Live performances from legendary guitarist Charlie Hunter are now available to stream on nugs.net. Known for expertly bending and traversing genres such as Blues and Jazz, Charlie Hunter’s music is made to be heard live. Right now you can open the nugs.net app and listen to a dozen live shows stretching all the way back to 1996.
Hunter was born in Rhode Island and developed a detailed knowledge of the guitar from his mother who repaired them for a living. In 1993, after some time playing with Michael Franti’s “Disposable Heroes of Hiphoprisy,” Hunter released his first album as the Charlie Hunter Trio. Since then, he’s released music under a variety of titles and toured with a number of notable icons like Galactic’s Stanton Moore. When we asked Hunter about his dream lineup for a band he told us he’s been lucky to play with some great musicians and he wouldn’t change a thing.
His signature sound comes from a custom seven-string guitar. Hunter uses the extra string to add a bass range that he can use for counterpointing. He is truly a master of the guitar and his live improvisations are a treat to the ear of any fan. Give these shows a listen and stay tuned for even more releases from Charlie Hunter on nugs.net.
By Ben Blackwell of Third Man Records, Archivist for The White Stripes
“I can’t even tell you how much it means for me to be here tonight…so I’m not even gonna bother”
-Jack White, July 31st, 2007
Not long after I walked offstage as the hired-gun drummer for opening act Dan Sartain, an assortment of crew and musicians and friends gathered together and took part in a celebratory, raise-the-glass toast, all led by Jack White to mark the end of the run of nine shows in the previous ten days.
As the crowd thinned, Meg White and I were the last ones left standing there. Apropos of nothing, cups in hand, not even in a conversation at that point, Meg said to me, “I think this is the last White Stripes show.” Confused, I responded “Well, yeah, last show of this leg of the tour.” She replied “No…I think this is the last White Stripes show ever” and slowly walked away.
I was dumbfounded. I had no idea what she was talking about. I had no idea what she meant. I had no idea what to do. I looked around to see if anyone else heard what Meg had said, but I was all alone.
Within minutes, the band was onstage.
What would YOU do if half of your favorite band told you (and ONLY you) it would be their last show immediately prior to taking the stage?
Shocked and having no better ideas, I went and grabbed two pieces of paper. One of them a perfunctory, public-facing schedule posted backstage. The other, more-detailed, sharing much of the same info and privately posted inside the band’s tour bus.
Just typing that makes me self-consciously feel like an ass…more preoccupied with the artifact and ephemera than focusing on the actual feeling of (and living in) the moment. Also, I should’ve at least made the effort to grab a damn camera.
I decamped to my usual side-stage perch and dutifully hand-wrote the scattershot songs that spilled out of Jack and Meg that evening. The White Stripes had never played Mississippi prior to this performance and it’s clear the deep musical heritage of the state loomed large in Jack’s mind as he attacked the performance setlist-free.
“Stop Breaking Down” was an unexpected opening song. Despite being released in 1999, it had only opened a set once before, just three weeks earlier. The inspiration behind that first opening performance was the band headlining the Ottawa Bluesfest, being met with newspaper headlines that asked “Are the White Stripes bluesy enough to headline Bluesfest?” Seems as Jack’s intention of starting both these shows with the Robert Johnson classic was to leave no doubt to a skeptical homegrown audience of armchair connoisseurs or a lazy Canadian newspaper editor that the band was well-within their powers conveying the blues to the masses. All that was only further buoyed by Jack later throwing in an unexpected tease of another Robert Johnson song “Phonograph Blues” to assuredly placate the ghosts of the Mississippi Delta.
Inspired, one-of-a-kind takes on both “As Ugly As I Seem” and “Astro” now jump out to me as beautiful…each song’s last hurrah from the band that birthed them. Exploratory adventures the both of them, proving that no piece was ever finished or finalized or etched into stone. Rather, they were all living, creative works, changing and adapting over the years and begging to be recorded and shared and analyzed by all of you reading this right now.
Jack began the encore by himself, pouring every last drop of feeling and emotive vocal quiver into a solo offering of “300 MPH Torrential Outpour Blues” that was achingly bare. The raw force behind it feels beyond naked…as if Jack had pulled back his own skin to reveal his truest, innermost thoughts, particularly when he changed the lyrics on the fly and sang…
“See there’s three women in my mind that know they have the answer, but they’re not letting go…
What else is new? I’m the only one that seems to care where I should go”
After re-listening to this show for the first time in ages, I feel like only now have I fully absorbed the enormity of that line. Frankly, it just hit me like a freight train to the chest. I was caught entirely off-guard. I couldn’t help but be moved to tears.
Moments like that make me feel this show is the audio manifestation of opposing, equally-powered forces clawing for control of my brain in an id-versus-ego battle of monumental proportions. On one end I’m mourning, absolutely fucking hurt that this huge presence in my life, my occasional reason for being, my family both by blood and by choice…just ceased to be. And yet at the other end, I am so goddamned lucky that the White Stripes ever existed at all…that people even paid attention, that the band was able to make a lucrative career out of their passion, out of art and that I had a side-stage seat to the entirety of their existence.
These are feelings that have never reconciled themselves. I doubt they ever will.
After the completion of a bombastic, career-defining version of “Death Letter”, Jack poignantly says “Son House, thank you for finally letting me come home.” House was a passive participant in this matter, having died in the band’s hometown of Detroit in 1988. But Jack’s comment has seemingly little to do with any physical structure…what he is saying is that Son House (and to a larger extent, blues music in general) provided both he and Meg with an avenue to pursue their artistic vision. In this sense, home is not spoken in the predominant, noun usage of the word to describe where one lives, but rather in a more colloquial, adverbial sense meaning ‘deep, to the heart.’
In short, the blues is home. The blues provides comfort, the blues provides center, the blues provides foundation. It provides a manner to express one’s feelings, both a connection to the past and a path through the future.
Ending the set with Leadbelly’s “Boll Weevil” and the singalong chorus repeating “he’s looking for a home” only further drives this point, well…home. The White Stripes were only able to become THE WHITE STRIPES because of the blues. Able to find their voices, to spread the word in a way that was seeming antithetical to two white kids born in Detroit in the 1970’s. Blues was the language, not chosen, but seemingly divined, to best communicate themselves, to express, to converse, to paint this masterpiece.
In that same way…we are all always looking for a home. For where we belong. Where we can be ourselves. Where we are free to do what we need to do. For a way to be. For a conduit to something bigger.
Upon the completion of the set, with a backdrop of Who-like synth arpeggiations singing out into the night, Jack sincerely says the following…
“I can’t believe how long it has taken us to get here. Thanks for waiting. Thanks for coming. Thanks for buying our records. Thanks for buying a ticket. We love you very much. Thank you. God bless you Son House. God bless you Robert Johnson. Thank you so much.”
I can think of no better epilogue for Jack to punctuate the White Stripes last-ever live performance. Each thought a simple sentence that, upon closer inspection, opens up to a wider meaning…not just spoken to these folks in suburban Memphis on a Tuesday night. Rather, they speak to all their fans across the world. About the journey. About patience. About action. About appreciation. About presence. About gratitude. And ultimately, about the blues. Which is, arguably, all it was ever about.
In the intervening twelve years I’ve had countless conversations with Meg White. And I have never once, not for a moment, even considered asking her what was going through her head that night in Mississippi. To me, she has found her home and that is all that matters.
Our collection of shows from The Allman Brothers Band just got a whole lot sweeter. We’ve added a ton of new shows including performances from 2006, 2008, 2009, and 2014. This era of the Allman Brothers lineup included founding members Gregg Allman, Butch Trucks and Jaimoe along with percussionist Marc Quinones, guitarists Warren Haynes, and bassist Oteil Burbridge.
Most poignantly the lineup featured virtuoso slide guitarists Derek Trucks who is Butch Truck’s nephew. He originally joined with the group when he was a mere teenager. With Derek Trucks’ uncanny ability to reinterperate the late Duane Allman, Gregg Allman’s strong voice and Warren Haynes leading the way, this line up was truly the second coming of one of America’s greatest bands.
The energy of this era was explosive as the band hit a second peak in their career, with purpose, chemistry, and high on studio album releases which featured writing by not only the Allmans but also Oteil, Warren and Derek. Founding members Greg Allman, Butch Trucks and Jaimoe lead the band with their jazz infused classic southern blues. The jaw-dropping solos by Derek Trucks interplay perfectly with Warren Haynes tight rhythm guitar & sharp vocals, while soul-moving bass riffs by Oteil Burbridge create a deep foundation of funk n’ groove.
Greensky Bluegrass’ trio of Red Rocks shows this weekend promise to be some of their biggest performances of the year and we’re thrilled to be webcasting every moment on nugs.tv starting with tomorrow’s show. We’ll also have live coverage of Friday’s opening set featuring The Lil Smokies and Sunday’s Billy Strings performance.
This weekend will be the band’s first multi-night run since their own Camp Greensky festival which took place earlier this summer. If Camp Greensky was any indication, GSGB should have some fun surprises in store for us at Red Rocks. If you’re looking for a primer heading into this weekend’s webcasts, the Camp Greensky shows will be a great place to start.
Taking place in Wellston, MI, Camp Greensky 2019 featured sit-ins with Billy Strings, The Lil Smokies’ Jake Simpson, and tons more. The band also had some fun with the number two. Greensky Bluegrass mandolinist Paul Hoffman told us, “While we strive to make every show unique and special, maybe these ones are more special. We played two ‘two’ songs to celebrate our second year.” The first two-themed cover was Marvin Gaye & Kim Weston’s “It Takes Two” and was followed by Eddie Money’s iconic “Two Tickets To Paradise.”
Check out the Camp Greensky shows below and get ready for this weekend’s webcasts. We’ll see you at Red Rocks!
Like all great live performers in rock history, Bruce Springsteen has been heavily bootlegged on vinyl and CD, and the five live radio broadcasts from the Darkness tour were manna for home tapers and bootleggers alike. Bruce acknowledged as much himself during the July 7, 1978 Roxy broadcast in Los Angeles (the city at the epicenter of the bootleg business) when he declared: “Bootleggers out there in radioland, roll your tapes!”
Those legendary transmissions began to appear on illicit wax the following year, 1979. Live in the Promised Land (Winterland, San Francisco, December 15, 1978) was first, followed by Piece De Resistance, which pressed the Passaic 9/19/78 radio broadcast to six hot sides of vinyl in a box set. Bootleg historians say Piece De Resistance is almost certainly the best-selling Springsteen title of all time, which makes sense given that the show aired in his biggest East Coast markets.
When Live/1975-85 was announced in 1986, many presumed the legendary Passaic broadcast would provide the bulk of the Darkness tour material, but in fact, nothing from the show made the box set. The Roxy and Winterland 12/16/78 proved to be the sources for all 1978 tracks featured on Live/1975-85.
The wait is finally over. Passaic 9/19/78 arrives in its glorious entirety, newly remixed by Jon Altschiler from multi-track, Plangent Processed master tapes. It offers a fresh take on the familiar broadcast version, crackling with energy and putting Bruce and the band so close you might reach out and try to touch the Big Man’s sax. It’s not a first-row seat; it is a first-row seat directly in front of the PA speakers.
Bruce is introduced with an exclamation: “The Boss comes home!” Indeed, this was a homecoming. The three Passaic dates were Springsteen’s first proper concerts in New Jersey since 1976, and the culmination of a NY-NJ Metroplex residency that included a trio of gigs at Madison Square Garden in August (his first-ever headlining the legendary arena) and three shows at the Palladium in the city just prior to Passaic. Following that introduction, it was off to the races.
“Badlands” bursts out of the gate, with more meaty guitars in the mix than we’ve heard before and Max’s drum rolls and trills snapping like someone lit a firecracker strip. Longtime fans will have heard the start of this show hundreds or maybe thousands of times before, but that familiarity coupled with the freshness of the mix makes for a thrilling listening experience. The sense of release “Badlands” delivers has never felt more tangible.
The first set features exemplary versions of core Darkness tracks “Streets of Fire,” “The Promised Land,” “Prove It All Night” with its tension-building instrumental intro, “Racing in the Street,” and the title track. We also get a preview of where Bruce is going next through “Independence Day,” played for only the fourth time in a still-evolving arrangement. The song was recorded for Darkness, and Bruce mentions it should end up on the next album. Another future River track, “Point Blank,” makes a spellbinding appearance in set two.
Along with “Fire” and “Because the Night,” Passaic 9/19/78 features four Springsteen originals that were not released at the time. While we have come to take the live performance history of these songs for granted, Bruce is virtually alone in featuring so much unreleased music in his sets, and the inclusion of songs you can only hear at the shows was part of the magic that defined the live Springsteen legend.
The first set ends with a special and apropos “Meeting Across the River.” It is the live version I’ve heard the most and my all-time favorite performance of the song, sounding moody and marvelous as Bruce spins the tale accompanied by Roy Bittan and Garry Tallent. “Meeting” into “Jungleland” (as they are sequenced on Born to Run) to close the first set is the coup de grâcefor 80 minutes of sheer perfection.
Bruce begins the second set with “one for all the folks in Philadelphia listening in,” “Kitty’s Back.” The resplendent E Street showcase cooks for 13 minutes and has not sounded this crystal clear since Sally left the alley. The same can be said for a stunning “Candy’s Room,” as Steve’s backing vocals soar — you can even pick out Clarence’s baritone voice in the left channel as Bruce sings “what…she…wants…is…me.”
Riches abound as we move through “Because the Night,” “Point Blank,” a long “Not Fade Away” into “She’s the One,” and a sublime, luscious “Backstreets” before the set closes with a pacey “Rosalita.” The encore slows down to mythologize the Shore with “Sandy,” and the moment when Bruce sings, “the boys from the casino dance with their shirts open,” then asks, “is that you out there?” is a charming reminder that Passaic 9/19/78 is indeed one for the locals.
Incredibly, the encore sustains and at times exceeds the energy level of the main set. “Born to Run” is taken at breathless full speed. “Tenth Avenue Freeze-out’ downshifts slightly in tempo, though Bruce remains fully committed to his wide-ranging vocal gymnastics. “Detroit Medley” presents one final opportunity to showcase the band’s chops (tune into the right channel for Stevie Van Zandt’s guitar lick masterclass) in a full-frontal rock ’n’ roll assault.
Because there always has to be one more, a final encore of Eddie Floyd’s soul classic “Raise Your Hand” closes the night, a lyrical reminder that Bruce and the band are there in service of the audience, be they inside the Capitol or listening at home in the markets Springsteen namechecks.
Though he couldn’t have known it at the time, 41 years later, Bruce gives us another chance to experience Passaic in the comfort of our own homes and marvel at the prowess of Bruce Springsteen and the E Street Band playing their hearts out for longtime fans.
We’re partnering with Third Man Records to release live recordings from The Raconteurs, The White Stripes, Jack White, and The Dead Weather on nugs.net. Starting today, you can listen to 12 archive shows from the Third Man Records archives, including a never-before-released recording of The White Stripes. Every show is available to download or stream in the nugs.net app.
Today’s release is only the beginning. Starting in September, the third Thursday of each month is Third Man Thursday featuring brand new releases from the Third Man Records archives. Additionally, we’ll be webcasting every moment of The Raconteurs three-night run at Nashville’s historic Ryman Auditorium free on nugs.tv starting this Thursday.
Starting today, you can listen to O.A.R. on nugs.net. Hop in and check out guitarist/saxophonist Jerry DePizzo’s curated collections. Jerry’s Picks feature the band’s best live moments from 2009 – 2016. It’s the perfect primer to introduce you to O.A.R. Having produced music and toured for over two decades, Of A Revolution has refined their live performance to perfection. There’s something special about taking your high school band and turning it into worldwide mainstream success; that’s exactly what O.A.R. has done. No matter if you’re a day one fan or if it’s your first time listening, these collections are the perfect O.A.R. experience.
Check out all of Jerry’s Picks + three full live shows from their 2014 tour
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.
Less than a month before the release of his physically and sonically mega box set Live/1975-85, Bruce went completely the opposite direction, stripping down to play his first all-acoustic set since 1972 at what would become Neil Young’s annual Bridge School Benefit Concert.
During a guest DJ session on E Street Radio, Nils Lofgren recounted getting a call from Bruce to join him for the Bridge (Lofgren was also on the bill as a solo artist). Along with Danny Federici, the trio worked up and rehearsed the set in a New York City studio in early October 1986. But as Nils tells it, in an anecdote that conveys deep admiration for the confidence and prowess of his bandleader, on show day at Shoreline, Bruce called a major setlist audible. It wouldn’t be enough to merely play acoustic; Springsteen would go one step further and open the show a capella.
Here was the biggest rock star in the world, last seen 12 months earlier wrapping his staggeringly successful Born in the U.S.A. tour in front of 85,000 fans at the LA Coliseum, taking the stage and singing “You Can Look (But You Better Not Touch)” accompanied only by his snapping fingers. Nils described Bruce’s audacious performance as Elvis-like in its physicality, and grainy bootleg video of the show confirms that. What an entrance.
The Bridge ’86 is a special show. The short but oh-so-sweet set reconnected Springsteen with acoustic performance and can be viewed in hindsight as helping spur a decade or more of solo appearances like the Christic concerts and acoustic recordings like The Ghost of Tom Joad that followed.
The line-up for the inaugural Bridge benefit included Bruce, Nils, Don Henley, Robin Williams (who briefly referenced his famous “Elmer Fudd does Bruce Springsteen” bit during his stand-up set that night), Tom Petty, and host Neil Young (who had his own special guests in Crosby, Stills & Nash). Not unlike the M.U.S.E./No Nukes shows, another benefit where some of these same artists shared a bill, “Broocing” throughout the concert made it clear who most of the audience had come to see.
Following “You Can Look,” Bruce delivers an astounding rebuttal to the jingoistic appropriation that surrounded the title track of his last album. “This is a song about the snake that came around and began to eat its tail,” Bruce says introducing his first public airing of the original solo acoustic arrangement of “Born in the U.S.A.” Any misconstruing of or ambiguity as to the song’s meaning is vanquished over the next five minutes in a spellbinding performance. Until the Bridge, one could only speculate as to what “Born in the U.S.A.” would have sounded like on Nebraska. Now we know.
Nils and Danny then take the stage, and we get an exquisitely rare outing for this E Street Trio. What magic they weave. “Seeds” arrives as a companion to “Born in the U.S.A.” Angry and defiant in 1985, the 1986 model of “Seeds” is instead weary and knowing, sounding like a tune from a bygone era. “Darlington County” is next, preceded by a mini-edition of the story that introduced “Open All Night” in 1984 of Bruce getting pulled over on the turnpike. Nils provides charming harmony vocals throughout the show, none better than what he offers here, as “Darlington” takes its time driving down from New York City.
Strumming and singing brightly, Lofgren shines again on “Mansion on the Hill,” as does Federici. Danny first vamps a little “Lady of Spain,” as Bruce gets his guitar ready, then adds rich accordion swells that paint the song an emotionally tinged hue.
“Fire” will be familiar to those who own Video Anthology on VHS or DVD, where the Bridge version was showcased. Before it starts, Danny is again tapped to fill time due to minor technical difficulties, and he drops a dose of Duke Ellington’s “Satin Doll.” Uncannily, Federici used the song in much the same manner in the earliest E Street days circa 1973-74. Though “Fire” is rightly remembered as a Clarence Clemons showcase, the acoustic version, carried by Bruce’s deep vocal, is pure delight, peaking when Lofgren and Springsteen raise their voices way up to sing, “your words they liiiiiie.”
“Dancing in the Dark” rides a particularly passionate lead vocal along with some fine accordion work from Federici in the final third that pushes the Shoreline audience towards rapture. “Glory Days” always had a bit of a campfire singalong vibe underneath it, and that comes through in this charming take that has the swooning audience joining in.
Serving as something of an encore, “Follow That Dream” lends poignancy to the evening as Springsteen dedicates the song to Neil and Pegi Young. In its River tour incarnation (as heard on the London ’81 archive release) “Follow That Dream” is stark and solemn. In 1986, it transforms into an uplifting song of hope, performed less as a mediation and more as an instruction.
For the final song of the set, “Hungry Heart,” the trio is expanded with backing vocals and guitar from special guests David Crosby, Graham Nash, Stephen Stills, and Young, putting a spirited ending on just under an hour of acoustic enchantment.
Bridge School ’86 is a significant moment in the rebirth Springsteen as an acoustic artist. Since that show, Bruce has done two fully acoustic tours and a Broadway run that carried on in the spirit of ’86. Perhaps someday, Bridge School ’86 could still inspire an E Street Trio tour as well.
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.
Ahead of their upcoming tour, TAUK just released their much sought-after TAUKing Beatles set from Resonance Festival 2018. The performance was unlike any Beatles cover set you’ve seen before. It’s a magical show filled with fun jams and a fantastic song selection. We talked to the band about the show, check out the interview before queueing up the show on nugs.net
What was the most challenging part of performing an all Beatles setlist?
Anything TAUK does we want it to be unique and special to who we are as a band. The Beatles’ catalog has such a wide variety of styles and musical approaches it was a little tricky to find songs that we could meld into our own TAUK sound because there’s so much to choose from. Also, the Beatles are well known for their lyrics which presents a challenge as an instrumental band. We decided on songs with strong recognizable melodies so the crowd could sing-a-long and be an active part of the set. However, we found less popular songs like, “Taxman” which allowed us to improvise and keep the audience guessing.
These jams go deep, the listener can immediately tell how vast the improvisation goes on this set. How did you balance maintaining Tauk’s sound with Beatles songs?
That’s easy. We just do what we do and make sure we listen to the songs and each other.
What three words can you use to describe this set?
Which band member does the best British accent?
Charlie does the best Ringo. Please find him and ask him to do it!
Peach Fest 2019 was easily one of our favorite weekends of the summer. The festival was filled with fantastic performances. Don’t worry if you couldn’t tune in for every minute of the show, we’ve got you covered with a full list of on-demand shows from this weekend. Subscribe to nugs.net to take performances from Peach Fest 2019 and over 15,000 live shows with you wherever you go.
Peach Festival kicks off tomorrow in Scranton, Pennsylvania and live performances from the festival’s Peach Stage will be streamed for free on nugs.tv. The webcasts start tomorrow at 3 PM ET and will continue all weekend through Sunday night.
The String Cheese Incident kicked off their 2019 Red Rocks run in style with the help of Cory Wong. After his opening performance, Wong and several members of his band joined SCI for “Freedom Jazz Dance” during the first set. Following set break, Cheese returned to the stage with Cory Wong and co. Together they performed a rousing take on “I Wish,” which you can watch below.
Cory Wong: Full Performance
Set I Opener: Little Hands
Set II Opener: I Wish
The second night at Red Rocks was filled with tributes, anniversaries, and Keller Williams. Celebrating the 20th anniversary of their collaborative album “Breath,” Keller and Cheese played the album front to back. The special set was an absolute delight. During the third set, a horns section known as Horns Bruceby joined during “Jellyfish” and stayed for the remainder of the set. Later, the band paid tribute to the 50th anniversary of Apollo 11 by playing space-themed jams including tracks from Close Encounters, Star Wars, Star Trek, and more.
Set I Opener: Stupid Questions
Set II Opener: Love Is All Around
Set III Opener: All We Got
Sunday opened with a special set featuring bluegrass legend Del McCoury, celebrating his 80th birthday. After Cheese took the stage, the band took time to bring Del up and sang “Happy Birthday” with the packed crowd. After the celebration, Del and members of his band stayed on stage for several tunes. The second set opener featured a specially choreographed dance from Denver’s own Celtic Steps, River Dancers that accompanied “Rivertrance.”
Set I Opener: Chatter
Set II Opener: Rivertrance (with Denver’s own Celtic Steps, River Dancing)
You’re in for a treat this week if you loved the first collection of Dopapod shows that we added to the nugs.net catalog earlier this year. Over 100 new shows are now available to purchase or stream with a subscription. Listening to a Dopapod show is unlike anything else and with over 100 shows, there’s plenty to choose from. We talked to Dopapod Keyboardist Eli Winderman to find out about a couple of the band’s favorite shows from the new collection.
2/23/2013- Blockley Pourhouse, Philadelphia PA
“Ah, the good old Blockley Pourhouse. We loved playing this now-defunct Philly music venue. I think it’s where we had some of our best shows leading up to this time. I grew up outside of Philly so we always had a bit of a connection to the city. This particular show was added last minute after playing two nights in a row. In between the last song and the encore they asked if we wanted to announce a surprise 3rd night and we agreed. What transpired was basically a one-song set.”
“I listened back to a lot of our shows while preparing for the bands return and this show really stuck out to me. It was the last show of a very grueling and never-ending tour and in my opinion, I think this may be the most “dialed in” we’ve sounded. But that is all up to everyone’s own opinion of course. Coincidentally, it was the same date as our recent Capitol Theatre return show.”
“This was actually the first set back after Fro’s hiatus from the band from 2013-2016. We had a blast putting together a Pink Floyd set and we really tried to make it unique. I’m proud of the different arrangement ideas we came up with for these classic songs. We even brought in an Arp Omni string synth to replicate the sounds on “Welcome to the Machine”.”
“This show was really fun for a few reasons. I believe it was a Sunday show and we had Adrian Tramontano from Kung Fu/The Breakfast join us on percussion (which is always a treat). We did some fun variations on songs including a reggae version of “Nerds”. Then at the end of the set we switched instruments for a long and fun improv jam. I’m pretty sure Mike Gantzer from Aqueous joined at one point, although my memory is a bit fuzzy and I could have just completely imagined that.”
“This is the infamous rain set. We got completely rained on. Like monumentally drenched and just kept playing. There was no cover over the stage and as the rain started we just said F*** it and kept going. It will always be one of my favorite memories of this band’s journey.”
We’re celebrating festival season by looking back at some of our favorite festival performances including Dead & Company at LOCKN’, Red Hot Chili Peppers at Lollapalooza Paris, Pearl Jam at Voodoo Fest, Widespread Panic at Bonnaroo, and more from your favorite artists.
It’s always a treat to catch Dead & Company on the road, but this festival appearance was extra special. The Show opens with an incredible “Playin’ in the Band” that is later reprised with a tease during “Loser.” The band returned from set-break with a new addition, Branford Marsalis on Saxophone. Marsalis stuck around for the entire second set adding some wonderfully smooth flair to the set.
One of The Allman Brothers Band’s final shows, this one is filled with stellar covers and guests. The show opens with a great cover of The Spencer Davis Group’s “Don’t Want You No More.” After “Midnight Rider” the band covered “Done Somebody Wrong” by Elmore James. Later, Taj Mahal joined for a cover of “Statesboro Blues” by Blind Willie McTell immediately followed by Ron Holloway joining for “Soulshine.” After that number, the band played Willie Cobbs “You don’t Love Me.” The final cover of the night was “Good Morning, School Girl” with guests Gábor Presser & Chris Karlic. After the Sonny Boy Williamson’s cover, Peter Levin joined the band for “Don’t Keep Me Wonderin’” and “In Memory of Elizabeth Reed.”
The opening “Walk on the Flood” form this Jazz Fest 2008 show is a great gem for Panic fans. Phish fans will love this Panic show featuring Page McConnell on “Love Tractor” and “Fixin’ to Die.” Wild Magnolias also join for a rousing take on “Drums” > ”Big Chief.”
This Billy Strings show is filled with some mesmerizing covers. The first cover of the show is a great take on “Southern Flavor,” by Bill Monroe and the Bluegrass Boys which was immediately followed by the Jerry Garcia & David Grisman song “Dreadful Wind and Rain.” Cory Walker joined for a lengthy cover of The String Cheese Incident’s “Black Clouds.” Next, the band covered “10 Degrees & Getting Colder” by Gordon Lightfoot before closing out the show with “Turmoil & Tinfoil.”
Greensky Bluegrass’ Camp Greensky returned to Wellston, Michigan last month for its second year. The band was in peak performance all weekend as the headlined each night of the three-day festival. To commemorate the festival’s second year, Greensky debuted a duo of “two” themed covers. The first was Marvin Gaye & Kim Weston’s “It Takes Two” and was followed by Eddie Money’s iconic “Two Tickets To Paradise.”
Summer’s over for Dead & Company. The band wrapped up their 2019 Summer Tour last weekend in Boulder Colorado. Both nights were incredible. The first night in Boulder was a battle against the elements as the first set was quickly cut short by a rain delay. After roughly an hour, the band returned to the stage and played the full show with no interruption. It was breathtaking. After a full summer of shows, the band continues to surprise with incredible versions of the songs we love. As the tour came to a close, each member of the band got a chance to shine with some fantastic solos spaced throughout both shows.
Dead & Company’s Summer Tour is over, but the magic doesn’t need to stop. We’ve got audio from every night of the tour. The discounted box set includes every jam, every debut, every solo, and so much more. With 19 full shows, you’ll have plenty of content to keep you jamming until Dead & Co.’s next scheduled stop: Playin’ in the Sand 2020 at Rivera Cancun in Mexico.
Coming off their incredible Electric Forest performances, we were excited to see what The String Cheese Incident had planned for their next shows in the south. The incidents in Louisville and Atlanta were fantastic follow ups. Their Independence Day show in Louisville was filled with a pair of patriotic covers including James Brown’s “Living In America” and Bruce Springsteen’s “Born In The U.S.A.”
Ronda Thomas joined the band for three songs during the bands second night in Atlanta. The vocalist first joined midway into the first set for “Valerie.” Thomas returned during the second set for a tribute to Col. Bruce Hampton with a cover of “Yield Not to Temptation.” To close out the night, The String Cheese Incident invited Thomas back on stage for a performance of “I Wish” as the lone encore.
The end of one era and the beginning of another, the newest archival release from Metallica reaches all the way back to January 1st, 2000. Being the band’s first show of the new millennium, this release is a must-listen for longtime fans. Highlights from this show include “Whiskey in the Jar,” “Mastertarium,” and the closing “Phantom Lord.”
Umphrey’s McGee’s summer dates are in full swing now as the band tours all over the country. UM kicked off their July shows with performances on the west coast. Playing at High Sierra this weekend, the band welcomed Skerik to close out their set. The saxophonist joined for a thrilling cover of David Bowie’s “Lets Dance.” The band later returned for a festival encore that included “The Triple Wide,” “Hajimemashite,” and “1348.”
One of the most thrilling times to be a sports fan is when your team is in the midst of a winning streak. They occur in all sports, but in baseball and especially basketball, winning streaks are irresistible because of the unique way they place team chemistry, a “never give up” mentality, and moments of individual brilliance against a backdrop of ever-rising stakes. Who doesn’t want to tune in to see if your team can push their streak to 17, 21, or 33 in a row?
It could be argued that the entire live performance history of Bruce Springsteen and the E Street Band is one long winning streak. That acknowledged, and with the benefit of hindsight and live recordings, fan consensus has coalesced around notable E Street streaks: the last two weeks of the 1977 tour with the Miami Horns; the late-’84 stretch of the Born in the U.S.A. tour.; and the final U.S. leg of Magic 2008 to name but a few.
The River tour boasts a few of its own streaks, and without question, Thanksgiving to New Year’s Eve 1980 is among the best of them. A staggering run of shows throughout the Northeast culminated in a three-night stand at the Nassau Coliseum on Long Island. With his first chart-topping album and a Top Five single (“Hungry Heart”) in hand, Bruce and the band closed out 1980 more popular than ever.
Shows that wrapped that leg of the tour offered an intoxicating mix of musician-athletes performing at their peak, newfound confidence drawn from a long-awaited commercial breakthrough, and a continued hunger to prove it all night.
Supporting a double album of new material, that hunger was manifest in the increasing duration of the concerts and the stunning number of songs performed. In fact, until records were broken in 2012, the late-’80 River shows were the longest of Bruce’s career. Other shows and tours have their own distinct qualities, but if you are talking about a run of epic Springsteen concerts, the Thanksgiving-New Year’s ’80 streak is the reference point.
Nassau Coliseum 12/29/80 and its sister show 12/31/80 (reissued in a newly remixed and remastered edition) each stretch to 35 or more songs and live up to the legend of Bruce’s four-hour concerts by running close to that (counting the between-sets intermission). There may be other eras where the band played this well, but there is no period where they played better.
Both stunning performances are packed with delicious rarities along with some of the strongest versions of core material ever caught on multi-tracks. With a bounty of more than 70 songs between the two shows, there’s too much good stuff to cover, but here are ten things to listen for as you relive these magical nights.
1.Springsteen debuted his brilliant take on Creedence Clearwater Revival’s “Who’ll Stop the Rain” three shows earlier at Madison Square Garden. It has endured as one of the band’s finest covers, popping up a few times on tours ever since. The versions performed on 12/29 and 12/31 are musically rich and heartfelt, pointing to the musical direction Bruce would explore six months hence on the band’s first proper tour of Europe.
2. Having just read Joe Klein’s biography of Woody Guthrie, Bruce covers “This Land Is Your Land” for the first time during the three-show Nassau stand, calling it an “angry song…an answer to Irving Berlin’s ‘God Bless America’.” With the possible exception of a one-off performance of Bob Dylan’s “Chimes of Freedom” in 1978, it is the first protest song Springsteen performed in concert with the E Street Band and signals the start of his public turn toward social and political commentary.
3. The paternal pairing of “Factory” and “Independence Day” on 12/29 is not only an evocative stretch of storytelling, but could pass for a dramatic monologue at a Broadway theater.
4. One of the signature sequences of early River tour shows is Roy Bittan’s mini-suite of “The River” into “Badlands.” 1980 performances of “The River” start with an original piano prelude (echoed by Danny Federici) before Bruce’s plaintive harmonica wail starts the song formally. Shortly after “The River” ends, Bittan starts into his interpretation of Ennio Morricone’s theme from the Sergio Leone film Once Upon A Time In The West. As Bittan plays the moving piano refrain, electric guitar chords start to chime in, building energy that crescendos when the intro gives way to an explosive “Badlands.” Magnificent.
5. The River tour is the height of Stevie Van Zandt’s role as backing vocalist, at times reaching the point of co-lead vocals. He’s a marvel at these shows on expected songs like “Two Hearts” and “Prove It All Night,” but listen for him in more unexpected places like the chorus of “Thunder Road” for signs of just how into it he is at Nassau.
6. Bruce’s spirited vocal on “For You” is full of fresh intonations distinct from other renditions.
7. The earnest story that leads into “Stolen Car” on 12/29 might melt your heart; the moving performance itself will have you reaching for a tissue or three.
8. The gorgeous, stripped-down arrangement of “The Price You Pay” on 12/31 starts solo. The band joins softly in the second verse, and we’re treated to the alternate third verse found in the single-disc version of The River included in The Ties That Bind box set. As good as it gets.
9. While we’ve heard the incredible version of “Incident on 57th Street” from 12/29 before (it was released as the b-side to “War” from Live 1975/85), hearing it in context of the show is so much sweeter. “This is a song we haven’t done in a real long time,” says Bruce, as he tests out the chords on his guitar. “No, it ain’t ‘Kitty’s Back.’ I hope I remember all the words….” Roy tinkles out the first few notes, the crowd swoons in recognition of the song, Max comes with his drum intro, and the lead guitar sends us soaring. If that wasn’t enough, after nearly ten majestic minutes, it rolls straight into “Rosalita” as it does on The Wild, the Innocent & the E Street Shuffle.
10. You want rarities? We got rarities. Beyond the aforementioned, the Nassau shows feature “Rendezvous,” the first-ever version of the “Hungry Heart” b-side “Held Up Without a Gun,” sublime seasonal nuggets “Merry Christmas Baby” and “Santa Claus Is Coming to Town,” plus Happy New Year covers of “In the Midnight Hour” and “Auld Lang Syne.” All that, plus 15 of the 20 songs on The River, including the under-played “Fade Away,” “Wreck on the Highway” and “The Price You Pay.”
A Final Note: Jon Altschiller’s new mix and mastering on 12/31/80 moves the listener from the 40th row to the first, proximity that reveals incredible new detail and musical power.
After electing to Plangent Process 12/29/80 for release, it was clear that 12/31/80 also deserved a Plangent-transferred new mix and mastering to match, as the version released in 2015 was not up to the same standards. While the Plangent Processed and remixed version of 12/31/80 is being sold as a standalone release, anyone who bought the original can access the new upgraded audio for free via the “My Stash” section of the nugs.net app, which provides streaming access to all shows purchased as downloads or CDs (no subscription required). Previous buyers of New Years Eve ’80 can log in with the account credentials they used to buy the show the first time.
Dead & Company has been all over the country this week. The band’s been truckin’ along to Bristow, Charlotte, Atlanta, and Dallas since June 26th. The highlight of the Bristow show came at the halfway point when the band closed out the first set with a killer version of “Throwing Stones.” John Mayer’s solo on the song is incredible. Two night’s later Charlotte got one of our favorite setlist arrangements of the tour featuring “Truckin’,” “Cassidy,” and a fantastic “Estimated Prophet” that led into “Eyes of the World” The next night saw the band heading down to Georgia for a night in Atlanta. The show featured a breathtakingly beautiful version of “Standing on the Moon.” Last night Dead & Company headed deep into the heart of Dallas, Texas. A couple of Texas-themed songs made their way into the setlist with “El Paso” and “Deep Elem Blues,” a reference to the famous Dallas neighborhood. The highlight of the night came near the end of the first set with a show-stealing version of “Sugaree” that is already becoming a fan-favorite.
Listen to every show from Dead & Company’s summer tour on nugs.net
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:
We’re deep into Dead & Company’s summer tour and so far it’s been a treat to experience. Since The Hollywood Bowl we’ve seen some incredible setlist variations, a handful of new debuts, and the return of “Spanish Jam”! After playing in the heart of Los Angeles, the band ventured off the grid for two nights at one of America’s most scenic venues: The Gorge Amphitheatre. The first night featured a touching tribute to Jerry Garcia and the recently passed Dr. John. Night one at The Gorge also included the Dead & Company debut of “It Must Have Been Roses.”
Following a weekend stop in Noblesville, Indiana, Dead & Co. headed to Chicago for two nights at the legendary Wrigley Field. It was a rainy weekend in the windy city, but a little precipitation couldn’t keep the band down. The energy at Wrigley was incredible and it bled into the performance. Wrigley night one featured the fantastic debut of “To Lay Me Down.” The next night featured the welcomed return of “Spanish Jam,” entering the setlist for the first time since 2017. Three days later, Dead & Co. once again dipped into their archives, this time playing “In The Midnight Hour” at the Saratoga Performing Arts Center. This was the first time the band had played the Wilson Pickett cover in three years.
Since playing Saratoga, Dead & Company has been all over the Northeast. Last week, the band played Camden, New Jersey; Foxborough, Massachusetts; and New York, New York. Last night’s show at Citi Field in New York featured the return of another Grateful Dead classic, but it wasn’t a song. The special guest on this show was Wolf, the famous Guitar owned and used by Jerry Garcia dating back to 1973. John Mayer played last night’s show with Wolf and the performance was breathtaking. Dead & Company will be back on stage Wednesday, June 25th in Bristow, Virginia.
Listen to every show from Dead & Company’s summer tour on nugs.net
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
The nugs.net Live Stash is moving from the satellite to the cloud. Previously airing on Sirius XM’s Jam On channel as the Weekly Live Stash, the new nugs.net Live Stash is now available to more people than ever. The podcast, hosted by Brad Serling, will be home to the best live recordings from the last week and an occasional trip into the archives. The first episode is available now featuring music from Dead & Company, Phish, Metallica, and tons more. Keep an eye out for new episodes of the nugs.net Live Stash each week!
Part of what draws us to Springsteen concerts is the range of emotions they deliver over the course of a single evening. Songs of hardship and heartbreak intermix with those of liberation, love, and celebration. But on occasion, the mood leans strongly in one direction. Playing the third of three stadium shows on the eve of his 63rd birthday, and following a 120-minute weather delay, Bruce was of a mind to surprise and delight his hometown fans and set the energy dial to HIGH.
When attempting to describe the E Street Band in peak tour form, as we find them here, it can be difficult to resist cliches. East Rutherford 2012 evokes “well-oiled machine,” the attributes of which are fitting: smooth, powerful, polished, built to last. Jon Altschiller’s vibrant mix spotlights their outstanding playing and grabs the listener right out of the gate, an apt choice of words, as if there were a track announcer at MetLife she would surely be shouting, “They’re off and running.”
East Rutherford 2012 opens with ten straight, dare I say, bangers, ignoring any “it’s a marathon, not a sprint” advice in an effort to rouse fans who had been waiting patiently for hours.
The proceedings commence with the open invitation of “Out in the Street,” and the band-fan partnership is further reinforced via “The Ties That Bind” before a horns-accented “Cynthia” makes clear Stevie had a hand in this appetizing 34-song setlist. Bruce calls the Born in the U.S.A. outtake a Van Zandt favorite and a little bit of “E Street from the Underground Garage,” in reference to his pal’s Sirius XM radio show and channel. Lots of rockers + lots of rarities = Stevie’s unmistakable influence.
Turns out we’re just getting started. From there, “Badlands” into a fine “Who’ll Stop the Rain,” followed by guitar-crunching versions of “Cover Me” and “Downbound Train,” and the new-album three-pack: “We Take Care of Our Own,” “Wrecking Ball,” and “Death to My Hometown.” With that, the ten-track onslaught relents, and we catch our breath during a moving “My City of Ruins.”
The pace of the show picks back up with “It’s Hard to Be a Saint in the City,” still packing plenty of heat and preceded by an abridged version of Bruce’s Columbia Records audition story. A double shot with guest Gary U.S. Bonds (in fine voice) is another special treat, and the spirit of ‘81 is in full effect for a duet on “Jolé Blon” and a Bonds lead vocal on “This Little Girl.” The latter, a Springsteen-penned solo hit for Bonds, is performed for surprisingly only the fourth time ever with the E Street Band, which played on the original sessions.
After a Seeger Sessions-inspired “Pay Me My Money Down” come more rarities. As other live download releases have shown, “Janey, Don’t You Lose Heart” is a surprisingly tricky song to nail; this is a good one, riding an excellent Springsteen vocal. After “Janey,” Bruce realizes the clock has struck midnight, which means it is now officially his birthday. He asks the crowd for his song, and a stadium full of fans sings “Happy Birthday” back to him. Then, reaching all the way back to 12/31/80 without a soundcheck safety net, Springsteen summons up Wilson Pickett’s “In the Midnight Hour,” and damn if they don’t nail it. Sure, any self-respected horn section would know those parts by heart, but one can still marvel that an audible unplayed for more than 30 years can come off so strong.
The spiritual highlight of the night is the first and only Wrecking Ball tour performance of “Into the Fire” from The Rising. With MetLife mere miles from Ground Zero, the vividly detailed lyrics resonate deeply, and the richly layered arrangement, led by Springsteen’s tender, heartfelt vocals, reminds us this is one of his modern classics.
The third reel of this epic New Jersey tale continues apace, with “Because the Night” and “She’s the One” doing heavy lifting, “Working on the Highway” keeping things loose, and “Shackled and Drawn” making sure we’re grounded, too. The denouement arrives in the precious pairing of “Meeting Across the River” and “Jungleland” for the first time on the tour. With the stage bathed in indigo light, Curt Ramm’s bold trumpet refrain and Roy Bittan’s understated piano intertwine achingly, and Bruce’s vocal is on point: rich, measured, and world-weary. The passion surges to crescendo in the ensuing “Jungleland,” and like a dramatic stage revival, the Jersey street opera remains arresting.
“Thunder Road” provides release, “Rocky Ground” solemnity, and then party mode takes over. The rest of a lively encore romps through “Born to Run,” “Glory Days, “Seven Nights to Rock,” and “Dancing in the Dark” before we get to our final memorable moment.
“The boss of bosses has just come on stage,” Bruce says by way of introducing his mother Adele. Along with his in-laws the Scialfas and other family friends, she has come out to deliver a cake and sing a proper “Happy Birthday.” The birthday party ends the only way it could, with “Twist and Shout.”
“Thanks for a memorable birthday,” Bruce tells the crowd as he walks off stage. “My mother is for rent for $2.50 an hour for parties and Bar Mitzvahs.” A pretty good joke for two in the morning, and a funny, fitting end to one of the most electrifying shows on the Wrecking Ball tour.
Dead & Company Summer Tour 2019 is here and what a week it’s been! We’ve gotten powerful performances of our favorite songs, a debut of the Grateful Dead’s “High Time”, and so many more special moments from week one. As always we captured every moment in our live webcasts. Before you tune in tomorrow for Dead & Company live at The Gorge, watch some of our favorite moments from the last week’s California shows below:
Order Upcoming Dead & Company Webcasts
Catch every moment from this summer’s tour including the first four shows when your purchase the Unlimited Devotion Pass on nugs.tv! Select the 19 Show package when ordering the webcast and you’ll get access to every Dead & Co. show of the summer.
We’re just 7 days away from the Dead & Company Summer Tour kickoff. The tour starts next Friday at the Shoreline Amphitheatre in Mountain View, California. To celebrate the start of tour we’re looking back at Dead & Company’s last outing. This January, the band journeyed to Mexico for their Playing in the Sand three day musical experience. These shows took place at the beachfront paradise of Riviera Maya and the experience can only be described as magical. Take a look at our videos from Playing in the Sand 2019 below:
Wilco’s collection of high-quality live recordings is now available on nugs.net. Dubbed the Roadcases, these shows are the best way to experience Wilco’s live performances anytime, anywhere. Subscribers can stream 65+ live Wilco performances recorded over the last 7 years right in the nugs.net app. Each show is professionally mastered so fans new and old will feel like they’re grooving in the front row. Check out highlights from the Wilco Roadcases below:
Roadcase 001: Red Rocks Amphitheatre, Morrison, CO 6/23/2012
It’s been 15 years since Umphrey’s McGee released their best selling album Anchor Drops. The 2004 album has long been a fan favorite and songs from the 14 track record have become an integral part of the band’s live repertoire nearly every time Umphrey’s McGee takes the stage. To celebrate the album’s 15th anniversary, the band just released Anchor Drops Redux. The new release includes both a remastered version of the original record and a completely remixed version from the original master tapes.
You can download Anchor Drops Redux today on nugs.net or stream it directly in the nugs.net app.
In celebration of the album’s release, Umphrey’s McGee is producing a weekly track by track deep dive into the history of Anchor Drops on YouTube. You can watch the first episode, covering “Plunger,” below:
You can also listen to over 350 live recordings of “Plunger” on nugs.net including this particularly awesome version from Umphrey’s McGee’s 2007 stop in Truckee, California.
We’re just 14 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. This show comes from the Dead & Co. two night stop at Alpine Valley Music Theatre in East Troy, Wisconsin. During the first set, the band welcomed their first guest of the tour, Bon Iver’s Justin Vernon. The Wisconsin native sat in for the back half of the second set which included “Black Muddy River,” “Friend of the Devil,” and “Bird Song.” Vernon previously recorded a studio version of “Black Muddy River” with his old band DeYarmond Edison and Bruce Hornsby for The National’s 2016 “Day of the Dead” charity compilation.
The first set kicked off with “The Music Never Stopped” which was followed by “Easy Answers” and “Alabama Getaway.” Listen to the full set I opener below:
The band returned for their second set with their version of The Band classic “The Weight.” The entire second set was filled with highlight performances from an extended “Shakedown Street” to a superb version of Bob Dylan’s “Along Along the Watchtower.” Watch the set II opener below:
We’re just 21 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. Today we’re revisiting the Dead & Co. stop at The Gorge on June 29th, 2018. With sweeping views of the Columbia river, this show had a breathtaking backdrop to accompany an evening full of beautiful jams.
The first set got off to a great start with “Mississippi Half-Step Uptown Toodeloo,” which led into powerful versions of “Bertha” and “Tennessee Jed.” The next song was the Dead & Co. debut of “Mr. Charlie.” The early ’70s tune highlighted Jeff Chimenti on keyboard and John Mayer’s vocals and guitar. You can watch the entire “Mississippi Half-Step Uptown Toodeloo” below:
The second set opened with a joyously extended version of “Playin in the Band,” that was later reprised to close out the set. This version was another great example of Dead & Co. wading the classic song into the exploratory. Check out our full video of the “Playin in the Band” set opener below:
The 11-night stand at the Meadowlands Arena to kick off the 1992 U.S. tour was a bold statement of intent. It’s surely intentional that it was one show more than the famed ten-show run at the same venue in 1984, the difference being that this time Bruce was coming home with new friends, not familiar ones. Touring for the first time without the E Street Band and playing in front of what are arguably his most diehard fans is a daunting proposition. But with opening night jitters out of the way, the second show on July 25, 1992 offers a hungry, highly entertaining performance that plays to the new lineup’s gospel-meets-roots-rock strengths.
Right from the top, Bruce is wholly committed and in stellar voice, his rich timbre leading the strong show-opening trio of “Better Days,” “Local Hero” (complete with local landmark namechecks to show his Garden State cred remained intact), and “Lucky Town.”
As I wrote in the notes for the 1993 release at the same venue, Bruce’s new musical collaborators “wouldn’t have looked out of place on stage with [Bob] Dylan circa 1978-81,” and that particular Dylan-era frame of reference applies to the music, too, as the approach to both new and old material was to make it more soulful while still rock ’n’ roll. The playing of the core band (Shane Fontayne on guitar, Tommy Sims on bass, and Zack Alford on drums) with a full European tour already under their belts is punchy and tight, while the background singers add gospel gravitas to the proceedings–an appealing combination.
Even on familiar material, these off-E Street versions don’t sound quite as “different” 27 years on, in a good way. The opening set features a first-rate “Darkness on the Edge of Town,” an eloquent reading of “The River” with a long, heart-heavy harmonica outro, and an inspired tour debut for “Open All Night.”
Aimed squarely at this turnpike audience, “Open All Night” starts solo and builds to full band in a manner that may suggest what the unreleased “Electric Nebraska” version sounded like ten years prior. Better still, in the middle of the song, Bruce tells an updated version of the yarn he spun on the Born in the U.S.A. tour, noting the closure of his beloved Howard Johnson’s and a reunion with the waitress at Bob’s Big Boy who reminds him her restaurant is still “open all night.” Good fun.
The first set wraps with four key tracks from the new albums, wrapped around a deeply personal “My Hometown,” introduced with an earnest story about parenting and dedicated from one relatively new dad to all the “moms and pops.” A dynamic performance of “Living Proof” again shows the song to be Bruce’s most powerful from the era. “Leap of Faith” is endearing and infectious thanks in large part to the singers, while the Sam and Dave-style vocal duet with Bobby King on “Man’s Job” raises it from catchy ditty to heartfelt homage. A feature-length “Roll of the Dice” wraps a spirited and undeniably entertaining first act.
After the break, the rarely performed “All or Nothin’ at All” proves a fine set opener and gets the energy of the show right back on track. It’s the one song from Human Touch that sounds like it could be a Born in the U.S.A. outtake, a spiritual cousin to the likes of “I’m Goin’ Down.” The crowd enjoys it too, singing along in full voice when tasked to do so. Having been played in concert fewer than a dozen times, its inclusion here is a welcome opportunity for fresh appreciation.
What follows is another rarity and one of the highlights of the tour, “Ninety-Nine and a Half (Won’t Do),” inexplicably performed only this night (and at a private tour warm-up in June, suggesting it may have been considered for a regular feature in the set at that point). The gospel tune has been covered by everyone from Wilson Pickett to Creedence Clearwater Revival, but Springsteen’s version casts him as a humorous preacher questioning the commitment of men in relationships, while King, Carolyn Dennis, Angel Rogers and the rest of the background vocalists sing like they’re wearing choir robes. The result is amusing, cleverly arranged, and another lost gem rediscovered by the download series.
On the whole, the 7/25/92 performance has aged well, but there are a couple of exceptions. “Real Man” is another rarity, performed on 7/25 for the very last time in concert. Bruce himself admits, “This next song I almost threw off the album because I thought it was too corny, but what can say? It’s how I feel.” Corny we accept, especially from a man in love. More difficult to ignore is the synthesizer that could not sound more dated, though in the end, “Real Man” is interesting if only for the sheer novelty factor of it in the overall canon.
Three recent classics return us to regularly scheduled programming: a spot-on “Cover Me” with fine fretwork from Fontayne, and two Patti Scialfa features, “Brilliant Disguise” and “Tougher Than the Rest,” the latter derailed slightly by those pesky period synths, though Bruce sings all three superbly.
The show’s denouement comes with the pairing of “Souls of the Departed” into “Born in the U.S.A.” “Souls” begins in desert darkness, with news reports of bombs over Baghdad riding desolate guitar strains a la U2’s “Bullet the Blue Sky.” It is a sharp-edged, commanding performance that moves through flourishes of “The Star-Spangled Banner” a la Hendrix into “Born in the U.S.A.” to slam home the point Bruce made so clearly on last month’s release: “War. What is it good for? Absolutely nothing.”
The show wraps with a run of crowd pleasers–”Light of Day,” “Glory Days,” “Working on the Highway,” “Bobby Jean,” “Hungry Heart”–and the tour’s gorgeous, stripped-down “Thunder Road,” before “Born to Run” and Bruce’s best-ever coda,“My Beautiful Reward,” send us out on a high, hopeful note.
Because of the new band, 1992-93 always carries an asterisk in Bruce’s live history, like a strike-shortened baseball season. But as was the case in the major leagues, they still played the games and the games still counted, especially to Springsteen himself. One can feel his commitment in this performance, joyfully trying to win over the Jersey crowd and largely succeeding.
We’re just 28 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. June 15th’s performance at New York’s Citi Field, home of the Mets, was one of the most popular stops of the 2018 tour. The entire show was filled with unique jams.
The show opens with a nearly 14 minute version of “Shakedown Street.” The extended jam showcases some of John Mayer’s stellar guitar work. You can watch to the entire opening performance of “Shakedown Street” right now on our YouTube channel:
This show really heats up in the second half. The second set got off to a jazzy start that led into John Coltrane’s “A Love Supreme” as the opening tune. Following the opener, Mayer got another chance to flex his guitar expertise on an extended guitar solo on “The Other One.” The set continued it’s journey into the exploratory with an extended performance of “Estimated Prophet.” You can watch all three jams below:
It’s that magical time of the year where the musical community comes together in Louisiana to perform and collaborate at the New Orleans Jazz & Heritage Festival. Weekend one was filled with amazing performances and collaborations; now it’s time for more. Starting Wednesday May 1st you can watch live shows from venues all over New Orleans exclusively on nugs.tv!
It all kicks off on Wednesday at 9:30 PM CT with Foundation of Funk live at The Fillmore. Starting at 9:45 PM CT we’ll be webcasting Billy Strings with special guest Cedric Burnside at Tipitina’s. Whether you’re in the mood for funk or bluegrass, you’re in luck Wednesday.
Expect plenty of very special guests on Thursday when Ivan Neville takes the stage at Le Petit Theatre. This show will be a journey through his musical history in words, songs, sounds, and stories told through the performance. Galactic are back home at Tipitina’s on Saturday night and if last weekend’s performance told us anything it’s that you’re not going to want to miss this show. The rest of our slate is filled with funk. Dumpstaphunk will be joined by the stellar blues guitarist Marcus King on Sunday night.
Shop Our Jazz Fest Sale!
We’re celebrating the 50th anniversary of Jazz Fest with a 50% off sale on select New Orleans shows from artists like Widespread Panic, Pearl Jam, Dave Matthews Band, Dead & Company, and more. Visit the Jazz Fest collection to see all 50 shows on sale!
We’re just 35 days away from the Dead & Company Summer Tour kickoff! To prepare for the tour, we’re looking back at the best moments from last year’s run! Last July Dead & Co. played two spectacular nights at Folsom Field in Boulder, CO to close out the tour. These shows were a perfect cap on a great summer of music, especially the final night. The performance was magical, the crowd was fantastic, and the setlist was packed full of awesome jams.
The band opened the show with a hypnotizing version of “China Cat Sunflower.” The performance is a must watch. The crowd was having the time of their life while Dead & Co. was in peak jam mode. Watch the full set one opener:
Dead & Company returned for their final set of the 2018 Summer Tour with an absolutely mesmerizing “Scarlet Begonias” set opener that led into “Franklin’s Tower” and a breathtaking “Fire On The Mountain”. At the end of the night the band came back for two encores performing “Uncle John’s Band” and “Ripple” to the close out the tour. Watch the full set two opener:
It’s hard to believe it’s been a month since we hosted the first ever concert webcast from the Egyptian Pyramids with the Red Hot Chili Peppers. This show was a massive undertaking start to finish and the end result was spectacular. Over 3.6 million people tuned in to watch the Chili Peppers make history in front of last wonder of the ancient world. Beyond the massive production and historic setting, the best part of the show was simply how much fun it was. Start to finish, the energy was incredible. You could immediately tell this was a special show, one that would live on forever. The beauty of a webcast is that fans all over the world got to enjoy this legendary show in all its glory from the comfort of their couch. It didn’t matter where you were sitting, we were all at the Pyramids. One thing is for sure, we’ll be asking people “Where were you when the Chili Peppers played the Pyramids?” for a long time.
To take a look back, here are a couple of our favorite photos from the trip:
Creating a stage design worthy of standing with the Pyramids is a tall order, but they delivered that and more
It takes some big-time satellite power to beam a show to 3.6 million screens
It all comes together for the big show
Bonus picture of the show’s setlist
Check out over 270 live Red Hot Chili Peppers shows on nugs.net!
It’s that magical time of the year where the musical community comes together in Louisiana to perform and collaborate at the New Orleans Jazz & Heritage Festival. This year Jazz Fest is celebrating its 50th anniversary and we’re expecting an incredible two weeks of live music. You can watch live shows from Tipitina’s, The Fillmore, and Mardi Gras Word!
It wouldn’t be Jazz Fest without some all-star collaborations, and this year is no exception. The fun starts tonight when Anders Osborne hosts an album release show with help from Dave Malone from the Radiators and Amy Helm!
On Friday, Karl Denson’s Tiny Universe will be joined by NOLA stars Naughty Professor. We’ll also have an electrifying webcast with TAUK starting at 10:45 PM CT. The late show Friday will be a special treat with a Jazz Fest exclusive performance from The M&M’s! The supergroup is comprised of legends John Medeski, Stanton Moore, Papa Mali, and Robert Mercurio. When these four get together you know you’re in for something special.
On Friday and Saturday we’ll be hosting very special webcasts with Joe Russo’s Almost Dead. The net proceeds from these webcasts will go to Second Harvest Food Band feeding South Louisiana! Enjoy some fantastic jams and support a great cause.
Saturday night, tune in to see Roosevelt Collier join Galactic at Tipitina’s. As the new owners of Tipitina’s, you can bet Galactic have a fantastic show in mind. After Galactic, stay tuned for an awesome late night performance from The Disco Biscuits!
Sunday is all about The Subdudes. They’ll be joined by Andrew Duhon at Tipitina’s Sunday night. There’s no better way to end a weekend than unwinding on the couch and watching a Sunday night concert.
Shop Our Jazz Fest Sale!
We’re celebrating the 50th anniversary of Jazz Fest with a 50% off sale on select New Orleans shows from artists like Widespread Panic, Pearl Jam, Dave Matthews Band, Dead & Company, and more. Visit the Jazz Fest collection to see all 50 shows on sale!
This weekend the musical world came together for the 15th annual SweetWater 420 Fest in Atlanta, Georgia and it was one to remember. Friday, Saturday, and Sunday were jam-packed with amazing performances from some of our favorite artists like Widespread Panic, Billy Strings, The Avett Brothers, Turkuaz, and more! April 20th may have come and gone, but these shows will live on for a long time.
Billy Strings Mesmerizes the Crowd
The festival kicked off Friday with a full day of incredible performances, including this show from Billy Strings. The psychedelic infused bluegrass that defines Billy Strings was the perfect match for the 420 Fest atmosphere. Featured in the set is a dreamy cover of The Grateful Dead’s “China Doll” and a nice “Playin’ in the Band” tease after “And Your Bird Can Sing.”
BIG Something was a crowd favorite this weekend. They hit the stage Saturday afternoon and took the audience on a musical journey. To cap off the show, they brought down the house with a fantastic cover Black Sabbath’s “Sweet Leaf.” Start to finish, this is a 420 Fest must-listen.
Jason Isbell joins Widespread Panic to Cover ZZ Top
Panic fans were in for a special treat Sunday evening when Jason Isbell sat in for a mesmerizing Easter Sunday cover of “Jesus Just Left Chicago.” Sunday’s performance hits its climax with an incredible “Bowlegged Woman,” followed by “Night” and a three song encore.
We’re just 42 days away from the Dead & Company Summer Tour kickoff! 42 is of course famous for being baseball legend Jackie Robinson’s jersey number. It’s only fitting then that we revisit Dead & Company’s 2018 stop at LA’s Dodger Stadium, the team Robinson called home.
The band opened the show with “Playin’ in the Band”, a first-time opener for the summer tour. The unique take on the Grateful Dead classic slowly unfolded over 11 captivating minutes. Check out this cut from our webcast of “Playin’ in the Band” in its entirety below:
Dead & Company returned for their second set at a packed Dodger Stadium with a fantastic “Sugar Magnolia.” Check out our video of the jam below:
The 15th annual SweetWater 420 Fest kicks off tomorrow in Atlanta, Georgia! Expect three jam-packed days filled with mesmerizing performances from Widespread Panic, Joe Russo’s Almost Dead, Keller Williams, Big Something, Pigeons Playing Ping Pong, and more!
Can’t make it to Atlanta? No problem, you can watch the free live stream from the festival on nugs.tv. The first show starts @ 1 PM PT. Full schedule below.
We’re celebrating 420 with a huge sale on select MP3 downloads from Dead & Company, Umphrey’s McGee, Greensky Bluegrass, plus Widespread Panic, Billy Strings, Keller Williams, and other artists performing at this weekend’s SweetWater 420 Fest. All shows are only $4.20. Sale starts Friday and ends Sunday at 11:59 PM PT. SHOP THE SALE >
20 epic shows from Dave Matthews Band’s ‘Live Trax’ series are now available to download and stream. These historic live show compilations were named after the Trax Nightclub where the band found their sound and got their groove, playing over a hundred shows in their early touring years. DMB has been releasing the coveted Live Trax series since 2004. Now we’re making them available to stream for the first time ever! You can hop onto the nugs.net app and listen to classic Dave Matthews Band shows spanning over the course of fifteen years. From a small New York City nightclub in 1993 to the St. Louis Cardinals’ Busch Stadium in 2008, this collection has everything. Be on the lookout for even more DMB Live Trax releases on nugs.net soon!
DMB Live Trax Vol. 2: Golden Gate Park – 9/12/2004
The show took place in the Polo Fields of Golden Gate Park and was a benefit concert for Bay Area Charities. From the moment the band hit the stage, the concert immediately became one of the highlights of Dave Matthews Band’s career. Carlos Santana sits in as a special guest for several songs, including the recently written Sugar Will. The 3 disc set also features two additional previously unreleased songs, Joyride and Hello Again.
DMB Live Trax Vol. 6: Fenway Park – 7/7 & 7/8 2006
Memories of the Dave Matthews Band shows in Fenway Park are certain to burn bright for a long while in the minds of the fortunate fans that were in attendence. Dave Matthews Band was on the top of its game in the historic ballpark performing back-to-back nights of shows exploding with energy. Additional highlights of the 7.7 Fenway Park show include the Bartender jam and the high-energy Ants Marching closer. An awesome Don’t Drink the Water, old favorite Dancing Nancies and the crowd-pleasing show ender, Two Step are some of the favorites from the 7.8 Fenway Park show.
DMB Live Trax Vol. 18: GTE Virginia Beach Amphitheater – 6/4/1996
This concert was DMB’s first show in the States after their European tour. Dave notes how the band is still taking in “this thing that’s been going on with us”, referring to the success achieved with the release of Crash. Highlights of the 96 show include Too Much, followed by never-before-released in the Live Trax series, “Deed Is Done” into So Much To Say. Carter’s intro to #36 is also noteworthy. The VA Beach home state show has long been a summer tradition.
Dave Matthews Band performed at Vivo Rio in Rio de Janeiro, Brazil on September 30, 2008 in front of many South American fans seeing the band live for the first time. The audience in Brazil was ecstatic which comes through in the recording and DMB really plays up to their exuberance. Highlights include Carlos Malta on the wood fife in Say Goodbye, his influence bringing a distinct flavor and Brazilian sound. Burning Down the House followed by an arresting Two Step are also noteworthy as is an emotional The Stone. The synergy between the band members is evident throughout the show. Other songs of the note on the Rio release are the show-opener, Bartender as well as Grey Street which makes its first official live release performed by the new formation of band members.