This second volume of our Staff Picks series comes from Stephen Holland on our marketing team. He loves music across a wide spectrum but there is definitely an emphasis on sounds of the southeast and jazzier jams. Click here to listen to Stephen’s Picks in the nugs.net app and read below to learn more about why he loves these tracks. Enjoy!
Railroad Earth: “Panama Red” 11/30/13 – Stroudsburg, PA
I’ve always loved this New Riders of the Purple Sage tune and Railroad Earth has some fun with it here.
The Allman Brothers Band: “Statesboro Blues” 8/12/08 – Bethel, NY
I’m a Georgia boy so a famous blues standard with a Peach State location reference always hits for me. This was a Mountain Jam show with the same band that recently reunited at MSG as The Brothers, absent Gregg and Butch of course.
Goose: “Madhuvan” 3/15/20 – T’s House
A really fresh one here. This was the opening track of a webcast that Goose just did over the weekend with a portion of the proceeds benefiting the Sweet Relief Musicians Fund in this time of virus-caused live music drought. They lit up someone’s living room on this one.
Jerry Garcia Band: “Mission in the Rain” 6/10/89 – French’s Camp on the Elk River
Recording of an under-appreciated Jerry tune from a small little place up in Northern California.
Jason Isbell and the 400 Unit: “Cover Me Up” 10/22/18 – Ryman Auditorium
Jason Isbell has been the most consistent soundtrack of my life the last few years. His writing is a combination of the nostalgia from the south and the current state of the world. This track has a special place in my life for sure.
Jason Isbell and the 400 Unit: “Outfit” 9/14/19 – Capitol Theatre
Doubled up on Jason but it’s my playlist. This one hits big on growing up in the south nostalgia.
Pearl Jam: “Alive” 11/30/93 – Las Vegas, NV
From the earliest Pearl Jam archive show that we have, the band toured on its second album Vs. Unfortunately, we don’t have a video of the Elvis impersonator that sat in with them. We’ll have to just imagine that.
Billy Strings: “Turmoil and Tinfoil” 2/15/20 – Asheville, NC
Billy en fuego on this track. I can’t wait for his tour with Jason Isbell and the 400 Unit this summer.
The White Stripes: “Boll Weevil” 7/31/07 – Southaven, MS
The last song of the last White Stripes show, enough said. You can see I like old blues standards.
Tyler Childers: “Lady May” 11/30/18 – Exit In, Nashville, TN
Who doesn’t like a beautiful love song? The lyrics and the lonesome fiddle get me every time.
Tyler Childers: “Country Squire” 11/30/18 – Exit In, Nashville, TN
Another double dose. I needed to highlight some slide guitar on here.
Joe Russo’s Almost Dead: “Truckin'” 11/10/18 – The Fox Oakland
A nice stretched out jam of a classic. This was a great show across the Bay at the Fox.
Wilco: “California Stars” 12/3/01 – The Fillmore San Francisco
Iconic song recorded in another round of turbulent times just down the street at The Fillmore. It makes me feel like it’s all going to be ok for about 6 minutes anyway.
Charlie Hunter: “Lively Up Yourself” 9/14/96 – Cincinnati, OH
The horns, guitar, and organ play together like the three best friends that anyone ever had. More of this, please.
Kitchen Dwellers: “New Man” 2/8/20 – Bend, OR
Blisters on some fingers here as they headed into the break. Really been enjoying the Kitchen Dwellers lately.
Guy Clark: “LA Freeway Pack Up All Your Dishes” 11/19/89 – Austin City Limits
A cool one from a trove of Austin City Limits shows that we have. Guy Clark is one of my favorite songwriters.
Lotus: “Disappear in a Blood-Red Sky” 2/15/20 – Frisco, CO
This is a nice recent one from Lotus with some beautiful harmonies in the back. Enjoy!
Ghost Light: “Old Time Religion” 11/22/19 – San Francisco, CA
This was one of my favorite tunes from last year’s show here in the neighborhood at The Independent.
Are you stuck at home for the foreseeable future? As music-lovers, we know how frustrating it is to be separated from the live music experience. Luckily, we’ve put together a list of shows you can enjoy anywhere. Watch these at home and enjoy the full concert experience without risking your health. Throw them on in your living room and grab a front-row seat on your couch, it’s showtime. We also have a full slate of upcoming live webcasts coming from studios and artists’ living rooms; check out the full lineup on nugs.tv!
Next week, thousands will gather in Las Vegas to celebrate three decades of 311. The band will play three shows beginning on March 11th A.K.A 311’s official holiday, 311 DAY. Fans unable to make the trip out to Sin City will be able to participate in the festivities from home. All three shows will be webcast live on nugs.tv in their entirety. The webcasts, offering individual nights or a three-night package, are available for order now. Ahead of next week’s celebrations, we spoke to 311’s Nick Hexum (Vocals, Guitar) about this year’s 311 DAY and more.
nugs: With this being a special 30th-Anniversary celebration, what do fans have in store with these three 311 DAY shows?
Nick Hexum: I think it will be a very emotional experience for us and our fans. Reflecting on what a special community the 311 Nation has become. We will be looking back as well as forward. Being 311 DAY shows, of course, we’ll be digging deep and playing songs from throughout our 30-year career across 2 sets a night, plus we have special production to take the spectacle of this show to another level!
nugs: What is your fondest memory from 30 years of touring?
NH: One special night was when we did a big free show in a park in Omaha back in 2006 and like 40,000 people showed up. It was overwhelming to see the sea of people in our hometown. Meanwhile, every 311 Caribbean Cruise and 311 DAY feel really special. Somehow it just keeps getting better!
nugs: What makes a 311 DAY so special?
NH: It’s like a family reunion. A celebration of the band, the fans and the community we’ve built together. I’ve heard so many cool stories of people who know each other online meeting in person and then becoming great friends. Also, quite a few marriages and babies being conceived! Mostly, it’s time for us to express our gratitude for our incredible fan-base by putting on the very best show we can!
nugs: Do you think this year’s 311 DAY shows will hit the 100 song mark across all three days?
NH: I’m sworn to secrecy.
nugs: What makes doing this in Vegas so special?
I think people leave their troubles behind once they arrive in Vegas. People just automatically unwind there, so it’s perfect for a 311 event. Plus the Park Theater is an amazing high-tech venue to get to play. Let’s rock!
Jeff Milbourn is nugs.net’s Vice President of Technology, resident Widespread Panic apologist, and possibly Goose’s #1 fan. Longtime Widespread Panic fans have probably enjoyed his tapes from ’90s Panic shows. For the first installment of our Staff Picks series, there’s no one better to share their list of favorites from across the years.
This was a top Widespread Panic show when it happened and remains a top show still today. This is WSmfP at their best. Houser screams, Jo Jo is dynamic and omnipresent, Schools thunders and drops bombs, Todd and Sunny crescendo, and JB sings like an angel throughout the entire show.
I Love Mule. I Love dirty NOLA Mule even better. I’ve seen a lot of great NOLA Mule shows over the years but this one is something else. “On Your Way Down” with Jonathon ‘Boogie’ Long and “The Hunter” > “Good Morning Little School Girl” > “The Hunter” with Alvin Youngblood and Smokey Greenwell are required listening.
Before kicking off a ridiculous show which, of all bands, Barenaked Ladies opened, JB growls, “How about a big ole’ hand for Barenaked Ladies . . . Barenaked everything!” Classic JB, classic Panic show at Mud Island.
This is the show that should not have been. As many probably know, The Rolling Stones were supposed to headline Jazzfest. When they canceled, Fleetwood Mac was booked to fill the slot, yet they too canceled (quite fortuitously). Panic stepped in to fill the void. The speculation was that Panic would incorporate at least one song from the Stones. Not so. Instead, they decided to blow out the Fairgrounds on their own terms, with a nod to Dr. John.
This is Panic’s most recent show available on nugs.net. It will be replaced on the list of best shows by the next show the band plays. And that’s the point. You can never beat the anticipation of the “next one.”
Since emerging in 2011, Turkuaz has lit up stages everywhere from Bonnaroo, Hulaween, Okeechobee and Electric Forest,to Telluride Jazz Fest, Lock’n, Red Rocks, and The Fillmore. Their horn-filled funk incorporates elements of R&B, psychedelic pop, gospel, Afro-pop, New Wave, classic rock, and just about any genre that gets people dancing.
We had a chance to chat with the nonet about the evolution of their music and style over the past nine years.
Q: You guys are entering a new era as a group. Beyond the color scheme change, what evolutions can we expect from Turkuaz in 2020?
A: Well, the color scheme change was inspired by this last EP we released, Kuadrochrome. About 5 years ago, we released its’ predecessor, Stereochrome, which had the band dressing in all black and white. This was followed by 5 years of the “colors” era, as we’re calling it. As much as we and our fans both loved the colors on-stage, 5 years is a lot and we knew it was time for a change. We had a few other songs and arrangements lying around that had yet to be released that fit the vintage style of Stereochrome, and creating a sequel with a four-tone scheme instead of two seemed like a fun and unique opportunity to break out of the rainbow.
As far as what’s to come—we want to keep growing and changing, and being open to whatever that means when inspiration strikes. As mentioned, this last EP leaned more vintage funk/soul, but we’re already working on a ton of new recordings with a wide range of sonic influences. This was more of a palate cleanser or a little pit-stop on our journey. We don’t entirely know where it will lead and that’s part of the fun. The only constant for us at this point will be change. And we look forward to seeing where that takes us in 2020 and beyond.
Q: We’re really excited about the upcoming “Remain in Light” shows with Jerry Harrison and Adrian Belew. What is that experience going to be like?
A: We’re also very excited about it. We’ve been playing Talking Heads’ music since the inception of our band, and it’s deeply woven into the fabric of what we do. We worked with Jerry on a couple songs a few years back, and we were very happy when he approached us with the idea of doing this tour. Adrian is also a musical force that we have been a fan of for a long time, and getting to play this music with them is a great honor.
Rather than play the record straight through, we’ve been discussing modeling the show partially on the 1980 Rome show which was on the “Remain in Light” tour. This show featured highlights from the record, as well as the rest of their existing catalogue at the time. If you haven’t seen that show, do yourself a favor and check it out. It’s truly inspiring and we’re looking forward to pulling ideas from it. Jerry has also mentioned wanting to do some Turkuaz songs which, of course, we’d love to do, as long as it doesn’t distract too much from the vibe of the show we put together. All in all, we want a high energy and fun show that does justice to the import legacy of that music.
Q: The four shows at the Blue Note in Tokyo are amazing, what was your favorite experience from those shows?
A: It was amazing. Playing the shows as well as meeting and interacting with our fans there were both so great, it’s hard to say what the favorite experience was. Simply exploring Japan was also something none of us had ever done, so the entire trip really feels like one meaningful and unforgettable experience.
The Japanese audience there was very different from our typical American audience. In addition to the Blue Note being a jazz club which naturally is a more calm and reserved environment, public space in Japan is generally treated differently and people are incredibly collected and respectful. This creates a concert environment where the audience is sitting and carefully listening to every note. I don’t think one approach is necessarily better than the other, but this was the first time we had ever played to an audience like this and I think we struck a good balance of adapting while also giving them the Turkuaz experience.
Q: Do you have any personal favorites from the shows currently released on nugs.net?
A: Cleveland is a good one, and Brooklyn Steel is our most recent hometown show, so I’m glad that’s in there. The Nashville show has some of the newer stuff we’ve been doing on the Kuadrochrome tour. Overall, I think they’re all pretty solid which is why they’re up there. With a band this size, and so much happening in the arrangements, we’re just looking to continually feature the audio that came out the best as opposed to posting every show. We’re not a jam band with a 100% different setlist every single night, but every show is different by at least 40-70% night-to-night, and we never repeat the same set. We plan on presenting a “best of” every so often to keep a good flow of shows coming. The best is yet to come and we look forward to adding to the catalogue.
Q: What are you guys looking forward to most in 2020?
A: I’m looking forward to all the collaborations. The “Remain in Light” shows will be amazing, and the Brooklyn Comes Alive set we’re doing in March will also be a blast (with Cory Henry, Nate Werth and Robert “Sput” Searight). We also have a ton of new music in the works which we look forward to sharing with the world. We’re also very happy to be part of the Nugs family! It’s gonna be a good year.
This weekly podcast caters to music lovers within the jam band community, featuring artists like Umphrey’s McGee, Lotus, The String Cheese Incident, Widespread Panic and more. During the show, host Kory French works through his weekly playlist of new releases and old favorites, giving listeners some history on the songs and the bands behind them.
If you’re looking for all music and no-frills, then this is the podcast for you. It’s 3+ hours of live/studio jam band music. You can find the playlists for each episode on their website: endlessboundaries.com
A Female run podcast that discusses all things Phish from a woman’s point of view. Listen as they interview Phish’s community members, play games like “Market Price” and discuss the latest goings-on in the Phish scene online and on the lot.
Hosted by music journalist Dean Budnick, LMTR tells the story of a band, their fans, and the journey that made them one of the most successful touring bands of all time. With over 50 interviews, season one of LMTR focuses on Phish, shedding light on how they pioneer an entire industry on many impactful and important levels, doing it their way.
This podcast looks back on Phish’s Big Cypress festival 20 years later—examining the legacy for Phish and the music world. Hosted and narrated by Jesse Jarnow, this five-episode series draws on interviews with members of Phish and its crew, fan memories, and conversations with other people across the music industry.
nugs.net founder Brad Serling’s podcast guides fans through a playlist of recent live music from artists like Phish, Dead & Company, The Allman Brothers, Pearl Jam, Metallica, The Raconteurs, Wilco, Widespread Panic, Umphrey’s McGee, and more.
Harris and Scott are comedians, music lovers, and friends. Where do they differ? Harris loves Phish, and Scott does not. On Analyze Phish, Harris navigates the vast landscape of Phish’s catalog to find entry points for Scott while trying to explain the live Phish experience without the use of illegal substances.
Steven Hyden and Rob Mitchum explore the Grateful Dead’s celebrated Dick’s Picks live series. The show takes a deep dive into the 36 Dick’s Picks entries, the history of the Dead organization, and popular culture around each show.
In this podcast, Jon Barber dives deep into analysis and commentary of The Disco Biscuits and talks about his role in the band, music, technology and other topics. Jon also brings on a variety of exciting and inspiring guests to co-host with him.
The Sound Podcast is a music discovery interview-style podcast, hosted by Ira Haberman. Featuring Jam Bands and more… much more. Rooted in Americana, Blues, Bluegrass, Country, Folk, Funk, Jazz, Reggae, Rock, Soul but mostly Jam Band music. New episodes of The Sound Podcast are available Tuesday, Wednesday and Friday. The Wednesday episode is exclusively a live music playlist called LIVEFIVE powered by nugs.net.
This is a Podcast about Music – Industry, Festivals/Concerts, and Culture. It’s a mix of the Fan (Rob Turner) and Industry (Seth Weiner w/ Shimon Presents, Inc.) perspectives. Their presentation style can be difficult to jive with, but their guests are top-notch!
Last week, Steven Hyden and Rob Mitchum launched 36 From The Vault, a new podcast exploring the Grateful Dead’s celebrated Dick’s Picks live series. The show takes a deep dive into the 36 Dick’s Picks entries, the history of the Dead organization, and popular culture around each show. We caught up with Steven and Rob to find out more about the new series.
nugs: What makes Dick’s Picks unique amongst other official releases from the Grateful Dead?
Rob Mitchum: One of the joys of doing the podcast so far is doing a deep dive into who Dick was and how he came to be associated with the Dead organization. His background and the whole process in selecting the shows is really sort of fascinating early on. The key thing about Dick, I think, is that he came to the Grateful Dead organization already a huge tape trader and fan. He had that fan’s perspective and brought it to the organization. Everybody who was working for the Dead from the band to the crew to the people running the business had been inside for so long that they kind of lost perspective about what the outside world wanted from them. And that’s especially important for this kind of archival release series.
Dick was giving the fans what they want. He had his own sort of peculiar pov on what needed to be put out there. He talked a lot in early interviews about the fact that the band, by ‘93 certainly, never listened to the tapes. The only one who was interested in even participating in choosing or rejecting shows was Phil and he was doing all rejecting and no choosing basically, so he really slowed down the release in the early days. But Dick was super enthusiastic about all this music and would come across something like the “Here Comes Sunshine” that’s on Volume One and say, “We have to get this out there! Deadheads have got to hear this.” He would just argue and argue that it needed to be put out there and finally ended up winning some of these arguments with Phil. We’re all very lucky to have had his perspective on the inside at that point. Certainly, they wouldn’t have put out as much without Dick advocating for it and what they would have put out maybe wouldn’t have been as satisfying.
Steven Hyden: I think what makes the Dead unique in a lot of ways in terms of how their archive is handled is that they are probably the biggest example of fans stepping into the place of the band as stewards of the band’s history. The fans of the Grateful Dead have had such a big role in ultimately shaping the perception of how this band is perceived and I think mostly for the better. I think Dick is an example of this and there are lots of other people, lots of the Deadheads, who have much better taste in Dead music than the members themselves. If not for them there’d be a lot of great music that wouldn’t have been put out there for whatever reason. I think it’s a really interesting aspect of their history, the role that fans have played in writing and maybe correcting it in a lot of ways.
nugs: You guys mention in the podcast that the Dick’s Picks shows are a sort-of medium between the studio sound of early official releases and the DIY sound of bootleg tapes. What is it that distinguishes the sound of a Dick’s Picks show?
SH: It was kind of like the best of both worlds in a way where you could get something that sounded pretty good but it wasn’t overly professional or it didn’t have a ton of overdubs on it. It is interesting doing this show and realizing how much actually was done to these tapes in terms of just cutting songs out or like resequencing songs. The first Dick’s Picks record I ever got was Volume One and I wasn’t aware of how much had been taken out of there until I did this podcast. I heard you could stream the shows that they took that from and pretty much the whole first set is gone from Dick’s Picks Volume One. So it wasn’t quite as unedited as I assumed it was but still much less polished than a regular studio record would be.
nugs: On the note of live albums missing sections or being re-sequenced, what makes the six-song uninterrupted section in the second set of Dick’s Picks Volume One so special?
RM: One of the cool things that I think Dick’s Picks allowed the Dead to do is put out some of these hour-long song suites that they used to do regularly live. For a lot of reasons, they hadn’t really represented that on their official “live” albums. I think Live Dead probably gets the closest to it but even that one is spliced between I think two or three shows. A lot of their other live albums were sort of grab bags of best versions from a particular tour or run. If they’re edited together it was done in the studio later on by combining versions from different shows and things like that. What was sort of revolutionary at time was finally having a pretty solid unabridged hour of music and segues from the show on an easy compact-disc format. Usually, that was the domain of tapes and not something you could get your hands on in official quality.
SH: It really is amazing how spoiled people are now with this kind of stuff. I was just thinking about myself with Phish for instance. I only started listening to Phish in the 2010s. I’m used to an era where the show ends and within a couple of minutes there’s an instant show to stream online that’s a master and sounds great. At your fingertips, there’s an entire show. We’re so used to that now. Revisiting the series is a reminder that even getting part of a show that sounded this good was kind of a unique thing. it was a much harder thing to attain than it is now.
RM: That’s going back to before a time nugs.net spoiled music fans. But yeah, I think one of the interesting things I’ve learned from the start of the series is how the Dead organization was very nervous about whether this would actually work, which is crazy in retrospect. Now the Dead put out like eight to ten live releases a year or something like that between Dave’s Picks and the other box sets they do.
Dick, Kidd Candelario and a couple of other people that were involved in the start of the series really had to argue with the band, the organization, and the record label to do this. Even the permission they got was only to sell it through mail order and do a very low run for the time of only 25,000 copies each volume. Dick wanted to do complete shows but they wouldn’t commit at the time because they only wanted to do, at most, 2 discs. Of course, you can’t get a complete show on two discs. There were all these handicaps put on the project from the start just because they were worried that it might be a commercial bust.
SH: I guess maybe the Dead’s defense back in the early ‘90s was that putting out something that’s pretty unvarnished risks being picked apart. Especially by a fan base as critical as the Dead’s. So I understand their trepidation from that perspective, they didn’t want to put out something that was maybe less than perfect. And in the show that we just did, there’s this whole thing about editing out this terrible Phil Lesh bass solo. When you listen to the show it’s actually kind of good that it’s not there because that part of the album flows so well, it’s like really the best part of the whole release. But there is a part of you as a purist that’s like “oh I wish that was in there because that’s actually what happened.” The fact that they were willing to release Dick’s Picks as they did is a little bit of a leap of faith, to expose yourself in that way.
nugs: You guys have hinted that the show could explore some other artists along the way, what can we expect down the line from the podcast?
RM: Steven and I are both fans of the live album format in general and the Dick’s Picks series is such a revelation in how live albums can work for a band, doing more archival releases than polished live album releases. So I think we’re interested in those types of archival releases from other bands. Like Steve was talking about earlier, telling the story of the band through this very particular kind of release is a concept that fits the Dead perfectly and they were the ones that set the template for that. But there are other bands that do that as well and that’s the kind of thing we’d like to explore down the line or in special episodes
nugs: In the first episode, you guys go deep into the context around the show. You even dive into how the venue was named after a corrupt Tampa mayor. Is that something we can expect more of in future episodes?
SH: Part of the appeal for us doing this show was that it’s a chance to talk about the Grateful Dead, but it’s also an excuse to explore music history and pop culture history in a fun way. You could time travel back to December of 1973 and look at what’s happening in the world at that time and get a sense of what it would have been like to be at that show. Rob and I were both born several years after this show and I never got to see the Grateful Dead live at all. I’ve only ever experienced them through recordings. The time travel aspect of listening to live tapes is enhanced when you can look at the rest of the world at that time and see how that influenced what was going on.
RM: Yeah, I think a lot of times people tend to consider the history of the Dead in sort of a vacuum. They were always an oddball in the music industry so people tend to consider the Dead and their different eras in a silo without thinking about the cultural context of the time. What was going on in the music industry? What was going on in film? What was going on in the news?
Each show kind of gives us an opportunity to do that which is really fun. Looking at the different venues they played and seeing who else was playing that venue around the same time, It’s fun to be like “You know they played this show in Tampa not long after David Bowie was there on the Diamond Dogs tour.” A bunch of the shows in the ‘70s were within a month or two of like an Elvis appearance at the same venue. The other things that were sort of bobbing around in the culture at the time, of course, were going to have an influence on the Dead. They might have been doing their own thing but there’s certainly some bleed over you can hear from the bands, arts, and society that was around them.
SH: Another thing for Rob and I with this show was to approach it as huge fans of the Grateful Dead without being too clinical or scholarly about it. I think that we both want to have a sense of humor about the band. They’re a brilliant band, but they’re also kind of a goofy band. Craziness and brillance always co-mingled with this band and it’s part of what makes them so much fun to talk about.
I think that spirit of fun and reverence that’s inside the Grateful Dead is something that we wanted to have on this show and I think that’s a pretty big part of what we’re doing. I always feel like the best kind of music criticism should feel like listening to music and I hope that we have a little bit of that element of the Dead in our show.
Now that we’re officially in the 2020s, we are looking back at the best music of the 2000s (so far). nugs.net’s founder, Brad Serling, has cultivated his list featuring some of the most memorable live performances from the last twenty years. You can listen to every song on the latest editions of the nugs.net Live Stash podcast. Brad goes through his full list of favorites in two parts providing commentary on each entry.
Today and tomorrow are the busiest travel days of the year. We’ve created a playlist for nugs.net subscribers to keep everyone truckin’ along on their way to enjoy a Thanksgiving feast. It’s packed with live versions of classic hits that the whole car can enjoy.
Clocking in at two hours, The Thanksgiving Road Trip playlist is filled with the music of Springsteen, The Dead, The Allman Brothers Band, and more road trip staples. Of course, no road trip playlist would be complete without a little country. There’s Johnny Cash, Merle Haggard, John Denver, and more providing that classic American road trip atmosphere. And finally, the playlist features incredible covers from Greensky Bluegrass, Tauk, and Goose. It’s the perfect accompaniment for the open road.
The year is rapidly coming to a close. Fall tours are ending and many artists will take a few weeks off to rest, reflect, and prepare for a new year of music. Before we charge into a new decade, we’re taking a look back at some of our favorite shows from 2019.
Star Kitchen is one of our favorite new projects. The band is the brainchild of The Disco Biscuits’ Marc Brownstein and Eric Krasno Band’s Danny Mayer. The supergroup also includes Rob Marscher and Marlon Lewis. Their performances explore the music of Stevie, Jimi, James, & more in new and interesting ways. We sat down with the band to talk about their shows on nugs.net and more.
Q: Tell us about the hidden gems in these releases. Do you have a stand out track or show from the batch?
Star Kitchen: I really love the Boat Cruise show in NYC. It was the first time that the band played as a four-piece without any guests at all, and it was a benchmark moment for the band. We hadn’t had the confidence to pull off a whole show without the help of some special treats along the way, but it was great. We pulled it off with a very small crowd, but huge energy. It has become our go-to recording to listen to in the van.
Q: What inspired you to start a funk forward project over all else?
SK: Really, the thing that inspired me to start this project was the Sharon Jones and the Dap King’s holiday album. Every year that is the go-to in my house. The songs are dope, and the band is the best. Ultimately, it brought me back to listening to funk in general, and I went through a deep stage of dissecting Greyboy All-stars jams. Then I went further back and started relearning all of the James Brown grooves and Aretha Franklin classics; and of course, I made a James Jamerson playlist and started playing along with that. I didn’t know how to make a funk band happen, but just as with everything, the universe did deliver this time.
Q: What are your hopes for how a new listener feels when they leave a Star Kitchen show?
SK: I feel like I want them to say, oh ok, I get it, it’s funk, but also it’s not. We are taking these songs that everyone has heard thousands of times, and many that you’ve never heard, and stretching them like rubber bands, as far as we can, in every direction. Recently, someone came up to me and said, “wow that reminded me a lot of what JGB used to be,” and I was like, this guy gets it. We are taking funk and soul tunes, and then taking everything we know from being experts in improvisation and applying it to those songs in our own way. That’s what JGB used to do, and that’s what this ended up being, not by accident. I am always the most influenced by the patriarch of the jamband scene.
Scarlet Begonias is one of the essential pieces of the Grateful Dead discography. The band first played the song in 1974 at the Daly City Cow Palace, just south of San Francisco. The song is one of the many Grateful Dead tunes to feature the brilliant lyricism of the recently passed Robert Hunter.
Since Dead & Company began touring in 2015, Scarlet has been a fixture of the band’s live show. Every member of the band gets a chance to shine throughout the song, possibly why the band often uses it as a set opener. It’s a great introduction to the show, after a 10-minute Scarlet jam, you know exactly what to expect from a Dead & Co. performance. There’s a reason you’ll hear Bob Weir exclaim “Just like a swiss watch” after the band opens their second set in Atlanta with the song.
There are over 150 versions of Scarlet Begoniasstreaming on nugs.net from Dead & Company, Bob Weir and Wolf Bros, JRAD, and tons more. You can also watch three different versions of the song from this year’s Dead & Co. summer tour below.
For more Dead & Company, pre-order webcasts of their six upcoming Fall Fun Run shows right now on nugs.tv.
It’s been half a century since 500,000 people made their way to Bethel, New York for the now-historic Woodstock Music Festival. The iconic festival didn’t come together overnight, in fact, it nearly didn’t happen at all. Finding a venue proved a difficult task for event organizers. Organizers didn’t land the famous dairy farm in Bethel until roughly a month before the first act would take the stage. Woodstock was billed as “An Aquarian Exposition: 3 Days of Peace & Music.” The Woodstock moniker wouldn’t come until later. Woodstock’s legacy lives on through just about every festival that takes place today.
Woodstock 1969 Lineup:
Richie Havens Bert Sommer Sweetwater Melanie Tim Hardin Ravi Shanker Arlo Guthrie Joan Baez
Quill Country Joe McDonald John Sebastian Keef Hartley Band Santana The Incredible Stringed Band Canned Heat Mountain The Grateful Dead Creedence Clearwater Revival Janis Joplin Sly and the Family Stone The Who Jefferson Airplane
Country Joe and The Fish Ten Years After The Band Johnny Winter Blood Sweat and Tears Crosby Stills Nash and Young Paul Butterfield Blues Band Sha Na Na Jimi Hendrix
Listen to Woodstock
nugs.net subscribers can listen to these Woodstock performances on desktop, Sonos, and in the nugs.net app.
Red Rocks Amphitheatre is hands down one of our favorite venues in the US. The natural beauty that accompanies the sweet sounds of live music makes for a breathtaking experience. There’s a reason why it’s a must-visit location for nearly all of our nugs.net artists. Below you’ll find a collection of every Red Rocks performance we have from this year… so far.
Widespread Panic just wrapped their 2019 three-night run at Red Rocks. Selling out the iconic venue has become an annual affair for Panic at this point. Each night was filled with fantastic bust outs, rarities, and fan favorites. If you missed out on the sold-out shows, we’ve got exclusive video from our webcasts:
Tipitina’s has been a staple in the New Orleans’ music scene since 1977. The iconic venue hosts New Orleans’ finest and funkiest musicians. Every Friday this summer Tipitina’s hosts free performances featuring incredible local talent and the party goes all night long. Tune in to nugs.tv every Friday to watch Tipitina’s Free Fridays live and discover your new favorite band! Below you can check out previous Free Friday’s performances, with more added each week.
5/24/19 Brassaholics & Erica Falls
5/31/19 Billy Iuso & Restless Natives + The Quickening
6/7/19 Johnny Sketch & The Dirty Notes, Aaron Benjamin, & Spencer Whatever