Friday night’s highly anticipated debut performance of Joe Russo’s Almost Dead in the capital city of Albany, New York was nothing short of jaw-dropping. While many Upstate deadheads have taken the 3-hour journey southbound to see the boys in their Brooklyn Bowl home turf, most the crowd in the sold-out Palace Theatre were experiencing the glory for their first time.An appropriately placed “Feel Like A Stranger” assured the room that it would be a long, long, crazy, crazy night. The five strangers on stage introduced themselves to the Palace in an all-too-authentic JRAD way by mixing the distinct sound of the Grateful Dead with the high-energy improvisations that fans have come to love in their almost 150 shows. Seamlessly transitioning into “Help On The Way” was the first of many awe-inspiring and unique transitions in the night. Marco Benevento hopped back and forth from organ to grand piano and provided a gorgeous yet rambunctious solo while transitioning into the classic “Slipknot” section of the one-two Blues for Allah punch.After the calming and celestial board work from Benevento, drummer Joe Russo slammed his foot on the gas for a peel-out transition into “The Wheel.” Guitarist Tom Hamilton sonically connected with Russo to appease the Upstate Phish fanbase with a kid-tested, mother approved “Bathtub Gin” tease. Bassist Dave Dreiwitz came knocking at the door, Lesh-like with bass-bombs that rattled the upper deck of the theatre during the spacier part of the jam. Local Grateful Dead tour veterans thought back to a time almost exactly 25 years ago when Jerry Garcia sang the tune down the street at the Knickerbocker Arena which is featured on the fan-favorite live album, Dozin’ at the Knick.Hamilton tipped his hat to Jerry during an extra special solo in “Uncle John’s Band”, yet another highlight of the first quarter of the show. The version contained elements of a 90’s hip-hop backbeat and for good measure, the quintet threw in a “Poison” sample by Bell Biv DeVoe. Guitarist Scott Metzger shined during the bouncy flow into “Truckin’”, which the band took on an extended test-drive before peppering in another Phish tease with “Chalkdust Torture”. Although the band was technically truckin’ back from Buffalo as they played Syracuse’s Landmark Theatre the night before, the lyrics of the Grateful Dead greatest-hit always induce serious excitement from any New York crowd.A silky “Music Never Stopped” reprise had some members of the capacity audience howling for “The Other One” only to be pleasantly faked out. The 5-piece continued to pull rabbits of the hat with a surprising jam that contained elements of a high energy “Born-Cross Eyed” that could have dropped into “The Other One” (or “Crosseyed and Painless” at this point) but instead took fans into set break.Set two kicked off with a mellow and slow-building “Reuben & Cherise”, which brought forth a flood of teases including yet another Phish nod in “Divided Sky” where Tommy Hamilton channeled Trey Anastasio again. With a Tweezer-esque energy, the band blasted off into the highlight of the second set “Viola Lee Blues”. The rollercoaster jam drifted into an out-of-left-field takeover by Benevento and brought some of us back to the days where there was only The Duo. A funky guitar exchange by Hamilton and Metzger was later combated with a Dreiwitz / Russo collaboration that let everyone in on the fun. The colossal reprise featured elements of “Happiness Is A Warm Gun” and “Lady Madonna” by Hamilton and Benevento which may have been foreshadowed during the all-Beatles set break mix. When the jam finally fizzled out, the crowd once again found themselves falling into a deep “Foam” tease, capping off the unprecedented four-song tease-pack celebrating the quartet from Vermont.Watch the second-set opener below, courtesy of nugs.tv.As if the show wasn’t hot enough, a “Jack Straw” for the ages reminded JRAD rookies the importance of first impressions, and they surely delivered. Instead of singing the final lyrics “we can share the women we can share the wine”, Hamilton and the crew instead instrumentally faded away into “So Many Roads”. To keep the theme of “roads” present, Joe Russo led his crew into a rowdy “Goin’ Down The Road Feelin’ Bad” that had even the old timers out of their seats. After an instrumental “We Bid You Goodnight,” Russo tossed one of his drumsticks into the grateful crowd hopeful that they would see him and the band for one more song.“Magnificent Sanctuary Band” may have been recorded by Jerry Garcia, but it never made it to the stage for a live performance. Benevento’s mastery on the grand piano only added to the soulful voice of Hamilton during the well-placed song to leave behind in Albany. In the Donny Hathaway version of the encore tune, there is an introduction spoken by Hathaway that couldn’t be more appropriate for summing up JRAD’s first show at the Palace Theatre: “Well try to imagine with me if you will, that you were the first to see the band coming down the way, growing bigger and bigger, and your heart pounding harder and harder.”You can listen to the full show audio below, courtesy of Brian Goldstein:Joe Russo’s Almost Dead plays their final show of the short and sweet run at The State Theatre in Portland, Maine on Saturday night.Setlist: Joe Russo’s Almost Dead | The Palace Theatre | Albany, NY | 3/16/18Set One (8:43PM – 10:01PM): Feel Like A Stranger > Help On The Way -> Slipknot! @ -> The Wheel # -> Uncle John’s Band $ -> Truckin’ % -> Music Never Stopped Reprise -> Born Cross-eyed JamSet Two (10:40PM – 12:14AM) Jam -> Ruben & Cerise ^ -> Viola Lee Blues -> 9 to 5 Jam -> Viola Lee Blues Reprise + -> Jam & -> Jack Straw * -> So Many Roads -> Going Down The Road Feeling Bad -> We Bid You Goodnight (Instrumental)E: Magnificent Sanctuary [email protected] – With an MB Solo# – With “Bathtub Gin” (Phish) Teases & Jams$ – With a “Poison” (Bell Biv DeVoe) Tease (JR) & a “Mama, I’m Coming Home” (Ozzy Osbourne) Tease (TH)% – With a “Chalkdust Torture” (Phish) Tease (TH)^ – With a “Divided Sky” (Phish) Tease (TH), a “Let My Love Open the Door” (Pete Townshend) Tease (TH) and a “Paradise City” (Guns N Roses) Tease (Band)+ – With a Unknown Tease (SM) & a “Cavern” (Phish) Tease (JR)& – With “Foam” (Phish) Teases & Jams* – With a “Llama” (Phish) Tease (JR), Ruben & Cerise Teases & GDTRFB Teases (TH)
Earlier this week, news surfaced that a deal is in the works to sell iconic New Orleans venue Tipitina’s in light of recent lawsuits and financial insecurity, according to a report from local New Orleans news outlet WWL-TV. The reported plans to sell Tipitina’s come as its longtime owner, Roland Von Kurnatowski, faces a number of lawsuits from investors surrounding bounced checks and unpaid debts totalling nearly $3M.Initially, the identity of the venue’s potential buyers and their plans for the space were unclear. WWL-TV now reports that multiple sources close to the negotiations have confirmed that local funk-outfit Galactic has been working on a deal to purchase the iconic Big Easy venue from Von Kurnatowski.Galactic has a longstanding history with Tipitina’s that dates back to the early 1990’s, when the band was called Galactic Prophylactic. Galactic was started by Stanton Moore, Robert Mercurio, Ben Ellman, Jeff Raines, and Rich Vogel, who were students at Tulane and Loyola universities and ended up settling in the Uptown area of New Orleans around Tipitina’s. With their mentor Theryl DeClouet joining the band to assist on lead vocals, Galactic gained popularity around town and quickly started selling out shows at the iconic club. Moore, as well as fellow bandmates, have also had longtime involvement with the Tipitina’s Foundation started by Von Kurnatowski and his wife, Mary, which helps bring and teach music to kids in New Orleans.Tipitina’s was originally founded by a group of New Orleans music fans as a performance venue for local musical legend Professor Longhair. It’s named for one of Longhair’s most famous songs, “Tipitina”, which has since become a beloved NOLA standard. Von Kurnatowski bought the venue in 1996, and while he was reportedly unaware of its particular history, he has since been dedicated to preserving its identity. As WWL-TV notes, the couple would likely have to stop using the Tipitina’s name for the foundation should they choose to sell the venue.WWL-TV also notes that, “Several sources associated with the club have said they hope Galactic buys Tipitina’s to keep it alive as a cultural touchstone on the New Orleans live music scene. Members of the band declined to confirm that the deal was in the works, but people with direct knowledge of the negotiations said it has been for some time and could be finalized soon.”[H/T WWL-TV]
Lilyannah Marie Grace Adams was born at Good Samaritan Hospital in Cincinnati, Ohio on Tuesday, June 23, 2020. She entered heaven on Friday, June 26, 2020 at Children’s Hospital in Cincinnati. Ohio. Lilyannah was a vibrant ray of sunshine that just shined too bright for this earth and God needed her as a beautiful bright star and guiding light. As her uncle Jerrod said, “She was just too dang beautiful for this world to handle so God needed her for his work.” We thought we were going to be watching over you for your lifetime but it turns out you’re going to watch over us as our guardian angel. We love you Lily pad.Lilyannah will be deeply missed by her heartbroken parents, Justin Ray Adams and Lacey Marie Walton of Florence, IN; her brothers, Braylen Joseph Walton and Wesley Eugene Edward Walton of Florence, IN; her maternal nana, Cathy Jo Edwards and her companion, Kenneth Gordy of Carrollton, KY; her maternal-grandfather, Joseph Edward Walton of Rising Sun, IN; her paternal grandparents, Marchita and James Hutchinson of Tampa, FL; her paternal-grandmother, Tammie Adams of Ocala, FL; her maternal-great-grandmothers, Patricia Walton of Rising Sun, IN and Donna Johnson of Carrollton, KY her aunts and uncles, Guy Adams and Christy Garci of Mt. Plymouth, FL, Courtney Creech and Jerrod Ayers of Oxford, Ohio, Layla Creech of New Paris, Ohio, Kellie Adams of Ocala, FL and Harry Walton, III. and Makki of Rising Sun, IN; her great-uncles and great-aunts, Tonya Edwards of Carrollton, KY, Pamela and Jerry Tatman of Kent, IN, Tiffany and Thomas Majors of Bennington, IN and Mary and Matt Bruns of Bennington, IN; her cousins, Holt, Jadelyn, Jayden, Brittany, Anthony, Sophia, Carter, Cayden, Kash, Amaya, Rilynn, Maleah, Aubree, Thomas, Kristee, William, Averyl, Kaina, Eli, Jaycon, Aniyah, Aubree and Allysen.She was preceded in death by her maternal-great-grandfathers, Harry E. Walton, Jr. and Anthony Glenn “Tony” Edwards; her maternal-great-great-grandparents, Harry E. Walton, Sr. and Norma Walton, Arthur G. and Mary E. Edwards and Dorothy and Vernon LaVelle and her paternal-great-great-grandparents, Irene and George Adams.Friends may call 11:00 a.m. – 1:00 p.m., Wednesday, July 1, 2020, at the Haskell & Morrison Funeral Home, 208 Ferry Street, Vevay, Indiana 47043.Funeral services will be conducted Wednesday, July 1, 2020, at 1:00 p.m., by Pastor Matt Bruns, at the Haskell & Morrison Funeral Home, 208 Ferry Street Vevay, Indiana 47043.Interment will follow in the Mt. Carmel Cemetery in Aberdeen, Indiana.Memorial contributions may be made to the Lilyannah Marie Grace Adams Memorial Fund c/o Haskell & Morrison Funeral Home. Cards are available at the funeral home or online at www.haskellandmorrison.com
In a time of uncertainty, the album invites listeners to give into the freedom that music provides. It builds a vibrant world that can be accessed only on the shimmery dance floor. The standalone strength of each song on “Future Nostalgia” establishes it as the standard for commercial pop artistry. This year has been full of surprises, but Dua Lipa’s pop stardom has been the most exciting to witness. The album introduces itself with the title track and a clear statement: “You want a timeless song, I wanna change the game.” The combination of the artist’s work and influence goes beyond samples. Her collaborations bolster its commercial appeal, and the innovative nature of subtly featured artists amplifies Lipa’s already-explosive tracks. Notable hip-hop producer Take a Daytrip’s placement of bubbly effects can be heard in the quirky track “Good In Bed.” And in the sultry track “Cool,” Tove Lo’s songwriting skills shine through on the captivating hook. Fast forward to today, Lipa is ready to take the pop world by storm with choreographed numbers and neon visuals. Her previous blockbuster singles were simply the rocket fuel for her latest project to take off. The album ends on a different note than expected, but not shocking given Lipa’s history of championing women. Drawing on the fondness of the past, the 11-track project captures the essence of disco culture while delivering snappy basslines and Daft Punk-esque effects for listeners to explore. When speaking to the vision of the album, Lipa shares her own feelings of musical nostalgia to Apple Music. (Justin Higuchi / Creative Commons) On “Love Again” the instrumental intro is built off of White Town’s iconic 1997 “Your Woman.” With these musical snippets, she creates layers keen listeners can begin to dissect. The 24-year-old London artist had proven herself as one to watch with singles “New Rules” and “IDGAF” from her 2017 self-titled debut album turning into catchy radio hits. But at the time, she still lacked a complete artistic presence, which was reflected in her underwhelming performance at the BRIT Awards in 2018. The breakout track on the project is “Levitating,” which has fun melodies and 808 drum rhythms that make it the perfect dance floor song. The call-and-response and dance break components seem as though they were placed with audience participation in mind. Overall, it’s a dynamic track that encapsulates the careless excitement that comes with a fleeting love-interest. The structured bass lines and synths throughout the album provided a sense of cohesiveness; while each song is distinct in style, the same underlying instrumentals give the project an elevated production feel. But while the stylistic choices made on the closing song lend it to be a powerful cinematic finale, it ultimately ended up falling short. The combination of basic lyrics and a muted children’s choir fail to make the hard-hitting impression Lipa hoped for. There is no perfect formula for creating a pop star, but if there was, Dua Lipa seems to have found it. Much of the appeal of “Future Nostalgia” comes from how refreshing it sounds. This past year saw the rise of monumental pop artists, such as Lizzo and Billie Eilish, who flaunt vulnerability and intimate lyrics — a stark contrast to Lipa, who thrives by exuding an effortless cool. The idea of this untouchable pop star creates desire, one that makes audiences thirsty to follow. Even when using samples, the artistry of the album goes beyond simple imitation. The funky guitar strums of INXS’s “Need You Tonight” are transformed in Lipa’s “Break My Heart.” The mix of references and innovative production serves as an ode to the glitter disco era. Every aspect of the production was deliberate and a result of constantly learning on the job. In an interview with Zane Lowe on Beats, Lipa details using “the same strings in multiple different songs” and “singing everything on the same mic,” elements of music production that she has learned over the course of her career. “I talk so much about female empowerment, but I’d never done a song which really talks about the growing pains of what it’s like to be a woman,” she explained via Apple Music. “[‘Boys Will Be Boys’] is a completely different element, but lyrically it was very important for me to have it on the record.” “I remember listening to songs by Moloko and Jamiroquai, which would make you want to dance no matter what time of day it was,” she said. “I wanted to recreate that feeling.” In the midst of a global pandemic and online leaks, “Future Nostalgia” debuted March 27, a week earlier than anticipated. These circumstances had little effect on the impact of the heavy-hitting album where we hear Lipa in full command.