The much-hyped Panorama Festival has finally revealed a list of performers for their 2016 event. Panorama was the source of some controversy earlier this year, when Coachella organizers Goldenvoice announced they were bringing a music festival to New York, NY just two weeks after the long-running Governors Ball. Plans eventually moved Panorama to July 22-24, allowing for a month and a half of breathing room between the two events.Panorama is very much a reality, boasting a lineup with Arcade Fire, Kendrick Lamar and LCD Soundsystem at the top. Alabama Shakes, Major Lazer, The National, Grace Potter, Sufjan Stevens, Run The Jewels, Kurt Vile & The Violators, FKA twigs, Silversun Pickups, Sia A$AP Rocky and more round out the festival’s inaugural billing.Tickets and more information can be found via their official website. Take a look at the full lineup, below:
Throughout 1969 and 1970, the Grateful Dead were experimenting with new performance techniques on the road. Growing from a purely psychedelic band, the Dead were finding their voice as songwriters and composers, deeply rooted in the American folk tradition. With that in mind, the band often performed an acoustic set to open their shows during this era, which would be followed by two electric sets for what was guaranteed to be a great night of music.The performance on May 2nd, 1970 was no exception, as the Dead put on an incredible show at Harpur College in Binghamton, NY. The show was rightfully immortalized on the Dick’s Picks series, highlighting a more intimate sound from the Grateful Dead’s lengthy career. As Jerry Garcia was always fond of folk/acoustic instrumentation, these performances certainly bring out a playfulness in his demeanor.Listen to the full concert held on this date below, courtesy of Jamie Waddell/Archive.org:Setlist: Grateful Dead at Harpur College, Binghamton, NY – 5/2/70Set 1: Don’t Ease Me In, I Know You Rider, Friend Of The Devil, Dire Wolf, Beat It On Down The Line-> Black Peter, Candyman-> Cumberland Blues, Deep Elem Blues, Cold Jordan*, Uncle John’s Band Set 2: Saint Stephen-> Cryptical Envelopement-> Drums-> The Other One-> Cryptical Envelopement-> Cosmic Charlie, Casey Jones, Good Lovin’-> Drums-> Good Lovin’, Cold Rain & Snow, It’s A Man’s World, Dancin’ In The Streets Set 3: Morning Dew, Viola Lee Blues-> Feedback-> We Bid You Good Night *with members of NRPS
In a move that’s sure to stoke the flames of many angry customers, Ticketmaster has announced the closure of the first wave of their free voucher program, which was a response their loss in a massive class action lawsuit. While fans were given many codes to use to claim free tickets at Live Nation-owned amphitheatres and clubs, it was extremely difficult to actually use the codes, as most of the in-demand shows were scooped up immediately, leaving behind a slew of undesirable shows as the only option for fans to use their codes with. The ticketing giants announced this morning that, even with the difficulties in finding shows that actually had availability in the first place, that $5 Million in ticket vouchers had been claimed by fans, and that they would be closing the program for now.While that news may be very frustrating to fans who were hoping to use their codes, concert-goers should fear not, as the massive ticketing company announced that, while all the currently eligible shows had been claimed, another $5 Million eligible shows will be made available at some point in the future, and fans will be able to use more of their codes. This will serve as no consolation to fans who were met with a series of error messages as they attempted to claim their tickets, and were unable to use any of the codes given to them.Ticketmaster released a brief statement last night explaining the situation:At this time, nearly $5m worth of eligible ticket vouchers have been redeemed and the first wave of eligible events has been closed. Given the overwhelming interest, Ticketmaster is adding another $5m worth of eligible tickets so more class members can redeem ticket vouchers. Please check back tomorrow for additional information. Hopefully Ticketmaster is taking this break to re-vamp their system, making it easier for fans to claim tickets using this confusing voucher method.Stay tuned for more news on this story as it becomes available.
Brandon “Taz” Niederauer is on a serious roll. When he’s not performing as a lead character in Andrew Lloyd Webber’s School of Rock The Musical, he spends his free-time playing with legends touring through New York City, proving time and time again just how talented this young 13-year-old really is. Sunday night was no exception, as the young guitarist made his way to City Winery to join Los Lobos during their brief run.Planning only to sit-in for a cover of “Lose My Mind” by Little Walter, Taz stayed on stage for a Lobos original “Mas Y Mas” following great praise. As the show went on, he was invited back to join in for a cover of “I’m Tore Down” by Freddie King. Showing off his impressive chops in the blues, roots rock, and Tex-Mex, the kid justified his irreplaceable role in the scene as one of the most diversely-talented young players in the game.Thanks to Jeremy Gordon, you can watch some of the collaborations in the videos below:
In just one short day, Phish will settle in at Madison Square Garden for their traditional end-of-the-year run. Phish is no stranger to the Garden, having now played the famed venue in the heart of New York City 35 times over the course of their career. From their MSG debut in 1994 to their most recent appearances at the very beginning of 2016, the storied room has played host to some of the most treasured shows in the band’s history. As we inch closer to this year’s New Year’s Run, we will be bringing you our 12 Days Of Phishmas series, highlighting a different milestone MSG Phish show each day until we all head back to the Garden on the 28th. It wasn’t easy narrowing 35 down to 12, but we think you’ll be pleased with these classics from the Phish catalog. Enjoy!It’s been a glorious twelve days of Phishmas, getting to relive classic Phish shows from the band’s runs at Madison Square Garden. Through the first eleven Phishmas days, we’ve seen the band go into deep space funk, debut new songs, and ring in the New Year with shenanigans ranging from a Time Factory to a worldwide Meatstick celebration. For our last selection, we couldn’t resist the classic lyric “12 Drummers Drumming” to bring you a show from ’12 that highlights the drummer’s drumming. The “Little Drummer Boy” himself, Jon Fishman.The namesake of Phish is beloved not only for his donut pattern dress, but also his untenable ability as a drummer. When Trey Anastasio teases “Little Drummer Boy”, it’s a playful jib at Fishman’s reliability as a rhythmic conductor. Through Phish’s complex compositions, Jon Fishman is at the heart of it all.The first night of Phish’s four night stand at Madison Square Garden in 2012 was a fantastic show, kicking off the run in high festive spirits. With the holidays having just passed – a situation not unlike today – all sights were firmly set on the run. When the first notes of “Stealing Time From The Faulty Plan” rang through the arena, there wasn’t a single fan not rejoicing in the moment. Phish was back!The first set was filled to the brim with tight rocking music, from “The Moma Dance” to “Funky Bitch” to a great “Tube > Stash” combination that had the place rocking. A little bluegrass “Nellie Kane” gave Mike Gordon a chance to shine, and big versions of “Kill Devil Falls” and “Free” showed the band’s true potential. They closed the set with an all-timer “Wolfman’s Brother,” a moment that shook the floors of MSG with the dancing grooves of 17,000 Phish fans.The show slowly became a dual tribute to Jon Fishman and the seasons greetings, as Trey led the “Wolfman’s” jam into the melody of “Little Drummer Boy.” The song had been teased many times in Phish’s earliest days, but hadn’t been dusted off since 2004. Pa rum pum pum pum.Though “Wolfman’s” brought the “Drummer Boy” jam, Trey brought the melody back once more when he wove it into a particularly fire rendition of “Twist” in the second set. They kept up the teasing in “Fluffhead” later in the set, with Page working out the melody during the powerful pill odyssey. Of course, the show was also noteworthy for its 20-minute “Tweezer” to open up the second set, one that wouldn’t be “Reprised” until just after midnight on New Year’s Eve. With “Bouncing Around The Room” and “Good Times Bad Times” for the encore, Phish bid their fans adieu with a great opening night show in 2012.You can enjoy full video of both sets below, courtesy of YouTube user thegreatboognish:Set 1 Set 2:Setlist: Phish | Madison Square Garden | New York, NY | 12/28/12Set 1: Stealing Time From the Faulty Plan, The Moma Dance, Funky Bitch, Army of One, Tube > Stash, Nellie Kane, Kill Devil Falls, Free, Wolfman’s BrotherSet 2: Tweezer > Maze, Twist > Theme From the Bottom -> Fluffhead > David BowieEncore: Bouncing Around the Room, Good Times Bad TimesThis show was webcast via LivePhish. Wolfman’s Brother contained a Heartbreaker tease from Mike and a Little Drummer Boy jam. Twist contained multiple Little Drummer Boy teases as well as quotes from Trey, referring to Fish, and Fluffhead contained a Little Drummer Boy tease from Page.Stay tuned over the coming days for more Phishmas! ‘Tis the season!On the twelfth day of Phishmas, a Phish phan played for me… 12 Drummer (Boys) Drumming (12/28/12)Eleven’s January First-ing! (1/1/11)Ten Sally’s Sneakin’ (12/30/97)Nine Ladies Dancing (to Meatstick) (12/31/10)Eight No Men Landing (12/31/15)Seven Jams A-Steamin’ (12/31/11)Six Walls a-Cavin’ (12/31/02)Five Song Second Set (12/29/97)Four Light Year Jams (12/29/98)Three Phishy Decades (12/31/13)Two Sitting Legends (10/22/96) and The Gamehendge Time Factory (12/31/95)!If you’re attending the run, there are plenty of things to do in between shows. For fans of the jam, head to any of these concerts in the area for a guaranteed good time!12/28: Aqueous + Mungion @ DROM (Phish After-Party) – tickets12/30: Phan Art w/ Formula 5 @ American Beauty (Phish Pre-Party) – FREE SHOW12/30-31: Spafford & Magic Beans @ American Beauty (Phish After-Party) – tickets
It was a funk explosion on New Year’s Eve at the House of Blues Boston, when Lettuce took the stage to ring in the New Year with special guest vocalist, Antwaun Stanley. Though most of Lettuce’s music falls under the psychedelic funk instrumental category, they do love to include a handful of tunes with vocal accompaniment, typically calling on Nigel Hall for that role. With Hall unavailable, Lettuce looked to the Funky Duck himself, Antwaun, to get the party going.Stanley joined for four songs total, including a cover of Vulfpeck’s “Funky Duck” (Watch the video here), “Knock Yourself Out”, “Move On Up” and the encore, “Do It Like You Do.” Fortunately, full audio of the show has just been shared by taper Brian V for us all to enjoy! Tune in and listen to Lettuce with Antwaun Stanley, as well as guests Atticus Shadrack Cole ($) on percussion and Brian Thomas (%) on trombone, below!
Anyone who’s made it out to Dead Set Tuesdays at the Club Metronome Live at The Rusty Nail venue knows that these are always special shows. Last weekend, the Stowe, VT venue doubled down with a special Saturday edition, enlisting an all-star lineup of performers for the celebration.Among them was Oteil Burbridge (Dead & Company), Zach Nugent (Melvin Seals and JGB), Luke Smith (Strangefolk), Aaron Katz (Percy Hill), Craig Brodhead (Turkuaz) and Richard James (Pink Talking Fish) – what a lineup! The six piece also welcomed Sean Preece and Sarah Blacker throughout the night, adding to the joyous occasion. With heartfelt takes on so many Grateful Dead classics, this was a Dead Set performance for the ages!Thanks to the Rusty Nail, we can listen back to this one of a kind show. Enjoy it![Photo by chadshorebird//Instagram]
…[Photo: Phierce Photo by Keith G.]Kamasi Washington’s five-step program—”Desire”, “Humility”, “Knowledge”, “Perspective”, “Integrity”—culminates in the lengthy, multi-part “Truth”, a sonic and thematic distillation of the individual movements’ themes. In the Whitney exhibit, a film was displayed featuring five paintings focused on raw shapes and colors, each inspired by one of the first five movements of the suite. For the final number, the paintings were layered on top of each other to create a new, sixth image: an abstract depiction of a human face–the creation of harmony and cohesiveness out of difference; the attainment of Truth.All five pieces, refracted emotions, together reveal a single, more complete ideal when observed through the philosophical lens Kamasi lays out. But to hear Kamasi say it feels almost too simple—or, at the very least, much easier said than done. Why else would today’s world have such a tenuous grasp on the concept of Truth? Particularly in recent weeks, we’ve witnessed a deluge of past victims of assault and impropriety come forward and reveal truths that they’ve been forced to internalize for years. We’ve seen countless people we once admired and respected cast in starkly horrifying light as the truth of their actions bubbles to the surface, challenging our perceptions of the world.“I think it’s great that people are finally pulling those veils back. And I think the next step is actually doing something to not just punish, but prevent. I think that there’s a shortage of education and understanding,” he explains. “You know, racism, sexism, bigotry—all those things…they’re knowledge, they’re learned. I feel like, in general, they are pressed upon people, pushed upon them. And if we just kind of sit back passively and accept them, then they’re gonna show up. You have to be proactive. You have to go after these views before they manifest…Ignorance is the real root of most of our problems. And most of what it is is just a lack of knowledge. Most people are trying to do the right thing, they just don’t know…People who have been out there a little bit and have had experiences and had real connections with lots of different people, those people are rarely the ones with the most prejudices.”“I think knowledge is a bit more easily manipulated than truth is. It’s all part of the story. The information—even the accurate information—is only part of the whole story, you know what I mean?” He goes on, “There should be a ‘Humanity’ class for kids…to teach you acceptance, fairness…I know people don’t want others’ moralities being pressed upon them. But I think that there’s a kind of baseline level of morality that we all can come in agreement over. And there should be more education in that. Because [these views] form as a kid. We need to teach understanding…It’s the difference between ‘truth’ and ‘knowledge,’ you know what I mean?”…[Photo: Phierce Photo by Keith G.]Kamasi Washington got his education in understanding—in the harmony of difference—coming up in the L.A. jazz world. It afforded him a crash course on the inherent Truth in live performance, in chemistry; that intangible yet all-too-real “lightning-in-a-bottle” feeling you can’t quite catch with a recording.“It is kind of hard to capture that feeling in a record because when you listen to a live performance, in a way, you’re a contributor. When you listen to a recording, you’re an observer.” Kamasi explains. “When you listen to a recording, you’re observing a moment in time. When you listen to a live show, you’re in a moment in time.”“I’m super sensitive to that, deliberately,” says Washington. “I try to make the music a reflection of the moment and time and place that I’m in. I kind of try to take the vibe that’s in the room and start there, and then go somewhere from there. You can feel it as the set’s going. You feel where the energy is kind of moving, you know, and just go with that. It always ends up making music more fun,” he says. “It’s almost like ‘rowing with the current’ or ‘rowing against it,’ you know? If you’re rowing with the current, then you really get to movin’, and the music is just wide open. But you kind of have to let go—let go of any preconceived notions of what the show was gonna be, and let it be what it is.”Kamasi has vivid memories of the nights when that intangible feeling was in play. “Those moments, where it’s just special, I’ve had a lot of them,” he reflects. “Definitely that first show we did [behind The Epic]—my album release party—it’s a strong memory for me, because it was almost, like, my whole musical community: my whole city, my whole family, extended family, beyond just my blood.”“The Los Angeles music scene, and especially the jazz scene has been so opaque for so long, and that show just felt like the Berlin Wall coming down,” he remembers with a laugh.“That night, it felt like it was bigger than the music. Musically, it was great, but even beyond that, it was really that thing of the whole room really being in one place, in one mind, in one thing. And it was a long one—I think we played, like, five hours, or something crazy like that. But it felt like one minute.”Watch footage from Kamasi Washington’s album release party For The Epic below: Kamasi Washington‘s latest EP, Harmony of Difference, wasn’t conceived as an album at all. It was created as the audio portion of a multi-media exhibit at New York’s vaunted Whitney Museum as part of their long-running and highly-regarded biennial survey of American art. “Normally when I write, the music comes first, and then I basically try to figure out what it’s about just like anyone else,” Kamasi says with a laugh via a phone call from Illinois. “It comes, I write it out, play it, and then I’m like, ‘Oh, that’s what this is.’ But the idea of a Harmony of Difference was what came first.” It was a study counterpoint, an exercise in introspection, in making opposing ideas come together to create something greater than the sum of its parts.Kamasi Washington To Be Joined By Robert Randolph and Break Science In NYCOut of that over-arching idea grew a single, specific focus: an examination of Truth, its composite notions and emotions, and the path that one must traverse to attain it. “I was trying to think of, you know, within this idea of Harmony of Difference, what I’m really trying to give to you…and that’s where ‘Truth’ came from. So [the EP’s final track] ‘Truth’ was actually the first title.”With “Truth” as a starting point, Kamasi began to conduct a logical emotional inventory of what that lofty ideal truly entails, and the concepts for the project’s individual movements followed. He continues, “I tried to think of, almost, the steps, or the path, to finding ‘Truth’, and sort of write the songs from those ideas.”As he begins to explain the meaning and placement of each Harmony of Difference movement, the big picture of the project comes into focus, and the tissues connecting the tracks’ distinct themes begin to show: “So [Opening track] ‘Desire’ is the beginning stage of someone’s journey to a greater Truth—you have to want it. And if you don’t really want it, you’re never gonna get it, because it’s something you have to work at,” he instructs. “Then ‘Humility’ is about being honest with yourself that you don’t know. So you have to want the Truth, and then you have to be honest and sure enough of yourself to accept the fact that you don’t have it. That can be the most difficult thing, actually, accepting your own weaknesses and your own failures and your own defeats.”“‘Knowledge’“, he goes on, “is the true first step: To learn, to go out, observe, experience things. Then there’s ‘Perspective’—the wisdom that comes from knowledge, you know? Knowledge in itself is not very useful without a greater understanding and a greater realization of what you are in perspective, with the knowledge that you have—What is your perspective, what are you trying to understand, how does your knowledge relate to that. And then ‘Integrity’ is basically the final stage…At the end of the day, if you go on that journey, whatever truth you’re looking for, you’ll probably find it–but a lot of times what you find is not what you wanted. To really have that Truth, you have to have integrity…accept what you get.”Listen to Kamasi Washington’s ‘Harmony of Difference’ below: [Video: KamasiWashington]…As he’s broken out of L.A. and into the great big world beyond it, Kamasi Washington has worked with a dizzying array of artists from the furthest opposing corners of the music world. From St. Vincent to Run The Jewels, Soulive to Herbie Hancock—from jamming on festival main stages with The String Cheese Incident to composing orchestrations for Kendrick Lamar‘s revered 2015 studio album, To Pimp A Butterfly.Kamasi’s creative palette has colored music that could not sound more different–and that’s by design. He’s quick to explain in what ways playing with a String Cheese Incident differs from working with a Kendrick Lamar: “Oh, well, kinda, in every way possible,” he decides with a chuckle, reflecting on the bizarre fact that his resume prompts any connection between the ski-town jam band and the conscious Compton rapper.“That’s been my upbringing as a musician: just playing with different people, different styles,” he says. “I go into each one with a blank slate. I don’t even try to do what I do with Kendrick with String Cheese. If I’m playing with someone else and it’s their thing, I always try to speak their dialect, you know? But then try to bring something to it. It’s almost like, I come to the party prepared to eat the meal you prepared, but then I bring a dessert, you know? [laughs] Or I’ll bring a bottle of wine or something. So when I come to play with String Cheese, I try to get in their vibe and then see if there’s something in there that maybe I can add. Like ‘this would be nice in here, but it’s not there, so maybe I can add that. Okay, cool.’ And that’s all part of that experience. So what I may be able to add to them is different from what I may be able to add to Kendrick, because what Kendrick is trying to do is so different from what they’re trying to do.”String Cheese Incident with Kamasi Washington & Sheryl Renee — “I Want To Take You Higher”, Red Rocks, 7/16/2017[Video: The String Cheese Incident]…As to which paths his journey may take next, Kamasi Washington is, as usual, open to whatever comes. “The world kind of dictates it, in a lot of ways,” he says pensively. “I don’t know…And myself–I change, the world changes. When I was making The Epic, it was really about trying to express who I am. That’s what I was really trying to do. Because at that point in my life, that was kind of missing. I was using my talents to express other people’s feelings, other people’s visions. And I felt like I was almost losing sight of my own, so that was the reason I had that ‘moment’. On Harmony of Difference, it was about how the world was going—overarching energy and air was starting to turn. I felt compelled to do something to counteract it. Everyone was throwing dirt, let me sweep some up [laughs], because that’s where I felt like I was at.”“Lately,” he confides, “I’ve been playing so much of my own music and touring for so long that I felt like, kinda, in my own head a bit. And so that’s kind of where my energy is now, it’s kind of really introspective—looking at who I am, what I am, what do I really think. I feel like it changes. I never wanna lock myself into one thing because that may not be what’s me, you know? You wanna be open. You don’t wanna always be wearing hiking boots, and then you get to the lake and you’ve gotta swim, you know what I mean? I kinda keep it open. One day I might need to climb, another day I might need to swim.”Whether he’s hiking, swimming, flying, or trying something new and different we haven’t seen before; whatever journeys he goes on next—all signs indicate that it will be a path worth following with him. And that’s the truth…On Wednesday, November 22nd, Kamasi Washington will make his way to Terminal 5 NYC for a special Thanksgiving-Eve performance featuring an appearance from sacred steel guitar master Robert Randolph with special guests Break Science. As Kamasi notes, “There’s an intensity to New York which I don’t think exists anywhere else.”You can purchase tickets to the performance HERE.Enter To Win A Pair Of VIP Tickets Below!
There’s a strong case to be made that Stevie Wonder is the greatest musician who has ever walked the Earth. His combination of instrumental talent and versatility, songwriting abilities, commercial success, prolificness as a recording artist, collaborations with and influence on other artists, timelessness, and, of course, his voice all attest to this. So did his performance at the 21st edition of his (sort of) annual “House Full of Toys” holiday benefit concert, held this year at Staples Center in downtown Los Angeles.Stevie Wonder’s “House Full of Toys” shows are notorious for their star-studded lists of guest performers, and this year was no different. Stevie took the opportunity to showcase artists old and new before he assumed control of the night. He joined Tony Bennett, still kicking at 91, in a duet to “For Once in My Life”, then busted out his harmonica while Bennett crooned to “Left My Heart in San Francisco”. He delighted in a double dose of “Happy” with Pharrell Williams and stepped to the center to belt out “Someday at Christmas.”Stevie Wonder & Tony Bennett, “I Left My Heart In San Francisco”[Video: sunnyd100]Stevie Wonder & Pharrell Williams, “Happy”[Video: Brian Ruschman]During the evening, there were also times when Stevie ceded the stage entirely—from famed saxophonist Mike Phillips’ instrumental rendition of Frankie Beverly’s “We Are One” to Dave Matthews recounting his band’s “Crazy” to Savion Glover tapping up a storm, to Andra Day and Common hitting on the pervasive theme of unity in a divided country.Dave Matthews & Stevie Wonder, “Crush”[Video: katzenheimer]The crux of the show, though, consisted of Mr. Wonder winding his way through two classic albums: Innervisions and Talking Book. Some forty-five and forty-four years since their respective releases, Stevie brought those seminal works roaring back to life with a fervor to fit a social and political climate not unlike the one that pervaded the U.S. during the early 1970s. He joked about being unable to “unring the bell” on his recordings but succeeded wildly in making old works at once relevant and rich.It wouldn’t have been a “House Full of Toys” show if he didn’t have plenty of help on his own work—and not just from musical director Rickey Minor. For Innervisions, he brought back Lani Groves and Jim Gilstrap to recreate the original vocal melange that turned “You Are the Sunshine of My Life” into a romantic romp. He pulled a similar trick for “Maybe Your Baby” with Ray Parker Jr., the original guitarist from that track, wailing through his own share of technical difficulties.Stevie also set about having his prior guests reprise their time on stage. Matthews got the prime spot as Wonder’s duet partner on “Superstition”. Once the night switched to Innervisions, Common added his own poetic take to “Visions”, and Andra Day took her turn with Stevie on “All in Love is Fair”. Pharrell was lucky enough to land two guest spots—on “Golden Lady” and “Higher Ground”—after which Wonder toyed with the idea of producing with the N.E.R.D. frontman.Stevie Wonder & Dave Matthews, “Superstition”[Video: Brian Ruschman]Stevie Wonder & Pharrell Williams, “Higher Ground”[Video: Mark Drakk]However, while the music itself was on point, throughout the show, there was an issue without the sound engineering. Time and again, the levels on microphones had to be adjusted while in use. More than a few artists were handed mics that were entirely silent. And when the sound did work, it was too often too loud for even the cavernous confines of Staples Center, to the point where the delicate signatures of Stevie’s classics were drowned out in a maelstrom of reverberation and distortion.Yet, this is one of the ways in which Wonder’s greatness strengthens its case. Despite those distractions and difficulties, despite the struggles of the sound team being all too real, and despite the show stretching well past the bedtime of most patrons, Stevie and his star-studded supporting cast managed to put on a show that was as captivating as it was nostalgic.No matter who was on stage with Stevie, no matter how big or small the star, he was the one who shone brightest, the one to whom they all gladly and gratefully deferred. Because anyone who still sounds this good and can command such a massive arena this well—without the benefit of sight or youth—has to at least be considered the Greatest Of All Time. If he isn’t already the G.O.A.T.
Today, Colorado jam outfit The Magic Beans have announced the initial lineup for the 2018 edition of their Beanstalk Music & Mountains Festival. The host band will perform all three nights of the Rancho Del Rio festival, which will take place from June 28th through 30th in Eagle County, Colorado.Beanstalk Festival joins together the awe-inspiring beauty of the Rocky Mountains and Colorado River with a live music experience of some of the top touring and local acts and musicians. In addition to The Magic Beans’ host sets, this year’s initial lineup includes headlining performances from Horseshoes & Hand Grenades and Aqueous, in addition to the Beanstalk All-Star Superjam featuring Marc Brownstein and Aron Magner of The Disco Biscuits, Dave Watts of The Motet, Matt Jalbert of TAUK, and more.The down-bill for Beanstalk Music & Mountains Festival 2018 is equally impressive, with performances by Octave Cat, a side project featuring Jesse Miller of Lotus, Eli Winderman of Dopapod, and Charlie Patierno; Ghost Light, the highly anticipated new band featuring Holly Bowling, Tom Hamilton, Steve Lyons, Raina Mullen, and Scotty Zwang; Cory Wong of Vulfpeck; and Colorado’s own Eminence Ensemble. The initial lineup rounds out with sets by Mungion, Cycles (x2), Lespecial (an original set and a “Lespecial Does Primus” set), Anoramora, Yak Attack, The Jauntee, and more.After multiple successful years, the intimate festival has become renowned in Colorado as one of the can’t-miss events of the summer. In addition to a consistently stellar lineup and slow-flow, Yin, and Kali Durga yoga offerings, Beanstalk’s prime location along the banks of the Colorado River allows attendees to enjoy the outdoors—including hiking, hot springs, cliff jumping, ATVing, and world-class mountain biking—before the music starts in the mid-afternoon.Tickets are available here. For more information about Beanstalk Music & Mountains Festival 2018, visit the event website or follow the event on Facebook.