Photographer: Greg Gouwens
Once again, moe., Umprey’s McGee will be joined by Widespread Panic, The Steve Miller Band, Keller Williams, Big Gigantic and dozens of bands from every genre are converging on Chilcothe, Illinois for a massive musical Memorial Day weekend at the Summer Camp Music Festival. With acts from around the world like the John Butler Trio, Gaelic Storm and Xavier Rudd performing alongside bluegrass all stars like Greensky Bluegrass, Yonder Mountain String Band, Floodwood and The Infamous Stringdusters you’ll never know where your musical journey across the multiple festival stages will take you. Jamtronica pioneers STS9, Future Rock and The New Deal will share the stage with DJs Paul Oakenfeld, A-Trak and Griz to take the crowd from trance mode to full freak out with their deep grooves and bass drops Funk stalwarts Karl Denson, Dumpstaphunk, The Nth Power and Victor Wooten will line up alongside old school legends like the aforementioned Steve Miller, The Violent Femmes and Bruce Hornsby there is LITERALLY something for everyone at Scamp.
Scamp also delivers on the fun factor with special events like Field Day, where traditional camping games like dodgeball and capture the flag get a modern updating and a rock and roll edge. The Soulshine Tent brings a number of work shops and susatainabilty exhibits to help illustrate the benefit of working together, raising the levels of mind and body connections to make the world a safer, more ecologically sound place. Several noted live painters will be on hand, blending their command of shape and color with the music they hear to create works of art that could only be created in the moment.
With close to a hundred bands filling the days and nights with song, dozens of vendors providing a wide array of savory food choices, artisans of all types sharing their creations it is indeed a fitting way to thank those who gave all for our great nation…a celebration of our way of life at it’s finest. We here at Honest Tune can’t wait to see your smiling faces at Three Sisters Park to once again honor our national spirit and rock the night away!
For tickets to the Summer Camp Music Festival, click HERE
If the band moe. was a baseball team two things are for sure…percussionist Jim Loughlin would would be a lock to start as utility infielder and they would probably lose every game because there are only five of them. Luckily for the world, they are more focused on making music instead of double plays. While Loughlin takes his role in the band seriously, he still manages to inject his sense of humor to the proceedings as he nimbly jumps from instrument to instrument, keeping time and filling the nooks and crannies with sound. Honest Tune caught up with him at the bands stop at Cincinnati’s Moonlight Gardens and got a peek into his elaborate maze of instruments, his inspirations and his methods for keeping his sanity in an insane world. Enjoy!
Available May 27, 2014 on Sugar Hill Records, moe.”s new album No Guts, No Glory finds moe. at their most inventive and resilient. The album”s eleven songs (fourteen on the deluxe CD, digital, and double vinyl editions, and features artwork by Emek) took a winding path into existence. “These songs were written with an acoustic album in mind,” says guitarist and vocalist Chuck Garvey. When that original intention fell victim to logistical hurdles, Garvey says, “we ended up making a whole different thing.”
That “different thing” turned out to be a vibrant collaboration with longtime moe. ally Dave Aron. Aron has distinguished himself over the past twenty years as a go-to hip-hop engineer and producer, facilitating albums by Snoop Dogg, Tupac Shakur, Dr. Dre, and many others. “But he”s also worked with Prince and U2,” moe. drummer Vinnie Amico explains. “Hip-hop is where he carved his niche, but he”s got an ear for rock.”
The acoustic foundation of No Guts, No Glory adds a buoyancy and richness to the album”s songs and performances, which are put across with an energetic, spontaneous feel true to moe.”s well-earned reputation as as a casino online thrilling live band. “Dave basically wanted to emulate a show,” says percussionist Jim Loughlin. “He was focused on the vibe.” Acoustic instrumentation, from mandolin to vibes, is woven into the album”s multi-textured fabric, enhancing songs as diverse as the expansive psychedelia of “Silver Sun,” the churning, rootsy “Annihilation Blues,” and the languid, loungey “Same Old Story.”
“Looking back,” reflects guitarist and vocalist Al Schnier, “the thing I was most surprised about was just how easy this record was to make. After all the initial setbacks, once we got down to it, everything just seemed to take shape, and it came out great. I doubt that it would come out that way without Dave on board.”
“Basically,” concludes bassist and vocalist Rob Derhak, “everything we started out to do turned into completely something else. An album that was supposed to be an acoustic based album recorded in a barn turned into a hard rock album recorded in Connecticut with a hip-hop producer. Go figure. Typical moe.”
No Guts, No Glory track listing:
01. Annihilation Blues (Garvey)
02. White Lightning Turpentine (Derhak)
03. This I Know (Schnier)
04. Same Old Story (Derhak)
05. Silver Sun (Schnier)
06. Calyphornya (Derhak)
07. Little Miss Cup Half Empty (Schnier)
08. Blond Hair And Blue Eyes (Derhak)
09. Do or Die (Schnier)
10. The Pines And The Apple Tree (Derhak)
11. Billy Goat (Derhak
moe. is excited to announce that moe.down 15 will take place over Labor Day Weekend, August 29, 30 & 31, at Snow Ridge Ski Resort in Turin, NY, for three days of music, camping and fun, with moe. scheduled to play six sets over the entire weekend.
Â Snow Ridge is the same place moe.down has been held for thirteen of its fifteen years. First round bands in this year’s announcement include O.A.R., Lotus, Les Claypool’s Duo De Twang, Soulive, Twiddle, and Aqueous.
Â Tickets go on sale, Saturday, February 22, at noon ET. A limited number of Early Bird tickets are available at $120 and Early Bird VIP at $320. For more information about tickets and VIP packages, please go to www.moedown.com.
For more information on moe.down 15:
February 15, 2013
Set: Plane Crash, Sticks & Stones, Bullet, Opium > lylelovit, TIAA, Paper Dragon, Brent Black > CIA > Silver Sun, NYC, The Pit > Big World > Ricky Martin > Bearsong
Encore: Low, Wicked Awesome
Click on the thumbnail(s) to view photos from the show byÂ Brad Kuntzâ€¦
The Allman Brothers Band (w/ moe.)
Chastain Park Amphitheatre
August 1, 2012
In what many coined a “hometown show,” the band that once called the Peach State “home” and the undeniable heroes of southern jam-rock, The Allman Brothers Band, stopped in Atlanta for for a foray at Chastain Park Amphitheatre for the first time in four years. In tow was a group of five guys, also known as moe., who served as the opening act for the evening.Â
Early in the evening, fans knew that things would be special when Allman guitarist, Warren Haynes, stepped out during moe.’s set for a not-so-subtle sit-in during “Opium,” the band’s opus from 2001’s Dither. Penned by bassist and vocalist, Rob Derhak, the tune is a spiraling ode to the poppy nectar, and on this night, it served as the highlight (courtesy of an all parts equal six-stringed assault from Haynes and moe.’s Al Schnier and Chuck Garvey) of what was an otherwise lackluster but nicely lubricating set.
Opening the evening with “One Way Out,” the band landed in “Statesboro Blues” and from there, it was one hit after the next, leaving jaw-dropping fans of both old and new in the wake.
As is par, the summer night’sÂ humid Atlanta air was as thick as grits and as damp as an otter’s pocket. Oddly enough though, it was perfect; each note, whether those sliding from the guitar of Derek Trucks or an elongated A7 from Gregg, seemingly taking just a bit longer to break the barrier between amp to soul. It was as though that smidgen of time allowed for more anticipation and therefore, more satisfaction once tasted.
Much ado has been made over Gregg’s health recently and rightfully so. With the all too unfortunate autopen-gate in May, Allman was forced to admit that much of the recent speculation has been true. But judging by the performance in Atlanta alone, one would clearly call any talk of health problems “shenanigans” or merely attribute it all to the natural issues that come with getting older. His ivory-tickling was completely audible and clean, his voice was clear and his posture was erect as he watched over bassist, Oteil Burbridge, and guitarists, Trucks and Haynes, with the commanding eye of a statesman and the glimmering pride of a father.
As noted above, the majority of the night could have very well served as a very well played “greatest hits” outing, interspersed with truly grand covers. It all come complete with “Whipping Post,” “In Memory of Elizabeth Reed,” “Dreams” and “Born Under a Bad Sign”(ft. William Bell) and “That’s What Love Will Make You Do” (ft. Ike Stubblefield) amongst others. The only thing missing was a bit of bit of “Melissa” under a “Blue Sky,” as Derek and Warren played off of each other as an ongoing Duane Allman montage was projected behind them, causing those who saw Duane play both miss him and appreciate the two before them in an incongruous series of emotional back and forth –Â while those that never did wondered what it was like.
As the night was clearly drawing to a close, something that many had predicted but none were too sure of happened when moe. guitarist, Al Schnier, and percussionist Jim Loughlin rejoined the stage for a cover of the Grateful Dead’s “Franklin’s Tower” that was vocally led by Oteil and made every deadhead in the crowd beam as they celebrated Jerry Garcia’s birthday in style with The Allman Brothers Band and guests from a band with much stature unto itself. History buffs recalled the time that something similar happened — when moe.’s Garvey, Loughlin and drummer, Vinnie Amico joined up with ABB for the same song at the annual “Another one for Woody” gig in late 2010 — while the rest simple basked in the glory of the gift they were being given.Â With Schnier taking the first solo and ABB’s Trucks and Haynes taking the second and third, the adoring Chastain throng fell victim to an onslaught that superseded face melting… it was mind ripping.
After serving up the aforementioned serving of “Liz Reed” and the encored “Whipping Post,” fans began that walk out into the night. It was clear, from the drenched shirts and wide eyes of the souls that trudged the stairs and traversed the aisles, that the evening had been one that will be recalled for quite some time and possibly for as many different reasons as there were patrons in the house.
Night in and night out, one doesn’t necessarily know what he will get from ABB. With Gregg and even Jaimoe, age and health cannot help but cause the occasional flare-up. However, when this band is on, they are as on as any band currently out there, if not markedly better. In many ways, time has served to age the Allman blend in the way in which it does wine. For those who can appreciate that, they know that when the taste is sweet, it erases any memory of bitterness.
To buy a soundboard copy (CD) of this show, hit up our friends at Hittin’ The Note.
Click the thumbnail(s) for more photos from the show by Lisa Keel…
Follow Lisa’s Peachtree Images on Twitter.
— Honest Tune Magazine (@HonestTuneMag) August 14, 2012
By Rex Thomson
With a new album, What Happened to the La La’s, recently released, moe. took the stage at Nashville’s Cannery Ballroom in Nashville with fresh energy and new things to say… and apparently a lot of people wanted to hear it.
A sellout crowd filled the converted warehouse wall to wall with the faithful, affectionately known as moe.rons, ready to see their favorite band rip through a night’s worth of classic hits and new gems.Â Billed as “An evening with moe.” fans were excitedly lined up hours before the general admission show, bantering back and forth about the fun to come.
As the doors opened, the once docile bunch spilled into the empty hall like water from a dam break, quickly packing the room to its breaking point. The Cannery served as, well, a cannery in its previous life, and has an odd shape for a concert hall. Its open ceiling can lend to sound issues, that in spite of the sound the sound engineers best efforts, brought about a noticeable hollowness that plagued the audio mix — a sad effect of the size and design of the club. This said, there was no way that anyone was about to let a pesky sound issue deter their enjoyment of seeing moe. do what they have done for more than two decades.
Taking the stage to uproarious cheers, the five members of moe., bassist Rob Derhak, guitarists Al Schnier and Chuck Garvey, percussionist Jim Loughlin and drummer Vinnie Amico confidently took up their instruments and made one final check of their settings.
Closing in on the end of a leg of their tour that is in celebration their first release in nearly four years, Â the band was more than ready to show off their mid-run form, and with a flourish, launched into the opener, “Deep This Time.” New tunes “Haze” and “Downward Facing Dog” settled comfortably next to beloved hits such as “It,” “Skrunk” and “Bullet,” filling the first set with passionate cheers and the palpable heat being released by a sellout crowd in the midst of a full on dance party.
With grinning sideways glances, the front line of Schnier, Derhak and Garvey led the band through the hairpin turns and twists of the material with style and savage grace, with Amico and Garvey laying down a solid percussive floor for the guitarists to musically strut across.
Aggressively played and impressively intricate, the first set was everything an opening burst of music should be, inviting and tantalizing — enough to please, but also to tease greater things to come.
After a short break to let the crowd recover from the stellar display of sonic wizardry, the band returned with a one-two punch of band standards, “Akimbo” and “Mexico,” twoÂ numbers from the earliest stages of the bands career. Fan favorites, the attendees reacted wildly, arms and voices raised in appreciation.
A stunning rendition of the new track, “Chromatic Nightmare,” featured Loughlin’s xylophone mastery, while the topper of many a fan’s top ten lists of moe. songs, “Rebubula,” closed out the set in a sweat soaked frenzy of flailing limbs and ecstatic faces.
Coming back out for an extended encore, a short “Raise a Glass” led into a barn burning take on “Brett Black” that featured a drumming duel that wheeled into a bass solo from Derhak that reminded the Nashville crowd of just how well that guy can slap the four stringed bass. Almost a third percussionist himself, Derhak’s slapping style of the bass surely plays hell with his tunings, but the results are very much worth it.
With the rhythm section’s showcase in the books, the Garvey/Schnier two-headed guitar beast returned to close out the song — and the night — in a swirling maelstrom of mayhem, the band playing as though they were only slightly in control of the chaos they they themselves had unleashed.
A spent crowd drained out onto the unseasonably warm streets of The Music City of Nashville, sweat soaked and fully sated, having just consumed the equivalent of a week’s worth of USDA recommended sonic soul food. They could all be secure in the fact that what they had witnessed was the finest fare available.
With ten albums and twenty plus years of touring and leaving faces melted and minds blown under their collective belts, moe. turned towards their next stop like a Godzilla sized beast, intent on leveling the world, one show at a time.
I: Deep This Time, Understand, It, Haze, One Way Traffic, Skrunk>Bullet>Downward Facing Dog
II: Akimbo, Mexico, Runaway Overlude>Chromatic Nightmare, Spine Of A Dog>Four>Rebubula, al.nouncements
Encore: Raise A Glass, Brent Black
By: Amber Jennings
The drive into Chicago, Illinois is one that never ceases to amaze. Its Â iridescent skyscrapers that line the sky remind one of childhood novels of Emerald Cities and yellow brick roads. But even the author of such wondrous tales could not equate the magical music that has unfurled from the streets of Chicago over the past century. It is this part of the city’s story that yields a feeling of giddiness to stir in any musical connoisseur’s soul that is indescribable; so much so that one has to look at their feet to make sure they are not wearing ruby slippers.
The Riviera Theater, located in the Uptown section of the city was first opened in 1917 and was transformed into a private nightclub in 1986.
On this unseasonably warm February night “the Riv” would open its doors and usher in thousands of moe.rons, filling the old theater to its brim with these dedicated fans of the jam stalwart wizards, also known as moe.
Chicago based Family Groove Company opened the evening with, â€œTrying to Live Up.â€ Â Borrowing from the delta, the jazz/rock ensemble continued with “She Might Get Warm” and a bluesy “The Unlimited Space Around Us.”
By the time that the Groove Company was wrapping their set with â€œThrough with Tomorrow,â€ the crowd size had almost tripled and the voltage of moe.ronic buzz filled the air — Â folks were ready for the sultans to take the stage.
moe.’s Al Schnier (guitar/keyboards/vocals) was first to appear on stage, his exuberant smile welcomed the adoring Riviera mass, his face projecting the same level of exhilaration as the beaming faces in front of him. In short order, Chuck Garvey (guitar/vocals) and Rob Derhak (bass/vocals) ambled out on stage, their grins looking more as a kid’s who had been caught with his hand in a cookie jar would. Percussionist and multi-instrumentalist, Jim Loughlin, and drummer, Vinnie Amico, were seemingly teleported to their kits, at the ready to hold down the improvisation.
Â Wasting no time, the quintetÂ launched into â€œSmoke,â€ a tune off the band’s new studio release, What Happened to the La Laâ€™s. The Beatles reminiscent tune made its debut at last year’s Summer Camp Music Festival and has only been played at a handful of shows since it was first introduced. Â Rather than electing to stretch the number — that is short in structure — out, the guys instead instead chose to use it as a segue catalyst into â€œStranger Than Fiction,â€ wherein Vinnieâ€™s cadence summoned the ferocity of Garveyâ€™s signature snarling axe that shredded throughout the old music hall, causing the crowd to explode into a paroxysm of excitement. Â As the song progressed, Rob missed the first few opening lines but the crowd, who was already in full throttle mode, and amped by the evening, simply blasted the missed lyrics back to the stage.
A highlight of the first set came with a blistering take on â€œGeorgeâ€ that had Loughlin blowing it up before leaning into an earthy spacey jam that was layered in tiers of rage and glazed in psychedelic mind crunch. It is this type of jam that sets moe. apart — their ability to bend the serene while inducing dark annihilation.
As is common, the second set Â would bring more heat than the first.
Picking up where they left off, Â the five guys named moe. Â opened with â€œPaper Dragon,â€ another tune from the new LP that was introduced during the 2010 winter tour in New York at the historic Beacon Theater. Derhakâ€™s vocals on the tune were bliss and the staccato and rhythmic drops bouncing off of his bass ripped off each other as if they were hitting the scales of a reptile. In short, Â it is more than obvious that Rob loves to both sing and play this relatively new number in the moe. songbook.
Heavy distortion brought it to a full blown out, â€œHead.â€ Schnierâ€™s vocals were more subtle than usual for this tune and added to the flighty light spaciousness before the tone took on a cavernous Â and sinister resonance before giving way to Â â€œInstellar Overdrive.â€
Though “Interstellar Overdrive” has been around for many moons (since 1995), it has only been played a total of 52 times. In any event, on this night, Chuck Garvey brought the wrath with such wild force, Â melding the tune into a nefariously shadowy monster jam that turned on an illuminating dime before picking it back up and taking the jam into a feathery carefree segue back into â€œHead.â€
The consummate crowd favorite, Â â€œCaptain Americaâ€ meandered into “Recreational Chemistry” that had Al Schnier on his amp, the Rolling Stones’ “Can’t You Hear Me Knocking” that brought about an impromptu skat session from Garvey and a closing twenty minute “Buster.”
To say that it was mind blowing would be an understatement.
Before the band departed the stage Al and Rob both gave thanks to the Chicago fans, saying they had a great time. It was apparent as the moe.rons left the venue they shared the same sentiments as their fearless leaders… Â especially in regards to the second set of pure rage.
I: Smoke >Stranger Than Fiction, Bring It Back Home > Blue Jeans Pizza > Suck A Lemon, George > Lazarus
II: Paper Dragon, Head > Interstellar Overdrive > Head, Captain America > Recreational Chemistry, Queen of Everything, Canâ€™t You Hear Me Knocking > Buster
Encore: Downward Facing Dog
Click the thumbnail(s) to view more photos from the shows by Amber Jennings & Rex Thomson…
Nashville by Rex Thomson
Chicago by Amber Jennings
Another Christmas, another Christmas Jam (the 23rd!), and another archival release from events past, Warren Haynes Presents: The Benefit Concert Vol. 4. Get ready to get merry â€“ this oneâ€™s a doozy.
Recorded during the 2002 installment of Warren Haynesâ€™ annual benefit for Asheville, North Carolinaâ€™s Habitat for Humanity, this double-disc release documents an explosive night of rocking performances and inspired collaborations.Â Opening with a sparse reading of James Taylorâ€™s â€œCarolina in My Mindâ€ â€“ a clear nod to the hometown crowd in Asheville â€“ the performances build energy song over song. A brooding â€œClimb to Safetyâ€ by Jerry Joseph and Dave Schools gives way to a twofer from Robert Randolph and the Family Band. But the high point of this first disc comes from moe. and the â€œDark Starâ€ jam that gives way to the festive â€œMexico.”
The meat of The Benefit Concert Vol. 4 is found on the second disc in Bob Weir and Friendsâ€™ uber-funky â€œShakedown Streetâ€ that segues into â€œTruckin’â€ before transforming into â€œThe Other One.â€ To cap the album, Govâ€™t Muleâ€™s sprawling delivery of â€œSco Muleâ€ – with help from DJ Logic, Dr. Dan Mantrazo, and Mike Barnes – emanates feral power, and the Mule closes out the collection in high style with a cover of Lynyrd Skynyrdâ€™s â€œSimple Manâ€ with help from former Skynyrd drummer Artemis Pile, along with Schools, Audley Freed, and Rob Baracco.
Oddly enough, the only downside to the Benefit Concert Vol. 4 is its brevity. At two discs and two-and-a-half hours, the release highlights the featured acts from the 2002 installment, but given the four-plus hour marathon shows for which the Christmas Jam is known, it only whets the appetite. The stellar cherry-picked performances by Bob Weir & Friends and Govâ€™t Mule, in particular, leave a great deal of music absent from the collection.
The annual Christmas Jam is legendary; year after year Haynes puts together a spirited party for the sold-out crowd, and creates a collaborative Mecca for the performers. While the event only comes but once a year, The Benefit Concert series is a gift that keeps on giving. Vol. 4 is a release that will have a home in this writerâ€™s playlist well beyond the holiday season.
Warren Haynes Presents: The Benefit Concert Vol. 4 is out now on Evil Teen Records.