Each week, nugs.net founder Brad Serling brings his long-standing radio show to SiriusXM Jam On, debuting choice tracks curated from the week in live music. Check out this week’s playlist below, featuring professionally mixed recordings from Trey Anastasio, Jack White, moe., Eggy, and more.
The #WeeklyLiveStash premieres each Friday at 6pm ET on SiriusXM channel 309, with encore airings on Saturday at 11am ET, Sunday at 3pm ET, and Monday at 9pm ET.
nugs subscribers can stream this week’s tracks from the #WeeklyLiveStash in the app (playlist will only open on mobile, but can be saved to your Library for desktop playback). nugs subscribers can also visit their My Account page to check their eligibility for four months of SiriusXM All Access. Offer details apply.
Note: The Trey Anastasio track is available exclusively via LivePhish.
This month’s release from Third Man Records continues Jack White’s Winter 2025 tour with a drop of ten shows, starting with three intimate NYC shows before heading to Boston and then across the pond to Paris and Utrecht.
The ten newest shows to drop from the universally heralded “No Name” tour are a clutch of multi-show stands across New York, Boston, Paris and Utrecht. Spirited, heat of the moment takes on “Louie Louie”, the Modern Lovers “Roadrunner” to “Boogie Chillen'” and Iggy Pop’s “The Passenger” delight in addition to no shortage of extended, blistering improvisations and so much more if you just dig in.
Of particular excitement is the February 26th show in Utrecht, home to influential architect and furniture designer Gerrit Rietveld. As one of the pre-eminent members of the De Stijl art movement in the early 20th century, the White Stripes album De Stijl was in part dedicated to him. So not only did Jack White perform part of the show while seated in a replica of Rietveld’s revolutionary Red and Blue Chair, but he also dusted of six songs originally released on De Stijl, some like “Jumble, Jumble” which haven’t been played live in over twenty years! Hear it all now, only on nugs.net.
We’re excited to announce that 30 new Phish concerts from recent years are now streaming on nugs! With ten each from 2022, 2023, and 2024, journey through the nearly innumerable highlights including standout sit-ins from Billy Strings and Derek Trucks!
Get instant access to these freshly-dropped shows along with the entire nugs streaming catalog when you start a 7-day free trial now.
Read on below for some team-favorite shows to get started on your listening!
7/16/22 Bangor, ME: This show features a titanic 30-minute rendition of “Down with Disease,” marking a clear high point of the 2022 summer tour.
12/30/22 New York, NY: With a rare jammed-out “Theme from the Bottom” plus an all-killer second set highlighted by a big “No Men in No Man’s Land” and dissonant “Sand,” this show carries the strong legacy of December 30th Phish.
7/23/23 Syracuse, NY: A 19-minute first-set-closing “Kill Devil Falls” plus an exceptionally rare combination of back-to-back 20-minute jams in “Tweezer” and “Oblivion” highlight this upstate NY stop from summer 2023.
8/26/23 Saratoga Springs, NY: Derek Trucks joins the band for the bulk of the second set and encore for a wildly memorable journey through nonstop energy and blazing hot guitar playing from he and Trey both.
4/21/24 Las Vegas, NV: The closing night of Phish’s debut run at Sphere comes with some of the band’s best jamming of the run in the two-hour second set’s “Down with Disease” and “Light.”
8/6/24 Grand Rapids, MI: Highlighted by Billy Strings’ first time playing with Phish, the augmented band unleashed the longest “The Moma Dance” of their career while giving Strings several showcases for his whirlwind guitar chops.
Each week, nugs.net founder Brad Serling brings his long-standing radio show to SiriusXM Jam On, debuting choice tracks curated from the week in live music. Check out this week’s playlist below, featuring professionally mixed recordings from Trey Anastasio, Sturgill Simpson, The String Cheese Incident, and more.
The #WeeklyLiveStash premieres each Friday at 6pm ET on SiriusXM channel 309, with encore airings on Saturday at 11am ET, Sunday at 3pm ET, and Monday at 9pm ET.
nugs subscribers can stream this week’s tracks from the #WeeklyLiveStash in the app (playlist will only open on mobile, but can be saved to your Library for desktop playback). nugs subscribers can also visit their My Account page to check their eligibility for four months of SiriusXM All Access. Offer details apply.
Note: The Trey Anastasio track is available exclusively via LivePhish.
Exclusive to nugs.net, twenty-eight more hi-res official concert recordings from King Crimson are now available to stream in the nugs app or order online. Courtesy of the prog-rock icons’ archivist, read more about the transformative ‘Double Duo’ North America tour from the turn of the century, featuring the dynamic lineup of Adrian Belew (guitar & vocals), Robert Fripp (guitar), Trey Gunn (touch guitar), and Pat Mastelotto (acoustic and electronic percussion).
In 1999, with Bruford now committed to pursuing his own band Earthworks and Levin signed up for a world tour with the singer Seal, a new King Crimson coalesced around Belew, Fripp, Gunn, and Mastelotto It had taken the best part of three years and over 50 gigs by the ProjeKcts for this particular version to present itself. In a bitter-sweet twist, Levin’s tour with Seal was unexpectedly canceled and Belew lobbied for the bassist’s inclusion when he and Fripp met in Nashville in August 1999. However, Fripp’s instinct was to go with the Double Duo as he now dubbed the group. Levin was sanguine about the new line-up in his online diary. “Robert has wisely decided to go ahead anyway, with the invitation to Bill and me that we can come back for the next incarnation. I agree that it’s time for a Crimson release and tour — if we wait for everyone to be available, it could take years.”
The state of flux typifying this period threatened to engulf Belew who had qualms not only about the amount of time Fripp envisaged the new group should tour but also his own role within the new line-up. In September, as Fripp was packing his bags at his house in Dorset ahead of his return to America he received a call from Crimson’s manager Richard Chadwick with the news that Belew had quit. “Crimson usually breaks up after tours or during rehearsals,” Fripp noted at the time. “The Double Duo is a first in that it has broken up before rehearsing, recording and touring. Even for Crimson, this is an achievement.”
These teething problems were overcome and the new quartet decamped to Belew’s basement studio with the challenge of writing and recording an album’s worth of new material in just eight weeks. They succeeded, in fact, in recording two albums, as they also completed an album of improvisations, under the name “Projekct X”.
Released in 2000, the 12th King Crimson studio album finds a slimmed-down quartet breaking new ground as well as retooling older themes with FraKctured and Lark’s Tongues In Aspic Part IV, both containing some of Fripp’s most terrifyingly complicated lines to date.
Alongside Pat Mastelotto’s arsenal of electronic drums and Trey Gunn’s growling touch guitar, Adrian Belew’s scarily manic soloing and his penchant for surreal lyrics run riot during the roiling, skewed gait of The World’s My Oyster Soup Kitchen Floor Wax Museum. And they even Crimsonise the humble 12-bar with ProzaKc Blues.
2000 saw the band touring in support of the album in Europe, Japan and North America, with the new songs featuring heavily in the set alongside sections of improvisation, old favourites from the 80s and 90s, plus an acoustic solo spot from Adrian, and on many nights an encore of David Bowie’s Heroes.
Stream the new releases along with the full King Crimson archival catalog and hundreds of other artists exclusively on nugs when you start a free 7-day trial.
Each week, nugs.net founder Brad Serling brings his long-standing radio show to SiriusXM Jam On, debuting choice tracks curated from the week in live music. Check out this week’s playlist below, featuring professionally mixed recordings from Sturgill Simpson, Billy Strings, moe., Wilco, and more.
The #WeeklyLiveStash premieres each Friday at 6pm ET on SiriusXM channel 309, with encore airings on Saturday at 11am ET, Sunday at 3pm ET, and Monday at 9pm ET.
nugs subscribers can stream this week’s tracks from the #WeeklyLiveStash in the app (playlist will only open on mobile, but can be saved to your Library for desktop playback). nugs subscribers can also visit their My Account page to check their eligibility for four months of SiriusXM All Access. Offer details apply.
Blue Sky In Memory of Dickey Betts (w/ Duane Betts, Susan Tedeschi, Derek Trucks, Warren Haynes et al) 2/28/25 Macon, GA
The latest from the Bruce Springsteen archives comes to you from Omaha, NE on November 15, 2012. Stream this show, along with the full archival catalog, exclusively on nugs.net.
2025 tour is just a few months away, and pre-orders are available now for all shows! Don’t miss out!
ALL ABOARD, NEBRASKA’S OUR NEXT STOP
By Erik Flannigan
When Bruce Springsteen released his risk-taking acoustic masterpiece Nebraska in 1982, it sparked questions about its future in live performance. Would he tour the record solo? How would he perform its songs with the E Street Band?
The first answers came on the Born in the U.S.A. tour, when Springsteen featured a rotating handful of Nebraska songs each night, most gathered in a mini suite during the first half of the show. All ten tracks from the album eventually made their way to the set in band readings ranging from gently augmented (“My Father’s House,” “Used Cars”) to fully electrified (“Atlantic City”).
Springsteen would go on to play true solo versions of Nebraska material in concert, first at a pair of revelatory 1990 benefit shows in Los Angeles for the Christic Institute (available as part of the Live Archive series), and on both the Ghost of Tom Joad and Devils & Dust tours. The album remains his body of work most covered by other artists. As the subject of a forthcoming major motion picture centered around its creative origin story, the long-standing and deserved appreciation for Nebraska should only intensify.
Springsteen’s own arrangements of Nebraska songs have evolved in both band and solo incarnations. On the Reunion tour, led by Nils Lofgren’s pedal-steel guitar and Danny Federici’s accordion, “Mansion on the Hill” became a Nashville ballad. In 2005, Springsteen unleashed bullet-mic, blues sides of “Reason to Believe” and “Johnny 99.”
Unexpectedly but appropriately, Springsteen’s deepest dive back into Nebraska came at a late 2012 stop on the Wrecking Ball tour. Rolling into Omaha for only their fifth show ever in the Cornhusker State, he placed six songs from the album in the set, the most in an E Street Band show since the ’80s. This one-off Nebraska showcase makes Omaha, November 15, 2012, a distinct performance and presents the opportunity to revisit how this seminal work has developed on the concert stage.
Walking out to a fitting recording of Jimmy Reed’s “Big Boss Man,” Springsteen welcomes the CenturyLink Center faithful with a trio of Nebraska tunes, each radically different from the original master recordings. Attention is immediately captured as he sings and blows harmonica into a bullet microphone to launch “Reason to Believe.” This rocking band rendition first appeared on the Magic tour in 2007, an arrangement derived from the solo takes Bruce had done on the Devils & Dust tour.
The recharged “Reason to Believe” owes a small debt to Bob Dylan’s “Highway 61 Revisited,” while Stevie Van Zandt’s guitar line is straight out of ZZ Top’s “La Grange.” Springsteen joyously surfs the bluesy vibe, chewing on lines like “that dog get up and run, ruun, ruun, ruuun.” As the horn section kicks in, Charlie Girodano sweeps his organ keys and Lofgren takes his own counterpoint solo to Van Zandt’s primary lick.
Barely a second passes before “Reason to Believe” yields to “Johnny 99” in a rollicking run powered by Max Weinberg’s drums, Roy Bittan’s honky-tonk piano and Van Zandt’s sympathetic backing vocals. The underlying rock arrangement of the song dates back as far as The Rising tour, though with the addition of the horns and percussion, the Wrecking Ball edition of “Johnny 99” proved even bouncier and brasher. More cowbell!
Omaha’s Nebraska triple shot wraps with what remains the greatest band interpretation of any of its songs: “Atlantic City.” The electric arrangement debuted to slacked jaws on opening night of the Born in the U.S.A. tour in St. Paul, Minnesota, back in June 1984. With its heavy beat, portentous chord strumming, and thrilling dynamics between verse and chorus, it has captivated audiences ever since.
Moreover, “Atlantic City” is that vital recurring number in Springsteen’s set that always seems to play for keeps. This night is no exception, with an extra-long crescendo before the last verse kicks in, sparked by Van Zandt’s mandolin picking and collective vocals that carry the chorus refrain through the song’s conclusion.
As the least played song from Nebraska, an appearance by “State Trooper” is special and a touch foreboding. For this take, Springsteen offers a hushed, moody vocal until he hits verse three and the dream state of those “wee wee hours,” where “your mind gets hazy.” Opting for his Gretsch electric guitar, he takes full advantage of its whammy bar to bend notes and twist chords, all of which combine for a seductively disconcerting solo performance. Omaha stands as the last version of “State Trooper” played to date.
Band and horns are back for “Open All Night” in a swinging arrangement that became a stalwart on the 2006 Seeger Sessions tour and popped up again in Omaha and a handful of other shows in 2012. Springsteen clearly enjoys this version, resurrecting it in stonking fashion to start an outstanding show at The Forum in Inglewood, California, in April 2024.
The last Nebraska song featured in Omaha is arguably the most intriguing: the first full-band “Highway Patrolman” since 1985. It drafts on the Born in the U.S.A. tour arrangement but distinguishes itself, with Soozie Tyrell on violin, Girodano on accordion, Lofgren on pedal steel and Van Zandt adding backing vocals to a song he has never performed on stage before.
Springsteen leads the way on acoustic guitar, picking the familiar melody but with a repeated low-string bass note that subtly changes the song’s tone, drifting towards “One Step Up” territory. It’s fascinating to hear how “Highway Patrolman” matured over three decades. Like “State Trooper,” it has yet to be performed again.
The other 20 tracks performed in Omaha more than hold their own. The five core songs from Wrecking Ball (“We Take Care of Our Own,” “Wrecking Ball,” “Death to My Hometown,” “Shackled and Drawn” and “Land of Hope and Dreams”) are played with spirit and vigor. There are truly fine takes of “Lost in the Flood,” “Trapped” (boasting strong saxophone work from Jake Clemons), and “Raise Your Hand” by sign request, and the first “Santa Claus is Coming to Town” of the season, a tour premiere. (The prior show, in St. Paul, another pick in the Live Archive series, featured its own remarkable premieres, “Stolen Car” and a full-band “Devils & Dust.”)
But this Omaha night belonged to Nebraska: revisited, reimagined, and forever revered.
Stream this archive release, plus hundreds of other Bruce Springsteen shows, when you start a free 7-day streaming trial to nugs.net.
