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.
The Grateful Dead is back for the highly anticipated annual event “Meet-Up At The Movies,” screening in select theatres worldwide on June 22 and 24.
A year after Brent Mydland’s passing, the Grateful Dead returned to the summer stadium circuit, playing Chicago’s Soldier Field for the first time, with two keyboard players filling the seat Brent left vacant. Bruce Hornsby and Vince Welnick’s presence and musical contributions reinvigorated and revitalized the Grateful Dead, and the inspiration of the Dead’s playing was palpable. On a Saturday night in front of 60,000 fans, the Dead played what is often considered one of the greatest shows of the Bruce-Vince era, up there with the second Giants Stadium show from a few days earlier. The Soldier field show was filled with favorites, including “Shakedown Street,”“Brown-Eyed Women,” “Playing In The Band,” “Terrapin Station,” and “Dark Star.” From the original six-camera video feed that appeared on the stadium’s big screens and the pristine soundboard audio, Chicago 6/22/91 is an incredible performance start-to-finish.
Tickets for “2023 Meet-Up At The Movies” are now on sale, find your theatre and get your tickets here.
Exclusive to nugs.net, this month’s Third Man Thursday release brings us The White Stripes’ October 14, 2003 performance from Melbourne. From long-time Stripes enthusiast and expert Mike:
Coming on the heels of last month’s premiere of Seven Nation Army at Wolverhampton, this show in Melbourne is the return to the city where the riff was first played, during that infamous soundcheck at the Corner Hotel. This time around, the band are upgraded from a Hotel to a Palace.
This show takes place during the underrated New Zealand-Australia leg of the Elephant tour. The natural point of comparison for this show in Melbourne is the Sydney performance at the Enmore Theatre a few days earlier on 10/10. Whereas that show captured the band out to wow the audience, the energy is at times frantic, with Jack going song to song almost recklessly. If Sydney is the getaway car barreling down the alleyway, crashing through the trashcans, Melbourne is the other side of that coin: the same car, the same driver, but why not take the long way home?
Like Sydney, this show in Melbourne is also a marathon set, clocking in at around 1hr 40min. But whereas Sydney hits most of the familiar numbers from the Elephant live repertoire, with no time to stretch out on any one song too long, this set at Melbourne is less about the inclusion of this song or that song, and more about how the songs themselves get performed just a little bit different. Throughout the set, there are many unique change-ups and extra doses of improvisation here, making for an excellent and relaxed performance
Many of the surprises here are subtle. Listen as Jack moves to the keyboards for the first verse of Dead Leaves, or how I Want To Be the Boy To Warm Your Mother’s Heart gets an extended outro in place of the final verse. Other surprises are more obvious, such as Death Letter getting stretched out to over 10 minutes, including a unique rapid-fire delivery of Motherless Children and adlibs at the end of the song proclaiming “Your mother was a mother now!”, before wrapping with a quote from Little Bird. Cannon gets a unique whispered vocal delivery for the opening verses, before switching out the John The Revelator section with improvised lines inviting the audience to “come into my home” for “something you ain’t never had before”. The fourth wall gets broken again during Look Me Over Closely, with the line “every girl in this room, I’m singing this one to you” before ending the song with a saturated burst on the guitar. The Hardest Button to Button also gets an extended intro and an adlib about a brain that “felt like Pea-nut butter!”. The same songs already played many times on the tour, done just a little different here.
And then there’s the truly unique moments, which includes the where-the-hell-did-that-come-from performance of Caravan by Duke Ellington. Broken Bricks also gets the first known performance since 2002, with yet more of those whispered vocals and a “slow version” treatment, before setting up an excellent Small Faces and yet another one-time-only cover, this time Love Me by Elvis Presley – complete with adlibbed Buddy Holly style vocals. So yeah, not your typical Elephant show. Other nuggets include Jack playing some lines from the Peter Gunn Theme during Jack the Ripper, the audience singing the verses during I Just Don’t Know What To Do With Myself, and the blink-and-you’ll-miss-it quote from Wichita Lineman during Seven Nation Army, before closing out with Boll Weevil to bring this one home.
Exclusive to nugs.net, this month’s Third Man Thursday release brings us The White Stripes April 7, 2003 performance from Wolverhampton. From archivist Ben Blackwell:
Twenty years ago, give or take a couple of weeks, the White Stripes purchased a Random Access Digital Audio Recorder. RADAR for short. It cost $8000. When recently asked about the impetus behind the move, long-time Stripes manager Ian Montone said…
“Many artists I respected – musically and from a business standpoint – always recorded their shows. Frank Zappa specifically. We wanted to implement something similar given we already owned our studio master recordings. So it made sense to record and own everything the band (and Jack) did moving forward. Live shows included. Because every show was different. There was no setlist. Everything was special. We wanted to capture that for posterity’s sake – hence the RADAR.”
In terms of the archival footprint of the White Stripes, the importance of this decision cannot be overstated. Previously, sanctioned live recordings were largely limited to whenever I was there AND the club had a cassette deck wired to the soundboard. With the end result being a static two-channel board recording subject to the whims and preferences of a house sound engineer’s real-time mixing, it left a lot to be desired.
For example…my obligations as a mediocre Detroit college journalism student with a scholarship meant that for the entirety of 2002 (a year the Stripes played nearly 100 shows) I was present for a mere seven performances, two of which were purely coincidental as my band the Dirtbombs were slotted as the warm-up act.
Thus, the number of proprietary live recordings from 2002 in the archive? Shit, barely any. I count one, give or take one.
But come 2003 the White Stripes would have the raw masters of their on-stage inputs digitally preserved. This gave the band the ability, after-the-fact, to have whomever they desired to properly and precisely mix every live show they performed, regardless of whether or not I was there to slide the sound guy a tape that night. This was $8000 well-spent.
Thank god for RADAR.
The April 7th, 2003 gig in Wolverhampton was the first show the White Stripes recorded with this digital system. More importantly, this show is the kick-off to the Elephant world tour, approximately 14 months of whirlwind travel, Whirlwind Heat, sold out shows, not sold out ethics, finger breakings, Grammy takings, global gallivanting and “oh oh oh oh oh ohhhh oh” chanting.
The performance, shockingly, has not been heard in ANY form since the amps powered down that evening two decades ago. I guess no one in Wolverhampton was doing surreptitious audience recordings at the time. Photos of the gig? I found none. Concert poster? I’ve never seen one. Please, prove me wrong. I welcome it. Contemporaneous accounts of the evening? A dumb brief write-up from the NME, one slightly more informative from the Independent and that’s it.
As Jack humbly tells the crowd that Elephant hit number 1 on the charts this day…the gig…you’d think there’d be more proof that it really existed. Things here feel big. They seem important. A chance whiff of greatness. The weight of it all is palpable on the recording.
So the wait to hear this show is most definitely worth it. The first-ever public outing of a clutch of songs off Elephant is the definition of historic.
The fact that Meg switches to her snare hits late on the first verse of “Seven Nation Army”? I LOVE it. Perhaps the only time ever she didn’t 100% nail that song. Jack’s nerves evident on “In The Cold, Cold Night”? Endearing. The premature ending of “The Hardest Button To Button”? A combo of “wow” and “holy shit” said in wonderment.
These are by no means the best versions of ANY of these songs. But they are precious for what they presage…the eventual enshrinement of said tunes in the bombastic canon of a band well on its way to their peak form.
Beyond that…the first time ever covering Public Nuisance’s “Small Faces.” What a moment! And the extra special treat of what we’ve titled here “Talking Pillow By My Side Blues.” An improvised song done in the “talking blues” style pioneered by Chris Bouchillon, appropriated by Woody Guthrie and yet further popularized by Bob Dylan, “Pillow” is one of the more realized extemporaneous songs to emerge from a White Stripes live show of any era. Which is fortunate to have been captured here, as it never shows up again, anywhere, ever.
Thank god for RADAR.
Though I must stress, the method was not perfect. As The White Stripes front of house engineer Matthew Kettle would say “Despite being the best thing we could get at the time, the RADAR was occasionally unreliable, and as we weren’t carrying a sound desk everywhere at that point, not every show was recorded successfully.”
With that in mind, there’s a handful of songs that failed to be recorded in Wolverhampton. “Dead Leaves” and “Black Math” and “I Think I Smell A Rat” seem to be songs from the top of the set lost to the ether on this night. Which isn’t too bad in the grand scheme of things, considering there’s an entire WEEK where Kettle’s best efforts were thwarted by the finicky digital interface and thus, we’re left only with our imagination and collective recollection trying to discern what happened at half dozen shows in June of 2003.
Otherwise the RADAR material was immediately put to use…the accompanying audio to “Black Math” live vid from the Masonic Temple, the Berlin soundcheck b-side recording of “St. Ides of March” and the promo-only triple LP Live In Las Vegas are all proper public-facing mobilizations of these recordings. Third Man didn’t even attempt to crack these suckers open for another ten years until prepping the Nine Miles From The White City live LP included in Vault Package 16 from 2013.
At that point, upon handing mix engineer Vance Powell the necessary drives, he audibly winced.
“What?” I asked him, perplexed and, let’s face it, ignorant.
“These drives have moving parts. Good luck getting anything off of them,” Vance replied.
To which point I said “You gotta be fucking kidding me.”
“No, I’m not,” he said. “These things are ten years old.”
I learned a very crucial lesson at that moment…that any digital format is only reliable for a couple years before it’s usurped by something more streamlined and less cumbersome – OR – it just stops working. The need to constantly update and re-archive digital files is downright maddening. There is no long-term, futureproof, failsafe digital carrier. Ever. It would be another five years before all drives were properly transferred to a relatively stable LTO format. And even then, not without RADAR drive “G” requiring a $1761.60 “clean room” recovery to save seven shows that would have otherwise just disappeared.
It sounds comical now, but wearing my “businessman” hat I broke out the calculator to amortize the proposal…deciding with an almost embarrassingly “duh” quickness that $251 per show was a reasonable enough fee to reclaim those ephemeral moments. Because there’s spirit in all these recordings. The unforeseen nostalgia of memories yet to be uncovered. Instances where the power of an assemblage of strangers in a room together can divine a psychically shared experience. Time that mattered to someone. Moments could now last forever,
One of those moments, cast off with barely any consideration, a seconds-long thought formulated into action in a more simple manner, appeared when Jack White signed the venue guest book after the show.
“Thanks Civic, you made my day and I shan’t forget it.”
And because of a wise $8000 investment made nearly a generation ago, you won’t either.
This is it, the best of the best, the top shows streamed in 2022! Packed with musical moments, the thirty concerts here truly shine, but this list is just a small sampling of the amazing artists in our catalog, and the standout performances we were blessed to hear this year. Explore the fan favorites below, then dig in and find the show that speaks to you.
The official and professionally-mixed audio from all these concerts are available with a free nugs.net streaming trial. This is also our final 2022 Year In Review post, if you missed any of the others, explore them all including Top Guest Sit-Ins, App Enhancements, Top Cover Songs, and more.
(Statistical clarification for those wondering; the list is in order of most listens in 2022, including shows from 2022 and archival concerts, capped at 1 show per band.)
In addition to last night’s show, we’re constantly adding to our streaming service iconic concerts throughout time. In this week’s 2022 Year In Review we take a look back at these archives, highlighting our top streamed shows from year’s past, that were added to the nugs.net app in 2022. The professionally-mixed audio from all these concerts are available to stream with a 7-day free trial to nugs.net.
Top Streamed Archives – Added in 2022 (in alphabetical order):
We’re happy as all get-out to announce that twenty legendary live-concert and live-radio recordings from the country music genre are now available for streaming on nugs.net. We already have a robust bluegrass catalog and a diverse representation of country shows from the likes of Johnny Cash, Tyler Childers, Waylon Jennings, even new-age ‘Cosmic Country‘, and now our subscribers can stream some of the most notable live performances from some of the biggest names in the history of country music.
Recorded live at Perkins Palace in Pasadena, CA on 5/15/1980, the show featured the two bands with Sam Bush performing Leon Russell originals and covers from The Beatles & The Rolling Stones.
Gram Parsons – Gram Parsons & The Fallen Angels: Live 1973
Recorded on 3/13/1973 in Hempstead, NY, the country-rock icon’s final recording, features Parsons and Fallen Angels Emmylou Harris (pre-solo career) and Jock Bartley (pre-Firefall) in peak form!
Recorded in a series of California honky-tonks during the middle of 1982, this live-album release features covers of classic tracks from Gram Parsons to Bruce Springsteen, Neil Young, Buck Owens, Conway Twitty, and more.
This historic set presents remastered and expanded editions of landmark classic albums released during his Atlantic Records years, as well as a 1974 live concert at the Texas Opry House
Recorded live on 9/14/2015 at Nashville’s historic Ryman Auditorium, this concert also featured John Prine, Sam Bush, Vince Gill, Alison Krauss, Jerry Douglas, and more.
Recorded on 1/28/2006 at Wild Adventures Theme Park in Valdosta, GA, this is the only concert recording in existence from the only tour by the brothers
Travis Tritt – Live on Soundstage (Classic Series)
Recorded in August 2003, in this Soundstage concert, he wows the audience performing favorites such as “Modern Day Bonnie and Clyde,” “Great Day to Be Alive,” and “Anymore.” Soundstage was an American live concert television series produced by WTTW Chicago.
Recorded 9/12/16 at the Hotel Café in Los Angeles, California, this show features Brandy in pared down, intimate setting with only a guitarist accompanying her
We’ve already got a robust catalog of live shows from the multi-platinum, Grammy-winning group, adding to this is their 6/2/2004 performance at the famous Stubb’s BBQ in Austin.
Listen now to all these recently added archives and the entire nugs.net streaming catalog with a 7-day free trial.
We are excited to announce new improvements to the nugs.net listening experience while driving for both Android and Apple users.
Android Auto
For the first time Android users are able to utilize Android Auto to enhance their listening experience while driving. With the latest version of the nugs.net Android app you can listen to your favorite shows on-the-go. Android auto support unlocks a number of key features for users including:
An intuitive interface for playing, pausing, skipping tracks, as well as browsing the nugs.net catalog directly through your car’s display
Picking up where you left off in a song after taking a call, or getting back into your car
Experience our latest features like Recommendations and Continue Listening for a seamless experience between your app, desktop player and your vehicle
Apple CarPlay
Major updates are here for Apple CarPlay users. We’ve redesigned the navigation to be more intuitive, and introduced Recommendations and Continue Listening into your driving experience. We’ve also fixed some key bugs including:
Songs will now resume from where they left off after an incoming call
Broken images and empty screens have been fixed
More intuitive navigation to find the music you love
Not a nugs.net subscriber? Sign up today for access to unlimited streaming and a 7-day free trial.
The Bruce Springsteen Live Archive catalog on nugs.net expands again with the addition of ten more shows from the 2016 River tour. The summer east coast leg included three homecoming dates at MetLife Stadium in East Rutherford, NJ, plus massive outdoor gigs at Nationals Park in Washington D.C., Citizens Bank Park in Philadelphia and Gillette Stadium in Foxboro, MA. Bruce and the E Street Band also performed arena shows at United Center in Chicago, Veterans United Home Loans Amphitheater in Virginia Beach and Consol Energy Center in Pittsburgh.
All of these concerts opened with Springsteen’s 1973 magnum opus “New York City Serenade” augmented by a string section, save for Virginia Beach which began with Bruce at the piano playing “For You.” Tom Morello makes a guest appearance at MetLife on August 25, while Rickie Lee Jones does the same on August 30, the third and final night in E. Rutherford in a set that featured “Kitty’s Back,” “Summertime Blues,” “Pretty Flamingo,” “Living Proof” and “Secret Garden.”
The first show in Philadelphia on September 9 offers its own welcome rarities, chief among them “The Fever,” “Thundercrack” and “Streets of Philadelphia.” The tour’s closing night in Foxboro is 33-song keeper, highlighted by six songs from Bruce’s 1973 debut, Greetings From Asbury Park, NJ and all three tracks found on side two of its follow-up, The Wild, The Innocent & The E Street Shuffle.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
Learn more about the previous exclusive Bruce Springsteen audio drops
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
It was a long time coming (to be precise, 29 months since the originally scheduled dates, which were postponed three times due to COVID), but King Gizzard And The Lizard Wizard finally made their Red Rocks debut two weeks ago as part of a three-show run featuring “marathon three-hour sets” each night, with no repeated songs. The final performance will take place Nov. 2, and will air with professionally post-mixed audio beginning Nov. 6.
Whether you’re a devoted fan of the prolific Australian sextet or a curious newcomer, the Red Rocks run offers an incredibly potent dose of live Gizzard. Indeed, the band seems to be performing at the peak of its on-stage power, even as it releases three distinct new albums in the month of October (its 21st, 22nd and 23rd since forming in 2010). Below are some highlights from the first two Red Rocks shows, as well as what fans might expect at the finale. In the meantime, be sure to check out nugs.net’s King Gizzard catalog, which includes more than a dozen audio and video releases taped all over the world.
Night one: 10/10/2022
As cloaked in mystique as Gizzard often is, the group defused any artifice between band and audience on opening night by nonchalantly walking onstage to tune and adjust its instruments 10 minutes before showtime. Frontman Stu Mackenzie was wearing a green alligator visor in a nod to the lovable Gizzard mascot, and once the concert began, there was no doubt of its significance for the musicians on stage. “I can’t feel my legs,” keyboardist Ambrose Kenny-Smith shouted. “Holy shit,” guitarist Joey Walker said. “Let’s get fucked up! Have a good time and love each other.”
After two blistering songs from 2019’s thrash-metal extravaganza “Infest the Rat’s Net,” the first set was highlighted by “Magenta Mountain” and its long, tense closing jam with Walker on analog synth, the wobbly “O.N.E.” (with a tease of the dark, heavy boogie “Straws in the Wind,” which appeared later in its complete form) and the penultimate “The River,” its snappy, retro vibe upended by teases of the more sinister “Crumbling Castle” and “Wah Wah.” The set wrapped with the nine-minute-plus “Magma” from Gizzard’s recent album “Ice, Death, Planets, Lungs, Mushrooms and Lava,” the product of intensive jam sessions that were then edited together by Mackenzie after the fact.
As a bonus treat for the sold-out crowd of nearly 10,0000, Gizzard premiered the first of two songs on another new album, “Laminated Denim,” over the PA during intermission two days before its proper release. “Laminated Denim” was also available for early sale at the merch stand at both shows, if you were willing to brave the 45-minute line.
Set two roared to life with “Rattlesnake,” one of the best examples of Gizzard’s innate ability to work riffs and grooves into lengthy instrumental explorations (this time with teases of no less than five other songs, including the next three on the set list: “Automation,” “Honey” and “Sleep Drifter”). “Ataraxia” was much faster and precise than its studio version on 2021’s “L.W.,” its chorus hook sticking in the brain like musical toffee.
For a group that most certainly jams but has not made many overt references to scene forefathers like The Grateful Dead, Gizzard submitted to the legends of jam band past on “Evil Death Roll,” its major-key, Dead-style workout tuning directly into the spirit of this legendary venue. The head-bopping continued on the new song “Ice V,” its fizzy, New Orleans swamp funk providing an intriguing transition into three songs from the concept album “Murder of the Universe,” narrated by opening act Leah Senior, who provided the same service on the studio versions.
Walker’s girlfriend later brought out shots for the whole band in honor of Walker’s impending birthday, while Kenny-Smith prowled the stage to sing “The Grim Reaper,” what he described as “some weird ass satanic rap for ya.” The 27-song evening concluded with a final dose of thrash-y rock’n’roll in “Planet B,” which Gizzard finished exactly one minute curfew.
Night two: 10/12/2022
What better way to start the second Red Rocks show than with a 15-minute “The Dripping Tap,” one of Gizzard’s best new extended jams? During a quiet breakdown in the song, Walker was presented with a birthday cake by his girlfriend and manager, remarking, “I was expecting that later in the set!” “Gaia” featured a taut, spacey section reminiscent of Tool, with drummer Michael Cavanagh nodding to that band’s Danny Carey with his creative roto-tom work. Walker positively ripped on “Predator X,” even finger-tapping a la Eddie Van Halen and throwing in one bar of “Perihelion” (which would later open set two).
“Doom City” was futuristic surf rock crossed with Black Sabbath doom, while “K.G.L.W.” was absolutely wicked, a sea of bobbing heads offering their full compliance in the audience. The set wound down was the rarity “Sea of Trees” (played for just the 15th time since 2012), its sleazy groove segueing into the satisfying southern rock of “The Bitter Boogie.”
The party was instantly restarted during set two’s “I’m in Your Mind” / “I’m Not in Your Mind” suite, the guitar riffs of which imagined being chased through a Middle East bazaar. Leah Senior returned to narrate six songs from “Murder of the Universe,” a jaw-dropping display of Gizzard’s instrumental virtuosity and dynamic command.
From there, it was one delight after another — the baby-making soul of “Ambergris,” the slow-cooking “Iron Lung” and its emphatic, Kenny-Smith-belted outtro, “Robot Stop” and “Mr. Beat,” which teased back to “Iron Lung.” The members of Leah Senior’s band snuck onstage to spray Gizzard with silly string and bring the 32-song performance to a close, as the crowd high-fived, hugged and gazed behind it at Red Rocks’ impossibly beautiful natural surroundings.
What’s left?
Knowing that the Red Rocks shows will feature no repeat songs, we can identify some likely suspects for the third gig on Nov. 2. They include favorites such as “Venusian 2,” “Plastic Boogie,” “Self Immolate,” Am I in Heaven,” “Float Along — Fill Your Lungs,” the complete “Crumbling Castle” and “Intrasport,” plus several songs from “Murder of the Universe” that weren’t played this week, “Shanghai” (the lone song in live rotation from the 2021 album “Butterfly 3030”), newer material such as “Sadie Sorceress” and anything from the upcoming album “Changes,” which will be released a few days before Red Rocks night three. One thing’s for sure: King Gizzard always seizes big moments like this, making Nov. 2 a show certainly not to be missed.
About the author: Jonathan Cohen is a veteran music journalist, editor and author of the New York Times-bestselling authorized biography of Pearl Jam, “Pearl Jam 20.” He previously served as the music booker for the first six years of Jimmy Fallon’s NBC late night show.
Get your pass to watch all three nights at Red Rocks, the first two are still available on-demand.
Red Bank is the fifth and final drop of Bruce Springsteen Live Archive catalog recordings on nugs.net, completing the addition of nearly 200 shows circa 1975-2017 to the streaming service.
The 44 show Red Bank drop begins with five from Bruce’s beloved 1988 Tunnel of Love Express Tour with the E Street Band, including the US leg closer at Madison Square Garden on May 23 (which featured a rare cover of Jackie Wilson’s “Lonely Teardrops”) and Stockholm, July 3, originally broadcast live across the US on Fourth of July weekend 1988.
Next, two of the most extraordinary performances of Springsteen’s career, the November 16-17, 1990 acoustic performances to benefit the Christic Institute, held at the Shrine Auditorium in Los Angeles. Sharing a bill with Bonnie Raitt and Jackson Browne, Bruce performed his first solo shows in 16 years, debuting six new songs in the process, including the definitive reading of “Real World.” He also rearranged catalog classics to deliver riveting versions of “Darkness on the Edge of Town” on 12-string acoustic and “Tougher Than the Rest” on piano. These are truly essential recordings.
Most of the new songs debuted at the Shrine were later released on the companion albums Human Touch and Lucky Town in 1992. Springsteen assembled a new band for that tour, four shows from which are included in Red Bank: Meadowlands Arena, July 25, 1992; Boston Garden, December 13; Berlin’s Waldbühne, May 13, 1993; and the nearly four-hour, penultimate tour performance back at Meadowlands Arena on June 24 with guest appearances by Little Steven, Joe Ely, Southside Johnny, Max Weinberg, Clarence Clemons, Soozie Tyrell and the Miami Horns.
Five years after the Christic Shows, Springsteen mounted his first solo outing in support of The Ghost of Tom Joad, represented here by five concerts spanning the tour’s earliest days (a December 9 set at the Tower Theater, Upper Darby, PA, where he last performed in 1975) through the 1997 European victory lap (Palais des Congrès Acropolis, Nice, France on May 18). Also featured are special homecoming gigs at Bruce’s primary school, St. Rose of Lima in Freehold, NJ, November 8, 1996, and the Paramount Theatre in Asbury Park sixteen days later on November 24.
Last but not least, the 28-show European leg of 2016’s River tour rounds out the Red Bank drop. These performances include return visits to two of Springsteen’s favorite continental venues: Ullevi Stadium in Gothenburg, Sweden, June 25 and 27, along with San Siro Stadium in Milan, Italy, July 3 and 5.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
Learn more about the previous exclusive Bruce Springsteen audio drops
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
In high school, I got the chance to serve as a page in the Washington State Senate, a gig that allowed me to not only miss a week of school fully excused but get paid $150 for doing so. When I cashed that check, I knew exactly what I would do with the money.
A small record store had opened up across the street from Stewart Junior High, and on my first visit I saw an unusual record locked up in a glass case. It was Bruce Springsteen Piece de Resistance, credited as a September 1978 live recording from Passaic, New Jersey. While it was a three-LP box set, $35 still seemed like a lot of money to me at the time — that is, until my Senate-page windfall.
I didn’t know enough about Springsteen collecting to realize Piece de Resistance was sourced from a radio broadcast, but I did recognize it was a bootleg. My dad was a big record collector, and though his rock interests were limited to Bob Dylan and The Beatles, he did own a couple of boots. I told him about the store and the $35 Springsteen triple, to which he replied, “Bootlegs sound crappy.”
Ignoring his advice, I went out the next day and bought Piece de Resistance. I can still remember my trepidation as I dropped the needle on the LP hoping it didn’t sound too crappy.
From that point forward, finding and listening to Springsteen live recordings became a lifelong passion, with the Darkness tour the sentimental sweet spot of my quest. I’ve surely listened to the five 1978 radio broadcasts (thankfully all now available in the Live Archive series) several hundred times; the best soundboards and audience tapes nearly as often. Mediocre recordings, sure, plenty of those as well to catch rare songs. But I never listened to Atlanta, October 1, 1978, the provisional final show of the Darkness tour.
Springsteen’s legendary 1978 trek opened in Buffalo on May 23 and ran for 86 shows through what was to be the final stop, back-to-back concerts at the Fox Theatre in Atlanta. Though Springsteen would return to the road in exactly one month, at the time, night two at the Fox was meant to be the tour finale. Soon thereafter it was decided Bruce should make “one final push,” as Jon Landau’s letter to Columbia Records put it, “concentrating on those markets where we have created very real excitement, and where, with one more concert coupled with imaginative promotion, we can finish the job.”
Back to Atlanta. The first night on September 30 is the fourth of the aforementioned radio broadcasts, and as many long speculated, the Record Plant Mobile Truck remained on site to preserve the second show on 24-track, 2-inch analog tape.
Bruce Springsteen and the E Street Band took the Fox stage that Sunday night believing it to be their last gig and gave a performance fitting of the occasion. The 10/1/78 set is like a supercut of special inclusions familiar from the Roxy, the Passaic stand, and early tour sets combined with ATL specials to yield a tremendous, peak ‘78 recording new to (almost) all of us.
“This is the last night of our tour, tonight,” Bruce says at the top, “our 86th show. So one more time for the last time.” What could be a more fitting opener than a reverent cover of the Rolling Stones’ “The Last Time,” with Stevie Van Zandt as Keith Richards on background vocals to Bruce’s Mick Jagger lead. After its premiere in Atlanta, Bruce reprised “The Last Time” for what ultimately proved to be the true final show of the Darkness tour, Richfield, OH, January 1, 1979.
It’s a joyous start to a stonking first set as Bruce sings in his special-show, heightened-vocal range, and the E Streeters score perfect 10s from the judges. A crackling “Badlands”and lusty “Spirit in the Night” serve as the preamble before Springsteen says, “Tonight our story begins in the Darkness on the Edge of Town.” It’s a tremendous take, with every bar from “Tonight I’ll be on that hill” to the end exemplary of Bruce and the band’s commitment.
The vocal showcase continues with “Heartbreak Hotel” and Bruce in full Elvis mode. In this slower arrangement (compared to The Roxy), one can feel emotional resonance when he sings to “all the broken hearts in the crowd,” as he says in his introduction, from “way down at the end of lonely street.” That lyric never jumped out to me before, but it is clearly a place Springsteen knows all too well and a perspective from which some of his greatest work originated.
“Factory,” a lively “Promised Land” (with some fresh details in the bridge and a great closing vocal), and a guttural, 11-minute-plus “Prove It All Night” extend the winning streak before the return of “It’s My Life.”
The Animals’ classic was a staple of 1976-77 setlists, presented as an epic showpiece tied to stories about Bruce’s relationship with his father. Performed on those tours, the song was a defiant statement of independence to come. In its short, seven-show reprise on the Darkness tour, the tone shifts to reflect a protagonist no longer aspiring to but living his pledge. The Atlanta performance is the final one (to date), perhaps because Bruce outgrew it. Fun fact: “It’s My Life” premiered at C.W. Post College on December 12, 1975, meaning the first and last performances of this classic cover are now included in the Live Archive series.
A distinct Roy Bittan piano introduction comes ahead of “Thunder Road,” the musical bed for Bruce to recall meeting a kid backstage the night before who told him he had formed his own band. “It meant a lot to me,” Bruce says earnestly. “It reminded me why I started doing all of this stuff in the first place. See you out on ‘Thunder Road’.” It’s a sweet moment that only adds to the uplifting power of this version.
“This is a song we don’t play much at all,” Bruce proclaims before a warmly received and instantly recognized “Meeting Across the River,” played but five times on the Darkness tour and incredibly, one of only 70 known occasions to date, making it one of the rarest in-concert tracks from the classic canon. It leads, as it should, into an immense “Jungleland.” “The latest rage,” “a real death waltz,” “the poets,” the extended, soaring “hoohhhhhhhs”—he crushes them all.
To open the second set, Bruce reaches back to “For You,” an every-nighter early in the tour not played for the better part of a month before or after this appearance. It’s another captivating cut that peaks with the line, “You laugh and cry in a single sound.” He then lets “Fire” “go a little longer” to lighten the mood before turning serious in a stunning sequence of “Candy’s Room,” “Because the Night,” and “Point Blank.”
“Candy’s” has always been a self-contained masterpiece, so distinct in the catalog and explosive in live performance as it is here. For my money, the 1978 versions of “Because the Night’ are THE versions. The guitar work in the intro and the end, coupled with drama the band infuses into the arrangement behind Bruce’s desperate vocals, was never better. While the guitar amps are cooling, Bittan and Danny Federici take over and set the scene for the noir romance of “Point Blank,” another Atlanta performance that rivals the very best.
It’s time to give the band some, and with that “Kitty’s Back” purrs to life on a night packed with firsts, lasts, and infrequents. This would prove to be the final appearance of “Kitty’s Back” with the E Street Band for nearly a quarter-century. After 13 minutes of back-alley majesty, Bruce says those words we all want to hear: “[Let’s] do some more stuff off of Wild & the Innocent.” He goes on to dedicate “Incident on 57th Street” to his lighting designer Marc Brickman. “He’s like a member of the band. There’s nobody better.” “Incident” would also go unplayed for the rest of the tour and, save for its officially released one-off performance at Nassau Coliseum in 1980, wouldn’t appear again on E Street until 1999.
It speaks volumes that Atlanta 2 features “Meeting Across the River” into “Jungleland” AND “Incident on 57th Street” into “Rosalita.” That Double-Double only happened three times (the others being Palladium 9/17/78 and Capitol Theatre 9/21/78), all in the last 15 days of the original Darkness tour routing, a stretch that merits consideration as one of the best in Springsteen’s on-stage history.
“Rosalita” brings the night to crescendo, and the encore-opening trio of “Born to Run,” “Tenth Avenue Freeze-out,” and “Detroit Medley” is a flawless blast of joy from seven musicians in top form.
Before “Quarter to Three,” Bruce takes a minute to shout out several members of the crew by name, going out of his way to point out what they do so well and thanking them for their hard work. Bruce’s choice of “Quarter” as the presumptive final track of the tour is fitting. It’s a song he passionately loves; one that he knows will get the audience moving (“If you don’t dance to this, slap yourself in the face, you might be dead”); and a vehicle to allow the band to sing in full voice (they effectively take all the vocals from 2:30-3:20) for this raucous, ten-minute rendition. Crew, audience, and band, all given their due.
Eight years into the Live Archive series and 40 since I bought Piece de Resistance on the State of Washington’s dime, the thrill of hearing a vintage live recording in this quality for the first time hasn’t faded. Atlanta 10/1/78 is the great lost show of the Darkness tour.
The Grateful Dead are bringing their live concert experience back to cinemas worldwide for the 2022 Meet-Up At The Movies.
In addition to today’s archive release of Madison Square Garden 1981,tickets are now on salefor this this year’s Grateful Dead Meet-Up At The Movies! Celebrating the 50th Anniversary of the legendary Europe ’72 tour, this year’s Meet-Up brings to the big screen the previously unreleased Tivoli Concert Hall performance from 4/17/72.
The sixth show on the Grateful Dead’s famous Europe ’72 tour was a return engagement to the Tivoli Concert Hall in Copenhagen, Denmark, on April 17, 1972. This ground-breaking concert broadcast event was the Dead’s first major live concert broadcast, and a first in Danish television history. Now, fully restored and color corrected in High Definition with audio mixed from the 16-track analog master tapes by Jeffrey Norman and mastered by David Glasser, Tivoli 4/17/72 features nearly an hour and a half of the Grateful Dead at a peak of their performing career. The show’s many highlights include an overview of the Dead’s 1972 touring repertoire, including magnificent versions of “China Cat Sunflower>I Know You Rider”, “Big Railroad Blues”, “Truckin’”, and many more of the Dead’s classics, as well as the first live performance of “He’s Gone”, and other new songs including “Ramble on Rose”, “Jack Straw”, and “One More Saturday Night”. Pigpen, on what would prove to be his last tour with the Grateful Dead, is well-represented by three songs, including the broadcast’s opening number, “Hurts Me Too”.
The 2022 Grateful Dead Meet-Up at the Movies is set to hit big screens worldwide on Tues., Nov. 1, with additional screenings across the U.S., Canada, and select territories on Sat., Nov. 5. Tickets can be purchased here.
A fourth wave of Bruce Springsteen concert recordings arrives on nugs.net this September. Belmar is the latest monthly drop adding Springsteen’s Live Archive catalog to the streaming platform.
Belmar is anchored by five shows from the biggest tour of them all, Born in the U.S.A., including three 1984 arena performances in E. Rutherford, NJ and 1985 stadium gigs at Giants Stadium and the Coliseum in Los Angeles. Together they represent some of the most popular performances of Springsteen’s career, and feature not only songs from the chart-topping album, but powerful band performances of Nebraska material as well, including “Atlantic City,” “Highway Patrolman” and “Open All Night.”
The 1984 New Jersey concerts were part of a ten-night stand at Brendan Byrne Arena, the finale to which was the legendary August 20 performance featuring a surprise cameo from Stevie Van Zandt, who had left the E Street Band at that point to pursue his solo career. He returns to share the microphone with Springsteen on an extraordinarily moving cover of Dobie Gray’s “Drift Away.”
Bruce wouldn’t tour again until 1988, but in 1986 he did make a special appearance at Neil Young’s Bridge School Benefit Concert where he was joined by Nils Lofgren and Danny Federici. This unique set is also part of the Belmar drop and highlighted by the first ever acoustic performance of “Born in the U.S.A.”
To those six shows Belmar adds the complete North American leg of the 2016 River tour. These 38 concerts featured full-album performances of Springsteen’s 1980 double album The River, plus plenty more in the rest of the set, including choice River outtakes “Meet Me In The City,” “Be True,” “Loose Ends” and “Roulette” The passing of three music icons during the 2016 tour led to an equal number of stirring tribute performances. Opening night in Pittsburgh on January 16 it was “Rebel Rebel” to honor David Bowie. At the next show in Chicago on January 19, an acoustic take of The Eagles’ “Take It Easy” was performed to remember Glenn Frey. In late April, at the final dates in Brooklyn’s Barclays Center, Bruce and the band gave a triumphant reading of Prince’s “Purple Rain.”
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
Learn more about the previous exclusive Bruce Springsteen audio drops
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
Exclusive to nugs.net, this month’s Third Man Thursday release brings us The White Stripes June 30, 2007 performance from Edmonton. From archivist Ben Blackwell:
Another entry from the ’07 Icky Thump tour, the middle of this set features a mind-bending run of short, quick song teases all in a row (“I Think I Smell A Rat” to “Cannon” to “Wasting My Time” to “Screwdriver”) which lands directly on top of a stellar “The Union Forever.” From there, the combo of “Cannon / John The Revelator” melts effortlessly into “Little Room” which jumpstarts immediately into a frenetic “Hotel Yorba,” all followed up with a take on “I’m Finding It Harder To Be A Gentleman” that turns on a dime when Jack substitutes the lyrics to “Now Mary” while still playing the tune to “Gentlemen.” Which then morphs into a unique “The Denial Twist.” All that to say, for my money this is the most impressive ten song run I ever saw the White Stripes do.
Dead Leaves And The Dirty Ground Icky Thump When I Hear My Name I’m Slowly Turning Into You Effect And Cause I Think I Smell A Rat (tease) Cannon (tease) Wasting My Time (tease) Screwdriver (tease) The Union Forever Cannon / John The Revelator Little Room Hotel Yorba I’m Finding It Harder To Be A Gentleman / Now Mary (medley) The Denial Twist Catch Hell Blues A Martyr For My Love For You In The Cold, Cold Night Black Math Passive Manipulation We’re Going To Be Friends You Don’t Know What Love Is (You Just Do As You’re Told)
Encore Astro Jack The Ripper The Big Three Killed My Baby Little Ghost The Same Boy You’ve Always Known Jolene Ball And Biscuit Seven Nation Army Boll Weevil
Goose’s journey from small-town venues to sold-out arenas may seem like it’s happened overnight but here at nugs.net it’s been a long time coming. The band’s rise to fame during the pandemic has clearly been rooted in modern day ‘taper’ culture, with sell out shows across the country throughout 2022 despite never having played most markets. From YouTube premieres to nightly soundboards on nugs.net, over the last 5 years Goose not only tapped into the jamband community but have made their mark as one of the industry’s most unique talents. Nearly 200 high-definition soundboards from Goose are streaming on-demand in the nugs.net app with shows that date back to 2018! In honor of their sold-out, debut & headlining performance at Red Rocks Amphitheatre, here are highlights from our favorite Goose moments on nugs.net.
LISTEN NOW: February 2nd, 2018 Octave, Covington, KY This show may be the first Goose soundboard on nugs.net but it packs a punch. At only 1 set and 8 songs – Madhuven, Wysteria Lane, Creatures, Crosseyed and Painless & So Ready all ring in over 10 minutes long! This venue capped at 200 people so if you got to witness this intimate but rockin’ show – good for you.
LISTEN NOW: December 8th, 2019 Old Town Pub, Steamboat Springs, CO A two set show that features a Widespread Panic cover AND a Michelle Branch cover?! This setlist actually features tons of phenomenally executed covers making it an easily shareable soundboard, but also comes along with a great story of how Peter was rescued from a snow bank and consequently dedicated “Everywhere” by Michelle Branch to his rescue squad.
LISTEN NOW: June 19, 2020 Goose Community Rec Center – Bingo Tour Goose may be one of the few bands that absolutely thrived during 2020. The band executed some epic livestreams & drive-ins that year but what brought them national news coverage was their conceptually unique ‘Bingo Tour’ in Summer 2020. Livestreaming from an undisclosed indoor location, the band had commentators, hosts and interactive digital bingo cards for viewers. Prompts such as “No Drums” or “20+ minute Jam” were pulled and magic was made. This show also marks the debut of Jeff Arevolo as Goose’s official percussionist & 2nd drummer.
LISTEN NOW: July 9th, 2021 Sculpture Park, Denver, CO The July 2021 Sculpture Park shows sold out quickly & marked the largest audience the band had played to at this point in their career – 5000 fans! Antics included a costume contest & getting their manager to play drums on stage.
LISTEN NOW: June 25, 2022 Radio City Music Hall, New York, NY As if a sold out run at Radio City Music Hall wasn’t epic enough, jam-icon Trey Anastasio and indie-icon Father John Misty performed as special guests on the 6/25/22 show. Little did we know that this would soon lead to an ENTIRE TOUR of Trey Anastasio Band x Goose in Fall 2022!
The fact that the word “penultimate” exists exclusively as an adjective for next-to-last situations feels almost egregious. I mean, did we really need an eleven letter word to describe this scenario when a three-word combination totaling ten letters does the job just perfectly?
Because let’s face it…second-to-last things are kinda just whatever. All the penumbra and history and tall tales sprout effortlessly from every last whisper about the LAST of something, the finality, the never-again crushing darkness of an abyss of nothingness for the rest of eternity.
So for me to roll in and tell you just how good the White Stripes were in their penultimate live show…I understand the urge to call bullshit. But honestly, truthfully, with all personal bias removed from shading of opinion here…this show is phenomenal.
Visits to an Original House of Pancakes, a record store and some antique shops all replay as relatively ordinary for daytime activities. If anything, my memory of the day sticks out as being oppressively hot. With afternoon highs in the 90s, temps at Sloss Furnaces – the supposedly haunted turn-of-the-century pig iron producing blast furnace turned concert venue – would hover into the 80s well into the Stripes performance that night. Factor in the crush of 2400 bodies crammed into the rudimentary shed-like structure with unforgiving open air walls and my recall of the event is overwhelmingly punctuated by the feel, smell and general annoyance of sweat.
Add in the decrepit, rusted, tetanus-y surroundings of the rest of the campus and the knowledge that the number of workers who died there was rumored to be in the hundreds, their falling or being pushed into the red hot fires of the furnaces only to be instantly incinerated and the unshakable pall that casts on a spot even some five decades after the last flames there were extinguished…needless to say it didn’t feel like an ordinary show by any means.
Opener Dan Sartain would play in front of the biggest hometown crowd of his career and the highlight for me (playing drums for him on this leg) was his inquiry to the crowd “So…how many genuine Alabama rednecks we got here tonight?” After a strong response from the crowd, Dan replied “Well, you made my life a living hell for 26 years. Thank you.”
Just…perfect in every way.
The show kicks off with “Dead Leaves And The Dirty Ground” and finds Jack taking liberties (for the better) in a song where he usually did not. The particularly gnarly first note of feedback curves into some choice guitar syncopations. As the most-frequent set opener across the band’s career, it feels odd that this would be the last time the Stripes ever started a show with “Dead Leaves” as their final gig would begin with a cover “Stop Breaking Down.”
“Icky Thump” rolls into the fray wildly. To hear the assembled crowd, without prompting, perfectly nail the patter of twelve “la’s” sung in rapid succession at the end of the second verse, all mere weeks after the song’s release…it is a great reminder as to how WIDE this record reached so quickly upon deployment.
Leading into “When I Hear My Name” Jack, particularly chatty this evening, says “Meg and I knew we was Alabama bound!” and despite any hammy undertones, it ultimately comes off as sincere and heartfelt. Leading out from there, “Hotel Yorba” hits as particularly vivacious, Meg’s accompanying vocals both vivid and spot-on.
Jack’s unusual beginning to “The Denial Twist” and the improvised divergent lyrics in the second verse, which seem to say “It’s the way you rock and roll!” leave the Stripes’ final performance of this song as striking.
While the extended, elegiac intro to “Death Letter” stands strongly as a haunting slice of slide guitar, Jack’s improvised lyrics on the third verse delight. Similar to his moves earlier in “Dead Leaves”, taking a specific part of a song that, to my memory, was seldom if ever switched up, and reworking it on the spot, it all feels significant. Especially in light of the fact that the song would essentially run out of its evolutionary runway in another 24 hours. So for him to sing…
It looked like ten thousand
Women around my front porch
Didn’t know if I’d listen to ‘em
Or keep on lookin’ north
I’m just reminded of the fact that no song should ever be considered complete or finished or beyond reinterpretation.
Acolytes of St. Francis of Assisi may be surprised to catch Jack’s in-the-moment name drop of Brother Sun, Sister Moon in the midst of an extended rant toward the end of “Do.” Though it may bear repeating that “Little Bird” and its “I wanna preach to birds” lyric is explicitly inspired by the 13th century saint, it should require no leap of faith to imagine the 1972 Franco Zeffirreli film depicting the life and times of Francis being viewed by Jack as a prepubescent altar boy. Eschewing his wealthy upbringing for a life of piety and monasticism, Francis would become patron saint of Italy, the first documented stigmatic and the creator of the first live nativity scene. If there’s a Catholic Hall of Fame, St. Francis of Assisi is definitely a first-ballot shoe-in.
Nuggets like Jack’s borderline goofy drunk introduction of Meg for “In The Cold, Cold Night” with “Miss Meg White takes center stage!” belies a truly stellar performance while brief, blink-and-you-missed-it riff inversions on both “Astro” and “Little Cream Soda” are delicious little surprises to revel in. And I’ll be damned if the organ-driven take on “I Want To Be The Boy To Warm Your Mother’s Heart” is a welcome reminder that every last live version of this song is worth listening to. It never fails disappoints, it always satisfies.
But the juiciest plum in this set is the unexpected, abrupt abandonment of “Seven Nation Army” a mere ninety seconds into the song. When Jack says “I don’t know if we should play this song in America anymore…I guess it doesn’t translate well…lost something in the translation” he says so without knowing it’d be the last time that he and Meg ever played the song together.
I remember this happening that night, but at the time I never mentioned it or thought to bring it up.
But 15 years later I had to.
So in an email with the subject line “dumb white stripes question” I reached out to Jack for clarity on the situation. His response…
oh i think i was just joking because it had become such a soccer chant at the time and that europeans loved it “more” than americans for a minute there
and they weren’t singing any english lyrics just saying “po po po po” in Italy, so i was joking that americans didn’t understand the “foreign language” of “po po po po po po po”
That reads nicely.
But I cannot help being reminded that in 2007 George W. Bush was still in office and folks were still wildly pissed about his mere existence AND the ongoing overseas US military boondoggles. That year would see a total of 904 American armed forces casualties in Iraq alone, the single highest yearly total in the entirety of said occupation.
So in Alabama, I dunno…a bunch of self-identifying, sweat-soaked rednecks chanting along…it had just the faintest twinge of jingoistic misappropriation originating from the crowd…that basso ostinato chopping along with the sinister Dorian mode overtone. It sounds ominous. “Army” is in the title. I mean, it’s not a stretch.
At the time I remember just having half the half-second thought along these confused political lines and then literally have not thought about it since. The only contemporaneous review I can find of the show, written by Andy Smith, attributes the scuttled “Seven Nation Army” as an effort to prevent “the righteous and violent rigor of the lyrics (to) be misinterpreted as condoning an unrighteous war.”
So even if we do take Jack at his word here (which I think we should), what he says his intention was, it’s worth noting that the perceived notion in the air that night, at least to some, was of an entirely different tone. These are the shortcomings of interpretation. They will never rectify themselves.
So for Jack to switch the opening “Ball and Biscuit” lyrics to be…
Yes I am the Third Man, woman
But I am also the seventh son
…to me it reads as almost stentorian “LET ME SPELL IT OUT FOR YOU”-level of painting a picture just perfectly clear in light of the supposed confusion or misinterpretation of anything earlier in the set. With gusto.
Yet the impromptu lyrics on “300 MPH Torrential Outpour Blues” are deadly…
There’s all kinds of emotions that a phone call ain’t gonna fix
You took me to the brink woman, took me everywhere I didn’t want to go but I went anyway I never want you to question where I was headed, yes that’s where my head is nowadays
The complexity and grasp of human condition displayed in an off-the-top-of-the-head exclamation, deftly cramming all those syllables into precise meter and landing on the rhyming couplet, all while giving off the impression that the severity and pathos contained therein surely must’ve been labored over intensely for hours, days, weeks even…well, isn’t that just the way to knock us all over?
Ending with “Boll Weevil” just a short trip up I-65 from the actual boll weevil monument in Enterprise, Alabama, and some on-mic praise of Sartain is a perfect way to put that specific, local, “we know exactly where we are” stamp on the entire evening. When Jack implores the crowd to not go looking for any ghosts on the property after the show, you have half a mind to respect those wishes.
We in the touring party would not respect those wishes. After the show, a bunch of us (including Meg, but not Jack) climbed the stairs, single-file, to a precarious perch overlooking the vast, murky stretches of the complex. From above the entirely insufficient artificial light dappled the tiniest spots and failed to make a dent in the existentially overpowering void.
Even more dread-inducing was the spectre of a pitch-black decommissioned railroad tunnel. From entry to exit, the path we were led to couldn’t have been more than 200 yards at most. But I do not exaggerate when I say there was a complete absence of any outside illumination in this stretch. Pure, unadulterated emptiness. Cannot see your own hand in front of your face insanity. The shit that so many horror film plots are predicated on and has kept the night light business booming since the passing of the torch from candle to light bulb.
We got our hands on a single, meager flashlight, yet between the 8 of us (or so) that were on the endeavor…it felt wildy inadequate to the point of palpable, impending fear.
But there’s a funny little thing that happened within this little group of friends upon venturing into the ghastly, haunted space. We were all still buzzy from the after effects of such a stunning live concert in such unconventional environs. Simply put…we laughed our fucking asses off. Hysterically. The entire time. What took us maybe five minutes to traverse passed in seemingly five seconds. No one seemed like they could even be bothered with being scared. In the face of the uncertain, of the overwhelming chasm…one light and each other was all we needed to lead the way. To illuminate. To get us to the desired destination.
In the end, we’re all just chasing ghosts, looking for something to get us through.
Setlist Dead Leaves and the Dirty Ground I Think I Smell a Rat Icky Thump When I Hear My Name Hotel Yorba The Denial Twist Death Letter Do I’m Slowly Turning Into You In The Cold, Cold Night I Want To Be The Boy To Warm Your Mother’s Heart Seven Nation Army Astro Jack the Ripper Encore Gap
Encore Little Cream Soda A Martyr For My Love For You One More Cup of Coffee (Valley Below) 300 M.P.H. Torrential Outpour Blues We’re Going To Be Friends I Just Don’t Know What to Do With Myself Ball and Biscuit / Cool Drink of Water Blues Boll Weevil
For most bands, the third show of a major tour is a time when they’re still finding their footing on stage, especially when its their first extended run of concerts in three years. Throw in a venue as formidable as Red Rocks Amphitheatre outside Denver, and you have the makings of an up-and-down night of live performance. But on July 13, these challenges were quickly overcome by The Black Keys during a 21-song set that hit all the high points of the Akron, Ohio-reared rock duo’s two-decade career.
The group’s 2022 tour ostensibly comes in support of its new album, “Dropout Boogie,” but on this night, only two songs were played from it. Instead, vocalist/guitarist Dan Auerbach and drummer Patrick Carney gave a major tip of the hat to their Mississippi hill country blues influences by covering songs by R.L. Burnside, Junior Kimbrough, John Lee Hooker, John Fahey and Richard Berry, many of which were included on their surprise 2021 release “Delta Kream.”
Those tunes were made all the more thrilling by the presence of guest guitarist Kenny Brown, who played with Burnside for years and is an acknowledged master of the slide guitar. “Definitely without a doubt there would be no Black Keys without this man here on guitar,” Auerbach said of Brown before the musicians launched into Hooker’s “Crawlin’ Kingsnake.” Indeed, an 18-year-old Auerbach once drove from Ohio to Mississippi to see his blues idols in person, and what he learned from them remains readily apparent in both his playing and singing to this day.
At Red Rocks, it could be heard during Keys tracks like the new album’s “It Ain’t Over,” which featured an excellent solo, and “Wild Child,” which delighted with its thick, screaming riffs. Show opener “I Got Mine” and the stomping “Your Touch” were also nice nods to the Keys’ early days emerging from an Akron basement and into a professional studio for the first time. They were also the oldest original songs on the set list, which omitted any non-covers from the Keys’ first three albums.
That left classics such as “Tighten Up,” “Howlin’ for You,” “Gold on the Ceiling” and “Lonely Boy” to carry the lion’s share of the show, which they did with aplomb thanks to backing by the Keys’ trusty touring band of keyboardist Ray Jacildo and guitarists/bassists Andy and Zach Gabbard. Encore opener “Little Black Submarine” offered a momentary change of pace from the down-and-dirty rock’n’roll, with Auerbach starting the song alone on acoustic guitar before the band kicked back in. The mournful “Ten Cent Pistol” also demonstrated the band’s well-honed dynamics, with Auerbach emoting under a lone spotlight prior to the tune’s final chorus.
Although the Keys traditionally play a similar set list from night to night, the group had something very special in its back pocket after “Little Black Submarine” when it paid tribute to close friend and collaborator Richard Swift, who died in 2018. With surprise guest Nathaniel Rateliff handling most of the vocals, the Keys covered Swift’s “Broken Finger Blues” for the first time ever (longtime Denver resident Rateliff also worked closely with Swift on his first two albums with The Night Sweats). The performance upped the emotional quotient of a show that had already rocked quite hard, proving that The Black Keys can hit you in the head just as well as the heart.
More classic Bruce Springsteen concerts come to nugs.net this August with the arrival of Long Branch, the third of five monthly drops bringing Bruce’s Live Archive catalog to the streaming platform.
Long Branch adds 33 concerts circa 1980 to 2017, starting with six extraordinary nights on the 1980-81 River tour. These include Bruce and the E Street Band’s famed three-show stand at Nassau Coliseum in Uniondale, NY, culminating with a 38-song set on New Year’s Eve 12/31/80. From Summer ‘81, there are striking performances at Wembley Arena in London on June 5 and Brendan Byrne Arena in E. Rutherford, NJ on July 9.
The Long Branch drop also showcases five gigs from 2009’s Working On A Dream tour, including three special sets that featured full-album performances of The Wild, The Innocent & The E Street Shuffle (Madison Square Garden 11/7/09), The River (MSG 11/8/09) and Greetings From Asbury Park, NJ (Buffalo 11/22/09). The 2012-13 Wrecking Ball tour is represented by eight concerts, including tour kickoff at the legendary Apollo Theater in Harlem, March 9, 2012; a birthday special at MetLife stadium September 22, 2012 (which didn’t end until the wee hours of September 23, Bruce’s actual birthday); and the Springsteen’s longest concert ever at Olympiastadion in Helsinki, Finland on July 31, 2012, which lasted over four hours. Long Branch wraps with Australia/New Zealand 2017, the E Street Band’s last 14 shows to date ahead of their return to arenas and stadiums in 2023.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
Learn more about the previous exclusive Bruce Springsteen audio drops
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
When we think about the future of music, it’s hard to imagine a world without Spotify. It is the most popular alternative to purchasing physical albums and using other platforms that could only offer so much access and quality.
The problem with Spotify is that it doesn’t actually allow you to connect with the artist. This can be a bit disappointing if you want to feel like they are singing just to you while also offering an intimate performance format. Live music streaming offers a remedy for the social disconnect many people suffer from when enjoying their favorite playlists on Spotify or other platforms.
Live music streaming allows you to listen in on some of the most talented musicians in the world as they play their hearts out in front of an audience. You can hear them improvise, experiment with different sounds and styles, and even talk about their creative process as they go along!
Live Music Streaming as a Remedy for Social Disconnect
Live music streaming is a great way to connect with other people, especially if you don’t live near them. Not only do you get to hear the music you love, but live music streaming can help you build relationships with people who share your community values and musical taste.
No longer will being an introvert prevent you from attending a show; with live music streaming, you can still experience all the best parts of those events. Watching acts like The Rolling Stones perform in their heyday from the comfort of your home is a great way to experience a concert while being connected.
Same format as a live show
Live music streaming is a lot like a live show. It brings you closer to your favorite artists and allows them to connect with their fans, no matter how far away from each other they may be. With one platform, you have access to numerous artists who stream their shows on the same day as their performance. You can even see what songs are coming up next in their setlist so that you don’t miss anything important!
It brings you closer to your favorite artists
Live music streaming is the ultimate Spotify alternative because it brings you closer to your favorite artists. With live music streaming, you can interact with artists, ask questions, see them perform in real-time and in a more intimate setting.
Nothing beats the atmosphere of a live music performance. It’s something that you can’t get anywhere else, and it’s often what makes the difference between an average show and a great one. When we talk about the atmosphere of a concert, there are several things at play:
The sensation of being part of the audience
A sense of community
Excitement about being part of something special
A feeling of belonging to something bigger than yourself
Live music is more accessible than ever before. Since most virtual concerts are streamed online and don’t require a ticket purchase, anyone with an internet connection can tune in—no matter where they live or how much money they earn.
Enjoy improvisational styles the way they were meant to be
Live music streaming services are the best way to experience improvisational styles. One art form that many musicians have been practicing is improvisational. You’ll find it in many genres, including jam, jazz, and classical music. Live music streaming is the best Spotify alternative for anyone who loves improvisational styles and wants to hear improvisational music the way it was meant to be.
The beauty of live music is that it’s always evolving and changing, so you never know what you’ll get when you listen to it. You might hear a cover of your favorite song, or an entirely different take on something familiar. That’s why we think live music is so special. It’s spontaneous and unpredictable, which makes each performance totally new and exciting. And that’s why we think live music streaming is the best Spotify alternative!
Live music streaming is the ultimate Spotify alternative.
Live performances are intimate and interactive, allowing you to enjoy improvisational styles as they were meant to be. Live music streaming is a remedy for social disconnection in our modern world; it will enable you to connect with other people while enjoying an immersive experience that only exists in real life.
So, to sum it up: live music streaming is a fascinating and thrilling new way to experience music. We’re still in the early days of this emerging genre, but we can already see how it’s changing the landscape of music as we know it. The best thing about live streams is that they allow musicians to connect with their top fans and build more personal relationships, which can benefit everyone involved. So, if you’re looking for something new and exciting in your life (and you love music), then why not give live-streaming a try? You won’t regret it! Check out nugs.net for a complete list of live concert streams coming to a screen near you.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
by Erik Flannigan, Bruce Springsteen Archivist
Live Springsteen streaming on nugs.net expands with Asbury Park, the second of five monthly drops bringing Bruce’s Live Archive catalog to the platform.
Asbury Park offers an additional 33 shows circa 1978 to 2014, including nine from the legendary Darkness On the Edge of Town tour in 1978. These include new multitrack mixes of the tour’s five beloved radio broadcasts from which spawned several of the most famous Springsteen bootleg of all time: July 7 at The Roxy in West Hollywood; August 9 at The Agora in Cleveland; September 19 at The Capitol Theatre in Passaic; September 30 at The Fox Theatre in Atlanta; and December 15 at Bill Graham’s Winterland in San Francisco.
The Asbury Park drop also features Springsteen’s emotional appearance with the Seeger Sessions Band at the New Orleans Jazz and Heritage Festival on April 30, 2006 in the aftermath of Hurricane Katrina, plus their inspired set at London’s Wembley Arena on November 11 of the same year. All five shows released to date from the Magic tour are here, notably the late Danny Federici’s last proper show (Boston, November 19, 2007) and appearance (Indianapolis, March 20, 2008) with the E Street Band, plus the rarities-laden penultimate performance from St. Louis, August 23, 2008. Asbury Park wraps with 16 shows from the US leg of 2014’s High Hopes tour, a stretch of concerts that saw fans making and the band delivering on dozens of inspired cover- and rare-song requests.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
Subscribers can stream over 100 of the officially released shows from The Grateful Dead Vault, organized for the first time with Deadheads in mind — browse by show date instead of album title or release date. Each show is streaming in standard and CD-Quality lossless formats, and hi-res MQA where available. We’re thrilled to partner with Rhino Entertainment, the keeper of Warner Music Group’s legacy catalog, to stream many of the previously released iconic concert recordings including Fillmore East ’69, the entirety of Europe ’72, The Field Trip ’72, Cornell ’77, Winterland ‘77, Egypt ’78, Nassau ‘81, Alpine ‘82, MSG ‘90, and a whole lot more.
nugs.net will be updating our Grateful Dead catalog with the entire studio album collection and other live releases in the coming months — follow Grateful Dead in the app to see new additions first. Additionally, we are adding some of the Crown Jewels of classic rock including album catalogs from Led Zeppelin, Neil Young, The Doors, and Yes.
Pearl Jam fans have spent the past 30+ years expecting the unexpected from the Seattle group, but there’s one thing that’s nearly never been in doubt: which members of the band would take the stage that night.
Indeed, Pearl Jam has only played a single show without one of its core five members — September 23, 2002 at the House of Blues in Chicago, when guitarist Stone Gossard was absent due to a prior commitment with Conservation International. It’s a remarkable streak that came to an end on May 12 in Oakland, CA, when drummer Matt Cameron tested positive for COVID-19 and was forced to miss the gig.
Enter touring member Josh Klinghoffer, whose Pearl Jam fandom runs so deep that he owns the kit former drummer Jack Irons used in the band in the mid-1990s, and Richard Stuverud, a longtime collaborator of Pearl Jam’s Jeff Ament who was once in consideration to fill the PJ drum seat. On 24 hours’ notice, they divided and conquered a set list and were ready for a Pearl Jam first: a show without Matt Cameron.
“Matt Cameron is a true artist and he’s a force of nature. However, even his superhero status could not prevent him from testing positive,” Eddie Vedder joked two songs into the set, which opened strong with a cover of Neil Young’s “Rockin’ in the Free World.” From there, we get to hear Klinghoffer and Stuverud put their own unique stamp on the Pearl Jam catalog, with some fascinating results.
Stuverud played “Even Flow” much more slowly than Cameron, its tempo in line with the 1992-era live versions with then-new drummer Dave Abbruzzese. On the other hand, “Jeremy” is almost too slow, sounding like a different song entirely. Klinghoffer gives “Why Go” a loose feel that sounds like really old Pearl Jam — a deviation from Cameron’s ultra-precise, ultra-powerful attack. With Klinghoffer on drums, “Corduroy” has steady propulsion with just the right bit of swing.
Things only got more interesting the next night at the same venue, with Klinghoffer pulling off “Once” very nicely and infusing the punky rarity “Brain of J” with the reckless abandon so crucial to its studio version from 1998’s “Yield.” Stuverud was excellent on drums on “W.M.A.,” which was played for the first time in six years as a full song and not just as a tag at the end of another. “Dissident” sounded great, too, in its new lower key, despite a couple flubbed transitions, while Klinghoffer deftly navigated the measured tension and release of the classic “Immortality” and didn’t hurry “Rearviewmirror.”
In what surely must have been a dream come true, Mill Valley high school student Kai Neukermans played drums on “Mind Your Manners,” after having been brought to Vedder’s attention by his similarly aged daughter Olivia. The song’s furious pace was no trouble at all for the young musician, who plays in a band called The Alive.
When you’re down a drummer, why not dust off a rarity that doesn’t have drums on it? Enter “Bee Girl,” only the ninth performance of the non-album cut since 2014.
These first two Oakland shows already would have gone down in Pearl Jam lore for their lack of Cameron and for the band’s innovative solution to the problem, but the May 16 performance in Fresno, CA, offered an even bigger surprise. For just the second time since he left the band in 1991, original drummer Dave Krusen joined Pearl Jam on stage — the only other being when he was inducted into the Rock and Roll Hall of Fame with the group in 2017 and played a solitary song with them.
“That first record seems to be a record that affected so many people,” Vedder says of Ten. “It’s such a nice thing. Our friend that was playing drums at that time, the amount of shows he got to play with us was fairly limited. This week, we’ll get to make up for that.”
As easy as it could have been for Krusen to steal the show in Fresno, Klinghoffer isn’t to be upstaged on a lead vocal duet with Vedder on Prince’s “Purple Rain,” performed here for the first time ever by Pearl Jam (Vedder and Klinghoffer previously tried the song with The Earthlings a few months back). Momentarily taking the spotlight off his drumstick-wielding mates, guitarist Mike McCready goes to town on a solo cover of Eddie Van Halen’s “Eruption,” while guitarist Stone Gossard takes a rare mic turn on the outtake “Don’t Gimme No Lip,” only its 14th time ever played live.
In addition, Stuverud’s presence is felt on “Quick Escape,” one of the heaviest new songs from Pearl Jam’s latest release, 2020’s Gigaton, and he has the bash-and-pop flavor of Keith Moon on the penultimate song of the evening, The Who’s “Baba O’Riley.”
“Thanks for this tonight. Thank you. I won’t forget this one,” Vedder said after the show-closing “Yellow Ledbetter.”
Sadly, Pearl Jam had another bout of bad luck post-Fresno, when Ament himself tested positive for COVID. The final two shows were canceled, leaving the three without Cameron as true outliers in the Pearl Jam live catalog. As Vedder said at Oakland night one, drummers are like engines, and for these unusual shows, it was a treat to experience how these different engines powered Pearl Jam’s music.
Jonathan Cohen is a veteran journalist and talent booker known for his work at Billboard, “The Tonight Show Starring Jimmy Fallon,” Variety and Spin. He is also the author of the 2011 New York Times-bestselling authorized biography of Pearl Jam, “Pearl Jam 20.”
Peach Fest celebrates its tenth anniversary this year after a two-year hiatus, and we’re thrilled to livestream select sets from the Allman Brothers Band-founded festival for free, exclusively for our subscribers!
Check out the full schedule of festival livestreams June 30–July 3.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
by Erik Flannigan, Bruce Springsteen Archivist
Live Springsteen streaming on nugs.net kicks off with Freehold, the first of five monthly drops. Freehold presents 35 shows circa 1975 to 2014, starting at the legendary Roxy in West Hollywood on the Born To Run tour. Bruce’s October 18, 1975 appearance at the club with the E Street Band featured a rare cover of Carole King’s “Goin’ Back” in the encore.
From later that same year we get the legendary December 12 gig at CW Post College on Long Island, at which Springsteen’s beloved version of “Santa Claus Is Coming to Town” was recorded. From 1977, a rare pair of shows in Albany and Rochester that extend the BTR tour, but showcase newly written songs like “Something in the Night,” “Rendezvous” and “The Promise.” Freehold includes all six shows released to date from the 1999-2000 Reunion tour with the E Street Band, from September 25, 1999 in Philadelphia (and the first “Incident on 57th Street” performed in 19 years) to July 1, 2000, the final show at New York’s Madison Square Garden.
The Rising tour is represented by the June 16, 2003 show in Helsinki, while 2005’s Devils & Dust tour contributes five concerts, each with a rarities-packed setlist. The start of the 2014 High Hopes tour completes the Freehold drop, offering 14 shows performed in South Africa, Australia and New Zealand, a run that included unexpected cover songs like AC/DC’s “Highway to Hell,” The Bee Gees’ “Stayin’ Alive” and Lorde’s “Royals.”
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
Erik Flannigan is a music archivist, producer, author and manager. He has been writing about Bruce Springsteen’s live performances and recordings for more than 30 years.
For audiophiles, we also offer a HiFi tier that allows you to enjoy 24-bit MQA streaming, as well as select Springsteen recordings in immersive 360 Reality Audio. Start your free trial and delve in.
Among the biggest bands of all time, Metallica are no strangers to South American headbangers. The global godfathers of thrash metal have a storied history touring the continent, starting with 1989’s And Justice For All-era jaunt, then returning half-a-dozen more times over their celebrated forty-year career.
After the pandemic forced the April 2020 South American tour to be postponed — not once but twice over the course of two years — Metallica barnstormed back in Spring 2022 for shows in Chile, Argentina, and Brazil. The band uncorked a total of six scorching performances to typically teeming crowds, delivering their trademark brand of punishing metal across scalding sets, brimming with Metallica classics.
As 2021 came to a close, guitarist/vocalist James Hetfield, drummer Lars Ulrich, lead guitarist Kirk Hammet, and bassist Robert Trujillo were riding mighty high off a pair of historic 40th Anniversary shows, a monumental throwdown in their hometown of San Francisco. A one-off Las Vegas engagement in February was the group’s only public performance of 2022 before they headed south of the equator at the end of April.
South American fans are among the most rabid, loyal, and die-hard as they come, traveling long distances at great expense to see their favorite heavy metal and hard rock bands pack their many stadiums, race tracks, and large-scale venues. The reverberations of the two tour postponements were felt far and wide within the region.
Each time the band was forced to cancel their plans, hundreds of thousands were holding onto hope that one day circumstances would allow for Metallica to finally honor these long-promised dates. The last time they’d made it to the continent was for Lollapalooza 2017. Some fans expressed concern that, with the state of the world being what it has been, these concerts may ever even happen.
“For those of you who have hung in there with us over the last 18 months since the original shows were supposed to happen, thank you for your tremendous patience!” the band said in a statement when they announced the rescheduled dates to Spring 2022.
After all of the pandemic uncertainty and delays, as Metallica prepared to take over Club Hípico in Santiago, Chile on April 27th, a torrential rainstorm threatened the show in the hours leading up, only further adding to the suspense that had built for the better part of two years. The concert had already been relocated from a local stadium to a horse-racing track.
To kick off the tour, Metallica launched into one of their earliest compositions in “Whiplash,” a breakneck thrasher culled from 1983’s debut LP Kill ‘Em All, setting the tone with a cut that would serve as show opener for each of the six concerts. Other Santiago highlights included the run’s only rendition of The Black Album deep cut “Through the Never.”
The South America working setlist would run the gamut of their canon; it was primarily weighted towards their famed first five records, with a curveball or two from night to night. Fans could expect to rage to thorough renditions of “Master of Puppets,” “One,” “Seek & Destroy,” “Ride the Lightning,” “The Unforgiven,” among others, plus a double encore sendoff of “Nothing Else Matters” and “Enter Sandman,” their two most recognizable tracks around the world.
On April 30th, Metallica moved onto Campo Argentino de Polo Buenos Aires in Argentina, for their lone 2022 appearance in the country. Another equestrian venue but, unlike Hípico, located in an urban city, Campo Argentino allowed for local residents to hear parts of the performance from their homes nearby. This night saw the quartet reaching back to 1984 for a ferocious take on one of their most beloved anthems, the seminal thrash masterpiece “Creeping Death.” Metallica saw fit to dust off “Fuel” from 1997’s Reload and “Holier Than Thou” from The Black Album, too.
Asked in 2017 about playing for Brazilian audiences, Hetfield said, “When other people take your art to their heart and you connect with them, there’s always an extra feeling of belonging, of home, of connection, of family. So Brazil is certainly one of Metallica’s most fanatical countries of them all.”
After a few days to relax and regroup, on May 5 Metallica arrived in Porto Alegre, Brazil, to perform the first of four shows in the longtime South American Metallica stronghold at Estacionamento da Fiergs, a venue near the Atlantic coast, at the northern end of the Patos Lagoon. In addition to beloved standards performed every night of the run, the group busted out three tour debuts: the sledgehammer of “Harvester of Sorrow” from …And Justice For All, the furious “No Remorse” from their first LP Kill ‘Em All, and the chilling “Welcome Home Sanitarium” from 1986’s masterpiece Master of Puppets.
Just a couple nights later, on May 7 the group pulled into Estádio Couto Pereira Curitiba, home to the Coritiba Foot Ball Club. Metallica mowed down song after song with a youthful reckless abandon and broke out the Irish traditional “Whiskey in the Jar,” from their Garage Inc. covers album. What made this concert legendary had more to do with the enormous crowd than anything onstage.
Brazilian fan Joice M. Figueiró was 39 weeks pregnant when she attended the Metallica concert. Of course she didn’t mosh or crowd surf, but Figueiro watched from an accessible area, and reportedly had a fantastic time until she started having contractions shortly after the band took the stage. The baby wanted out, and according to the new mom, he arrived as Metallica concluded their set with their biggest hit, “Enter Sandman.” The family even received a congratulatory phone call from James Hetfield after the band got the news.
As Metallica pulled into Estádio do Morumbi in São Paulo, they knew it would be a special night. In what was likely the finest performance of the short tour, the band reached for “Dirty Window,” a deep cut from 2004’s much-maligned St. Anger. The group also performed “No Leaf Clover,” amid the usual tornado of 80s thrash classics.
For the final night of this long-awaited South American tour, Metallica arrived at Mineirão in Belo Horizonte, finishing strong with a torrid set that delivered the goods: the galloping title track to their most recent album Hardwired to Self Destruct, as well as “Cyanide” from Death Magnetic and the treasured “Fight Fire With Fire” from 1984’s Ride the Lightning.
What this last tour stop is likely most remembered for is a tender moment that James Hetfield shared with the crowd, and his bandmates, just before “Sad But True.” “Papa Het,” as the hardcores affectionately call him, spoke vulnerably about aging and performance insecurities. The emotional scene was heartwarming, ending with a group hug that affirmed the brotherhood these gentlemen continue to enjoy and exemplified the undying bond Metallica maintains with their fans around the world.
B.Getz is a music-culture reporter & podcaster hailing from the Philly area who’s called northern California home for nearly a decade. Senior Correspondent at Live For Live Music, longtime contributor to JamBase, formerly with Everfest/Fest300, & host of The Upful LIFE Podcast. Check out all things B.Getz at www.UpfulLife.com
With Dead & Company’s 2022 summer tour underway, we asked David Gans, one half of the dynamic Deadhead duo behind SiriusXM’s “Tales from the Golden Road,” to create a playlist with his favorite moments from last year’s tour. He and his cohost Gary Lambert also virtually host our Dead & Company livestreams with special guests like Bobby Weir and Grateful Dead archivist David Lemieux.
I listened to every note of the 2021 Dead & Company tour, and because I have a radio show that features the best of this music, I made notes and excerpted highlights from every concert. I wouldn’t say that these are all the great moments, but the list is a pretty good representation of what they did. The band’s musical conversation has operated at a very high level from the start, and I am really looking forward to another season of magical music-making. — David Gans
Pixies’ reunion was initially pegged to an appearance at the 2004 Coachella Valley Music and Arts Festival in Indio, CA, but the quartet understandably needed a little time to warm up before playing in the desert in front of 50,000 people at sunset. Hence, a run of small club dates in out-of-the-way locales was scheduled beforehand, opening April 13, 2004, at the 650-capacity Fine Line in Minneapolis. At that show, the group’s weird, loud, profoundly influential sound crackles through the speakers from the first seconds of “Bone Machine” to the last screeching guitar notes of the Deal-sung “Into the White” that closed the 27-song set, as screaming fans lose their minds.
nugs.net spoke with Lovering about the early run of 2004 reunion dates, including that infamous Coachella set. Pixies are touring extensively this year, beginning June 22 in Rouen, France and wrapping Dec. 17 in Christchurch, New Zealand.
Jonathan Cohen: Take me back in time to early 2004. How long did the band rehearse before the Minneapolis show?
David Lovering: Gosh, if I remember, I don’t think it was very long. I think we might have rehearsed for maybe two days, possibly? The Fine Line in Minneapolis was the first real test. If I recall, it was like riding a bike. It really was. There was nothing new I had to learn. It was all stuff that was nostalgic. This is what I grew up with and learned how to play. It was very easy, I think, for all of us. We just went over the stuff enough and trusted that the Fine Line would get us back in order.
That’s pretty remarkable after not having played together in 12 years!
Yeah! It’s funny now, because for this world tour coming up, we’re going to meet in France. We’ll do one rehearsal at the venue the day before the show, and it’s probably going to last four hours. Then we’ll say, yeah, we know it. We know it [laughs]. And then we’ll just show up the next day and start playing. That’s the way it is now.
Had you yourself played any Pixies songs on your own between the original breakup and the reunion?
Never, never. No. I mean, I pretty much gave up the drums for a period of time. I was resigned to the fact that the Pixies were a love that I had and something so special to me, but one that wasn’t going to happen again. I finally gave up drums and became a magician, believe it or not. It’s only a couple of letters off from ‘musician’ [laughs]. I really didn’t pick up the drums again until I knew we were re-forming, and that’s when I started playing. I bought a Roland electronic kit because I lived in a place where I couldn’t play drums, and an electronic kit was much more conducive for that environment. For two months, I started playing again.
What were those first few shows back like pre-Coachella?
I can say that it was the same feeling from rehearsals to actually doing the first gig. At the Fine Line, we were apprehensive and a little nervous. We hadn’t done it in a long time in front of an audience. But being out there, nothing had changed. The only thing that changed was, it was a different climate for us. In our absence, I know our popularity grew. At that first show, we were just kind of going balls out, if you’ll excuse the word. We all got blisters! We were sweating! But we were enjoying it. It was a small, intimate environment where you can feed off the crowd. We had a blast. That set us up for Coachella, but Coachella was another world in itself. When we went out there, it was a sea of kids who may not have been born when we were initially a band. But they knew the words and they were singing along. It was surreal. I had the chills playing. I’d never experienced that before. It was something else.
I was there at Coachella, and I remember you coming out from behind your drum kit to take photos of the crowd and the other band members.
Yes, I did. That was just something to behold.
The best part is that Radiohead went on right after Pixies. What a one-two punch!
Thom Yorke has said that he didn’t want to follow us [laughs]. He was a fan.
I remember talking to Charles around that time, and he told me the size of the Coachella crowd was almost lost on him because he could only really see out so far from the stage. Did you feel the same?
I did. At large festivals or shows like that, other than the first few rows that you can see, it’s hard to feel that intimacy. With Coachella, with everyone singing and holding up their lighters and phones, it gave the show a sense of unity.
How did the band evolve as a live entity during the time away? Or was Pixies in 2004 the same as it was in 1992?
I think it was the same as ’92. We knew how to play our instruments. It was really just, we came back to do what we did. It’s only in more recent history, from 2004 until now, when we’ve really been honing our craft, I think.
Were there songs you found a renewed love of playing? Or songs that were never or rarely played live in the original era?
I have no problem playing these songs. I love touring. I could play them forever. I don’t get sick of them at all. Nothing stood out in the gap that came to me later, but I know that we started playing “Here Comes Your Man,” which we never played back in the day. That was a pop song that was forbidden. We couldn’t play it. But once 2004 hit, we had the freedom and the right to do it, and we’ve been playing it ever since. I had to learn that song.
I know you had some personal challenges during that first tour as well.
My dad was dying. It was interesting, because in 2004, he did travel to England to see us, and that was a thrill. He had seen the Pixies years before, and for him to see us again on a different level, that was a treat for him. It was kind of heavy and did play a part in the experience. I remember him telling me that he was in the balcony with my mom — this older couple up there with all these young kids in Brixton. A conversation struck up and my mom said, oh yeah, that’s my son up there, and fans went wild. He hadn’t seen fans react like that before.
It’s hard to believe it has been almost 30 years since Pixies originally broke up.
At the seven-year mark of us having gotten back together in 2011, that was a longer period of time of us playing together than when we were initially a band. That was crazy. And to think now it’s 2022? It’s even more crazy.
Jonathan Cohen is a veteran journalist and talent booker known for his work at Billboard, “The Tonight Show Starring Jimmy Fallon,” Variety, and Spin. He is also the author of the 2011 New York Times-bestselling authorized biography of Pearl Jam, Pearl Jam 20.
GarciaLive Volume 18: November 2nd, 1974 Keystone Berkeley presents the complete and previously uncirculated two-set Jerry Garcia and Merl Saunders performance originally recorded to 1/4” analog reels by Betty Cantor Jackson.
Is there a more iconic venue for Garcia/Saunders than the Keystone Berkeley? The Bay Area haunt was the setting for the performances contained on the legendary Live at the Keystone releases and yielded at least a half-dozen other celebrated official live releases. Be it the quaint, unassuming setting or the proximity to home, magic never seemed to be in short supply — and this evening in November was no different.
In addition to the ever-present John Kahn on bass, the rhythm section this evening was bolstered by one of the most in demand session drummers of his day, the great Paul Humphrey whose credits range from Marvin Gaye and Joe Cocker to the Lawrence Welk Show. Future Legion of Mary bandmate Martin Fierro rounds out the ensemble.
The performance itself is nothing short of exceptional, particularly the monstrous 1st set combination of “Valdez in the Country,” The Harder They Come,” and “You Can Leave Your Hat On” which destroy any notion of genre as Garcia, Saunders & co somehow fuse seemingly disparate originals by Donny Hathaway, Jimmy Cliff & Randy Newman into a sound all their own. After a brief set-break, the group returns for a super-charged 2nd set highlighted by extended versions of “Freedom Jazz Dance” and Merl’s own “Wondering Why” before closing the evening with a fiery “Mystery Train.” Always ones to stretch the bounds, you get the sense they would’ve gone all night if not for the venue’s pesky 2am curfew.
Welcome back to every live music lover’s favorite time of year: it’s summer festival season. It’s time to pack up the camping gear, load up the car with friends and family and heed the melodious call of live summer music.
The 2022 summer music festival season marks the triumphant return of many of the music festivals we all missed out on during the worst of the pandemic. There is nothing quite like the sense of community inherent in enjoying great live music as a collective. There are memories to be made, people to meet, and most importantly, great music to enjoy. The music, the sunshine, the food…it all adds up to a fantastic time. If you’re a music fan, there’s no better way to spend your time than at one of these unique summer music festivals in 2022.
For the Jamband Lover: The Peach Music Festival
The Peach Music Festival celebrates its tenth anniversary with a much-anticipated return from its two-year hiatus! This summer music festival is a good choice for the festival attendee who wants to enjoy a stellar line-up of the best improvisational guitar music. The Allman Brothers founded the Peach Music Festival in 2012. It features a heavy-hitting lineup, a camper-friendly atmosphere, and a fantastic community ambiance amongst festival-goers.
When and where: The Festival will be from June 30 through July 3 at the Montage Mountain Ski Resort in Scranton, PA.
Hog Farm Hideaway is making its long-awaited debut at the Black Oak Ranch during the 2022 summer music festival season. Festival-goers will enjoy an intimate setting for the summer festival and a beautiful backdrop of sprawling meadows and majestic oak woodlands. The Black Oak Ranch is home to Hog Farm, one of the oldest communes in the country. They have a long history of involvement in music festivals, most notable among them being Woodstock in 1969. Hog Farm Hideaway is named in their honor and is billed as a musical treat for the entire family. The lineup is a fun mash-up of different styles of jam. The festival will feature an area for children, a healing sanctuary, an activist alley, and visual arts center. Hog Farm Hideaway is an excellent choice for festival-goers who are hoping to enjoy music and community in a family-friendly environment.
When and where: Hog Farm Hideaway will take place from June 10 through June 12 at the Iconic Black Oak Ranch in Laytonville, CA.
If you’re looking to experience something transcendent, then look no further. Electric Forest is nothing short of a magical experience. The festival is nestled in the Sherwood Forest, a gorgeous wonderland of art installations and twinkling lights. This summer music festival is the first of its kind, as its lineup is a fantastical blend of jam bands and electronic dance music that will have anyone on their feet. Electric Forest is a delight to the senses from the moment you step on the festival grounds to the moment you leave.
When and where: Electric Forest will light up the sky from June 23 to the 26 at the Double JJ Resort in Rothbury, MI.
Bourbon and Beyond is a four-day summer music festival that features an eclectic lineup of indie rock, soul, country and southern rock. This festival features an impressively inclusive lineup that highlights some of the most talented emerging artists in the world of soul, blues, country, and some of the biggest names in indie rock. It also showcases an impressive amount of food and beverage vendors offering the best libations that Kentucky has to offer. This festival is a great choice for attendees who are passionate about good food, great music, and excellent whiskey.
When and where: The Bourbon and Beyond festival will take place from September 15 through the 18 and will take place at the Highland Festival Grounds at The Kentucky Expo Center.
If you’re looking to see your favorite artists while surrounded by the majesty of nature, then High Sierra is the festival for you. High Sierra is celebrating 30 years of music nestled in the beauty of the Sierra mountains during this year’s summer festival season. This festival features an eclectic lineup, optional VIP packages, daily costume themes, and a family area. High Sierra is a great place to experience the beauty of the surrounding mountainside while enjoying the beating pulse of great summer music.
When and where: High Sierra will take place from June 30 through July 3 at the Plumas County Fairgrounds in East Quincy, CA.
For the Banjo Strummer: TellurideBluegrass Festival
This legendary bluegrass festival has a reputation for spotlighting only the best emerging artists in the bluegrass and indie-folk space. It has been a part of the summer festival season since 1974 and anticipates over ten thousand yearly visitors. Telluride Bluegrass Festival is a unique experience that celebrates music, comedy, and circus performances. It features an annual battle of the bands and songwriting competition, as well as a family-friendly atmosphere. Telluride Bluegrass Festival is the perfect summer music festival for the attendee that wants to hear great bluegrass in the majesty of the Colorado wilderness.
When and where: Telluride Bluegrass Festival kicks off its 49th festival in Telluride, CO from June 16 through the 19.
If you can’t make it to a festival this summer, nugs.net has you covered. Start a free trial to listen to live soundboard audio, watch full concert videos, and livestream exclusive shows.
Impassioned purveyors of spiritualized dance music, The Nth Power makes a beeline straight for the soul. The torrid trio defies expectation and eschews industry norms, enjoying a profound emotional connection with fans that probes far deeper than surface levels.
“We want to be the biggest band on the planet, you know what I mean?” declares drummer Nikki Glaspie, co-founder of The Nth Power. “Who doesn’t want that for their band? But even more so, we want to make a positive difference in people’s lives.”
Celebrating their 10th anniversary in 2022, The Nth Power is an anomaly in today’s musical landscape: a band whose mission is completely predicated on the healing power of music, and the concept of spreading love through song. Striving to be a genre-bending outfit, the unit thrives in the live setting, searing stages without sacrificing a modicum of integrity nor authenticity.
Infusing an amalgam of rooted elements — funk, soul, R&B, gospel, jazz and folklore — into their mellifluous elixir, The Nth Power’s infectious exploits have been described as “psychedelic church music wrapped up in heavy metal soul.”
A decade into the game, this has proven to be an accurate assessment of sorts. Born as a quartet, swelling to a five-piece and eventually distilling to a tectonic trio, The Nth Power is on a prodigal path of righteousness, spreading joy, numbing pain, and making people dance their chaos away.
“The majority of our songwriting incorporates ideas that are both spiritual and timeless in equal measure,” says Nick Cassarino, guitarist/vocalist/co-founder of the ever-blossoming crew he leads with Glaspie and Nate Edgar (bass).
Riding high on the heels of 2021’s critically acclaimed full-length LP Reverence, The Nth Power is experiencing a resurgence of sorts. Ably assisted by luminaries like Maceo Parker, Dumpstaphunk’s Ivan Neville, Nick Daniels III, and late, great mentor Kofi Burbridge, Reverence was nearly four years in the making, and reflects a leveling up in their writing, a band stepping into their maturity.
“We learned so much from being around Kofi,” laments bassist Edgar, ruminating on the memories of the dearly-departed keyboardist/flutist, who passed away in 2019 after a long illness. “Kofi taught us about ‘oneness’ — in the music, and just with each other as a unit, as a family. He showed us a lot, and we loved hanging out with Kofi. We miss him every day.”
With ten years now in the rearview mirror, there’s quite a bit to look back on along The Nth Power’s fantastic voyage thus far. It’s been a rollercoaster of a ride, not without its diversions and disappointment, trials and tribulations. Yet theirs is ultimately a thunder of triumph, a story told in music, art, community, family, and something bigger than the individuals making sounds onstage or those soaking them up in the audience.
Glaspie, Cassarino, and Edgar can trace their humble roots back to fertile Crescent City soil. The Nth Power famously first coalesced at the Maple Leaf Bar, way uptown in New Orleans, in May 2012 during one of the marathon all nighters that go down at Jazz Fest after dark. The well-worn origin story tells that the founding members were booked to perform in something of an all-star crew behind Jennifer Hartswick, the trumpet player and vocalist best known from Trey Anastasio Band.
420 Fest, Atlanta, Georgia. May 1, 2022 featuring Jennifer Hartswick. Photo by Adam Berta.
An electrifying frontman and guitarist, Cassarino had been working with Hartswick since their days in the Green Mountain State; the jazz-schooled guitarist a contributor to various incarnations of her solo band. Cassarino has always wielded a bit of punk rock energy with his mojo; he’d also rocked with golden-era emcee Big Daddy Kane, as part of live hip-hop ensemble The Lifted Crew.
Glaspie is a veteran of several iconic bands over the past two decades; in the early 2000s she first hit the jam scene with funk-sax hero Sam Kinninger. Soon the powerhouse was drafted to drive the beats for Beyonce’s all-female backing band Suga Mama for five years. In the dizzying tailwind of numerous world tours with the R&B superstar, Glaspie jetted down to the Bayou to power the slammin’ grooves of Dumpstaphunk, Ivan Neville’s greasy New Orleans institution.
Glaspie’s connection with Hartswick also dated back nearly a decade; when the drummer first approached the then-fledgling trumpet star on her home turf in Vermont, she inquired where to find some cannabis. Glaspie scored no smoke but made an important new friend, one who would call her for a gig that would swiftly change her career trajectory and her life.
A multi-hued stylist on the bass guitar, Edgar is a virtuoso steeped in the fertile 90s/early 00s jam scene of the Northeast, most notably logging time with Groovechild and seminal American reggae band John Brown’s Body. Rather serendipitously, Edgar got the call from Glaspie and dropped everything to decamp to New Orleans and shred tunes for the Hartswick late-night performance at the Maple Leaf.
On that fateful first night the three musicians were also joined by Nigel Hall, a talented keyboardist/vocalist and Lettuce/Soulive affiliate who’d recently relocated to New Orleans. In a matter of moments, the group would gel together mightily, and quickly prove adept at pushing grooves deep into the night, as is custom down there at that time of year.
Yet as early as soundcheck before the gig, there was a certain spark in the air, an undeniable electricity between these seasoned players. Almost immediately, the four musicians realized there was something more profound within their midst.
“We sorta knew that there was something there, almost right away. This was a connection that felt different. It felt powerful,” reflects Edgar, remembering the band’s somewhat spontaneous inception. “It felt like… us.”
Drummer Nikki Glaspie. One Eyed Jacks, New Orleans. April 28, 2018. Photo by Marc Millman.
Glaspie too felt the pull of something spectacular, and she left the bold-font bookings of Dumpstaphunk behind to start over at square one with a new vision called The Nth Power. She was willing to forgo sure-shot opportunities and a measure of security in this business to build something brand new, because she believed in it — and it was the band’s to grow from the ground up.
“You only get one life… at least that we know of. And we don’t actually get a lot of time in this life. The time that we spend here…is extremely valuable,” said Glaspie. “Each of us knew, like, right away that we had to do this.”
With that magical onstage alchemy established, The Nth Power was born to the world.
When they first announced embarkation, the band was swiftly branded a “supergroup” side project, something they themselves may have initially considered. However it didn’t take long for the inspired group to refocus their attention wholly on this newly-divine endeavor.
“Earth Wind & Power” tribute set. April 28, 2016. Photo by Marc Millman. L to R: Courtney Smith, Kofi Burbridge, Oteil Burbridge, Farnell Newton, Nick Cassarino, Nikki Glaspie, James Casey, Natalie Cressman, Ian Neville, Weedie Braimah
In its infancy, The Nth Power channeled the grown and sexy vibes, wielding a fiery passion for funky R&B, touching on everything from Frankie Beverly & Maze to Earth Wind & Fire and Steely Dan to disco-era Four Tops. All of the classics were interpreted with an effortless swagger native to this assembly and their captivating sonic brew.
The first handful of original Nth joints set a blueprint for what this band’s early sound would reveal: spirituality, sensuality, and unpredictability. Cassarino immediately stepped up with intricate, intimate songs, soon markedly enhanced by the cosmic contributions of his new bandmates. The squadron stopped at nothing to learn them inside and out, each adding their own specialized sauce to the stew.
Weedie Braimah was the next to join the fold, hopping onboard in 2013. The renowned djembefola and percussionist proved a mighty addition; Braimah propelled the band’s ample musical and geographical wingspan to expand even wider. Vintage R&B jams were electro-charged with undercurrents powered by ancient African rhythms and drum languages. The Nth Power revealed oscillating, layered multi-part vocal harmonies, embedding them within their songs alongside funky jazz chords and uplifting invocations.
Thanks to Braimah, a 100-plus generation ancestral djembe master, The Nth Power began to incorporate polyrhythmic elements to their gospelized gumbo, stunning elitist purists and hooking wide-eared funkateers alike. Some of the band’s ambitious, nascent explorations can be heard on their debut EP Basic Minimum Skills Test, released independently in 2013.
“We’re not building rockets over here, so it’s OK to veer off the usual path. Extending solos and going wherever feels natural in the moment onstage. Each composition has certain sections where we can flex in terms of improvisation. But, for the most part, we try to convey a complete idea and tell a whole story through a song,” Cassarino explains.
When tensions flared within and Hall departed in 2015, The Nth Power added keyboardist Courtney Smith to the fold, plucked from Braimah’s St. Louis-based contingent Kreative Pandemonium. With this change of personnel, their original songs and improvisational styles took a turn for the folkloric, incorporating more traditional and international influences to the recalescent tunes.
Braimah left the group the following year rather amicably; he sought to pursue The Hands of Time, his own international all-star band curated in the folkloric tradition. Keys wiz Smith stayed on a while longer; The Nth Power continued to push the envelope on debut full length LP Abundance, released in 2016. This quartet configuration took ample advantage of Smith’s prominent church influence, as well as his sturdy R&B chops and elastic vocal range.
The Nth Power trucked onward and upward with their patented brand of gospelized funk and throwback soul, while occasionally traversing toward the quiet storm of the 80s. This stylistic cross-section is best heard on vibrant live record Live to Be Free, released in 2017.
Regardless of who is onstage alongside Glaspie, Edgar, and Cassarino — and these days it’s often just the power trio alone — The Nth Power still brings its stirring spirituality to the stage. The band’s aspirational medicine music continues to offer an opportunity for fans to receive something more profound than just a beat to boogie to.
“Throughout our time as a band, the intention has always been to put a focus on the healing power of music,” Edgar concurs. The Nth Power’s impassioned live shows are often so gripping that audience members regularly break out in tears.
“We want to make music for people to dance to. Because not everybody wants to come to a show and start crying,” Cassarino admits. “I love it when people cry, because it means we’ve touched them deeply. But we also want them to have fun, too.”
In addition to the rather unavoidable emotional quotient pulsating through their performances, the energy and messages within reveal an optional pathway for one to connect – or reconnect- with something bigger than ourselves, whatever that may mean to the individual. The Nth Power’s music is reverberating with such connection, yet devoid of any religious-type dogma, preaching, or judgements.
“There’s Spirit swirling all around us, and as a band, we’re in touch with that,” Glaspie says. “We all believe in different things, but we all believe in something that’s more important than the physical realm. And it’s in the music.”
In addition to a catalog of scintillating original music, the group’s smattering of heavenly tributes to the likes of Earth Wind & Fire, Bob Marley & the Wailers, Steely Dan, Nirvana, and Marvin Gaye have raised the bar considerably for concerts of this kind. (The Nth Power’s 2018 Nirvana tribute show is now streaming on nugs.net.) Most often performed in New Orleans during Jazz Fest, or at assorted summer camping festivals around the country, The Nth Power’s trademark tribute sets have leveled up what’s possible in this capacity.
Each concert is performed by a custom-curated ensemble of some of the finest players in the game. The faithful fashion in which they inhabit the legendary artists they’re covering — and the spirit of their songs — enables the band to reimagine iconic songbooks with a verve and panache that belies their relative youth.
A prime example of this peerless tribute prowess can be heard on their live release Rebel Music: A Tribute to the Message of Bob Marley, an invigorating gallop through a smattering of Nesta’s most inspired cuts.
In April 2022 The Nth Power unveiled a different look, taking the hallowed Amphitheater Stage at Spirit of Suwannee Music Park on a joyride through the annals of jam-rock history as part of the unprecedented The Nth Power Ball. In May, the group is bringing back the famed Earth, Wind & Power set with a new lineup for Jazz Fest 2022.
Yet the current day focus of The Nth Power is the core trio of OGs: Glapsie, Cassarino, and Edgar; a rock-solid musical family who’ve persevered through adversity without condition nor reservation. Each player continues to elevate their game with each emotionally-resonant chapter of their story.
Brooklyn Bowl, New York, NY. Dec. 4, 2014. Photo by Marc Millman. L to R: Nigel Hall, Nick Cassarino, Nikki Glaspie, Nate Edgar, Weedie Braimah
A living, breathing organism, The Nth Power has taken numerous shapes and iterations over their unique evolution as a band. They’ve added and subtracted players, mounted all-star ensembles, performed and reunited in various lineups and incarnations. The extended musical family has become something of a collective.
“It’s interesting to see how the band has shifted, evolved. We’ve taken all these different ebbs, flows and turns through our career,” notes Edgar.
In recent years, Glapsie, Cassarino and Edgar have found their way back to working with Hall and Braimah, reuniting as The Original Nth Power for select engagements and unearthing several long-shelved classics from the early days.
“We’re like a family,” the bassist continues. “And you might have an estranged bro or something, but they’re gonna hopefully come back sometime, you know what I mean? And we get to hang out again and play music again.”
The Nth Power loves you. They tell you so all the time, the message is in the music. Ten years in, it still feels like they’ve only just begun. Thank you for the light.
B.Getz is a music-culture reporter and podcaster hailing from the Philly area who’s called northern California home for nearly a decade. Senior Correspondent at Live For Live Music, longtime contributor to JamBase, formerly with Everfest/Fest300, and host of The Upful LIFE Podcast — check out all things B.Getz at www.UpfulLife.com
If you’re a nugs.net subscriber, chances are you already love live music. As it turns out, though, live music loves you back. In recent years, study after study has shown that concerts have a huge impact on physical and mental health. The health benefits of live music range from physical to mental: Concerts reduce stress, release happy hormones like oxytocin and dopamine, improve brain function and longevity, provide essential social connection, and even relieve pain. Essentially, your live music habit is really, really good for you.
Concerts are a communal experience
Sociologist Émile Durkheim coined the term “collective effervescence” to describe the sense of communal energy and shared emotion people feel when they come together for a single purpose. Before public spaces were shut down at the onset of the pandemic, these moments were baked into our everyday lives; in one study, the majority of people reported experiencing collective effervescence weekly, or even daily. We went to live concerts, sports events, movie theaters, and crowded bars, all of which provided us with connection and some kind of common purpose. Those activities spark a unique kind of connected joy and fulfill our need for belonging in a way that studio albums or binge-in-your-own-time TV series simply can’t replicate. Even as many aspects of our lives return to some version of pre-COVID normalcy, it is necessary to actively seek out these experiences in a way that it wasn’t before, whether by watching live sports, going to the movies, or, of course, streaming a live concert.
Live music benefits physical health
Psychology and sociology researchers are increasingly interested in the impact of the arts on health and, more specifically, the impact of live music on physical health. Studies show that live concerts reduce the release of cortisol, the stress hormone which controls our body’s responses to stress (sustained spikes in cortisol are linked to heart disease and diabetes). Researchers also noticed that participants had reduced blood pressure and heart rate after experiencing live music. Live music experiences can even act as a natural pain management method; concerts can relieve physical pain by triggering the release of endorphins, which reduces a person’s perception of pain, or even intercepting pain signals before they reach the brain.
Live concerts improve mental health
There are significant benefits of live music on mental health. One study shows that “engaging with music” — which the researchers in this case defined as dancing or attending a concert — leads to an overall sense of well-being, with participants reporting improved mood and a sense of connection to others.Concerts are a unique opportunity to experience both music and social interaction. There’s a neurochemical connection between music and mental health with hugely positive impacts. Live music has been shown to trigger the release of oxytocin — improving our senses of vitality, companionship, and trust — as well as dopamine. Music in general has even been prescribed to treat depression and improve mood and fine motor control in patients with Parkinson’s disease. One study even described live music as “better for your mental health than yoga.” Hormonal and chemical shifts aside, music creates space for emotional expression and processing beyond what we’re able to put into words.
Live music improves brain function
Listening to live or new music also challenges the brain — it has to work to understand a new sound — acting as a workout for the brain. Music improves creativity, memory, alertness, and clarity, and live music has been linked to improved cognitive function in patients with dementia. When looking at subjects’ brain activity in MRI scans, researchers found that music activates more areas of the brain than even language; in fact, in early development, babies start processing music before they can process speech. Studies have shown that listening to music releases brain-derived neurotrophic factor, which promotes neurogenesis: the growth of new neurons. Essentially, listening to music, recorded or live, keeps your brain young.
People who regularly experience live music boost their creativity and cognitive abilities; reduce stress hormone levels while increasing the production of endorphins, dopamine, and oxytocin; experience consistent social connection or “collective effervescence; and even live longer (up to nine years longer, in fact).
Billy Strings Concert at Ryman Auditorium in Nashville, TN
Introducing Exclusive Concert Livestreams for nugs.net Subscribers
We’re excited to announce our newest feature — Subscriber Exclusive Livestreams. In addition to unlimited streaming of our massive, unrivaled catalog of music including over 25,000 official live concert recordings and 100s of full video-on-demand concerts in HD and 4K, subscribers will now have special access to an exclusive slate of free livestreams and performances included with their subscription service. With this incredible, new benefit, paid subscribers will have a front row seat to watch their favorite artists perform live from anywhere in the world, at no extra cost.
Billy Strings Live at The Ryman Auditorium in Nashville, TN
We’ve teamed up with GRAMMY Award-winning singer, songwriter, and musician Billy Strings to offer subscribers exclusive access to Strings’ three-night run of shows from Nashville’s historic Ryman Auditorium on May 6, 7, & 8. An ongoing slate of iconic, genre-spanning performances will be announced over the next few weeks, including not-to-be-missed concerts streaming live from Tipitina’s JazzFest in New Orleans, Philadelphia’s Ardmore Music Hall, and Colorado’s iconic Red Rocks Amphitheatre.
Sign up to access nugs.net’s growing lineup of Subscriber Exclusive Livestreams at nugs.net/exclusive.
nugs.net is thrilled to announce exciting new additions to its catalog of live concert recordings.
Over the past two decades, pioneer live music streaming platform nugs.nethas evolved into the leading source for official live concert recordings from the largest touring artists in the world. With an ever-expanding digital archive of more than 25,000 concerts and hundreds of on-demand videos of full shows from marquee acts like Metallica, Pearl Jam, The Rolling Stones, Dead & Company, and Phish, nugs.net provides music fans VIP access to their favorite concerts anytime, anywhere. Throughout April, nugs.net is adding an iconic, genre-spanning collection of new artists and live concert recordings to their massive, unrivaled streaming library, including an epic selection of new and archival shows from Jack White, DARKSIDE, Pixies and more.
Jack White’s Supply Chain Issues Tour Concert Audio
On the heels of releasing his eagerly awaited new album, FEAR OF THE DAWN, Jack White kicked off his Supply Chain Issues Tour last week with two sold-out shows at Detroit’s Masonic Temple Theatre. The tour, which features White’s first headline shows in four years, will make 50+ stops across North America, Europe, and the United Kingdom through late August. In partnership with nugs.net, White will offer official soundboard audio from every stop on the tour, available to stream exclusively via nugs.net here: nugs.net/jackwhite. Of the new partnership, Third Man Records co-founder Ben Blackwell shares, “While we’ve been recording all Jack White live shows for years, only now did it finally feel right to release all of them quickly after the performance. And with nugs.net as our partner…we couldn’t be happier with the results.”
Six Epic Sets from Psychedelic Duo DARKSIDE
Beginning today, music fans around the globe can enjoy full-length concerts from DARKSIDE, the psychedelic collaboration between electronic producer Nicolas Jaar and guitarist Dave Harrington, who have partnered with nugs.net to bring two visually driven, atmospheric performances, as well as official soundboard audio from five epic concerts to the platform’s extensive streaming catalog for the first time. Watch DARKSIDE’s intimate sunset show overlooking the Manhattan skyline, Psychic Live set at Stereolux in Nantes, and more streaming exclusively on nugs.net here: nugs.net/DARKSIDE.
26 Pixies Archive Concert Recordings
Alt-rock icons Pixies also join nugs.net this month. 26 full-length concerts from the archives, including recordings from 1991 and the band’s 2004 reunion tour, will be available to stream on April 21 at nugs.net/thepixies. All shows feature the band’s original lineup: frontman Black Francis, guitarist Joey Santiago, bassist Kim Deal, and drummer David Lovering. Highlights include Pixies’ first show in 11 years at the intimate Fine Line in Minneapolis, a performance on the mainstage at Coachella, and a 2004 sold-out, four-night run at Brixton Academy in London.
Immersive 360 Reality Audio
Throughout the month, nugs.net will continue to bring the live concert experience to music lovers worldwide. Stream iconic performances and classic albums by David Bowie, Pink Floyd, and Janis Joplin in immersive 360 Reality Audio, which brings the electricity of live music and the energy of a crowd to you like never before. Experience exclusive live recordings from the Bruce Springsteen Archives, like The Roxy ’75, as if you were in the room with the E Street Band on the Born to Run Tour. Listen to the classic Jefferson Airplane Volunteers album the way it sounded in the studio, and hear David Gilmour play “Wish You Were Here” with the Polish Baltic Philharmonic Orchestra like you’re in the crowd of 50,000 fans. For more information and to start listening visit: try.nugs.net/360.
nugs.net is excited to stream selected shows and albums in immersive 360 Reality Audio, which brings the electricity of live music and the energy of a crowd to you like never before. Using spatial audio technology, 360 Reality Audio captures vocals, instruments, and the sounds of a live audience and brings them to you in spherical sound.
Stream iconic performances and classic albums by David Bowie, Pink Floyd, and Janis Joplin on the nugs.net app. Experience exclusive live recordings from the Bruce Springsteen Archives, like The Roxy ’75, as if you were in the room with the E Street Band on the Born to Run Tour. Listen to the classic Jefferson Airplane Volunteers album the way it sounded in the studio, and hear David Gilmour play “Wish You Were Here” with the Polish Baltic Philharmonic Orchestra like you’re in the crowd of 50,000 fans.
Each recording is also streaming in stereo for our Premium subscribers, and select concert videos have been newly mixed with 360 Reality Audio sound for the first time ever and are now streaming on demand.
Start listening on the nugs.net mobile app now with a free 30-day HiFi Tier trial subscription, and stay tuned for more content in 360 Reality Audio coming soon.
