The 2010 Summer Camp Festival started last night with performances from Dumpstaphunk and 30db among others. Our friends at Bands That Jam have already posted a ton of content live
With a festive weekend ahead and most people cutting out early today, this week’s mix tape is designed for the poor suckers who get stuck in the office this afternoon.
Last night was a sad night in Upstate New York as area promoter Greg Bell put on what looks to be the last jam-filled evening at Revolution Hall in Troy, where the McLovins and 7 Walkers featuring Bill Kreutzmann and George Porter Jr. capped an illustrious history of jamband shows at the storied venue. Mary A. Mahoney explains the back story…
Revolution Hall in Troy, New York, has seen many acts grace its stage since it opened in 2003. Over the past seven years it has presented an array of performers from nationally touring acts like Umphrey’s McGee and Mike Gordon to younger local bands like the McLovins, who are just gaining momentum in their respective scenes. The stage at Revolution Hall has seen a multitude of musicians, engineers and concert-goers, and leaves behind memories in the hearts of many. “When you walked [into Rev Hall] you could smell all of the good times and amazing music that happened in that space…” reminisces Taraleigh Silberberg, publisher and live music fan.
The venue itself is not inexperienced to change as well. Many changes in management and ownership have occurred in the short seven years it has been open for business – and it looks like one last big change is about to take place. Early next month, Rev Hall will close its doors with nondescript plans for the future; A change which has left many patrons and fans wondering what the future holds for the venue.
Originally opened by Brown’s Brewing Company, Rev Hall has conducted business in an ambitious, eager – if not hyperactive – way. Through the passing of the torch, the overall vision for the venue became a shape-shifter, rendering it difficult for it to grow in any particular direction. With the most recent change this past January placing the management power back in the hands of Brown’s Brewing Company, it seems the identity of Rev Hall morphed for the last time.
READ ON for more from Mary on the closing of Rev Hall…
You can expect the “flyering” to be non-stop at festivals across the country this weekend as street teams hand out flyers and hand bills promoting future events. In an effort
Every Friday night this summer the MSG Network will broadcast a block of concert films featuring a diverse group of artists ranging from the Dave Matthews Band to Elton John
The “full-on promotional blitz” continues for The Black Keys’ latest studio release, Brothers, with the debut of the third music video from the album. For the Tighten Up video the
George Clinton & the P-Funk All Stars at the Orange Peel in Asheville NC on April 13th, 2010. Concert Photography by David Oppenheimer
Trent Reznor has announced that the debut release from his new group How To Destroy Angels, will be a free download. The Nine Inch Nails frontman, who formed the band
Carrboro, North Carolina’s Cat’s Cradle has always been a favorable spot for bands on the fringe of public consciousness. Caribou, for instance, would likely have a hell of a time drawing a few hundred people in Raleigh, Charlotte, or Asheville. But in Carrboro, the artist sometimes known as Daniel Snaith performed to a near-sellout crowd, and it wasn’t the first time he’s packed the house at the venue. However, last time he was in town the sound was better and the music infinitely more engaging.
Dr. Dog's initial project for the Anti label after a string of releases on Park the Van that, along with their infectious live shows, has helped the Philadelphia group redefine grassroots appeal, Shame, Shame is also the first project on which Dog has collaborated with an outside producer. Rob Schnapf, who's worked with Beck, The Vines and Elliott Smith among others, helps bring a clarity to the sound (preserved, no doubt, by the mastering of Greg Calbi), most obvious in the impact of the rhythm section, as on the opening "Stranger". The density of the music hasn’t decreased, compared to 2008’s Fate, but the components of the arrangements are rendered more distinct.
