Tag Archives: Mike Gordon

Into The Matrix With Mike Gordon

Mike Gordon

March 9, 2014

The Barrymore Theater

Madison, WI


(Photos from 3/6/14 at the Orange Peel, Asheville, NC)



Gordon 2Velvet curtains adorned the stage, creating a lush backdrop behind the guitar and bass rigs, the drum set, and the full percussion and keyboard stations. They were maybe eight feet tall, like massive shojis, layered around the drummer’s lifted kit.


The show was called for 7:30, but it was a Sunday night and a few minutes past showtime, the room was virtually empty, save a few fans in Phish t-shirts and dreadlocks milling by the stage. The lights went down around ten minutes to eight, and some serious group-think intuition kicked in: the room was suddenly packed.


Phish bassist Mike Gordon has been touring with this group, or some incantation of it, since 2008. Joining him on stage are Scott Murawski on guitar, Todd Isler on drums, Tom Cleary on keys and Craig Myers on both organic and electronic percussion.


Mike came came onto the stage looking very European, his hair quaffed appearing almost windswept to one side, zippered jacket and a flowy scarf. He offered a sudden shout into the mic and Isler laid down a beat that quickly transitioned into “Babylon Baby”, a funky song with elements of country and calypso and transitions that sounded like something out of the Umphrey’s McGee playbook.


Then the band launched into “Traveled Too Far” and immediately the set took on a life of its own. Smoke started billowing from behind the curtains, brought to life by swirling lights and electric movement. As the jam grew, the lights followed, and suddenly Gordon 3Mike’s bass and Murawski’s guitar began glowing in the dark. But they weren’t glowing in the dark, so much as they were alight with neon colors. The instruments began pulsating and changing as the song progressed. They were green, red, blue, yellow, like a disco ball was devouring a beach ball and trying to pass it, right there on stage.


In the middle of the jam, the band cut out and Mike launched into a gospel, bluegrass a cappella track that started with the observation that “Some people drink champagne under the stars.” It was easy to imagine why Mike’s mood took him there; the ceiling of the Barrymore Theater glows with little, flickering stars.


Gordon 4


Murawski launched the band into the dirty blues “Cruel World”, taking lead vocals on the first of several songs of the evening. Murawski is an amazing guitar player; at times reminiscent of Kimock, at other times Herring, but a musical personality that is all his own. It is easy to see why Mike would be so comfortable playing alongside him. He readily dips his toe in the diminished sounds of Anastasio, but has a brightness deep within him that pushes its way out on every track.

His guitar solo led to a raging keyboard solo from Cleary that quickly moved into a screaming organ solo, over which the band jumped seamlessly into a Cuban groove that dissipated as quickly as it had begun, as the band made way for Myers, who pounded away on his djembe, before leading the band back into the blues riff and the final verse of the song.


The band played “Meat”, their first of two Phish songs of the evening. It was a strange rendition, the playing solid, but the sound seeming to be coming through strange and intentionally-over-programmed filters. It sounded like an AI re-creation of a fan favorite, programmed to binary and then unpacked back into its beloved shape. During the vocal breakdowns of the chorus, Mike Gordon 5sounded like he was singing through an oil drum, Murawski through a tin can. At this point in the evening, Cleary had made the switch from hand drums and tambourines to drum machines and beats. They played with the noise of the evening while the light show captivated. This was no Phish light show, wowing with lasers and strobes, it was very much its own creation: Mike’s Matrix perhaps? The light show ensconced the stage in ways that were more The Flaming Lips than Phish. As the music pulsated, the room shook. As the band grooved, the staged danced. The curtains came alive, and flowed along with the crowd.


Mike put down his bass and announced he had never played a bouzouki in public before. He quickly amended to admit that he had hardly ever played one at all. But that didn’t stop him from leading the band through “Pretend” on the quirky eight-stringed instrument. Murawski took over the low-end for the song on the U-Bass, replete with an epic solo on the tiny instrument.


Mike then made a joke that not only was this his first time playing the bouzouki, but it was his first time in a sensory deprivation chamber. And it was true, the light show, quirky dancing of the band and the constant array of unexpected surprises, both visual and aural, seemed like something that could have existed in a trippier, less angst-filled version of A Clockwork Orange. The band finished out the set with “Spock’s Brain,” “Andelman’s Yard” and “Tiny, Little World.”


The second set opened with the introspective funk song, “Paint,” then followed with “Face,” another one off of the new album. The crowd got their first slap bass solo of the night, before the lights brought everyone back into Mike’s special Matrix. The band played “Peel” and throughout, the sound grew and morphed, introducing elements of gypsy, prog rock, reggae and more than a few moments that could best be described as something off the soundtrack of a circus that has clearly fallen off its meds.


Cleary introduced “Twists and Bends,” a quirky, “Poor Heart” meets-NOLA love song to his 1990 Honda Accord. Murawski led the band through Al Green’s “Rhymes,” a song that is darker in content than its groove is ready to admit.Gordon 1


The band closed out the set with “Hap-Nappy,” which broke open in the middle with a monster jam, lights literally raining down on the stage. They took huge breaks, each member of this massive ensemble getting the chance to shine. The band jumped up and down, the guitars glowed, all of the evening’s previous light tricks seemed to spaz and seizure, entering and exiting the mix almost without rhyme or reason. They peaked the jam, then pushed through and peaked it again. When the tight ending finally hit, the crowd took a moment to regain themselves, but just a moment, before crying out for more.


The encore was only one song, but it was a good one. They closed the night with “Cities,” by Talking Heads. Then the five of them came to center stage, took a much deserved bow and disappeared into the curtains, the fog and the magic of Mike’s Matrix.


Follow Josh on twitter @jlemonsk

Mike Gordon’s new album Overstep avaliable for pre-order

Honest Tune Magazine - Phish - Noblesville, IN Deer Creek - 2012-06-28On February 25, 2014, Megaplum/ATO Records will release Mike Gordon’s new studio solo album, Overstep. It is available for pre-order now at Mike’s Store and Phish Dry Goods on both CD and a 2-LP blue vinyl set. Overstep is Mike’s fourth solo studio album, following Moss, The Green Sparrow, and Inside In.  “Ether,” the album’s opening track can be streamed here.

Gordon and Scott Murawski penned the songs for Overstep during a series of writing retreats in New England. He turned over the producing reins to Paul Q. Kolderie (Radiohead, Uncle Tupelo, Pixies) and invited a few new players into the studio, including legendary drummer Matt Chamberlain (Jon Brion, Fiona Apple). Distant industrial noise gradually gives way to lush guitars and welcoming vocal harmonies in “Ether,” the album opener (listen to the track here), while “Jumping” is a rhythmic puzzle box, detailing a series of thoughts that take place in a fleeting 1.5 seconds.

Many of these songs promise huge payoffs in a live environment, most notably two plunging grooves that seem capable of bringing a house down. “Tiny Little World” opens with a polite reverie about a fetching woman in a coffee shop, but morphs quickly into pulsing boogie as the narrator is carried away by desire and bravado. Debauched exhortations to dance surface again in “Face,” which chugs along atop Chamberlain’s simple but undeniable pocket.

The songs on Overstep also speak to Gordon’s evolving ability to develop three- dimensional characters, and to speak more directly to the truth of their condition. He hasn’t lost his appetite for metaphor, and he still leaves plenty of room for interpretation, but listeners may find themselves recognizing the human portraits in songs like “Say Something” and “Paint” in a way they haven’t in Gordon’s previous albums. Still, happily, Gordon embraces absurdity as he always has – conceptually, lyrically, and musically.

Bundles with t-shirts, record player slipmats, and more are also available. Everyone who orders from Phish Dry Goods or Mike’s online store will receive an autographed copy of the album, and be automatically entered to win a set of the original vinyl test pressings and tickets to a show on his Spring Tour. Pre-order Overstep today.

Overstep Tracklist

1. Ether (6:18) – LISTEN NOW

2. Tiny Little World (4:50)

3. Jumping (3:28)

4. Yarmouth Road (4:41) – LISTEN NOW

5. Say Something (3:57)

6. Face (5:08)

7. Paint (3:34)

8. Different World (4:05)

9. Peel (5:03)

10. Long Black Line (3:33)

11. Surface (4:43)

Phish, 7/16/13

Verizon Wireless Amphitheater
Alpharetta, GA
July 16, 2013

Set I:  Kill Devil Falls, Mound > Bathtub Gin, Army of One, Rift, Horn > Possum, Pebbles and Marbles, Ocelot > Cavern > Run Like an Antelope

Set II:  Rock and Roll > Heartbreaker > Makisupa Policeman > Chalk Dust Torture > Wilson > Tweezer > Silent in the Morning > Birds of a Feather, Joy > Harry Hood > Character Zero

Encore:  A Day in the Life > Tweezer Reprise

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

Phish cohesively take the South


Alpharetta & Charlotte
June 14 & 17, 2011


With the wind at its back after what was unequivocally the most sustained run of post-hiatus greatness, Phish made their way into the south for a four night run that began just outside of Atlanta and wound through the Carolinas.

It can safely be said that there is nothing quite like a Phish show. With eye-splitting lights, nuances galore and a language entirely unto itself and its devoted flock, Phish is an institution in the world of improvisational music. But this is not to say that they can do no wrong. In fact, over the past few years, they have had a hard time doing much right in the eyes of fans whose geeky adoration of their beloved foursome is equaled only by their love of stats, dissecting critique and cynicism. Herein lies an easily misunderstood portion of the Phish beauty… love through hate is perfectly acceptable.

But something strange had happened since the opening notes at the summer 2011 tour opener in Bethel some one month earlier; a unification and excitement had begun to swirl past any point since the inception of 3.0 (sans Hampton). “What ultimately united the mass?” one may ask. Well, it was the music of course – well played orchestrations of Phishy complexities. But above and beyond this, Phish was jamming again.


Verizon Wireless Amphitheatre at Encore Park
Alpharetta, GA
June 14, 2011


5.jpgAfter two solid performances on its stage last year over Independence Day weekend, signs pleading for various tunes were held high; the Phish faithful were primed for the moment when their darling quartet would (once again) grace the sold-out Encore Park stage.

To uproarious celebration, and after a quirky exchange between guitarist Trey Anastasio, bassist Mike Gordon and ivory tickler Page McConnell (the content of which one can only guess) and a call out from Anastasio informing that the opener was being played for “that guy over there with the green shirt” – the band surprisingly busted into “Dinner and a Movie.”

There was nothing especially unique about the rarity (which had only been played three previous times during this 3.0 era), one thing that it did do was prove how invested each member of the band is; with drummer Jon Fishman sounding as good as he ever has. There wasn’t even a notion of a miscue. It was hearty, short and sweet; but most of all, it was fun and served as an off-the-bat reminder that our boys were back in town.

As the set reeled, the songs rolled with concise play of various pieces from the extensive catalog.  “Fluffhead,” a song that was virtually untouchable pre-3.0, was definitely worthy of mention. The gem that declared Phish was back at Hampton in early 2009, an event that now seems so long ago, was played on this night with a jazzy element that was primarily infused through the ivory work of a constantly smiling McConnell, but naturally never veered too far off of its heavily composed course.

To close things out for the set, Vermont’s Phinest had a nice little exploratory series of punches consisting of “Bathtub Gin” and Traffic’s “Light Up or Leave Me Alone” >  “Cavern.”

26.jpgOf the three, “Gin” and “Light Up” were the showcase numbers of the run and set on its whole. Both numbers were played with a sense of journey and never lost cohesion. It was improvisation with a purpose and it was as though both crunchy tunes were born from one another and united to provide their listeners with a mental escape that was sonically pleasing through sufficient buildup. It was beyond catch-and-release or bait-and-switch jamming that is standard at any jam show. It was the organic chemistry that made most of us buy the Phish product in the first place.

After the set break and meetings, conversations, and the copious amount of pissing that inevitably ensues, set two immediately got off on the right foot with the ever-engaging “Carini” that brought out the low end Mike-play that has been even more prominent than per usual since Mike’s latest tour on the heels of his solo effort, Moss. But while “Carini” was great (with ample Trey shredding) and served its purpose, it was the post “Sand” portion of the set that would prove to be a highlight on its whole.

Though this is perhaps a solo observation, it is important to look at the 2nd through 10th songs as a collection as opposed to individual numbers.

Beginning with an ominous and equal parts owned “Disease,” the set progressed through a segued “Maze” (in all of its glory) before the trance-driven introspection that these tunes brought about made its way into the manic “Meatstick” that, while lacking in anything spectacular, cemented the notion that 1999 called, Phish answered, said hello and embraced the year with a warm hug.

Though there was the obvious inclusion of the “Meatstick” dance that first appeared on 7/4/99 at the nearby Lakewood Amphitheatre in Atlanta, there was more about the set that screamed turn of the millennium. It was the emotive “Bug,” the ripping “Also Sprach Zarathustra (2001)” and the “Maze” that included the tail-ending ’97 funk, space-noodling and yielded intensity for which 1999 is famous.29.jpg

But with revisiting an era aside, the set’s seemingly deliberate cohesion was what stood out most. It was as though it was designed as a story and it was this aspect that was most inspiring about this night. Further, the guys were all on the same page whether during the portion of the voyage that sailed through “2001” and its inbuilt liftoff or during the subdued “Bug” where all realized that “it doesn’t matter anyway.”


Verizon Wireless Amphitheatre
Charlotte, NC
June 17, 2011


The air in and around the Verizon Amphitheater in Charlotte, North Carolina was thick – thick with heat and humidity, and thick with anticipation and excitement. Dark clouds were rolling in, and for those who had also been in attendance for second of night of Alpharetta, this brought back memories of the deluge that soaked us not once, but twice.  As show time drew closer, the venue filled in while the energy and vibe in the pavilion began to match the intensity of the Southern June weather.

With eyes glancing nervously towards the threatening shapes in the sky, folks from all different walks of life swapped stories of terrible show storms throughout the years.  Then the house music cut off, Kuroda’s lights came on, and Phish took the stage to a welcoming roar that seemed to say, “We stuck it out with you through a monsoon on a Wednesday night, and now Friday is finally here and we want to get down.”

The guys from Vermont responded when Trey Anastasio grabbed a “Mike’s House” sign out of the crowd and swiftly launched into a somewhat brief, but ripping “Mike’s Song” that had bodies moving and faces smiling right out of the gate, despite the fact that he started in the wrong key while trying to play with the sign in his mouth.

As sweat began to pour heavily, the rocker dropped into the slow, melodic beauty of “I Am Hydrogen” before winding into, of course, the bass-driven “Weekapaug Groove.” Even though “Weekapaug” did not break any new ground, it was still extremely danceable and fun, and when it reached its conclusion, the crowd responded with yells and nods of approval in response to at the opening trio of song selections.

16.jpgThe heat inside the venue was now suffocating, and a cool-down was in order.  “Bouncing Around the Room” and “Sample In a Jar” bookended “NICU” which, as per usual, showcased bright offerings from Page McConnell after a call for “Page’s House” (a reoccurring theme of the tour) from Trey instead of the normal “Play It Leo.”

Then the show took off once again with the first “Colonel Forbin’s Ascent” and “Fly Famous Mockingbird” since the 4th of July show in Alpharetta a year ago.  Similar to the 2010 offering in that there was no narration in between the two songs (though Trey did point out the man’s face on the t-shirts that he and Mike were both wearing), they were both, however, nearly flawlessly performed in sharp contrast to the sloppy versions  of the year before.  The crowd showed its appreciation and Phish shifted gears with the hard rocking “Axilla” before sliding into the funk of “Wolfman’s Brother.”  All four members synched up quickly and moved as one through the super gooey textures as the jubilant crowd grooved.

“Scent of a Mule,” which saw Page absolutely crush the ivories, and the set-closing “Stealing Time From the Faulty Plan” with extra-spicy licks from Trey, concluded the first-set.  High-fives were exchanged throughout the crowd, and conversations moved from discussing the quality of the opening frame to the inevitable second-set predictions.  We had dodged any potentially severe weather, and Phish had raised expectations and questions.  What would the next frame bring us?  What, if anything, did the lack of narration in “Forbin’s/Mockingbird” foreshadow?  What the hell were those t-shirts about?

After a seemingly shorter than usual set break, Phish opened the second half up with the too often played “Backwards Down the Number Line.”  This version featured none of the experimental or exceptional jamming of most recent appearances, though this truncated offering did allow most fans to get back to their seats after standing in the long bathroom lines that seem to plague this venue even more than most.  Having settled back in, most people were ready when the set then began in earnest with the Velvet Underground’s “Rock and Roll.”21.jpg

Page and Trey jointly crushed the anthem for a minute or two before quickly taking an exploratory turn into a brand new theme wherein Jon Fishman switched to a more groove oriented beat as Mike Gordon, Page and Trey chased each other through multiple measures of pure fun.  Things then got good and spacey as Trey found an uplifting melody that eventually dissolved and turned darker before morphing into only the second “Story of the Ghost” of the tour.

Wasting no time, the band cohesively constructed a playful sketch that nearly broke down before being reborn into a “Bathtub Gin” like jam.  Growing and soaring until it peaked hard, then reloaded and peaked again, this seemed to be the musical highlight of the evening; and as far as experimental jamming goes, it certainly was.  As the second peak subsided, Mike led the charge into yet another section with his fast-paced, popping bass-lines that soon landed us in the former jam-vehicle known as “Free.” Despite the fact that it has not been extended in what seems like forever, “Free” was still a great song and a wonderful way to come back to Earth after the improvisational one-two punch of “Rock and Roll” and “Ghost.”

Phish then dropped the other musical highlight of the second-set, in the form of the always welcome mistress of the night, “Reba.” Sailing through the zany lyrics and the intricate compositions with hardly any miscues, they reached the final, or “jam,” segment exuding the confidence of four musicians completely locked in together, making the quieter section seem more delicate and beautiful than it has in a long time.   Fishman heightened the speed and complexity of his beats, and Mike’s increasingly pronounced bass lines provided the counterpoints to Page’s angelic piano work.  Then Trey came in over top with those lovely guitar leads that tickle your brain and pull at your heart: emotional, thrilling, and beautiful.

30.jpgNow, in the spirit of full disclosure, upon re-listen, there are three or four instances where Trey hits a sour note before quickly sliding into the perfect note.  Yet, for those who were locked in to the soaring, ethereal climax, those “bad” notes seemed to go unregistered by the brain in the moment, overruled by either the heart or the spirit that chose to only acknowledge the transcendental power of “Reba.”

An already great show was then elevated, to howls of pure ecstasy, even further by only the third “Icculus” post-1995.  The t-shirts from earlier in the show were shown on the screens, and the man whose picture graced the front of said shirts (local musician David Mayfield) was purported by Trey to be the man who wrote “The Helping Friendly Book.” Trey did not have much to say other than, of course, “Read the Fucking Book!”  But what else really needs to be said anyway?  The Phishy silliness continued as Trey took a seat at the drum kit so Fishman could come out front and center to sing Syd Barrett’s glorious “Bike” and take a vacuum solo.

Short versions of the rock-anthem “Chalk Dust Torture” and the always fun and funky “You Enjoy Myself” wrapped up the incredible second-frame.  Fireworks, originating from someone in the parking-lot, exploded into the sky towards the end of “Y.E.M.” in an apparent answer to the pyrotechnics that had been emanating from the stage nearly all night.  When the band finished the vocal jam, the crowd responded with well-earned adulation for the night of transformative music, read-icculus humor, and ass-shaking good times.

Coming back out, Phish launched into the first “Wilson” encore since 1998, but cut it very short to make room for the all-too-oft encored, “Loving Cup” (Rolling Stones).  The audience appreciatively erupted once again as the band left the stage for the final time that night, for most knew that they had received a stellar show that contained almost all of the elements that make Phish…Phish.  All questions had been answered in a resounding positive way, at least for one night anyway, and the guys from Vermont sent a message for the second year in a row, do not miss a Friday night show in Charlotte.




I:  Dinner and a Movie, The Moma Dance > Possum, Cities > Fluffhead, Ocelot, Ginseng Sullivan, Kill Devil Falls > Bathtub Gin, Light Up Or Leave Me Alone > Cavern
II: Carini > Sand > Down with Disease > Maze, Meatstick > Also Sprach Zarathustra > Bug > A Day in the Life > Run Like an Antelope
Encore: Quinn the Eskimo

Download the audience recording of this show here.



I: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Bouncing Around The Room, NICU > Sample In A Jar, Colonel Forbin’s Ascent > Fly Famous Mockingbird,
Axilla, Wolfman’s Brother, Scent Of A Mule, Stealing Time From The Faulty Plan
II: Backwards Down The Number Line > Rock & Roll > Ghost > Free, Reba, Icculus, Hold Your Head Up, Bike > Hold Your Head Up, Chalk Dust Torture, You Enjoy Myself
Encore: Wilson > Loving Cup

Download the audience recording of this show here.



Mike Gordon : The Green Sparrow

mike_gordon_tgs.jpgThe break-up of Phish in 2004 has offered a new perspective on the quartet, it’s members  stepping out on their own, their solo projects deconstructing the band’s sound. Trey Anastasio, the “early adopter” of solo projects, is defined by quirky lyrics and guitar pyrotechnics. Keyboardist Page McConnell illuminated his ivory-plated heart-strings on last year’s eponymous debut. And despite a long history of sit-ins, backing appearances and collaborations, and a far-reaching, odd debut solo album, bassist Mike Gordon finally brands his sound with his sophomore release, The Green Sparrow.

Continue reading Mike Gordon : The Green Sparrow

Marco Benevento: Live At Tonic

One album could never encapsulate the range of music played from the stage in a single nightclub over its 9-year tenure, but Marco Benevento isn’t one to accept “never.”  Tonic shut its doors after nearly a decade of bringing avante garde, creative, and experimental music to the Lower East Side of Manhattan to the dismay of many, including Benevento who, with Live at Tonic, offers a three-disc retrospective of his month-long residency at the club in November 2006.

This sprawling work springs from improvisation, while covering the entire musical map.  Benevento riffs on Pink Floyd’s “Fearless” with the help of Reed Mathis and Matt Chamberlin, haunts the corners of “Carnival of Souls” alone with dripping synth, and bangs out Benny Goodman’s “Moonglow” with unfettered bravado, joined by Mike Gordon on bass.

Intermingled are choice forays into sound, whether playing as a duo, a trio, by himself, or on a night of drumming with the help of Joe Russo, Bobby Previte and Mike Dillon.

While Live at Tonic will stand as a fitting reminder of the club and its mission, the casual listener may get lost in the noise and unflinching experimentation.  For those willing to dive headfirst into Benevento’s world – a place where composition means little and exploration means everything – the reward is an impressive snapshot of Tonic taken by one of today’s finest keyboard alchemists. 


Live At Tonic will be released August 7 on Rope-A-Dope Records


The Rhythm Devils take flight this fall

The Rhythm Devils have confirmed a string of dates this fall at theatres across the country.  The new super-group which features Mickey Hart and Bill Kreutzmann of The Grateful Dead, Mike Gordon of Phish, and the ubiquitous Steve Kimock first came together this past spring in New York City.  After a mini-tour in August that included The Gathering of the Vibes Festival, The Rhythm Devils are poised to return to the road this October leading up to The Vegoose Music Festival.  The October dates will also feature vocal sensation Goapele and talking drum master Sikiru Adepoju.

In August, the band debuted new original material penned by Grateful Dead lyricist Robert Hunter including “Fountains of Wood,” “The Center” and “Who Do You Think You Are.”  The group also dipped into the Grateful Dead songbook highlighted by “The Other One,” “Sugaree” and “Comes A Time.”  In the spirit of collaboration, The Rhythm Devils have welcomed many special guests at their recent appearances including Bob Weir, Charlie Musselwhite, Babba Maal, Angelique Kidjo, Stephen Perkins, and the legendary newsman Walter Cronkite.

Hart and Kreutzmann's remarkable cohesion, synchronicity, and driving power became a hallmark of the Grateful Dead's sound for over thirty years, earning them the nickname The Rhythm Devils.  The percussive duo's sole release was The Apocalypse Now Sessions for which they were recruited by director Francis Ford Coppola to bring together the myriad sounds and colors for the legendary film.

Both men have kept busy over the years participating in numerous projects from the Grammy winning percussive super-group Planet Drum which brought Mickey together with Zakir Hussain and many of the world's best drummers, to the one-off power trio SerialPod in which Kreutzmann collaborated with Trey Anastasio (Phish) and Mike Gordon.    Steve Kimock appeared in both The Other Ones and Zero while Mike Gordon has clocked in the better part of the past twenty years with Phish.  This marks the first time that Hart, Kreutzmann, Gordon, and Kimock have toured together as an ensemble.

One of the R&B world’s freshest commodities Goapele, will also be joining The Rhythm Devils for their extended October run.  Goapele has released two critically acclaimed albums via Sony/Columbia and is ready to expose her wonderful talent to a new audience.  Sikiru Adepoju has collaborated with Mickey Hart in past incarnations of Planet Drum.  Sikiru is known as one of the most accomplished Talking Drum players in the world and brings his uncanny sensibilities to the Rhythm Devils mix.

The Rhythm Devils kick off their fall tour on October 17 at The Sunoco Theatre in Harrisburg, PA before heading to The Starland Ballroom in Sayersville, NJ.  Stops in Ohio include Columbus’s Promowest Pavilion, Toledo’s Stranahan Theatre, and The House of Blues in Cleveland.  The band will hit the Midwest with a special show at The Chicago Theatre on October 24 and The Riverside Theatre in Milwaukee on October 25.  The tour wraps up at The Vegoose Music Festival on October 29.  Tickets for all shows will be available through GDTSTOO at www.gdtstoo.com.  Check out www.rhythmdevils.net for photos, mp3s, and the new Rhythm Devils online store.

10/17/06        Harrisburg, PA          Sunoco Thr.
10/18/06        Sayersville, NJ         Starland Ballroom
10/19/06        Columbus, OH            Promowest Pavilion
10/21/06        Toledo, OH              Stranahan Thr.
10/22/06        Cleveland, OH           House of Blues
10/24/06        Chicago, IL             Chicago Thr.
10/25/06        Milwaukee, WI           Riverside Thr.
10/29/06        Las Vegas, NV           Vegoose Music Festival