[Video: ShakyShorty]After the band closed out set one with “Sugaree”, after a quick break, the group returned with yet another string of crowd-pleasers, starting off with the beloved and slinky “New Speedway Boogie”. By way of a powerful “Dark Star”, Dead & Company offered up two upbeat feel-good numbers—”Scarlet Begonias” and “Fire On The Mountain”—before landing in the traditional second set “Drums” and “Space”. To close out second set, the group covered Bob Dylan’s “A Hard Rain’s A-Gonna Fall” before “The Wheel” and crowd favorite “Not Fade Away”. To end the night in full, the band returned with “Casey Jones”.“New Speedway Boogie” On Friday evening, Dead & Company continued their fall tour following a brief Thanksgiving break with a show at Little Caesars Arena in Detroit, Michigan. After the group’s day off for holiday, it’s clear the band came charged up, offering up a particularly lively performance that saw the band’s debut of “Deep Elem Blues”. “Deep Elem Blues” was hands-down the standout moment of first set—however, the entire stacked first set did well at revving up Motor City from the show-opening “Dancing In The Street” onward.“Dancing In The Street” [Video: ShakyShorty]“Casey Jones” “Fire On The Mountain” Dead & Company | Little Caesars Arena | Detroit, MI | 11/24/2017 | Photo: Phierce Photo [Video: ShakyShorty]You can check out a gorgeous gallery of photos from last night below, courtesy of Phierce Photos.Setlist: Dead & Company | Little Caesars Arena | Detroit, MI | 11/24/2017Set One: Dancing In The Street, Jack Straw, Brown-Eyed Women, Ramble On Rose, Deep Elem Blues, Beat It On Down The Line, SugareeSet Two: New Speedway Boogie, Dark Star, Scarlet Begonias, Fire On The Mountain, Drums, Space, A Hard Rain’s A-Gonna Fall, The Wheel, Not Fade AwayEncore: Casey Jones “Deep Elem Blues” Load remaining images
[Cover Photo: 2017 ShowLove Media || All rights reserved || Photo by John-Ryan Lockman] Leftover Salmon has plans for a new album this year called, Something Higher, which is due out on May 4th, 2018 via LoS Records. Something Higher marks Leftover Salmon’s first studio release since 2014’s High Country, though the band released a new live album, 25, in 2016. Produced by the band’s long-time producer Steve Berlin (Los Lobos), the Colorado-based Americana jamgrass act recorded the record at the famous Wavelab Studio in Tucson, Arizona, and opted to record in analog.As noted in a press release, on Something Higher, the band “taps into everything from horn-blasting R&B to reverb-drenched desert noir, from the cosmic roots music sound they helped create to neo-New Orleans-meets-Appalachia liquefaction,” with the band’s synthesis of new influences being a product of “the interactions between the founding members’ roots and the newer band members, who bring refreshingly different influences and ideas to the songwriting process.”The band’s statement elaborated on the album’s creation:Over 10 days in Tucson, Leftover Salmon laid out the new music, each songwriter bringing a songwriting kernel and letting the rest of the band work out new improvisations to craft the final song. … In crafting the new music, founding members Vince Herman and Drew Emmitt provide a foundational focus and guiding spirit, while banjo player Andy Thorn keeps the band close to their original roots in backstage picking parties. The rhythm section–bassist Garrison, keyboardist Erik Deutsch, and drummer Alwyn Robinson–was a key focus point for Berlin, who drew out members’ backgrounds in jazz and hip-hop to zero in on the heart of Leftover Salmon: the groove.You can pre-order Leftover Salmon’s forthcoming Something Higher and get more information about the band and their upcoming tour dates on the group’s website here.
As the doors opened for the third and final show of Dead & Company’s inaugural Playing In The Sand, a relaxed and happy vibe permeated the venue as people filed in and chose their spots. In a striking contrast to Saturday night’s show, there was significantly less drinking this evening, as the uniformed servers found fewer takers for the endless trays of beer they carried through the crowd. Instead, tonight’s hot item was the churros, which were so popular that the venue ran out of them early for the second straight night.At about 7:50 pm, the band strolled onstage and got started with a relaxed version of “Samson & Delilah”, a tune that was a Bob Weir second set staple for the latter half of the Grateful Dead’s history, but it’s now found a home in the first set of Dead & Company’s Sunday shows. It was a solid version, and one that slowly drew the crowd in. “Mississippi Half-Step Uptown Toodeloo” continued in the same early-show vein, with the verses and the mid-song solo just comfortably moving along, but there was a nice uptick in momentum before the final section, whose “Across the Rio Grande” segment featured some nice guitar interplay between guitarists John Mayer and Bob Weir.“They Love Each Other” was a welcome early-show selection, with Mayer’s gentle riffing accentuating the song’s reggae underpinnings and befitting the show’s Caribbean Sea location, while keyboardist Jeff Chimenti’s delicate tickling of his Hammond B3 keys added some additional flavor. “Greatest Story Ever Told” emerged out of a neat little intro jam as Mayer dialed up a full-on Jerry Garcia Mutron pedal tone. This was only the fourth performance of the song by Dead & Company, and they opted for a slower pace that changed the feel of the number. The structural complexity that is a hallmark of many Weir-Barlow songs was present, but the reduced tempo allowed the band to negotiate the twists and turns while still remaining in the pocket.This was followed by another recent addition to the Dead & Company repertoire, courtesy of bassist Oteil Burbridge, who led the band through “If I Had The World To Give”—a Garcia/Hunter ballad from 1978’s Shakedown Street that was shelved after only three performances that year—while sporting Grateful Dead ’80s attire, complete with short denim shorts, a sweatband, and a muscle tank. Burbridge’s smooth voice was ideally suited for the tender Garcia ballad, and Mayer’s guitar solo had a deft urgency to it that counterpointed the laid-back number. “Ramble On Rose” continued the early-set vibe, and the “Just like New York City” line generated a large cheer from a sizable group of fans near the sea on stage left. The band hit a minor peak during the mid-song break and the crowd joined in for a nice sing-along on the final verse.The first set’s highlight was the 16-minute version of “Bird Song” that closed it out, but Dead & Company’s arrangement of the song can best be described as a Pulp Fiction arrangement—all the parts of the songs are there, but they’ve been rearranged out of chronological sequence. The song started as a slower jam that was born out of thin air, and it meandered along for nearly three minutes before anyone actually played the song’s earworm of a main riff. Mayer then provided some clever manipulation with his fretboard hand to generate theremin-like tones before trading vocals with Weir on the first verse, which didn’t come for nearly nine minutes. Following the verse, the video screens caught a beautiful bit of John Mayer wizardry in which he switched between hammer-ons and delicate fingerpicking before flipping the guitar pick he’d been hiding between his fingers into action—and all within a span of about five seconds. He made it look effortless and easy, and he matched it on the vocal side when he sang the “Fly through the night” line four times and dazzled the audience with his timing and delivery. After working his way through the second verse, Mayer once again pulled up his Garcia Mutron tone as the band headed into a syncopated, syrupy jam that could easily have been mistaken for the closing section of “Estimated Prophet”. From there, the drummers found a more steady beat and the band followed, making it sound for a minute as if they were heading into “Dancing In The Street”. Instead, the band slowed down, sang the final chorus, and quickly ended the song to round out a 75-minute first set that, despite its generous length, was still the shortest set of the run. All in all, the first set felt subdued, though full of creative flourishes, as if the band was preserving their energy for the final set of the weekend.There are many reasons why fans of Grateful Dead music have generate substantial repeat business, and one of them is the sheer unpredictability of it all. Just when heads think they know the answers, the band changes the questions, and tonight’s second set featured several unpredictable choices, to the point where it felt like someone climbed inside a Grateful Dead time machine and pressed the “random” setting on a set list generator.The two-note intro to “St. Stephen” set off a loud cheer and featured a clear increase in energy right from the beginning. It generated a decidedly late-’60s feel and was aided with the psychedelic images that played on the screens, and the song’s extended jam was one of the two best moments of the night. Early on in the jam, Mayer caught a wave while Burbridge followed him with some nimble bass runs—and John was loving it. It all wound down before building back up to a second peak that came back down again. At this point, Weir began slowly making his way over to his Mayer, but by the time he got there the guitarist had set off on yet another run toward a third peak, leaving Weir to watch him and counterpoint with some of his inimitable riffing. Finally, Burbridge and Chimenti teamed up for an ascending run of powerful chords to steer the band back into the final verse. Mayer was out in the zone for almost all of this, and had a deliriously happy look on his face.Then, out of nowhere, the time machine jumped from the ’60s to the ’80s for a stand-alone version of “Franklin’s Tower”, which was performed without the widely expected “Help On The Way” and “Slipknot” preceding it. It made for a light, upbeat 10 minutes, and it was another song that fit the beach vibe and vacation setting very well. From there, the time machine jumped from the ’80s to 1974 and the Wall Of Sound era, as “U.S. Blues” received an extremely rare airing early in the second set (this was only ever common practice during the year that the Mars Hotel LP was released and “U.S. Blues” was the single sent to radio).“Terrapin Station” was next, and it appeared in its usual last-song-before-drums slot, but this version felt like another jump to the late ’70s, with Chimenti’s piano recalling the earliest versions with Keith Godchaux, capping off a run of six straight Garcia-Hunter songs that extended back into the first set. The mid-song jam contained a clear reference to Traffic’s “Low Spark Of High Heeled Boys” before Weir stepped up to deliver the “Terrapin Station” section of the lyrics. The ending jam was slow and majestic, with Mayer adding some extra punch by strumming double-time staccato chords throughout various places.“Drums” was both eventful and unique, as Burbridge joined Bill Kreutzmann and Mickey Hart to make it a trio. In a nod to the host country, they all donned Mexican Lucha Libre wrestling masks for the segment, which had a decidedly late-’80s feel due to the heavy use of electronics during the latter portion.When Weir, Mayer, and Chimenti returned to the stage, the time machine jumped back to the ’60s as the band eschewed the “Space” segment completely. When Mayer lurched into a riff, the drummers picked it right up and laid down a beat, forcing everyone else to quickly jump on board. The maneuver created a jagged, primal ’60s style jam that contained a second nod to “Low Spark…” and went on for about four minutes before a couple of hand signals from Bob Weir cued the band to make a sly transition into “The Other One”. This version was more exploratory at first and felt like the time machine had landed back in the 1972-74 era, but after Burbridge thumped out the song’s much-loved bass intro and Weir sang the first verse, the pace became more urgent and the jam gained both velocity and thickness. It was a controlled version, as if the band knew exactly which planet they were planning to land on before they launched, and it was the other peak moment of the show.“Morning Dew” remains a song for all ages and all eras in the Grateful Dead universe, and there’s never been a time where it’s not welcomed with open arms. This was a rock-solid version that didn’t hit the peaks it sometimes reaches, but was nonetheless a stellar choice to beef up the final big jam of the run’s ultimate set. “Not Fade Away” followed as the time machine jumped back to the ’80s and ’90s for its usual second set closing spot. Much like “Morning Dew”, it wasn’t an over-the-top version, but instead felt like a crowd-and-band victory lap—a celebration of a truly special event drawing to a close. As the song faded out, the crowd clapped along gently and recited the usual chant in a laid-back way until the band returned to the stage a minute later.Much to the surprise of eagle-eared listeners who heard the band sound checking “Werewolves of London” earlier in the day, “Brokedown Palace” turned up in its expected spot as the encore at the end of a run, with Mayer and Weir trading vocal lines as the slow, beautiful song played out. It would have been a nice way to end the show, but instead the band opted for a throwback to the first song of the first night when they stayed out for another reprise of “Playing In The Band”. The run had come full circle, but then the time machine lurched back to the ’70s for one last moment when Mayer let out a “Donna yell” right before the last chorus. After that, it really was over. The band took their bows, and a crew of tired and happy heads made their way to the exits. The set ran an hour and forty minutes with the encore, making this the sole set out of six that clocked in at a “normal” length.Bottom line: The event lived up to expectations, and then some—and the weather cooperated. The band delivered two marathon shows and a third one that kept everyone guessing right to the end. No one could ask for anything more—except, perhaps, that it might happen again next year.You can check out pictures from Sunday night’s show below, courtesy of Erik Kabik.Setlist: Dead & Company | Playin’ In The Sand | The Barceló | Riviera Maya, MX | 2/18/18I: Samson and Delilah, Mississippi Half-Step Uptown Toodeloo, They Love Each Other, Greatest Story Ever Told, If I Had The World To Give, Ramble On Rose, Bird SongII: St. Stephen, Eleven Jam, Franklin’s Tower, US Blues, Terrapin Station, Drums, Jam, The Other One, Morning Dew, Not Fade AwayE: Brokedown Palace, Playin in the Band (reprise)Dead & Company | Playin’ In The Sand | The Barceló | Riviera Maya, MX | 2/18/18 | Photos by Erik Kabik Load remaining images Photo: Erik Kabik Photo: Erik Kabik Photo: Erik Kabik Photo: Erik Kabik
[Videos: Jimmy Kimmel Live]See below for a full list of upcoming dates. For more information, head to the band’s website.A Perfect Circle 2018 Tour Dates:05/12 – Somerset, WI @ Northern Invasion05/15 – Omaha, NE @ Baxter Arena05/16 – Columbia, MO @ Mizzou Arena05/18 – Columbus, OH @ Rock on the Range05/22 – Birmingham, AL @ Legacy Arena at the BJCC05/25 – Pryor, OK @ Rocklahoma05/26 – Dallas, TX @ BFD at Starplex Pavilion06/01 – Nürburgring, DE @ Rock Am Ring06/02 – Nuremberg, DE @ Rock Im Park06/05 – Stockholm, SE @ Fryshuset06/06 – Oslo, NO @ Spektrum06/08 – Aarhus, DK @ Northridge Festival06/09 – Helsinki, FL @ Sideways Festival06/12 – Manchester, UK @ O2 Apollo Manchester06/13 – London, UK @ O2 Academy Brixton06/14 – London, UK @ O2 Academy Brixton06/17 – Berlin, DE @ Zitadelle06/20 – Zurich, CH @ Halle 62206/23 – Esch-Sur-Aizette, LU @ Rockhal06/24 – Dessel, BE @ Graspop06/26 – Paris, FR @ Olympia06/28 – Madrid, ES @ Download Festival Madrid06/29 – Barcelona, ES @ Be Prog! My Friend Festival07/01 – Verona, IT @ Rock The Castle10/20 – Salt Lake City, UT @ Maverik Center10/22 – Morrison, CO @ Red Rocks Amphitheater10/24 – Austin, TX @ Austin 360 Amphitheatre10/29 – Atlanta, GA @ Fox Theatre10/30 – Orlando, FL @ CFE Arena11/01 – Charlotte, NC @ Bojangles Coliseum11/02 – Nashville, TN @ Bridgestone Arena11/06 – New York, NY @ The Theater at Madison Square Garden11/17 – Anaheim, CA @ The Theatre at Honda Center11/18 – Las Vegas, NV @ The Cosmopolitan of Las Vegas11/20 – Phoenix, AZ @ Comerica Theatre12/02 – Glasgow, UK @ Scotland Glasgow Academy12/03 – Manchester, UK @ Victoria Warehouse12/05 – London, UK @ Wembley Arena Pavilion12/07 – Antwerp, BE @ Lotto Arena12/13 – Hamburg, DE @ Sporthalle Hamburg12/15 – Krakow, PL @ Tauron Arena Krakow12/16 – Vienna, AT @ Wiener Stadhalle12/18 – Milan, IT @ Mediolanum Forum12/19 – Rome, IT @ PalalottomaticaView All Tour Dates Following the release of their new album Eat The Elephant last week, A Perfect Circle are in full promotion mode. The alternative rock supergroup wrapped up the first leg of their tour with a rare television appearance on Jimmy Kimmel Live Monday night, where they delivered live renditions of “TalkTalk” and “So Long, And Thanks for All the Fish” from the new album. A follow-up to 2004’s eMOTIVe, Eat The Elephant marks the group’s fourth original album to date. After being largely inactive between 2013 and 2017, the return of A Perfect Circle was initiated last spring and will continue with large tours this spring and summer.A Perfect Circle features Maynard James Keenan (Tool, Puscifer), Billy Howerdel (Ashes Divide), James Iha (Tinted Windows, ex-Smashing Pumpkins), Jeff Friedl (Puscifer, The Beta Machine) and Matt McJunkins (Eagles of Death Metal, The Beta Machine). Watch A Perfect Circle perform “TalkTalk” and “So Long, And Thanks for All the Fish” below:
Photo: Andrew Rios Load remaining images Photo: Andrew Rios On Sunday, May 13th, Modest Mouse played the legendary Morrison, Colorado venue Red Rocks Amphitheatre, where the band performed a sold-out and standout show followed up by two weighty encores. Supported by Mimicking Birds, the indie rock group out of Portland, Oregon, Modest Mouse’s performance was a triumphant return to the venue following their 2016 performance co-headlined with Brand New.The show opened with a pair of tunes off the group’s beloved 2000 album, The Moon & Antarctica, first the soulful “3rd Planet” followed up by the grinding tune, “Tiny Cities Made Of Ashes”. Good News For People Who Love Bad News’ “Black Cadillacs” followed, with huge response from the crowd and many members of the audience singing along to the classic tune. With a string of older tunes opening the show, the band shifted gears to their newest album, 2015’s Stranger To Ourselves, offering up “Lampshades On Fire” and “Shit In Your Cut”.From there, the group performed older tune “Broke” before 2007’s “King Rat” and 2004’s “This Devil’s Workday”. A gorgeous and stirring rendition of fan favorite “Dramamine” moved into “Dashboard” ahead of another relative new tune from Stranger To Ourselves, “Pups To Dust”. Accelerating to the finish, Modest Mouse paired an edgy take on “Doin’ The Cockroach” off 1997’s The Lonesome Crowded West with one of their most famous tunes, “Float On”, before ending the set with The Moon & Antarctica‘s “Perfect Disguise” and Stranger To Ourselves‘ “The Ground Walks, With Time In A Box”.With two encores, the first encore saw the group open with an upbeat take on the peppy “Fire It Up” ahead of “Sugar Boats” and a fan-favorite off 1996’s This Is A Long Drive For Someone With Nothing To Think About, “Custom Concern”. Bringing up the energy following the slower tune, the band offered up a feel-good crowdpleaser in the form of “Paper Thin Walls” before a take on “Poison The Well”, a tune that hasn’t been officially released by the band on an album. Closing out the first encore, the group landed in the alternatingly folksy and propulsive “Spitting Venom”.Eliciting a huge response from the crowd, Modest Mouse continued their show following the end of encore one, kicking things off with a take on “Satellite Skin” off 2009’s No One’s First, And You’re Next. Returning to The Moon & Antarctica, the group laid out a nostalgic rendition of “Gravity Rides Everything”, which ended by opening into a spacious, ambient finish. After briefly teasing the iconic acoustic guitar line from “Blame It On The Tetons”, the group then returned to “Satellite Skin” following their first rendition’s amp failure before closing things out with another song off their latest album, “The Tortoise and the Tourist”.You can watch a full video of Modest Mouse’s sold-out headlining Red Rocks show, courtesy of Lane Mangrum. You can also check out a gallery of photos from Sunday’s show below, courtesy of Andrew Rios. [Video: Coldpartofthepillow]Setlist: Modest Mouse | Red Rocks Amphitheater | Morrison, CO | 5/13/2018Set: 3rd Planet, Tiny Cities Made of Ashes, Black Cadillacs, Lampshades on Fire, Shit in Your Cut, Broke, King Rat, This Devil’s Workday, Dramamine, Dashboard, Pups to Dust, Doin’ the Cockroach, Float On, Perfect Disguise, The Ground Walks With Time in a BoxEncore: Fire It Up, Sugar Boats, Custom Concern, Paper Thin Walls, Poison the Well, Spitting VenomEncore 2: Satellite Skin (Amp Failure), Gravity Rides Everything, Blame It on the Tetons (Tease), Satellite Skin, The Tortoise and the TouristPhoto: Modest Mouse | Red Rocks Amphitheater | Morrison, CO | 5/13/2018 | Credit: Andrew Rios
Tedeschi Trucks Band 2019 U.S./European Tour DatesJanuary 17 – Cedar Rapids, IA – Paramount TheatreJanuary 18 – Chicago, IL – Chicago TheatreJanuary 19 – Chicago, IL – Chicago TheatreJanuary 25 – Chicago, IL – Chicago TheatreJanuary 26 – Chicago, IL – Chicago TheatreJanuary 28 – New Orleans, LA – Saenger TheatreJanuary 29 – New Orleans, LA – Saenger TheatreJanuary 31 – Nashville, TN – Ryman AuditoriumFebruary 1 – Nashville, TN – Ryman AuditoriumFebruary 2 – Nashville, TN – Ryman AuditoriumFebruary 15 – Washington D.C. – Warner TheatreFebruary 16 – Washington D.C. – Warner TheatreFebruary 17 – Hershey, PA – Hershey TheatreFebruary 22 – Washington D.C. – Warner TheatreFebruary 23 – Washington D.C. – Warner TheatreMarch 1 – Augusta, GA – William H. Bell AuditoriumApril 2 – Paris, FR – L’OlympiaApril 4 – Eindhoven, NL – Muziekgebouw EindhovenApril 5 – Winterbach, DE – Salierhalle WinterbachApril 8 – Stockholm, SE – Cirkus Arena & RestaurangApril 10 – Oslo, NO – Sentrum Scene NorwayApril 11 – Copenhagen, DK – Amager BioApril 12 – Randers, DK – VærketApril 14 – Bochum, DE – RuhrCongress BochumApril 15 – Hamburg, DE – Mehr Theater am GroßmarktApril 17 – Milan, IT – Teatro degli ArcimboldiApril 18 – Trieste, IT – Politeama RossettiApril 20 – Zurich, CH – Theater 11 ZürichApril 23 – Brussels, BE – Ancienne Belgique – ABApril 27 – London, UK – The London PalladiumView All Tour Dates,Tedeschi Trucks Band 2019 U.S./European Tour DatesJanuary 17 – Cedar Rapids, IA – Paramount TheatreJanuary 18 – Chicago, IL – Chicago TheatreJanuary 19 – Chicago, IL – Chicago TheatreJanuary 25 – Chicago, IL – Chicago TheatreJanuary 26 – Chicago, IL – Chicago TheatreJanuary 28 – New Orleans, LA – Saenger TheatreJanuary 29 – New Orleans, LA – Saenger TheatreJanuary 31 – Nashville, TN – Ryman AuditoriumFebruary 1 – Nashville, TN – Ryman AuditoriumFebruary 2 – Nashville, TN – Ryman AuditoriumFebruary 15 – Washington D.C. – Warner TheatreFebruary 16 – Washington D.C. – Warner TheatreFebruary 17 – Hershey, PA – Hershey TheatreFebruary 22 – Washington D.C. – Warner TheatreFebruary 23 – Washington D.C. – Warner TheatreMarch 1 – Augusta, GA – William H. Bell AuditoriumApril 2 – Paris, FR – L’OlympiaApril 4 – Eindhoven, NL – Muziekgebouw EindhovenApril 5 – Winterbach, DE – Salierhalle WinterbachApril 8 – Stockholm, SE – Cirkus Arena & RestaurangApril 10 – Oslo, NO – Sentrum Scene NorwayApril 11 – Copenhagen, DK – Amager BioApril 12 – Randers, DK – VærketApril 14 – Bochum, DE – RuhrCongress BochumApril 15 – Hamburg, DE – Mehr Theater am GroßmarktApril 17 – Milan, IT – Teatro degli ArcimboldiApril 18 – Trieste, IT – Politeama RossettiApril 20 – Zurich, CH – Theater 11 ZürichApril 23 – Brussels, BE – Ancienne Belgique – ABApril 27 – London, UK – The London PalladiumView All Tour Dates Tedeschi Trucks Band has announced the addition of seven shows to their upcoming 2019 winter tour. As TTB previously hinted, they will play a four-night residency at Chicago’s Chicago Theatre, Friday and Saturday, January 18th, 19th, 25th, and 26th. The band will then head to New Orleans, LA’s Saenger Theatre for a pair of shows, Monday and Tuesday, January 28th and 29th. Tedeschi Trucks Band’s final new show addition will talk place at Augusta, GA’s Bell Auditorium, Friday, March 1st.The newly announced shows precede TTB’s recently announced trip across the pond in April. The 14-date run will begin in Paris, France on Tuesday, April 2nd. From there, the band will head to the Eindhoven, Netherlands and Winterbach, Germany on Thursday and Friday, April 4th and 5th, respectively, before making their way to Stockholm, Sweden for a show on Monday, April 8th. Next, the 12-piece blues-rock powerhouse will hit Oslo, Norway on Wednesday, April 10th ahead of two Danish performances in Copenhagen on Thursday, April 11th and in Randers on Friday, April 12th.On Sunday, April 14th and Monday, April 15th, Tedeschi Trucks Band will head back to Germany for performances in Bochum and Hamburg before making their way to Italy for shows on Wednesday, April 17th in Milan and Thursday, April 18th in Trieste. The band will round out their run with a show in Zurich, Switzerland on Saturday, April 20th; a stop in Brussels, Belgium on Tuesday, April 23rd; and a tour-closing performance at London, England’s London Palladium on Saturday, April 27th.A fan pre-sale for all seven of the newly announced shows begins tomorrow, Tuesday, October 23rd at 10 a.m. local time here (use the code TRUCKS). Tickets go on sale to the general public this Friday, October 26th at 10 a.m. local time.For a full list of Tedeschi Trucks Band’s upcoming tour dates and ticketing information, head to the band’s website.
In March, iconic vocalist Mavis Staples announced the forthcoming release of her latest studio album, We Get By, which is set to arrive this Friday, May 24th via ANTI-Records. The 11-track studio effort was co-produced by Ben Harper, who also composed each of the songs featured on We Get By.On Wednesday, following the release of singles “Change” and “Anytime”, Mavis Staples shared a new music video for the album’s title track, “We Get By”, featuring Ben Harper on vocals. The video depicts Staples and Harper in the studio recording, which you can watch below:Mavis Staples ft. Ben Harper – “We Get By”[Video: ANTI- Records]This isn’t the first time that Staples and Harper have teamed up to write and record new material, as the duo collaborated on “Love And Trust” from Staples’ last studio album, 2016’s Livin’ on a High Note.“These songs are delivering such a strong message,” Staples explained in a statement about her forthcoming release. “We truly need to make a change if we want this world to be better.”“I come from a family of Mavis fans,” Harper added in a statement. “So her music has been woven into the fabric of my life from the very start. When I got the call for this gig, it felt like my entire career, everything I’d ever written, had been pre-production for this.”Head here to pre-order We Get By ahead of its May 13th release.We Get By Tracklist:1. Change2. Anytime3. We Get By (Feat. Ben Harper)4. Brothers And Sisters5. Heavy On My Mind6. Sometime7. Never Needed Anyone8. Stronger9. Chance On Me10. Hard To Leave11. One More ChangeView Tracklist
Harvard University has made steady progress toward a more diverse faculty and the numbers of women and minority members stand at all-time highs, according to the annual report of the Office of Faculty Development and Diversity (FD&D).Overall, the number of assistant, associate, and full professors has grown by 7 percent to 1,507 in the six years that FD&D has been tracking faculty demographics. Nearly half of the new faculty members hired during that period were women, raising the total number of women faculty members by 16 percent and the number of women senior faculty by 30 percent. Minority members on the faculty grew by 23 percent.“The University has made steady progress in building a more diverse faculty, especially in terms of the number of women professors,” said Judith D. Singer, senior vice provost for faculty development and diversity and James Bryant Conant Professor of Education. “And while the percentage of underrepresented minorities remains low, the increases in the raw numbers of black, and especially Latino, faculty are somewhat encouraging.”Women comprise 26 percent of the faculty, while minorities account for 17 percent.The Office of Faculty Development and Diversity serves as Harvard’s central faculty affairs office, overseeing institutional policies with regards to faculty and coordinating with the Schools to foster progress in the recruitment and retention of talented professors and researchers.FD&D sponsors a variety of programs designed to support faculty, including mentoring initiatives and enrichment activities that introduce faculty members to their peers. And to increase diversity among the ranks of potential candidates for the faculty of the future, FD&D sponsors pipeline programs that offer research opportunities to talented students.To download the report.
Edmond J. Safra Foundation Center for Ethics recently announced the appointment of Eric Beerbohm as director of the Edmond J. Safra Graduate Fellowships in Ethics. Beerbohm, an assistant professor of government and social studies at the University, is a faculty fellow in ethics at the center for the 2009-10 academic year. In his new role, Beerbohm will work closely with Lawrence Lessig, director of the center and professor of law at Harvard Law School.Beerbohm’s philosophical and teaching interests include democratic theory, theories of distributive justice, and the morality of public policy. His book manuscript, “In Our Name: The Ethics of Representative Democracy,” examines the moral responsibilities of citizens and lawmakers for political injustice. He has also written on the implications of moral uncertainty for political decisionmaking and the necessary demand of deliberative democracy. During his fellowship, he is working on a relational approach to distributive justice.“Eric Beerbohm is an extraordinary academic,” said Lessig, “who will inspire our graduate fellows to think more clearly and critically about ethical issues. His research will greatly enhance the scope of our scholarship. I am very pleased to have Eric on board.”To ensure that teaching and research in ethics would continue into the future, Dennis F. Thompson, the founding director of the center, established the graduate fellowships program in 1990, with the purpose of “training younger scholars who are prepared to dedicate their careers to the study of practical ethics in a wide variety of subjects.” With support from the American Express Foundation, Lily Safra, and Eugene P. Beard, the graduate fellowships program flourished under the direction of Arthur Applbaum, professor of ethics and public policy at Harvard Kennedy School (HKS), who stepped down from the role in 2009. Frances Kamm, Lucius Littauer Professor of Philosophy and Public Policy at HKS and professor of philosophy in the Department of Philosophy, is serving as acting director of the program for 2009-10. To date, Graduate Fellowships in Ethics have been awarded to more than 100 Harvard graduate and professional students.Beerbohm is a recipient of the Marshall Scholarship and the Mellon Fellowship in the Humanities and Social Sciences. He received his Ph.D. from Princeton University in 2007, B.Phil. in philosophy from Oxford University, and B.A. in political science and the program in ethics in society from Stanford University.
The Center for European Studies (CES) recently announced its 2010-11 student grant winners, continuing its long tradition of promoting and funding student research on political, historical, economic, social, cultural, and intellectual trends in modern or contemporary Europe. Thirty-four undergraduates will pursue thesis research and internships in Europe this summer, while 18 graduate students have been awarded support for their dissertations over the coming year.CES undergraduate senior thesis travel grants fund summer research in Europe for juniors in the Harvard Faculty of Arts and Sciences preparing senior theses. Graduate summer travel grants and graduate dissertation research fellowships fund students who plan to spend either a summer or up to a year in Europe conducting dissertation research, while graduate dissertation writing fellowships are intended to support doctoral candidates as they complete their dissertations. These grants and fellowships are funded by the Krupp Foundation and by the Minda de Gunzburg Center for European Studies.