The first night of a three-show run in the Windy City on June 11 says a lot about live Gizzard circa 2023: 14 songs from 12 different albums, dabbling in everything from weird microtonal rock (the opening combo of “O.N.E.” and “Pleura”), top-shelf thrash (“Motor Spirit” and “Gaia,” the latter dedicated to none other than John Mayer) and Grateful Dead-worthy sonic explorations (“The River”). The sludgy “The Great Chain of Being” appears for the first time on the residency tour, while an extended “Boogieman Sam” (with teases of five different other songs) wraps the evening with hip-shaking, harmonica-flavored vibes.
Tour debuts abound on June 12, from the simmering, microtonal “Honey” and the chugga-wugga blast “Road Train” to the herky-jerky “Invisible Face” (its first complete performance ever) and finale “Am I in Heaven?” “Hate Dancin’” and “Astroturf” are back to get the bodies moving, “Shanghai” is a super atmospheric jam, and three songs from 2017’s “Polygondwanaland” (“Inner Cell,” “Loyalty,” “Horology”) demonstrate Gizzard’s uncanny ability to morph one similar-sounding riff into 10 minutes of beautiful, creeping dread.
Day-long rain can’t deter the Gizzard faithful at the Chicago finale on June 13, and they’re rewarded with the live debut of the rhythmically obtuse “Change” from “Changes” (“fuck, are we really doing this?,” the band asks aloud). A 10-minute-plus “Hot Water” wanders all over the place before unexpectedly segueing into the always satisfying Krautrock epic “Hypertension,” and the fan favorite, Cook “Cookie” Craig-sung “The Garden Goblin” affords Gizzard the chance to reminisce about Australian hardware store chain Bunnings and the animated kids show “Bluey.” “The Dripping Tap” sends the soggy crowd home humming “drip drip from the tap / don’t slip on the drip” after 19 minutes of blissed-out, major key rock’n’roll.
Jonathan Cohen is a music journalist, editor and author of the New York Times-bestselling authorized biography of Pearl Jam, 2011’s “Pearl Jam 20.” He previously served as the music booker for the first six years of Jimmy Fallon’s NBC late night show, where he oversaw the debut U.S. TV appearances of Tame Impala, Kendrick Lamar, Tyler, the Creator, Frank Ocean, Lorde, Kacey Musgraves, and Ed Sheeran. He also plays keyboards in the band Chamberlain.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, nugs.net radio – SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring professionally mixed recordings from Dead and Company’s 2023 tour. Subscribers can stream this week’s tracks from the #WeeklyLiveStash, only in the mobile app.
Back in the friendly confines of Red Rocks on June 7, Gizzard dusts off “Sense,” which had been on the acoustic Caverns show set list but was cut for time, and debuts the genial “Hate Dancin’” from last year’s Changes album (hint: they don’t really hate it). A two-fer from 2017’s Murder of the Universe is an excellent precursor for three continuous tracks from “Nonagon Infinity,” with “Robot Stop” working in teases of “Hot Water,” “The Dripping Tap” and “Shanghai.”
In another “hey, why not?” move, Gizzard plays two separate shows at the gorgeous mountain venue the next day, with the afternoon matinee marked by the first performance of the gauzy “Satan Speeds Up” since 2014 and numerous devil-horn rockers such as “Self-Immolate” and “Evil Death Roll.” Walker gets the vocal spotlight on “This Thing” and “Most of What I Like,” and “Shanghai” has an impromptu chant about getting high, because … well, Colorado.
At the evening show, the twisting and turning “Rattlesnake” is an ideal opener to reset the collective energy, and Kenny-Smith again steals the spotlight with his vocals and stage presence on “Straws in the Wind” and “Presumptuous.” The last portion of the night shifts from the infrequently aired “Slow Jam I” into four straight rippers: “Hell,” “Mars for the Rich,” “Super Cell” and “Gila Monster,” the latter two “Petro” tracks reminding the audience of Gizzard’s inherent mastery of dynamics and virtuosity.
Watch the worldwide premieres from the 13-show marathon, the Red Rocks’ shows start Tuesday June 27th, with The Salt Shed and Remlinger Farms still to come. Save 25% when ordering all 13, available as an upgrade from any single-night’s show.
Jonathan Cohen is a music journalist, editor and author of the New York Times-bestselling authorized biography of Pearl Jam, 2011’s “Pearl Jam 20.” He previously served as the music booker for the first six years of Jimmy Fallon’s NBC late night show, where he oversaw the debut U.S. TV appearances of Tame Impala, Kendrick Lamar, Tyler, the Creator, Frank Ocean, Lorde, Kacey Musgraves, and Ed Sheeran. He also plays keyboards in the band Chamberlain.
June 22 – Night 2 Citi Field to close out an epic NY stand on the final tour. There was a special energy in the air this evening. The forecast was calling for rain, but the weather knew it couldn’t stop the band from playing one final show in New York. It was a beautiful night and the band was greeted to a packed and electric stadium.
The band hit the stage with John wearing a Mets Lindor jersey (John later posted on his Instagram that his father was a huge Mets fan). The boys were all smiles and you could tell that tonight was going to be special. “Feels Like a Stranger” to open the show, which was last played on May, 23 in Phoenix. It was a funked out version and it definitely felt like it was going to be a long, long crazy, crazy night.
To follow was “Franklin’s Tower”, giving us some 1980’s energy. The coupling was first done in 1980 and became a standard from 1987 to the summer of 1989. Listen to the great version on nugs.net from the album “Dead Set”. It was time for a Cowboy Tune and we got the always welcome Merl Haggard cover “Mama Tried”. The playing continued on a very high level with Bobby in fine form on the vocals.
“Alabama Getaway” followed, the “Go To Heaven” Garcia/Hunter song, which was first played in 1979 has become John Mayer’s . The pace was high and the Citi Field crowd was moving and grooving. Next to follow was the Traffic cover “Dear Mr Fantasy” which led into the Beatles “Hey Jude Reprise”. The 80’s energy continued with John giving both songs the full workout. In this writer’s opinion this was the best version of this combination that Dead & Company has done since reviving it last summer. The Citi Field crowd all singing in unison the “Na na na nananana, nannana, hey Jude…” They kept the foot on the gas treating the NY faithful to a NYC favorite “Truckin’” and they roared as Bobby delivered “New York – Got The Ways And Means”. Closing out this perfect first set was “Deal”, which was an absolute show stopper. The jams built and built seeing John deliver three powerful windmills and raising his fist in the air ala the famous Jerry Garcia image. This is a definite must listen and has to be in the running for best first sets of the tour.
The second set started off with a hot “Scarlet Begonias>Fire on The Mountain” finally reconnecting the coupling, which had been separated of late in previous shows. All felt right in the world and the high energy playing from the firs set continued into the second. The NY crowd was then treated to another traditionally played combination with “Estimated Prophet>Eyes Of The World”. Stellar versions of both with the band finding their way into a tease of The Wailers “Get Up Stand Up” during “Estimated”. The versions of “Eyes of The World” have gone from strength to strength since Cornell and this was another high energy version seeing the various band members shining in their solos while taking the song to jazzy places it hasn’t been before. “Eyes” would lead perfectly into “Drums” which once again was a standout portion of the show.
“Space” would see Jeff, John, Bobby and Oteil return to the stage with some incredible improvisational jamming. The drummers returned and the band worked its way into rare cover Miles Davis’s “All Blues”. This was the first version of the song on the Final Tour, which was played only once before last year in Chicago. This would lead into another fiery version of “Cumberland Blues”. A heavily jammed “All Along the Watchtower” lead into the show stopping “Morning Dew”. The perfect closer for a show this special.
The band returned for a beautiful rendition of “Brokedown Palace” and bid their adieu to the NY crowd. This show will definitely be in conversation as one of the best of the tour, but this band never seemed to let the NY fans down.
Rare song of the night: “All Blues.” The Miles Davis cover played for the second time by Dead & Company after being broken out at Wrigley Field in 2022.
Other must listen to moments: “Alabama Getaway”, “Dear Mr. Fantasy>Hey Jude Reprise”, “Deal”, “Scarlet Begonias>Fire on the Mountain”, “Cumberland Blues” and “Morning Dew”
Listen to this show, along with every night of this year’s Dead & Company tour, with a free 7-day trial. Explore the Dead & Company catalog and start your free trial here.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, nugs.net radio – SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring professionally mixed recordings from Umphrey’s McGee with Chuck Garvey, Greensky Bluegrass, moe. with Jake Cinninger, Bruce Springsteen and more. Subscribers can stream this week’s tracks from the #WeeklyLiveStash, only in the mobile app. The Trey Anastasio Trio track is only available in the LivePhish app.
What could be more King Gizzard than a show inside a literal ancient cave in a rural Tennessee town with a population of about 400? On June 1 at the first of four gigs in this unique venue (two in the cave, two in the above-ground amphitheater up the hill), the energy is off the charts from the opening notes of “The Dripping Tap” to five straight songs from 2016’s “Nonagon Infinity” played without a pause. Two of the best and most sprawling selections from Gizzard’s five distinct 2022 studio albums, “Ice V” and “Hypertension,” also make a wonderfully symbiotic pair, while the “PetroDragonic” standout “Super Cell” is given its live debut.
Back in the cave the next night, Gizzard again seems possessed by hard-rocking spirits with the opening suite of “I’m in Your Mind” -> “I’m Not in Your Mind” -> “Cellophane,” a trio immediately trumped by the head-banging thrash of “Planet B,” “Predator X” and another new tune, “Converge.” An attempt to incorporate some electronic gadgets goes comically awry after the flute-kissed hip-hop of “The Grim Reaper,” with multi-instrumentalist Joey Walker at first commanding frontman Stu Mackenzie to “engage the granulator” before giving up and chuckling, “our stuff is broken really well.” The long-awaited live debut of the funk jam “Astroturf” follows, and by the “K.G.L.W.” closer, it almost feels like Gizzard is just getting warmed up after almost two hours on stage.
The June 3 outdoor set had already been designated beforehand as a Pride Night celebration, but Gizzard goes above and beyond by performing fully in drag after purchasing dresses and other goodies that afternoon from a Goodwill by the Bonnaroo site in nearby Manchester. The night before, a federal judge had struck down Tennessee’s widely criticized anti-drag law, and fans of all ages and orientations can’t help but feel the love coming from the stage. Highlights include the one-two heavy metal punch of “Gaia” and the yet-to-be-released “Petro” face-melter “Witchcraft,” the Ambrose Kenny-Smith showcase “Boogieman Sam” (with snippets of Canned Heat’s “Going Up the Country” and Muddy Waters’ “Got My Mojo Working”) and the expansive combo of “Magma” and “Lava” from last year’s “Ice, Death, Planets, Lungs, Mushrooms, and Lava.”
At the final Caverns show, fans get to experience Gizzard at its most beguiling. Despite the heaviest album of its career due for release in less than two weeks, the band opts to play a fully acoustic set for what’s believed to be only the fourth time in its 14-year existence, and this ultra-rare assemblage of songs includes just two that have been released since 2017. It’s a reminder of how earlier Gizzard songs such as “Lonely Steel Sheet Flyer,” “Sleepwalker,” “The River” and “Let Me Mend the Past” bring out a more nuanced, roots-y and jam band-adjacent sound, and why they work so well in this stripped-down setting. “Thanks for indulging our dad-rock tunes,” Walker says at one point. Closer “Her and I (Slow Jam 2)” embodies all sides of Gizzard at once, as it works its way into a loud, two-chord jam before quieting back down to hushed tones. All in all one of the most unusual performances in recent Gizzard history, this one is not to be missed.
Jonathan Cohen is a music journalist, editor and author of the New York Times-bestselling authorized biography of Pearl Jam, 2011’s “Pearl Jam 20.” He previously served as the music booker for the first six years of Jimmy Fallon’s NBC late night show, where he oversaw the debut U.S. TV appearances of Tame Impala, Kendrick Lamar, Tyler, the Creator, Frank Ocean, Lorde, Kacey Musgraves, and Ed Sheeran. He also plays keyboards in the band Chamberlain.
June 21st – Next stop on the Final Tour was New York and Citi Field. NY shows have always had a special electric energy. NY has always felt like a second home for the Grateful Dead and the various incarnations of the band have always shined in the New York area playing some of the bands most legendary shows. Citi Field has been the site of some classic Dead & Company shows and tonight would set the tone for a two night right in the home of the New York Mets. For those who were away, It was also a very special night as it was the Summer Solstice. Summer time was now officially here although the weather felt like spring.
The forecast was calling for possible rain and the wind was howling through the stadium. The band took to the stage and came out of the gate with an appropriate NY opener “Shakedown Street”. Some legendary “Shakedown’s” have been played in NY over the years, see 9/18/87 MSG. Another well jammed “Shakedown” set the tone for a high energy and well played first set. The band went right into a powerful “Bertha” which was the first of the weather themed first set songs. Thankfully we didn’t run into a rain storm, but we felt the thunder of Mickey and Jay’s driving drums. John and Jay took the jams to huge highs and the NY crowd was along for the ride. Next to follow was “Ramble On Rose” which as usual saw a strong reaction from the NY crowd, “Just like New York city, just like Jericho”.
“It Hurts Me Too” followed, the Tampa Red cover was a Pigpen staple from 1966 to 1972. John has truly made this song his own and tonight’s version was an absolute standout. A nod to the Summer Solstice would follow with the Martha and The Vandellas cover “Dancing In The Streets”. Summer was here and the time was right to be Dancing In The Streets. Another nod to the NY faithful as they were definitely dancing in New York city. A funked out “Dancing” would lead us into the thunderous “Althea”. Similar to tonight’s “Bertha”, this “Althea” truly soared. The band closed the set with “Let It Grow”. An ode to the Summer Solstice as the seasons were changing. This was a big set ender as the band took the jams to new places. A perfect ending to an incredibly played first set.
Before the start of the second set John would take to social media notifying the fans that he threw his back out and might be sitting during the set. The second set started off with a hot “China Cat Sunflower>I Know You Rider” continuing the fine form of the first set. A seated John Mayer didn’t hinder him from playing scorching leads and driving the NY crowd into a frenzy. The NY crowd was then treated to an incredibly powerful and stretched out version of “St. Stephen”. The jams built and built finally hinting towards “The Eleven”. “The Eleven” didn’t come but they instead segued into “Uncle John’s Band”. “Uncle John’s Band” took us into “Drums” where we were treated to a special guest drummer Joe Russo who added to the powerful segment joining Mickey and Jay. The drums have been a standout all tour and this one was no different. Kudos to the bands production as the visuals have truly complimented this segment each night of the tour.
The drummers left the stage after Mickey lead the crowd in a call and response for a thunderous finish. Jeff, John, Bobby and Oteil would return to the stage for “Space” teasing us with notes of “The Eleven”. The drummers returned and we were finally treated to a massive version of “The Eleven”. After really heating the crowd up the band slowed things down with a very powerful “Stella Blue”. Bobby has really embraced this song and it was a perfect fit as the wind really starting to howl. The set finally closed with a very high energy version of “US Blues” with the crowd all singing along in unison. Summer was officially here!
As the curfew approached the band decided to cool down the NY crowd after a rocking “US Blues” with an incredibly soulful rendition of “Black Muddy River”. No official encore as the band left the stage.
Rare song of the night: “Dancing In The Streets.” The Martha and The Vandellas cover played for the second time of this tour, but has always been a rare treat for this band. A standard for the band from the 1960’s through the 1970’s, becoming a rare treat in the 80’s. It was last played by the Grateful Dead in the NY Metropolitan area at Brendan Byrne Arena in East Rutherford, NJ on April 6, 1987.
Other must listen to moments: “Bertha”, “It Hurts Me Too”, “Let It Grow” “St. Stephen” “The Eleven” “Stella Blue” and “US Blues”.
Back at it again tonight for night 2 at Citi Fields. It Feels like a Stranger 😉
Listen to this show, along with every night of this year’s Dead & Company tour, with a free 7-day trial. Explore the Dead & Company catalog and start your free trial here.
June 15th – Next stop on the Farewell Tour was Philadelphia, which is a special city for the Grateful Dead where they had sold out 53 shows – the most by any musical act — at the legendary Spectrum. The Philly faithful have continued to come out and support various incarnations of the band and tonight was no different with Citizens Bank Park filled to the rafters.
The band took to the stage and came out of the gate hot with the tour debut of “Women Are Smarter”. A song that would have usually found itself in the second set, it sounded at home as an opener and got the Philly crowd on their feet and dancing. The band followed with a funked-out version of “Shakedown Street” with John and Jeff taking the song to places it never had been before. Out of “Shakedown” they went into a raw and driving “Cold Rain and Snow”. John has delivered some strong “Cold Rain’s” this tour and this was another stellar version.
“Jack Straw” followed, which slowly built to a thunderous peak with Jay and Mickey completely locked in. It has been fun watching this duo get in synch and bringing the energy each night. “Brown Eyed Women” was next as the set continued to carry the high energy. Although a ballad would have been a likely next song, we were greeted with a huge surprise of “Dark Star”. The band went through various improvisational jams before leading to Verse 1. The second tour debut would follow with the Marty Robbins classic “El Paso”. This combination has been resurrected with Dead & Company, with the most notable version played 8/27/72. Bobby was in fine form and had the Philly crowd fully engaged. “Don’t Ease Me In” would follow and closed out the first set with a bang.
The second set started off with a tasty “Fire on The Mountain” and “New Speedway Boogie.” The Philly crowd was treated to a classic duo of “Estimated Prophet” into “Eyes of The World.” John started playing “Eyes” and then realized that wasn’t the next song. A funny moment ensued as John took his guitar off and laid it on the stage while Bobby started playing the opening to “Estimated”. They had the stadium rocking taking the jams to huge highs with John playing whirling leads. Bobby once again was in fine form both vocally and with his incredible rhythm playing. “Eyes of the World” would then finally find its way and oh what an “Eyes of The World” it was. This song has really shined on the Farewell Tour and this version would be no different. Incredible soloing from John, Jeff and Oteil! “Eyes” lead into “Drums” with the drummers taking the crowd on a tribal journey.
The drummers left the stage after delivering a thunderous finale which had the stadium reverberating. Jeff, John, Bobby and Oteil would return to the stage for “Space” with some dark and out there jamming that lead into “Dark Star Verse 2.” A monster “Cumberland Blues” came soon after showcasing fiery playing from everyone in the band. A beautiful “Standing on The Moon” followed with Bobby passionately delivering the Garcia/Hunter ballad. What other way Closing out this special set, was a rousing “Not Fade Away”. You could feel the stadium moving as the crowd danced their way through the rollicking version. The Philly crowd showed their love chanting “You know our love will not fadeaway!” while clapping in unison as the band left the stage.
The encore was “Ripple” as an appropriate sendoff to the city that embraced this band from San Francisco and made it one of their second homes.
Rare song of the night: “El Paso.” The Marty Robbins song has always been a special treat going back the later Grateful Dead days and the combination with Dark Star made this an even special treat. A tour debut as well.
Other must listen to moments: “Shakedown Street”, “Dark Star Verse 1”, “Estimated” “Eyes of The World” and “Cumberland Blues”.
Next stop is Saratoga and the legendary Saratoga Performing Arts Center. It feels like things might get a little bit Stranger. Don’t forget you can watch the show live on nugs.net.
Listen to this show, along with every night of this year’s Dead & Company tour, with a free 7-day trial. Explore the Dead & Company catalog and start your free trial here.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, nugs.net radio – SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring professionally mixed recordings from Dead and Company, Counting Crows, Orebolo, moe. and more. Subscribers can stream this week’s tracks from the #WeeklyLiveStash, only in the mobile app. The Trey Anastasio Trio track is only available in the LivePhish app.
June 13th – The latest stop on Dead & Company’s Final Tour took us to Cincinnati’s Riverbend Music Center. Set alongside the Ohio River, Riverbend has been a frequent haunt of tour’s past, and was the location of a special Grateful Dead show in ’85 that featured a sought-after “Cryptical Envelopment,” a song which was broken out that year after a 13-year hiatus.
Tuesday’s show was one of the more intimate venues we’ll see this tour, and the rainy start helped set the vibe, and setlist, for the electrifying night to come. The band opened with “Music Never Stopped” taking note of their location “There’s mosquitoes on the river.” Music would then lead to the first breakout of the night “Next Time You See Me”. The Junior Brown cover was brought back out by Dead & Company in 2016 and John always gives it a proper workout. This version would be no different and was one of the high points of the first set.
“Me & My Uncle” and “Row Jimmy” followed, leading to “Dear Mr. Fantasy>Hey Jude” which would let John let loose as well as some powerful organ playing from Jeff Chimenti. The combo which was broken out by Dead & Company last summer has become a welcome return addition to the Dead & Company setlist. Another ode to their location along the river would follow with Bobby leading the band through “Cassidy”. “Iko Iko” would close the set on a high energy note leading to what was to come in the second set.
The band opened the second set with a beautiful and jammed out “Here Come Sunshine”. This would set the tone for a set filled with high energy jams. “Viola Lee Blues” would follow and delivered some of the biggest jams of the night. They took Viola Lee to a funky place including a smoking “Cissy Strut Jam” with Jeff driving the organ part and Jay and Oteil locking down the rhythm. After such a high energy start to the set it felt like an appropriate time for a ballad to cool off the Cincinnati faithful.
We got our second tour debut of the evening with Bobby taking lead vocals for a powerful version of “Looks Like Rain”. In past Grateful Dead days “Looks Like Rain” would often find itself played after a “China>Rider”, but tonight it would go in reverse. “China Cat Sunflower” followed “Looks Like Rain” leading into a hot “I Know You Rider”. The drumming duo then lead the band into an ethereal segment before taking “Drums” to a driving place.
“Space” would follow, leading into a stellar “The Wheel” “Wharf Rat” couplet. Bobby has continued to make this Garcia/Hunter ballad his own with Mayer playing soaring leads. We were then treated to a roaring “Casey Jones” to close out the set.
The encore was “Touch of Grey” as a final farewell to this Cincinnati crowd.
Rare song of the night: “Next Time You See Me.” The Junior Parker song which was played around 70 times during the Pigpen era was resurrected by Dead & Company in 2016, This was the first performance on the Farewell Tour and hopefully not the last.
Other must listen to moments: “Here Comes Sunshine”, “Viola Lee Blues”, “Looks Like Rain” “China Cat Sunflower>I Know You Rider”
Next stop is Philadelphia where those Philly Filly’s sure know what to do.
Listen to this show, along with every night of this year’s Dead & Company tour, with a free 7-day trial. Explore the Dead & Company catalog and start your free trial here.
Two exclusive archives from The White Stripes are now available for streaming in the nugs.net app, featuring performances from Raleigh, NC and Kansas City, KS. From long time White Stripes fan Mike on this month’s ‘Third Man Thursday’ releases:
Starting in the last week of spring and finishing in the first week of summer, these two shows capture the beginning and end of a 13 day trek, from North Carolina to Kansas. Two sets of 6 performances in a row, with a day off in the middle on June 22, and 2 shows played on the same day at Stubbs in Austin on June 25. 13 shows in 13 days.
Kicking off in Raleigh on June 16, with a return to a club they had visited 4 years earlier as a then-unknown opening act for Pavement, and concluding in Kansas City on June 28 at the Memorial Hall – the closest they would get to actually “going to Wichita” on the Elephant tour – the performances here are a true before & after. Two snapshots in time: one looking back, reflecting on their early years on the road. The other looking forward…to the bigger venues and the many dates still to come on the tour.
In as much as April was about exposure and May was about exploration, you could say that June was all about endurance.
The venues on this leg ranged from clubs, to theaters, auditoriums, and even a sports arena. While the band had no problem delivering excellent performances at large events such as Glastonbury, Roskilde, or Coachella (in fact, they had started June with a festival date in Italy to close out the European leg, and then performed at back-to-back festival appearances in California before making their way to Raleigh), finding the appropriate place to play in each city would prove to be a challenge. Not every city had a good mid-size venue. In Tampa, for instance, they had no other option but to play in the 10,000 seat Sun Dome, which had to be curtained off in order to reduce the size of the arena, with the band performing to about the same size crowd as they would at the club shows.
While Raleigh had obvious sentimental significance for the band, just like the show in Houston where they gave a shout out to Blind Willie Johnson, or Oklahoma City “land of Woody Guthrie” – in Kansas City it would be the audience that provided the acknowledgment, roaring in approval during the “Wichita” line in “Seven Nation Army”, taking Jack by surprise. Like the triumphant return to Raleigh, the Wichita reaction at Kansas City is also a true “it could only have happened here” moment on the tour.
The recordings of these two performances perfectly capture not just the sound of the band, but also the venues that they were playing in. The Ritz being the smaller venue, with the crowd upfront and present, and Memorial Hall, with the band playing in a bigger room, and the crowd further in the background. Where you can hear the reverb on Jack’s amp so clearly on the recording at Raleigh, at Kansas City it’s the sound of the room that reverberates.
The Raleigh performance is a club show through and through, a relaxed and warm nod to the band’s history. The tour-closing shows in North Carolina from 2000 and 2001 in Asheville are among the best from those years. This time around, North Carolina got the tour opener, with the band coming back to conquer on familiar ground in Raleigh. While the name of the venue had recently changed from the Ritz to the Disco Rodeo, it was still very much the same place, with Jack playfully reminding the audience about how the last time they played there in 1999 “nobody gave a damn”, before joking “Now who’s laughing?” As if further embodying that feeling of a return to an earlier time, Jack’s Fender Twin has the reverb set high at this show – like he did in the early years (listen to the sound of the springs audibly slapping back during the pulsing intro to “The Hardest Button to Button”), giving an almost throwback feel to the sound of this performance. Like a 2003 version of a 1999 club show, back when it was just one amp on stage doing all the heavy lifting. The setlist here is also about as unpredictable as many of those early shows were – stretching out in any direction they felt like going, from the cheerful tribute to North Carolina in “Lord, Send Me An Angel” early in the set, to a flawless “I Fought Piranhas” packing as much tightly-wound energy as can fit into 3 minutes, or the disarming intimacy of Bob Dylan’s “Girl From The North Country”, the first known performance since the early years – featured as a brief quote at the end of “Five String Serenade.” Even the “Take a Whiff on Me” interlude gets inserted into “The Big Three Killed My Baby”, a colliding of a debut-era song with an Elephant-era adlib. And yet, even with all of this nostalgia – this show is one of the first to feature a strobe light effect for “Seven Nation Army”. A small acknowledgement of where the band were by this point, with the bigger stage productions and larger venues to come. While they would go on to play at a few more clubs on the tour, none would hold as much significance as this one.
13 days later, and the relaxed and open-ended feeling so present at Raleigh has been replaced with an almost brutal directness at Kansas City. They’ve just been through a long run of shows, and oh boy can you hear it. Like a boxer having worked their way through the circuit, with only a few matches left before the championship. Still hungry, aware of what it takes to last the necessary rounds, and more than capable of delivering the knockout. While they could focus on more personal storytelling at a comfortable pace in the smaller club setting in Raleigh, in Kansas City the bigger room required bigger gestures, with a focus on keeping the energy going from end-to-end. Look no further than the 7+ minute rendition of “I Think I Smell a Rat”, featuring a medley that leads off with a cover of Lead Belly’s “Pick a Bale of Cotton”, the vocals a jarring display delivered at the top of the lungs – as if demanding that the audience can hear him all the way in the back. If Raleigh had a lightness to it, Kansas City brings the heavy. The near-shredded vocals during the breakdown in “Black Math”, or the doomy intro to “Cannon”, played almost as if mimicking Black Sabbath’s “Electric Funeral.” There’s an edge to many of the songs here, and plenty of surprises, including the rare performance of “Candy Cane Children” – the only live rendition captured by the Stripes to feature that excellent dark outro riff, or the final performance of “Don’t Blame Me” which feels less like a ballad from a hopeless romantic and more like a cautionary tale. Or how about that extended ending added to “Hello Operator”, turning one of their most buoyant songs into glorious sludge. And of course that one-of-a-kind performance of “Seven Nation Army”, where the Kansas crowd go ballistic the moment the Wichita line finally arrives. With so much effortless riffing and raw power on display, it’s no surprise that there is very little time spent on the keyboards here. This ain’t that kind of show. By the time they get to “Boll Weevil”, having successfully delivered a near non-stop performance, it’s a straightforward “Alright folks, I suppose it’s that time of the night…”. A reminder that each show on the tour, just like a carnival, eventually has to pack up and head to the next town. A fitting close to the run.
After this 13 day journey, the band would have a day off and head to St. Louis, where that show would be marked by near constant equipment failures. After such a long haul with no issues, St. Louis ends up being a bit like returning from a cross-country drive, and then the car breaks down the very next time you take it down the street. And even with all of those challenges, just like running through so many back to back dates in so many different settings, they still managed to make that St. Louis show a memorable performance. Endurance.
As it would turn out, the trip from North Carolina to Kansas would include the final shows that the White Stripes would ever perform in those states – as well as Florida, Texas, and Oklahoma. Louisiana would get a final visit at the Voodoo Festival in New Orleans in November, and the band would return to Georgia one last time for the Midtown Music festival in Atlanta, early on in the Get Behind Me Satan tour. They would also return to Kansas City on that tour, but it would be on the Missouri side of town – at the much larger Starlight Theatre, of course.
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When last we left King Gizzard And The Lizard Wizard in the fall of 2022, the Australian sextet was laying waste to Red Rocks Amphitheatre with three, three-hour shows featuring no repeated songs drawn from throughout its then-23 album deep discography. As hard as it may be to imagine for a group with an already jaw-dropping work ethic, King Gizzard’s summer 2023 U.S. tour is taking this concept to the proverbial next level, and nugs.net will have all the action via delayed livestreams beginning June 23.
Rather than a traditional tour, the group has hunkered down for multiple-show residences at the Caverns in Pelham, Tn., the aforementioned Red Rocks outside Denver, the new Salt Shed in Chicago, and Remlinger Farms 20 miles east of Seattle. No songs are being repeated within each individual city, allowing Gizzard to touch on more than 80 different tracks so far on the run. Among them have been the live debuts of material from the upcoming trash metal/prog concept album “PetroDragonic Apocalypse,” which will be released Friday (June 16).
Below, check out some highlights from the shows already completed and look ahead to the Seattle concerts. Also be sure to peruse nugs.net’s King Gizzard catalog, which includes more than a dozen audio and video releases taped all over the world.
The Caverns – Pelham, TN
What could be more King Gizzard than a show inside a literal ancient cave in a rural Tennessee town with a population of about 400? On June 1 at the first of four gigs in this unique venue (two in the cave, two in the above-ground amphitheater up the hill), the energy is off the charts from the opening notes of “The Dripping Tap” to five straight songs from 2016’s “Nonagon Infinity” played without a pause. Two of the best and most sprawling selections from Gizzard’s five distinct 2022 studio albums, “Ice V” and “Hypertension,” also make a wonderfully symbiotic pair, while the “PetroDragonic” standout “Super Cell” is given its live debut.
Back in the cave the next night, Gizzard again seems possessed by hard-rocking spirits with the opening suite of “I’m in Your Mind” -> “I’m Not in Your Mind” -> “Cellophane,” a trio immediately trumped by the head-banging thrash of “Planet B,” “Predator X” and another new tune, “Converge.” An attempt to incorporate some electronic gadgets goes comically awry after the flute-kissed hip-hop of “The Grim Reaper,” with multi-instrumentalist Joey Walker at first commanding frontman Stu Mackenzie to “engage the granulator” before giving up and chuckling, “our stuff is broken really well.” The long-awaited live debut of the funk jam “Astroturf” follows, and by the “K.G.L.W.” closer, it almost feels like Gizzard is just getting warmed up after almost two hours on stage.
The June 3 outdoor set had already been designated beforehand as a Pride Night celebration, but Gizzard goes above and beyond by performing fully in drag after purchasing dresses and other goodies that afternoon from a Goodwill by the Bonnaroo site in nearby Manchester. The night before, a federal judge had struck down Tennessee’s widely criticized anti-drag law, and fans of all ages and orientations can’t help but feel the love coming from the stage. Highlights include the one-two heavy metal punch of “Gaia” and the yet-to-be-released “Petro” face-melter “Witchcraft,” the Ambrose Kenny-Smith showcase “Boogieman Sam” (with snippets of Canned Heat’s “Going Up the Country” and Muddy Waters’ “Got My Mojo Working”) and the expansive combo of “Magma” and “Lava” from last year’s “Ice, Death, Planets, Lungs, Mushrooms, and Lava.”
At the final Caverns show, fans get to experience Gizzard at its most beguiling. Despite the heaviest album of its career due for release in less than two weeks, the band opts to play a fully acoustic set for what’s believed to be only the fourth time in its 14-year existence, and this ultra-rare assemblage of songs includes just two that have been released since 2017. It’s a reminder of how earlier Gizzard songs such as “Lonely Steel Sheet Flyer,” “Sleepwalker,” “The River” and “Let Me Mend the Past” bring out a more nuanced, roots-y and jam band-adjacent sound, and why they work so well in this stripped-down setting. “Thanks for indulging our dad-rock tunes,” Walker says at one point. Closer “Her and I (Slow Jam 2)” embodies all sides of Gizzard at once, as it works its way into a loud, two-chord jam before quieting back down to hushed tones. All in all one of the most unusual performances in recent Gizzard history, this one is not to be missed.
Red Rocks – Morrison, CO
Back in the friendly confines of Red Rocks on June 7, Gizzard dusts off “Sense,” which had been on the acoustic Caverns show set list but was cut for time, and debuts the genial “Hate Dancin’” from last year’s “Changes” album (hint: they don’t really hate it). A two-fer from 2017’s “Murder of the Universe” is an excellent precursor for three continuous tracks from “Nonagon Infinity,” with “Robot Stop” working in teases of “Hot Water,” “The Dripping Tap” and “Shanghai.”
In another “hey, why not?” move, Gizzard plays two separate shows at the gorgeous mountain venue the next day, with the afternoon matinee marked by the first performance of the gauzy “Satan Speeds Up” since 2014 and numerous devil-horn rockers such as “Self-Immolate” and “Evil Death Roll.” Walker gets the vocal spotlight on “This Thing” and “Most of What I Like,” and “Shanghai” has an impromptu chant about getting high, because … well, Colorado.
At the evening show, the twisting and turning “Rattlesnake” is an ideal opener to reset the collective energy, and Kenny-Smith again steals the spotlight with his vocals and stage presence on “Straws in the Wind” and “Presumptuous.” The last portion of the night shifts from the infrequently aired “Slow Jam I” into four straight rippers: “Hell,” “Mars for the Rich,” “Super Cell” and “Gila Monster,” the latter two “Petro” tracks reminding the audience of Gizzard’s inherent mastery of dynamics and virtuosity.
The Salt Shed – Chicago, IL
The first night of a three-show run in the Windy City on June 11 says a lot about live Gizzard circa 2023: 14 songs from 12 different albums, dabbling in everything from weird microtonal rock (the opening combo of “O.N.E.” and “Pleura”), top-shelf thrash (“Motor Spirit” and “Gaia,” the latter dedicated to none other than John Mayer) and Grateful Dead-worthy sonic explorations (“The River”). The sludgy “The Great Chain of Being” appears for the first time on the residency tour, while an extended “Boogieman Sam” (with teases of five different other songs) wraps the evening with hip-shaking, harmonica-flavored vibes.
Tour debuts abound on June 12, from the simmering, microtonal “Honey” and the chugga-wugga blast “Road Train” to the herky-jerky “Invisible Face” (its first complete performance ever) and finale “Am I in Heaven?” “Hate Dancin’” and “Astroturf” are back to get the bodies moving, “Shanghai” is a super atmospheric jam, and three songs from 2017’s “Polygondwanaland” (“Inner Cell,” “Loyalty,” “Horology”) demonstrate Gizzard’s uncanny ability to morph one similar-sounding riff into 10 minutes of beautiful, creeping dread.
Day-long rain can’t deter the Gizzard faithful at the Chicago finale on June 13, and they’re rewarded with the live debut of the rhythmically obtuse “Change” from “Changes” (“fuck, are we really doing this?,” the band asks aloud). A 10-minute-plus “Hot Water” wanders all over the place before unexpectedly segueing into the always satisfying Krautrock epic “Hypertension,” and the fan favorite, Cook “Cookie” Craig-sung “The Garden Goblin” affords Gizzard the chance to reminisce about Australian hardware store chain Bunnings and the animated kids show “Bluey.” “The Dripping Tap” sends the soggy crowd home humming “drip drip from the tap / don’t slip on the drip” after 19 minutes of blissed-out, major key rock’n’roll.
Remlinger Farms – Carnation, WA
Looking ahead to the Seattle three-pack, there are still two “Petro” songs yet to be played live (“Dragon” and “Flamethrower” are both nine-minute slabs of vein-bulging, pedal-to-the-metal magnificence). Since the album will be officially released at 9 p.m. local time during the first show, it would stand to reason that one, if not both, of the tracks may finally see the light of day.
Other songs in general Gizzard rotation that have yet to be performed during the residencies include “Blame It on the Weather” (which might feel especially appropriate amid an unseasonably cold spell in the Seattle area), “Oddlife,” “Venusian 2,” “Static Electricity,” and the “Altered Beast” suite from “Murder of the Universe.” Maybe the group will feel particularly inspired by its grunge surroundings and work a Nirvana, Pearl Jam, or Soundgarden tease into a jam one night too. Hey, a Gizz fan can dream, right?
Jonathan Cohen is a music journalist, editor and author of the New York Times-bestselling authorized biography of Pearl Jam, 2011’s “Pearl Jam 20.” He previously served as the music booker for the first six years of Jimmy Fallon’s NBC late night show, where he oversaw the debut U.S. TV appearances of Tame Impala, Kendrick Lamar, Tyler, the Creator, Frank Ocean, Lorde, Kacey Musgraves, and Ed Sheeran. He also plays keyboards in the band Chamberlain.
June 10th, 2023 – Dead & Company closed out their two-night run at the legendary Wrigley Field as the Farewell Tour rolled through Chicago. The first set started off with a jazzy jam that flowed into a high energy “Truckin’.” This would set the tone for a first set that was filled with special moments and loaded with high paced energy. “Truckin’” segued into Howlin’ Wolf’s “Smokestack Lightning”, which was a tour debut (tonight was Howlin’ Wolf’s birthday (thanks to Dead Air’s Gary Lambert for tipping the band off about the special date and sharing that tidbit during tonight’s segment)). As “Smokestack” was about to end, the band dropped a “Truckin’” Tag. Strong versions of “Althea” and “Mississippi Half Step” followed, leading into one of the high points of the first set “High Time”. The Garcia ballad once again shined with Oteil on lead vocals. The band came out of “High Time” into a fiery version of Bob Dylan’s “All Along the Watchtower”, which led to a monstrous set finish of “Bertha>Good Lovin’.” Bobby was in fine form and “Good Lovin” had the Wrigley crowd in a full frenzy.
After such a high energy first set what did the band have in store for their final set in Chicago? They came out of the gate strong with “Help on The Way>Slipknot>Franklin’s Tower.” This trio never disappoints and once again this band took it to special heights with “Franklin’s Tower” receiving a massive workout. “St. Stephen” was to follow, and Jay Lane drove the beat as the solos built. A “William Tell Bridge” tease from Jay finally saw the band members leaving the stage to start an energized “Drums” that engaged the crowd.
“Space” would follow and had teases of “Cumberland Blues,” which would come later in the set. The band came out of “Space” into “Uncle John’s Band,” which had some exceptional jamming and segued into a monstrous version of “Cumberland Blues.” This has become a song that this band has taken to new heights every time it’s played. Jay pushed the band into a raucous pace with John and Jeff playing smoking solos. The band didn’t let up, taking Cumberland into the “The Other One Verse 2” closing out the song as Verse 1 was played the first night. Would this be a sign for more to come? “The Other One” would lead us to an always special moment in any Grateful Dead set with “Morning Dew.” John showcased his guitar wizardry, as Oteil filled Wrigley with thundering bass bomb, and Bobby delivering the powerful outro: “I guess it doesn’t matter anyway”!
The encore started with a beautiful and appropriate version of “Brokedown Palace,” but that wasn’t enough. Carrying on a theme from earlier in the second set, the band returned to “Playing in The Band” delivering a rocking “Playing Reprise.” This wasn’t it, as it was Saturday night and the band obliged by firing into “One More Saturday Night” leaving the Chicago crowd overjoyed before having to say their final farewells to the band.
Catch this band while you can as they continue to go from strength to strength!
Rare song of the night: “Smokestack Lightning” played for Howlin’ Wolf’s birthday. This song has become a once a tour rarity and tonight’s version may have been the best from Dead & Company.
Other must listen to moments: “High Time”, “Bertha>Good Lovin”, “Franklin’s Tower” “St. Stephen”, “Cumberland Blues” and “Morning Dew.”
See you Tuesday, alongside the Ohio River at the Riverbend Music Center.
Listen to this show, along with every night of this year’s Dead & Company tour, with a free 7-day trial. Explore the Dead & Company catalog and start your free trial here.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, nugs.net radio – SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring professionally mixed recordings from Bruce Springsteen, Dead and Company, Goose featuring Lucious, and more. Subscribers can stream this week’s tracks from the #WeeklyLiveStash, only in the mobile app.
Detroit Medley Bruce Springsteen
5/25/23 Amsterdam, NETHERLANDS
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, nugs.net radio – SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring professionally mixed recordings from Widespread Panic,Umphrey’s McGee featuring moe.,Dead and Company and more. Subscribers can stream this week’s tracks from the #WeeklyLiveStash, only in the mobile app.
Proud Mary Pigeons Playing Ping Pong
(w/ Daniel Donato, the St. Paul & The Broken Bones Horns, Ron Holloway, and friends)
5/26/23 Martinsville, VA
