January 21, 2012 in 11, 12, 2, 2011, 25, 3, 31, 50, 9, a, after, Again, age, all, Also, am, an, and, another, Are, around, as, at, away, Ball, balloons, ban, band, bands, Bass, beginning, big, Bill, black, blue, blues, Bridge, Burn, but, by, ca, can, canon, cat, Cavern, center, Character, charlie, City, classic, CO., color, Colors, COMPLETE, Crowd, cup, Day, dead, delay, down, dragon, en, Encore, end, epic, Eve, Eyed, fall, Fat, fee, fi, final, fire, First, FOR, Free, From, gain, game, garden, Genesis, get, gin, glow, golden, Good, Gorge, grace, grateful, great, Guitar, hall, hampton, hi, high, Hippie, home, How, ice, improvisation, in, into, intro, is, IT, IX, jam, jammin, jamming, Jams, John, Joy, King, know, las, late, Led, Lee, let, life, light, lights, Like, LITTLE, live, live music, log, long, lot, MA, Made, Main, maine, marathon, maze, MI, mod, Music, My, Nat, nate, nc, New, New Year's, new york, News, night, nitrous, no, ny, NYE, of, on, one, op, Open, opener, organ, out, PA, Park, Part, party, Phish, Piano, play, Pop, post, Pot, pro, psychedelic, Pt, rain, read, Reprise, return, reverb, Road, rock, roll, rolling, room, rose, row, rs, San Francisco, Sand, Say, SC, scent, sci, second, set, show, Shows, So, solo, solos, song, sound, SPAC, St, Stab, stage, stars, start, Starting, station, Steam, step, stone, story, street, tab, That, the, third, Thunder, times, to, tone, Too, tour, Trip, two, up", us, USA, va, venue, view, vocal, WA, war, Way, we, Ween, with, years, york, You, Your |
By: Garrin Benfield
Furthur :: 12.31.11 :: Bill Graham Civic Auditorium :: San Francisco, CA
 Furthur : 12.31.11 : by Josh Miller |
It’s taken me several weeks to wrap my head around Furthur‘s marathon New Year’s eve show at the Bill Graham Civic in San Francisco. The epic three set show took on a dream-like quality even while it was still in progress. I flew into SFO from New York City, where I had just seen the middle two nights of Phish at the Garden, just in time to change clothes and head to the venue for the ultimate hippie high-holiday celebration. I’ll admit to some reservations that the band might be worn out after two previous nights at their hometown hall, and might be rusty after considerable time off. Happily, this show will be remembered not for ennui but for five hours of sparkling jams that borrowed liberally from all eras of the Grateful Dead’s career, and suggested that the overtime round we’ve found ourselves in is in full swing and shows no signs of letting up anytime soon.
The band ambled on stage to a full house and broke into the Haight Ashbury’s ultimate party incantation, “The Golden Road (To Unlimited Devotion)”. Phil, already hungrily prowling through the low end, seemed to nudge JK‘s first few solos into early peaks. “Cosmic Charlie” was the perfect late 60s compliment to this opener, and instantly moved the set into darker, trippier territory. The bridge sections of this tune are amongst the early Dead’s most progressive, unclassifiable compositions, and on this night, the sentiment, “Go on home, your Momma’s calling you,” took on an almost taunting quality between the band and the audience, still settling in to the cavernous room.
 Phil Lesh : 12.31.11 : by Josh Miller |
“Althea” was greeted warmly, but was marred by an almost comical amount of uncontrolled feedback coming from Bobby‘s guitar. JK delayed the vocal intro as long as he could, but finally stepped up to the mic and began in earnest. The feedback persisted and actually seemed like it might derail the whole song until Jeff Chimenti‘s first piano solo of the night rescued the whole endeavor. “You know this space is getting hot” took on a new, somewhat agitated meaning, and was met with an even greater roar of approval by the crowd who were clearly rooting for the band, insisting this not turn into one of those evenings where Bob spends the whole show glaring at his gear.
The first totally unexpected song of the night was Weir’s admirable stab at “Next Time You See Me”, a song most people associate with Pigpen’s tenure with the Grateful Dead that perhaps was on the band’s mind because of the recently released remastered Europe ’72 box set. The unquestionable emotional centerpiece of the first set, though, was a gorgeous “High Time”, sung with genuine emotion by JK and delivered by the whole band with an “Attics of My Life” kind of emotional gravity. “High Time” also highlighted for the first time the amount of work this band has devoted to effective vocal arrangements. A perfectly placed “Shakedown Street” reignited the New Year’s vibe, and was once again enlivened by Chimenti’s slinky Rhodes work and a pounding piano solo. The dissonant ending note of “Shakedown” signaled the beginning of another 60s staple that has become a signature jam vehicle for Furthur, “Viola Lee Blues”. Phil was the first member of the Grateful Dead to resurrect this song after Jerry’s death, and his dedication and loyalty to the old repertoire, or “the canon” as he might call it, has resulted in a complete modernization of “Viola Lee”. This standalone version showcased the most expansive jamming of the night so far, and thrust the room into what seemed like the middle of the show. Kadelecik dug into some Hendrixian tones, coaxing squeals, wails, and sirens out of his axe. A chunky, satisfying end to an eventful first set.
 John Kadlecik: 12.31.11 : by Josh Miller |
After a shorter than normal break, JK counted off a game changing and completely unexpected “Morning Dew” second set opener. One of the most intriguing things about a long, three set show is not knowing how the evening will be paced, and it’s safe to say not many expected this degree of seriousness at the outset of the second set. This “Dew” included both the laconic quiet passage reminiscent of 1974 and the fire and fury of a late 80′s crescendo. The band then moved into one of those indescribably Grateful Dead types of improvisation where all five instrumentalists are chugging along, each playing distinct, concurrent lines, and stayed there for a good five minutes before finally falling into “Dark Star”. Furthur’s arrangement of “Dark Star”, while to some may seem overly organized for a song whose ethic suggests total freedom, to my ears is profoundly psychedelic and harkens back to the majesty of the Aoxomoxoa aesthetic. Phil’s voice in particular, shrouded in reverb, reminded me seriously of some of the sounds in the nitrous oxide epic “What’s Become of the Baby”. And with all five singers contributing, the “shall we go while we can” refrain has a newly anthemic quality.
Characteristic of other recent “Dark Stars”, Joe Russo relentlessly pushed the tempo of the jam away from the spacey versions of the past and into a satisfyingly frenetic direction that really has no easy analogue in popular music. The bright tempo served the transition into “Mason’s Children” well, and propelled another searing full band exploration that eventually found its way back, in inimitable Dead fashion, to the second verse of “Dark Star”. “Mountain Song”, the most well received Furthur original, perhaps partially because it is so consistently delivered, again did not disappoint. The song also has a fascinating back story and multiple authors, lending a certain mythology to its genesis. It also has a coda that was built to transition into “I Know You Rider”, a path the band wisely chose to follow on this celebratory night. “Rider” was joyous, measured and mature, imbued with the kind of wisdom that can only be gained after hundreds, if not thousands of performances. With the whole crowd singing along, and the huge Phil bass bomb that concluded the tune, this could have easily ended this set. Amazingly, instead the band played fully realized versions of “St. Stephen” and “Fire on the Mountain” before taking a break. There was not one half assed, phoned in moment in the whole pre-New Years set. Looks of early exhaustion and gratitude filled the room.
 Furthur : 12.31.11 : by Josh Miller |
About twenty minutes into the next break, thunder claps began emanating from the quadraphonic PA, creating an eerie sound collage as folks made their way back into the hall, which already had the look of having gone through a whole show. As the lights dimmed, a cacophonous, 20th century classical piece created a foreboding vibe, and an enormous dragon that had been hidden behind some black tarp on the roof of the hall was revealed and began slowly moving to meet a woman who somewhat magically rose up from the floor. When she climbed on the dragon’s back, The Rolling Stone’s “Start Me Up” came booming over the PA. The whole thing was completely strange, disorienting, and beautiful – my favorite post Bill Graham New Years moment for sure. The dragon made its way above the stage, allowed the girl to disembark (where she was met by Bill “Father Time” Walton and other costumed participants), and the New Years countdown somewhat abruptly lurched us forward into 2012! As balloons fell, the band went straight into — what else — “Sugar Magnolia”. Despite some heartily cheered lyrical lapses, it was a well developed version, and it really is the New Year’s tune. Bobby’s count off into “Playin’ in the Band” was unfortunately halted by Phil for some reason, so there was a bit of an ill-timed pause after the big party moment, but the eventually “Playin” took off and bled into “Uncle John’s Band”. The dragon, with glowing red eyes, remained perched high above the stage for the rest of the show, between two illuminated white globes festooned with the GD lightning bolt, and periodically breathed out billowing clouds of steam. It really was a gorgeous sight.
“Colors of the Rain”, a new Phil composition, was a late show risk that I appreciated as a breather moment as the show moved into its concluding stretch. After a brief detour into the Anthem of the Sun nugget “Born Cross Eyed”, with its Spanish jam intimations, “The Wheel” brought the whole room back together. Sure, the band was starting to show a little wear at this point, but so was the audience. After a splintered outro jam from “The Wheel”, “Playin’ Reprise” occupied the parenthetical role it has so many times over the years and gently concluded the third set. Phil and Bob looked at each other and gracefully tagged “Playin’” with the kind of detailed intention that really ended the evening in a satisfying way. Phil returned, and alone in the spotlight, delivered an especially poignant “donor rap” that had the whole room simultaneously amazed that we were all together again, ushering in another year. And when he somewhat casually said, “I think we have one more for you”, no one expected the entire “Terrapin Station Suite” to unfold in all its 25 minute glory. But that’s the kind of night it was. The encore was a half an hour. We must be dreaming.
Furthur Tour Dates :: Furthur News
JamBase | Bay Area
Go See Live Music!
Tags: age, grace, lot, Music, new york, play, room, solos
January 7, 2012 in 06, 10, 11, 12, 2, 2011, 28, 29, 3, 30, 31, 50, 9, 99, a, after, Again, age, all, Also, am, an, and, another, Are, as, at, Auld, Auld Lang Syne, away, Backstage, Ball, balloons, ban, band, bands, Bass, beauty, beginning, blood, boot, bouncing, Burn, but, by, ca, cat, center, City, classic, close, CO., color, colorado, comes, concert, cream, Crowd, cup, dance, dancing, Day, dead, December, does, down, Drop, en, end, Eve, fee, fi, final, finish, First, FOR, four, Frenzy, Friend, From, gain, get, gin, give, Good, Gorge, great, Guitar, hampton, Heads, hi, hiatus, high, How, improvisation, in, inspiration, into, intro, is, IT, IX, jam, jammin, jamming, Jay, John, Joy, King, Labor, lang, las, Last, Laugh, leave, Led, Lee, let, levels, life, light, Like, live, live music, long, lot, love, MA, Made, Main, maine, mash, MI, midnight, mix, Music, My, Nat, nate, nc, New, New Years Eve, News, night, no, North, NV, ny, NYE, of, on, one, op, Open, out, PA, page, Part, party, Phish, picking, play, pro, Pt, rad, rain, rant, read, Road, rock, room, rose, Roseland, row, rs, run, Say, SC, sci, Screaming, second, set, show, Shows, Sky, So, solo, song, Soul, SPAC, Split, St, stage, start, state, step, string, studio, style, Syne, tab, talk, Taste, That, the, theater, to, tour, Traffic, Train, Twist, two, uic, us, va, venue, WA, WAITING, war, Way, we, Ween, with, words, years, You, Your |
Words by: Shawn OBryant | Images by: Sue DuMond
Leftover Salmon with Elephant Revival, Fruition and Jim Page :: 12.31.11 :: Roseland Theater:: Portland, Oregon
 Vince Herman by Sue DuMond |
In the greenroom of the Roseland Theater, Vince Herman of Leftover Salmon sits surrounded by masks and balloons restringing his guitar. He is preparing for the final gig of Leftover Salmons New Years Run, a four show tour that kicked off on December 28 in San Diego, CA and is culminating in a New Years Eve masquerade style jamboree in Portland, OR. As he tinkers with the strings and tunes them by ear, he talks excitedly about the upcoming year. Twenty-twelve, bring it on, he exclaims. Were stepping into a new world. We are psyched to start it here.
The final show of the year marks the 22nd anniversary of Leftover Salmon, who played their first gig in Crested Butte, CO on New Years Eve of 1989. Tonight also marks the beginning of a new era for the band as they swing away from the on-again-off-again hiatus they have been on since 2005. As the new year comes knocking, the veteran originators of Polyethnic Cajun Slamgrass have a lot coming up in 2012, including a new album in the works and a revitalized winter tour calendar.
 Drew Emmitt by Sue DuMond |
Along with Leftover Salmon, fellow Colorado natives Elephant Revival, longtime Leftover Salmon collaborator and Seattle local Jim Page, and Portland native folk/soul rockers Fruition are in the house to round out the show. The gig is a mash up of Rocky Mountain and Northwest talent and although the lineup spans geographic and generational boundaries, all of the acts fit together like pieces of a carefully crafted, larger mosaic. This is no coincidence. The lineup has been pulled together intentionally and includes some of Leftover Salmons oldest and newest friends from the last two-plus decades of life on the road.
Herman finishes stringing his guitar and eyes the vintage tuxedo he will soon put on to play his set. The mood in the greenroom is getting energetic as the doors to the concert are about to open upstairs. Herman recalls that the foundations for this very night were laid over 15 years ago when Leftover Salmon found themselves at the Oregon Country Fair outside of Eugene, OR. Wandering the entwining paths between stages, Herman bumped into Jim Page playing an impromptu show and was immediately hooked. I just got glued to Jim for a few hours, he remembers. Vibing off each others ability to keep music fluid, fun and improvisational, Page was soon collaborating with Herman and Leftover Salmon all over the country.
 Elephant Revival by Sue DuMond |
Elephant Revival first came onto the radar of Leftover Salmon in 2006 when two of their members, Bonnie Paine and Dan Rodriguez, moved in next door to Herman in Nederland, CO. Before long the two households were picking away together. We got to cook good meals, pick all night, and drink whisky to keep our blood warm, recalls Rodriguez about the formative time period. On the upswing, Elephant Revival has been turning heads ever since, creating a solid fan base through their tireless touring, dedication and love of their craft. They have remained close to Herman and now share a common manager. Hermans admiration for the band and their Transcendental Folk style is obvious. Elephant doesnt have to slam you down and rowdy you up to get you to pay attention, he says, Their breath is enough.
Fruition made it to the stage after a series fortunate meetings and good old fashion jamming. After seeing Elephant Revival at a show in Portland, We instantly had a band crush, recalls Jay Cobb of Fruition. After the show some of the members of Fruition and Elephant Revival ended up playing together at an after party.
 Fruition by Sue DuMond |
After jamming in Portland, Fruition again met up with Elephant Revival at the 2011 Northwest String Summit where Herman was also hanging out and playing. One night Herman, who is notorious for keeping the jam going after all others have retired, fell asleep early. Seizing the opportunity to give Herman a taste of his own medicine, members of Elephant Revival and Fruition glommed together in conspiratorial glee and snuck wordlessly into the tent of the peacefully asleep Herman. We decided to wake him up with a sweet lullaby, remembers Rodriguez of Elephant Revival. With a full band including an upright bass squeezed into Hermans tent, the ensemble slowly began to play Herman into consciousness. I met them in a dream state, recalls Herman of Fruition, They invaded and sang the most incredible, gorgeous song. It was the greatest.
The Roseland Theater is getting packed as hordes of fans stream in the door and pick up complimentary masquerade masks. The theater is split into two levels with a main stage upstairs and a secondary stage on the first floor. At 7:30 pm Fruition starts playing their first set. As usual they get the show rocking hard and rocking early. Fruition has become a staple for the dance hungry, foot stomping fans of the gritty folk rock scene in Portland. With a local crowd and the thrill of playing a gig with some of their favorite musical inspirations, the show quickly gets into full swing. Throughout the night Fruition will be playing tweener sets on the lower stage during each of the set breaks of the upstairs stage, This is the best situation, says Cobb over the microphone as they wrap up their first musical onslaught. We get to play for you and then we get to party with you. Lets go watch Elephant Revival!
 Jim Page by Sue DuMond |
The multi-level layout of the venue insured that a constant flow of traffic is continually streaming between the two floors. Elephant Revival takes to the stage next and hypnotizes the crowd with goose bump inducing melodies, heartfelt lyrics, and contagious aura of conscious optimism. The crowd is drawn into hooting applause as Bonnie Paine rocks a washboard solo and then gets carried off on a sea of strings and bass. Elephant Revival delivers the type of show that leaves you feeling good. The band is so cohesive in their approach that the whole audience is riveted by the exuberant passion of the band.
Jim Page delivers next with a short but politically charged set accompanied by Herman and Paine. The intelligence and compassion in Pages lyrics waft over the crowd as he tackles contemporary issues of beauty and ugliness in songs like Tent City and a remake of Woody Guthries This Land is Your Land.
 Leftover Salmon w/ Bonnie Paine by Sue DuMond |
Leftover Salmon finally takes the main stage at 10:00. Decked out in newly purchased vintage suits and ready to give it everything, the band launches into their music with all the exuberance of the early days. Playing a mix of classics and a few tunes from the upcoming album including Liza, a new Andy Thorn tune, the crowd is whipped into a dancing frenzy. Everyone is feeling the high. Paine, waiting backstage before joining Leftover Salmon for some washboard collaboration, grabs fellow band member Sage Cook and swings him into a dosey doe as he passes by. The energy is tangible and everyone is feeding off of it.
After a few songs Jim Page and Paine join the lineup onstage, and Page demonstrates his dynamic improvisational style on the fly. After a few tunes, Herman introduces the Jim Page song Over My Dead Body, which he describes as the anthem to the Occupy movement. The set carries the crowd with every twist, solo and belted chorus.
 Leftover Salmon by Sue DuMond |
At a few minutes past 11:00 the crowd has again flowed downstairs to watch Fruition before the final Leftover Salmon set. As Fruition winds up their last tune, the song slowly dissolves into a ruckus drum solo by drummer Tyler Thompson. Out of the wings appears drum and dance ensemble Ax Did, jamming Afro-Caribbean beats in coalition with Thompson. Dancers appear onstage decked out in carnival-esque costumes and whip the crowd into a frenzy with their booty shaking exuberance. Soon the percussion section and the dancers have left the stage and begin meandering their way through the audience in a train, dancing and leading people back upstairs. By the time they reach the main stage the whole venue is bouncing. Salmon effigies attached to dowels float amongst an ocean of hands as the dancers make it onstage for a solo rhythm and dance show.
The crowd counts down to midnight and an avalanche of balloons drops over the audience. Leftover Salmon is back onstage and rips into their last set of the night, beginning with their own rendition of Auld Lang Syne. With another new tune, Light Behind the Rain, a cover of Sweet Child O Mine, and more classic material such as Zombie Jamboree and Euphoria, Leftover Salmon ratchets up the energy even further in the packed house.
 Leftover Salmon by Sue DuMond |
The show ends on a high note, leaving everyone sweaty, overwhelmed and screaming for more. The new and youthful energy of Fruition and Elephant Revival mashed up perfectly with the road tested experience of Jim Page and Leftover Salmon. This is the best show I have seen in 11 years working with the band, remarks Leftover Salmon manager John Joy.
Leftover Salmon will be riding the crest of that wave right into the studio as they finish recoding their album in Portland over the next few weeks. It was a satisfying show, a fitting location, and an incredible display of musical collaboration between regions and mutually respectful generations. When asked why Portland was the town to hold this incredible ceremony of revitalization Herman says the reasons are obvious: Thats where Salmon go – they go to the Northwest.
Leftover Salmon Tour Dates :: Leftover Salmon News
JamBase | Upstream Dreamin
Go See Live Music!
Tags: classic, colorado, Drop, gain, house, John, north, split, tour, vintage
January 7, 2012 in 06, 10, 11, 12, 2, 2011, 28, 29, 3, 30, 31, 50, 9, 99, a, after, Again, age, all, Also, am, an, and, another, Are, as, at, Auld, Auld Lang Syne, away, Backstage, Ball, balloons, ban, band, bands, Bass, beauty, beginning, blood, boot, bouncing, Burn, but, by, ca, cat, center, City, classic, close, CO., color, colorado, comes, concert, cream, Crowd, cup, dance, dancing, Day, dead, December, does, down, Drop, en, end, Eve, fee, fi, final, finish, First, FOR, four, Frenzy, Friend, From, gain, get, gin, give, Good, Gorge, great, Guitar, hampton, Heads, hi, hiatus, high, How, improvisation, in, inspiration, into, intro, is, IT, IX, jam, jammin, jamming, Jay, John, Joy, King, Labor, lang, las, Last, Laugh, leave, Led, Lee, let, levels, life, light, Like, live, live music, long, lot, love, MA, Made, Main, maine, mash, MI, midnight, mix, Music, My, Nat, nate, nc, New, New Years Eve, News, night, no, North, NV, ny, NYE, of, on, one, op, Open, out, PA, page, Part, party, Phish, picking, play, pro, Pt, rad, rain, rant, read, Road, rock, room, rose, Roseland, row, rs, run, Say, SC, sci, Screaming, second, set, show, Shows, Sky, So, solo, song, Soul, SPAC, Split, St, stage, start, state, step, string, studio, style, Syne, tab, talk, Taste, That, the, theater, to, tour, Traffic, Train, Twist, two, uic, us, va, venue, WA, WAITING, war, Way, we, Ween, with, words, years, You, Your |
Words by: Shawn OBryant | Images by: Sue DuMond
Leftover Salmon with Elephant Revival, Fruition and Jim Page :: 12.31.11 :: Roseland Theater:: Portland, Oregon
 Vince Herman by Sue DuMond |
In the greenroom of the Roseland Theater, Vince Herman of Leftover Salmon sits surrounded by masks and balloons restringing his guitar. He is preparing for the final gig of Leftover Salmons New Years Run, a four show tour that kicked off on December 28 in San Diego, CA and is culminating in a New Years Eve masquerade style jamboree in Portland, OR. As he tinkers with the strings and tunes them by ear, he talks excitedly about the upcoming year. Twenty-twelve, bring it on, he exclaims. Were stepping into a new world. We are psyched to start it here.
The final show of the year marks the 22nd anniversary of Leftover Salmon, who played their first gig in Crested Butte, CO on New Years Eve of 1989. Tonight also marks the beginning of a new era for the band as they swing away from the on-again-off-again hiatus they have been on since 2005. As the new year comes knocking, the veteran originators of Polyethnic Cajun Slamgrass have a lot coming up in 2012, including a new album in the works and a revitalized winter tour calendar.
 Drew Emmitt by Sue DuMond |
Along with Leftover Salmon, fellow Colorado natives Elephant Revival, longtime Leftover Salmon collaborator and Seattle local Jim Page, and Portland native folk/soul rockers Fruition are in the house to round out the show. The gig is a mash up of Rocky Mountain and Northwest talent and although the lineup spans geographic and generational boundaries, all of the acts fit together like pieces of a carefully crafted, larger mosaic. This is no coincidence. The lineup has been pulled together intentionally and includes some of Leftover Salmons oldest and newest friends from the last two-plus decades of life on the road.
Herman finishes stringing his guitar and eyes the vintage tuxedo he will soon put on to play his set. The mood in the greenroom is getting energetic as the doors to the concert are about to open upstairs. Herman recalls that the foundations for this very night were laid over 15 years ago when Leftover Salmon found themselves at the Oregon Country Fair outside of Eugene, OR. Wandering the entwining paths between stages, Herman bumped into Jim Page playing an impromptu show and was immediately hooked. I just got glued to Jim for a few hours, he remembers. Vibing off each others ability to keep music fluid, fun and improvisational, Page was soon collaborating with Herman and Leftover Salmon all over the country.
 Elephant Revival by Sue DuMond |
Elephant Revival first came onto the radar of Leftover Salmon in 2006 when two of their members, Bonnie Paine and Dan Rodriguez, moved in next door to Herman in Nederland, CO. Before long the two households were picking away together. We got to cook good meals, pick all night, and drink whisky to keep our blood warm, recalls Rodriguez about the formative time period. On the upswing, Elephant Revival has been turning heads ever since, creating a solid fan base through their tireless touring, dedication and love of their craft. They have remained close to Herman and now share a common manager. Hermans admiration for the band and their Transcendental Folk style is obvious. Elephant doesnt have to slam you down and rowdy you up to get you to pay attention, he says, Their breath is enough.
Fruition made it to the stage after a series fortunate meetings and good old fashion jamming. After seeing Elephant Revival at a show in Portland, We instantly had a band crush, recalls Jay Cobb of Fruition. After the show some of the members of Fruition and Elephant Revival ended up playing together at an after party.
 Fruition by Sue DuMond |
After jamming in Portland, Fruition again met up with Elephant Revival at the 2011 Northwest String Summit where Herman was also hanging out and playing. One night Herman, who is notorious for keeping the jam going after all others have retired, fell asleep early. Seizing the opportunity to give Herman a taste of his own medicine, members of Elephant Revival and Fruition glommed together in conspiratorial glee and snuck wordlessly into the tent of the peacefully asleep Herman. We decided to wake him up with a sweet lullaby, remembers Rodriguez of Elephant Revival. With a full band including an upright bass squeezed into Hermans tent, the ensemble slowly began to play Herman into consciousness. I met them in a dream state, recalls Herman of Fruition, They invaded and sang the most incredible, gorgeous song. It was the greatest.
The Roseland Theater is getting packed as hordes of fans stream in the door and pick up complimentary masquerade masks. The theater is split into two levels with a main stage upstairs and a secondary stage on the first floor. At 7:30 pm Fruition starts playing their first set. As usual they get the show rocking hard and rocking early. Fruition has become a staple for the dance hungry, foot stomping fans of the gritty folk rock scene in Portland. With a local crowd and the thrill of playing a gig with some of their favorite musical inspirations, the show quickly gets into full swing. Throughout the night Fruition will be playing tweener sets on the lower stage during each of the set breaks of the upstairs stage, This is the best situation, says Cobb over the microphone as they wrap up their first musical onslaught. We get to play for you and then we get to party with you. Lets go watch Elephant Revival!
 Jim Page by Sue DuMond |
The multi-level layout of the venue insured that a constant flow of traffic is continually streaming between the two floors. Elephant Revival takes to the stage next and hypnotizes the crowd with goose bump inducing melodies, heartfelt lyrics, and contagious aura of conscious optimism. The crowd is drawn into hooting applause as Bonnie Paine rocks a washboard solo and then gets carried off on a sea of strings and bass. Elephant Revival delivers the type of show that leaves you feeling good. The band is so cohesive in their approach that the whole audience is riveted by the exuberant passion of the band.
Jim Page delivers next with a short but politically charged set accompanied by Herman and Paine. The intelligence and compassion in Pages lyrics waft over the crowd as he tackles contemporary issues of beauty and ugliness in songs like Tent City and a remake of Woody Guthries This Land is Your Land.
 Leftover Salmon w/ Bonnie Paine by Sue DuMond |
Leftover Salmon finally takes the main stage at 10:00. Decked out in newly purchased vintage suits and ready to give it everything, the band launches into their music with all the exuberance of the early days. Playing a mix of classics and a few tunes from the upcoming album including Liza, a new Andy Thorn tune, the crowd is whipped into a dancing frenzy. Everyone is feeling the high. Paine, waiting backstage before joining Leftover Salmon for some washboard collaboration, grabs fellow band member Sage Cook and swings him into a dosey doe as he passes by. The energy is tangible and everyone is feeding off of it.
After a few songs Jim Page and Paine join the lineup onstage, and Page demonstrates his dynamic improvisational style on the fly. After a few tunes, Herman introduces the Jim Page song Over My Dead Body, which he describes as the anthem to the Occupy movement. The set carries the crowd with every twist, solo and belted chorus.
 Leftover Salmon by Sue DuMond |
At a few minutes past 11:00 the crowd has again flowed downstairs to watch Fruition before the final Leftover Salmon set. As Fruition winds up their last tune, the song slowly dissolves into a ruckus drum solo by drummer Tyler Thompson. Out of the wings appears drum and dance ensemble Ax Did, jamming Afro-Caribbean beats in coalition with Thompson. Dancers appear onstage decked out in carnival-esque costumes and whip the crowd into a frenzy with their booty shaking exuberance. Soon the percussion section and the dancers have left the stage and begin meandering their way through the audience in a train, dancing and leading people back upstairs. By the time they reach the main stage the whole venue is bouncing. Salmon effigies attached to dowels float amongst an ocean of hands as the dancers make it onstage for a solo rhythm and dance show.
The crowd counts down to midnight and an avalanche of balloons drops over the audience. Leftover Salmon is back onstage and rips into their last set of the night, beginning with their own rendition of Auld Lang Syne. With another new tune, Light Behind the Rain, a cover of Sweet Child O Mine, and more classic material such as Zombie Jamboree and Euphoria, Leftover Salmon ratchets up the energy even further in the packed house.
 Leftover Salmon by Sue DuMond |
The show ends on a high note, leaving everyone sweaty, overwhelmed and screaming for more. The new and youthful energy of Fruition and Elephant Revival mashed up perfectly with the road tested experience of Jim Page and Leftover Salmon. This is the best show I have seen in 11 years working with the band, remarks Leftover Salmon manager John Joy.
Leftover Salmon will be riding the crest of that wave right into the studio as they finish recoding their album in Portland over the next few weeks. It was a satisfying show, a fitting location, and an incredible display of musical collaboration between regions and mutually respectful generations. When asked why Portland was the town to hold this incredible ceremony of revitalization Herman says the reasons are obvious: Thats where Salmon go – they go to the Northwest.
Leftover Salmon Tour Dates :: Leftover Salmon News
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