Percussion and rhythm are deeply rooted in the human psyche (and our biology), with even Charles Darwin noting humans’ innate joy in creating and dancing to rhythms. In a crazy first, it turns out that male palm cockatoos are the only other animals besides humans (that we know of) that create tools to tap out rhythms. Perhaps unsurprisingly, it also turns out that the Australian birds developed their musical talents to pick up ladies, with the male birds primarily showing off their drumming skills to accompany their mating calls when female birds are around (70% of the time to be exact).Just A Reminder That Gorillas Hum ‘Little Food Songs’ To Themselves While They EatRobert Heinsohn, a conversation biologist at Australia National University, has been studying the species for the past two decades, and he recently published his findings on the male palm cockatoos’ penchant for percussion in Science Advances at the beginning of summer. As Heinsohn told National Geographic about the first time he witnessed the phenomenon in the wild back in 1997, “The cockatoo was clutching what looked like a stick and banging it on the trunk, and every so often he would pause, erect his amazing crest, and let out either a piping whistle or a harsh screech.”He found that the beats made by the male birds were highly predictable and repetitive, with each bird developing its own personal drumming style to accompany its mating calls. Though other animals have been known to drum in the wild—such as chimpanzees who have been known to enjoy drumming on logs with sticks—palm cockatoos differ in that they create custom-made tools to lay out their sick beats.As noted previously, male palm cockatoos’ drumming patterns frequently accompany their vocal and visual mating rituals to attract female palm cockatoos to mate. Because the birds’ “cheeks go red when sexually excited,” it’s pretty clear what the birds’ intentions are with their musical skills. However, some questions remain about why the birds picked up this trait in the first place. Heinsohn posits, “As soon as one male works out a pleasing drumming pattern involving rhythm that gets the stamp of approval from the females, then others would be quick to learn it so that it would spread easily in a population.”Regardless of whether male palm cockatoos create music to pick up chicks or for themselves, Heinsohn (adorably) noted, “It seems that they are open to the pleasure of rhythm, just like humans,” he says. [H/T National Geographic; Photo: Christina Zdenek]
Umphrey’s McGee finished a massive three-night run in and around New York City last weekend, with two nights at “The Original Rock Palace” better known as The Capitol Theatre. The run culminated with a rock ‘n’ roll clinic at Brooklyn Bowl on the third and final night. Today, the group released video of “Speak Up” from the second night of The Cap run, which made an appearance towards the end of the second set.Umphrey’s McGee Plays Nostalgic VIP Pre-Show, Covers Radiohead In Capitol Theatre Finale [Video]While the show was drenched in plenty of fan-favorite songs from the Umph catalog, including “Out of Order,” “Wife Soup,” “Der Bluten Kat,” and Radiohead‘s “The National Anthem,” the fairly new(ish) track “Speak Up” brought, arguably, one of the best jams of the night as it posted up before and eventually segued into a second set-closing “Glory.” Since its live debut on New Year’s Eve back in 2015 at Denver, CO’s The Fillmore Auditorium, the song has become a fairly regular staple of the group, having been played 46 times over that course of time. Take a listen for yourself below:“Speak Up” Live From The Capitol Theatre – Port Chester, NY 10/21/17:[via Umphrey’s McGee][Video directed by CJ Strehlow – Thanks to All Things Umphrey’s for the song data]SETLIST: Umphrey’s McGee | The Capitol Theatre/Garcia’s | Port Chester, NY | 10/21/17 VIP Pre-show Set: Draconian, Example 1, Kabump > 2nd SelfSet one: Flamethrower > Ringo, Red Tape, Comma Later > Out of Order > Wife SoupSet two: Der Bluten Kat > In The Kitchen* > Der Bluten Kat, Cemetary Walk, The National Anthem, Speak Up > GloryEncore: Bad Friday*** “All Things Ninja” (UM) and “25 or 6 to 4” (Chicago) teases** “Wanna Be Startin’ Something” (Michael Jackson) teases[Cover photo via Andrew Scott Blackstein]
In honor of what would have been David Bowie‘s 71st birthday today, January 8th, 2018, a previously unreleased demo of his worldwide hit “Let’s Dance” has been shared online. As Bowie’s collaborator and producer on the track/album, Nile Rodgers (Chic), says of the unearthed recording in a statement,”This demo gives you, the fans, a bird’s eye view of the very start of it.” In the recording, the horns, percussion, reverb, Stevie Ray Vaughan guitar solo, and signature Bowie sonic shimmer for which the song is known have yet to be added. Both Bowie’s vocals and Rodgers’ signature funky rhythm guitar style are pushed way up in the mix, giving the song a more organic sound.You can listen to the early “Let’s Dance” demo bel0w via YouTube user David Bowie – Topic:For comparison, listen to the completed studio version of “Let’s Dance”, as released in 1983:Bowie and Rodgers recorded this stripped-down version of the hit single on December 19th – 20th, 1982 at Montreux, Switzerland’s Mountain Studios. As Nile explains of the collaboration, “I woke up on my first morning in Montreux with David peering over me. He had an acoustic guitar in his hands and exclaimed, ‘Nile, darling, I think this is a HIT!’” Bowie was so excited about the new song and eager to record it that he pulled together a band of local musicians to get it laid down. There is no record of who played the second guitar or drums on this one-off recording session. As Rodgers muses, “If you played 2nd guitar or drums, let us know who you are.”The demo concludes with Bowie exclaiming, “That’s it! That’s it! Got it,” a remarkable snippet that shows how quickly the artist was aware that they had something truly special on their hands. 35+ years later, the world is still dancing to “Let’s Dance”.[h/t – Rolling Stone]
03/14 Telluride, CO: Club Red03/15 Frisco, CO: Barkley Ballroom03/16 Ft. Collins, CO: Aggie Theatre03/17 Steamboat Springs, CO: Gondola Plaza03/20 Park City, UT: O.P. Rockwell03/21 Jackson Hole, WV: Pink Garter Theatre03/22 Bozeman, MT: The Rialto03/23 Whitefish, MT: Remington Bar03/24 Sandpoint, ID: The Hive03/27 Eugene, OR: HiFi Music Hall*03/28 Chico, CA: Lost On Main03/29 Sacramento, CA: Harlow’s03/30 Los Angeles, CA: The Fonda Theatre^03/31 San Francisco, CA: Warfield Theatre^04/19 Hartford, CT: Infinity Music Hall04/20 Brooklyn, NY: Brooklyn. NY04/21 Brooklyn, NY: Brooklyn. NY04/22 Brooklyn, NY: Brooklyn. NY05/03 New Orleans, LA: Tipitina’s05/04 New Orleans, LA: Tiptina’s (Turkuaz Gives You Wings with Denny Laine)06/13 Chattanooga, TN: Riverbend Festival06/15 Hunter, NY: Mountain Jam06/23 Rothbury, MI: Electric Forest Festival06/29 Rothbury, MI: Electric Forest Festival07/05 Quincy, CA: High Sierra Music Festival07/06 Quincy, CA: High Sierra Music Festival07/08 Marshfield, MA: Levitate Music & Arts Festival07/19 Scranton, PA: Peach Music Festival08/24 Arrington, VA: Lock’n Festival09/23 Morrison, CO: Red Rocks~ * w/ Moon Hooch^ w/ Galactic~ w/ Greenskly Bluegrass Turkuaz will do it big when they come down to New Orleans for a pair of Jazz Fest late night shows. The Brooklyn-based funk juggernaut will take over iconic Big Easy venue Tipitina’s on May 3rd and May 4th, with both gigs starting a few hours after the daytime festivities wrap up at the Fair Grounds Race Course.While the May 3rd show will find Turkuaz delivering their energetic brand of funk, the May 4th show will be a very special occasion. Dubbed “Turkuaz Gives You Wings”, the set will be a very special tribute to Paul McCartney’s post-Beatles project Wings. On top of that, the tribute will feature special guest Denny Laine, who co-founded Wings with Paul and Linda McCartney (Laine was also a founding member of The Moody Blues).In addition to their Jazz Fest shows, Turkuaz is also gearing up for a lengthy run of tour dates that will bring them across much of the country, including festivals like Electric Forest, High Sierra, Levitate, The Peach, and LOCKN’. Tickets for their Jazz Fest shows are now on sale.Turkuaz 2018 Tour Dates
Following a first frame that offered little to write home about, the burning question that loomed over the setbreak chatter asked if this show was bound for mediocrity, or if it would be A Tale of Two Sets, with the second half coming in strong to relieve a forgettable set one. When Phish returned from the intermission and launched into new-ish tune “Everything’s Right”, the question still lingered. But as the band drove the song deeper and deeper, all doubts quickly dissipated.Over the course of the jam’s nearly 20 minutes, the band explored a number of major-key spaces, briefly hinting at a segue into “What’s The Use?” before continuing to forge ahead, blazing to a peak and, finally, dropping somewhat awkwardly back into the song’s final refrain. This rendition of “Everything’s Right” marked Phish’s 7th rendition of the tune since its pre-Dozen debut last year, and easily eclipsed the previous 6 as the deepest and most interesting version to date.“Down With Disease” was up next, marking its third outing of the summer. It may be worth noting that every “Disease” this summer has now appeared on the setlist alongside “Everything’s Right”, and vice versa (Tahoe 2, L.A. 1)—not that it holds any particular significance, but Phish kids do love looking for trends. Most shows spell something, after all. Clocking in at just over 17 minutes in length, this “Disease” stacked up admirably against this summer’s prior two run-throughs. Gordon handled the heavy lifting as the band jettisoned into Type II space. Around the 8-minute mark, the jam settled into an ambient quiver, Mike laying the foundation while Trey painted in the lines with frugal guitar ornaments. The jam got darker from there as Fish showed off his technical prowess behind the kit, bolstering the Baker’s Dozen-style cocktail lounge groove with a relentless, complex backbeat while the band settled in around him.After several more minutes of eerie ambience, the jam faded out around Fishman’s cymbal-heavy drum pattern, giving way to the pulsing bounce of “Steam”. The song built rapidly with some Haunted House scream samples, Trey wailing away with abandon. Before long, the jam disappeared as steam, giving way to “Seven Below”, another tune not played since the Baker’s Dozen’s coconut-flavored opening night. On this hot Texas night, “Seven Below” turned the heat up even higher, pushing through major-key space to an anthemic climax before petering out into “Dirt”. This “Dirt” came just four shows after its 2018 debut on night one at the Bill Graham, marking the shortest gap between “Dirts” in 15 years.Another recently played tune, “The Wedge”, came in next after a 3 show gap, marking its third performance of the summer. After a quick bob along the surface, the second “Wilson” of the summer provided the set with a fourth-quarter espresso shot. The band maintained that energy for an always-welcome “Run Like An Antelope” set closer, before rounding out the show with a sing-along “Loving Cup” encore.Phish summer tour continues this weekend as the band heads to Alpharetta, GA for their sold-out three-night run at Verizon Amphitheatre. For a full list of Phish’s upcoming tour dates, head to their website.Setlist: Phish | Austin360 Amphitheatre | Del Valle, TX | 7/31/18Set 1: Sample in a Jar, Light, The Moma Dance, Funky Bitch, Heavy Things, Theme From the Bottom, Brian and Robert, Halfway to the Moon, The Line, I Didn’t Know, 46 DaysSet 2: Everything’s Right > Down with Disease > Steam > Seven Below > Dirt > The Wedge, Wilson > Run Like an AntelopeEncore: Loving CupA full soundboard recording of the show is available to stream now via LivePhish. On Tuesday night, Phish tour rolled into Texas for a one-off performance at Austin360 Amphitheatre, the 10th show on their ongoing 2018 summer tour.After the tour’s ”front nine” produced notably strong first frames across the board, Austin’s first set played much more like, well, a first set. “Sample In A Jar” got the evening started—as it so often does—making its first live appearance since it opened the now-storied “Jam-Filled” show at last summer’s Baker’s Dozen. This 26-show gap marked the longest stretch of shows without a “Sample” since the song’s debut in 1993, setting a trend that would continue throughout the night. “Light” got a somewhat surprising nod in the two-spot, the go-to 3.0 jam vehicle appearing in the first set for the first time since Mexico 2016. After a brief flirtation with some Type I improv, the band opted for “The Moma Dance”, their third version of the summer. While this version failed to reach the heights of the set one “Moma” from the tour opener in Tahoe (or, for that matter, the rendition that kicked off a top-notch set two at BGCA night 1), it did provide a fun, funky interlude paired with the short but searing “Funky Bitch” that followed.Following “Funky Bitch”, guitarist Trey Anastasio, who himself was born Texas, took a moment to address his fellow Texas natives in the audience. “Thanks, everybody. We’re so happy to be in Texas,” he mused. “I gotta ask one question before we go on here. I know a lot of people move to Austin from different parts of the country. I’m just curious: How many, um, real Texans—meaning you were born in Texas—are in the audience? Put your hands up! Thank you. Real Texans. 1964. Fort Worth Children’s Hospital. Texas…in the house.”After a long pause, the band opted for “Heavy Things”, Page McConnell highlighting this mostly straightforward reading on the piano. From there, “Theme From The Bottom” bubbled up to the surface, offering some well-wrangled instrumental conversation between Page and Trey as the song patiently built to its a cappella bridge. The set continued relatively unremarkably with a trio of tunes not played since the Baker’s Dozen, “Brian and Robert”, “Halfway to the Moon”, and everyone’s favorite Fuego pariah, “The Line”. Like the “Sample” that opened the set, this “Line” ended the longest gap the song has seen since its debut (23 shows), a year and two days after its last showing on Cinnamon night.Yet another “not seen since the Dozen” tune came next in “I Didn’t Know”, giving Jon Fishman (and “Moses Heaps, Moses Brown, and Moses DeWitt”) an opening for his (their?) first vacuum solo of the summer. As the Electrolux sucked Fish’s face, Mike Gordon amusingly executed an onstage wardrobe change, losing his shoes and, subsequently, his pants (don’t worry, he had shorts on underneath) before re-tying his shoes and making it back to the mic in time for his vocal cue. Finally, “46 Days” brought the set to a close, the coals smoldering behind dextrous guitar work from Trey but never quite igniting in earnest.
Blues-rock guitarists Eric Krasno and Marcus King will both play a pop-up, pool-side performance at Dead & Company‘s “Playing In The Sand” event down in Riviera Maya, Mexico on Saturday. The duo set was announced on Friday, and will take place at 1 p.m. local time at the pool of the Barceló Maya Colonia Hotel on Saturday afternoon, as attendees at the four-day destination event will look to continue their south-of-the-border party into the heart of the weekend.Both Krasno and King had been at sea the past few days, as both musicians were part of the ongoing 2019 installment of JamCruise. The two helped lead an all-star performance in the ship’s Spinnaker Lounge on Day 2 of JamCruise on Wednesday, where they rocked the boat alongside drummer Duane Trucks (Widespread Panic), keyboardist Deshawn “D-Vibes” Alexander (Marcus King Band), and Kevin Scott (The Invisible Whip). The pop-up performance on Saturday will act as the latest live collaboration between the two musicians/friends, as the guitarists have come to develop quite the tandem with recurring sit-ins at each others’ shows over the last few years as King’s career continues to blossom.Dead & Company had the day off on Friday following an impressive night one performance on Thursday. Fans and snowbirds who are at the event were also invited to check out the Dead-themed photo gallery event at The Hard Rock Hotel on Saturday morning, which featured showcased work from renowned GD photographer, Jay Blakesberg.Regardless of what beach-side plans attendees may have had for Saturday afternoon, fans should still try to make their way over to the Barceló Maya Colonia pool by 1 p.m. later this afternoon for a pre-Dead & Co. jam session.
Galactic drummer Stanton Moore and saxophone extraordinaire Skerik have announced a late-night show during the first weekend of Jazz Fest, dubbed “Stanton & Skerik’s 20th Jazz Fest”. The special late-night performance will take place on Sunday, April 28th (technically Monday, April 29th) at New Orleans’ Tipitina’s, as Moore and Skerik will be joined by keyboardist Robert Walter, guitarist Scott Metzger, and bassist Andy Hess.On the heels of their recently announced purchase of New Orleans’ legendary Tipitina’s nightclub, funk outfit Galactic will play a three-night run of shows over Mardi Gras, set to take place on March 1st, 2nd, and 4th at Tip’s. The exciting news revolving around Galactic never ends, as the band also has a new album on the way, Already Ready Already, due out on Friday, February 8th via Tchoup-Zilla Records.Tickets for “Stanton & Skerik’s 20th Jazz Fest” late-night are on sale now here.For more information, head to the event page.
Washington, D.C.-based rock band Bencoolen will celebrate the release of their debut album, Daydream, when the 10-song LP arrives independently tomorrow, March 8th. Ahead of the album’s Friday release, the band has decided to share the new project with their fans a day early, as Daydream is now available to be streamed exclusively here on Live For Live Music.The album, which can be heard in full below, features a mix of strong rock performances from the young band, which were captured during their recording sessions at Dragon’s Lair Studios in West Virginia. The band’s bassist, Ben Suarez, detailed his thoughts on the process of their first album cycle in a statement, saying:“We were really thrilled at the chance to go record a full-length album in the West Virginia hills. Not a lot of people are putting out full albums right now in rock music, but we wanted to showcase our songwriting versatility. Rock, pop, blues and soul influences intermingle on the album, carried by punchy vocals and shredding solos. We had contributions from everyone, and debut songwriting credits for Jack and me.Dragon’s Lair Studios is a hidden gem, tucked away on an unpaved road with no neighbors in earshot. Producer Addison Smith and owner Chuck “C-Wired” Whyard made us feel right at home. Jack [Bentsen, Saxophone]] fell in love with Cleo the studio cat, and we cut like 5-6 of the tracks that first night. We were all so stoked to be there and didn’t want to stop tracking!We’ve been sharing some of these songs on the road for some time now, and the reaction has been incredible. The anthemic chorus on ‘Daydream’ is sure to rile up any party, and the layers and layers of biting guitars throughout displayed our weeklong motto of ‘More is More.’”Bencoolen – Daydream (Full Album Stream)[Audio: Bencoolen SoundCloud]The band will head back out on the road for a run of headlining spring tour dates mixed in with a handful of shows supporting CBDB and Willie Nile beginning on March 15th in Greensboro, NC. Fans can head over to the band’s website for full listing of upcoming dates and ticketing information.
On Tuesday, Pilgrimage Music Festival announced the lineup for their 2019 event, set to take place on September 21st and 22nd in Franklin, TN, a short drive from Nashville.The 2019 Pilgrimage Music Festival lineup will feature headlining performances by Foo Fighters, The Killers, and Keith Urban in addition to sets from Leon Bridges, Nathaniel Rateliff & The Night Sweats, The Head and The Heart, +LIVE+, Jenny Lewis, Lauren Daigle, Phosphorescent, Edie Brickell & New Bohemians, Better Than Ezra, Lukas Nelson & Promise of the Real, Rayland Baxter, Justin Townes Earle, The War and Treaty, The Wild Reeds, Preservation Hall Jazz Band, Adia Victoria, Molly Tuttle, Karl Denson’s Tiny Universe, Caroline Rose, Devon Gilfillian, Lucie Silvas, and many more.The festival, which is co-produced by Justin Timberlake and co-founded by Better Than Ezra’s Kevin Griffin, looks to have a drier year in 2019 after the majority of their event in 2018 was cancelled due to inclement weather. As festival co-founder Brandt Wood told The Associated Press, the event has put new contingency plans in place to protect their audience from potential bad weather. “We learned a lot about how to communicate,” Wood explained. “We’ve really broken it down into what we did right and what we can do better.”Tickets to Pilgrimage Music Festival go on sale this Friday, March 15th at 10 a.m. local time. For more details and ticketing information, head to the festival website here.[H/T Billboard]
Aqueous has shared the pro-shot, full-show video from their recent performance at Estes Park, Colorado’s Stanley Hotel back on February 16th. The performance that evening was the second of five Colorado shows (and seventh show overall) as part of the rock quartet’s ongoing winter tour alongside BIG Something.Related: Aqueous’s Mike Gantzer Recaps 2018 Highlights, Prepares For All-Improv SetThe night’s performance began with the band grooving into “Weight of the Word”, an original tune off their 2018 Color Wheel LP. The opening song of the night heard Dave Loss hammering away on his keyboard while Mike Gantzer eased into the tune on guitar before starting into the vocals. The set continued with a funk-filled “Origami” followed by “The Median”, showcasing some excellent guitar work from both Loss and Gantzer on the latter. The band then went into “Random Company”, a hard-hitting but spacey tune from their 2016 Best In Show EP, which continued right into a cover of Gorillaz‘ “Clint Eastwood” with Loss on vocals. To add to the band’s rendition of the Gorillaz hit, the Aqueous fellas welcomed BIG Something’s Nick MacDaniels to the stage to perform the song’s rap verse in fine fashion before returning to “Random Company”.The show continued with a high-energy performance of “Aldehyde” before closing out with “Half In, Half Out”. Fans can watch the video below to relive that night’s entire performance in full.Aqueous – Stanley Hotel – 2/16/2019[Video: Aqueous]Aqueous continues their run of winter shows with the next performance scheduled for Friday, March 15th, at Anthology in Rochester, NY. The performance will see the band playing three full sets, including one comprised of complete group improvisation for the first time ever. Fans can head to the tour page on Aqueous’ website for tickets and info to upcoming shows.Setlist: Aqueous | Stanley Hotel | Estes Park, CO | 2/16/2019Set: Weight of the Word, Origami, The Median, Random Company > Clint Eastwood* (Gorillaz cover) > Random Company, Aldehyde, Half In, Half Out^* w/ Nick MacDaniels of Big Something on vocals^ “Enter Sandman” (Metallica) tease