Just in time for the New Years runs that are kicking off around the country, Ryan Stasik of Umphrey’s McGee and his team (consisting of Jody Litvack, Adam Feiner, and Matt and Danielle Hungerford) have officially launched their own fantasy setlist app. The app, Jamble, combines the mechanics of fantasy football with the shows of some of our favorite artists and is sure to create a perfect storm for passionate fans to celebrate jam bands, show off their band knowledge, and maybe indulge in a little pre-show competitive smack talk.Currently allowing players to craft their setlists for the upcoming NYE runs for Phish, Umphrey’s McGee, the String Cheese Incident, the Disco Biscuits, and STS9, the app lets players select their song choices for a given show while being provided stats about previous setlists and song probabilities. Once drafted, players can compete in private leagues against friends or in open leagues against other users, with users being ranked on leaderboards as shows go live.You can check out the app for yourself here, and start meticulously crafting your own fantasy setlists for the next few nights after creating a profile of your own.
Though Bob Dylan is perhaps most closely associated with Greenwich Village in New York, NY, the freewheelin’ Nobel Laureate spent a great deal of time at his very own townhouse in Harlem as well. He ultimately sold the four-story property in 2000, cashing it in for $560,000 at the time. Seventeen years later, the owners placed the townhouse back on the market, with an asking price of $3,689,000.Situated at 265 W 139th St., the reason for the price increase is likely due to the overall gentrification of Harlem, as well as many renovations made within the interior of the townhouse. Nevertheless, the building once bore witness to the creative genius that is Bob Dylan, and for that reason alone it’s attracting a certain level of panache.You can check out the listing on 6sqft if you want to know more about Dylan’s former home, complete with the title “139th Street revisited” to punny effect. The outside of the townhouse is pictured below.[Photo and story via Gothamist]
Last night, the unstoppable live music force that is Joe Russo’s Almost Dead took their victory lap in New York City, completing their 6-night sold-out residency at Brooklyn Bowl, the outfit’s de facto “home floor.” The band’s Saturday evening performance was also the their third of three performances with bassist Oteil Burbridge (Dead & Company, Allman Brothers) subbing in for Dave Dreiwitz, who is in Chicago with Ween for their three-night St. Paddy’s weekend run. Despite playing with an unfamiliar lineup, Joe Russo’s Almost Dead delivered impeccable shows on Thursday and Friday night, and final night of the run proved to be just as powerful.In the wake of the news that the legendary Chuck Berry had passed away at the age of 90 earlier in the day, the band opened with a take on Berry’s “Promised Land” to an eruption of applause. You can watch the band’s show-opening tribute to the late icon below via the band’s Facebook page, thanks to nugs.tv:The momentum stayed high as the crowd sang along with a celebratory “Golden Road,” which eventually made its way into “Hell In A Bucket.” The packed house “enjoyed the ride” as the band pushed the tune into exploratory jam space before bleeding into “Here Comes Sunshine.” The sunny-feeling favorite off the Dead’s ’73 album Wake of the Flood marked the beginning of an incredible set-closing run that proved to be a highlight of the performance.After working through the song’s structure, the band found their way into a slow, jazzy improv space, before subtle notes of a familiar (though un-“Dead”) tune began to bubble to the surface. The band had teased “Jessica” the previous night before during a beautiful “Eyes of the World,” and as the distinctive opening chords and drum fill for the Allman Brothers Band‘s instrumental “In Memory of Elizabeth Reed” reverberated, everyone in attendance braced themselves: Would this be another Allmans jam or tease? Or were they gonna dive headfirst into the classic composition? Those questions were answered as the song’s iconic guitar riff rang out, the opening notes barely audible over the elated cheers from the crowd. You can watch footage of the band’s amazing rendition of “Elizabeth Reed” below, courtesy of YouTube user LazyLightning55a:“Liz Reed” eventually segued back into the previous tune, providing a “Here Comes Sunshine Reprise” (featuring an electrifying “Duo Jam” by Marco Benevento and Joe Russo) to round out a must-hear jam sandwich. Finally, solid renditions of “Ruben & Cherise” and “Viola Lee Blues” (featuring a pronounced “China Cat Sunflower” tease) with help from tenor saxophonist Stuart Bogie rounded out the evening’s first set.As they are known to do, the band returned to the stage for set two with a loose, spacey intro jam, prompting guesses as to what song was coming. When the band finally landed on the opening notes of “Casey Jones,” the crowd exploded with excitement. “Casey Jones” served as another must-hear highlight from the performance, as the band steadily picked up steam, barreling down the tracks at high speed for what became a truly memorable rendition of the Grateful Dead hit. Oteil led the way for this stellar “Casey” jam, laying down a sparse, funky groove that served as a launching pad for some excellent call-and-response riffing by Benevento and guitarist Scott Metzger. You can watch the set-opening Casey Jones below via the band’s Facebook page, thanks to nugs.tv:A pretty run through “Jack A Roe” with Tom Hamilton on vocals followed, before Stuart Bogie once again joined the band onstage for a run through “Dancing In The Streets,” one of many tunes from the Grateful Dead’s arsenal that has taken on new life in the JRAD setting. The “Dancing” jam featured a number of expertly-inserted teases, including Dolly Parton’s “9 to 5,” Michael Jackson’s “Don’t Stop Til You Get Enough,” and Huey Lewis % The News’ “I Want A New Drug.”“Franklin’s Tower” came next, giving the crowd a chance to joyously sing along before the band dove into a “Let It Grow” “suite” that would comprise most of the remainder of set two. First, a creative “Let It Grow Jam” established the song’s theme, before the band dove into a jam on Led Zeppelin‘s “That’s The Way,” marking the band’s first-ever performance of the tune. “That’s The Way” found its way back to “Let It Grow,” which gave Russo and company a chance to showcase their mastery of the material. The band brought the tempo–and the volume–down as low as they could and built it back up to epic heights for the song’s “I am” refrain, in addition to teasing The Band‘s “Chest Fever.” Next, they embarked on a jam on the Talking Heads‘ “Girlfriend Is Better,” another JRAD debut, before again returning to “Let It Grow” to round out a fantastic segment. Finally, a soaring “I Know You Rider” brought the set to a close.Before the encore, promoter and Brooklyn Bowl owner Pete Shapiro came onstage to thank the crowd and longtime Bowl manager Sean Aiken who is leaving his longtime position. As Shapiro mentioned, Aiken has run Brooklyn Bowl from the beginning of the Joe Russo’s Almost Dead era, and helped facilitate the growth of the band’s now-storied history at the Brooklyn venue.After thanking Aiken, the band returned to the stage for a classic Dead encore pairing. First, Hamilton led the them through a tenderly beautiful “Brokedown Palace,” as you could hear pins drop in the packed-out room. Finally, all of the band members abandoned their instruments and headed front-and-center for an a cappella “We Bid You Goodnight.” As they reached the song’s final measures, the audience-sung “goodnight!”s morphed into emphatic “Oteil!” chants, to the visible delight of the band. Joe Russo’s Almost Dead performances are always incredible, but these three shows with Oteil were something special, and the audience an band alike were fully aware of the magic that went down this weekend at Brooklyn Bowl.Joe Russo’s Almost Dead is heading to the 2nd annual Fool’s Paradise on March 31st and April 1st in sunny St. Augustine, FL, with special guest keyboardist Jeff Chimenti. Oteil Burbridge will also be on site as an Artist-at-Large, prompting fans to wonder if perhaps there is a “Joe Russo’s Almost Dead & Company” collaboration in the cards. The Grateful Dead enthusiasts will join hosts Lettuce and bands like The Floozies, The Motet, and The Main Squeeze. More information can be found here. Load remaining images
Load remaining images Robert Randolph & The Family Band are currently touring on the heels of their 2017 release Got Soul (read the full album review here), embarking on the spring portion of their tour last night at The Roxy in Las Angeles, CA. If ever there was a time when we needed a jolt of uplifting, transcendent music, it is definitely now. Robert Randolph & The Family Band have mixed a joyous gospel sound with a rock aesthetic to deliver a strong set of fresh material, urging listeners to use their soul and be the change.At The Roxy, Raquel Rodriguez opened the night, then Robert Randolph was joined by special guests Craig Robinson (The Office, Hot Tub Time Machine) on vocals for “Use Me” and Theo Katzman (Vulfpeck) on guitar and vocals for “Have A Talk With God.” The band posted a live video clip of “Travelin Cheeba,” which you can view below, and a few Instagram clips: Photographer Brandon Weil was on site to capture the glory, which you can enjoy in the gallery below.
On May 26th, 1926, one of the most iconic musicians of all time came into the world: Miles Davis. Born to black middle-class parents, Davis would grow from boyhood into an adult through some of the nation’s hardest times, and his music would help an exhausted post-war country regain its hope. Miles Davis’s innovations caused seismic shifts in the music world, as trends like Bebop, Cool, Hard Bop, Blue, and Fusion sprung from his need to seek something beyond what he heard around him. Davis regularly went beyond his own boundaries, fearlessly looking for the next wave. Sadly, a closer look at his life reveals he was likely searching for anything he could control in the midst of a runaway life.Davis wasn’t one for bending his notes, keeping vibrato to a minimum for most of his career. His playing was so captivating because it was so honest. You were seeing directly into him. The rawness, the energy masterfully restrained into short, staccato flights of fancy held the jazz community’s attention for decades.Miles Davis started playing live during World War II, when he was still in high school. Though he would himself inspire many devoted fans, he idolized Charlie Parker, and in the fall of 1944, he finally managed a jam session with him and the some of the founding fathers of the Bebop movement. The uptempo attitude, sunny sky songs caused a national stir, and many stars were minted. Not one to rest on helping create an entire wave of musical style, he soon went on to help bring around the birth of cool jazz. The cool jazz sound was an experiment to make the music a voice its own, with an emphasis on the organic and flowing rhythms, even in the solos.Davis went abroad in the early ’50s. While he had faced institutional racism in America, he found himself a well regarded genius and was treated accordingly in France. He had a love affair with the country itself, which ended tragically when he returned to New York and fell into a heroin addiction. The legend goes that he locked himself away for protracted periods, going through a painful and prolonged withdrawal. It’s either amazing or tragic that he continued to perform through all of this. Losing his voice after the strain of an operation, he gained a raspy tone, that coupled with his haunting playing created an other-worldly air about him. In his musical journeys around the world, he fell in love with modal forms of song structure, basing lengthy music passages around long sustained notes and tones, and expanded his free flow solos into entirely improvised pieces, taking the entire band along for the ride.Miles Davis was a rare player in all accounts. A musician’s musician who also also held the public’s attention. Though the critical acclaim he felt he deserved was lauded on contemporaries, the players who took the stage with him is a parade of names etched into the walls of jazz History. The aforementioned Charlie Parker, John Coltrane, Gil Evans, Herbie Hancock, Wayne Shorter, Thelonius Monk, Sonny Rollins, Art Taylor, Julian “Cannonball” Adderley, Bill Evans, Bennie Maupin, John McLaughlin to name just a few. He was as proficient at recruiting existing greats as discovering diamonds in the rough. His playing didn’t just elevate those around them, it inspired them to play beyond themselves.In 1959, Miles Davis released the highest selling jazz album of all time, Kind Of Blue, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley filling out his band. Employing his adapted modal techniques, the compositions were roughly outlined, and each player given a range of tone and scale that they were free to solo within. His choice in musicians was an inspired one, as each lived up to the trust placed in them. The five songs that comprised the two sides of the album, “So What”, “Freddie Freeloader”, “Blue In Green”, “All Blues”, and “Flamenco Sketches” were something of a culmination of all that Davis had dabbled in up to this point, and the freshness of the sound, the adeptness of the instrumentalists and the plain honesty of the voice caused the album to transcend considerations of race, taste and social standing. It was art, and it was for everyone. In 2009, Congress made possibly the most unneeded, though completely deserved, declaration, proclaiming the album a national treasure.“So What”[Video: MilesDavisVEVO]As the 60s led to an explosion of psychedelia and funk in a response to a national unrest over continuing racial tensions and the long running war in Vietnam, Davis found his attention wandering yet again. He formed a blended band of acoustic and instruments, and led a funk oriented group that produced challenging, dense funk with compositions overflowing with jamming tangents and free form soul. He played rock festivals and found a ready made audience, eager for something to stretch the boundaries that had defined bands like Parliament–Funkadelic and Sly & The Family Stone. His work of this period became known as “Space Music”, a label he did not fight. He, as always, used his music to express his emotion, and again, like always, left a feeling of fury and abandon echoing in the minds of his listeners long after the last notes were played.As the seventies wore on, he honed his fusion of rock and jazz, releasing albums like Dark Magus, Agharta, and Pangaea, which broke loose from the confines of the studio. With compositions both rock and jazz, the trio served as almost a musical Rosetta Stone, a secret code to an all new language that Davis was conceiving on the fly. Challenged audiences were divided, with some instantly swept away in the sonic maelstrom, while others found the aggressive variances of tone and breakneck pace shifts occasionally bordering on atonal to be more than they could handle. Though his music was breaking bonds, his mind was being slowly locked down, as he faced a deteriorating mental state and a devolution into near hermitage when not onstage.His work in the eighties took a turn for the more superficial, as his own years of ravaged living had taken their toll. His newer material did not satisfy new audiences, though, a true iconoclast to the end, he refused repeated, reportedly huge offers to re-embrace his older catalog. He remained true to his belief that, as an artist, he should always be exploring, even if his steps led him down a path no one was willing to follow him on.Miles Davis’s relevance superseded genre. He wrote a songbook that stands up to anyone who ever lived, and played his instrument with an eloquence rare beyond value. He was posthumously inducted into the Rock And Roll Hall Of Fame, and for his influence of the very language of improvisational music, it was an honor well deserved. The list of musicians who would readily tell you how much of an influence Miles’ sound has had on them is likely longer than the amount of words in every column and blurb posted on this site today.The sad tales of addiction and the mental difficulties he went through in fighting them are oft and far better told than I could muster here. He was a world wide phenomenon. He was an ambassador of sound, telling tales of anger and anguish, hope and joy with a voice so unique that there was no mistaking it. While it would be overstating that any fan of improvisational music further explored by bands like the Grateful Dead, the Allman Brothers, and Phish should delve into the works of Miles Davis, it is surely true that the music they love was influenced by the work of the man.To celebrate this great man’s life, sit back and let the music of the following video, “Around The Midnight,” wash over you. You’ll be glad you did.“Around The Midnight”[Video: Quindicipercento]
[Photo courtesy of Karl Denson’s Tiny Universe’s Facebook page] Shakedown Street On Thursday, Karl Denson’s Tiny Universe took to San Rafael, California, performing at Phil Lesh’s iconic venue, Terrapin Crossroads, kicking off a West Coast run, which saw the funk ensemble hit Crystal Bay, Nevada last night and will see them perform at the Oregon County Fair in Veneta, Oregon, today. For their performance at the Grate Room in Terrapin Crossroads on Thursday, Karl Denson’s Tiny Universe was joined by none other than the Grateful Dead bassist himself, Mr. Phil Lesh. Lesh sat in for two classic Grateful Dead numbers—”Viola Lee Blues” and “Shakedown Street”—in addition to a cover of the Rolling Stones’ “Live With Me” during the performance.Phil Lesh, Robert Randolph, Karl Denson, & More Open Weekend At The Cap With The Preservation Hall Jazz Band [Videos]The collaboration was not completely out of left field for Denson and his group. When Karl Denson’s Tiny Universe performed at Terrapin Crossroads in September of last year, Phil Lesh similarly sat in for the group’s rendition of “Shakedown Street.” Additionally, Denson and Lesh have a regular history of performing with one another, with the multi-instrumentalist who leads the Tiny Universe most recently performing with Phil Lesh & Friends during the ensemble’s two-night Capitol Theatre run at the end of May in addition to Robert Randolph, Jackie Greene, Neal Casal, Ross James, Jason Crosby, Tony Leone, Alex Koford, and the Preservation Hall Jazz Band.Phil & Friends Close The Cap Run With Memorable Show Dedicated To Gregg Allman [Videos]You can watch clips from Phil Lesh’s collaboration with Karl Denson’s Tiny Universe below, which were posted to the group’s Facebook page earlier in the week.Viola Lee Blues
Whether traveling to gigs on horseback or by tour bus, San Francisco-based Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The band has made a name for themselves with tireless touring over the years–from sold-out headlining slots at The Fillmore, to performances at festivals like Hardly Strictly Bluegrass Festival and their own Comatopia, to countless other dates across America, Canada, and Australia.The Brothers Comatose Surprise Mall Shoppers By Performing In An Elevator [Watch]In addition to their live exploits, The Brothers Comatose’s three full-length albums to date (Songs From The Stoop, Respect The Van, and City Painted Gold) have all received considerable critical acclaim. However, in hopes of shaking up the traditional album cycle, the band has decided to take an unorthodox approach to releasing their latest batch of songs, recording and releasing them as they are completed in the form of an ongoing series, beginning with the premiere of “Don’t Make Me Get Up And Go,” available below today exclusively via Live For Live Music:You can watch the official music video for The Brothers Comatose’s new track, “Don’t Make Me Get Up And Go,” below:You can also listen to audio of the new track below via the band’s SoundCloud page: As lead singer Ben Morrison explains, “‘Don’t Make Me Get Up And Go’ is the first track in a new song series we’re releasing throughout the rest of the year and the beginning of 2018. We decided to disrupt the typical album cycle and do it our own way. We booked the studio in chunks, where we record a few songs at a time, mix and master them, and we’ll release each song one by one leading up to all the tracks being available as a full-length album in spring 2018. We figured it would be way more fun to start releasing tracks as they are finished rather than waiting for a full album to be complete. It’s more interesting for us that way.’Channeling harmony vanguards The Beach Boys, “Don’t Make Me Get Up And Go” is a nod to the delicate dance between two friends and trusting fate to either bring them romantically together or not. With lyrics written by the band’s tour manager Joe Pacini, lead singer Ben Morrison lends his crooning baritone to the fast-paced, feel good song. Continues Morrison, “This track is about the romantic fate of two potential lovers after a long evening spent together. ‘Don’t Make Me Get Up and Go’ was recorded with indie-rock legend John Vanderslice holding the production reins, and was recorded fairly quickly as we were trying to capture the raw energy of a live performance with the high sound quality of vintage analog tape gear.”“Going into the studio with Vanderslice was all about capturing the moment on analog tape,” says Ben. “We set out to record in a way we’ve never previously attempted. We did it live with all of us playing in the same room as if we were performing on stage. Vanderslice really understood the sonic landscape we were going for. He’s really a super producer, being a musician who has cut a lot of records of his own and produced albums by many great artists.”The release of “Don’t Make Me Get Up And Go” and the announcement of their unorthodox new release schedule comes as the band prepares for their showcase at their upcoming AMERICANAFEST 2017 showcase and their fall “Campfire Caravan” tour with Mipso and The Lil Smokies. With each band quickly rising the ranks, “Campfire Caravan” honors the musicians’ early days playing music, when they’d perform for friends and family in basements, living rooms, and around campfires. “Campfire Caravan” celebrates the American tradition of gathering communities around music.You can see a full list of upcoming dates on The Brothers Comatose’s Fall 2017 “Campfire Caravan” tour dates with Mipso and The Lil Smokies below. For more information, or to purchase tickets, head to The Brothers Comatose’s website.“Campfire Caravan” Fall 2017 Tour Dates:Wednesday, September 13 — Nashville, TN — The High Watt @ AMERICANAFEST 2017Tuesday, September 26 — Billings, MT — Pub StationWednesday, September 27 — Bozeman, MT — Emerson Center for Arts & CultureThursday, September 28 — Missoula, MT — Wilma TheaterFriday, September 29 — Portland, OR — McMenamin’s Crystal BallroomSaturday, September 30 — Seattle, WA — NeumosSunday, October 1 — Eugene, OR — Hi-Fi Music HallTuesday, October 3 — Sacramento, CA — Harlow’sWednesday, October 4 — Paso Robles, CA — Barrelhouse Brewing CoThursday, October 5 — Los Angeles, CA — Bootleg TheaterFriday, October 6 — Great American Music Hall — San Francisco, CASaturday, October 7 — Great American Music Hall — San Francisco, CATuesday, October 10 — Boise, ID — NeuroluxWednesday, October 11 — Salt Lake City, UT — The Urban LoungeThursday, October 12 — Denver, CO — Ogden TheatreFriday, October 13 — Colorado Springs, CO — Ivywild SchoolSaturday, October 14 — Ft. Collins, CO — Aggie TheaterThursday, November 2 — Minneapolis, MN — Cedar Cultural CenterFriday, November 3 — Madison, WI — High Noon SaloonSaturday, November 4 — Chicago, IL — Lincoln HallSunday, November 5 — Detroit, MI — Otus SupplyTuesday, November 7 — Pittsburgh, PA — James Street BallroomThursday, November 9 — Boston, MA — The SinclairFriday, November 10 — New York, NY — Bowery BallroomSaturday, November 11 — Ardmore, PA — Ardmore Music HallSunday, November 12 — Washington, DC — 9:30 ClubTuesday, November 14 — Charlotte, NC — Neighborhood TheatreWednesday, November 15 — Nashville, TN — The Mercury LoungeThursday, November 16 — Atlanta, GA — Terminal WestFriday, November 17 — Raleigh, NC — Lincoln TheatreSaturday, November 18 — Asheville, NC — The Orange Peel
The 90’s pop group Hanson, composed of brothers Isaac (guitar, vocals), Taylor (piano, vocals), and Zac (percussion, vocals), is best known for their classic 1997 hit “MMMBop”. However, the group’s mainstream popularity waned after their debut album Middle of Nowhere, more or less leaving them as a nostalgic relic of 90’s boy bands—for most people, that is. In the years since their debut, the band of brothers has kept busy, maintaining a rabid fanbase through consistent touring and releases, starting a record label and music festival, and even developing their own line of beer (obviously called “MMMHops”). ‘2017 marks Hanson’s 25th anniversary as a band and 20th anniversary since their debut release and breakout hit. Earlier this month, the band made an appearance on NPR’s Tiny Desk to celebrate their quarter-century as a band, and the group blew many of us out of the water. While the iconic “MMMBop” did not make an appearance on their Tiny Desk setlist, the three Hansons laid out an incredible performance featuring songs they’ve written since being pre-teen pop sensations.Like with “MMMBop”, Hanson still offers their characteristically tight harmonies of yesteryear, though their songwriting has predictably matured since the song was released when they were 16 (Isaac), 14 (Taylor), and 11 (Zac). With their inherent pop sensibilities front and center, the three tunes the group played—”Thinking ‘Bout Somethin’”, “This Time Around”, and new single “I Was Born”—are feel-good and catchy while still showing off their developed musicality. You can take a listen to Hanson’s Tiny Desk Concert below, courtesy of NPR Music. ‘
Today, Gov’t Mule has announced a thirteen-date fall tour, which spans from October 18th to November 2nd. In addition to more traditional headlining shows, the band also used the announcement to detail their annual Mule-O-Ween show, which will take place at Atlanta’s Tabernacle on October 27th.Gov’t Mule’s fall tour kicks off on October 18th at Knoxville’s The Mill & Mine. From there, the band will detour through Augusta, Georgia, stopping in on the 19th, before heading to Boca Raton, Florida, on the 20th. Following a two-night stand at Birmingham, Alabama’s Lyric Theatre on October 23rd and 24th, the band heads to Chattanooga on the 25th and Jackson, Mississippi, on the 26th.As for Warren Haynes and company’s highly anticipated Mule-O-Ween show at Atlanta’s Tabernacle on October 27th, little is known about the shows. However, the artwork for the band’s Halloween performances hint at a reference to Black Sabbath‘s iconic 1970 release, Paranoid. Following Mule-O-Ween, the band will roll through Pittsburgh on October 30th and Fort Wayne, Indiana, on Halloween proper. Gov’t Mule will round out their fall tour with a three-night spring spanning November 1st through 3rd, with stops in Madison, Grand Rapids, and Cleveland.Pre-sale tickets for Gov’t Mule’s upcoming fall tour go on sale Wednesday, August 22nd, at 12 p.m. (ET). General-public tickets go on-sale on Friday, August 24th, at 10 a.m. (local).
It’s been two weeks since LOCKN’ Music Festival took over Arrington, Virginia, and the content continues to roll out. While pro-shot video of Foundations of Funk, Lettuce‘s JGB set, and all the collaborations continue to come across our screens, the festival has also released a new podcast episode. In the first episode of The Relix Audio Hour‘s collaboration with Eric Krasno, the “Conversations with Kraz” series, the Soulive and Lettuce guitarist invites Dead & Company‘s John Mayer to discuss their crafts.Taking place at the festival, the two guitarists bounced the conversation off of their surroundings, musing at the history that inspired the festival as well as their own art forms. As Relix summarizes,Mayer, who was onsite to play four sets with Dead & Company (along with a couple guest spots), and Krasno, who shared the stage with Mayer on Saturday as the two sat in during Krasno former band Lettuce’s late-night Jerry Garcia Band tribute, begin their sprawling discussion on the topic of songwriting, with both covering their differing approaches to the craft throughout their careers. The conversation then shifts, apropos to their LOCKN’ surroundings, to the guitarists’ appreciation and discovery of the music of the Grateful Dead, along with their love of musicians like Jimi Hendrix and Stevie Ray Vaughan (and lamenting the lack of guitar heroes who made it past 40). The duo also jokes throughout about various guitar minutiae, including how Mayer self-deprecatingly describes some of his onstage work:“That’s what I call practicing on stage: You play a lick that you almost landed, then you just start taking stage time to basically try to nail a skateboard trick. It’s the guitar equivalent! Then you listen back to it, and you’re like, ‘Oh, no!’”You can listen to this episode, and check out the rest of The Relix Audio Hour, hosted by Jesse Lauter, and with previous episodes with Don Was and David Fricke, on Apple, Spotify, Stitcher, and Google Play.©Josh Timmermans | Noble Visions