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, Widespread Panic, 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.
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, Goose, Warren Haynes, 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.
This month’s Third Man Thursday release comes from nine Jack White shows on his 2025 “No Name” tour. Listen to fresh audio from London, Glasgow, Birmingham, Hiroshima, Osaka, and Tokyo now. Read more about the shows below:
“You’re a thousand points of light / There’s only one Jack White”
This line, lyrically improvised by none other than Eddie Vedder of Pearl Jam, is a quintessential encapsulation of how illuminating Jack White’s 2025 tour continues to be. The cover of Neil Young’s “Rockin’ In The Free World” with Vedder’s guest vocals is just one of many highlights in the latest batch of nine new recordings available to listen to now as part of the monthly series Third Man Third Thursday. While songs off “No Name” like “Old Scratch Blues” and “Archbishop Harold Holmes” continue to captivate and evolve and grow into these expressive beasts of primal, blasting energy, new takes on old classics from Jack’s solo career and White Stripes days keep on invigorating the quarter century’s worth of tunes from the man. Further buoyed by left-field surprises like an impromptu mash-up of the inimitable riff to “Peter Gunn” paired with the lyrics to John Lee Hooker’s “Boogie Chillin” to an unpredictable take on “Heartbreak Hotel” through a quick spin of Dale Hawkins’ “Suzie-Q” through a soft, heartfelt rendition of Loretta Lynn’s “Whispering Sea” and a run through of Eddie Cochran’s “Summertime Blues” and what you get is the pure, simple proof that there’s only one Jack White. Listen now on Nugs.net
Newly revitalized and hot off the release of ‘Discipline’ – 29 new shows from King Crimson’s 1981 North American tour are now streaming exclusively on nugs
KCIV Discipline
With Discipline, King Crimson reinvented itself in the 1980s, blending New Wave, minimalism, and intricate interlocking guitar work. The lineup for this era featured Robert Fripp (guitar), Adrian Belew (guitar, vocals), Tony Levin (bass, Chapman stick), and Bill Bruford (drums). Tracks like “Elephant Talk” and “Frame by Frame” became signature pieces, characterized by their complex rhythms and tightly woven guitar interplay.
“The next step is Discipline,” proclaimed the run-out groove of The League of Gentlemen’s self-titled album, released in February 1981. It partially chronicled the short-lived career of what Robert Fripp described as his “new wave instrumental dance band.” However, the next step took many by surprise. The newly revitalized King Crimson, when it emerged, bore some hallmarks of the League, but also introduced a bold new sound that reflected Fripp’s steady compositional evolution.
Fripp had been developing fast, cyclical guitar lines since the late 1960s, and hints of Discipline’s sound could be found in earlier King Crimson pieces like “Larks’ Tongues in Aspic, Part 1” and “Fracture,” as well as in his collaborations with Talking Heads (“I Zimbra”) and his solo work (“The Zero of the Signified”). Yet, when Discipline was released in September 1981, its taut, streamlined compositions and fresh harmonic ideas felt like a quantum leap from the King Crimson of the past. The shift surprised both fans and critics alike.
“Sure, this is King Crimson,” Fripp told Creem magazine. “But we’re not playing period pieces…It’s a modern rock band playing in 1981.” Initially named Discipline, it became clear to Fripp during rehearsals that the music being created was unmistakably King Crimson. “In the first week of rehearsal, I knew the band I was hearing was King Crimson,” he later reflected.
The new lineup saw Fripp and Bill Bruford joined by American musicians Tony Levin and Adrian Belew, a combination that embraced change and evolution. Fripp had originally assumed that Levin, a prolific session bassist, would be unavailable, but Levin jumped at the opportunity to work with Fripp again. “I had met Robert on the Peter Gabriel recording in 1976, and it was the chance to make music with him that got me to that first Crimson rehearsal,” Levin recalls.
Adrian Belew was the final piece of the puzzle. Fripp first encountered Belew during David Bowie’s Heroes tour and later at a Steve Reich concert. Belew’s distinct guitar work and stage presence allowed Fripp to realize the interlocking guitar parts he had long envisioned, exemplified in tracks like “Frame by Frame.” Belew’s experimental solos and unique vocal style added an entirely new dimension to King Crimson, with standout performances on tracks like “Thela Hun Ginjeet” and “Elephant Talk.”
The album Discipline was not only a departure but also a continuation of Crimson’s evolving sound. “Matte Kudasai,” a ballad with roots in The League of Gentlemen, evokes the poignant lyricism of earlier Crimson, while “The Sheltering Sky” combines ancient-sounding percussion with modern technology, creating an atmospheric, timeless piece.
The album’s title track and “Indiscipline” exemplify the band’s philosophy: independent, fragile musical lines that, when woven together, create something resilient and powerful. Much like the knot-work that adorns the album’s cover, Discipline was about interconnectedness and balance—an ambitious and challenging musical feat that King Crimson achieved effortlessly.
King Crimson debuted this lineup as Discipline on April 30, 1981, at Moles Club in Bath, but by the time they embarked on their October tour, they had reclaimed the King Crimson name. For Adrian Belew, this lineup holds a special place: “I think it was probably the best band in the world at the time! Heavy, light, fun, and dark—it was the perfect combination of things. That first record we did is the proof. It’s still groundbreaking.”
The same line-up released two more albums – Beat in 1982, from which the single Heartbeat was taken, and Three of a Perfect Pair in 1984, from which the single Sleepless was taken. Their final live show was in Montreal on 11th July 1984, and was released as the album “Absent Lovers”. A ‘missing fourth album’ of recordings from an abandoned session in Champaign-Urbana in 1983 were released in 2002 as part of the King Crimson Collectors Club series.
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.
The latest exclusive release from the Bruce Springsteen Live Archive Series comes from Oakland Arena on October 28, 1999 – the final night of a three-show stand in Oakland, CA that finds Springsteen performing at his Reunion tour best.
Check out archivist Erik Flannigan’s essay on this performance below, then givethis must-listen show a spin. CDs and Hi-Res downloads are now available for order, or stream Springsteen’s entire archival concert catalog plus new tour audio with a free 7-day trial to nugs.
TO BECOME A MAN AND GROW UP TO DREAM AGAIN
Bruce Springsteen and the E Street Band, Oakland Arena, Oakland, California, October 28, 1999
By Erik Flannigan
If the modern era of Bruce Springsteen and the E Street Band is demarcated by the start of the Reunion tour, we’ve nearly reached the moment where it also represents the midpoint of their touring career spanning late 1972 to present day. Amazingly, that means less time passed between the Born to Run and Reunion tours than the Reunion tour and today. So does a 1999 show have more in common with what came before or what’s come since?
That’s probably best left hanging as a rhetorical question, but listening to Oakland 10/28/99, the last night of a three-show stand, this formidable performance harkens back to past championship seasons. Seventy-eight shows into the Reunion tour, the players on stage are fully match fit and committed to the cause: to do justice to Springsteen’s core catalog and take the music in compelling new directions.
Mixing metaphors here, but who else would start a three-hour marathon with a five-song sprint? The evening commences with a rare opening slot for “Adam Raised a Cain” which sounds newly incensed. Springsteen sings it with age-defying conviction (listen to his falsetto on “from the dark heart of a dream”) and rips an angsty guitar solo. This shock to the system kicks straight into “Prove It All Night,” and again there’s no wavering in an excellent version sparked by back-and-forth vocal interplay between Springsteen and Stevie Van Zandt.
With nary a second to breathe, the pair join forces again on “Two Hearts,” which in turn cues up our third taste of Darkness on the Edge of Town, “The Promised Land.” The fifth powerhouse in this sequence, “Atlantic City,” appears in its staggering full-band arrangement. Jon Altschiller’s mix puts listeners in the perfect seat (but feel free to stand) and the separation of voices and instruments is sharp, like when Nils Lofgren and Van Zandt play off each other in the left and right speakers respectively during the song’s conclusion.
“Good evening,” Springsteen says after. “Thanks for coming out tonight.” The high energy expressed since the start of the show turns delicate. As it does on Nebraska, “Atlantic City” leads to “Mansion on the HIll” in its resplendent country-leaning arrangement with Lofgren on pedal steel, Van Zandt on acoustic guitar and Danny Federici on accordion. The players swirl around each other while Springsteen and Patti Scialfa lay down graceful vocals. The contrast from the barnstorming start of Oakland to this intimate section is stark.
More captivating counterpoints follow, as Clarence Clemons’ saxophone and Roy Bittan’s piano shine during a moving “Independence Day.” Performed only 15 times on Reunion (though it landed on other Archive releases), this reading might be first among equals. Even compared to the version played in Los Angeles just five days prior, the Oakland “Independence Day” glides on a slower tempo; the mix and arrangement (again featuring Lofgren on pedal steel) feel more River-like in spirit despite being so wistfully distinct from the original. What a stately ending.
Loud, soft, then loud again, with “Youngstown” firing up the furnaces. Logren’s showcase solo is more soaring and searing than pyrotechnical, which keeps it nicely inside the song, and Van Zandt’s mandolin playing is again a standout. “Murder Incorporated” plays tough — just like you want it to — and “Badlands” brings a flawless first half of the show to a figurative close.
The second half of Reunion shows can lose focus a bit, since long songs like “Tenth Avenue Freeze-Out” and “Light of Day” work great as live showstoppers but don’t always translate as well on playback.
But if you haven’t listened to either in a while, the Oakland versions hold up nicely. “Tenth” nods to “It’s All Right” and “Take Me to the River” before Springsteen introduces Scialfa with a few lines of “Red Headed Woman” ahead of her sweet “Rumble Doll” showcase. “Boom Boom” infuses “Light of Day” with a welcome snatch of stomping blues.
Between those showstoppers, a lively “Working on the Highway” starts with a sweet guitar line from Lofgren and Max Weinberg’s big beat before Springsteen darkens the tone again for “The Ghost of Tom Joad.” Though an every-nighter at this point in the tour, Bruce brings subtle, in-the-moment variations to his vocal. The mix showcases the purity of the arrangement, which begins with Bruce on solo acoustic, joined by Federici on accordion, then Garry Tallent on bass, Weinberg on brushes, and Lofgren back on pedal steel.
We stick with Joad for the only full-band performance ever of “Sinaloa Cowboys” which carries forth the instrumentation, augmented with Bittan’s gentle synthesizer and Springsteen’s fine, Mexican-tinged acoustic guitar picking. “Backstreets” rewards the patience of the Oakland audience, and like “Adam Raised a Cain” and “Prove It All Night” at the start, Bruce and the band turn back the clock and reconnect to the heart of the song.
Something amusing to kick off the encore as Southside Johnny takes the second verse and sings along on “Hungry Heart.” By way of thanks for the seemingly impromptu appearance, Springsteen affectionately calls Johnny “a walking chaos machine.” Clemons continues his thick baritone sax sound to fuel up “Ramod,” and goes back to tenor for satisfying takes of “Born to Run” and “Thunder Road.”
Though the tour’s traditional closers, “If I Should Fall Behind” and “Land of Hope and Dreams,” have brought the evening to rewarding finish, Bruce declares, “Ah fuck, one more!” ahead of a rare, all-verses-included “Blinded by the Light.” It’s a tricky song to get right, which may explain why it went uplayed after 1976 and was only attempted five times on Reunion; this is one of if not the best of the modern era.
Clocking in at 24 songs and just under three hours, Oakland 10/28/99 might read like an average show statistically. But don’t let the numbers deter you from revisiting a peak Reunion tour performance that shines in both its loudest and softest moments.
Stream this archive release now, plus hundreds of other Bruce Springsteen shows and more artist-official live catalogs when you start a free 7-day streaming trial to nugs.net.
