After celebrating their 25th anniversary in 2015, moe. continues to dominate with some top notch performances. Over the weekend, the Buffalo based jam band spent two nights at the Rams Head Live in Baltimore, MD, with support on the bill from Pigeons Playing Ping Pong. Together, the two bands brought the heat, with moe. digging into their classic tunes for the run.The first night featured a sit-in from guitarist Cris Jacobs on “Happy Hour Hero,” amid classics like “Timmy Tucker,” “Buster” and so many more. The second night included a new cover debuted, as the band dove into “Way Down In The Hole” by Tom Waits. Waits’ song was used as the theme music for The Wire, the hit HBO drama that was set in Baltimore. moe.’s cover came in the middle of a powerful second set of night two, between “Bring You Down” and “Hi & Lo.” “Plane Crash” brought the whole run to a energetic conclusion.Thanks to taper Brian V., we have full audio to enjoy of both shows. Tune in below: Setlist: moe. at Rams Head Live, Baltimore, MD – 2/26/16Set One: Not Coming Down > Wormwood > 32 Things, Canned Pastries, Nebraska, The Road > Timmy TuckerSet Two: Happy Hour Hero%, Mar-DeMa > Defrost > Akimbo, So Long > Spine Of A Dog > BusterEncore: Skrunk > head.% w/ Cris JacobsSetlist: moe. at Rams Head Live, Baltimore, MD – 2/27/16Set One: Annihilation Blues, Bring It Back Home > Waiting for the Punchline, Captain America, Cathedral, Water > meatSet Two: White Lightning Turpentine, Big World > Ricky Marten > Bring You Down, Way Down in the [email protected], Hi & Lo > TailspinEncore: Plane [email protected] Tom Waits cover, FTPDon’t miss moe. when they hit New York, NY for three nights, from March 17-19. Details can be found here.
Fans who celebrated Valentine’s Day with Widespread Panic were in for a treat, as the band broke out in a fan-favorite cover of Jorma Kaukonen’s “Genesis.” The song has been a staple of WSP setlists for many years, though the February 14th performance at the Township Auditorium in Columbia, SC marked its first appearance since the summer of 2015.Bust-Outs And Big Jams For Widespread Panic’s Finale In ColumbiaThankfully, the band recognized just how much fans were eager to hear the song. Panic recently shared pro-shot footage of the cover, for your viewing pleasure. Watch below:Next up for Widespread Panic is a three night run in Austin, TX’s ACL Live at Moody Theater, spanning from April 8-10. Full tour dates are available here.Check out the setlist from the show below, thanks to PanicStream.Setlist: Widespread Panic at Township Auditorium, Columbia, SC – 2/14/16Set 1: Old Neighborhood > Who Do You Belong To?, Shut Up And Drive, Genesis^, Airplane > Takeoff Jam > Rebirtha > Impossible > The Last Straw^^, GiveSet 2: Visiting Day, Weight Of The World, Just Kissed My Baby* > JAM > Driving Song > Ride Me High > JAM > Ride Me High > Drum Solo > Drumz & Bass > I’m Not Alone > Driving Song, Honky Red, SharonEncore: Bowlegged Woman, Action Man, Let’s Get The Show On The Road ^ LTP 7/18/2015 Southaven (RIP Troy Goode)^^ LTP 3/30/2014 Reno (131 shows)* Night People Rap[H/t JamBase]
Last night kicked off the first of two nights for the Chris Robinson Brotherhood at the Mystic Theatre in Petaluma. Gearing up for the release of the band’s upcoming studio album, Anyway You Love, We Know How You Feel, the California opener included a list of new songs, “Forever As The Moon,” “Leave My Guitar Alone,” “Precious, Precious,” “Narcissus Soaking Wet,” and “California Hymn,” which were all debuted over the last week.Last night’s show introduced three more new songs, including an original, “Some Gardens Green, a Bob Dylan cover, “To Be Alone With You,” and, appropriate for the encore, a beautiful rendition of “Raspberry Beret” by none other than Prince. The love song came perfectly in response to the world’s shock in hearing of Prince’s death earlier in the day. We won’t find out which of these songs will make it onto the new album until the album’s release in July. According to Sir Robinson, Prince’s music is only played during special times on the band’s tour bus, specifically, when he and keyboardist Adam MacDougall “are fucked up,” he reveals.Thanks to nowiknowuryder, you can watch the Prince cover below:Chris Robinson Brotherhood at the Mystic Theatre in Petaluma, CA 4/21/16Set 1: Leave My Guitar Alone, Roan County Banjo, Eagles on the Highway, Meanwhile in the Gods…, California Hymn, It’s All Over Now, Baby Blue, Star or Stone, Beggar’s MoonSet 2: To Be Alone With You, Forever As the Moon, Oak Apple Day, Some Gardens Green, Precious, Precious, Ain’t It Hard But Fair, Narcissus Soaking Wet, Shore PowerEncore: Raspberry Beret, Stop That Train[H/T JamBase]
Load remaining images Despacio is incredible @panoramanycA video posted by Live For Live Music (@liveforlivemusic) on Jul 22, 2016 at 2:46pm PDT Back on the Pavilion stage, Toronto’s indie darlings Broken Social Scene were busy playing their first show since 2011. The crowd was packed to the back of the tent as the band ran through songs from their back deep back catalog. The band brought out Amy Millan of Canadian band Stars to augment several of their tracks like “7/4 (Shoreline)” and “Texico Bitches”.After a quick drop into former Beastie Boys member Mike D‘s trap-heavy DJ set at The Parlor tent, it was almost impossible to ignore Major Lazer on the Panorama Stage, with fans attracted to their huge production and constant positive energy. Flanked by dancers, DJs Diplo, Jillionaire, and MC Walshy Fire kept the crowd moving during their hour long set. With such a huge collection of hit songs to choose from, the group really engaged fans, even though the temperature was in the 90s during performance. English performance artist FKA Twigs brought her unique brand of music and art to Panorama’s Pavilion stage. With pulsating beats and lots of use of percussion, the artist had a wild outfit that was topped off by a huge arrow that seemingly went through her nose. Her music was dark and glitchy, but the real showcase were here dream-state vocals.Given that Panorama is produced by Coachella organizers Goldenvoice, it makes perfect sense that they put an emphasis on picking the perfect band to play during the first sunset in the festivals history. Well, the Alabama Shakes were simply a perfect choice to fill this role, and if you blinked your eyes quickly you might think you were in Indio, CA at the Empire Polo Club. Their set was sublime, drawing songs from both of their albums and turning in a breathtaking performance. Front-woman Brittany Howard was on fire, with her vocal prowess easily winning the crowd over from the moment she took the stage. Simply put, the energy from this band is unmatched, and they have proven themselves to be one of the best live bands in the world, even in their short few years of existence.After the sun went down, the festival presented two difficult choices in Schoolboy Q and Netsky (live). Schoolboy Q represented the day’s only live hip hop, while Netsky brought his live drum and bass band to the festival for a rare performance. However, it seemed that a good chunk of the audience were waiting for two acts to complete their day: Snapchat superstar DJ Khaled and recent New Orleanians Arcade Fire.DJ Khaled played a packed set, with a line out the door to the enclosed structure of the Parlor, and even people with Artist passes had to be turned away as the room quickly reached max capacity. Every hip hop head that could possibly fit into the room was crammed into the Parlor for a memorable Panorama experience. Check DJ Khaled’s snapchat for what’s sure to be a rowdy collection of videos from the raucous performance.The first day of the festival reached it’s apex, however, with an uplifting, euphoric performance from festival veterans Arcade Fire. The band took the stage at 9:15 and took the crowd on a tour of it’s career, playing each of their albums in chunks, performing the classic songs from each album to the delight of the excited audience. Opening with “Ready to Start”, “The Suburbs”, and “Sprawl II” from their Grammy award winning album The Suburbs, Win Butler, Régine Chassagne and co. whipped the crowd from one hit to the next. Impressive takes on “Keep the Car Running” from Neon Bible, “Afterlife” from Reflektor, and a run through “Neighborhood #1 (Tunnels”), “Neighborhood #3 (Power Out)”, and “Rebellion (Lies)” from Funeral drew a huge response from the crowd, screaming along the lyrics as loudly as they could. Following a confetti-filled take on “Here Comes The Night Time”, Arcade Fire closed things out in a huge way, getting an assist from Preservation Hall Jazz Band on a set-closing “Wake Up”.Surprisingly, Arcade Fire and Pres. Hall Jazz Band then left the stage in true second line fashion, re-creating their David Bowie-tribute second line from this past January. The bands moved through the festival with a huge crowd surrounding them, playing “Rebel Rebel”, “Suffragette City”, and “Heroes” in front of a beyond-excited Panorama crowd. The second line moved to the center of the festival grounds, where they finished their performance under a huge LED cube that showed Bowie’s picture while Win Butler screamed his songs through a megaphone.Watch video of “Heroes” from Arcade Fire and Preservation Hall Jazz Band’s David Bowie Second Line from Night 1 of Panorama, courtesy of YouTube user Chris ConnellyPanorama Day 1 was a wild success! Look out for our recap from day 2, which features performances from Kendrick Lamar, The National, Kaytranada, Anderson .Paak & The Free Nationals, Flosstradamus, and more!Photos by Chad Anderson. Full Gallery: Panorama kicked off on New York City’s Randall’s Island Park yesterday, and it certainly did not disappoint. First year festivals always come with their ups and downs, and, while it seemed that Panorama’s crowd paled in comparison to the other festivals that also take place on on Randall’s Island–Governor’s Ball and Electric Zoo–this event turned out to be the most unique of them all. With incredible installations like “The Lab” and “Despacio”, huge LED art throughout the grounds, incredible food from all over the city, and one of the summer’s most fun and eclectic lineups, Panorama truly kicked things off with a bang on day one.The diversity of the lineup was on full display from the get go, as artists like Madlib and Here We Go Magic hit the stage with early sets. The real festival fun started, though, when beloved brass band Preservation Hall Jazz Band took the Pavilion stage for a fun set that brought their unique New Orleans energy to New York, featuring a variety of classic New Orleans tunes and songs from their most recent album That’s It!.Next up were LA alternative rock band Silversun Pickups on the massive Panorama main stage, which featured huge LED screens behind the band and on the sides of the stage, making for an awesome visual experience. The band themselves played an energetic set, feeling fully at home on the large festival stage. At one point, lead singer/guitarist Brian Aubert jokingly called out bassist Nikki Moninger for being nervous to perform a song, which led to huge smiles from the band and the audience when it was her turn to take over lead vocals. Performing fan favorites like “Lazy Eye” and “Panic Switch”, the band made a big mark on the Panorama crowdThe festival featured lots of cool installations, but James Murphy and 2ManyDJ’s collaboration “Despacio” was on-site for one reason: to make people move. The brilliant audio installation was tons of fun, featuring funky, slowed down versions of songs from all over the dance music spectrum. Words cannot truly do this room justice, so check out this video of a few seconds from this raging dance party. Despacio is running at the festival from 3pm-9pm each day, so make sure to check it out on Saturday or Sunday if you can!
Beloved rockers Jane’s Addiction have been on a tear this summer, delighting fans everywhere with performances of their seminal, double-platinum 1990 album, Ritual de lo habitual. The band took that energy into their performance on Friday night at Riot Fest, bringing a true riot with their brand of pure rock and roll style.Photographer Bill McAlaine was on hand to capture the magic from this show-stopping performance. Check out his images, as well as some videos and the full setlist, below. Load remaining images Edit this setlist | More Jane’s Addiction setlists
With the group scheduled to play Brooklyn Bowl tonight, followed by a two-night stand at The Capitol Theatre to ring in the New Year, this pop-up show was the perfect way to kick things off.Show #92 | Joe Russo’s Almost Dead | Threes Brewing | Brooklyn, NY | 2016-12-28I Know You Rider @ (All – requested by MB)Loser (TH – requested by TH)Casey Jones (TH – requested by SM)Viola Lee Blues (All – requested by DD)Estimated # (SM – requested by JR) ->Ruben & Cherise (TH) ->Let It Grow $ (SM) ->Jam % ->“Let Terrapin Grow” Jam ^ ->Let It Grow Reprise & (SM) ->Ramble On Rose (TH)Jam * ->Uncle John’s Jam +! ->The Wheel ! (All) ->Uncle John’s Band ! (All) ->The Wheel ! (All) ->Uncle John’s Band Reprise ! (All) ->Crazy Fingers (TH) ->Truckin’ @@ (SM) ->Born Cross Eyed JamEnc: Brown Eyed WomenEntire show was acoustic, with Marco on Upright Piano, Tommy & Scott on Acoustic Guitars thru their amps, Dave on Upright Bass & Joe on a small kit, with Kick, Snare, Hat & 1 cymbal. Only the piano & vocals were sent thru the PA. The performance space holds about 60 or so people & there were probably 75 or so there. The band started out with each member choosing a song from stage right (MB) to stage left (JR), hence the “requested by” notes for the songs up through Estimated. Every song except Uncle John’s Band (played Acoustic on 2016-10-06) was the First Time Played Acoustic by Almost [email protected] – With an “LA Woman” (The Doors) Tease (MB)# – With Terrapin Station & Ruben & Cherise Teases (Band)$ – With a “Becky” (Benevento Russo Duo) Tease (JR)% – With multiple teases/themes, including “Careless Whisper” (Wham) & On The Road Again from Marco, Terrapin Station & Let It Grow Teases (Band)^ – Basically the band weaved the 2 songs together & went back & forth between them& – Not played since North Coast Festival 2015-9-4, a gap of 48 shows, with a Terrapin Tease (TH)* – With a tease of an American Babies Tune from their first album – will ask TH the title+ – First Time Played by Almost Dead! – This was basically a mash up of the 2 songs, sometimes with the band playing both tunes simultaneously, if that makes [email protected]@ – Contained multiple Other One Teases & Jams (Band)[photo via @fugknuckle] The last two nights have been quite interesting at Brooklyn’s Threes Brewing. On Tuesday, the Benevento Russo Duo played their first show in six years, after subtle hints led to the not-so-secret announcement of a free show. Then, last night, as most of New York was en route to Madison Square Garden, came another clue. Joe Russo’s Almost Dead would play an acoustic free show at the same joint, and were already billed as “Data Models”, an anagram for Almost Dead. Those not able to see Phish last night were lucky enough to see Tom Hamilton, Scott Metzger, Dave Dreiwitz, Marco Benevento, and Joe Russo in an intimate room on a Wednesday night to about 75 people.The band dug through Grateful Dead classics, with the acoustic debut of every song played last night with the exception of “Uncle John’s Band”. It was very much a public rehearsal, as the night started with the song request of each member of the band. With Benevento on the upright piano, Hamilton and Metzger rocking the acoustic guitars, Dreiwitz on the upright bass, and Russo on a small kit (with kick, snare, hat, and one cymbal), only the piano and vocals were sent through the PA — and the rest was left to hug the room with their innately special talents. The band played one full set, with covers, originals, teases, and the debut of a mash-up between “Uncle John’s Band” and “The Wheel”.Social media will lend some small treasures from last night’s spectacle, but none will compare to the real thing. Check out the clips below, courtesy of Instragram users @joerussosalmostdead and @justinzafran:
It looks like Phil Lesh is looking to try and connect with ‘The Other One’s’ at an upcoming Terrapin Crossroads event dubbed “An Evening With The Dead” on Sunday, March 26th. As the Grateful Dead bassist did back in December, he will once again invite psychic medium Thomas John to present a “psychedelic conversation about spirituality and the afterlife.”After the conversation, John will attempt to connect with the spiritual realm and relay messages from loved ones who have passed on to the other side. Following the medium session, Lesh will revive his Telstar lineup which will feature an improv-inspired set by “transformation, mind expansion and connecting with loved ones.” The lineup for Telstar has not been divulged at this time.Tickets for the event are currently on-sale and can be purchased here.[via Jambase]
On Friday, August 11th, Turkuaz drummer Michelangelo Carubba will host his third annual Birthday Bash; this time at the Brooklyn Bowl! As per tradition, Carubba has recruited some of his closest friends and musicians to celebrate his birthday in style, including members of Snarky Puppy, Trey Anastasio Band, Allen Stone, Turkuaz, and more. Those who’ve attended in years past are familiar with the fact that this night is notoriously one of the best of the year, so don’t miss out on what’s to be the best yet.Carubba has tapped TAB trumpeter and vocalist Jennifer Hartswick, former Soulive saxophonist Sam Kinniger, Allen Stone keyboardist Steveland Swatkins, Snarky Puppy members Nate Werth, Justin Stanton, Mike Maher, and Chris Bullock, along with fellow Turkuaz brothers and sisters Craig Brodhead, Shira Elias, and Sammi Garett, and singer-songwriters Ryan Montbleau and Chris Jacobs, to join him on this jubilant evening. Expect an additional surprise or two to make their way on stage for the celebration.Tickets for the show go on-sale this Friday, April 21st at 10am EDT here. For additional information and show updates, join the Facebook Event page at this link.Michelangelo Carubba’s 3rd Annual Birthday Bash Full LineupMichelangelo CarubbaRyan MontbleauCris JacobsJennifer HartswickSam KinnigerNate WerthCraig BrodheadShira EliasSammi GarettSteveland SwatkinsJustin StantonMike MaherChris Bullock+ More
The Disco Biscuits “side project,” Electron, has become a force to be reckoned with on its own over the years. The Marc Brownstein-led quartet, featuring fellow Biscuit Aron Magner, Joe Russo’s Almost Dead guitarist Tom Hamilton (whose fellow bandmate Joe Russo was the original drummer for the project in its earliest stages), and Lotus drummer Mike Greenfield, puts their own spin on songs penned by the bassist. Electron sets typically feature various covers by bands such as Pink Floyd, Radiohead, and even Hamilton’s former group Brothers Past, among others. This formula is sure to hold true for the group’s upcoming performance this Friday, April 21st at NYC’s Highline Ballroom.What is essentially the definition of a jam supergroup, with a well-established lineup of the scene’s cream of the crop, this outfit creates some of the most insane improvisational and exploratory jams out there. The energy between four musicians, that are clearly the best of friends, leads to some of the most synergistic jamming you will find out there today, never mind the fact that they all happen to be in wildly successful projects of their own.Pulling support for the night, along with double duty, will be Hamilton and his American Babies. Hamilton is undeniably one of the best songwriters in the scene today, with a penchant for crafting intricately woven songs that are both lyrically catchy and sonically appealing. With a talented lineup of Justin Mazer (guitar), Al Smith (drums), Raina Mullen (acoustic guitar/vocals), and Mark Sosnoskie (bass), Tom Hamilton’s American Babies are putting out some beautifully original music. Take a listen to their latest album, 2016’s An Epic Battle Between Light & Dark, and tell us we are wrong.Tickets for the show are currently on-sale, and can be purchased here. For additional information and show updates, check out the Facebook Event page.[photo courtesy of Scott Harris Photography]
It’s 2017, and people are angry.You can feel it on Gov’t Mule‘s tenth studio album, Revolution Come…Revolution Go, officially released today. Anger is a big part of today’s social climate, more so than at any point in recent memory. The lead-up to the 2016 election, during which most of the material on the album was written, saw candidates from polar opposite ends of the political spectrum talking about making big changes — starting a revolution. But the election was ultimately marked more by its vitriol than by its substance. “Stone Cold Rage,” “Revolution Come…Revolution Go,” and “Pressure Under Fire,” among others, feel like an explicit call to action. “If there’s gonna be a new generation of great music,” Warren Haynes tells Live For Live Music, “it has to tackle what’s going on in our country, what’s going on in the world. Not just politically but socially, personally, in every context. Because that’s a big part of what music is.”Though the record was undoubtedly colored by the “shocking” election results, Haynes explains thoughtfully, “I realized, you know, it really means the same thing regardless of who won. Because the country is so divided that half the country, or approximately half the country, was gonna be pissed off whichever way the results went. But the handful of songs that were political, we started looking at from a different direction.”In some cases, like the seething ZZ Top-like blues storytelling of “Drawn That Way,” the songs took on an unintentional yet undeniable political tone in the sobering reality of Trump’s America. On the track, Haynes spews animosity at an unnamed low-life leader (“Cartoon Savior, no matter what you say—You can’t stop yourself from lying, you’re just drawn that way;” “Where do you find room for all that denial?”). However, he insists that the song was not intended to address the orange elephant in the room. “Oddly enough, ‘Drawn That Way’ is not about a politician. It’s actually about a televangelist. But there are really only a few lines that would make that separation clear—otherwise you could definitely make that translation [laughs] . . . I wrote that one close to a year before we actually made the record. I was workin’ on it for a long time. And it wasn’t even about a particular televangelist. I just kind of created this composite creep.”Whether art imitates life or life imitates art, in 2017 both surely come with a healthy dose of anger.It’s 2017, and Warren Haynes is in “full Mule mode.”They don’t call Warren the “hardest working man in rock and roll” for nothing. Over the past year, he has largely assumed the role of “teacher,” helping educate the masses about their musical heritage through tribute projects like the “Jerry Garcia Symphonic Celebration,” the “Last Waltz 40 Tour,” and “New Orleans Is Waiting For Columbus,” along with the ever-present “jukebox” aspect of Mule’s live shows. “We think it’s important to connect the dots, you know?”“In the case of, like, Waiting for Columbus, that’s one of my favorite records of all time, so when the conversation came up, I was like, ‘absolutely, let’s do it.’ Same with The Last Waltz—I mean, that’s one of the greatest rock and roll moments in history. Speaking for myself and pretty much everyone else as well, if you do the same thing all the time, you’re bound to get stagnated with it. We’re lucky that we have these opportunities to do these other things. And in some cases, they’re more just for fun than anything else.”Gov’t Mule Welcomes Bruce Willis And More For 2000th Show In Central Park [Photos/Videos]“Now, having said that, now that Gov’t Mule’s new record is here, I’m gonna be focusing pretty much strictly on Gov’t Mule for the next year or so. That’s how it goes. Things just kind of go in cycles and move in waves. When we get back into ‘Full Mule Mode,’ it’s always a really fun challenge to see where it’s gonna go over the next year or so. It always winds up going into some musical directions that we never predicted prior.” It’s 2017, and the music world is at a generational crossroad.You’d be hard-pressed to find a musician more closely tied to the past, present, and future of live music than Warren Haynes. He cut his teeth playing with Dickey Betts, who eventually brought him along for the Allman Brothers Band‘s 1989 reunion tour. “None of us knew it was gonna go beyond that,” he explains. “The band sounded great, everybody was getting along, so they said let’s do it again next year, and then the next year, and so on. I wound up being a part of that organization for twenty-five years. . . . And then you fast-forward to the late ‘90’s when Phil Lesh called me about doing some stuff together. He and I hit it off and became friends and musical partners, and that led to me working with the guys in The Dead. When you think about the fact that the Grateful Dead and the Allman Brothers are really the two forerunners of the jam band scene, it was invaluable for me to be on the inside of each of those situations and kind of learn things in a way that you never could without having that access. It’s something that I never take for granted.”Just as much as Warren Haynes bears the torch of the golden age of rock and roll, he has also helped pass the flame to the new guard, mentoring many talented young musicians and influencing countless others. All the while, Mule has kept kicking, continuing to push the boundaries of their craft over the two-plus decades since their inception.Over the past few months, we’ve lost Butch Trucks, Col. Bruce Hampton, Gregg Allman. The brightest stars of the golden age of rock and roll are beginning to fade away. Meanwhile, contemporary guitar masters like Derek Trucks and Eric Krasno are gracefully stepping into elder statesman-type roles within the community, and prodigious new talents like 21-year-old Marcus King and 14-year-old Brandon “TAZ” Niederauer are poised to claim their own seats at the table. From Col. Bruce to TAZ, from your Allmans to your Kings, there is a common thread between the legends of old and these fresh-faced rising stars: Warren Haynes. And from his seat at the nexus of “back then,” “right now,” and “what’s next,” he sees a bright future in a thriving contemporary “jam-band scene.”Watch Warren Haynes And The All-Star Daze Between Band’s Emotional Scarlett>Fire In New Orleans [Review/Video]“Live performance is gonna be a huge commodity in the future,” Warren muses, “Because when someone opens their mouth and starts singing and it excites you, moves something inside you, there’s no replacement for that. There’s no machine that will make you feel that. You can take a mediocre singer and process them all day long, but it’s not the same as when you hear, y’know, pick one of your favorite singers and insert here. For me, if I hear Aretha Franklin or Ray Charles or Otis Redding, from the first moment they open their mouth, I’m sold. It’s an instant connection. James Brown did that to me before I ever picked up a guitar.”“I think it definitely is a fertile time right now for new music,” he speculates, “I see a lot of cool, inventive, unique, creative sort of stuff coming up on the horizon. It’s kind of a reaction to how ridiculously predictable the pop bubble has gotten. The more corporate that side of it becomes and the less it becomes about emotion and stirring up real feelings inside people, the more bands on the other side of that take the opportunity to just be themselves and acknowledge where all the music came from. And I really have a lot of hope for that.”It’s 2017, 50 years after the Summer of Love, 50 years after the most revolutionary cultural, political, and artistic era in American history. Of course, that era ended as quickly as it began. Revolutions come, and revolutions go. As Warren says, things tend to go in cycles, move in waves. But in today’s world, the echoes of the ’60’s ring louder than they have in some time. With artists like Gov’t Mule and Warren Haynes leading the way for a vibrant music scene defined by a commitment to improvisation, flanked by the young guard he helped inspire and stoked by today’s tumultuous social and political climate, it feels like the creative cycle is trending upward.Can you hear that sound? It’s 2017, and the revolution is coming again.[Cover photo by Andrew O’Brien]