on the four part boy/girl harmonies created by the Hölljes and Hopkins — creates a sound that is near hypnotic. Though entrenched in soul flavors that are unique to the South, it is as relevant as it is raw and possesses a quality that leaves room for even the most mainstream casual listener. Further, their visual appeal is just as satisfying; not only by their inherited good looks but also with their live show that elementally draws from theatre.  In short, Delta Rae is a complete package.

After a deeply listening to the the band’s forthcoming LP and major label debut, Carry the Fire (due 6/15/12 on Sire Records), there was no doubt that we wanted them to be included in the now tried and true Live, Backstage & Unplugged series.

Fortunately, they agreed and as luck would have it, the band made a stop at Birmingham’s WorkPlay on the way to the Hangout Music Festival where it was abundantly clear that they are identically as capable of displaying that same provocative sound to a live audience as they are to a producer behind a glass window.

What has happened with Gary Clark, Jr. since that first meeting is now quite well known. He has gone from a musician that was well known around Austin to one that is becoming more and more well known around the globe as each day passes. And though the sound of Delta Rae is nothing like that of Clark’s, its similarity is in the fact that it may very well be what drives the band to an identical catapult toward success this year.

So sit back, relax and enjoy as Honest Tune and GrooveStreet.TV proudly and exclusively present Delta Rae: Live, Backstage & Unplugged  along with photos from the evening in Birmingham that transpired.


Delta Rae: “Bottom of the River”

For more on Delta Rae including a free download of the studio version of “Bottom of the River” and free live album, head over to


Click the thumbnails to view photos from the night in Birmingham (5/15/12) by David Shehi






Looking forward to the Waka Weekend with PGroove: Live, Backstage & Unplugged

With festival season in full swing, folks from across the amber waves of grain and beyond are prepping to descend upon the remote Ozark, AR location known as Mulberry Mountain for the ninth installment of Wakarusa. With an eclectic lineup and the Waka Formula fully intact, fans can rest assured that the festival will once again go off without a hitch and the “waka waka waka” phrase (that never gets old over the anticipated weekends in Arkansas) will be yelled on high with an element of wonder that only attendees and previous attendees can fully understand.

This past weekend, Wakarusa vets and Perpetual Groove held their annual Memorial Day weekend “ice cream social” where state of mind reigns supreme, Amberland. While on the scene at the event that breathes “family reunion” much more than it does “festival,” front man Brock Butler and tickler of the PGroove ivories, Matt McDonald, sat down to play a few tunes — dedicating one to the forthcoming weekend. 

As an added bonus, Matt — who recently rejoined his Perpetual comrades after a multi-year hiatus — invited his much prettier half to join in on Ashtar Command’s “Deadman’s Gun” to add an always welcome female pitch to the selected tune’s harmonies.


So sit back, relax and enjoy as Honest Tune and GrooveStreet.TV look forward to Wakarusa with Perpetual Groove: Live, Backstage & Unplugged.  Oh, and if you haven’t already… head over to, make the purchase of tickets that you know you should and hit up the two sets of Perpetual Groove this Thursday and Friday evening.



Perpetual Groove: “Deadman’s Gun” Live, Backstage & Unplugged




Grace Potter: Live, Backstage & Unplugged

It is official: our Grace Potter is a star. The trajectory of Grace Potter’s career has been awe inspiring. Through relentless touring, smart decisions and a work ethic that would make a horse blush, she and her band of Nocturnals have gone from a solid festival billing to the red carpets of some of the most prestigious events.

Those who credit looks for the success do so at their own peril because while there is no doubt that Grace and the Nocturnals are a beautiful bunch, the pot of gold at the end of the rainbow has always been the music that they create. We were fortunate enough to have the perfect example of this played exclusively for us while on the scene at Beale Street Music Festival.

From the forthcoming album, The Lion The Beast The Beat (due 6/12), “Stars”is a deeply personal number that once again demonstrates that there is much more to Grace Potter than a pretty face. 


So sit back, relax, watch, listen and enjoy as as Honest Tune present Grace Potter: Live, Backstage & Unplugged.


Grace Potter: “Stars”

For more on Grace Potter, log on to





The Infamous Stringdusters unveil The Festy Experience lineup, Early Bird tix on sale (VIDEO)


The Infamous Stringdusters have created something grand just outside of Charlottesville with The Festy Experience and with this year’s lineup and announcement that the festival will now take place over three days rather than two, it appears that things will be even grander than in years’ previous.

Just have a read, look and listen to Honest Tune’s extensive coverage. But before you do, save yourself some time, grab your tickets and pack a bag!


[ws_table id=”5″]

The Festy 2012 Lineup


The Infamous Stringdusters
Trampled By Turtles
Leftover Salmon
Keller & The Keels
Elephant Revival
Nicki Bluhm & The Gramblers
Floodwood (ft. Al Schnier & Vinnie Amico of moe.)
Tony Trischka
Sarah Siskind
The Steel Wheels
Carl Anderson
Josh Panda & the Hot Damned
Della Mae
Margaret Glaspy


…and more, coming soon…



Festy Experience 2012 Video Lineup Announcement