Hidden Track Staff

Filmmaker Brent Kado takes us behind the scenes for an exclusive look at all of the hard work that went into filming Umphrey’s McGee at the Chicago-based band’s three-night New Year’s Run for a future DVD release…

Words: Brent Kado
Images: Chad Smith, Ben Slayter, Brian Spady and Charles Izenstark

Chicago is a city of simple traditions. There’s no doubt that Umphrey’s McGee understands this. It’s why they’ve made their home city the site of the band’s New Year’s Eve shows since 2000. Another Umphrey’s tradition is filming their DVD releases in Chicago, a couple times on New Year’s Eve. So when the band asked my associate Chad Smith and I to film all three nights of this years run at the Riviera Theater to say the least I was thrilled. While I’d recently shot the North Coast Music Festival for a documentary and directed a standard one-song music video for Lotus, the challenge and energy of filming a three-night New Year’s run offered a fresh and unique set of challenges and opportunities.

[Photo by Ben Slayter]

The Planning Period

If you are going to shoot live music, and three days of it at that, planning is essential. The proper gear, a strong crew, accurate logistics and a definitive schedule must be locked down in advance. Gear is concern number one. Its not just cameras and tripods. There are lenses, memory cards, batteries and a host of other items to rent. Food, beverages, passes and parking for the crew must be lined up. Schedules must be coordinated with the band, the band’s crew, the house crew and our crew. Making sure that the details of these things are in order pre-shoot can make the actual shooting go so much smoother.

Day 1

Chad And I arrive at the Riviera around 2 PM on Monday. The light rig set up is in full swing. We introduce ourselves to the house crew – most recognizing us from the Lotus shoot a month earlier – and Chad begins to try and coordinate schedules and logistics with the band’s people. Don (Umphrey’s Tour manager) immediately goes over some of the important points with us such as where certain passes will allow our crew to go, any changes in the schedule and other potential conflicts that he foresaw.

We set up a camera to try and capture some of the setup and begin our walk through to plot out camera locations and reacquaint ourselves with site lines. As the band slowly trickles in for their night time rehearsal, Robbie (stage manager) and Bob (monitors) begin to explain to us the special events planned for the weekend (guests, balloon drop, etc.) as well as where our cameras will be allowed to move on stage. Due to limited space, Chad and I have to adjust our ideas for onstage cameras. We also learn that the Riviera crew is behind in their set up schedule and that both the light programming and bands sound check will be moved to the next day. Chad and I unload all of our gear – 11 boxes of rented equipment, a oversized case of Chad’s gear and a couple bags – and set it up in our area backstage. We have further conversations with the band’s people – Vince (manager) and Kevin (sound engineer) – about need-to-know information for our shoot.

READ ON for more from Brent on what went into filming Umphrey’s McGee’s three-night New Year’s Run at the Riviera in Chicago…

Words: Alexander Wolff
Images: Jason Woodside

Denver is one hell of a place to be a live music fan on New Years Eve. With multiple acts that have big draws setting up shop for more than one night, one has choices. Quite a luxury indeed! So, with Widespread Panic and STS9 both having headlined multiple-night runs in town, you are surely wondering what else went down around Denver on the last two nights of 2010.

[All photos by Jason Woodside]

East coast experimental Americana outfit Railroad Earth was booked for three nights at the Ogden Theater leading into the start of 2011. The group wound up playing four after announcing a January 1st performance during the show on the 30th. That night, the first set started off with a bit of a lull, the band having selected slower numbers that were lacking in any sort of extended improvisation, albeit tightly executed. Both the first exploration of the night, as well as the highlight of the show came in the form of a swelling, spacious jam out of Head that they pushed with a four-on-the-floor rhythm to a nice peak before bringing it home.

The second set did not disappoint, as the band came out hard with a guest vocalist for Mighty River and Peace on Earth, and a rocking double-fiddle jam in Reuben’s Train. Out of 1759 came an extended jam setting up the segue into Seven Story Mountain, and they kept the energy going through the rest of the set into the encore. A solid showing.

The Motet, one of Colorado’s best kept secrets, played to a sold-out crowd at Cervante’s Masterpiece Ballroom on New Year’s Eve; now that sounds like a party. Before The Motet would bring the funk parade to the dance floor, there was an interesting set of music to get through first. Boston roots-reggae act John Brown’s Body played a wonderfully impressive set of music. With their thick dub lines, syncopated horns, spacious improv and tight vocals they got the dance floor kicking and skanking. READ ON for more…

Words: Eric Wyman

For 13 nights in December of 1995, Phish played perfectly. Years of hard work put them in a position to call their own shots and a barnstorming exercise throughout the month of December turned into what in my mind is the single greatest short run the band has every had. More on that later.

Phish – Albany YEM

During that month I was a sophomore at the University of Connecticut and firmly ensconced in the ultimate laissez faire semester when Phish scheduled what amounted to basically an entire month touring venues all within driving distance. While I didn’t leave my studies completely, there certainly was the opportunity to hop in a car any night and just go. There was something sublime about throwing caution to the wind and seeing Phish without regard for repercussion. I planned my schedule and charted what seemed to be a fairly doable agenda given the impending finals crunch.

(It should be noted that I probably failed at least half of those finals)

While I am quick to point out the December run, it should be noted that the band had already played 41 shows on the Fall/Winter tour. Places like Chandler, Cedar Rapids, Missoula and West Palm Beach (bonus points if you can identify all of those states).

• Type II Cast: A December To Remember

Coincidentally, it was the first of December when the band setup in Hershey, PA and played one of the finest versions of Mike’s Song ever. Had it been one day earlier, my story would just be awkward…so I am grateful for that. That improvisation launched a run that saw “best of” efforts in nearly every show and real “best of” version contenders in almost half of them. New Haven (Tweezer), Amherst (Gin), Niagra (Melt), Albany (YEM), Binghamton (Timber), etc. And after four more shows over the holidays in 1995, capped by the sublime effort in Madison Square Garden on 12/31, the band would never be the same.

READ ON for more of Eric’s take on Phish in December ’95…