Long before Donald Trump (aka Donald Drumpf) was running for president, or even featured on The Apprentice, the real estate mogul was involved in a business venture with legendary rockers The Rolling Stones. An old story from 1989 has recently resurfaced, thanks to a Salon article, and we can’t get enough.As the story goes, the last night of the Stones’ tour was set for Boardwalk Hall in Atlantic City, where the nearby Trump Plaza Hotel & Casino was sponsoring both the performance and a pay-per-view special. The band shrewdly made Trump agree to not promote the event outside of Atlantic City, and to not appear at the concert itself. Quite the foresight.Of course, Trump completely defied the previously-agreed upon arrangements. As tour promoter Michael Cohl told Pollstar last August. “I run to the press room in the next building and what do you think is happening? There’s Donald Trump giving a press conference, in our room!” Cohl claims that Trump said that someone “begged him to go up,” clearly lying to cover his breach of contract.Cohl called him out for being a liar, hoping to nip this problem in the bud. However, Trump made his way back to the press room, again speaking up to promote the show. Cohl tells the story of Keith Richards’ reaction best. “Keith pulls out his knife and slams it on the table and says, ‘What the hell do I have you for? Do I have to go over there and fire him myself? One of us is leaving the building – either him, or us.’”Perhaps unfortunately, Cohl wound up handling the situation without Richards’ threat of violence. Cohl went back to Trump and threatened to cancel the whole pay-per-view broadcast, only to have Trump’s guards pull out brass knuckles. The guards, however, were no match for the entire staff security team, who outnumbered them forty-to-three. In the end, Trump backed down, and the Stones rocked the show.
Load remaining images On tour in support of new album The Story of Sonny Boy Slim (read the review here), Gary Clark Jr. played Portland, Oregon’s Roseland Theater as part of the city’s Soul’d Out Music Festival.The packed house was first treated to a set from Baskery. This band consists of three sisters from Stockholm, Sweden, and dishes up alternative folk rock with the help of a stand-up bass, a banjo-guitar, an electric guitar, and a small set of drums. They’ve been together as a band for almost a decade and have three albums and an EP to show for it. Their entertaining opening set was full of energy. They were engaged with the crowd and spoke of hanging out with a Gary Clark, Jr. backstage, mentioning how “badass” he was.When he did hit the stage, Gary Clark Jr. and his band came strong out of the gate with dirty blues rocker “Bright Lights.” The lyric “You’re going to know my name by the end of the night,” undoubtedly held true for anyone who was witnessing Clark for the first time. Clark played a long set, made up almost entirely of songs from his fresh release, The Story of Sonny Boy Slim, and 2012’s Blak and Blu.Backed by Johnny Bradley (bass), Johnny Radelat (drums) and Eric “King” Zapata on guitar, Clark illustrated the history as well as the future of the blues. Some of his tunes are direct callbacks to the blues of yesteryear (the undercurrent of his “Neighbor Blues” is reminiscent of Sonny Boy Williamson’s “Good Morning, School Girl”), but overall Clark melds his influences and personal history into his own style.Clark’s attitude and look reinforce the authenticity of his songwriting and guitar playing chops. Taken as a whole, he exudes the blues. A sparse stage setup mimics how the band can slow it down, Clark demonstrating how emotion can be delivered in the space between the notes. He can draw the crowd in with slower sections before lifting them up and bringing the energy to a head.The encore included several songs, and Baskery came out to add vocals on one of them. After the soulful, harmonica-punctuated “Church,” Clark had one more powerful blues rocker in store to finish the show. Clark has been called a savior of the blues. Whether or not the blues needs saving is up for argument. But, without a doubt, Gary Clark Jr. is a powerful purveyor of the blues, and rock n’ roll.A full gallery of images can be seen below, courtesy of Greg Homolka Photography:
STS9 headlined The Werk Out Festival last night in Thornville, OH. Despite an exceptional night of music, a few problems arose during the Tribe’s first set. During “Frequencies 2” and “Frequencies 3”, a young woman reportedly found herself running through the middle lane of the crowd, where photographers would normally be zoned to shoot. She climbed up on the stage, and after looking around, stunned, for a few moments, climbed up on the drum rig, then proceeded to “trust fall” back into drummer Zach Velmer. Shocking to many, the band continued playing during all of this until the Velmer hit the ground.Going into “Move My Peeps”, the sound cut and forced the band to leave the stage. They returned for a second set, making up for what was surely a shaky first set. You can watch fan-shot footage from the full show below, courtesy of J Mar:STS9 @ The Werk Out in Thornville, OH 8/5/16:Set I:Vapors –Frequencies 2*Frequencies 3Glogli Poseidon Move My Peeps**Set II:Shock DoctrineHubble –Orbital – HubbleWhen The Dust Settles RepriseF. WordLove Don’t TerrorizeWhat Is Love?Really Wut?World Go RoundEncore:Breathe In* – Zach Velmer tackled during the segue between Freq 2 and 3 (music stopped)** – Sound cut out right before For My Peeps section and band left stage[Setlist via The Church of STS9]
Last weekend, beloved rockers Radiohead performed a headlining set at the new Berlin edition of Lollapalooza. Mixing classics with newer originals from their A Moon Shaped Pool album, Radiohead continue to impress with some of the best live performances in 2016. It’s a good thing they’re planning for more touring in 2017, because their shows are simply magical.The band opened their show with five tracks from the new album, before divulging into hits like “2+2=5” and “Lotus Flower.” The band even brought out their two biggest hits, “Creep” and “Karma Police,” as the second encore to close out the show.Thanks to metanerd on YouTube, you can stream the full video below.Setlist: Radiohead at Lollapalooza Berlin, Germany – 9/11/161. Burn The Witch: 03:222. Daydreaming: 08:023. Decks Dark: 13:154. Desert Island Disk: 18:205. Ful Stop: 23:226. 2+2=5: 29:427. Lotus Flower: 33:148. Reckoner: 38:309. No Surprises: 43:5110. Bloom: 48:0011. Identikit: 54:4212. The Numbers: 59:3213. The Gloaming: 1:05:1614. Everything In Its Right Place: 1:09:4215. Idioteque: 1:13:3316. Bodysnatchers: 1:18:0017. Street Spirit: 1:22:26[Encore 1]18. Let Down: 1:29:4019. Present Tense: 1:34:5320. Paranoid Android: 1:40:4521. Nude: 1:47:1222. Weird Fishes/Arpeggi: 1:52:04[Encore 2]23. Creep: 2:00:3024. Karma Police: 2:05:54[H/T JamBase]
While life on the road certainly has its thrills, there’s nothing like a nice homecoming to celebrate the Thanksgiving holiday weekend. That’s been the annual tradition of Greensky Bluegrass for the last few years, who maintain quite the rigorous touring schedule. The band’s hard work has certainly paid off, as they have a nationwide following and a reputation as one of the best bluegrass outfits on the road today.The energy at the Kalamazoo State Theatre in Kalamazoo, MI was electric over the last two nights, as Greensky Bluegrass settled in with their patented blend of jammed out bluegrass music. The group drew from their full catalog, mixing older songs with new tunes written for their 2016 release, Shouted, Written Down & Quoted.The first night was pure Greensky, as the band stuck closely to their deep catalog. They opened the show with “Past My Prime,” and kept the down-home music rolling with tunes like “Living Over” and “Room Without A Roof”. The band also welcomed out opening act Joshua Davis for a couple of selections in the first set, including “Delta 88” and “Last Winter in the Copper Country.”Check out a full recording below, from taper Sam Lincoln.After Joshua Davis’s opening set on night two, Greensky Bluegrass cut their chops for a three set masterpiece. While the first two sets were traditional Greensky, the group ended their second set with The Band’s classic “The Shape I’m In.” They then returned for a mini-set with more songs by The Band, including “Cripple Creek,” “Down South In New Orleans”, “Don’t Do It” and the final number of the weekend, “The Weight.” Another great song, Neil Young’s “Helpless”, was also played during the segment.Listen to the second night of Greensky Bluegrass’s two-night Kalamazoo run below, courtesy of taper Jason Harter.Greensky Bluegrass will spend the week at home, before heading over to Colorado for a three night run at the Ogden Theatre in Denver on December 1-3.[Photo by Kristine Condon Photography // via Greensky Bluegrass on Facebook]
2016 is finally over, and we’ve officially turned the page into a happy New Year. While last year saw the passing of dozens of celebrities, there were two deaths that stood out to make the greatest impact on fans. David Bowie returned to the stars in early January and Prince just a few months after in April. Both musical icons made great statements on Earth before joining the great band in the sky. Their legacy was commemorated once more on New Year’s Eve in Sydney, Australia.In the final moments of 2016 and into the New Year, purple fireworks were released in dedication to Prince and a space-themed display lit the sky for David Bowie. An estimated 1.5 million people gathered at the Sydney Harbor to witness this marvelous spectacle, which took seven tons of fireworks, 12,000 shells, 25,000 shooting comets, and 100,000 pyrotechnic effects. The production cost an estimated $7 billion to execute. Watch Sydney’s greatest firework celebration in the video below:Happy New Year!
The Main Squeeze have announced the return of their video cover series! Returning to the heart of New Orleans, the Chicago-bred, LA-transplant post-funk rockers occupied the beautiful Esplanade Studios to record a slew of choice covers. Some might remember their beautiful 2013 covers of Same Cooke, the Grateful Dead, Jimi Hendrix, and The Temptations before their career took a dramatic right turn for the better. Now, lifting crowds with their contagious energy from city to city, the Main Squeeze prove to be even better than ever. The band has released a cover of Michael Jackson‘s “Man In The Mirror” and promise two more cover videos coming. Watch below:For fans of The Main Squeeze, you can catch them at the 2nd annual Fool’s Paradise March 31& April 1 in St. Augustine alongside Lettuce x2, Joe Russo’s Almost Dead, The Floozies, The Motet, a special Manic Science set featuring Manic Focus and Break Science, Organ Freeman, along with Oteil Burbridge and Antwaun Stanley as Artists at Large. Head here for more information.
In a new feature by Offbeat, Derek Vincent Smith of Pretty Lights goes in-depth about the evolution of live instrumentation in Pretty Lights shows. As a pioneer of using a live band during his performances, Smith has been constantly refining and evolving how to incorporate other musicians into his act since the inception of the the Analog Future Band back in 2013, Pretty Light’s first exploration of the idea. After the Analog Future Band disbanded last year, Smith put together a new band, Pretty Lights Live, to help him continue innovating on his integration of other musicians during his Pretty Lights sets.Pretty Lights Live features Alvin Ford Jr. (drums), Brandon Butler (keys), Borahm Lee (keys) and Chris Karns (turntables) in addition to Smith and focuses on creating fully improvisational electronic music, a deviation from former Pretty Lights projects during which the live band would perform pre-composed segments in addition to playing on top of produced tracks. Instead, Pretty Lights Live brings a more freeform aspect to its shows because of its focus on group improvisation and, more or less, group jamming. The keystone to this live improvisation is “flips,” moments when Smith slowly fades out a produced track and the band takes over, switching over to a more electronic sound and moving through a completely live, improvised instrumental segment.To better illustrate what a “flip” is, Smith recently put together a playlist of dozens of newly released examples of them from live concerts over the past year. You can check out the playlist and hear ’em for yourself below.[H/T Offbeat]
This year’s Bowlive is currently underway with stellar guests lined up. After a successful first week, which included Soulive collaborations with Karl Denson, Doyle Bramhall II, Antwaun Stanley, The Snarky Puppy Horns, Sam Kininger, The London Souls, and more, the party will continue this week – starting Wednesday with Grant Kwiecinski (GRiZ), Son Little, and The Shady Horns. On Thursday, John Scofield and The Shady Horns will once again combine their musical efforts for a set of “Sco-Live.” On Friday, funk bassist George Porter Jr., up-and-coming soul star Marcus King, and The Shady Horns will jump in on the action, after an opening set from Los Colognes. On Saturday, Lettuce bandmates Nigel Hall and The Shady Horns will complete the Soulive experience, with opening music from Butcher Brown. To gear up for this week’s Bowlive, we’re looking back at some of our favorite memories.Part of the glory of these Bowlive shows are the unexpected moments. You truly never know who will walk through the doors of the Brooklyn Bowl, especially when Eric Krasno, Neal Evans, and Alan Evans are hosting a show. Last week, it was Kamasi Washington!Bowlive has proved this many times in years past. Few feelings will ever compare to those of seeing Derek Trucks and Warren Haynes walk into the Brooklyn Bowl at half past midnight to play with whoever else Soulive had billed for the evening. It could have been anyone from George Porter Jr. to Robert Randolph, as every evening was packed to the brim with exciting guests.There was even the time Oteil Burbridge and Kofi Burbridge ran in for a surprise third set, giving birth to the idea of the All Brothers Band, a super group with brothers Burbridge and Neal & Alan Evans. “Oteil and Kofi said they were going to try and make it down but we hadn’t heard or seen them by the end of our show at the Bowl,” Neal told L4LM. “So we end the night after long evening of music and all of a sudden Kofi and Oteil come running in. A lot of the audience left because they thought it was the end of the show but we went on for another set. We were all tired but as soon as we started playing, something magical happened. That was definitely a night to remember!!”With so many concerts happening around the clock in New York City, there’s no telling who else might stop in to jam with Soulive for this year’s Bowlive. See below for some of our favorite memories.“Thrill Is Gone,” Soulive feat. Derek Trucks and Warren Haynes 3/8/13“So Live!” feat. Oteil Burbridge & Kofi Burbridge 3/21/14“The Sky Is Crying,” Soulive feat. Derek Trucks, Warren Haynes, Robert Randolph, Saunders Sermons 3/8/13“Soul Serenade,” Soulive feat. Derek Trucks, Susan Tedeschi 3/12/10“A Change Is Gonna Come,” Soulive feat. Derek Trucks, Nigel Hall, Ledisi, Matt Owens, James Casey 3/10/12“One In Seven,” Soulive, feat. Derek Trucks 3/8/13“Manic Depression,” Soulive feat. Derek Trucks and Nigel Hall 3/10/12“Aint No Use,” Soulive feat. Warren Hayes, George Porter Jr., The Shady Horns 3/14/14“Come Together,” Soulive feat. Warren Haynes and Brandon Niederauer 3/22/14“How Sweet It Is,” Soulive feat. Warren Haynes, George Porter Jr., Nikki Bluhm 3/14/14“He Bite Me,” Soulive feat. Warren Haynes, George Porter Jr. (3/14/14)Bowlive 2014 Set 3 with Soulive, George Porter Jr, Nikki Bluhm, Shady Horns, and Warren Haynes 3/14/14See below for the 2017 Bowlive lineup:
One of the most active artists in the jam scene today is Kung Fu’s drummer, Adrian Tramontano. If you’re in the Northeast, you’ve undoubtedly caught Tramontano tearing it up on stage with either Kung Fu or during any one of the many super jams he’s regularly tapped for each year. He’s also performed on stage with the likes of Twiddle, Pink Talking Fish, and Dopapod, to name a few. Live For Live Music caught up with Adrian before one of Kung Fu’s recent performances in New England to find out more about the busy drummer.Live For Live Music: Let’s talk about your earliest influences and what led you on the path to where you are today. Adrian Tramontano: My dad is a guitar player. When I was about 9 years old, he had a band called Recall and he used to bring me to band practice. I was attracted to the music. I basically sat behind the drummer at their band practice and watched him. A couple other kids were upstairs playing Nintendo and I didn’t care. I just wanted to play drums, so I watched what he did with his arms and legs.One time the drummer took a piss, and I climbed on the drum set. They were working on the Rolling Stones tune, “Time Is On My Side.” Just from watching them do it, I climbed on, though I couldn’t really reach the kick pedal and the high hat because I was so young. I started playing along with them and mimicked everything he did—to the drum fills and everything. I had never even really heard the original version at the time; I was just going by what they were doing. That felt really good, and the band was like, “Whoa, where did that come from?”They started to let me play more here and there. At gigs when I was around 11 years old, I started to play with them. They let me play “Wipe-Out,” Satisfaction,” and “Youngblood,” and stuff like that. They would even toss me $20. It felt so good. I even got to play a couple outdoor gigs in front of a lot of people. It was amazing.At the time, and since my father’s a guitar player, I listened to a lot of The Beatles, Led Zeppelin, and Jimi Hendrix. I was heavily into John Bonham, so immediately I was hooked on drums when I heard that, as well as Mitch Mitchell playing “Fire” and the whole first Jimi Hendrix record. Cream was another band I learned a lot from as well. My dad is a huge Clapton head. I also listened to Metallica, Bon Jovi, Poison, Whitesnake, and basically all of the bands that were on MTV at the time in 1989. I played along on a Walkman cassette recorder. I played along with whole albums. I would put them in and go. I was really into the ’80s because that was the shit that was going on when I was a kid. I wasn’t really into rap or New Kids On The Block and all that other stuff. I was into the rock and metal.When ’91 or ’92 rolled around, it was Pearl Jam, Nirvana, Green Day, and Red Hot Chili Peppers. I was into that at the time, but of course, I always loved my classics. I was mainly a rock drummer, and I loved the feeling of playing gigs with my dad’s band.L4LM: Is there any one particular drummer that you would love to emulate or just really look up to?AT: Later on, I got turned on to different music. I was in a band that played more jazz infusion called Magic. Tim Palmieri was also in the band, and I filled in for their drummer for four months or so. They started turning me on to Dave Weckl, Chick Corea, and Jeff Lorber, which was sort of electric jazz. I started getting into some really good drummers at that time, which changed my life. The three drummers that totally changed my life right away when I saw them play was Dave Weckl, Dennis Chambers, and Vinnie Colaiuta. These acrobatic drummers were taking these huge drum solos and were just amazing.I got a drum video when I was a kid that had all these drum solos on it, and it blew me away. All I did was watch and study it and basically started copying licks and playing it. I would practice three or four hours a day sometimes. During at least two of those hours, I was playing drum solos. My chops were building and I was just trying to be Chambers or Weckl. That right there just changed everything. If you saw the video, you could see where the influence comes from, especially with the soloing.L4LM: You’ve played with a lot of different artists. Are there particular moments on stage that stand out above the rest?AT: Jon Fishman, for one, Victor Bailey, and another drummer Johnny Rabb. There’s a lot. Mike Gordon.L4LM: You can jump on other instruments, such as the guitar or keys, and seem to have a wide variety of knowledge musically. Tell us more about that.AT: I like to play percussion too. I played percussion in that band Magic for like four years. I’ve been doing it since I was 15 or 16 professionally. It took me a long time to get good at it. I was obsessed with Santana, so I always wanted to play good congas and timbales.I took a couple lessons from a friend of mine a few years back to really get into it. The percussion is a big thing of mine, and it takes a really good sense of musicianship to play. There’s a lot to be said about playing something with percussion, but I get off on doing new things and taking new risks. It’s opposite my drumming, obviously, and it’s not simple.My father was a guitar player, so I’ve been around guitars way longer than drums. I would learn things when I was really young like how to play a chord. I had to put the guitar on my lap and play like Jeff Healey. I learned a lot of chords like that.I’ve owned a guitar for a long time. I love guitars and I’ve been practicing ever since. For a while when I was on the road with Psychedelic Breakfast, I wasn’t making money, but touring two-hundred days a year. When I wasn’t touring, I had to actually go get gigs and make some money, and the guitar was the easiest way. It was easy to get on a gig or play a bar gig with a friend who was a really good guitar player and singer. I would play second guitar a lot. I’ve got a lot of experience playing and obviously, I put time into it. My father is a really good player and I have almost the same tone as him with bends and vibrato.Piano is something I’ve been around a lot since I was a kid. I never wanted to embrace it, but I’ve played and practiced it. I’ve also played some gigs on piano and keyboards. Bass, same thing. I’ve played gigs on bass. I just zone in on what these musicians are doing that I’ve played with. I single them out and hear what they’re doing, and I learn the roles so I know what you’re supposed to do. It comes naturally to me to play the bass like a bassist and not a drummer. Whatever I get obsessed about or focus on, I get into it and learn. The only thing I can’t play is saxophone or woodwinds. I’m terrible. I’m really bad at it and I don’t think I will ever get good. I wish I could. L4LM: Have you ever injured yourself on stage?AT: Injured myself on stage? Yeah, minor. Sometimes, I’ll be playing and the drumstick will just punch me in the face. Once in a great while, I will hit my knuckle with a drumstick. When you’re playing, you’re kind of numb from shit too, so you don’t know you’re hurt if that happens. I don’t get blisters that much anymore. People bleeding and doing all that shit with drumsticks, I feel like something’s wrong. There’s a technique to not doing that stupid shit.L4LM: Is there an artist that is still on your bucket list that you would love to perform with?AT: Peter Gabriel. I had a dream about that one time. I was obsessed with Peter Gabriel for a while. His live show is so amazing and theatrical. I want to get into more of that. I want to get into a show with a big name like that and just be a part of something like a huge tour at least once. Any of those big Dead projects would be fun. I wish I could play guitar in one of those projects. I love Jerry [Garcia]. I love the way he plays. We have similar styles. Of course, I recently saw Chick Corea and would love to play with him or Herbie Hancock. On the funk fusion sense, Steely Dan. Kung Fu is going to honor Walter Becker as best we can. We love Steely Dan, so his loss hurt.L4LM: Do you have any projects coming up that you are working on?AT: I want to go to NAMM [National Association of Music Merchants] in January and am working on getting an endorsement with Zildjian. Remo drum heads I would prefer. I’m endorsed by Vater drumsticks, and I’ve got my own signature model. Musically, I’m so busy with Kung Fu all the time, and we’re writing a lot of songs. Between studio time and mixing, we’ve got four songs that are ready to release. I also play with BRYAC Funk All-Stars which is a more traditional boogaloo funk band like James Brown, and a bit Meters-esque. It’s got a couple members in it from Deep Banana Blackout.I also play with a Beatles band called Psychedelic Beatles. We know every single Beatles song. We had a five-week residency where we played every single Beatles song ever recorded, in alphabetical order. We did it very accurately too. We even did Revolution 9 with somebody conducting it. We did a really good job of that, but now we’re doing versions of Beatles songs that are jammed out. It’s fun and it’s awesome and I definitely enjoy it. I fill my schedule quite a bit. Some stuff I don’t even tell people about and I just do it. I find fun in anything I do, but sometimes it’s best not to tell everyone about everything.L4LM: Is there anything else you would like to say to fans out there?AT: I want people to come out to Kung Fu shows a little more. We’ve been switching it up a lot. I’ve been writing the setlists for a while now. I’ve been changing it up to where we are doing a lot of different exploratory ideas. We’re writing a lot of new tunes. We’re just changing up our show a lot from what it used to be in the past. We are getting really open about how we’ve been playing stuff lately. I want people to get into the band, dig into the set list and check stuff out on archive.Check out Tramontano’s chops below, courtesy of TELEFUNKEN.For more information on Adrian Tramontano and Kung Fu, please visit their official website.Words and Photos by Sarah Bourque