Tuesday, January 31, 2017

The Heavy Pets & Brothers Gow 1.19.17

Goodfoot Lounge
Portland, OR

Words & Photos By Mitch Melheim

It was a soggy night in Portland, the first after an unusual week of snow and below-freezing temperatures. San Diego’s Brothers Gow made their return to the city’s beloved Goodfoot Lounge along with Florida jam veterans The Heavy Pets who were making their Portland debut.

Brothers Gow fought off some vehicle troubles to make the show in time, unfortunately leaving their lighting designer Matt Collier behind with their stranded van in Olympia as the rest of the band drove a rented mini-van to the show. It’s rare that a band this size travels with a full-time lighting designer, but they take their presentation very seriously, something immediately apparent even without Collier’s lights as the band broke into choreographed dance moves at multiple times throughout their set.

The Gow sound comes with a lot of Umphrey’s McGee “improg” influence, but also contains rich elements of Reggae and Funk among other genres. Guitarists Kyle Merrill and Ethan Wade each provide an impressive ability to play lead, also sharing the vocals with keyboardist Alex Bastine whose nonchalant playing provides a solid foundation for the band to build upon.

The set jumped back and forth from groovy, to a dance party, to the in-your-face shredding you would expect from the Umphrey’s influenced jammers. Frequent use of the vocoder both by Merrill and Bastine proved to be effective and was used as tastefully as you can use a vocoder. The band invited local guitar hero Jimmy Russell of Quick & Easy Boys fame up for a set-closing cover of Peter Gabriel’s “Sledgehammer” that emerged as one of the highlights of the night.

Florida quintet The Heavy Pets closed out the night and quickly acquainted themselves with the local crowd. Another band with two guitarists who can play the hell out of their instruments, this time Jeff Lloyd and Mike Garulli. The Pets pack a strong punch, but typically choose to display a more groove-oriented approach to their music.

Keyboardist Jim Wuest seems to be the most glaring personality in the band, sometimes providing lead vocals, but always blessing us with funny faces as he wails away on his organ. The band’s sound can change drastically depending on if Wuest is playing his organ or the keyboard he sets on top of it.

The Pets built a nice set, not giving away any surprises too early and building to a climactic finish that had those still left in the bar after 1:00 AM demanding one more song, which they got. I was glad to finally get the opportunity to see this band who has been a festival mainstay in the Southeast for years, seemingly adopting the Spirit of Suwannee Music Park as their home base. Teaming up with west coast up-and-comers Brothers Gow for this west coast tour was a good choice and seems to have at least won them over some fans in Portland.



Monday, January 30, 2017

Railroad Earth & Jon Stickley Trio 1.22.17 (Photos)

Saturday, January 28, 2017

Jazz Is Phish, Talking Dreads, Sisters of Soul & Atomga 1.21.17 (Photos)

Friday, January 27, 2017

Railroad Earth 1.21.17 (Photos)

Thursday, January 26, 2017

Umphrey's McGee 1.13 - 1.15.17

The Tabernacle
Atlanta, Georgia

Words By Julie Hutchins (Tipping Point Designs)
Photos By Coleman Schwartz Media

It is no surprise, post show Umphrey’s McGee discussion groups are debating whether Atlanta’s 3-Night Tabernacle homestay trumps the recent NYE run. The unique setlists, song bust-outs, and high energy certainly made this weekend a contender for my all time favorite shows. The Tabernacle has been a humble abode to Midwesterners, Umphrey’s McGee 18 times. UM is no stranger in taking souls straight to church through passage of the fiery depths of hell.

Friday, January 13:

The Tabernacle always provides a stellar viewing experience. The floor can get hot and wild, but the upper balconies offer an open vantage point to see the band playing from all angles. When I arrived, I walked up to a two-block long line. The minor delay sent our crew to the top of the balcony, as a funky “Bad Friday” reigned in the droves of Umphreaks.

Never miss a full moon Friday the 13th Umphrey’s McGee show. A first set “Morning Song” happily soared into a staggeringly massive “FF.” The reggae song structure was abandoned for a dark and dissonant Arabian jam. As the improv dropped off, ascending chords subtly lead into a glorious and unexpected “Last Man Swerving.” “LMS” had not been played in 175 shows and was the perfect uplifting instrumental breather before darkness prevailed. A reoccurring ATL favorite, “2X2” is a beast of breakdowns and punchy rock chords. However tonight, the band ventured off into a twangy western stew. Then, no warning or hesitation at all, “Wizard Burial Ground” melted the loud speakers. Guitarists Brendan Bayliss’ and Jake Cinninger’s double bass and Pantera-esque harmonies made me grit my teeth and flare my nostrils with rage. Head banging and mean-mugging Umphreaks shook the entire cathedral. The metal trend continued with a terrifyingly slow and dark, but rare “Sludge & Death.” I’ve seen UM over 40 times and I was extremely pleased with the unique song variety and thematic rage elements of the first set.

A massive “DBK” > “Sociable Jimmy” > “DBK” sandwich set the second set off to a groovy start. First cover tune of the night, Mark Knopfler’s “We’re Going to War” was a gracious third bust out of the evening. Jake’s slide guitar and jazz feels transitioned into an upbeat and cerebral “Out of Order.” Next, a solid tease filled “40’s Theme” and “Miami Virtue” fueled the non-stop dance party. Full of bold rock and soul funk, Jimi Hendrix’s “Power of Soul” closed the second set. It is nearly impossible to escape “Divisions” at an UM show. However, UM went above and beyond to slay “Divisions” and added in a little more Jimi to the mix.

Umphreys McGee Live at The Tabernacle on 1.13.17

Set One: Bathing Digits > Bad Friday, Morning Song, FF > Last Man Swerving > 2x2, Wizard Burial Ground > Sludge & Death

Set Two: Der Bluten Kat > Sociable Jimmy > Der Bluten Kat, We're Going to War -> Out Of Order > 40's Theme[1], Miami Virtue[2] > Power of Soul

Encore: Divisions[3]


[1] with I Keep Forgettin' (Michael McDonald) teases
[2] with Stairway to Heaven (Led Zeppelin) tease
[3] with Third Stone from the Sun (Jimi Hendrix) teases

Coleman's Friday Photo Gallery

Saturday, January 14:

On Saturday we showed up much earlier to observe the lot. There were fingers in the air everywhere! I had several friends chirping up and down the massive line, “Got an extra? Need a ticket!” 99% of my pals made it in. Except Doe. At show time, Doe needed two tickets and only found one. Ultimately, he sold it to someone else for $100 and took that cash to the Clermont Lounge. But I digress. After last night’s hardcore metal rock out, everyone was ready to dance. The room was packed to the brim. The air was warm, moist and a little musky, as bodies locked down their dance spots.

Umphrey’s was definitely aware of the itch to groove. A “Similar Skin” opener wasted no time in getting down in the muddy funk. The groove moved in-between jazz improv and a retro, wah pedal jam reminiscent of “Sneakin’ Salley Through the Alley.” Pure bliss was released as the improv transitioned back into the rock heavy “Similar Skin.” Next Ryan Stasik’s smooth bass tones began the industrial sized funky “Wappy Sprayberry.” Coleman informed me that all the photographers in the pit took a break during this song to dance uninhibited. After, classic sing-along, “Hajimameshite” shined through for a brief reprieve. Next, “Attachments” grounded everyone again into true rock and roll riffs. I’ve always been a fan of UM lyrics, and “Attachments” has really grown on me. “While we wait, don't get so attached / You're only here for a moment, and you know that it won't last / And while your days give it back to you / Don't be so ungrateful if you know you'll never use it at all.” The contemplative “Attachments” lead into a tasty “Deeper” featuring Cinninger on keys. Keyworld Wizard Joel Cummins and Cinninger lead an epic intergalactic synth jam. “Miss Tinkles Overture” finished out the set with the vigor of Friday’s rage and I am reminded again that Cummins’ keys need a volume increase in the mix.

Solidifying Saturday night as a disco theme, Umphrey’s stacked us with a full set of scrumptious sandwiches. To open, UM whetted our appetites with a toasty "Plunger" sandwich. A seamless transition into “Triple Wide” and LD Jeff Waful’s revolving streams of light spearheaded the infinite dance loop. As the groove slowed and quieted to a close, “The Linear” emerged from the soft space. The intensity grew and Bayliss crooned, “Back to the moment, and digging deep enough this time / You forget about your future at your past expense / You know life is only living in the present tense” and the music exploded before it tapered off back into quietness. But just as the last note echoed, “Push the Pig,” another iconic Hauntlanta song choice, boomed through the air. Cummins’ synth action held it down while drummers Kris Myers and Andy Farag kept the polyrhythms flowing. All that pig talk must have stirred up the sextet’s appetite for another sandwich. A standard “Hurt Bird Bath” intro transitioned into a funky “Full Frontal” and returned to HBB to finale the hour-long segues. “Piranhas” followed and Tool’s “Forty-Six & Two” busted out of the 200 show vault to close the set. “Puppet String” encore lead a beautiful chanting audience and was the cherry on top to a phenomenal night of music and dancing.

Umphreys McGee Live at The Tabernacle on 1.14.17

Set One: North Route > Similar Skin, Wappy Sprayberry > Hajimemashite, Attachments, Deeper[1], Miss Tinkle's Overture

Set Two: Plunger > Glory > Plunger, The Triple Wide[2] > The Linear > Push the Pig > Hurt Bird Bath > Full Frontal > Hurt Bird Bath, Piranhas, Forty-Six & Two

Encore: Puppet String[3]


[1] with Jake on keys
[2] with 25 or 6 to 4 (Chicago) tease
[3] with Soul Food II tease

Coleman's Saturday Photo Gallery

Sunday January 15:

When I arrived on lot for the final round of umph, spirits were high as ever. As we marched to the doors I heard someone say, “I wish it were more than 3 nights.” “I wish Umphrey’s could play 9 more nights!” Those poor souls must have missed out on the 5-night run. Having survived that experience, I must say, 5 nights is a lot of Umphrey’s. I think 3 nights is the perfect dose.

No intro tune, “Rocker Part 2” got straight to brass tacks. “Rocker Part 2” is an emotional opener and reminder to, “Take care of each other and stay safe out there.” First set, UM let the jams marinade in a slow cooker. “Kabump” tuned into Cummins’ synth frequencies and made a great segue into the spacey “2nd Self.” “#5” followed the adagio tempo space jazz trend and Myers and Farag took over for drum solos. “Utopian Fir” closed the set with Sunday funday reggae roots.

“Bright Lights, Big City” woke up the sleeping giant dancer in everyone. ATL was lucky to receive a unique continuation of compositions as “Cemetery Walk” flowed seamlessly into “Cemetery Walk 2.” I cannot insist enough - turn Cummins up! Atlanta received their first “The Song Remains the Same” and the Zeppelin cover was excellent. “1348” began the final delectable sandwich of the run. Bayliss’ and Cinninger’s shredding harmonies picked up the energy and flowed into a quintessential “In the Kitchen.” “In The Kitchen” only made a short appearance and was aborted for a rip-roaring “Higgins” that crescendo’d into the ultimate breakdown of head-banger, “1348.” After a raucous round of applause and huge thanks to the crowd and crew, UM encored with a swagalicious “Pay the Snucka.” Jake flew through his rapid solo shred and Waful shined the disco strobe lights for one last face melt.

A revival at the Tabernacle was far over due for Atlanta. I praise the Tabernacle, but personally I’d love to see Umphrey’s move into the Fox Theatre. I am astounded at the intention and energy put into providing strong first set song choices, impeccable improvisations, and bust outs galore every night. I do wish we could have received a mash-up or two – but there’s always something to keep chasing. Thanks for reading and being a part of the experience!

Umphreys McGee Live at The Tabernacle on 1.15.17

Set One: Rocker Part 2, No Diablo, Kabump > 2nd Self, #5, Cut Off, Utopian Fir[1]

Set Two: Bright Lights, Big City, Cemetery Walk > Cemetery Walk II, The Song Remains the Same, 1348 > In The Kitchen > Higgins > 1348

Encore: Pay the Snucka


[1] with The Spirit of Radio (Rush) tease

Coleman's Sunday Photo Gallery


Wednesday, January 25, 2017

MusicMarauders Spotify Playlist - Volume Thirteen (1.25.17)

Tuesday, January 24, 2017

Railroad Earth 1.12.17

The Georgia Theatre
Athens, GA

Words By Julie Hutchins (Tipping Point Designs)
Photos By Coleman Schwartz Media

Railroad Earth rained down on Athens and ended the Georgia Theatre’s jamgrass drought. GATH provides the best artist hospitality and sound system in the entire southeast, and Athens is a rowdy college town - high energy is always present. The nearly sold out room was buzzing with a thirst for Railroad Earth’s soul-cleansing fusion of folk and rocking improv. Rail riders raged the front and grooving jitterbugs jived with plenty of room to turn and stomp.

RRE opened the night with a Skehan instrumental “420.” A massive “Head” full of banjo noodling and high note string harmonies and kicked the evening off to a groovy start. Overall, the first set was very mellow and vocal oriented. Todd Sheaffer’s song writing draws upon the natural beauty of the earth mixed with a deep contemplation of the future. The country celtic chorus of “When the Sun gets in Your Blood” sent frisson down my spine. “Crossing the Gap” features prime string dueling with Carbone on violin and Skehan on mandolin. A massive “Mourning Flies” allowed each player to open and feel out lamenting solos. “Walk Beside Me” a Tim O’Brien cover, brought out Altman’s electric bass and picked up the tempo to close the first set. From my perspective, RRE played what they felt was right. The boisterous Athens crowd did not necessarily reflect the slower tempo tunes. However, when the sextet starts trading licks, all manners are out the window.

An uplifting “Chasin’ a Rainbow” and raging “Colorado” brought the tempo and energy levels way up. The room swayed like a wave to acoustic sing-a-long “Been Down this Road.” The fearless aficionados made a few instrument changes and climbed the second set jam mountain. “Saddle of the Sun” into “The Hunting Song” began the journey into the land of melodic improvisation. “Grandfather Mountain” and “Black Bear” transported everyone to the crisp Blue Ridge Mountain air. For “Grandfather Mountain,” Skehan brought out the piano and traded classical solos with Goessling’s resonating lap steel guitar. “Like a Buddha” released the mega segue pattern and the audience sang at the top of their lungs.

Sheaffer smiled down on the elfin crowd and people flipped out into frenzy over Goessling’s fluttering flute. An instrumental, “Spring-Heeled Jack” closed the set with pure psychedelic finesse. Eyes crossed and heads spun as Carbone’s wicked fast fiddling blew the top of the theatre. The entire second set contained seamless transitions of folk strumming into river stomp picking and pure psychedelic bliss.

Railroad Earth leaves the room feeling full of light and energy. The stupefying fast picking of Carbon, Skehan, Goessling and Scheaffer is pure gold. Altman maintains a steady groove and Harmon is the happiest drummer I’ve ever seen. I am looking forward to delving into their catalog. I always love when bands keep their fans up to date with news. You can join the Facebook group “Railroad Earth Hobos” for live streams and setlists!

Coleman's Photo Gallery


Railroad Earth Live at Georgia Theatre on 1.12.17

Set One: 420, Head, When the Sun, Gets in Your Blood, Bread and Water, Just So You Know, Crossing the Gap, Mourning Flies > Walk Beside Me

Set Two: Chasin’ a Rainbow, Colorado, Been Down This Road, Saddle of the Sun > The Hunting Song > Grandfather Mountain > Black Bear > Like a Buddha > Spring-Heeled Jack

Encore: RV

Monday, January 23, 2017

Steep Canyon Rangers feat. Del McCoury 1.20.17 (Photos)

Sunday, January 22, 2017

Infamous Stringdusters & Billy Strings 1.13.17

The Orange Peel
Asheville, NC

Words By Taylor Hall
Photos By J. Scott Shrader Photography

The night started off with people slowly trickling in at 8 pm for an opening artist most Bluegrass listeners are just becoming familiar with. The aforementioned artist is none other than Billy Strings, the pride of the midwest. Billy is not short on talent exhibiting virtuoso level guitar picking complimented by a golden bluegrass voice. The band is currently on a tour that takes them across the country and back sharing the stage with the likes of The Infamous Stringdusters, Railroad Earth, and David Grisman.

The Stringdusters opened up the show with "You Can't Stop The Changes," the opening track off of their 2010 release Things That Fly. Things That Fly was the first Dusters album that I purchased and I have always enjoyed the upbeat message "Changes" displays. Next in line were "Where The River Runs Cold,""A Hard Life Makes A Good Song" and "Winds Of Change." These three songs are about the workingman's life, which is often the focal point of Bluegrass and Country music. The Dusters did not disappoint, delivering a heartfelt and genuine performance of these three originals. They capped off the trifecta of songs with a thunderous Bluegrass break down during "Winds Of Change."

The Dusters kept the momentum alive breaking into an old instrumental classic made popular by Mr. Bill Monroe and Doc Watson titled "Paddy On The Turnpike." The tempo took a step back for a haunting song off of the new album Maxwell. This song conveys the sentiment that money can't buy happiness, but that it isn't too late to change your fate. This song really evokes all of the emotions associated with Bluegrass, applying a happy undertone to a sad song. The combination of banjo, fiddle, and dobro is a cosmic experience. The tempo would change a bit as the band unveiled a love song penned "The Place I Call Home" followed by a great rendition of The Police's "Walkin' On The Moon." The set wound down with two sing-a-longs in "Once You're Gone" and the title track off of the new album Gravity. The Dusters wrapped up the set with a good ol' fashioned hoedown, riffing on the progressive track "High Country Funk" that left the set off on a high note.

The second set started off with two traditional styled songs "Sentenced To Life With The Blues" and "Head Over Heels In Love With You." The slow start to the set was perfect to allow everyone in the room to refill on drinks before the flatpickin' and foot stompin' carried way. The band burst into "Sirens" flashing the bands innate ability to lock into a groove. This song particularly showcased Jeremy Garrett on the fiddle. The band proceeded with a beautiful song off the new album titled Vertigo. They went full rockstar for the next segment playing "What's That You're Doin'?" another fiery instrumental putting all of the band's chops to work. The band would invite Billy Strings and local bluegrass hero Jon Stickley to the stage for the next two songs.

The first of the bunch was a cover made famous by Jerry Lee Lewis and The Grateful Dead "Deep Ellum Blues." The Stringdusters who are known for their improv talents really shined here. They continued on with "Sunny Side Of The Mountain." Having the combination of Andy, Billy, and Jon sharing the stage was an unexpected treat that really set the mood for the rest of the set. The band slowed down into some deeper tracks to round out the midway point of the set dropping "Get It While You Can" and "By My Side" before entering the fast pickin' cries from "Echoes Of Goodbye." The pickin' would stay alive and well as the band soared into the inspirational "Long Lonesome day," yet again showing why this band is one of the baddest Bluegrass bands touring the country today.

In store next was a progressive tune called "Fire" which led to a wonderful cover of "Don't Think Twice, It's Alright" by Bob Dylan. The set closed out with a barn burner string expose, seeing the band perform "Gettin' Down The Road," a personal favorite of mine. The encore saw the band play a cowboy song off the new album titled 1901: A Canyon Oddyssey followed by another Bill Monroe classic "My Sweet Blue Eyed Darlin'." The show was everything I've come to expect from the progressive Bluegrass pioneers. The band will continue touring the Midwest and Westcoast for the remainder of the Spring.

Scott's Photo Gallery


Set One: You Cant Stop The Changes, Where The River Runs Cold, A Hard Life Makes A Good Song, Winds Of Change, Paddy On The Turnpike, Maxwell, The Place That I Call Home, Walkin On The Moon, Once Youre Gone, Gravity High Country Funk

Set Two: Sentenced To Life With The Blues, Im Head Over Heels In Love With You, Sirens, Vertigo, Whats That Youre Doin, Deep Ellum Blues, Sunny Side Of The Mountain, Get It While You Can, By My Side, Tragic Life, Echoes Of Goodbye, Long Lonesome Day, Fire, Dont Think Twice Its Alright, Gettin Down The Road

Encore: 1901: A Canyon Odyssey, My Sweet Blue Eyed Darlin

Saturday, January 21, 2017

Greensky Bluegrass 1.18.17 (Photos)

Friday, January 20, 2017

Greensky Bluegrass 1.19.17 (Photos)

Thursday, January 19, 2017

Mike Dillon Band 1.14.17 (Photos)

Wednesday, January 18, 2017

MusicMarauders Spotify Playlist - Volume Twelve (1.18.17)

Tuesday, January 17, 2017

The String Cheese Incident 12.31.16

1stBank Center
Broomfield, CO

Words By J. Picard
Photos By Doug Fondriest Photography

"The sun came up, the sun went down, again, again, and again..."

The sun was setting on 2016 as Carly and I found ourselves at the top of Coal Creek Canyon at our friends' Matt and Teri Maylen's place. They had been in Colorado for about a year, so it seemed no better time for them to join us for our annual celebration with The String Cheese Incident on New Years Eve! We made our way down the winding dirt road with the city lights in the distance. We stopped at Wondervu Cafe which lies between Golden and Nederland for some top notch Mexican food and margaritas! With our bellies full we rolled down to the Front Range and made a turn towards Boulder, then towards Broomfield. With little to no traffic we pulled onto the lot, parked in VIP next to the West entrance and headed into the venue! The fans were turned up, dressed in all sorts of sparkling shit, greeting one another and gearing up to ring in the new year! It was clear, this is where we wanted to be and we were in for a treat courtesy of three sets from The String Cheese Incident!

We headed in and situated Matt and Teri in the back corner of the bowl so that they could take in the full scope of what was about to take place. The band hit the stage with excitement at the prospect of the evening's affairs! They kicked off the first of three sets with "San Jose!" A few flubs worked themselves out quickly before everything was dialed in and moving towards 2017! "Song In My Head" came next and the crowd was moving as the music was "getting louder!" "MLT" entered the picture with Michael Travis, Jason Hann and Keith Moseley at the helm as the layers built. What started loose became electronic and weird before resolving with precise percussive strikes. A rare "Who Am I" from Untying The Not featured Kyle Hollingsworth's vocals and still broken arm perched on a stool beside him.

"Outside And Inside" began with ripping electric guitar work from Bill Nershi before it resolved with the typical verse. Bill continued his take over for most of the song digging into some interesting stuff before transitioning into the Allman Brothers' "Hot Lanta," a song we've heard Bill perform a bunch with Roosevelt Collier! Kyle's keys were the perfect feature to the composition which was output pretty true to form, including Bill and Michael Kang's dual lead. "Hot Lanta" transitioned into the Grateful Dead's "Deal" which triggered a roar from the near full 1stBank Center. Kang fielded the vocals with the assistance of just about everyone in attendance for a solid sing-a-long. Kyle really stepped up on the track and it was a great close to set number one!

Carly and I gave each other the glance and made haste backstage just in time for the tapping of the margarita keg! Yes, there was a margarita keg! The staff from Mountain Sun Brewery doled the drinks out quickly and efficiently as the small room filled to its breaking point. We grabbed our drinks and headed out to the hallway where we ran into our friends Randy and Steve from Santa Cruz. We spent the majority of the set break catching up and lost track of time, as is often the case when conversing with great people. We disbanded and made it back into the venue just in time for Bill's last "Group Hoot" of 2016!

The second of three sets began with "Close Your Eyes" and a positive message for the packed house. Highlights included some cool slide work from Bill, some ripping electric mandolin from Kang and some sizable bass strikes from Keith. The fitting "Looking Glass" made a rare appearance for the occasion. Bill and Kang's vocals complimented each other well and towards the middle of the jam the music was reaching towards the top of the mountain! "Looking Glass" went into what was referred to as "Time Square Jam," featuring Kang's best Jerry Garcia tone. The jam was really good and was used as an eight minute segue into "Orange Blossom Special," the 1938 classic tribute to the rail that ran between New York City and Miami! Kang's fiddle playing is one of my favorite aspects of Cheese and is often used to get Bill fired up for some flat-picking madness.

"Get Tight" the newer tune from the SCI Sound Lab, Volume I followed, creating a great point for us to step away and grab a glass of red. The classic "Best Feeling" was up next with Kang on vocals and a cool dub mid-section. "Best Feeling" transitioned into a killer version of The Police's "Walking On the Moon!" Travis' vocals were on par with Sting's range and I wondered how many of the younger fans were familiar with the song. The band went back into "Best Feeling" after about five minutes and built towards a synth/talk box heavy dance party before going into the ever-so-heavy and disjointed "Howard." The chaos mellowed and made way for Kang's vocals and the crowd to yell "Howard!" Sixteen minutes after it began and sixteen minutes closer to the new year the song came to a close, as did the second set.

We wandered around the concourse aimlessly, running into friends and familiar faces. Everyone seemed to be in a hurry to get situated for the big moment when 2016 would become 2017 and their sins would be washed away. We headed back to our corner of the bowl to ring in the new year with Matt and Teri!

"Alright 2016, fare thee well..." Kang said with a snicker.

The third set began with the band in tuxes and "You've Got The World," which was a fun way to build towards the insanity! Flashlights were visible in the rafters as folks in costumes were taken to their proper locations and strapped in. A huge Kyle solo had the packed house in a frenzy. Upon the conclusion of "You've got The World," it was time. Past years had been insane and involved so many different mind-blowing concepts that one could only imagine what we were in for.

"Just One Story" was it! Kang sang the first verse and then the band took it down low to a valley that would almost require a harness to climb out of. This would be the base for their build towards 2017. Almost seven minutes into the jam dancers appeared on spinning platforms in large head dresses! A minute later, clear confetti snow globes with dancers inside were lowered from the ceiling and aerial acrobats were lowered above the stage with large fabric wings! They were flown over the crowd as the music picked up and from the ceiling in the center of the arena appeared an orb that blossomed like a lotus flower and presented carousel horses with dancers on board. Slowly large balloons were dropped from the rafters as a countdown popped up on the screen. Though a few minutes late, balloons and confetti rained from the 1stBank Center as the place erupted!

Balloons poured down the stairs next to us like a waterfall and in that moment Teri appeared to be in utter shock and Matt was by far the happiest that I had ever seen him. It seemed that balloons had a similar effect on Matt as they did on Bill Clinton! It was complete chaos for a good ten minutes! The song concluded and was followed by a solid minute or two of balloons exploding, people hugging and kissing!

Up next was "Don't It Make You Want To Dance" with Billy's lead vocals and Kang and Keith backing. There was some cool note matching on an ascending line between Bill and Kang that stood out. "Rivertrance" made an appearance with a plethora of electronic sounds and manipulations. Over the course of about twelve minutes, the song featured Kang stretching his wings and sawing away at the fiddle, showing his full ability.

Keith took a moment to point out that the band had been together for twenty three years, thanked everyone and mentioned how special it was that the music could bring together so many great people from all over! Next was "Sirens" with Kyle's clavinet thumping away and Keith's solid vocals. "I just want to say I love you..." resonated throughout 1stBank before a bunch of huge missed notes and some out of tune scrambling led to some dancehall rapping from Jason. "Sirens" dismantled itself and became "Champagne Jam" for a six and a half minute segue. The intensity picked up for one last electronic burst via Kang and "Beautiful." It was heavy. It was electronic. It was the end of set three.

Through three days of diverse material from twenty three years of SCI, I wondered what they would close the weekend out with. To my dismay the first encore was "The Mighty Quinn (Quinn The Eskimo)." The sing-a-long ensued and I slowly began to fade. The song was short and poorly transitioned into the now traditional "Sitting On Top of The World." It was by no means the conclusion that I was hoping for, though who was I to complain following the three nights that we witnessed?

The weekend was a lot of fun spent with one of our favorite bands from past and present. We got to experience three nights running the gambit of SCI's catalog and shared smiles and drinks with some of our best friends. We got to thank the band face to face, see them perform a special VIP set and ring in the new year at what felt like home! String Cheese New Year is a reunion of sorts, with folks from all over the country coming together in Colorado to celebrate life, and celebrate we did. Cheese heads were all smiles as 1stBank Center cleared out sending hippies off in all directions to shine on. For us, we headed west into the mountains and took the winding dirt road to the top where we would rest our heads on 2016.

Doug's Photo Gallery


Set One: San Jose, Song In My Head, MLT, Who Am I, Outside and Inside > Hot 'Lanta > Deal

Set Two: Close Your Eyes, Looking Glass > Orange Blossom Special, Get Tight, Best Feeling > Walking On The Moon, Howard

Set Three: You've Got The World, Just One Story, Don't It Make You Wanna Dance, Rivertrance, Sirens, Beautiful

Encore: The Mighty Quinn, Sitting On Top Of The World

Monday, January 16, 2017

The String Cheese Incident & The Floozies 12.30.16

1stBank Center
Broomfield, CO

Words By J. Picard
Photos By Doug Fondriest Photography
VIP Set Photo By J. Picard

"Didn't care about tomorrow, worry when tomorrow comes, I went outside that night set the ole imagination a flight..."

It was the "Best Feeling" to know that though we had one show under our belts and we were in for two more before the year would end. It was Friday afternoon in Denver as Carly and I prepared for an early departure from our house to catch The String Cheese Incident's VIP set! I've seen SCI in an array of settings throughout my fifteen plus years of being a fan of the band, but none would come close to the level of intimacy in which we would experience that night. We arrived at 1stBank around 6:00 PM with our weekend passes in hand and made our way through the same entrance as the previous night, past the same friendly folks. Inside the excitement hit me!

I glanced around the small gymnasium and didn't see one familiar face among the intimate group. I guess I thought that the band's whole close-knit fanbase would be in attendance at a VIP event of the sort, but I was mistaken. Following a welcoming stage announcement from the crew, the members of SCI wandered through the crowd greeting fans, saying hello and taking pictures! We said hello to Jason Hann, Michael Kang and Bill Nershi who was extra excited that night and was joined by his better half, Jill! Carly and I spoke with Bill and Jill for a bit before the band hit the small stage for their acoustic set! Carly and I quickly moved around the room, snapping shots and outputting live updates for those who were unable to attend.

Kyle Hollingsworth wandered on to the stage with a basketball in his one good hand while the band joked about how his injury took place. The boys situated themselves on a stage that featured the leg lamp from A Christmas Story, rocking chairs, rugs and a screen that had log cabin features including a wood burning stove. It was a very special vibe and experience! The band kicked off the set with "Missin' Me" and I immediately got goosebumps! "Another Night" followed and all around it felt like a house party or something of the sort. "Hey Pocky Way" had the crowd singing along and soaking up the moment, as did "Midnight Moonlight!" I wasn't sure how long they were going to play, but I hoped that they would dive into at least one more Cheese song before the set's conclusion and sure enough "Colorado Bluebird Sky" closed the private show! As quickly as it started, it was over and the small crowd turned and b-lined towards the floor entrance to claim their spot on the rail. VIP was allowed to enter and get their place with the general public quick to follow.

We wandered around and drank off of the rotating Mountain Sun Brewery kegs they had backstage in preparation for the show. We ran into Megan and Zach from Mama Magnolia and since Zach was working with Madison House that evening, Megan decided to tag along with Carly and I. An hour or so later we could hear The Floozies take the stage so we slowly made our way to the floor to see what they were all about. The duo incorporated live instrumentation via drums and guitar, as well as electronics to output a sound that was all too familiar nowadays. They sounded exactly like I would have expected most electronic duos to sound. That being said, they had their moments and found myself enjoying some of their output.

After an extended break, The String Cheese Incident appeared and began with "One Step Closer." Bill's vocals were great and Kang's tone cut through with precision and a certain brightness to it. Solos were passed almost all of the way around before Michael Travis' hi-hat and Jason's congas turned up the energy a bit. "Hi Ho No Show," a song presumably off of the new album, featured a lengthy, almost two minute intro that opened into a song that sounded similar to "Valley of The Jig." It progressed the same and only towards the end did it go into a sort of different section. Up next was a track off of One Step Closer, "Until the Music Is Over." Keith Moseley's vocals sounded good and the song, though slower, included some airy sections that were pretty cool. The approach felt different from most SCI songs with clashing chords and parts that were all over the place, but seemed to intertwine.

The Kang-led "These Waves" excited the core fans who spun in circles and weaved their hands through the air. I found Bill's solo to be especially interesting as he ripped on his white hollow-body. "These Waves" transitioned into The Talking Heads'"Nothing But Flowers," with Kyle sounding very similar to David Byrne vocally! "Shine" began with beautiful instrumentation and perfect execution. Kang's sweet vocals rang through 1stBank Center with the lighting of Andrew Cass pouring out of the venue onto the concourse! About three quarters of the way through the song, the wook in me sensed the impending conclusion of the set, so I signaled to Carly and Megan and we made our way backstage just in time for the tapping of the next keg as SCI hit their final notes!

We hung out for a short time before it became too packed and then made our way back to the concourse where we ran into Chris Thompson of Coral Creek Music! We ordered drinks, hung out for a bit and then wandered back into the bowl and onto the floor where the crowd had dispersed. At the first sign of their beloved band, the gaps quickly filled in and with the addition of The Floozies to the stage, SCI kicked off the second set with "Valley of The jig!" I was pumped! It began dark and digital with the melody following and creating a moment of pure bliss for me. Through menacing progressions, the music ripped and was a fantastic point of the weekend! Some bizarre vocals came from Jason side of the stage and created a super trippy vibe as the song built towards a massive drop. To my surprise it dropped right back into the song instead of some crazy dubstep break. "Valley of The jig" as a whole was monstrous and very well executed!

The noodley intro of "Come As You Are" sounded out and 1stBank Center was in a Salsa frenzy! The band nailed the changes and Jason's percussion was on point! The middle of the song welcomed a rare bass solo from Keith as the Funk built. Through twelve minutes that band took the audience on an adventure that dipped and dove through so many different musical terrains. "Sing A Song" off of Outside Inside began with the leftover noodles of "Come As You Are" before taking a turn towards Rock. Bill's vocals soared while Kyle's keys screamed and Kang's added harmonies rounded out the music perfectly. The new Kyle tune, "Falling Through The Cracks," wreaked of Kyle's style and sounded great! SCI transitioned into "Land's End" as we headed up to the bowl to catch up with Paul Brown of LOHI Productions, who's birthday it was! When we got to the top of the bowl we found Paul surrounded by a bunch of mutual friends! We danced to the SCI classic as I took in the perspective of the side stage view. Once again 1stBank Center only looked about half way sold.

The band went directly into "Glory Chords" for a seven minute instrumental that absolutely crushed towards its end before transitioning into the Kyle staple "Let's Go Outside." The version was clean and the building process heavy! Following one last short section of Billy banter, the boys closed the second set with "Restless Wind!" Kang's fiddle took the jam to elevated heights while Kyle dug into the keys and Bill tackled the lyrics. It was a great close to a big second set! SCI stepped off stage and returned quickly pointing out Kyle heroic ability to push through his injury.

"We never cancel!" Bill yelled.

The rare "Shakin' The Tree" would close out the evening with its sweet sound. The soulful output made for a fun closer to the evening and presumably checked a song off of the list that many younger fans have been chasing. Jason did some really cool percussive tonal stuff that caught my attention leading into the song's shredding end! The band exited the stage, the lights came up and folks wandered in every direction. We collected our belongings, said good bye to some passing friends and headed to the door. Once again it was dark and cold. The warmth of our car and eventually our home was welcomed. We wound down and prepared for one last hoorah for 2016...

Doug's Photo Gallery


Set One: One Step Closer, Hi-Ho No Show, Until The Music's Over, These Waves > Nothing But Flowers, Shine

Set Two: Valley Of The Jig, Come As You Are, Sing A New Song, Falling Through The Cracks, Land's End > Glory Chords > Let's Go Outside, Restless Wind

Encore: Shakin' The Tree

Sunday, January 15, 2017

STS9 12.31.16 (Photos)

Saturday, January 14, 2017

The String Cheese Incident & Big Gigantic 12.29.16

1stBank Center
Broomfield, CO

Words By J. Picard
Photos By Doug Fondriest Photography

"When you're there you're never here and here is where it seems so clear, the winner of the rat race are the rats..."

No matter where you were, you were quickly running out of time on the rat race that was 2016. With only a few days remaining before the ball would drop on the year, it was decided that my wife and I would tackle The String Cheese Incident's three night run at 1stBank Center in Broomfield, CO. The decision was an easy one as the shows were basically in our home town and we met at an SCI show, so the band held a very special place in our hearts.

Headed west on 36 towards Boulder with Denver in the rear view mirror, we stopped at a Park & Ride to pick up my attorney then continued on to the venue where we were greeted by sizable lines at the box office. We secured our passes at a line-less window that had a sign that read "SCI Guests." "The passes are also luggage tags," the woman at the window said to me handing me our envelope. I stood there for a second staring at her blankly as she reciprocated. "Ok, thanks," I said as I backed away from the glass. We wandered around to the East Entrance where we were welcomed by some laid back folks who glanced at our passes and told us to "have fun!"

We headed back to the VIP area which was located in a sort of side gymnasium that had a small stage, tables and chairs, couple of bars and Scramble Campbell artwork on the curtained walls. We dropped off our coats at the coat check and headed into the venue which began to fill for the first night of the three night run! We immediately began running into friends, doling out hugs, high fives and smiles as we made our way down to the floor. As we hit the concrete, the boys hit the stage looking excited and began with "Round The Wheel!" The music, vocals and melodies sounded solid from the start and as the song progressed so to did the jam vehicle. Kyle Hollingsworth's broken arm wasn't even enough to slow down the train as it went station to station screaming as it did so. "Lost" came next and opened up in its mid-section with Bill Nershi and Michael Kang taking turns on their respective instruments. The tempo picked up, some quick notes were passed around and the band transitioned smoothly into "Black Clouds!" The song was as it normally is, however in the middle, Kyle stepped up for a synth solo laden with space. Michael Travis and Jason Hann sped the song back up to it's typical tempo as it rounded the finish.

"Are you ready for a wild weekend? Ringing in the new year in style! Wild style! Wild child! Ya'll are a bunch of wild childs!" Bill yelled.

Stevie Wonder's "Master Blaster" was dedicated to a fan and included some loose vocals up against some tight picking and expansive jamming. Following the song a couple of jokes were made about Jason dressing up as Princess Leia in honor of Carrie Fisher's passing as Kyle teased the Star Wars theme. Up next was "Sweet Spot," which featured the vocals of Keith Moseley. The crowd sang along to the "catchy little number" before the solos took shape and were executed.

We came off of the concourse from getting a round of Colorado Pales to some banter from Billy and "Miss Brown's Tea House!" The 1stBank Center, though only about half-full, was into it! Kyle jumped back to the Star Wars theme, with added R2D2 sounds and a couple of additional teases before Kang jumped into the exchange. The band returned to "Miss Brown's," before taking off towards the 20:00 minute mark of the composition and transitioning into "Rollover!" Kang sang about seashells and rivers as my mind wandered to thoughts of 2016, one of the best years to date for me. I smiled as Bill picked a great solo and Kang returned to the mic. The band built and built with Jamtronica showing it's delightful face. Things got heavy. Kang ripped. All the while I had a shit-eating grin on my face! Though there were aspects of the first set that I felt lacked, it was a sound starting point for the weekend.

A short time later the second set started in with "Bam!" as the combined bands oriented themselves, slowly finding the groove. Dominic Lalli's sax playing felt much more oriented towards the music of SCI than what we hear being output by Big Gigantic. Jeremy Salken could be seen set up on the opposite side of the stage of Jason Hann, both with smiles on their faces, as Travis moved like an animatronic Chuckie Cheese drummer. My mind wandered towards memories of the Allman Brothers with their three drummers and I looked forward to the possibilities. "Bam!" transitioned into "Bring That Funk," and the first taste of Dom and Jeremy's electronic influence, which was tasteful and created a fun dance party! They abruptly transitioned back into "Bam!" for a brief minute before concluding.

"Joyful Sound" quickly quelled my excitement and though I was not thrilled about the song specifically, I was pumped about the way Jeremy and Dom were fitting into the mix. Some weird synth and sax paved the way for the band to go into "Rumble" which initiated the electronic vibe heavily to the delight of the young fans! Weather Report's "Black Market" was a welcomed song to the setlist! The notation and execution was "Jazz heady," not just "hippie heady." The set was going in a direction that I never would have expected and I was a happy camper. The jams were deep and the notes spacious for the duration of the composition before it went into "Can't Wait Another Day," which is always a fun Cheese song. Though the vocals were below average, the clear highlight came in the form of a musical conversation between Dom and Kang! The extended band transitioned into "Drums" featuring Jason and Travis performing a variety of rhythms and utilizing an array of drums, sounds and tones.

"Drums" transitioned into "Jellyfish" with a roar from the crowd! Billy took over in only a way that Billy could. People were going crazy behind the soundboard and at one point I turned to Carly and said, "There is some weird shit going on behind you right now," in regards to a couple doing progressive yoga. "Alice!" the crowd yelled. I smiled at how absurd the vibe was and began laughing to myself. The music got heavy and took a turn towards "Cmon," with a lot of weird vocal manipulations and a heavy electronic beat. The room lost it as everyone threw their hands up and jumped around. At one point, I am pretty sure the vocal sample was Jen Hartswick, who was presumably in New York gearing up for a performance with Phish later that weekend. With the chop of Billy's guitar and Kang's electric mandolin, they went back into "Jellyfish" in double time. The 1stBank Center was peaking!

We headed up and joined our friends Doug, Lindsey and some of their friends in the bowl as Kang's fiddle sounded out with with the melody of "Bollymunster" following suit. Our group danced wildly to the middle-eastern groove which sounded great along side Dom's ripping sax. The middle opened up and spacey noodling ensued before the band transitioned into "I've Gotta Know," which was catchy. Kang teased "Bollymunster" a couple of times before they eventually went back into it. Upon its return, Kang's vocals and Jason's hollers signified the turn towards the bridge and the end of the second set. The half-filled arena roared with excitement then Billy provided a sentimental note about rehearsing and playing with the Big Gigantic guys.

To my delight The Big Gigantic Incident kicked off the encore with Kyle's "Rosie," which was interesting and featured the coupling of the synth and the sax to cover the signature melody. Through a couple of missed notes, they powered on and dove into a little funk before the jam plateaued and a few more notes we biffed. Dom took a tasty solo, followed by Kyle and well-executed hits from the band before the synth went wild. I was happy when the transition came, though not pumped about "Touch The Sky." A short minute and a half later, they transitioned one final time with the help of Dom's screaming sax and Jeremy heavy on the drums into "Desert Dawn." Kang's sweet vocals lead the way for a Cheese classic that went through several parts including some wild disjointed instrumentation! Kang and Dom reconvened to finish their musical conversation at the front of the stage while Jason attacked the shaker, Travis destroyed the kit and the verse resolved.

The show began with the band sounding relatively rehearsed and ended with some fantastic and unexpected arrangements with Big Gigantic. The setlist looked fantastic on paper and was a great start to what would be a long weekend. We said goodbye to our friends, collected our Lawyer and made our way backstage to retrieve our coats. As we stepped over the threshold into the night our breath could be seen against the night sky. We located our vehicle and a couple of turns later we were home safe and sound getting our rest for the days ahead...

Doug's Photo Gallery


Set One: Round the Wheel, Lost > Black Clouds, Master Blaster, Sweet Spot, Miss Brown's Teahouse > Rollover

Set Two (The Big Gigantic Incident): Bam!, Joyful Sound > Rumble > Black Market > Can't Wait Another Day > Drums > Jellyfish > C'Mon > Jellyfish, BollyMunster, I've Gotta Know > BollyMunster

Encore: Rosie > Touch the Sky > Desert Dawn

Friday, January 13, 2017

Fruition & Hillstomp 12.31.16

Wonder Ballroom
Portland, OR

Words By Mitch Melheim
Photos By Jason Charme Photography

Hometown heroes Fruition rang in 2017 with a three-night stand at Portland, Oregon’s Wonder Ballroom to a room full of long-time friends and fans, the line between which has been blurred by the city’s love for the band and the relationship Fruition has formed with the “Fruity Freaks” as their fans are affectionately labeled. Faced with the daunting task of competing directly against Railroad Earth’s three-night run just two miles away at the Revolution Hall, Fruition still managed to sell out the 800-person venue days in advance, a testament to Portland’s devotion to the band.

Fellow Portlanders Hillstomp opened the night with their unique brand of back porch blues that sounds like Jimi Hendrix playing with a jug band on amphetamines. Guitarist Henry Christian showed impressive ability on several different instruments throughout the short set from electric guitar and banjo to tambourine and a megaphone. John Johnson was on the buckets and also provided some washboard and electric guitar. The band’s sound can change a bit from song to song, but the high-energy foot-stomping feel remains apparent at all times.

Fruition took the stage dancing to Technotronic’s “Pump Up The Jam” through the PA and opened the first set with old school favorite “Never Again” followed by mandolinist/guitarist Mimi Naja’s “Belong To The Band.” A personal favorite “There She Was” came next and provided that rock’n’roll sound that the band has been slowly, but steadily creeping towards for a few years now. Any song that allows Jay Cobb Anderson the opportunity to show off his talent on guitar is a welcomed addition to the setlist.

The sweet and tender (as Anderson and Naja described it) “Turn Your Love” slowed the pace down to a sway as most sang along to Naja’s lyrics, particularly the refrain, “she came running down the south side of Skidmore, westbound, with a box of wine and a smile,” that is just too Portland to ignore.

“Somehow, Someway, Someday” brought the energy back up for the rare, but beloved hangover tune “I Feel Weird.” Afterwards an unexpected mid-set “Meet Me On The Mountain” was performed. A very heavy song that has since been dedicated to the memory of the “Patron Saint of Concert Tickets” Chris Chandler, friend of the band and just about everybody else in attendance. The song was beautiful and a lot to take in, as always. I will forever be grateful for any performance of this song, but the setlist placement of this one seemed odd and left many with a heavy heart once the song ended. I suppose that’s just as much of a testament to their wonderful songwriting as the curious setlist placement though.

They saved the mood with the bluesy doo-wop dance number “Oh My My” followed by the Bayou break up tune “Little Song” and rapid-fire “Boil Over,” both written by guitarist/keyboardist Kellen Asebrook, the third of Fruition’s three-headed songwriting monster. The band then invited Yak Attack drummer Nick Werth up for some additional percussion on “The Way That I Do” which included a fun drums jam and sent us into the set break ready to continue the party and excited for the upcoming covers set.

The theme for the second set was songs from 1967, or fifty years ago for those less-inclined to math. The Box Tops’ “The Letter” kicked things off followed by what has become the country’s unofficial rallying cry of 2016, Buffalo Springfield’s “For What It’s Worth.”

Vocalist Megan Martinez joined the band for the next few songs, providing vocals and plenty of dance moves. Martinez shared lead vocals with Anderson and Naja on Jackie Wilson’s Chicago soul classic “Higher And Higher.” A funky take on Aretha Franklin’s “Baby I Love You” followed with Naja providing vocals and preceded Anderson’s tribute to Jimi Hendrix, a cover of “Wind Cries Mary.”

Afterwards, Asebrook led the countdown to midnight and the band broke into Spencer Davis Group’s “Gimme Some Lovin” as balloons sprang amok. New Year’s Day also happens to be Naja’s birthday and after a happy birthday wish from Anderson, he dedicated the next song to her, Frankie Valli’s “Can’t Take My Eyes Off You,” calling it “one of the best songs ever written.”

Naja’s take on Loretta Lynn’s “Don’t Come Home A-Drinkin’” proved to be a song tailor made for her and was a nice change up, bringing the first country song of the set. Another member of the fast-rising Portland band Yak Attack was invited to the stage, this time keyboardist Dave Dernovsek for the Rolling Stones’ “Let’s Spend The Night Together.”

Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough” followed and brought the fun dance party of a sing-along that you’d expect, with Asebrook even stopping to catch his breath afterwards. Anderson’s cover of Leonard Cohen’s “Suzanne” came next and was a touching tribute to the great Canadian songwriter that had passed just a couple of months prior.

The Velvet Underground’s addict anthem “Waiting For My Man” brought an edge to the set that I didn’t realize had been missing, but was needed. Asebrook’s drawly delivery was effectively reminiscent of Lou Reed’s vocals, but he admitted to not being nearly as high as Reed would be while singing it.

Anderson broke the harmonica out for the Naja-led cover of Bobbie Gentry’s “Ode To Billie Joe” before the band granted us the rare treat of a song led by drummer Tyler Thompson’s vocals, the Beatles’ “With A Little Help From My Friends.” Afterwards another Beatles cover closed out the set, this time a fiery version of “A Day In The Life.”

Naja came out after the encore and said, “We’re going to play one more song for as long as we possibly can,” and they did just that. Yak Attack’s Dave Dernovsek was invited back on stage to play guitar rather than keys as Anderson handed off his instrument and initiated what became a complete transformation into Jim Morrison for the near fifteen-minute rendition of the Doors’ “When The Music’s Over.”

Jason's Photo Gallery


Set One: Never Again, Belong To The Band, There She Was, Turn Your Love, Somehow, Someway, Someday, I Feel Weird, Meet Me On The Mountain, Oh My My, Little Song, Boil Over, The Way That I Do *

Set Two (“50 Years Later” - 1967 Covers): The Letter, For What It’s Worth, Higher And Higher~, Baby I Love You~, Wind Cries Mary, Gimme Some Lovin’, Can’t Take My Eyes Off You, Don’t Come Home A-Drinkin’, Let’s Spend The Night Together#, Ain’t No Mountain High Enough, Suzanne, Waiting For My Man, Ode To Billie Joe, With A Little Help From My Friends+, A Day In The Life

Encore: When The Music’s Over#

* = w/ Nick Werth (Yak Attack)
~ = w/ Megan Martinez
# = w/ Dave Dernovsek (Yak Attack)
+ = Tyler Thompson on vocals