Hailing from Oakland, California, the T Sisters—composed of sisters Chloe Tietjen (vocals), Rachel Tietjen (vocals, guitar, banjo), and Erika Tietjen (vocals, guitar) as well as band members Steve Height (upright bass), Andy Allen Fahlander (electric guitar, mandolin), and Marlon Aldana (drums)—have slowly but surely been earning a name for themselves nationwide on the Americana and folk circuit. On stage, the siblings’ powerful vocals, tight harmonies, and natural charisma as a unit are captivating, and watching the T Sisters breathe life into their catchy, genre-blending songs is a true treat.Recently, the T Sisters released a new five-song EP titled Live at Tiny Telephone, a work that earned its name after being recorded live at San Francisco’s legendary Tiny Telephone studios. Marking the band’s fifth release, Live at Tiny Telephone shows the T Sisters at their finest, capturing the group’s playful and unparalleled energy across the album’s three original tunes and two covers.Today, Live For Live Music is proud to premiere the music video for “Too Late” (video by Matthew Washburn and audio by Jacob Winik), which shows the T Sisters in the studio during the recording process for their latest EP. The song, which was written by Rachel Tietjen, showcases the sisters’ penchant for strong vocal harmonies as well as the tightness of the band as a whole. You can watch the new music video for “Too Late” as well as listen to their recently released EP Live at Tiny Telephone below. You can also check out the T Sisters’ upcoming tour dates below or head over to the band’s website here.“Too Late” Live at Tiny TelephoneUpcoming T Sisters Tour Dates:11.4 Oakland, CA – Starline Social Club11.7 Hayfork, CA – Northern Delights11.8 Medford, OR – House Concert11.9 Portland, OR – Serenade PDX11.10 Mount Vernon, WA – McIntyre Hall (supporting Kuinka)11.11 Kingston, WA – Concerts in the Barn11.12 Detroit, OR – Breitenbush Hot Springs11.14 Redding, CA – Vintage Wine Bar11.25 Petaluma, CA – Mystic Theatre12.7 Eugene, OR – HiFi Music Hall12.8 Portland, OR – The Star Theater (co-bill with Hillstomp)12.9 San Francisco, CA – The Fillmore (Rex Foundation Benefit with Lebo plus members of Quicksilver Messenger Service, Jefferson Airplane, Big Brother & the Holding Company, T Sisters and more)12.10 Morgan Hill – El Toro Social Club2.24 Bellevue, WA – Wintergrass Music Festival[Photo: Jessie McCall (Little Green Eyes Media)]
Widespread Panic resumed their four-night run at the Hard Rock Resort in Riviera Maya, Mexico with a “1986” theme. The band certainly kicked it off in old school fashion with Warren Zevon’s “Werewolves of London”, marking the first time the song opened a WSP show since 1992, with Dave Schools performing lead vocals. JoJo Hermann then took lead vocals on his humorous tale of joining the band in “One Arm Steve”, which opened last year’s Panic en la Playa. Another original “Pleas” followed with John Bell singing lead, while Jimmy Herring and Schools weaved rhythms around each other like world-class opponents in a prestigious boxing match. The band then skillfully segued into “Christmas Katie” with the transition jam being especially noteworthy. Keeping the fire burning, the boys performed an extended rendition of “Junior”, a fan-favorite for its simple yet rough and aggressive tones.“Contentment Blues” from the album Space Wrangler came next, delivering all the most badass components; outrageous lyrics, heavy bass lines, and several jarring tempo changes. It will be hard to beat John Bell rappin’ about how the “the air smells sweet; the chicken tastes GOOD!” Jimmy Herring polished off another smooth solo in his off-the-cuff style, before Schools, Duane Trucks, and Sonny Ortiz grounded the rhythm to end the jam. Maintaining the intensity appropriate for the last night of music, the band dove into an absolutely ripping version of “Thought Sausage”. A cover of J.J. Cale’s song “Travelin’ Light” finished the first set of music with the lyrical reminder that “Travelin’ light… is the only way to fly” with Dave Schools hammering the abbreviated bass line nearly crushing his guitar into dust with every note.The second set kicked off with a cover of the Talking Head’s “Swamp”, which had not been played since Wanee 2016. Keeping the grit in the music, the band followed with an always raucous version of “Fishwater” which eventually segued right into the opening licks of “Surprise Valley”. The continuous flow of heaters persisted with the original “Rock”, another swampy song describing fishy water and laying at the bottom of a pool. Another heavy jam “Saint Ex” followed with Dave Schools absolutely ripping apart his bass once again. Another original, the lengthy jam, “Pilgrims”, came next, as John Bell comically improvised lyrics while Jimmy Herring soared through the inner workings of the cosmos.Widespread Panic debuted a new original song “Sundown Betty”, ultimately hinting at new material from the band and possibly the arrival of an upcoming album. The song had some suave riffs and John Bell delivered some trademark vocals in his signature style of crooning. Jimmy Herring iced the cake with a sizzling solo to finish this tune’s debut. The band then reverted back to the notorious psychedelic jam “Pigeons” which speculates the profound, philosophical conundrum: “What it’s like washing windows when you know that there are pigeons on the roof.” For the third night in a row, Widespread Panic invited a musical guest to make an appearance, this time in the form of Marcus King, who was omnipresent all weekend.Marcus King alternated lead guitar and lead vocals with Jimmy Herring and John Bell, respectively, on the old blue standard “Nobody’s Fault but Mine” which is accredited to Joseph ‘Blind Willie’ Johnson. The first time the band covered this song was in 1986 with the most recent time being in 2016. The band and Marcus then paid respect to fellow Georgian brethren Allman Brothers Band with an outstanding 20-minute version of “Mountain Jam” to finish the second set.The band returned to the stage to demolish a rendition of Howlin’ Wolf’s classic blues song “Tail Dragger”. John Bell sings suggestively that “he gits what he wants, and don’t come sneakin’ back” and eventually hints that “they just might come sneakin’ back”. Hopefully, this means that the band will be returning next year to continue this tropical paradise festival. To conclude the final night of music and to close out the jubilee, the boys played a bittersweet and beautiful version of Joe Cocker’s “High Time We Went” which they haven’t performed since 2016.Watch “Mountain Jam” below, courtesy of MrTopDogger:As always, the band executed each song with style, precision, and utmost professionalism. The mannerisms and facial expressions, especially with the guest musicians, are a quintessential example of the immense enjoyment that was shared by the band and the audience alike. The audience especially were very friendly, displaying nothing but love and comradery for the band and music in general. The venue once again hosted nearly three thousand lunatics, who’s zeal and enthusiasm was nearly uncontrollable. As long as the band continues playing, I will gladly return until I am physically unable to come back. Good job, ladies and gentlemen, until we dance again, stay happy and healthy.You can check out photos from Panic En La Playa below, courtesy of Dave Vann.Setlist: Widespread Panic | Hard Rock Resort | Riviera Maya, Mexico | 1/26/2018I: Werewolves of London, One Arm Steve, Pleas > Jam > Christmas Katie > Junior, Contentment Blues, Thought Sausage, Travelin’ Light (58 mins)II: Swamp, Fishwater > Surprise Valley > Rock, Saint Ex, Pilgrims, Sundown Betty^, Pigeons, Nobody’s Fault But Mine* > Mountain Jam** (110 minutes)E: Tail Dragger, High Time We Went (15 mins)Notes ^ FTP – New Original – JB lead vocals* w/ Marcus King on guitar and vocals** Marcus King on guitar‘Werewolves of London’ LTP 9/17/16 Asheville (50 shows) – First opener since 10/31/92 Athens (a lotta shows)‘Swamp’ LTP 4/16/16 Wanee 92 shows)‘Pilgrims’ with inverted intro‘High Time We Went’ LTP 9/23/16 St Augustine (47 shows)Widespread Panic | Hard Rock Resort | Riviera Maya, Mexico | 1/26/2018 | Photo: Dave Vann Load remaining images
The Reverend Shawn Amos has been bringing his soulful blues to clubs on the West Coast, deep south joints, festivals across the globe, and the podcast world for years. Blending black roots music, R&B, and stripped down rock n’ roll, The Rev delivers authentically raw tunes, with socially conscious ideas and issues, layered between his soulful voice. While out on the road in support of his 2015 release, The Reverend Shawn Amos Loves You, Amos was bothered by the country’s altered political landscape that he visibly noticed from city to city. This inspired Amos to release his most recent studio effort, The Reverend Shawn Amos Breaks It Down.As a musician, American citizen, African-American male, and father, The Reverend Shawn Amos was influenced by the writing of Dr. Martin Luther King, which transpired into Amos’ 2018 release of The Reverend Shawn Amos Breaks It Down. Addressing love in our country’s current political state while avoiding reeling in the dark and dreariness, Amos works through a series of “freedom songs”, with deeply conscious messages rooted in the contemporary new tunes.Live For Live Music is proud to premiere The Reverend Shawn Amos’ new official video for “(We’ve Got To) Come Together” featuring the Pop Culture Passionistas puppet troupe. The song, which is part of The Reverend Shawn Amos Breaks It Down‘s”Freedom Suite”, was inspired by The Staples Singers Amen! album and recorded at Memphis’ Royal Studios. As for the fantastic puppets in the song’s new music video, the Pop Culture Passionistas have made a career based on their love of pop culture through elaborate and comical sock puppets. The soul-drenched tune’s incorporation of puppets makes for a fun and funky exploration through race and politics.Regarding his official video for “(We’ve Got To) Come Together”, The Reverend Shawn Amos explained,This is the first freedom song I wrote for the album. I was inspired by the Staples Singers and great freedom singers of the 1960s. We live in similar times. This ain’t a song about laying blame. It’s meant to remind of our commonality and our humanity. We clearly need to come together ‘cause pulling apart ain’t doing it.I’ve been a fan — and friend — of the Pop Culture Passionistas for over 15 years. They are so creative and have such love. There’s no one else I would entrust with turning me into a puppet. It also gave me a chance to get two of my kids involved as puppeteers. It’s the only way I could ever get them to come around — bribe them with puppets. Although it kinda works for all of us. We’re all kids at heart, right?You can watch Live For Live Music’s premiere of the official music video for “(We’ve Got To) Come Together” below. For more information on his upcoming dates and music, head to The Reverend Shawn Amos’ website here.The Reverend Shawn Amos – “(We’ve Got To) Come Together”[Video: The Reverend Shawn Amos]The Reverend Shawn Amos is getting ready to embark on a small tour, with an upcoming three-night run in California, followed by a brief European run in November, that will take the artist through the U.K. and the Netherlands.Upcoming The Reverend Shawn Amos Tour Dates:OCT 9 TUEVibrato Grill JazzLos Angeles, CA, United StatesOCT 10 WEDBlue Note NapaNapa, CA, United StatesOCT 11 THUBiscuits and BluesSan Francisco, CA, United StatesNOV 15 THUThe Arts ClubLondon, United KingdomNOV 17 SATTenby Blues FestivalTenby, United KingdomNOV 19 MONMeneer FritsEindhoven, NetherlandsNOV 20 TUEMuziekhuis Q-BusLeiden, NetherlandsView All Tour Dates
[Video: Eryn Allen Kane][H/T Consequence Of Sound] Earlier this month, Donald J. Trump hosted a rally in South Haven, Mississippi, during which the President used Prince‘s classic tune “Purple Rain”. However, recently, the Prince Estate has issued a request to President 45 to stop playing Prince’s music at his political rallies, joining a number of other high-profile artists like Neil Young and Aerosmith’s Steven Tyler who have publicly denounced Trump using their songs at rallies.Notes the Star Tribune, after footage of the rally surfaced on Fox News and CNN with the song being played in the background, the Prince Estate issued the following via Twitter: “The Prince Estate has never given permission to President Trump or the White House to use Prince’s songs and have requested that they cease all use immediately.”However, unlike Neil Young and Steven Tyler’s public requests for Donald Trump to abstain from using their music, the Prince Estate’s request seems less likely to be explicitly political. Before Prince’s untimely death in 2016, the famed guitarist and singer was notorious for protecting his music’s rights and for aggressively shutting down any unauthorized use of his music. In that vein, Prince was also selective about what he chose to address politically, frequently avoiding taking sides politically.This is not to say that Prince was non-political; rather, the famed pop icon was very intentional about how and why his music was used. For example, a year before his death, Prince released a protest song with soul singer Eryn Allen Kane that addressed the Freddie Gray’s death at the hands of Baltimore City police officers and the community’s tumultuous response, which has since been renamed the Baltimore Uprising or the Baltimore Riots.
Photo: Adam McCullough On Friday, November 23rd, Twiddle kicked off their two-night “Frendsgiving” run at the Capitol Theatre in Port Chester, New York with opening support from the Kitchen Dwellers. Both bands went above and beyond to support one another, trading sit-ins and offering exciting covers to celebrate the occasion.Twiddle keyboardist Ryan Dempsey sat in during the opening slot, covering The Band‘s “Don’t Do It” in celebration of the 42nd anniversary of The Last Waltz. The cover came just a few days after Kitchen Dwellers announced their upcoming EP, Reheated, Vol. 1, a tribute to The Band and the first in a series of EPs dedicated to covers.During their headlining sets, Twiddle impressed the crowd with their original material, chock full of captivating compositions and extended jams. The Vermont-based quartet continued to show their ongoing appreciation for the Montana-based bluegrass sensations by closing the first set with a cover of the Kitchen Dwellers’ “Visions of Mohr”, which featured bassist Joe Funk, mandolinist Shawn Swain, banjoist Torrin Daniels, and guitarist Max Davies. The studio recording of the Ghost In The Bottle song features Mihali Savoulidis on vocals. Toward the end of the second set, the Kitchen Dwellers were once again welcomed to the stage to collaborate on their own “Mountain”. Both bands returned to the stage to perform Twiddle’s “Hattibagen McRat” for the evening’s encore.You can watch the pro-shot video of Kitchen Dwellers set, and the first two songs of both Twiddle sets below, courtesy of Relix.Kitchen Dwellers – Full SetTwiddle – “Blunderbuss” & “Burdens Blooming”Twiddle – “Nicodemus Portulay”, “Polluted Beauty”Last week, Twiddle released a live album of recordings pulled from their Friday and Saturday performances at Tumble Down Festival 2018. The 12-track live album, titled Live From Tumble Down 2018 and available now for streaming on Spotify and iTunes, is broken down into two sets, showcasing the stand-out moments from both July 27th and July 28th of the annual Vermont festival, and features the live debut of the “Orlando’s Themed Character Set”. If you haven’t yet, check it out here.Twiddle returns to the Capitol Theatre tonight with the Eric Krasno Band. Limited tickets remain here.Setlist: Twiddle | Capitol Theatre | Port Chester, NY | 11/23/18I: Blunderbuss, Burdens Blooming, Every Soul, Carter Candlestick, Dr. Remidi’s Melodium (with Gubb dump), Drifter, Visions of Mohr (Kitchen Dwellers cover)II: Nicodemus Portulay, Polluted Beauty, Wasabi Eruption, Subconscious Prelude, Mountain (Kitchen Dwellers cover, with Kitchen Dwellers), Lost In The ColdE: Hattibagen McRat (with Kitchen Dwellers) Load remaining images
On Wednesday night, Will Ferrell and John C. Reilly made an appearance on Jimmy Kimmel Live! in support of their newest comedic collaboration, Holmes & Watson. The lovable duo’s latest project, a comedic reinterpretation of classic crime-solving characters Sherlock Holmes and Dr. Watson, is set to hit movie theaters in the U.S. on Christmas Day. The new collaboration between the two funnymen is highly anticipated by fans of their previous films like Step Brothers (2008) and Talladega Nights: The Ballad of Ricky Bobby (2006).After musing about the excitement people express when they see the two men together (“There’s a lot of ‘shake and bake’… a lot of ‘boats and hoes’”), the pair went on to talk about their natural comedic chemistry. Will Ferrell and John C. Reilly continued to riff about their personal and professional relationship, Ferrell pretending to well up with emotion at the notion of them coming back together to work on their latest film.As Ferrell held back his tears, a melancholy keyboard line began to come through the sound mix. When Kimmel asked if they needed to take a moment to collect themselves, Reilly replied, “No, we’ll work through it… We’ll sing through it.” The comedians promptly produced two microphones and began to sing 1972 R&B classic “Reunited”, written by Dino Fekaris and Freddie Perren and popularized by vocal dup Peaches & Herb.In classic form, Will Ferrell and John C. Reilly remained hilariously committed to the bit, inserting plugs for Holmes & Watson into the song as they went. Adorable.Watch the clip below:Will Ferrell & John C. Reilly Croon “Reunited”[Video: Jimmy Kimmel Live]
After taking a night off on Friday, Dead & Company returned to the stage on Saturday for their Playing In The Sand destination event at Riviera Maya, Mexico’s Barceló. Blues-rock guitarists Eric Krasno and Marcus King played a pop-up, pool-side performance earlier in the afternoon, allowing attendees at the four-day destination event to continue their south-of-the-border party into the heart of the weekend.Dead & Company opened up their first set with “Deal”, allowing John Mayer to take the leading reigns on vocals. “Deal” smoothly worked its way into “Hell In A Bucket”, which included a bluesy Mayer intro, as Bob Weir followed closely en suite. Weir sounded strong on vocals, before Jeff Chimenti dazzled the crowd with a whirlwind of a solo on the organ. “Cold Rain And Snow” was up next, with Mayer continuing to harness his inner-Jerry (Garcia) on lead vocals. The relaxing number allowed the crowd to focus in, before the sextet moved forward with “Ramble On Rose”.Dead & Company – “Cold Rain And Snow”[Video:The Zalewski Law Firm]Following a breezy take on “Ramble On Rose”, Dead & Company kicked the tempo up a few notches, as Mayer led his bandmates into “Alabama Getaway”. The fun, yet quick take on “Alabama Getaway” led way to “Peggy-O”, as Weir strapped on his acoustic guitar. The mellow, vibe would continue, as Oteil Burbridge stepped to the front of the stage, leading the group through a heartfelt rendition of “China Doll”. Oteil seized his moment to shine, as his silky-smooth vocals cast the intently focused crowd into a trance-like state. “One More Saturday Night” brought the first set to a close, in whats been become its traditional placement these days in Dead & Company’s setlists.Following a lengthy 45-minute set break, Dead & Company returned to open up the second set with “Estimated Prophet”. The cohesive six-piece unit sounded tight, as Oteil anchored the unstoppable steam locomotive with a meaty bass line. Mayer took a nice, extended solo, as the band stretched out along with him. Following the band taking a near full-stop, “He’s Gone” came next, which teased a short blues jam led by Mayer. “He’s Gone” smoothly segued into “St. Stephen”, as Dead & Company seriously upped the energy for the first time of the evening.During “Stephen’s” lengthy, psychedelic jam, the crowd started to notice that a perfect circle of clouds had formed in a giant circle around the nearly full moon, sitting directly overhead. To say it was magical would be an understatement. In an old-school fashion, the band kept on chugging through “William Tell Bridge”, which led way to a roaring rendition of “The Eleven”. Dead & Co. stayed in the preliminary section of “The Eleven” for an unusually extended period, before dropping into the eleven-beat section that gives the song its name. Last night’s “Eleven” never peaked or boiled over, but it gelled perfectly with the show in the sky. The song came to a well-worked close, before Weir, Mayer, and Chimenti exited the stage for “Drums”. Bill Kreutzmann led Burbridge and Mickey Hart through a raucous take on “Drums”, before the rest of the band reemerged for the “Space”.The ambient and spooky “Space” section of the second set was followed up by “Uncle John’s Band”, marked by a confident, yet delicate jam from a band that’s finding their sea legs again after taking five months off. “Morning Dew” brought the second set to a close, as the crowd locked into Mayer’s powerfully-driven lead on vocals. Dead & Company let it shine one last time on Saturday night, as the band delivered a rocking take on “Lovelight” in the encore slot.Dead & Company – “Lovelight”[Video:Still Dead]For Playing In The Sand’s final night, Dead & Company returns to Rivera Maya, MX’s Barceló tonight with a two-set performance on the picturesque Caribbean coastline.Setlist: Dead & Company | Barceló | Riviera Maya, Mexico | 1/19/2019Set One: Deal > Hell In A Bucket, Cold Rain And Snow, Ramble On Rose, Alabama Getaway, Peggy-O, China Doll, One More Saturday NightSet Two: Estimated Prophet > He’s Gone > St. Stephen > William Tell Bridge > The Eleven > Drums / Space > Uncle John’s Band, Morning DewEncore: Lovelight
Alternative rock outfit Pixies will release their forthcoming studio LP in September. On Wednesday, the band announced they have documented the album’s lengthy recording process with a new, behind-the-scenes podcast to be titled, “Past Is Prologue, Pixies.” The band recorded the as-yet-untitled seventh studio album with producer Tom Dalgety, who was also behind 2016’s Head Carrier.Pixies recorded their forthcoming record at Dreamland Recordings near Woodstock, New York, after devoting the entirety of 2018 to writing new material. In conjunction with Signal Co. No1, the forthcoming “Past Is Prologue, Pixies” podcast will be available each week beginning on June 27th, and should help the band build up to the album’s September release.As Rolling Stone reports, “music journalist Tony Fletcher, the author of popular biographies of R.E.M. and The Who’s Keith Moon, will host and narrate the weekly, 12-episode podcast. The writer guides listeners through time spent in the studio control room, main room and a special ‘video booth’ where band members shared their observations throughout the recording; Fletcher also interviewed the Pixies and Dalgety individually.”Watch a preview of Pixies’ upcoming podcast below:“Past Is Prologue, Pixies” Podcast Preview[Video: Signal Co No1]After touring with Weezer last summer, Pixies announced that the two bands are joining forces again this spring. The new spring tour will start out with a pair of southern shows on March 8th and 10th, before moving through Montreal; Albany, NY; Mashantucket, CT; and Baltimore, MD from March 13th–17th. The bands will then head west, making stops in Columbus, OH; Grand Rapids, MI; Memphis, TN; St. Louis, MO; Kansas City, MO; Tulsa, OK; Des Moines, IA; St. Paul, MN; and Madison, WI from March 19th–31st. The tour ends with a run through the Pacific Coast, with stops in Nampa, ID; Portland, OR; Vancouver, BC; Sacramento, CA; Oakland, CA; and Las Vegas, NV from April 5th–12th.Head to Pixies’ website for ticketing and more information.Upcoming Pixies/Weezer Tour Dates:March 8th – Louisville, KY @ KFC Yum! CenterMarch 10th – Columbia, SC @ Colonial Life ArenaMarch 13th – Montreal, QC @ Bell CentreMarch 14th – Albany, NY @ Times Union CenterMarch 16th – Mashantucket, CT @ Foxwoods Resort Casino – Grand TheaterMarch 17th – Baltimore, MD @ Royal Farms ArenaMarch 19th – Columbus, OH @ Schottenstein CenterMarch 20th – Grand Rapids, MI @ Van Andel ArenaMarch 22nd – Memphis, TN @ FedEx ForumMarch 24th – St. Louis, MO @ Enterprise CenterMarch 26th – Kansas City, MO @ Sprint CenterMarch 27th – Tulsa, OK @ BOK CenterMarch 28th – Des Moines, IA @ Wells Fargo ArenaMarch 30th – Saint Paul, MN @ Xcel Energy CenterMarch 31st – Madison, WI @ Alliant Energy Center – Veterans Memorial ColiseumApril 5th – Nampa, ID @ Ford Idaho Center ArenaApril 6th – Portland, OR @ Moda CenterApril 7th – Vancouver, BC @ Rogers ArenaApril 9th – Sacramento, CA @ Golden 1 CenterApril 10th – Oakland, CA @ Oracle ArenaApril 12th – Las Vegas, NV @ Mandalay Bay Events CenterView All Tour Dates[H/T Rolling Stone]
Jason Isbell and the 400 Unit and Father John Misty will be hitting the road together this June for a co-headlining tour. Jade Bird and Erin Rae will offer support on select dates.Jason Isbell and Father John Misty will open up their tour with a performance at San Diego, CA’s Cal Coast Open Air Theatre on June 6th, followed by stops at Santa Barbara, CA’s Santa Barbara Bowl (6/7); Berkeley, CA’s Greek Theater (6/8); Bend, OR’s Les Schwab Amphitheater (6/9); Redmond, WA’s Marymoor Park (6/11); Minneapolis, MN’s The Armory (6/14); Chicago, IL’s Huntington Bank Pavilion (6/15); Milwaukee, WI’s BMO Harris Pavilion (6/16); and Detroit, MI’s Fox Theatre on June 17th.The bands will then work their way down the eastern seaboard with shows at Brooklyn, NY’s BRIC Celebrate Brooklyn! Festival (6/19); Canandaigua, NY’s CMAC (6/20); Columbia, MD’s Merriweather Post Pavilion (6/21); Philadelphia, PA’s Metropolitan Opera House (6/22); Richmond, VA’s Altria Theater (6/24); and Cary, NC’s Koka Booth Amphitheater (6/25).Jason Isbell and Father John Misty will wrap up their co-headlining 2019 tour in the southwest, with performances at Irving, TX’s Pavilion At Toyota Music Factory on June 27th, Houston, TX’s White Oak Music Hall Lawn on June 28th, and a tour-closing show at Tulsa, OK’s BOK Center on June 29th.A fan pre-sale beings Wednesday, February 13 at 10 a.m. local time using “FJMISBELL” as the password via Isbell’s website. Tickets go on sale to the general public this Friday, February 15 at 10 a.m. local time.Jason Isbell & Father John Misty Co-Headlining Summer Tour:June 6 – San Diego – Cal Coast Open Air Theatre $*June 7 – Santa Barbara, CA – Santa Barbara Bowl $*June 8 – Berkeley, CA – The Greek Theater At UC Berkeley $*June 9 – Bend, OR – Les Schwab Amphitheater $*June 11 – Redmond, WA – Marymoor Park $*June 14 – Minneapolis, MN – The Armory $*June 15 – Chicago, IL – Huntington Bank Pavilion $*June 16 – Milwaukee, WI – BMO Harris Pavilion $*June 17 – Detroit, MI – Fox Theatre $*June 19 – Brooklyn, NY – BRIC Celebrate Brooklyn! Festival $*June 20 – Canandaigua, NY – CMAC *June 21– Columbia, MD – Merriweather Post Pavilion $*June 22 – Philadelphia, PA – Metropolitan Opera House $*June 24 – Richmond, VA – Altria Theater $*June 25 – Cary, NC – Koka Booth Amphitheater $*June 27 – Irving, TX – Pavilion At Toyota Music Factory $+June 28 – Houston, TX – White Oak Music Hall Lawn $+June 29 – Tulsa, OK – BOK Center $+$ w/ Father John Misty* w/ Jade Bird+ w/ Erin RaeView All Tour Dates
Printmaking was a new technology in the 16th century, and artists who created prints for scientific texts not only illustrated the books, they enabled scientific advances by helping early scientists to visualize findings in ways they hadn’t before, according to curators of a new exhibit sponsored by the Collection of Historical Scientific Instruments.The exhibit, “Paper Worlds: Printing Knowledge in Early Modern Europe,” is on the second floor of the Science Center in the temporary exhibit space managed by the Collection of Historical Scientific Instruments. It was created by 10 graduate students and a Harvard paper conservator studying the history of science and the history of art and architecture. It was the product of a graduate student seminar, “Prints and the Production of Knowledge in Early Modern Europe,” taught by Susan Dackerman, the Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museum, and by Katharine Park, the Samuel Zemurray Jr. and Doris Zemurray Stone Radcliffe Professor of the History of Science.Students who signed up for the class were involved in a semester-long exhibit-building exercise that included conducting background research, searching Harvard’s various museum collections for appropriate material, designing and building the exhibit itself, and even creating a 100-page catalog and accompanying Web material.Adam Jasienski, a graduate student in the history of art and architecture, said a major benefit of the class was being able to handle so much historical material that is studied in other classes, but that students rarely get to see.“I’m an early modernist, but we don’t have a class that gets you so close to these objects,” Jasienski said.Stephanie Dick, a graduate student in the history of science, agreed, saying that the course provided a hands-on lesson in material culture.“I find it interesting in the history of science, we are interested in material culture, but we rarely really deal with materials,” Dick said. “This class was an in-your-face experience in the materiality of materials.”The idea for the class grew out of a series of seminars on prints and knowledge that Dackerman and Park collaborated on over the past several years. It is an unusual collaboration, teaming up the seemingly disparate disciplines of art history and the history of science. But Dackerman and Park’s take on the importance of printmaking to early scientific efforts binds the two disciplines together.“Artists were already looking at natural objects and describing them in detail, but scholars weren’t,” Park said. “The visual skills of looking and seeing, which are part of the skill set of artists, began to be integrated into the skill set of doctors and medical professionals. Scientists became more interested in the details of scientific reality.”Robin Kelsey, the Shirley Carter Burden Professor of Photography and chair of the Harvard University Committee on the Arts, said that although there have been student-created exhibits at Harvard before, what’s special about the printmaking exhibit is that its creation was integrated into the course, as opposed to the individual student efforts that resulted in most prior student-created exhibitions.“To my mind, this is exemplary. It’s a terrific initiative and a great way to bring the collections and students together and produce new ways of thinking,” Kelsey said.Kelsey said he believes this sort of effort will be happening more because the University is committed to making its collections’ vast resources a more integral part of student education.Associate Provost for Arts and Culture Lori Gross echoed Kelsey’s comments, saying that better integrating the collections into Harvard’s educational mission is a key recommendation of the 2008 report of the Task Force on the Arts.“‘Paper Worlds’ is an eloquent manifestation of a key recommendation of the Task Force on the Arts,” Gross said. “By integrating Harvard’s vast collections with innovative courses, the power of these amazing resources can reverberate through faculty, museum curators, and students to enrich the University as a whole.”The exhibit, Dackerman said, is interdisciplinary, drawing on materials from several Harvard museums, including the Houghton Library, the Countway Library of Medicine, the Botany Libraries at the Harvard University Herbaria, the Harvard Art Museum, and the Collection of Historical Scientific Instruments.“The students used the vast resources within the Harvard collections to create an interdisciplinary exhibition on how printmaking enabled the production of new knowledge in the fields of botany, anatomy, astronomy, cartography, [and others],” Dackerman said. “It allowed knowledge to be conceptualized in new ways. Printmakers’ roles were not merely that of illustrators, but as participants in the creation of knowledge in those proto-scientific fields.”The exhibit itself is organized around several themes: Thinking Visually, which emphasized the relationships between early modern theories of cognition and emotion; Animating Bodies, exploring how anatomical prints were used to produce knowledge of the body; Constructing Scale, illustrating that the prints often showed details and features beyond simple reflections of their subject matter; Printing Time, exploring engraved instruments such as sundials in relationship to printed images depicting the passage of time; and Making Prints, explaining the printmaking process itself.The exhibit features several notable pieces, including a 16th century botanical encyclopedia and the woodblock used to make its intricate prints, sundials and engravings, single-leaf sheets and book illustrations, as well as several scientific instruments.“Paper Worlds: Printing Knowledge in Early Modern Europe,” is on display through Aug. 27. The gallery is open from 11 a.m. to 4 p.m., Mondays through Fridays.