Today marks a sad chapter in music history, as the beloved R&B singer Prince passed away earlier today. As we continue to grieve over the loss of a legend, we turn to the healing power of music and explore a number of tributes performed by artists we love.The Revivalists started covering Prince last Halloween, when they dressed up and performed as The Purple One at the 9:30 Club in Washington D.C.. The videos from that show have since been taken down, per the request of Prince’s very specific regulations against music-sharing, though the New Orleans septet have continued playing homage to the legend since then. In Charleston, SC, they welcomed young singer/guitar virtuoso Marcus King to the stage for “Purple Rain”:They also did a smashing “When Doves Cry” cover in their hometown of New Orleans, at Tipitina’s last November:RIP Prince. We’ll miss you.
Beloved Boston-based jammers The Jauntee settled in at Funk & Waffles last weekend, playing the Syracuse, NY venue last Saturday, May 14th. The group put on a glorious show featuring a hearty serving of their original material, including the band’s song “Have You Ever.” To sweeten the show-ending performance, the band called on pianist Holly Bowling, who had previously performed at the Westcott Theatre, to sit-in on the jam.Check out this stellar version of “Have You Ever” featuring Bowling, below:You can also listen to the full audio of the performance, courtesy of taper Tyler Adams:The Jauntee recently announced dates for a major summer tour; check that out here!
With 45,000 people and music everywhere, there’s always a lot of spectacles to take in at Electric Forest. Among the many showcases at the festival, GRiZ made his own happen seemingly on the spot, as members of his All Good Records label joined him for an impromptu marching band through the crowds!The saxophonist showed off his All Good Marching Band with a video posted to Facebook earlier today. Watch and enjoy the magic!GRiZ also collaborated with The String Cheese Incident at the festival, and played his own set as well. The saxophonist producer is working on new music and hitting festivals all summer long, so don’t miss out. He’s also collaborating with Big Gigantic and Grizmatik at Camp Bisco and headlining his own set, making this a can’t miss weekend.
After Wilco‘s surprise release of their 2015 album Star Wars, the band have returned almost a full year later with a follow-up album called Schmilco, due out September 9th. The album will contain 12 tracks, and features singles “Locator” and “If I Ever Was A Child”, both of which are available for immediate download with a pre-order of the album.Learn full details about Shmilco, where to pre-order the album, and upcoming Wilco tour dates here. See below to stream the single “Locator”, and for a full track list for the album.Wilco – Shmilco1. Normal American Kids2. If I Ever Was A Child3. Cry All Day4. Common Sense5. Nope6. Someone To Lose7. Happiness8. Quarters9. Locator10. Shrug and Destroy11. We Aren’t The World (Safety Girl)12. Just Say Goodbye
Just a few months ago, The Soul Rebels graced the New Orleans Jazz Festival with a monster performance. The hometown show was so much fun that the band decided to share some top-notch pro-shot footage from the event.The video of choice is a cover of Michael Jackson’s “Heartbreak Hotel,” which comes on the heels of a very exciting time for the band. The group recently shot an opening scene with Queen Latifah and Jada Pinkett Smith for Universal Picture’s major film GIRL TRIP to be released in July 2017, and they were also recently featured in TMZ with Kourtney Kardashian.Check out “Heartbreak Hotel,” streaming below.The Soul Rebels are now preparing for their upcoming West Coast tour with Talib Kweli, and are working on new music in the studio.
Last night marked the opening night of the joint ZZ Top and Gov’t Mule tour, pairing two titans of Southern rock for an extended period of performances. For Gov’t Mule, the engagement means more time spent on the road, after a successful stint with Blackberry Smoke that carried the band through the end of summer. ZZ Top, too, has been touring extensively this year, and the fusion of these two groups can only mean high powered rock and roll.Gov’t Mule started out the night with an hour-long set, bringing seven songs to the fine folks of Nikon at Jones Beach Theater in Wantagh, NY. It was “Bad Little Doggie” that opened the show, and Mule mostly stayed within the confines of their own catalog. The only exception was “Kind of Bird,” an Allman Brothers song that was co-written by Warren Haynes and Dickie Betts.Surprisingly, the show did not feature any collaborations between the two bands, but with seven more shows coming up in the next two weeks, you can bet that there will be! Check out some video footage from the night, capturing Mule’s rocking set to open up the show. The full Mule setlist can be seen below. Check out some highlights from ZZ Top’s set as well! Edit this setlist | More Gov’t Mule setlistsPhoto by Gov’t Mule // Heath Robson // FacebookVideos by Sean Roche // YouTube
When you see the words “Metallica” and “Napster” in the same sentence, it’s hard not to think the worst. Napster was integral in starting the massive shift in the music industry that has rendered your CD collection essentially obsolete, and metal giants Metallica were integral in bringing the fledgling company down in 2000.After Napster gave the masses access to an endless pool of free music via their pioneering peer-to-peer file sharing platform, Metallica was among the most vocal to speak out against Internet music piracy, filing a lawsuit against the company in early 2000. In a statement to congress in July of 2000, Metallica’s Lars Ulrich lamented, “Napster hijacked our music without asking. They never sought our permission. Our catalog of music simply became available for free downloads on the Napster system.” At the time Metallica were upset over “I Disappear,” a song recorded for the Mission: Impossible II soundtrack which, much to the band’s dismay, leaked and actually received radio airplay before the final mix was even completed. The band soon discovered their entire catalog was up on the P2P network. Metallica has stated that they were never financially motivated to file the lawsuit but rather simply wanted control of their music.Metallica v. Napster, Inc. became a landmark case for the music industry. Along with effectively shuttering the notorious tech start-up (and many programs like it–remember LimeWire? Kazaa?), the case began to set a precedent for Digital Rights Management, an issue which remains at the center of the Internet-centric modern music marketplace.However, while disputes over streaming royalties, exclusive releases, and more continue to inspire conflict between artists and the Internet companies that peddle their work, it seems that Metallica and Napster have mended fences: Yesterday, Napster announced that Metallica’s entire catalogue will now be available on their platform . Yes, you heard that right. As if 2016 hasn’t already been strange enough, you can once again get Metallica’s music on Napster.Having since cleaned up their act and relaunched as a legal subscription streaming service, the company delivered the news yesterday, amid significant buzz around the rollout of Metallica’s new album, Hardwired…To Self-Destruct this week. “The release of Metallica’s new album comes at an incredible time for streaming music with streaming subscriptions accounting for almost half of industry sales in the first half of 2016,” Napster said in a statement. “Today, Napster is a legal, paid subscription service with a catalog of over 40 million tracks. We are thrilled to bring Metallica’s full catalog–including their latest new album–to Napster subscribers around the world.”Metallica’s new album, Hardwired…To Self-Destruct, is being rolled via various platforms this week, with the official release set for this Friday, November 18th.[h/t – Billboard]
Joey Dosik was recently in New York City performing The National Anthem at Madison Square Garden for the Knicks vs. Nuggets game, which is a pretty big deal for any basketball fan. While some may recognize the “game winner” from his songwriting skills and collaborations with Vulfpeck, it is Joey’s solo career that truly defines him. After releasing his own Game Winner EP in 2016, Dosik has spent much of his time sharing music between his home in LA and various corners of the map.Ready to embark on a joint tour with Lake Street Dive, we took the opportunity to chat with Joey before his NYC gig this Sunday, February 19 at (le) poisson rouge. [Full tour schedule here]. We exchanged a few e-mails between his rehearsal time, and decided it might also be fun to fan-source some questions from Vulfpeck’s online fan club (because of course, fans of Vulfpeck love to nerd out over Joey too). Read below for some in-depth Joey Dosik lifestyle explanations, word on upcoming music with Vulfpeck, and what to expect from the tour that will soon begin with Lake Street Drive.Live For Live Music: Joey, you’re about to hit the road with Lake Street Dive. How did that come to be?Joey Dosik: I met the drummer Michael [Calabrese] a few years back and then I got the chance to meet Rachael [Price] and Bridget [Kearny] at our NYC shows this summer. They are super sweet and oh so talented. I’m so pumped that they asked me to come on board!L4LM: Are you playing any new material (original or covers) on this tour?JD: Yes, definitely. I’ve been testing out some new songs and revamping songs that I’ve played before. I like to do as much work in the songwriting process so that the songs can be performed live in many different ways. You’ll have to come out and see for yourself L4LM: Describe your creative process.JD: Oof, it’s always different. Sometimes it starts with a chord or a lyric. Sometimes it starts with an ice cream sandwich.I’m no longer one of these people that writes a full, finished song in 20 minutes. Ideas come quick but it takes me days or weeks to get a song all the way there. It’s even taken years for certain songs to get finished. You might get it 50% of the way there in one day, but then comes the process of refining it and making it air tight.L4LM: We’ll be seeing you in NYC on 2/19 at (le) poisson rouge. A lot of people are excited about the show! Do you have anything special up your sleeve? Do you have a go-to spot you have to hit while you’re in town?JD: So excited for this show!!! I can’t give away all the surprises – but I will say that LPR has a real piano, and that’s a special treat for me. Every venue should have one! None of this fake piano nonsense in 2017. Also, I’m working on a live version of “Competitive Streak” to perform because I’ve never done it live. Come out!!L4LM: That’s got to be one of my favorite songs on your EP, which I was turned on to by your fellow Vulfpeck collaborators. Can you tell us a little about your work together? Do you have a favorite song?JD: The sessions are super fun. Each day is about eating a good breakfast, hitting the songs in the afternoon, doing our best to make it great, and finally, making some dinner. Usually Theo or Joe throw down the food and its glorious.I was super honored when the guys wanted to do “Game Winner”. We also just cut a few more of my songs, hopefully for the upcoming Vulf album. Pumped.Vulfpeck is also the only group that gets me to take my saxophone out of the case and I think it makes my parents happy. My folks are still a bit confused that I would stop doing the thing that I studied in college (full disclosure, my parents are awesome and supportive).L4LM: Gasp! We can’t wait to hear the new stuff. Would you say that playing live with Vulfpeck has influenced your own career?JD: For sure. It’s connected me with their amazing fans. I’m so inspired by their audience and how pure the love is. The experience is all centered around fun, appreciation and feeling good. That’s what I’m looking for!! It’s something I can get used to.L4LM: What brought you to the University of Michigan? Do you believe that meeting Jack, Joe, Woody, and Theo was fate?JD: I went to the University of Michigan on a Saxophone scholarship and was excited for the opportunity there to study both Jazz and Classical music with some great teachers. I had no idea that I would fall deeply in love with the state of Michigan. I also had no idea I would find a vibrant musical community, made up of my best friends, that would last all this time and continue to grow. Sure, it was fate!!L4LM: Your solo work is within the realm of Vulf, but quite different. It must be fun to switch back and forth when you are able to. Do you have a mental process of going from one musical personality to the next?JD: Yes, they are basically different because when I make my music, I am producing. Wearing the producer hat comes with some basic leadership responsibility. When I record with Vulfpeck on the other hand, I am a member of the group, trying to bring my best energy as a team player and trying to help fulfill the vision of the band.Vulf sessions are also unique because what we are making that day is essentially the finished track – MEANING there isn’t too much overdubbing or adding on to what is getting recorded that day. My music is like that sometimes, but often I am playing multiple instruments and continuing to work on the music at home.L4LM: You have a lengthy tour ahead of you, hitting venues in the United States and in Ireland and the UK. What differences do you notice in the crowds of these different countries?JD: I’ve noticed a real unique excitement for music in Europe. People seem much more willing to express their emotions during a show. It comes in many forms … Screams, singing, laughing, dancing, hugging their friends. Everyone just seems a bit looser there.But the United States is also so interesting because of how massive it is. Every city / region is different!! For example Los Angeles is very cool and full of people in the music industry. Then, if you travel up north 5 hours to San Francisco, everyone seems ready to party and lose their minds!I would love to play music in all corners of the world and I really want to get back to Japan. Mata Kuru Ne!!L4LM: What is your favorite memory of a live show experience?JD: I saw Feist @ the Blind Pig in 2005. She played the song “Let It Die” and had people at the club slow dancing with each other. Some folks were dancing with strangers. My friend slow danced with a stranger that he ended up dating for a little while. It was a fantastic show.L4LM: When can we expect a new record from Joey Dosik? Can you give us an idea of what to expect musically?JD: I’m finishing it up! You can expect a taste this year. I’ve worked on it with Mocky – we’ve co-produced and co-written many of the songs. Loose concept is Marvin Gaye meets Harry Nilsson, but in 2017. Mocky and I play most of the instruments, but there are also some assists from the great Miguel Atwood Ferguson (strings), Gabe Noel (Bass), Jack Stratton (claps), Theo Katzman (percussion / voice), and more special surprises.L4LM reached out to the Vulfpack (Vulfpeck’s enthusiastic online fanbase) to see if they had any burning questions. Here’s what they want to know:Extrapolate the approach taken on “It Gets Funkier II.” How many takes did they do? How much written vs improv? Who’s bedroom?JD: Hmm I don’t remember how many takes. The song was written and then all the playing is improvised. That was filmed in my bedroom (formally carpeted).What’s in your warmup on keys if you do warmup? Same question as far as vocals.JD: I don’t warm up on keys. I do try to warm up my voice if I’m lucky. I use simple scale exercises with vowels and try and get to my entire range. The voice is way trickier and is constantly changing. Its hard to explain but it’s a physical change that morphs as you sleep, eat, talk, etc. It takes effort to get the voice in a good place. It’s much more demanding than any other instrument I’ve ever played.What was it like playing sax through the Vulf compressor?JD: It’s the best. Jack works hard to make me sound good. He’s the only one I fully trust to mix my saxophone playing.Do you write more on piano or other instruments? Do you typically start with harmony, a melody, or lyrics or is it always random?JD: I usually write on piano. Sometimes I write on guitar or bass. It’s always different! But when the lyrics come first, it makes it way easier to write the song. Lyrics are usually the toughest part for me. Melodies and chords come easy.If you could ask Marvin Gaye one question, what would it be?JD: Do you want to go get a drink??If you could shoot around with one NBA player (current/retired, alive/dead), who would it be and why?JD: Magic Johnson!! He’s my all-time favorite player and he’s one of my biggest inspirations. Would be so fun to hang out with him and shoot hoops, my gawd.Favorite Donny Hathaway song?JD: It’s kinda cheesy to say, but I really like “This Christmas.” Favorite Donny record is “Donny Hathaway Live.”When can we start calling you J-DOS?JD: You can call me that lol.What is your favorite 80’s movie?JD: Ferris Bueller’s Day OffWhat’s your favorite Rhodes model?JD: Late 1972 Fender Rhodes SuitcaseWhat is the airspeed velocity of an unladen sparrow?JD: Ask WoodyWho is more deserving of the name J-Boogie? Jack, Joe, or yourself?JD: I’m gonna go with Joe.What’s the best album of all time, and why is it ‘what’s going on’?JD: I guess it’s “What’s Going On” because it’s like medicine that we so desperately need.If you could create a day of the week, what would you call it? And where would you put it?JD: Breakfast Day. It’s a day off. Every restaurant would serve breakfast all day. Eating breakfast all day is encouraged. I’d make Breakfast Day every day.You’re a big fan of Carole King… Would you ever release a cover and if so which track would it be?JD: Yes, Carole King is one of my singer songwriter spirit animals. I’d do “For Once In My Life” or “So Far Away”.Don’t miss J-DOS at (le) poisson rouge this Sunday, February 19 with Lake Street Drive. Tickets available here.
Trey Anastasio took a moment yesterday during his performance with Trey Anastasio Band at Wanee Festival at Spirit of Suwannee Music Park in Live Oak, Florida, to pay tribute to the legendary Allman Brothers drummer and Wanee cofounder, Butch Trucks, who passed away this past January. In an emotional and heartfelt speech, Trey took the time to tell the crowd about being young and looking to being part of a group like the Allman Brothers as a “boyhood dream.”He then about his experiences playing with the Allman Brothers on the very same Wanee stage in 2014, describing the entire lineup as a “group of musical assassins, all of whom I idolize.” He continued, “It’s a band that gets a lot of props for having the best guitar players who ever lived. Literally, the greatest singer who ever lived. But when you stand up here and you feel it, you know, like I felt it, there was a guy driving that truck, Butch Trucks. It felt like an eighteen-wheeler going down the street, and I could feel it and I could hear it.”Trey then went on to talk about Trucks as great guy, mentioning a literal fishing trip that Butch took the members of Phish on, where he told them a bunch of “crazy rock ‘n’ roll stories” and showed himself as a truly kind soul. “My heart is full of love and my heart is full of memories right now,” said the Phish guitarist. Trey then dedicated the next song to Butch Trucks, asking the friends, family, and fans of Trucks to share in a cover of Five Stairsteps’ “Ooh Child.”You can watch HD videos of Trey’s emotional speech and the band’s cover of “Ooh Child” below, courtesy of Suwannee HD Streams.Butch Trucks Tribute Speech “Ooh Child”
As Phish took center stage on Wednesday night—the fifth night of their exciting Baker’s Dozen residency at Madison Square Garden—hardcore fans of the band were, for perhaps the first time during this run, genuinely perplexed. In retrospect, the first four nights of Baker’s Dozen featured fairly obvious themes: “Coconut,” “Strawberry,” “Red Velvet,” and “Jam-Filled.” In comparison, night five’s “Powdered” theme had a lot of people scratching their heads, especially after the sheer-awesomeness of night four’s instant-classic “Jam-Filled” affair. Of course, Phish always has some tricks up their sleeves, and they did not disappoint on Wednesday night, opening and closing the show with theme-specific covers while delivering plenty of loose “powder” references throughout the show. However, fans will not remember this show for its themed references; fans will most remember this show for its epic six-song second set filled with fan-favorites, one of the biggest bust-outs in Phish history, and tons of huge improvisation. It turns out that those powdered donuts were filled with jam after all.Phish opened the show with an out-of-left-field cover, “Winter White Hymnal” by Fleet Foxes. The song, which appears on Fleet Foxes’s 2008 self-titled debut album, was delivered as an a capella number, and it was performed beautifully with gorgeous four-part harmonies. This song answered a lot of questions about the night’s “Powdered” theme, as the “Winter White” snow reference showed that the theme would be treated differently than the preceding nights at the Baker’s Dozen. The previous four themes had been treated almost like a keyword, with song titles, band names, or jams directly stating that day’s theme. For “Powdered” night, the band would focus on references to powders, but not necessarily use the word itself.After returning to their normal spots on the stage, the band started up the first “Cars Trucks Buses” of 2017, and only the second version of the song since 2013. The bouncing-blues cover, “My Soul,” followed, which featured a nice organ solo from Page McConnell before guitarist Trey Anastasio pushed things into another gear for the raging peak of the short type I jam. Phish then trotted out Ween‘s “Roses Are Free”, a fun version that was decidedly not filled with jam. Phish moved from “Roses” into “The Very Long Fuse,” only the third performance of the blissful and ominous favorite from The Chilling, Thrilling Sounds of the Haunted House. In keeping with the evening’s theme, “The Very Long Fuse” features a “gunpowder” reference in its opening narration. The band then churned out standard versions of “Gumbo” and “Yarmouth Road” before starting up the Round Room rarity, “Pebbles And Marbles.”“Pebbles And Marbles” is arguably the band’s best composition from the 2002–2004 era known as 2.0; surprisingly, it has only been performed nineteen times (including last night’s version) since its debut back in 2003. It hadn’t appeared on a setlist in over one hundred shows, dating back to August 3rd, 2014. Phish seemed to struggle somewhat with the song’s composed section, yet all was forgiven when they launched into a concise, blissful jam. The band had a similarly rough time with “Farmhouse,” with Anastasio missing several notes and lyrics before making it up to fans with a short-but-sweet piece of improvisation.When Phish kicked off “Tube”, fans were expecting the standard version that has become so familiar in recent years. Phish fans love “Tube,” but it’s become somewhat of a disappointment in 3.0, as the speed-funk blues-banger isn’t typically used as a launchpad for improvisation anymore. However, the Baker’s Dozen has been anything but typical, and Phish ran with that vibe, stretching “Tube” out past fourteen minutes, marking the longest version of the era. The jam itself was awesome, as McConnell laid down some synth elements while the band created some atmospheric funk reminiscent of “2001.” The band included some teases of “The Very Long Fuse,” before moving into a Latin-style rhythm. Anastasio took the lead and transformed the jam into a fusion of hard rock and power funk, crafting a euphoric ending to the jam, which Phish fans have been waiting for over the past eight years. After some ups and downs in the first set, this stretched out “Tube” was the perfect way to bring the opening frame to a close. Phish emerged for set two and quickly started up the sinister “Carini.” They launched into a triumphant and lengthy section of improvisation, which featured lots of psych-rock guitar stabs from Anastasio. Lighting designer Chris Kuroda used his new moving light rig to full effect during “Carini,” making the lights seemingly float around the stage with red and blue flashes that were reminiscent of UFOs. The band responded by linking up for a blissful ambient jam, featuring a sci-fi bass effect from Mike Gordon that perfectly matched Kuroda’s lights. The band included several teases of “Pebbles And Marbles,” before drummer Jon Fishman started playing the beat for “Mr. Completely.” Eventually, the whole band caught on, and they segued into the Trey Anastasio Band favorite, which was performed last night by Phish for only the third time ever. “Mr. Completely” was huge, and showcased the variety with which Phish can rely on during their ecclectic styles of improvisation. The jam featured elements of rock, clavinet-based funk, the band’s trademark “plinko” style, and a transcendent peak with raging guitar and some deep and dirty bass bombs.When things seemed like they couldn’t get any crazier, Anastasio started up the familiar guitar chords of Prince‘s “1999”. Needless to say, after a 524 show layoff since the band’s one-and-only time performing the song—at MSG on New Year’s Eve 1998—the audience completely erupted. Kuroda bathed the band and crowd in purple lights as the band took “1999” and turned it on its head, adding an unreal ten-minute jam following the main portion of the song. The “1999” jam had an ambient, driven type II build, which the band harnessed and unleashed with multiple, piercing peaks, complete with bright white light (…and the entire audience achieving enlightenment… Maybe that was just me). This was easily one of the biggest moments of the run so far, as the band evoked explosions of energy from the audience again and again with this standout moment of improvisation.Towards the end of the “1999” jam, Fishman brought the “Mr. Completely” drum part back into the mix, seemingly trying to get the band to segue back into the song, but Anastasio had other plans, as he moved into “Steam.” “Steam” continued the band’s focus on ambient, sci-fi themes, with plenty of dark rock thrown into the mix. Phish segued “Steam” into Led Zeppelin‘s “No Quarter,” and the audience once again exploded with excitement. While this version didn’t feature any improvisation, it acted as the landing pad after almost an hour of non-stop action. Both “Steam” and “No Quarter” make reference to “snow,” bringing back the night’s “Powdered” theme.After finishing up the song, the band took a quick breather before starting “Character Zero.” While this rocker typically rages, it’s usually a short song with no true full-band improvisation. On this occasion, Phish threw the audience another curveball, stretching the song out to eleven minutes long and featuring plenty of fresh ideas. The band seemed to tease “Martian Monster,” and Fishman and McConnell dropped out at one point to allow Gordon and Anastasio to have a rare guitar duel.Following a quick encore break, the band returned to the stage to rapturous applause, before they started up their first-ever version of Neil Young‘s “Powderfinger,” the evening’s final nod to the night’s “Powdered” theme. While Anastasio’s vocals are not necessarily a perfect fit for Young’s nasally vocals, the delivery was heartfelt and the version was ultimately solid.Tonight, Phish continued to show what makes the Baker’s Dozen run so special. Five shows in, and the band has delivered multiple moments of standout improvisation each night. They have continued to bust out super-rarities each night, they have consistently included fan-favorites in each set, and they have performed several songs per night as part of the evening’s donut-flavored theme. Wednesday night, the band stretched out “Tube” and “Character Zero,” they played rare originals like “Pebbles And Marbles” and “Cars Trucks Buses,” they performed a fan-favorite cover in “No Quarter,” they peppered several moments of wild improvisation throughout the show, and they dropped one of the best bust-outs in their history with “1999.”This is peak Phish, and we are all lucky to be experiencing it.Phish is off tonight and will return to Madison Square Garden on Friday for night six of the Baker’s Dozen.[Photo: Dave DeCrescente]HOT TAKES:Repeat Watch: None so far…based on the way they are playing, and the frequency with which they are delivering new originals, lengthy jams, and rare and out-of-left-field covers, it would be shocking if they started repeating songs.Today’s Donut: Powdered [“Winter White Hymnal,” “The Very Long Fuse,” “Steam,” “No Quarter,” “Powderfinger”]We Tired Yet: We’ll be enjoying some rest & relaxation during this day off, but we are PUMPED for the weekend. Bring on more Phish!SETLIST: Phish | Baker’s Dozen Night 5 | Madison Square Garden | New York, NY | 7/26/17SET 1: White Winter Hymnal, Cars Trucks Buses, My Soul, Roses Are Free > The Very Long Fuse, Gumbo, Yarmouth Road, Pebbles and Marbles, Farmhouse, TubeSET 2: Carini -> Mr. Completely > 1999 > Steam > No Quarter, Character ZeroENCORE: Powderfinger Phish debut; a cappella. Phish debut.Phish At Madison Square Garden 7/26/2017 Load remaining images