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Camping World Truck race live leaderboard from Iowa, 2 p.m. ET, Sunday, Sept. 8 READ: Busch’s big dreams pay off WATCH: Bowyer’s spin raises eyebrows READ: Gordon comes up short for Chase READ: The Chase explained MORE:
There’s no better way to wrap up an amazing week of music during the New Orleans Jazz & Heritage Festival than to catch a late night show at the legendary Tipitina’s. And who better to wrap up JazzFest and put in the dumpsta than NOLA’s own, Dumpstaphunk.It was a special night at Tipitina’s, not just because it was the final Sunday night of JazzFest, but because of all the special guests that joined Dumpstaphunk on stage for their late night set.Those who were lucky enough to make it into the SOLD OUT late night show were treated to an incredible sit in by Brandon “Taz” Niederauer performing The Band’s “Don’t Do It,” with some incredible solos from the 13-year-old guitar phenom. While Taz might only stand as tall has his Gibson Les Paul, his skills as a player are right up there with the veterans he shared the stage with that night. A true prodigy!Next up was Lukas Nelson, son of Willie Nelson, and whose band Promise of the Real has backed up Neil Young on tour of late, including a set headlining on the Acura Stage.Former Dumpstaphunk and current Nth Power drummer Nikki Glaspie sat in for several songs with her former bandmates, and the group was even joined by a tie dye jacket clad Cyril Neville on a couple tunes.A weekend plagued by severe rain and thunderstorms that still couldn’t stop die hard music lovers from venturing out into the muck to see their favorite artists perform on the final Sunday of JazzFest. New Orleans holds a special place in the hearts of all other music lovers who travelled from all over the world. Til next year! Happy JazzFest Y’all!Check out a full gallery of photos from the night, courtesy of Sam Shinault Photography: Load remaining images
Returning to City Park in New Orleans, LA for Halloween weekend, the Voodoo Music + Arts Experience has just revealed a great 2016 lineup! The festival has stacked their lineup, with headliners Tool, Arcade Fire and The Weeknd at the top, and dozens of additional performers throughout.The full lineup sees performances from G-Eazy, The Chainsmokers, Band of Horses, Cage The Elephant, Kevin Gates, Die Antwoord, Porter Robinson, Carnage, Foals, Rebelution, Excision, Gramatik, STS9, The Claypool Lennon Delirium, Beats Antique, Anderson .Paak & The Free Nationals, Preservation Hall Jazz Band, Charles Bradley & His Extraordinaires and so many more!You can catch the lineup poster below, and head here for further information.
Edit this setlist | More Paul Simon setlists Paul Simon returned to Forest Hills Stadium last night for a rain-soaked, nostalgic performance that swung the audience through his storied career. The second and final night at the venue, and potentially the singer-songwriter’s last U.S. performance ever after his recent retirement talk, the show was delayed by a massive rain storm that swarmed the area just at show time. While the scary tornado warning for the New York area never came to fruition, and just after huge double rainbow emerged over the stadium, the skies opened up in a huge way, and the rain didn’t stop for 90 minutes. Fans ran for covered areas, and the audience was told to hold tight while they were peppered with huge rain drops. Finally, just before 9:00pm, Simon took the stage, bringing his incredible band along for an unforgettable walk through his varied catalog.Opening with “Proof” and “The Boy in the Bubble,” the wet audience didn’t wake up until the third song, “50 Ways to Leave Your Lover.” Simon’s band brought the song to life with a thumping beat, while Simon scatted his way through the song, playing with the lyrics just enough while staying within the form of the song. After the horrible rain to open the show, the crowd’s excitement was palpable, as you could hear them singing the song’s refrain of “you don’t need to discuss much” into the sky like an energetic howl, echoing across Forest Hills.After playing songs like “Dazzling Blue,” “That Was Your Mother,” “Rewrite,” and a cover of Bill Doggett‘s “Honky Tonk”, the show picked back up in it’s middle section, featuring a trio of classics in “Slip Slidin’ Away,” which was an obvious reference to the soaked crowd, “Mother and Child Reunion,” and “Me and Julio Down by the Schoolyard.” Simon took time after “Me and Julio” to shout out his home of Corona, Queens, asking if anyone in the audience was actually from there, and then telling them to “get out of there!”Next up was “Spirit Voices,” which Simon proceeded with a story of the song’s origin.. Simon is a famous world explorer, and his travels took him to The Amazon, where he came across a local “healer” who was said to heal you physically or mentally. In actuality, the healer was brewing the famous psychedelic Ayahuasca concoction. The healer told Simon to drink the drink, and to ignore the giant snake he would inevitably see as a result. Simon drank the drink, and “a couple of days later” wrote this song about his experience on the potent drug.The set continued with two more fan favorites in “The Obvious Child” and “Homeward Bound.” As Art Garfunkel wasn’t there to harmonize on the latter track, the crowd picked up the pieces with an impressive effort, singing along with gusto as Paul Simon performed the track in his home city and borough. Simon and his band followed that up with another Simon & Garfunkel track, “El Condor Pasa (If I Could).”Following a duo of songs from his new album Stranger to Stranger, Simon’s long-time rhythm guitar player, Vincent Nguini of Cameroon, came to the microphone to tell a story about the origins of the next song, “Cool, Cool River,” and its history as a traditional African tribal initiation song. The song was in 9/8, and sounded like Umphrey’s McGee with it’s wild tempo and aggressive playing from the band.Simon closed out the set with his two biggest solo songs, “Diamonds on the Soles of Her Shoes” and “You Can Call Me Al,” both of which got the crowd up on their feet and dancing, as they had finally forgotten the rain that had dampened their evening just one hour earlier. Both songs were performed with high energy, and the world-music-influence of Simon’s band was on full display for the excited crowd. The rain picked back up during these two songs, and the crowd seemed to love it.With the rain delay, it was unclear whether the band would continue playing, or give in to the 10:00pm curfew at the venue. While the rain started to pick back up, tons of fans got up and left during the encore break, thinking the show was over or just simply escaping another drenching. Well, the lucky ones who stayed were treated an extended curfew that allowed for eight more songs over two encores. “Wristband,” “Graceland,” “Late in the Evening,” and “Still Crazy After All These Years” comprised the first encore. However, it was the second encore that really blew fans away. After a cover of “That’s All Right” by Arthur “Big Boy” Crudup, Simon closed his show with a trio of beloved Simon & Garfunkel songs, in “The Boxer”, “Sounds of Silence”, and “Bridge Over Troubled Water.The lucky audience certainly left the show soaked, but everyone was all smiles as Simon closed out his show and his tour with an incredible array of hit songs, fun stories, and incredible playing from his diverse band. If this is truly Paul Simon’s final U.S. show, it was a great one (even with the rain), as he was able to showcase his entire varied career throughout the night. Hopefully Simon has it in him to keep playing, so fans can continue to see him and his band, along with the unique positive energy that they create.See below for a few videos from the performance, as well as a full setlist.“Mother And Child Reunion” + “Me & Julio Down by the Schoolyard”, courtesy of YouTube user Alan Friedman“Bridge Over Troubled Water”, courtesy of YouTube user angela450nyc
Last night was the conclusion of a two-night Electric Beethoven run with Perpetual Groove’s Brock Butler opening. Richmond, VA’s The Broadberry saw the two bands join forces for some serious musical collaboration over the course of the second night.During Butler’s opening set, bassist Reed Mathis joined in for a cover of Paul Simon‘s “Under African Skies”, then drummer Jay Lane joined in for a cover of Tom Petty‘s “Time to Move On”. Clay Welch was next for a rendition of “Moon in the Water” by Dawes to conclude his first set. You can watch a full video of “Under African Skies” with Reed Mathis below:Having invited three quarters of Electric Beethoven on stage during his opening slot, Butler went from host to guest when he came onstage midway through Electric Beethoven’s set to lead a climatic improvisation on Beethoven’s “Shepherd Song” movement from the 6th Symphony.Electric Beethoven goes on to perform the Capitol Theatre tonight in Port Chester.
Yesterday, the world said goodbye to Chuck Berry, the iconic singer, songwriter, and guitarist universally acknowledged as one of the forefathers rock and roll music. From the way he played the electric guitar, to the way he performed live, to the youth-oriented, rebellious attitude of both his work and his overall persona helped lay the groundwork for virtually every popular artist that followed him.Considering the immense scale of his influence on popular music, it comes without surprise that, in the 24 hours since news of his death broke, countless artists have spoken up to pay their respects and voice their appreciation of Berry’s towering talent and legacy. As we remember Chuck today, we’ve collected touching words and musical tributes from a diverse selection of musicians, scholars, and fans, all of whom had were affected by his greatness:The first, the best, a friend. Rest In Peace Chuck Berry. #tweet #chuckberry pic.twitter.com/5EkW8AWb0N— Gregg Allman (@GreggAllman) March 19, 2017 Rest In Peace Chuck Berry pic.twitter.com/mBIVYnOaCu— Tom Petty (@tompetty) March 19, 2017[Cover photo via PopWrapped] R.I.P. To the father of ROCK N ROLL the genius CHUCK BERRY ???Johnny be good— QTip (@QtipTheAbstract) March 18, 2017
Adam Deitch is a man who needs no introduction. One of the most respected and admired players in the game today, the Lettuce/Break Science maven keeps a schedule as busy as anyone, not only during NOLA Jazz Fest but 24/7/365. After a recent jaunt to Japan with his Lettuce fam, Deitch returned to a run of Break Science dates surrounding 4/20 festivities in both Denver and Atlanta. From there he will bring both projects and a gang of one-off’s and sit-ins to the Crescent City for a series of gigs, including a Break Science Live Band show at the Howlin’ Wolf first weekend, two Lettuce shows, a jazz quartet show, a DRKWAV engagement, a drum-off competition, MegaWatt-An Afro-Dub Soundclash, Michael vs Stevie, and much more. We also checked in with the man about his electro-soul contemporaries, mega-producers who have taken his second home by storm, and why the new generation of NOLA drummers keep him on his toes.Deitch was kind enough to press pause on his super-schedule and make ten minutes for our very own B.Getz to grill him about all things funky and that new NOLA boom-bap bounce!Photo- Milo LeeL4LM: Yo Adam. Thanks for giving me a few minutes. Let’s get right into it man. Y’all are coming out of the gates firing this year. Big hit first Saturday at the Howlin Wolf with the Break Science Live Band. Yuge. Better yet, the hottest new band in NOLA (in my opinion), Russ Liquid Test, setting it off proper. The streets are really buzzin’ about this gig. For folks that don’t know, what’s the mission in bringing the live band element to the Break Science project?Adam Deitch: Especially in New Orleans, it’s important to have live music, live instruments. All the Lettuce guys are super down with Break Science, and they want to play that music. I feel like we are, you know, a special kind of Voltron when that happens. New Orleans is a city that is all about music so it’s very important, for us to use our instruments, and to have live music with the Break Science tracks we do.L4LM: I’ve been paying close attention to what’s been happening with the Break Science Live Band. From last year’s Nile hit, you guys have seemed to really put a lot of energy into developing this setup, and working out of these songs, what are some BrkSci tunes that have taken a new life in the live band setting?Adam Deitch: Yeah, I mean, even start with one of our chiller songs, “The Spins” which is a sample I got from the drummer from Jaw Gems (DJ Moore). He gave me this vocal and this really weird organ that I originally thought was an old record from the 60’s, an old psych rock record or something, and it turned out to be him messing around with their singer in the studio, so now we have a track based on that sample. And then when you hear that song, now with the live band, you know, it really vibes.L4LM: Word. It’s cool, kinda full circle thing. Live take, sample, make song with said sample, play it with live band. I’ll listen for that jam. I’ve noticed a substantial response I’ve found in the song “Android Love,” with the live band, a very vibey jam, definitely a Break Science song to the core. How did that one come together with such dope instrumentation?Deitch: That one came from when I was watching a Daft Punk documentary on Netflix, and I saw how big a part Niles Rogers played in some of Daft Punk’s music. They really loved Chic, they really loved the old-school, disco-funk, late 70’s Chic style, you know? They were talking a lot about how in some ways he was their hero, and I was like wow! Because obviously I love Chic too, and I love “Good Times” and a lot of other stuff from Nile, so I decided to do a song based off Chic too, kinda, but with the power and feel of some modern drums, and some bass underneath. But I will say it was definitely inspired by the Daft Punk documentary.L4LM: Okay, one more question about Break Science and that live band show, and then we will get back into more about Jazz Fest. Are you and Borahm (Lee) going to be playing a lot of the new record at the Wolf? And real talk, can we expect that long awaited album to come out any time soon? The streets need that album, my man!Adam Deitch: Yeah, so there’s a lot technical aspects that have to be taken care of as far as the specifics of the record, you know, before it gets released. You know, a lot of concepts are still being discussed, also we are deciding which songs will actually make the cut, and which ones don’t, and what to do with those. We are at that point right now, making decisions, getting it ready. The record is pretty much fully done, and, yeah, we are going to be playing a lot of the tracks off the new one at that show, so we can gauge which ones the crowd is really feeling, how they react to the new joints. I’m really excited to see which ones pop!L4LM: Yeah, me too man. I’ve been really excited to hear the new joints and you know, the reworks of old joints. I love when y’all take some old shit and give it new life!Deitch: We have this new song called “Cruise Control” and everyone’s freaking out about it right now, which is always good sign.L4LM: Oh yeah, I think you played that on Jam Cruise, or maybe a super early version of it. I wasn’t on the boat this year, but I devoured both Break Science soundboards from this year. There’s a tune labeled “Cruise Control” but it feels more like a vamp, or a very early version.Deitch: Yeah, that was a super early version. It’s come much farther, pretty much all wrapped up now! People are freaking out about it.L4LM: Somewhat switching gears here: in NOLA, two of your peers in the electro-soul movement have really upped the ante and changed the game, with both Derek (Vincent Smith, aka Pretty Lights) and Russ (Liquid) moving there and basically setting up shop. You have a storied history of making music with both of them at different times and junctures over the years. I‘d like to hear your take on their ripple effect, of these purveyors of electronic art and culture, the electro-soul movement sort of transmutating from its Colorado origins to becoming a real New Orleans thing now. Adam Deitch: Yeah, I mean these guys really evolved their electronic production. They are at the top, they are producers, guys that making a living from doing electronic production and do it using live music. Those guys love the live music the most. Russ Liquid, he is a bonafide crushing trumpet player. He’s sat in with Lettuce, and they just toured with us. And we all know what Derek does, continues to do, so it makes sense that those two, those guys, out of all the producers that I know, are living in New Orleans. It’s a really cool thing, what Derek is doing, it’s cool and it’s Derek. Russ is a big part of the scene there already. It makes sense that they are there.L4LM: I go back to that Pretty Lights Analog Future Band hit y’all did with Preservation Hall, Kraz, Talib, you remember that huge show at Champions Square on your birthday in 2014. Now Derek is back with a band that includes NOLA cats like drummer Alvin Ford and Brandon Butler. It’s come along way from the A Color Map of the Sun sessions, yeah?Adam Deitch: Yeah, I actually recorded most of my parts on that record in Brooklyn, but I definitely was telling Derek about how great the city of New Orleans was and, you know, he already knew. He’s a record searcher, a crate digger, he’s always just searching, searching for the rare 45’s and stuff, and a lot of the underground funk labels that have 45s out there, those labels are in NO, and that is like Derek’s goal in life. Searching for records. That’s just what he does. So yeah, I just love a little bit of that modern electro influx, it is not a bad thing, so why not? It’s 2017. L4LM: Oh yeah! I can’t tell you about how stoked I am about the Gorge. Freaking Tipper. Lettuce. And the new Pretty Lights band. Ridic.Deitch: Oh god . . . gonna be . . . yeah.L4LM: When I saw the announcement I almost keeled over. Anyways, back to Deitch in NOLA 2017. First up is your jazz quartet show. What to expect from the Adam Deitch Quartet first Friday?Adam Deitch: That group features Wil Blades on organs, and Benny Bloom and Ryan Zoidis, (The Shady Horns), and you know that outside the box jazz element, because Benny can play everything of course, jazz to funk everywhere and in between. Zoidis, people haven’t been able to hear him really expand upon his harmonic concept, because he is often in the Maceo realm with Lettuce. I mean, he gets busy, but this quartet is a chance for him to stretch out and for me to stretch out. We have a new album coming out. I think I’m dropping it on the day of the show, pretty much. A double. Pretty sure it’s coming out on my birthday . . . I’m trying to.L4LM: Last year for your 40th birthday was the inaugural AD4 hit, so it’s cool to hear that the album is going to come out this year. Obviously you got two big Lettuce hits at Jazz Fest. The first weekend Tipitina’s hit and the annual Rage Fest at the Joy Theater. I feel like Lettuce is a different level beast in Crescent City, that place brings something different, something absolutely fierce out of you. So what you got cookin’?Deitch: You know, hopefully we get some Cyril Neville in there, you know. Plus, when I am down there seeing all those drummers that are so amazing, you know, Terence Higgins, Alvin Ford from Pretty Lights, Devan Trusclair who plays with Russ Liquid, seeing those guys, you know, it makes me play better and really inspires the entire crew. The air down there is thicker so the drum sticks don’t move as fast as they usually do so that creates a very pleasant chunky vibe . . . We’ll get real deep into it and do a nice 10-minute “Ziggowatt.”L4LM: In all these years, I’ve only seen one proper Lettuce show at Tipitina’s Uptown. Caught a truly epic one at the old French Quarter location, actually, about nine years ago in the Rage era. Last question about you homie, the DrkWav hit, is there new material or just getting together like old times? Because we love when those waves wash over us so dark. Skerik, Medeski, Deitch, that’s a special blend of neck-snappin’ spooky jazz grooves.Adam Deitch: Oooh yeah, all new material in DRKWAV, all the time! (Laughs) We have never repeated a lick in DRKWAV, if anyone cares or knows about DRKWAV. We’ve never played any of the album, we might have hinted at it once in the ten, maybe fifteen shows ,we’ve done, but those guys are the most fearless improvisers I’ve ever met and they don’t want to play anything preconceived or pre-written, so prepare for the complete unknown. I’ll be trying to keep it, you know, weird with them, but we gotta have that hip-hop element as well: Kool Keith, Dr. Octagon. I love the sound of scary, psychedelic soundtracks over the hip-hop beats, so that’s pretty much what I am trying to bring to DRKWAV.L4LM: Yeah, I love when you keep those hard hip-hop beats drums behind that spooky shit. I can hear that Dan the Automator, Kool Keith Octagon vibe for sure. Head noddin’ at the haunted house. Love DRKWAV. So the last question, one that I’m asking all my Jazz Fest interviews; Deitch, you’re a student of the game, so Jazz Fest is like the Mecca, the Superbowl of this shit. If there’s one artist you must catch, who dat?Deitch: Well, I haven’t researched much down there for this year. A lot of it, you know, I go by you B. (laughs). We have very, very similar tastes so your can’t-miss shows are 99% my can’t-miss shows.L4LM: Ha! Wow, what an honor. Respect. I don’t know what to say to that… Well, 99% of my can’t miss shows are your hits, that’s how it works, my brother. That’s the stannery in action right there! I’m following you around down there; I’m seeing six or seven of your shows. So I will vote for Michael vs Stevie at the Howlin Wolf on second Sunday night. Seen that program with y’all a couple times now, and it’s always an emotional ride with my favorite players. So instead, how about you let the people who is your favorite NOLA drummer cat, somebody we can’t miss down there this year?Adam Deitch: One cat I really love is Deven Trusclair, like I said before. He plays with Russ Liquid Test right now. He’s just so dope, and he has a really fresh hip-hop style, like the new NOLA style, because he can do the Second Line, the Zigaboo too, but also brings that new hip-hop, that radio and streets NOLA vibe, he’s got all that too. He’s only 21 or 22 so he’s got that brand new sound, you know. That NOLA hip-hop. I also really like Alfred Jordan. He’s another young one, and I like to call him Young Jordan! He is just a limitless drummer. Incredible. I’m definitely going to have to get my fill of these young NOLA drummers that have that new sound, you know with the NOLA bounce and that bump, and all that, I’m talking about the super fast high hats with the half time snare. I’m into all that right now, but I’ll be looking the streets looking for everybody.L4LM: You had me at half-time snare. I’m a half-time slut these days. That’s my vibe. Big thanks Adam for giving me a few of your precious minutes. I’ll see you for that Break Science Live Band show, and pretty much every night for the rest of the week (laughs).Adam Deitch: Thanks B, and thanks to Kunj and Live for Live Music.
New Orleans’ Buku Music + Art Project didn’t go as smoothly as its organizers would have liked, which is a shame because most of the issues weren’t their fault. After all, there’s not much you can do when three of the acts you booked—including rising young rapper Lil Uzi Vert—simply refuse to show up. There’s also not much you can do when your Friday night headliner (in this case, Atlanta rap superstars Migos) takes the stage half an hour late and delivers an underwhelming 25-minute set.No, all you can really do is dwell on the things that didn’t go wrong, and also maybe think twice about booking disrespectful young mumble rappers next time around. Fortunately for Buku, plenty of things went exactly as they were supposed to, and most fans left the growing EDM and hip-hop festival in good spirits despite the few setbacks.One set that went over very well was that of Saturday night’s big headliner, Bassnectar. Buku marked the pioneering DJ and producer’s first performance in the Big Easy since 2015, when he last held down the top-billing at the very same festival. Bassnectar’s combination of wobbly, almost psychedelic bass textures and skittish “drum and bass” breakdowns drew what was undoubtedly the largest crowd of the weekend to Buku’s newly-expanded main stage area, sending thousands of fans into a frenzy every time the music changed course. Decibally speaking, the show took things to a pretty high level, garnering noise complaints from exasperated New Orleanians on the other side of the Mississippi River.Other acts on the bill at Buku included alternative R&B artist SZA, who delivered one of the weekend’s more interesting displays of pop music until she was forced to cut her set a few minutes short due to an ankle injury, and psych-rockers MGMT, who offered up a solid mix of new material and old favorites from their 2007 breakthrough album Oracular Spectacular. Of course, Buku lived up to its reputation by featuring some of the most popular acts in electronic music, with well-attended sets from Rezz, Borgore, Alison Wonderland, Ganja White Night/Boogie T, Mura Masa, and Porter Robinson, who appeared under his new Virtual Self moniker. Hip-hop and indie-pop also got their due, as Isaiah Rashad, Noname, Sylvan Esso, and Little Dragon brought their sounds to the fest.Check out the full gallery below, courtesy of photographer Marissa Altazan.Buku Music + Art Project | Mardi Gras World | New Orleans, LA | 3/9-10/18 | Photos: Marissa Altazan Photo: Marissa Altazan Load remaining images
The legendary Willie Nelson celebrates his 87th birthday today, emerging from a rural Texas town to become a leading figure in the folk/country music genre for 60 years and counting. Nelson got his start in 1956, working in the Vancouver radio industry while struggling to make a name for himself. Nelson initially struggled, moved back to Texas, and went door-to-door selling encyclopedias. Fortunately, that isn’t the end of his story.After a string of releases that varied in popularity, Nelson would find breakthrough success with a string of albums in the early seventies, including Shotgun Willie (1973), Phases and Stages (1974), and Red Headed Stranger (1975). Nelson also starred on the pilot episode of Austin City Limits in 1974, a series which is still running today. By pairing with Waylon Jennings, the two created the idealistic “Outlaw Country” movement, and the rest was history.Listen To Willie Nelson’s Emotional Cover Of The Grateful Dead’s ‘Stella Blue’Nelson hasn’t slowed down since, celebrating his 70th album release this year with Ride Me Back Home. With more than 40 million albums sold, not to mention his own strain of marijuana, there’s really nothing off-limits for a legend like Willie Nelson. With Nelson on our mind, we wanted to share some glorious live footage of the mastermind. Check out this star-studded live performance of his hit, “I’ll Fly Away”, from Farm Aid 2019, which proves he’s still got it.Willie Nelson & Family — “I’ll Fly Away Melody”[Video: Farm Aid]Wishing you all the best Willie!