WATCH: NASCAR Next: Ryan Gifford WATCH: The Preview Show for Michigan Follow the NASCAR Whelen Modified Tour race from Bristol, 6 p.m. ET, Aug. 21 WATCH: Fantasy Showdown: Previewing Michigan MORE: WATCH: Up to Speed: Vickers, Dillon in spotlight
Pink Talking Fish are closing out their winter tour tonight at The Lincoln Theater in Raleigh, NC. As a surprise, they’ve announced that they will be performing a special concept not to be disclosed until this evening. Luckily for us, they will also be offering a free video stream!The special performance is to take place on the early side of their set, so tune in at 8pm to find out what they have planned. You can access the stream via ShowTheShow. Have a great Sunday night!Check out PTF’s jam-packed setlist from last night in Asheville:Set 1:Moma Dance>Have A Cigar*>Nothing But Flowers>MazeTime>Slippery People>Sand>Slippery PeopleDogs>Guyute>Another Brick In The Wall>Psycho Killer>Another Brick In The Wall>GuyuteSet 2:Run Like Hell>Ghost>Burning Down The House**Fearless***>Halley’s Comet>This Must Be The Place (Naive Melody) Shine On You Crazy Diamond>Rock And Roll>Once In A Lifetime>Dogs>Run Like An Antelope>Run Like HellE: Tennessee Jed/Ocelot Mashup*w/ Shine On You Crazy Diamond tease**w/ Prince Caspian tease***w/ David Bowie tease
Can’t make it to Boulder, CO for this weekend’s Dead & Company shows at Folsom Field? Well, you are in luck, as the band has announced webcasts for both nights of their run on nugs.tv. The band, which is made up of original Grateful Dead members Mickey Hart, Bill Kreutzmann, and Bob Weir alongside John Mayer, Oteil Burbridge and Jeff Chimenti, will play two huge shows on July 2nd and 3rd at the massive 53,000 person venue on the University of Colorado campus.You can purchase HD or Standard viewing options, two-night passes, and bundles with mp3 downloads of the shows. Check out all the information on how to get your Dead & Co. Couch Tour on here.There will also be a signed D’Angelico guitar, custom-made for this run of shows, that will be auctioned off for Participation Row. Check out more information below:
The Hangar Stage is a time portal back to the 1920s, complete with a secret speakeasy/”Mile High Club”, barber shop, fake tattoo parlor, buffing station (yes, they use real car buffers, and yes, it feels incredible), game hall, and more. Electric Forest is certainly not known for skimping on attention to detail, and this whole new world within the festival is a testament to that, complete with character actors straight out of the roaring 20s.10. The Toy Aficionado Known for constantly going above and beyond, Electric Forest’s hired performers are on another level. Walking through the forest, you never know what you’ll encounter: a zebra, an 18th century porcelain doll, or perhaps the “fun police”. These actors never break character, and add to the playful, engaging environment.3. The Jellyfish HeadWhile the Electric Forest lineup is constantly expanding into new territory, the String Cheese Incident remains a staple of the fest, with six sets throughout the weekend including an annual highly anticipated Saturday spectacle. The Cheese fan tends to be full of positive energy and can often be found sporting jellyfish gear and spinning in circles donning a huge grin.4. The Hammock DwellerThese nocturnal creatures can often be found hibernating for extended periods of time during the daylight hours before embarking on a nighttime adventure through the wild territory of Sherwood Forest.5. The First-Time RaverYou can spot the casual first time raver at almost any festival. We found many first time Electric Forest attendees wandering the grounds, looking for their next dose of electronic music.6. The Spiritual GangstaYou got any heady crystals, bro?7. The BananaThis rare food/human hybrid scopes the forest seeking companionship.8. The Forest Lovers Subsets of forest creatures are known to shed their typical outer layer in favor of a unique or clever group costume, distinguishing themselves from the rest of the pack.12. The “This Is A Good Sign” GuyThey can’t ALL be good signs.FIND YOURSELF IN OUR FULL GALLERY BELOW: Electric Forest is a melting pot of music lovers, creative souls, and friendly faces all uniting for one weekend under a common goal of experiencing all that one of the country’s most unique music festivals has to offer. Characters from all walks of life flock to Rothbury, MI’s Sherwood Forest to explore interactive art installations, see all types of music, and dance until the wee hours of the morning. With some of the finest acts in jam, electronic and beyond, including the String Cheese Incident, Bassnectar, Major Lazer, The Disco Biscuits, GRiZ, STS9, Porter Robinson, Nahko & Medicine for the People, The Floozies, Kamasi Washington, Karl Denson’s Tiny Universe, Preservation Hall Jazz Band and so many more, the Forest draws music lovers of all genres to its magical electric oasis.We encountered many beautiful and eclectic souls at this year’s festival this past weekend. Here are some of the types of people you’ll find at Electric Forest.All photos by Patrick Hughes of Faces of Festivals; full gallery at the bottom.1. The Enthusiastic High-FiverWhether he/she has attended one festival this summer or ten, the novelty never seems to fade, greeting you with an ecstatic “Happy Forressstttttt!!!” at each juncture. He/she is also likely to be partaking in the regular “CARRRLLLLLL?!” chant, refusing to believe that it will ever get old. This person was most likely a camp counselor at some point in life. 2. The Forest Creature Load remaining images Love is everywhere in the forest! With childlike wonder running rampant and inhibitions low, Electric Forest is the perfect place to find your soulmate, or your weekend fling.9. The Hangar Girls Forest dwellers can often be spotted playing with various balls, hoops, and toys of all kinds, sometimes practicing for hours on end to show off their latest “flow”. These take the form of light up objects, and the more daring creatures will even incorporate fire.11. Group Costumes
It’s official! In addition to the three shows from The Disco Biscuits and one show from Twiddle, esteemed outfit Greensky Bluegrass has announced two more shows surrounding the much-hyped Phish run in Las Vegas. Greensky will perform a late night show post-Phish on October 30th, and will also warm things up with a matinee show on Halloween. The later will also be a benefit concert for The WaterWheel Foundation, an organization established by Phish.The Disco Biscuits, Twiddle & Probably Greensky Bluegrass To Play Vegas Post-PhishTickets for fan club members are available now, and the general on sale begins next Friday, August 12th, at 10 AM PT. You can see the information on this flyer below:
Hot damn! Phish’s third of four nights in Las Vegas is in the books, and keeping with the trend of the last two nights, the band brought some serious heat to the MGM Grand Garden Arena. Although the Sunday show of the band’s 2016 Las Vegas Halloween run was not the run’s final night, the old adage undoubtedly held true: Never miss a Sunday show. Even a “fake” Sunday show. At least not if it’s in Vegas.As they did on nights one and two, the band opened the show with a song from the band’s 2014 Halloween performance in the same room, this time opting for a short-and-sweet “The Dogs”. “Ghost” was up next, as the band quickly dove into a swampy, bass-led jam. Trey Anastasio led the band through a tight, methodical build to a peak where his tone, not dexterity, was what shined. Minimal LED work from lighting designer Chris Kuroda gave the jam a nostalgic aesthetic.Watch the official video of “The Dogs,” below.The one-two punch of “Funky Bitch” and “Chalk Dust Torture” that followed kept the energy high, before Page McConnell-sung anthem “Army Of One” and setlist staple “Heavy Things” (complete with “take it Leo” solo) provided a quick breather. Mike Gordon got the crowd dancing again with “How Many People Are You”, featuring a fun jam with a pseudo-vocal jam at its peak.“Stash” was somewhat soft-spoken, but skillfully deliberate. After the composed portion, the band launched into a jazzy improv with splashes of dissonance to maintain a dark vibe, before building to a typically-blistering “Stash” jam peak. The “Theme from the Bottom” that followed ripped particularly hard, even by the song’s high standards.The band closed the first frame with an energetic “Suzy Greenberg” whose “about as faithful as a slot machine” lyric got a knowing cheer from a crowd three days into pumping money into Sin City’s slots. You could feel how much Page and Jon Fishman were enjoying themselves as traded bars on the song’s closing solo–“a neurologist can’t tell me how fun this is!”“Down With Disease” got the call as the second set opener for the second time this tour. The first, in Alpharetta, was a 20+ minute beast, and its Las Vegas counterpart was similarly extended and exciting. The jam started in anthemic major key space before dropping into a submerged, echolocation groove. The improv moved through several distinct sections, before Trey turned on the hose and Gordo let loose the bass bombs he had been hinting at, eliciting an ecstatic response from the crowd. The jam then started to pick up hints of “Birds of a Feather”, and little did the Vegas audience know, a giant “Birds” was flocking just outside…Watch the official video of “Down With Disease,” below.The “Birds of a Feather” that came next was an instant classic version. The top-notch full-band improvisation cycled through various themes and faintly touched on both “Blaze On” and “What’s The Use” before building to a rocking climax and ending with an appropriately placed “they attack!” Do not sleep on this “Birds of a Feather”–this was Phish at its finest, and they were just getting started.The “Fuego” that came next featured “Birds of a Feather” teases and a stop-start section that was met with a relatively even split of woos and they attacks from the crowd. After the “Fuego” jam faded out, the band jumped straight into “Harry Hood”, whose blissful jam flowed into–and back out of–The Mighty Diamonds‘ “Have Mercy”. The cover had not been played since popping up inside a “Hood” on 6/4/11 (221 shows). After bringing home the “Hood” sandwich, Phish hit fans with one last surprise: a perfectly played performance of fan favorite Beatles cover “A Day In The Life”. The old-reliable “Character Zero” encore was all gravy, as the rowdy Vegas crowd sang and whooped along to the raging show closer.After three fantastic shows filled with bust-outs, countless grade-A jams, and incredibly tight playing top-to-bottom, there’s plenty of cause for excitement among Phish fans. The band sounds noticeably rehearsed, on point, focused. They’ve been practicing, folks, so look out–whatever it is they have planned for us tomorrow, it’s about to blow us all away.Check out the full setlist from last night’s show below.Setlist: Phish at MGM Grand Garden Arena, Las Vegas, NV – 10/30/16Set 1: The Dogs, Ghost, Funky Bitch, Chalk Dust Torture, Army of One, Heavy Things, How Many People Are You, Stash, Theme From the Bottom > Suzy GreenbergSet 2: Down with Disease -> Birds of a Feather, Fuego, Miss You, Harry Hood -> Have Mercy -> Harry Hood > A Day in the LifeEncore: Character Zero
Colorado funk masters The Motet are on a tear right now. After paying homage to yesteryear with their Mixtape 1979 themed Halloween run last week, the band heads north to finish off a run of 11 straight days of performances with a show at The Ardmore Music Hall outside Philadelphia tonight and a two-night stand at Brooklyn Bowl on Friday and Saturday, November 4th and 5th. As the band makes its way around the country this fall, Live For Live Music continues to bring you exclusive content from the road, including band member interviews, behind-the-scenes footage, live videos, the band’s custom curated Spotify playlist and much more!Continuing our Motet coverage, we sat down with keyboardist Joey Porter to talk about their most recent album, Totem, and got the inside scoop on the band’s writing process, the influence of their revamped lineup, the role of producer Eric Krasno, and some hidden layers of meaning beneath the surface of the songs:L4LM: Let’s start at the beginning—how was the work broken down in the band in terms of writing the album? Did you all bring songs to the table? Did you all get together and write together? Is there one person in particular that kind of leads the way?JP: Well, for the last two records—both [2014’s] The Motet and Totem—everybody comes with unfinished ideas, we compile 20 or 30. Sometimes it’s just one groove. Other times it’s a couple of parts, a couple of sections. But usually nothing’s completely done. And then, once we decide which ones are worth pursuing, we all just get together and collaborate on it. Just get together, puff a little herb, and see what works!It’s actually very organic the way it happens. Especially on this last record. We feel like with our new, improved lineup [including new vocalist Lyle Divinsky and tenor sax player Drew Sayers] everybody gels so well together, and it makes it easier to write. But for Totem, we honestly had all the songs done and recorded in the studio right after Jazz Fest last year. They were all ideas that we came up with, but we weren’t happy with any of the lyrics, or any of the vocal ideas. And before Lyle even joined the band, when we were sort of in this middle time, we sent the song that ended up being “The Truth” to Lyle, and were like ‘man, we can’t come up with anything, all of us are hitting our heads against the wall trying to figure out what to do with this song.’ And in like 3 days, Mr. Lyle Divinksy sends us this masterpiece vocal part on this track. We had been kind of courting Lyle to join the band, and this was the thing that made use realize ‘this is our guy.’ And what’s cool about that is the song is called “The Truth”, and it was like the truth was revealed that Lyle is the man!L4LM: Speaking of that, how has the sound and the vibe changed and developed with Lyle? What does his presence bring that was different that what you guys had before? Because Jans Ingber was the singer for a long time before bowing out at the end of last year.JP: What’s funny is that, for “The Truth”, Jans originally came in with that idea. If you look on the liner notes, that song was written by Jans Ingber and Lyle Divinsky. Jans wrote the chord progression, and we all wrote rhythm parts around it, and then Lyle came in and wrote all the lyrics. More than anything, it’s the transition from the old band to the new band, and in a way it’s Jans passing the torch to Lyle. I think that made it extra special. And it shows that it was a peaceful transition…unlike our current election. [Laughs] We love Jans, he’s still our bud. But Lyle has a much different style, and one that we really enjoy. So when Jans decided to step away, we’re really happy that someone who’s just as dynamic was able to come up there and fill the role. But it’s not easy to be the sort of cheerleader in the front of the funk band, to try to get the crowd into it. You’re getting a full body workout every single gig, and Lyle’s really good at that. I think, also, that Lyle’s such a great singer, and we have Garrett [Sayers, bass] singing some backup vocals now, doing some harmonies, which is great.L4LM: Yea, that was my big takeaway from the Capitol Theatre show. That was my first time seeing Lyle live, and man, he’s got some serious stage presence. He brings a lot of energy.JP: That’s what make’s Totem different than The Motet—Lyle has his own lyrical and vocal style that really gels with the rest of the band. And we’re really excited, because it’s dynamic. There’s synergy. It’s a great fit.L4LM: So you were talking about “The Truth”, how you sent it to him and he came back really quickly with something cool. After that, how many of these songs—which, as you said, were more or less formed by the time you started working with him—did he end up contributing to in that way?JP: He wrote all the lyrics and the melodies on “Fool No More”, “Damn!”, and “Danger”. So he wrote 4 of the tunes. We wrote the music, and he came in and wrote the lyrics and the melodies and really, in a lot of ways, those are some of the most important pieces.L4LM: Absolutely. Especially in this modern funk scene, there are a lot of bands that don’t put as much of an emphasis on lyrics and vocals, if they have any at all. And The Motet’s strength in that area definitely helps set you guys apart.JP: Exactly. I like that Lyle’s lyrics are fun, but they’re not just him going “funky funk funk, funk…’ you know? I hate that kinda stuff—‘we’re gonna get funky with the fuuunk!’—it’s like come on, you gottta be a little more creative than that! I mean we do have to do a little bit of that stuff, because that’s what funk music is. But if you really listen to the lyrics in any of his songs, they’re deep. They’re meaningful. You don’t wanna go overboard and be religious or political or anything, but I think you can be heady and still be funky.L4LM: Now let’s talk about the recording process. What was it like working with Eric Krasno as the producer on Totem?JP: He was there when we tracked the record at Parlour Recording Studio in New Orleans. And then he was there for a few of the vocal sessions, and he brought in a couple of tunes as well. He brought in the ideas for “Know It Too Well” and “So High”. We all added our flavor, but they started as mostly his songs. And in general, he kinda put his stamp on the album. It was really produced by Eric Krasno and The Motet, because we also kind of self-produced it—we’re really hands-on, more so than most bands. But we really knew that with Krasno, when you tell him you want something to sound a certain way, he knows exactly how to make that happen. So it was like we came up with the ideas, and he facilitated all of them. He’s such a good producer. Whenever we were stuck, he always had a creative idea. He’s not just a guitar player—that I can say. It was great to work with him. He really helped to keep the vibe positive. That’s really half of what a producer is: he’s almost like the coach of the basketball team. You can’t have some weird Kobe-Shaq drama situation going on, you’ve gotta have the vibes right, you know? [Laughs]. And Kraz is very mellow and positive, so it really made for a great, productive experience.L4LM: Speaking of the story behind “The Truth”, are there any songs in particular that have an interesting backstory, about the way it came together?JP: Well there’s the tune “Rippin’ Herb’, which is my tune. Herbie Hancock is my hero, and my biggest influence. If you listen to the way that I play, it’s easy to tell. And I’m such a fan of him, and wear orange a lot—so a lot of fans in Denver call me “Sherbie.” So we had working titles for all the songs when we went in to record the demos—since we didn’t have any lyrics yet—and this one was just called, like “Joey Herbie” or something like that. But what’s funny is that Krasno actually came up with the name. Cus when we started talking about the song, I was joking “maaann, I’m not doing anything but rippin’ off Herbie.” And while I’m saying that, I’m smoking a joint in the studio. So Kraz is like, “dude, you’re ‘Rippin Herb!’” And boom, there’s the title. [Laughs]L4LM: That’s too funny. I completely took it at face value and thought OK, here’s a weed song, but that double meaning is so great—“I’m rippin’ off Herbie!”JP: Yea, and obviously I just meant I was riffing on Herbie’s style, it doesn’t sound like any of his tunes. But it was just too good to pass up—that I was rippin’ herb while I was “ripping Herb.”Don’t miss The Motet in the northeast this weekend–tonight at The Ardmore Music Hall and Friday-Saturday at Brooklyn Bowl. Tickets for each of the shows are available via the band’s website. And keep an eye out for more Motet content throughout the weekend, including a Facebook Live Q & A from Brooklyn Bowl!
With the recent announcement of his rollout plan for new album The Search For Everything, guitarist John Mayer surprised fans in Los Angeles, CA with a secret show at his favorite haunt, Hotel Cafe, just a few days ago. Mayer has played there on a handful of occasions, including an all-star super jam and a recent appearance at a benefit show at the intimate dive bar venue. Having previously debuted new acoustic material there before releasing records in years past, he continued the tradition with the live debut of “Moving On, Getting Over.”For this “jammer”, he did things differently by singing the vocals over the studio tracked music. The performance made for an entertaining rendition of the song, filled with dance moves, free style raps, and self harmonization. Thanks to Goosee99, you can watch the entire song below:The new song has more funk flare than the previously-released “Love On The Weekend”, which Mayer recently performed with The Trio on Fallon. We anticipate seeing Mayer’s various new influences diversify The Search For Everything, as he promised a lot of solo touring for 2017 both before and after Dead & Company tour.In addition to new songs “Moving On, Getting Over” and “Love On The Weekend”, the set included “Who Says,” “Big Shirt,” “No Such Thing,” “Dear Marie,” “Slow Dancing in a Burning Room,” “Walt Grace’s Submarine Test, January 1967,” “Stop This Train,” “In Your Atmosphere,” and “Waiting on the Day.” The guitarist sang through a number of his original tunes new and old, and even welcomed comedian Dave Chappelle to the stage for some covers.
Warren Haynes–a southern rock legend in his own right–has carved out a niche as a teacher of sorts, educating the masses about their musical heritage with star-studded tributes to iconic artists like Jerry Garcia and The Band. From his “Jerry Garcia Symphonic Celebration” last summer, to his “Last Waltz 40” tour with Don Was and a slew of talented guests, to his recently-announced Jazz Fest late night Little Feat set, dubbed “New Orleans Is Waiting For Columbus,” Haynes has turned honoring the greats into an art form.Today Warren continued that trend with the announcement of “Long Hair, Don’t Care: An All-Star Tribute To Hanson’s ‘Middle of Nowhere.’” The performance–set to take place on August 23rd in appropriately out-of-the-way Oshkosh, Wisconsin–will pay homage to the influential boy band.Says Haynes of the concept, “Hanson‘s Middle Of Nowhere was an eye-opening album for me. It just spoke to me on so many different levels, you know? Right when I picked up that album cover and saw those young guns with their luscious locks, I saw myself as a kid–it’s like I was out there in the middle of nowhere with them.” Haynes continues, “Lyrically, these kids were prodigies. Just look at ‘MMMBop’–I mean, who doesn’t have an emotional reaction to eloquent turns of phrase like ‘Mmmbop, ba duba dop, Ba du bop, ba duba dop, Ba du bop, ba duba dop, Ba du, yeah’”Haynes will serve as musical director for the performance. He will be joined by Don Was, as well as AMC/CMA Award-winning singer-songwriter Jamey Johnson, The Radiators’ Dave Malone, keyboard master John Medeski, legendary funk drummer Terence Higgins (Dirty Dozen Brass Band, John Scofield’s Piety Street Band), and horns master Mark Mullins (Bonerama, Harry Connick Jr.), as well as Aaron and Nick Carter, who will help preserve the album’s brotherly 90’s boy band vibe.Tickets go on sale tomorrow, April 2nd, at 10:00am ET!
The first ever Relix Live Music Conference is quickly positioning itself to be a must-attend event for anyone that’s interested in learning about the music industry. The event, which will take place on May 10th, 2017, is the brainchild of the teams behind Relix Magazine and Brooklyn Bowl, and will feature a variety of panels all centered around the live music business. Each panel will delve into a specific topic, such as talent buying, festivals, management, and more, with a slew of big-name representatives from the music business slated to appear. Don Strasburg from AEG Presents, Dan Berkowitz from CID Entertainment, Andy Bernstein from Headcount, Lee Anderson from Paradigm, and Vince Iwinski, long time manager of Umphrey’s McGee, are just a few of the many important music industry professionals who will be on hand to drop some knowledge and offer some insight into their respective fields under the live music umbrella.Recently, Live For Live Music‘s talent buyer Gideon Plotnicki sat down with Brooklyn Bowl‘s talent buyer Lucas Sacks to discuss his role in the Relix Live Music Conference and what attendees can expect from the first-year event, while revealing a little bit of information about the “Agenting” panel that he’ll be moderating. He also explains his approach to filling the calendar at The Bowl, and the ever-evolving approach to producing shows at the venue. See below for a full transcript of their conversation, and don’t miss out on the Relix Live Music Conference at Brooklyn Bowl on May 10th.Live For Live Music: Can you tell me a little bit about the talent buying process that goes into Brooklyn Bowl?Lucas Sacks: Sure. The Brooklyn Bowl talent buying process is definitely a little more involved than most other venues, just because of the uniqueness of the room and the sheer volume of shows we do throughout the year. We do eleven shows a week, which translates roughly to at least 550 shows a year, so we’re pretty busy and it’s just a two-person team, myself and my assistant. So it’s basically constant volume at all times. Like most talent buying positions, we mix in a combination of agent outreach, dealing with agents reaching out to us, as well as reaching out to local bands and getting creative. We build a lot of series from scratch, whether they’re genre-based or decades-based or a tribute to an artist, we do a lot of things like that. We also host a lot of different sort of parties and late night events that we try to do monthly or bi-monthly. So, there’s a lot of nuance in booking this room, from that regard. We also do a lot of multi-night runs and unique performances where we get members of multiple bands playing together either for the first time or something unique that doesn’t really happen in a lot of other rooms. With that in mind, this room requires a bit more attention on a per-show basis because of those unique things, but also because of how many shows we book. There’s always something to do.L4LM: Well it must be difficult – eleven shows per week, wow, it must be overwhelming at times.LS: Yeah, definitely.L4LM: As you mentioned, Brooklyn Bowl has a certain personality. Obviously it has the bowling lanes, it has the restaurant, there’s a very vibrant bar at the back of the room, and they all feel like they’re part of the venue, as opposed to being outside in a different space like in some other venues. Does that impact your talent buying strategy in any way?LS: Certainly. On any given night we might have Google on ten lanes, a bowling league on a few lanes, and six or seven or eight-hundred people here for a band. The events department and the booking department have to really work very closely together, probably more-so here than at a lot of other places, because it’s not like we do many private rentals that stop us from putting on shows in the room. We do do that, but there are a lot of nights where we have some sort of event or something on the lanes and some sort of a show and people coming in for that show, so we need to make sure no one steps on each other’s toes and that we do it in a way that’s still financially viable for everybody involved.L4LM: I can think of a few recent shows—the most recent one that comes to mind was a two-night run with White Denim—where the band wasn’t necessarily on tour, but came to the bowl for a multi-night run to headline. Often times, when talent buying, venues are approached by a band because it fits into their tour routing, as opposed to angling for a special play. How often do you reach out to specific bands like White Denim just because you know they’d be a great fit at Brooklyn Bowl, as opposed to them just being on the road and available?LS: It’s pretty often. The outreach is a combination of getting blanket offers out to acts that we haven’t had yet or acts that have done well, or acts that we want to bring back at some point within the next twelve or eighteen months. There are times that reach out to bands and they take the offer that we’ve been working with for a specific date and say “hey we can do these dates, do you wanna do it?” and we just do it. So White Denim is one example of a band we’ve been trying to get back to The Bowl for a little while, they haven’t played the room since 2013, and we’ve been working on it and the timing just lined up and it worked out great.L4LM: Well, those White Denim shows felt pretty special so it’s definitely cool when you get those bands at the right place at the right time, whether they’re on the road or not.With that in mind, I wanted to ask about a few more specific things I’ve noticed at The Bowl in the past few months. Recently, I was there seeing Khruangbin and bowling was shut down during their set. Also, during the recent Joe Russo’s Almost Dead runs, the bowling lanes have been turned off and transformed into a VIP area. Does a request like that come from the band and their agent, or is that something that the venue has started actively deciding on a show-by-show basis. As a Brooklyn Bowl veteran at this point, I’ve noticed this change and a more concerted effort to present some of these performances in a different way.LS: You bring up a good point, unless you come to The Bowl pretty frequently, it’s not something that you would necessarily notice. Requests like that come mostly from the bands. Acts like Khruangbin, we really wanted to have them and we had been pushing hard to make it happen, and that was one of the biggest deal-breakers for them. So, we made it work, and the value of doing it in the middle of the week was that people were really there for the show, as opposed to people who come on Friday or Saturday just because it’s The Bowl and it’s the weekend. You know, the JRAD thing is a little different, we do that because it helps us meet the demand for the shows. You know, It’s creates the private thing kind of unrelated to the public but directly related to the band and their relationship with their fans since they formed.L4LM: It’s cool to see you guys evolving and figuring out different ways to present shows with specific bands. It makes a huge difference as a patron, regulars at the venue can tell that thought has been put into it.Moving on to the Conference, what can you tell me about the Relix Live Music Conference, how can attendees expect the day to flow? What can we look forward to?LS: We’re really looking forward to it. It’s something that’s come up for quite a while within the company, and we always love to cross-pollenate across the whole company. When Relix and The Bowl can do things together, when we can tie in any other parts of it, it really is going to be an intimate experience. It’s not as big as the Billboard Touring Conference or Pollstar or South By Southwest or other conferences or award ceremonies that have panels. It’s going to be more intimate so people are going to get to hear more directly tailored responses. There’s going to be good Q&A, I think there’s going to be a lunch and a happy hour where attendees will be able to mingle with all of the panelists and moderators. I think it’s going to feel great, it’s going to be a good hang more than a conference setting, which usually takes place in the banquet hall of a hotel. It’s going to be a lot more approachable and a lot more of a “Shapiro” vibe.L4LM: Well I know all of Live For Live Music is excited to get to the event and check it all out. There are a ton of cool panels, specifically the talent-buying panel has some big heavy hitters: Don Strasburg from AEG, Ben Baruch from Okeechobee, John Moore from Bowery Presents, and obviously Dayglo’s Kirk Peterson is moderating. How did you guys go about selecting this roster and is there any one talent buyer or team of talent buyers that you guys at The Bowl look up to or are inspired by?LS: In terms of the actual organization of who was on it, when Brad [Tucker, who works closely with Peter Shapiro] and Pete came up with the idea, everybody Brad initially reached out to agreed to speak. What we wanted to do was look at “who are the heavy hitters in the world that Brooklyn Bowl and Relix fits into around the country?” People like Don and Ben and Jim Glancy and John Moore, these are guys that are all key players around the country in jam, indie, rock, multiple genres. Regardless of their specific focus, these are all heavy hitters and that’s what we wanted to go for for this. We wanted panelists that have a lot of experience and have gone through many years and iterations of their own companies and their own careers, and who have a lot to offer to a panel like this. I think pretty much every panel has a lot to offer. There’s little presentations that will be interesting too. Andy Bernstein from Headcount is doing an activism presentation, Josh Baron from SongKick is going to do a more in-depth ticketing tech presentation, and there’re a few other ones as well to give a break between the panel discussions. Justin Bolognino, who helped start the marketing division for Brooklyn Bowl when we first opened, he’s going to have a great technology presentation. And, obviously, Peter’s discussion with Ron Delsner with David Fricke moderating, I don’t think that’s something that would happen anywhere else. Pete and Ron have a unique relationship with each other and people are really going to love that, it’s the icing on the cake.L4LM: Well to have Ron Delsner talk to Pete is a music business nerd’s fantasy. I’m wondering, as someone on the team that helped organize this, which panel are you most excited for (outside of talent buying)LS: I am moderating the agent panel, and that’s exciting, Most of my job is arguing back and forth with agents, so I think that one is going to be interesting. We do have Jordan Wolowitz from Founders Entertainment who created Governors Ball and Meadows Festival on that panel, so I think it will be interesting. I think that panel is going to combine aspects of the talent buying panel and the festival panel, with agent and promoter and festival buyer all in on the conversation, that’s going to be cool. Every panel, to me, is valuable in these scenarios. I’ve spent a lot of time at Billboard Touring, and CMJ and SXSW, there’s so many panels these days with very small, minute focuses, but I think that this is about live music, and there’s so many different aspects of it, and I really like that these panels will be an in-depth focus on live music presented by experts.To learn more about the Relix Live Music Conference, visit the event’s website