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One more for Mikey: We Miss You

Ten years sounds like a long time, but when reflecting upon sadness or loss it seems shorter, almost like yesterday. We can all agree that life is precious, delicate, mysterious and full of challenges and regrets. When a loved one passed away, the instinct is to stop, think and take stock of where one”s own life is heading and moreover, what exactly needs to be done with an all too uncertain amount of remaining time.

After awhile, and as the grief process takes its course, sadness begins to slip away and one day, without notice, it’s back to business as usual… until reminded.

In the case of Michael “Mikey” Houser (January 6, 1962-August 10, 2002), reminders come often through reminiscent discussion and anytime his music is heard.


 

I’m in love with a girl that I met in the bar
She’s brought me this far

 

The unique guitar riffs, calm lyrics and quiet stage presence made him a fan favorite and when sadness recoils, the knowledge of knowing that someone so talented and gifted was taken from us at an early age only exacerbates the grief. Recollection of how astonishingly deep Mikey’s unselfishness was when he decided to go out on the road and tour with Widespread Panic, even when noticeably sick, his life “time” limited. To make that sacrifice only proved how important music was for him, but to forgo spending that borrowed time with his family and off the road friends provided all who were touched in those remaining days a rare glimpse of humility, something for which Houser was a beacon. Ironically, ten years past his untimely passing, his family invited us to share in an evening with them to collectively reflect on Mikey’s contribution to life in a celebration of an immense man that so many will never forget.

Acting as organizer, it was hats off early to Barbette Houser- Horowitz for what immediately came across as a well-planned event. It was clear that she had put her painstaking all into this special tribute concert for her late husband; and in recalling the grief shared amongst fans through the years, there were shared thoughts abound concerning  the emotional fortitude that she and her family had shown in so doing.

The evening”s setting was the recently restored Georgia Theatre, the place to play for aspiring Athens based musicians, and as fate would have it, the place where an untold litany of early Mikey-inspired memories were made with Bloodkin, Vic Chesnut and of course, Widespread Panic. In terms of spaciousness and the like, the Theatre was noticeably more comfortable on this evening. One can only be presume that Barbette set a strict limit in regards to how many tickets could be sold.

Upon arrival, fans took to mingling on the rooftop and catching up with old friends and family before surveying the items that would be auctioned (including handwritten Mikey lyrics donated by John Bell, paintings and signed posters) to provide funds for The Michael Houser Music Fund. Early-entry VIPs were treated to some wonderful southern food, complete with delicious golden fried chicken, and entertainment inside by Dangfly, whose set ending signaled the beginning of a photomontage backdrop that scrolled through photos from Houser”s life, both onstage and off. The only unfortunate thing was that the event could have never accommodated all who wished to be there, but once again, Barbette showed just how much she “gets it” by making the entire evening accessible on the internet for free (though donations were accepted) to all who needed to simply couldn”t be in Athens. Even so, there was an ever-present group of approximately 25 ticketless souls who opted to watch from a sidewalk out of a desire to simply be as close to the magic that was inevitable.

 

Well the barstool rodeo’s in town
And I know all of our friends will be going down…

 

In the moments leading up to the show”s opening, older fans and friends took time to reflect and remember what Mikey stood for while the younger ones in the audience were enthusiastically awaiting the closest thing to feeling the power that Houser”s presence always spawned.

Ceremonies officially got underway set from the Romper Stompers, a collaborative joint between Panic”s drum section (Todd Nance, Sunny Ortiz) and personnel from Bloodkin and Barbara Cue, an up and coming Athens collective that is showing true promise.

From the inception of the set, the tone was set for the evening, courtesy of an eclectic mix of songs that Houser held close to his heart, including: “Airplane,” “Smoke and Burn (Burned Faceless),” a nod to Vic Chesnutt with “Blight” and a tune that most would have never predicted to be one of Houser”s favorites to rock when riding on Widespread Panic”s tour bus, Kathy Mattea”s “Eighteen Wheels and a Dozen Roses.” (according to Todd Nance, it was)

Former Widespread Panic guitar tech and current Outformation front man, Sam Holt, came out for a few songs including “She Drives Me to Drink,” providing just the right amount of latitude to ensure that the high energy level was sustained until the last drop.

Intermissions throughout the evening were far from the standard drag, consisting of gear change and house music. Rather, all who participated in the raffles were on the edge of their seat and all were cheering for the lucky fans who walked away with rare memorabilia. The crowd was introduced to Houser”s parents who were there to share in the evening”s primary purpose, to honor their son. Needless to say, gratitude swirled as Barbette and family made a point of thanking the full room on multiple occasions when not sharing stories about Mikey”s love for music and family — never minding the fact that the pleasure was all ours.

The next band to take the stage and keep the barrage of tribute tunes up was The Heap. Through nine songs the band took the volume up for a downright funky 40 minutes. Highlighted by the second trip into Houser”s Sandbox,  “Low Country” was an amazing offering, the horns blasting mercifully while fans grooved to the number that was spiraling the number into a new but fully spirited place down the spine and beneath the feet.

A near complete reunion of Outformation (Jeff “Birdogg” Lane”s percussion role was ably filled by Sunny Ortiz) was next to take the stage. The 11 song set featured favorites such as “West Virginia,” “Time is Free”  and“90,” but when John Bell and John Keane ambled onto the stage, the set took on a whole new meaning and direction. To no surprise, the Georgia Theatre throng shrieked with delight, knowing that a gem or two would be gracing their ears in short order. What they got were two great songs choices and a classic. “Can’t Change the Past” was stellar as the front men traded verses and “Southern Angels” was performed powerfully with full emotions on their faces.

The last song in the set was the night’s biggest and by far, the most sought after Mikey tune. “Sandbox,” the title track from Houser”s second of two posthumous releases, was played for the first time in over a decade. Having  been a rarity when active (played less than 25 times over a 5 year period from 1996-2001), it goes without saying that many from the Panic faithful went their entire tour career without ever having the pleasure of hearing the number live. Most figured the song to be permanently shelved alongside other gems (“Raise the Roof” and “Waker”) out of respect for the Mikey. On a night that was all about paying respect to the fallen brother, there could not have been a more fitting venue for the splendidly written number to resurface in all of its beauty; Holt, Bell and Keane did the song justice, playing it with soul straight from the heart… just as Mikey always did. As the song dwindled and came to a close, fans prepared themselves for the final two, and most anticipated, sets of the night but were thankful for the preceding final intermission.

Taking a brief survey of the room, it was interesting to see the various reactions that were being had in response to what had just occurred onstage. While one person was giving his buddy, a high-five, rejoicing over finally capturing a tune they had chased for untold years, another was sitting quietly, seemingly having gotten lost to the moment it time, blank-faced but bright-eyed. In the brief look, unique insight could be found. Whether fervently texting a friend, phoning a long since seen touring partner, tweeting a reaction, visibly moved with red cheeks from tears that had poured only moments earlier or simply lying one”s head on his or her lover”s shoulder, unity shone bright as the sun in the snow. In spite of the diverse expression of feeling, each were under the same agreement in regards to exactly how important the music and life of Michael Houser meant to each of them. In this room, his gentle soul was vibrantly present in spite of the fact that its vessel had long-since departed.

By the time that all had reconvened for the final sets, the energy in the building was at a fever pitch, all having no clue as to what would be coming next, just knowing that it was going to be special. John Bell and John Keane retook the stage with an ensemble of friends that included Ike Stubblefield (keys), Andrew Hammer (drums) and Tom Ryan (bass) and began the set with a welcomed and well played serving of Pink Floyd”s “Wish You Were Here” that transitioned into “No Matter What” and  “All I Wanted,” interspersed by a revelatory JB telling stories about Mikey and disclosing song meanings. After a sweet take on “I”m Not Alone” with Randall Bramblett, the set closed with the most fitting number to close things out before the Tribute Jam, “Travelin” Man,” the final song Mikey wrote for Widespread Panic.

Going into the evening, all eyes had looked to the Tribute Jam (John Keane & Friends) to be the most valuable set of the evening. But after what had transpired throughout the evening from every ensemble and individual, proclaiming anything as a clear winner would be far too subjective. This said, the set delivered on every expectation with plenty of room to spare.

Opening things up with quite the trilogy of tunes, John Keane and Jimmy Herring traded leads on “She’s Not There” while Danny Hutchens led his band”s subdued “End of The Show,” but it was “Porch Song” that proved to be extraordinary through the guitar of Herring and moreover, the rare appearance and fiddle work from David Blackmon. Blackmon has not played with Widespread Panic in over a decade, but it wasn”t just his mere presence that made the song so delicious. He had been out at various points throughout the night and no doubt, each time was special. But with “Porch Song,” it was the fact that the number just so happened to bring out his classic fiddle sound through composition that gave the impression that it was written with him in mind.

Joining the tribute jam was Dan Horowitz (Barbette’s husband) on bass and Tim White (from 1988″s Space Wrangler) on keys making the affair even more special, as though it needed anything else.  The company brought the night”s festivities to a close with the all too fitting “Make Sense to Me,” a surprising rattling of the Rolling Stones” “Sympathy For The Devil” and  an encored “I”m a Man” with drums thrown in the middle of the sandwich.  With a gratitude cry from Bell of “Thank you everybody. Thank you Mikey.” the house lights were up and the night far from being history for those fortunate enough to be in attendance and those watching from home.

Oddly absent had been Widespread Panic bassist, David Schools, and ivory tickler, JoJo Hermann who had previously committed to obligations with their current projects.

 

This town has always been my friend

 

All in all, it was nice to see members of Widespread Panic, Bloodkin and Outformation along with host of friends, some of which are rarely seen. As he often did, Michael Houser had brought them together. They had come to celebrate the life and raise money in the name of their cohort, but moreover, their friend — something much greater than any old disputes, founded or otherwise. One can only hope that this was only a beginning of such occurrences.

The night had been a success on all accounts. Loads of dough was raised for The Michael Houser Music Fund (that provides scholarships to Athens Academy) and those lucky enough to be at the Theatre or watching on couch-tour.com could not have thought of any better way to use their own short bit of remaining time than they did by participating in the tribute event. It was a tribute to their musical hero. To us, Michael Houser was the best to ever play a Tele, the master of the volume pedal who could blister a jam as well as he could ride in the back. To his family, he was husband and father, son and brother.  Fortunately, they were selfless enough to let us borrow him so that he could do what he seemingly lived for, sharing his soul in hopes of completing the pass with another”s.

26 years ago, two young men dreamed big. They got a band together and named it after one member”s disorder. He was a man that was always willing to sacrifice of himself to have his dream and eventually it came true.  On this night, the tenth of August, 2012, his family shared him again. We were there together. They did it in downtown Athens, where it all began and in an evening of true sweetness, our souls were once again able to dance with his… and we were grateful. Thanks Mikey.  (and Barbette, Waker, Eva)

 


 

Havin” a good time, here today
Watching the sun shine, matinee
Never the wrong time, time we stay
Living the moontime, time we play*

 


 

Setlists

 

Romper Stompers

Airplane, Smoke and Burn, Eighteen Wheels and a Dozen Roses, Blight, She Drives Me To Drink*, Bull Run*

*with Sam Holt

The HEAP

Sensible Shoes, Low Country, It’s Your Own Kinda Thing, The Future, Express Yourself, My Automobile, The Hipster’s Lament

Outformation

Happy Child, Steve Lopez Raffle, Valley Blue, 90, Into My Arms, West Virginia, Game On > Edgewater > Time Is Free, Can’t Change The Past*, Southern Angels*, Sandbox*

*with John Bell John Keane ; Sunny Ortiz on percussion in place of Birdogg

John Bell, John Keane and Friends

Wish You Were Here, No Matter What, I’m Not Alone*, May Your Glass Be Filled, Travelin’ Man*

*with Randall Bramblett on sax

Tribute Jam

She’s Not There, End of the Show, Porch Song, Makes Sense To Me, Sympathy for the Devil
Encore: I’m A Man

(all of the evening”s appeared at some point during this set)

 

Hear John Bell, Dave Schools & Jimmy Herring talk about Mikey:

☼ Listen to John Bell- BELOW ☼

☼ Listen to Dave Schools- HERE ☼

☼ Listen to Jimmy Herring- HERE (beginning at 39:00) ☼

 


 

Click the thumbnails to view EXCLUSIVE photos* from the event

by …

Follow Ian”s photo journey by joining his Facebook group.

 

 

 

*Photos are protected under the Copyright Law of the United States, specifically under and by Title 17. Further protection exists under the Digital Millennium Copyright Act of 1998 | Any distribution, copying or any use other than viewing, without the express consent of the photographer or designate thereof, is forbidden. For more information, contact Honest Tune Associate Managing Editor, David Shehi.

 

 

Lyrics

Artist: Michael Houser Song: Sandbox Album: Sandbox

written by Widespread Panic

*Artist: Widespread Panic Song:Porch SongAlbum: Space Wrangler

written by Widespread Panic

Lyrics included in this article are the property of their respective authors, publishers or other rights retainer.


 

 

 


 

Mucklewain marks the return of grass-roots festivals

 

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Mucklewain Southern Music Festival 
Pinewood, Tennessee
September 28-29, 2007

There has been much talk about the demise of the concert industry in recent years.  Large shed venues have had major drops in ticket sales, and some have even closed their doors.  Many credit skyrocketing ticket prices and vendor gouging as a large part of the problem.  It is hard to get your money’s worth with $175-$200 festival tickets and eight dollar beers.  However, with hard-working festivals like Mucklewain doing poorly at the box office despite offering up stellar lineups, bargain basement admission and a BYOB policy, perhaps there are just a lack of intelligent listeners.

Continue reading Mucklewain marks the return of grass-roots festivals

Outformation : Traveler’s Rest

Everybody's Brother is the long awaited "honky-tonk gospel" record from Billy Joe Shaver. But don't let that fool you. Billy Joe has never done anything in a simple manner. And this is not your typical "spiritual" album, although it has plenty of gusto in that department. 

Nope, one would reckon that Everybody's Brother is about as wily, twisted and filled with tenacity as any disc on the market these days. A little help from friends and family put Billy Joe on the right path, and having Johnny Cash's son produce didn't hurt either. Most of the tracks with Shaver's backing band were cut on first takes, and the snap, crackle and pop of a live performance is felt throughout.

Looking for special guests? Shaver loads the cart full with the most legendary and influential artists of all time, and they provide the fireworks for Everybody's Brother's roof rattling highlights. “Get Thee Behind Me Satan” has John Anderson pushing Shaver's performance to otherworldly levels, and Marty Stuart shifts the tempo into overdrive on the buoyantly rocking "Winning Again." With a Lakota chorus and Bill Miller on pow-wow drums, Native American cedar flute and vocals, the title track harkens back to the ancient spirits of the soul, earth, sun, moon and sky. Kris Kristofferson hits pay dirt on "No Earthly Good," and Johnny Cash rounds out the set with the leveling "You Just Can't Beat Jesus Christ."

There are so many good songs on Everybody's Brother that it becomes redundant to list them all, and that's the charm of Billy Joe Shaver. He can take a little rock, country and gospel and make it palatably working for all of us.    

 

Everybody’s Brother is out September 24 on Compadre Records.

 

Reminiscing at 10KLF

10,000 Lakes Festival

Detroit Lakes, Minnesota

July 18-21, 2007

 

Minnesota is known for many things, with lakes among the most popular.  Celebrating summer with good music has always been the way I like to remember my home state best, so heading back for 10,000 Lakes Festival is always a treat.  

This year marked the fifth 10KLF, with ticket sales at an all-time high.  I attended inaugural festival, so it was fun to come back four years later to see how the event had matured.  It was evident that plenty of progress has been made in developing and fine-tuning the grounds, an integral part of what makes the event special.  Surrounded by mature oak trees, green grass, and water, the temperature generally stays cool, making 10KLF an ideal summer fest respite for bands and fans alike.

This year the weather was warmer, but certainly not hot enough to slow the attendees down.  The festival grounds buzzed with seemingly non-stop activity that flowed through the huge festival field and the five campgrounds surrounding it and into the vending area, which was packed with a plethora of great food and craft vendors.

The four main stages were a good length apart, but not far enough that you get exhausted just thinking about moving to the next show.  But if a fest guest were too tired to walk back to their campground, a golf cart cabbie was readily available to give their dogs a rest.

The line-ups at 10KLF consistently provide something for everyone to enjoy.  I managed to take in 18 bands this year without seeing one mediocre performance; not a single show was even close to lackluster.  

I pulled in at dusk on Wednesday to the bluegrass-meets-rock sounds of Blueground Undergrass.  The first evening was mellow but very uplifting, and as the venue began to fill, it rippled with anticipation.

During the afternoons, the shows were played with plenty of verve under the blue and sunny skies.  Galactic, New Riders of the Purple Sage, Outformation, Everyone Orchestra, Keller Williams, Little Feat, and Toubab Krewe all brought an infectious enthusiasm to the midday settings. Crowds gathered early in front of all stages, and sheer ecstasy and rowdy applause could be found at every turn.  Even by day four, when you would expect partiers to show signs of fest weariness, the crowd’s energy remained surprisingly high.

 

 

 

The schedule for every evening was thoughtfully planned.  If someone truly wanted to see all of the evening bands, it was possible – providing, of course, you had the stamina to get you through it.  There was very little overlap of headliners, so you never really had to choose one over another.  Over nine hours of top notch performances were flowing every night

On Thursday evening Zappa Plays Zappa contributed two and a half hours of Frank’s tunes, played to perfection.  This delightful din, fronted by Frank's son Dweezil was followed by a very rambunctious two and a half hour set from Umphrey’s McGee. The Disco Biscuits finished out the night and provided a sort of pulsating electronic lullaby to those who went back to their camps to rest off the well danced day. 

moe. supplied just the right amount of Friday night spunk to prepare adoring String Cheese Incident fans for an emotional three and a half hour set. The usual celebratory weirdness you expect at a SCI show was present in full-force, and it was interesting to witness, knowing that the end of an era for both band and fans was unfolding right in front of me.

There was a sentimental vibe emanating from the audience, and the band was clearly enjoying the warm, err, fuzzies.  Anyone who wasn’t feeling too sentimental to continue rocking out went on to enjoy a riveting high energy performance by The Tragically Hip, but if pure stings strummed heavily in a foot stomping, front porch manner was more your style, the choice to see MN’s own Trampled by Turtles was also available.  TBT was extraordinary and it was pure pleasure to witness their exuberant fans enjoying the heck out of the show.  

 

Saturday night was definitely set up to be a grand finale.  Gov’t Mule started the evening off with every bit of force they are capable of.  The wind picked up and blew a refreshing breeze over the rhythmically warmed.  Just when I thought the show couldn’t get any better, Derek Trucks emerged on stage to add his slide on "32-20 Blues."  The band was in a rockin’ good mood and did not hold back as they prepared the crowd to embrace Bob Weir and Ratdog.  

Ratdog kicked off their set with "Help On The Way > Slipknot," and never looked back.  An absolutley unforgettable guest appearance by Warren Haynes on "Big Railroad Blues" closed out the first set, working the audience into a massive dancing frenzy in the process.  The second set saw Weir's playful side surface.  No Minnesota performance by any Grateful Dead member would be complete without a Bob Dylan tune, and "A Hard Rain's Gonna Fall" quickly turned into an enormous feel good sing along.  Ratdog has been on the road with Keller Williams for several weeks, and the one-man band joined his tourmates to close out the second set on "Bird Song," "Cassidy," and "One More Saturday Night." 

A 30 min fireworks display was launched after Ratdog’s last note and revved the audience into gear for a phenomenal midnight set from The Derek Trucks Band. The music sounded fantastic under the starry sky, and the band was in great form, smiles beaming from the stage for the entire show.  

The raw and raunchy funk of Ivan Neville’s Dumpstaphunk was also available during the same midnight time slot to assure that all dancers with even an once of energy left could set their souls afire in front of any active stage.  And if one last set was what a lingering guest needed, a great late night/early Sunday morning set came from The Lee Boys.  Nothing is quite as satisfying as a dose of sacred steel in the wee morning hours to close out a phenomenal weekend.  

I left 10KLF feeling tired, yet rejuvenated all the same.  The mind set of the staff who run the show definitely contributed to the culture of the event, and I didn’t meet a single employee who was not glad to be there or enjoying their job.  If there really is such a thing as “Midwestern nice” the people who put on 10KLF fit the definition.  No details were overlooked at this party, and my, what a party it was!

 

All photos by Candise Kola

 

 

A Memphis evening with Outformation

Outformation

Newby’s

Memphis, Tennessee

June 8, 2007

 

Outformation is a band on the cusp.  They’re about to release their second full-length studio CD, due  in the next few months.  They’re playing bigger shows, and hitting all the right festivals.

Despite all this, attend an Outformation show in nearly any city today, and you’ll be faced with a glaring fact, in the form of cotton and thread.  All of the Widespread Panic lot shirts are a metaphorical shadow that looms over the band – people are streaming in the doors because of the connection the band has to Panic.  Now, does it really matter why people show up?  As long as they’re in the room, it’s up to Outformation to blow their minds.  Who really cares why the show in the first place.

 

 

Regardless, in many ways it’s still a shame, because some fans just can’t see the forest for the trees.  Yeah, guitarist Sam Holt used to be Panic’s guitar tech.  However, Outformation kicks ass, and more people will take notice sooner, rather than later.

Their two-set show in Memphis, billed as "An Evening with Outformation," is an indicator, as the room started dancing during the opening "Valley Blue" and didn’t stop until the last notes of "Sweet Louisiana," some time after 2 a.m.

"Dark Severinsen" was great – a rocker in the truest sense of rock and roll, with solid guitar soloing from Holt and keyboard from CR Gruver.  "Carnac" followed, and the frenetic pace of the tune, from the guitar to Jeff "Birddog" Lane’s percussion, is right out of the Widespread Panic playbook.  Gruver’s solo here was awesome, as his fingers danced all over the keys.

Outformation finished up the first set strong, but the real juice was squeezed after the set break.  After an upbeat "90," Holt dipped into Panic’s songbook with "B of D," starting a massive segue.  Holt sounds so much like Michael Houser at times it’s scary.  Perhaps it’s the guitar, or the his Soldano and Mesa/Boogie amp setup.  More likely, though, something rubbed off on Holt from his years spent being "the guy behind the guy."  

Holt is a vastly underrated guitarist.  There are plenty of fans that would have liked to see him take over when George McConnell and Panic parted ways, but just as many others that thought he wasn’t quite ready for the job.  There certainly would have been growing pains – there’s no doubt.  However, he can clearly play.  

He showed it during "24 Hours at a Time > ‘Bout My Money."  His guitar solo, and the band overall, sounded remarkably like mid ’90s Widespread Panic during their jam in the song – even more so than Panic themselves sound like today.  From Birddog’s percussion to some of the phrasing Gruver sticks into his piano work, if one closes their eyes, at times Outformation sounds remarkably like Panic. 

Granted, this is going out on a very thin limb – very thin.  However, to be even able to venture the nerve to throw that out there speaks volumes of just how far Outformation has come, and the bright future they have.

The crowd completely lost it during "’Bout My Money."  There were fists pumping in the air, heads bobbing along, and the tension and release pushed and pulled the room until they shifted into "SG > Drums."

"Drums"  eventually gave way to CR Gruver taking the mic to belt out "West LA Fadeaway," which breathed new life into the Dead In the Dark-era classic.  As Holt’s guitar faded out, the pace picked back up and the band finished up "’Bout My Money," and after nearly 45 minutes of continued playing, the band and the room finally got to take a collective breath.

The band finished out the second set strong – "Stone in My Shoe" was given a working over and breached the 13-minute mark with plenty of guitar goodness and Grady Upchurch providing some thunderingly awesome bass work.

Outformation came out and played a triple-song encore, starting with "Game On," followed by "Later," and finishing up with a great "Sweet Louisiana," appropos considering lyrical nods to the Mississippi River.  The band was on top of their game to the very end, and the entire room fought fatigue, trying to keep up with them.

When all was said and done, Outformation had been on stage at Newby’s for over two and a half hours, and the audience appreciated every minute – and they should, because it was one hell of a rock show.  Sooner or later, though, they’re all going to be there because they’re going to see a band who’s already kicking serious ass today, not because it keeps them in touch with the ghost of Widespread Panic past.

Set 1: Valley Blue, Dark Severinsen, Carnac, Winds, Chicken Pickin’, Long Lonely Road, Toy’s Song, Solid Country Gold, Into My Arms
Set 2: 90, B of D > 24 Hours at a Time > ‘Bout My Money > SG > Drums > West L.A. Fadeaway > ‘Bout My Money, Brand New, Stone In My Shoe, Can’t Change the Past
Encore: Game On, Later, Sweet Louisiana

 

all photos by Josh Mintz / photosbyjosh.com

 

 

Outformation recording live DVD

Outformation will be hitting the stage at Smith's Olde Bar in Atlanta on June 1 and 2, and while the shows will have to end, the music will live on for posterity.  The band will be recording a DVD over the two nights, and the Sundogs and Captain Soularcat will be along for the ride. 

The band has announced that "We're expecting a lot of friends, so get there early and wear your best for the cameras."

Endless Peaks Music Experience in June

The festival season is quickly moving into full swing, and the breathtaking beauty of the Rocky Mountains paired with amazing music should make for an exciting weekend. 

The First Annual Endless Peaks Music Experience, to be held Friday, June 29th and Saturday, June 30th at The Crested Butte Center for the Arts in downtown Crested Butte, CO will provide the joyous pairing.  The music will take place from about 3 pm to 10 pm on Friday and from Noon to 10 pm on Saturday. 

Featured bands include Tea Leaf Green, DJ Z Trip, Outformation, Mama's Cookin', Jerry Joseph and Friends, DJ Logic, Melvin Sparks, Jus Goodie and The River Jordan Band, Red House and more.

There will also be late night shows at The Calypso and The Eldo featuring Outformation with special guest Jerry Joseph, Red House with members of Mama's Cookin', DJ Z Trip with DJ Sleepy, and DJ Logic and Friends.

The Endless Peaks Music Experience is an event aimed at bringing great music to deprived mountain music fans, while raising money to benefit local open space interests.  Full Circle Productions and Bands for Lands have in common the goal of keeping as much open space in Colorado as possible.  With this event these companies and their sponsors hope to raise enough money over the years to help considerably in this open space effort in the Crested Butte area.

Tickets are available now at http://www.inticketing.com/evinfo.php?eventid=16639

Go to http://endlesspeaks.com for more info.

Rocky Mountain PowerJam to be held post-Panic

Full Circle Presents is proud to announce the 5th Year Anniversary of the Rocky Mountain PowerJam.  The event will be simultaneously held at Cervante’s and Quixote’s True Blue on June 22nd, following the evening’s performance by Widespread Panic at Red Rocks Amphitheater.  One ticket, two venues and music from: Fred Wesley, Adam Deitch, DJ Logic, Sam Holt, Mama’s Cookin, Cecil “P-Nut” Daniels, James Whiton, CR Gruver, Jeff “Bird dog” Lane, Red House and many more to be announced.

A second show will be at The Gothic Theater on Saturday, June 23rd and will feature; DJ Logic, Mama's Cookin', Red House and many of special guests.

This longstanding music event started with Robert Randolph & The Family Band, Brian Jordan of KDTU, P-Nut, Dave Watts of the Motet, and the Benevento/Russo Duo .  Since then the PowerJams have included members of Widespread Panic, the Allman Brothers, the Black Crowes, The Original and Funky Meters, The Neville Brothers, Gov't Mule, Galactic, String Cheese Incident, Herbie Hancock and The Headhunters, Guns and Roses, Ratdog, Soulive, The Greyboy Allstars, Garaj Mahal, moe., P-Funk, JJ Grey and Mofro, Buckethead, Col. Bruce Hampton, and many more.   

Tickets are available now at www.inticketing.com/evinfo.php?eventid=16670

High Sierra Music Fest announces initial line-up

From High Sierra Music Festival's website

"Get ready for another memorable High Sierra Music Festival! The following artists are confirmed for this year's festival…stay tuned for updates and additions.

Yonder Mountain String Band
Leftover Salmon
Les Claypool
Galactic
Del McCoury Band
Soulive
Chris Thile & The How to Grow a Band
featuring Bryan Sutton
Mavis Staples
Tea Leaf Green
ALO
Ivan Neville's Dumpstaphunk
JJ Grey & MOFRO
Brian Auger's Oblivion Express
Strings For Industry featuring Darol Anger, Tony Furtado,
Scott Law, Tye North and Carlton Jackson
The Waybacks
Brett Dennen
Hot Buttered Rum
Hot 8 Brass Band
The New Mastersounds
Bassnectar
Bobby Previte's Coalition of the Willing
Chicago Afrobeat Project
Kan'Nal
The Mammals
Toubab Krewe
Phix
Great American Taxi
Jake Shimabukuro
Tony Furtado
Outformation
Blue Turtle Seduction
Jamie Janover
That 1 Guy
Po'Girl
Rev. Peyton's Big Damn Band
Ryan Montbleau Band
Eddie Roberts' Roughneck
Tzol & Tierro: the Kan'Nal Acoustic Duo
Lynx
56 Hope Road"