Alexander Laurence's Blog, page 137
March 13, 2025
Herb Alpert To Release 60th Anniversary Edition Of 'Whipped Cream & Other Delights' // On Tour Now With Tijuana Brass Band
On Tour Now With The Newly Reformed Iconic
Tijuana Brass Band For The First Time In Over 40 Years
Includes Back-To-Back 90th Birthday Celebration Shows At Jazz At Lincoln Center In New York City
March 13, 2025: Legendary musician, artist, record label executive, and philanthropist Herb Alpert has announced a special 60th Anniversary Edition of his seminal album Whipped Cream & Other Delights will release on April 25th, 2025. Renowned as one of the most popular and influential albums in the history of American music, Alpert will celebrate the album’s monumental anniversary by re-releasing the album as a special vinyl picture disc featuring the iconic and enduring album cover image that has been imprinted in the collective consciousness of pop culture for decades. The album has been remastered from its original analog tapes and will be pressed on high quality, 180-gram vinyl. Listeners will revisit some of Alpert’s biggest hits, including “Whipped Cream,” “Lollipops and Roses,” “Ladyfingers,” and “A Taste of Honey,” which won the GRAMMY for Record Of The Year upon the album’s original release.
Pre-Order Whipped Cream & Other Delights (60th Anniversary Edition) Vinyl HERE
“60 years ago in late February 1965, I went into Gold Star Recording Studio in Los Angeles to record what would become my 4th album, Whipped Cream & Other Delights,” stated Alpert. “I never went in with the thought of making an iconic album that people would still be listening to in 2025. I approached the making of this album as I do every single time that I record, which is to find great songs that touch me and to then work with really great musicians that can help paint the picture and create the vibe and feel that I am looking for. I have always made music for my own enjoyment. The album's collection of songs touched me and I remember listening in the studio to the final mixes as they were being sequenced into the final album form and thinking, ‘I really love this.’ And, who knew the album cover would be so iconic?”
Originally released in April 1965, Whipped Cream & Other Delights became an instant classic and spent five weeks at #1 on the Billboard Albums Chart in 1965 and three weeks at #1 in 1966. It was supplanted at #1 by Alpert’s follow-up albums Going Places and What Now My Love later that year. From November 1965 to November 1966, his albums held down the #1 spot on the Billboard album chart for 23 weeks. He sold 13.3 million records in the US that year alone, ultimately out-selling The Beatles. Alpert would go on to win five GRAMMY Awards across 1965 and 1966, including Record of The Year (“Taste of Honey”), Best Instrumental Performance (“Taste of Honey” and “What Now My Love”), and Best Instrumental Arrangement (“Taste of Honey” and “What Now My Love”).
The anniversary edition of Whipped Cream & Other Delights arrives after Alpert recently reformed his iconic Tijuana Brass Band for the first time in over 40 years for a series of US tour dates this year. The tour kicked off earlier this month with sold out shows in Florida, Georgia, and Kentucky. Upcoming stops will include Detroit, Buffalo, Boston, Philadelphia, Salt Lake City, Las Vegas, Denver, and more, with several shows already sold out and tickets going fast. With an all-new lineup, Herb Alpert & The Tijuana Brass & Other Delights commemorates over six decades of historic releases, performing hits like “The Lonely Bull,” “Spanish Flea,” “Taste of Honey” and “This Guy’s In Love With You.” The tour will also include back-to-back once-in-a-lifetime performances at Jazz at Lincoln Center’s Rose Theater on March 31st and April 1st celebrating Alpert’s landmark 90th birthday. See below for the full list of tour dates with many more to be announced throughout the year. Tickets are on sale now and can be purchased HERE.
Last fall, Alpert marked another extraordinary milestone in his storied music career with the release of his 50th studio album titled 50. The album also commemorates another significant landmark as it celebrates 50 years of marriage to his wife, collaborator, and touring partner, Lani Hall; their golden anniversary. 50 debuted at #4 on the Billboard Contemporary Jazz Chart, #17 on the Billboard Jazz Chart, and #1 on the Current Contemporary Jazz Albums chart and has continued to claim the top spot for three weeks in a row and counting.
Alpert sat down with The New York Times at his home in Malibu and discussed 50, his iconic career, his marriage to Lani, touring, and his work as an artist/sculptor. Of the new album, they raved “The sound he got from his instrument - clean in tone, tidy in arrangement and joyous in character - also speaks of consistency. From the first note of the opening track, ‘Dancing Down 50th Street,’ his playing evokes the brisk and flirty mood of his ‘60s hits, from ‘A Taste of Honey’ to ‘Spanish Flea,’ a sound that represents midcentury modern culture as eloquently as an Eames chair or an Ossie Clark frock.” 50 also earned critical acclaim from NPR, Billboard, Associated Press, Paste, and Stereogum who raved “The legendary trumpeter Herb Alpert has had one hell of a life in music…He’s still going now. Amazing.”
For almost three-quarters-of-a-century, Alpert has always had the rare gift of being able to reach the greatest possible group of people through inhabiting an inimitable artistic voice. He has maintained and reshaped his sound through constant practice, recording, and performing (he continues to tour internationally, playing dozens of shows every year). With his eye invariably set on the future, Alpert is already turning over ideas for multiple upcoming albums. The sentiment crystalizes how one of popular music’s truest originals continues to find ways to connect and reconnect with himself and his audience. It is through his love of artistic kernels of inspiration—a couple of bars, a chord, a suggestive brushstroke—that seem to cut across time.
Whipped Cream & Other Delights (60th Anniversary Edition) Track List:
SIDE ONE
01) A Taste of Honey
02) Green Peppers
03) Tangerine
04) Bittersweet Samba
05) Lemon Tree
06) Whipped Cream
SIDE TWO
07) Love Potion No. 9
08) El Garbanzo
09) Ladyfingers
10) Butterball
11) Peanuts
12) Lollipops and Roses
Herb Alpert & The Tijuana Brass & Other Delights Tour Dates:
03/25 - Detroit, MI @ Masonic Cathedral Theatre (sold out)
03/26 - Akron, OH @ Goodyear Theater (sold out)
03/28 - Buffalo, NY @ Buffalo State Performing Arts Center (sold out)
03/29 - Boston, MA @ Shubert Wang Theatre (sold out)
03/31 - New York, NY @ Jazz at Lincoln Center - Rose Theater (sold out)
04/01 - New York, NY @ Jazz at Lincoln Center - Rose Theater (sold out)
05/11 - Grand Rapids, MI @ DeVos Performance Hall (low ticket alert)
05/12 - Pittsburgh, PA @ Byham Theater (sold out)
05/13 - Cincinnati, OH @ Taft Theatre
05/15 - Philadelphia, PA @ Miller Theater (low ticket alert)
05/16 - Tysons, VA @ Capitol One Hall (sold out)
06/19 - Salt Lake City, UT @ Capitol Theatre (low ticket alert)
06/20 - Las Vegas, NV @ Encore Theater at the Wynn (low ticket alert)
06/22 - Denver, CO @ Paramount Theatre
06/23 - Colorado Springs, CO @ Pikes Peak Center
08/01 - San Antonio, TX @ Tobin Center for the Arts
08/02 - Dallas, TX @ Winspear Opera House
08/03 - Oklahoma City, OK @ Rose State College Performing Arts Center
08/05 - Kansas City, MO @ TBA
08/06 - St. Louis, MO @ Touhill PAC (low ticket alert)
08/07 - Carmel, IN @ The Palladium (low ticket alert)
08/09 - Chicago, IL @ Harris Theater (low ticket alert)
10/02 - Winnipeg, Canada @ TBA
10/03 - Minneapolis, MN @ TBA
10/05 - Sioux Falls, SD @ TBA
10/06 - Milwaukee, WI @ TBA
10/07 - Omaha, NE @ TBA
11/09 - Seattle, WA @ TBA
11/10 - Portland, OR @ TBA
11/12 - Santa Rosa, CA @ TBA
11/13 - Sacramento, CA @ TBA
11/15 - Los Angeles, CA @ TBA
OASIS REVEALS FIRST DETAILS OF FILM IN CONJUNCTION WITH THE OASIS LIVE ‘25 TOUR
FIRST DETAILS REVEALED OF FILM IN CONJUNCTION WITH THE OASIS LIVE ‘25 TOUR
A FILM BY STEVEN KNIGHT
DYLAN SOUTHERN AND WILL LOVELACE - DIRECTORS
PRODUCED BY MAGNA STUDIOS
DISTRIBUTED BY SONY MUSIC VISION
Liam and Noel Gallagher
Photo by Simon Emmett
Steven Knight
As this summer’s wildly anticipated Oasis Live ‘25 tour approaches, Oasis can now confirm that a new film is being made in conjunction with the tour.
The film will be created and produced by Steven Knight, the BAFTA and Oscar-nominated writer, producer and director who is best known as the visionary behind “Peaky Blinders.” Knight is also renowned as the writer of David Cronenberg’s “Eastern Promises,” Stephen Frears’ “Dirty Pretty Things” and for producing, directing and writing “Locke” starring Tom Hardy. His many recent projects have included creating and writing the series “This Town” for the BBC on the rise of ska and two-tone in 1970’s Coventry and Birmingham; and writing the script for “Maria,” the Oscar nominated film about Maria Callas starring Angelina Jolie and “A Thousand Blows” on Disney+ starring Stephen Graham.
The new film will be directed by Dylan Southern and Will Lovelace. The duo have a track record of creating highly innovative music films, with credits including the genre-defying LCD Soundsystem documentary/concert film “Shut Up And Play The Hits” and “Meet Me In The Bathroom,” the acclaimed documentary on the early 2000s NYC music scene.
Produced by Magna Studios (Producers Sam Bridger & Guy Heeley & Executive Producers Marisa Clifford & Kate Shepherd), the multidisciplinary studio known for collaborating with visionary talent across film and music from the founding members and partners of Pulse Films. Previous credits include “Beastie Boys Story,” “Gangs Of London,” “20000 Days On Earth,” “Lewis Capaldi: How I’m Feeling Now.”
The project will be distributed by Sony Music Vision. Krista Wegener of Sony Music Vision will lead global sales.
No release date has yet been set, and no further details regarding the content of the film will be released at this moment in time.
Please see HERE for details on all Oasis Live ‘25 tour dates spanning the UK, Ireland, USA, Canada, Mexico, South Korea, Japan, Australia, Argentina, Chile and Brazil.
Follow Oasis:
Spotify | Apple Music | YouTube | Facebook | Instagram | X | TikTok | Website
Xmal Deutschland: Announce Gift - The 4AD Years
+ Pre-order 3xLP in transparent red vinyl, crystal clear vinyl (Germany exclusive), 2xCD +
+ Pre-order Gift T-Shirt on the 4AD Store +
The limited-edition 3xLP boxset contains 2025 Abbey Road remasters of their two albums released with the label (the feverish Fetsich and titanic Tocsin), as well as tracks off other related releases and EPs including Incubus Succubus II and Qual, creating a package pulsating with power and poise. Gift’s striking cover artwork — featuring photography by Peter Schulte — was designed by Timothy O’Donnell, based on original art by 23 Envelope. It accompanies original sleeve photography by Nigel Grierson. Rounding out the package is an additional photo booklet containing images by Kevin Cummins, Paul Slattery, Sheila Rock, and more, as well as text by Chris Roberts.
The extraordinary impact Xmal Deutschland had upon British audiences in the early Eighties is difficult to convey forty years on. A spell was cast by the staccato rhythms, unmediated channels and mysterious (to us) language of their music, and by the vision and strength of the women involved. Their breakthrough support slot with Cocteau Twins and first two albums with 4AD dazzled and dug deep, speaking in tones and temperatures unlike any band before or since. “And at some point, it seemed to people we just... disappeared,” muses singer Anja Huwe. “So this myth of Xmal Deutschland just got bigger and bigger over the years…” Gift reminds us of a past which sounds like an alternative present, wrapping — in distinctive style — Fetisch, Tocsin, and related EP tracks in a package pulsating with power and poise.
[image error]
Photo by Kevin Cummings
Like most bands commonly labelled ‘goth’ or ‘gothic’, the visually striking, black-clad and dynamic-haired Xmal preferred ‘post-punk’. They genuinely were, having been inspired, in terms of attitude as much as sound, by witnessing developments in London from their home base of Hamburg. And, as part of the Neue Deutsche Welle, playing live with bands like DAF and Palais Schaumburg, and as friends with Einstürzende Neubauten, radicalism and self-reinvention were in their ice-cool bloodstream. They took their name from an early Sixties socio-political treatise by communist author Rudolf Leonhard.
“When we started, the punks said it was not punk and the avant-garde people said it’s not avant-garde. So nobody could really say what it was,” Huwe told me back then. “It was... Xmal Deutschland, you know? This really strange band from Hamburg. It comes from our bodies, our souls, and yes, our hearts. Of course we take ourselves very seriously.”
“You’re influenced by your environment, of course,” said Fiona Sangster, “but then again, we’re not typically German at all.” “It’s wrong to falsify,” added Manuela Rickers. “You must do what you feel.”
The formative line-up of Huwe (then on bass), Rickers (guitar), Scottish-born Sangster (keyboards), Caro May (drums), and Rita Simonsen (vocals) soon underwent a vital tweak when Huwe was pushed up to the microphone by the others for learning-curve shows and singles on Hamburg label ZickZack. Wolfgang Ellerbrock came in on bass, laughing at being described as “the token male”; and Manuela Zwingmann arrived on drums. It was this quintet which recorded Fetisch, and the singles Qual and Incubus Succubus 2. The UK indie charts lapped up the Germans’ gung ho guile.
Co-produced by Ivo Watts-Russell, who’d been impressed by an “incredibly raw” demo tape, Fetisch was released in April 1983 and moved in comparable chilly, wilfully murky waters as peers like The Banshees, Bauhaus, The Birthday Party, and Joy Division. Yet its sheer single-minded focus, the chants and commands of Huwe, and the razor-cut riffs of Rickers, gave it a blinding clarity, an impossible-to-ignore charisma. Tracks like ‘Boomerang’ and ‘Orient’ still whisk the listener away to a diamond-sharp dimension. “The music is quite beautiful, but the lyrics are absolutely black,” Huwe said at the time.
Xmal Deutschland – Gift: The 4AD Years
4AD0730
Fetisch
A1. Qual
A2. Geheimnis
A3. Young Man
A4. In Der Nacht
A5. Orient
B1. Hand In Hand
B2. Kaempfen
B3. Danthem
B4. Boomerang
B5. Stummes Kind
Tocsin
C1. Mondlicht
C2. Eiland
C3. Reigen
C4. Tag für Tag
D1. Augen-blick
D2. Begrab Mein Herz
D3. Nachtschatten
D4. Xmas in Australia
D5. Derwisch
Incubus Succubus II
E1. Incubus Succubus II
E2. Vito
Qual
F1. Qual - 12” Remix
F2. Zeit
F3. Sehnsucht
GRATEFUL DEAD Enjoying The Ride Limited Edition 60-CD Boxed Set Celebrates The Grateful Dead's 60th Anniversary
Limited Edition 60-CD Boxed Set Celebrates The Grateful Dead's 60th Anniversary With Unreleased Performances From 20 Legendary Venues
Available Exclusively From Dead.net On May 30
The Music Never Stopped Available From Rhino On 3-CDs And 6-LPs
"Scarlet Begonias," "Touch Of Grey," and "Fire On The Mountain" Live At The Greek Theatre Available Today Digitally
(March 12, 2025 - Los Angeles, CA) The Grateful Dead celebrates its diamond 60th anniversary this year with ENJOYING THE RIDE, a sweeping 60-CD collection that maps an epic cross-country road trip along the "Heady Highway" with stops at storied venues where the music, the moment, and the magic of the Grateful Dead reliably converged.
Spanning 25 years of legendary live performances, this expansive collection spotlights defining shows from 1969 to 1994 at 20 venues that consistently inspired the band to new heights—Winterland, Frost Amphitheatre, Madison Square Garden, and Hampton Coliseum, among them. Whether playing the intimate confines of Fillmore West or beneath the open skies at Red Rocks, the Grateful Dead never played the same show twice. ENJOYING THE RIDE is a thrilling testament to that adventurous spirit.
With the exception of a few tracks from earlier releases, virtually all of the music onENJOYING THE RIDE is previously unreleased, spanning more than 450 tracks and over 60 hours of music. Of the 20 shows in the collection, 17 are presented in full, with some featuring additional material from the same venue. The remaining three—Fillmore West, Fillmore East, and Boston Music Hall—are curated from multiple performances at each venue, capturing key moments on those legendary stages.
ENJOYING THE RIDE will be available exclusively from Dead.net on May 30. This 60-CDboxed set is limited to 6,000 individually numbered copies. Pre-order HERE. ALAC and high-res FLAC downloads will also be available on the same day.
Unreleased versions of "Scarlet Begonias," "Touch Of Grey," and "Fire On The Mountain," recorded live at the Greek Theatre on July 13, 1984, are available today digitally. Listen HERE.
For those seeking a concise itinerary, THE MUSIC NEVER STOPPED distills Enjoying The Ride into a shorter route through the band’s diamond anniversary celebration. Featuring at least one song from every venue in the deluxe set, it offers a briefer—but no less illuminating—journey through the music that shaped the Grateful Dead’s live legacy. It will be available on May 30 from Rhino.com on 3CDs, 6LPs, and digitally. Pre-order HERE.
Rhino Records President Mark Pinkus discusses the band’s legacy and his personal connection to Enjoying The Ride, "I truly believe that Enjoying The Ride captures both the spirit of following the Grateful Dead and the magic of their live performances at these storied venues. The collection David has curated is even more meaningful to me because it includes the official release of my first-ever Dead show - July 13, 1984 at the Berkeley Greek Theatre - with its epic 'Dark Star' encore. This show marked the start of a lifelong journey for me, and I'm willing to bet there are many shows in this fantastic set that will resonate with fans who also found community on the road. I am forever honored to work alongside David and the Grateful Dead to keep this long, strange trip alive."
Grateful Dead archivist and legacy manager David Lemieux says narrowing the list to 20 venues wasn’t easy, but the final selection represents places where the band always brought their A-game—destinations that drew Dead Heads from far and wide, all hoping to witness something transcendent.
Beyond the extraordinary music, he says Enjoying The Ride is a celebration of the journey itself. "On these 60 CDs, you’ll find music spanning more than 25 years, from 1969 to 1994, with the venues and the millions of journeys to get to them, making an essential part of the story. Going to see the Grateful Dead, following them from city to city, was likened to the modern equivalent of running away and joining the circus. These 20 venues are where the circus took us, and the show was something we never wanted to miss."
The collection is housed in a custom keepsake box inspired by the experience of traveling from city to city to see the Dead at legendary venues across America. Inside, a beautifully detailed tour guide features liner notes by Jesse Jarnow (author and co-host of the Good Ol’ Grateful Deadcast) and a producer’s note from Lemieux, an essay by the Owsley Stanley Foundation, and more. The set is richly illustrated with photos, including many taken at the shows featured in the collection.
These performances were originally recorded by Owsley "Bear" Stanley, Betty Cantor-Jackson, Kidd Candelario, Dan Healy, and John Cutler. David Glasser and Jeffrey Norman restored and mastered the performances, with select ones using Plangent Processes tape restoration and speed correction for optimal sound quality.
Like the music itself, the Grateful Dead was never static, and that constant reinvention can be heard across Enjoying The Ride, which reflects the band’s evolution across multiple eras. The performances featured here include contributions from Jerry Garcia, Ron "Pigpen" McKernan, Bob Weir, Bill Kreutzmann, Phil Lesh, Mickey Hart, Keith Godchaux, Donna Jean Godchaux, Brent Mydland, Tom Constanten, and Vince Welnick.
Certain venues weren’t just stops along the road—they were catalysts, places where the Grateful Dead discovered new heights of inspiration. That spirit is reflected in Enjoying The Ride with selections from an April 1969 performance at the Avalon Ballroom, a hub of San Francisco’s psychedelic underground. That night, Garcia and Weir opened acoustically with "Dupree’s Diamond Blues" and "Mountains of the Moon," leading into a spellbinding "Dark Star." Available exclusively on cassette, this recording pays tribute to the countless tapers whose grassroots recordings helped fuel the band’s legend.
A few months later, in June 1969, the Dead took the stage at the Fillmore West, a cornerstone of the band’s early years. Originally known as the Carousel Ballroom, the venue was briefly operated by the Dead and other San Francisco bands before Bill Graham took over in 1968, transforming it into the city’s premier rock hall. The Fillmore West recordings include the first live performance of "Dire Wolf," a song that would find its way onto Workingman’s Dead a year later.
In February 1971, the Dead staged a six-night run at the Capitol Theatre in Port Chester, New York. The shows, originally recorded for the live album Skull & Roses (but ultimately set aside), delivered unforgettable moments. On February 20, the band played a rare electric "Ripple"—one of just three times the song was ever played that way. On February 24, they worked through early versions of "Bird Song," "Greatest Story Ever Told," and "Wharf Rat" before closing the residency with Pigpen leading a fiery 20-minute "Turn On Your Lovelight."
As the Godchaux era neared its end in May 1978, the Dead turned a Saturday night at the Spectrum in Philadelphia into an unforgettable party. The second set’s "Playing in the Band" built in intensity before giving way to "Drums," where the full band joined in on Hart’s developing Rhythm Devils concept. Even basketball great Bill Walton joined the percussive frenzy as the music spiraled into one of the Dead’s earliest delineated "Space" segments.
By August 1979, Brent Mydland had taken over on keys when the Dead returned to Red Rocks Amphitheatre under open skies, testing new material with early live airings of "Althea" and "Lost Sailor." That night, they also delivered a crisp, lyrical "Brown-Eyed Women," a swelling "Looks Like Rain," and an "Estimated Prophet" that flowed seamlessly into a fluid, up-tempo "Eyes of the World."
The ’80s brought fresh songs, new venues, and unexpected revivals, including the live debut of "Touch of Grey" on September 15, 1982, at the Capital Centre in Landover, Maryland—a song that would become one of the band’s most recognized anthems. Before that, in August 1980, the Dead arrived at Alpine Valley Music Theatre for the first time, beginning a love affair with the scenic outdoor venue that lasted throughout the decade. That night, Garcia’s solo on "Big River" rippled across the hillside, while Weir’s "Lazy Lightning" > "Supplication" crackled with energy. Unlike the Alpine shows that followed, this performance never widely circulated among tapers, making its inclusion in Enjoying The Ride a rare and long-awaited addition.
Two years later, on July 13, 1984, at the Greek Theatre in Berkeley, the band revived "Dark Star" for the first time in nearly three years. Under a full moon, the band slipped into the mesmerizing, cosmic jam, with NASA-sourced visuals illuminating the backdrop. The appearance of "Dark Star" was an increasingly rare event—one that wouldn’t happen again for another five years.
By fall 1985, the Dead were back in the Bay Area at the Henry J. Kaiser Convention Center, marking their 20th anniversary—Twenty Years So Far—with a run that leaned into their Warlocks-era roots. They opened the November 21 show with "Big Boy Pete," a rarity not played since 1978, and closed with another throwback, "Walking the Dog," making its final appearance in the band’s repertoire. Along the way, they revisited other Warlocks staples like "In The Midnight Hour" and "She Belongs To Me." Now, with Sixty Years So Far, the journey continues.
Closing out the decade, the Dead made their first appearance at Deer Creek Music Center, a newly opened amphitheater in Indiana that instantly became a Midwestern hub for Dead Heads. With a smaller capacity than the stadiums they were filling elsewhere, the setting lent an intimate energy to the show. That night’s extended "Space" sequence took a surreal turn when Garcia summoned the Close Encounters of the Third Kind five-note motif for the first time in over a decade, sending a ripple of recognition through the crowd.
By the 1990s, the Grateful Dead were at the peak of their popularity, playing to massive crowds while still finding ways to surprise even the group’s most devoted fans. In May 1991, the band returned home to Shoreline Amphitheatre with its biggest lineup in years, featuring Welnick on keyboards and part-time member Bruce Hornsby on piano and accordion. The expanded sound gave the band new depth, from the textural interplay of "Picasso Moon" to Weir’s "Black-Throated Wind," back in rotation after a 16-year absence. The second set featured a 24-minute "Terrapin Station" that drifted into an intimate jam between Garcia, Hornsby, Kreutzmann, and Hart before dissolving into "Drums" and "Space."
March 17, 1993—St. Patrick’s Day—found the Dead at the Capital Centre, weaving in originals from a never-completed studio album. Among them were "Eternity" (co-written with blues legend Willie Dixon) and "Days Between," placed with intent after the night’s deepest psychedelic dive—a 44-minute jam linking "Playing In The Band," "Dark Star," and "The Other One." This was the last of only six times these three centerpieces ever appeared together in a single show. For the encore, the Dead winked at its own psychedelic past, debuting The Beatles’ "Lucy in the Sky with Diamonds."
In the fall of 1994, the Dead returned to Boston Garden for what would become their final show in the city, a performance that captured the band’s still-changing sound. The night balanced old and new, with Lesh’s "Childhood’s End"—his first lyrics since 1966—standing alongside a luminous "Bird Song" and an affecting "Attics of My Life." For the encore, "Brokedown Palace" took on added resonance beneath the Garden’s crumbling ceiling, a poignant farewell to both the venue and an era. As always, the Dead embraced the moment, finding beauty in the impermanence of it all.
Premiering on March 13, the 11th season of the Good Ol’ Grateful Deadcast opens with a two-part heartfelt tribute to Phil Lesh, who passed away last October, featuring archival interviews with Lesh, Phish's Mike Gordon, Dead & Co.'s Oteil Burbridge, and other collaborators. Then, beginning April 10, the season shifts its focus to celebrating the band’s 60th anniversary and exploring the music featured in Enjoying The Ride. With more than five million downloads and counting, the official Grateful Dead podcast uses immersive storytelling to bring the band’s legacy to life through rare archival audio, fresh interviews, and deep dives into its history. Listen and subscribe to the Good Ol’ Grateful Deadcast’s Season 11 here: https://www.dead.net/deadcast.
Photo Credit: © Bob Minkin Photography
Grateful Dead at Red Rocks Amphitheatre on August 12th, 1979.
Photo Credit: ©James R. Anderson
ENJOYING THE RIDE
Show List
Avalon Ballroom, San Francisco, CA (4/5/69) – Cassette
Fillmore West, San Francisco, CA (6/5/69)
Fillmore West, San Francisco, CA (6/7/69)
Fillmore West, San Francisco, CA (6/8/69)
Capitol Theatre, Port Chester, NY (2/24/71)
Capitol Theatre, Port Chester, NY (2/20/71)
Fillmore East, New York, NY (4/25/71)
Fillmore East, New York, NY (4/27/71)
Boston Music Hall, Boston, MA (9/15/72)
Boston Music Hall, Boston, MA (9/16/72)
Nassau Veterans Memorial Coliseum, Uniondale, NY (3/16/73)
Winterland, San Francisco, CA (3/20/77)
Philadelphia Spectrum, Philadelphia, PA (5/13/78)
Red Rocks Amphitheatre, Morrison, CO (8/12/79)
Alpine Valley Music Theatre, East Troy, WI (8/23/80)
Alpine Valley Music Theatre, East Troy, WI (7/11/81)
Hartford Civic Center, Hartford, CT (3/14/81)
Hampton Coliseum, Hampton, VA (5/1/81)
Frost Amphitheatre, Stanford University, Palo Alto, CA (8/20/83)
Greek Theatre, University of California, Berkeley, CA (7/13/84)
Henry J. Kaiser Convention Center, Oakland, CA (11/21/85)
Henry J. Kaiser Convention Center, Oakland, CA (11/22/85)
Madison Square Garden, New York City, NY (9/16/87)
Deer Creek Music Center, Noblesville, IN (7/15/89)
Oakland Coliseum Arena, Oakland, CA (12/27/89)
Shoreline Amphitheatre, Mountain View, CA (5/12/91)
Capital Centre, Landover MD (3/17/93)
Capital Centre, Landover MD (9/15/82)
Boston Garden, Boston, MA (10/3/94)
Phil Lesh performing with the Grateful Dead live at Hampton Coliseum on October 9th, 1989.
Photo Credit: ©James R. Anderson
March 12, 2025
New Music Venue in Historic SoCal Motel Announces Shows ft. Allah Las, Wand, Souls Of Mischief & More | Farm House Collective
FARM HOUSE COLLECTIVE
A 1950’S HISTORIC MOTEL TRANSFORMED INTO
UNIQUE MUSIC VENUE, DINING & RETAIL DESTINATION IN RIVERSIDE, CA
ANNOUNCES INITIAL SHOWS INCLUDING
ALLAH LAS, WAND, LOS YESTERDAYS, É ARENAS,
SOULS OF MISCHIEF & MORE
TICKETS ON SALE TODAY, MARCH 12TH AT 12PM PT VIA SEE TICKETS
https://www.farmhousecollective.com/events
Farm House Collective is housed in the historic landmark Farm House Motel, originally constructed in 1953. The Farm House was one of the last remaining examples of a motor court in the region, distinguished in its farm house style with the original neon sign still intact. The revitalized space opens later this month, offering 15 spaces for local eateries, small retail outposts, and a brand new 500-capacity stage in a mix of restored motel buildings, creative retail kiosks, and new vernacular architecture.
Aiming to bring a contemporary and eclectic calendar of music to Riverside, and build a new space for the Inland Empire to gather and see artists from all genres Farm House Collective has partnered with Desert Daze co-founder Phil Pirrone, to book the venue.
Today, Farm House Collective announces the first set of shows to take place at the venue. Opening on Saturday, March 29th with performances from the Allah Las & Reverberation Radio, the space will see additional events including “Desert Daze presents” shows with Wand, and more to be announced; “Penrose Records presents” – the label founded by Riverside local and the Grammy-winning producer behind Daptone Records, Gabriel Roth – with Los Yesterdays and Vicky Tafoya; “Mucho Gusto presents” events with É Arenas (of Chicano Batman) and Quitapenas; and hip hop legends Souls of Mischief, among others.
Tickets for all shows go one sale today, Wednesday, March 12 at 12pm PT via See Tickets. Visit https://www.farmhousecollective.com/events for more information on upcoming events.
FARM HOUSE COLLECTIVE UPCOMING SHOWS
Mar 29: Grand Opening with Allah Las & Reverberation Radio (Tickets)
Apr 04: Desert Daze presents Wand w/ DJ Boogie Boudreaux (Tickets)
Apr 25: Elijah Fox w/ noworriesLMK (Tickets)
May 10: Penrose Records presents Los Yesterdays w/ Vicky Tafoya (Tickets)
May 23: Mucho Gusto presents É Arenas w/ Mucho Gusto DJs (Tickets)
Jun 13: Mucho Gusto presents Quitapenas w/ El Santo Golpe (Tickets)
June 19: Souls of Mischief w/ Gaslamp KIller (Tickets)
FARM HOUSE COLLECTIVE PHOTOS
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Oscar®-winner Kevin Macdonald’s ONE TO ONE: JOHN & YOKO, exclusively in IMAX® April 11th
A PLAN B/KM FILMS & MERCURY STUDIOS PRODUCTION
Exclusively in IMAX April 11
TICKETS NOW ON SALE:
https://www.imax.com/johnandyoko
Directed by KEVIN MACDONALD
Produced by PETER WORSLEY
Edited & Co-directed by SAM RICE-EDWARDS
Producers: KEVIN MACDONALD, ALICE WEBB
Executive Producers: SEAN ONO LENNON, MARC ROBINSON, DAVID JOSEPH, STEVE CONDIE, BRAD PITT, DEDE GARDNER, JEREMY KLEINER
Music Produced by SEAN ONO LENNON
Watch the Official Trailer:
New Official Poster:
LOS ANGELES
Thursday, March 27th at 7:30PM
IMAX Playa Vista
12582 W Millennium Dr Los Angeles, CA 90094
NEW YORK
Thursday, March 27th at 10:00AM
IMAX at AMC Lincoln Square
1998 Broadway, New York, NY 10023
An expansive and revelatory inside look at John Lennon and Yoko Ono’s life in Greenwich Village in the early 1970s, ONE TO ONE: JOHN & YOKO delivers an immersive cinematic experience that brings to life electrifying, never-before-seen material and newly restored footage of John and Yoko’s only full-length concert. Featuring mind-blowing music newly remixed and produced by Sean Ono Lennon, the film is a seismic revelation that will challenge pre-existing notions of the iconic couple.
On August 30, 1972, in New York City, John Lennon played his only full-length show after leaving The Beatles, the One to One benefit concert at Madison Square Garden, a rollicking, dazzling performance from him and Yoko Ono. Oscar®-winning filmmaker Kevin Macdonald’s riveting documentary takes that legendary musical event and uses it as the starting point to explore eighteen defining months in the lives of John and Yoko. By 1971 the couple was newly arrived in the United States— living in a tiny apartment in Greenwich Village and watching a huge amount of American television. The film uses a riotous mélange of American TV to conjure the era through what the two would have been seeing on the screen: the Vietnam War, The Price is Right, Nixon, Coca-Cola ads, Cronkite, The Waltons. As they experience a year of love and transformation in the US, John and Yoko begin to change their approach to protest — ultimately leading to the One to One concert, which was inspired by a Geraldo Rivera exposé they watched on TV. Filmed in a meticulously faithful reproduction of the NYC apartment the duo shared, ONE TO ONE: JOHN & YOKO offers a bold new take on a seminal time in the lives of two of history’s most influential artists.
100 minutes
HAAi Shares New Track "Can't Stand To Lose (hard soft rework)" || Upcoming US Live Dates Include Coachella, Movement & NYC
HAAi SHARES TOM VR COLLAB
“CAN’T STAND TO LOSE (HARD SOFT REWORK)
"
OUT NOW ON MUTE
REWORK ACCOMPANIES NEW FILM, FLOW STATE, SCREENING AT OUTERNET (UK) THROUGHOUT MARCH
UPCOMING US LIVE DATES INCLUDE COACHELLA, MOVEMENT & NYC
Photo credit: Brittany Duffy
Today London-based, Australian-born producer, songwriter and DJ, HAAi (aka Teneil Throssell) has shared a collaboration with Tom VR on a rework of her new single, “Can’t Stand To Lose”, out now on Mute and available across all digital platforms.
The new music arrives ahead of US DJ dates, including both weekends of Coachella, Movement Festival and a newly announced NYC date at Knockdown Center on June 7th.
Listen to “Can’t Stand To Lose (hard soft rework)” HERE.
“Can’t Stand To Lose (hard soft rework)” accompanies Flow State, a ground-breaking visual that explores the neuroscience behind creative performance.
Flow State is a three-minute film that visualizes HAAi’s brain activity as she enters deep creative focus while performing the rework. EEG electrodes recorded electrical activity from multiple brain regions during her performance, and the data was transformed into captivating visuals, creating an immersive and hypnotic film experience.
Flow State premiered at the Outernet in London last night, and will run throughout March to mark Women’s History Month.
The film is the concept of Director Callum Pearson, production companies Only Child and Youngest Sibling and sound and immersive experience company Mastery. Neuroscientist Oliver Durcan recorded the EEG data, which was transformed into visuals by digital artist AMIANGELIKA using TouchDesigner, with VFX by Zero One Creative.
Executive produced by Dana Leonard, Founder of Only Child and Youngest Sibling, the project was driven by a mission to spotlight female creative talent throughout International Women’s Month. The film found its home at Outernet London through a collaboration with Bianca Mayhew, Founder of Mastery.
The original version of the track, ‘Can’t Stand To Lose’, was released last month and reveals a personal and intimate side to HAAi, with her lyrics reckoning with a fast-paced life on the road, whilst yearning to be with her partner.
Watch the video for “Can’t Stand To Lose” HERE.
HAAi explains, “Can’t Stand To Lose is a reflection on longing, loss, and the deeply human emotions that accompany them - the nostalgia, the yearning, and the vulnerability. It’s inspired by our rapidly changing world and how it reshapes our lives: opening possibilities that are initially exciting, but are soon met with the realisation of what’s lost. It’s a meditation on what we gain and what we leave behind.”
The video, a collaboration with Dobermann Ltd (Skrillex, Tiga, Bjarki), allows the warmth of HAAi’s vocals to collide with the stark, utilitarian aesthetic of 90s technology.
This is HAAi’s first new music since her acclaimed DJ-Kicks compilation in 2023, which RA described as “a thrillingly eclectic journey through sound, where industrial beats meet warm melodies with finesse.” The compilation, which includes a new version of her collaboration with Jon Hopkins titled “Always Ascending”, came soon after her debut album, Baby, We’re Ascending, which opened up her boundary-pushing blend of psychedelia, techno and powerful beats to new avenues, prompting the likes of Dazed to say, “[HAAi] transcends to new planes of existence on her full-length debut” and NME to praise her “high-flying, vibrant electronic wonderland”. 2023 also saw the release of “Lights Out”, her collaboration with Fred again.. and Romy, a single that solidified HAAi’s place at the forefront of electronic music.
Outside of her own productions, HAAi is known for her dynamic, tempo-shifting DJ sets. In 2024 HAAi played over 100 shows across 5 continents, 30 countries, and 91 cities. She took to the biggest stages at festivals like Glastonbury, Sonar, and EDC Las Vegas, while also delivering sets at local parties including Japan’s Rainbow Disco Club, Berlin’s RSO and Paris’ Iconic Rex Club, where she performed a year-long residency. In-between, HAAi was playing b2b’s with friends like KI/KI, Jennifer Cardini, The Blessed Madonna and Solomun.
2024 also saw the launch of UNiSON, her community focused party that is a platform for HAAi to uplift rising talent while creating an inclusive and boundary-pushing space for club culture. The next event takes place later this week at The Cause, London on March 15th.
“Can’t Stand To Lose” is out now on Mute and available across all digital platforms. Listen to it HERE.
TOUR DATES:
3/15/2025 - London, UK - UNiSON - The Cause
3/17/2025 - Huez, FR - Tomorrowland Winter, L'Alpe d'Huez - b2b DJ Boring
3/22/2025 – Barcelona, ES - Soundit at Parc Del Forum
3/28/2025 – Paris, FR - Red Bull: Back2Beyond at Dojo
4/5/2025 – Mannheim, DE - Time Warp at Maimarkthalle
4/12/2025 – Indio, CA - Coachella Music & Arts Festival at Empire Polo Field
4/19/2025 – Indio, CA - Coachella Music & Arts Festival at Empire Polo Field
5/25/2025 - Detroit, MI - Movement Festival
6/7/2025 - Queens, NY - Life and Death at Knockdown Center
6/15/2025 – Porto, PT - Primavera Sound at Parque da Cidade
PRAISE FOR HAAI:
"...something bigger, something that transcends the club without turning its back on it. More than any individual standout tracks, what’s most compelling is the album’s journey.”– PITCHFORK
“HAAi transcends to new planes of existence on her full-length debut” – DAZED
“...truly a triumph…There’s no one really doing it like HAAi right now.”
– THIS SONG IS SICK
“Both on and beyond the dancefloor, [Baby, We’re Ascending is] an ascension alright”
– DJ MAG
“Creator of a high-flying, vibrant electronic wonderland” – NME
"…reach the astral plane, rinse and repeat." – NYLON
“Can’t Stand To Lose (hard soft rework)” single art:
“Can’t Stand To Lose ” single art:
Stream or purchase “Can’t Stand To Lose (hard soft rework)”
Stream or purchase “Can’t Stand To Lose”
Stream and purchase Baby, We’re Ascending
Watch the video for "Baby, We’re Ascending”
Listen to DJ Kicks: HAAi
CONNECT WITH HAAI:
FACEBOOK | TWITTER | INSTAGRAM | SOUNDCLOUD
SPOTIFY | APPLE MUSIC | BANDCAMP
Penny Rimbaud & Louise Elliot announce album 'Touch Is Hold'
Album ‘Touch Is Hold’ out April 18th via Caliban Sounds
Single ‘Not They’ out now
Smartlink
Spotify
“Penny remains a relevant and vital voice of anarchism" – Vive Le Rock
“As for Louise Elliott... I think she is past brilliant - her flute is enchanting loveliness in the heart of darkness” – Louder Than War Recorded in the Summer of 2012, ‘Touch is Hold’ could, if it weren’t for its deeply prescient nature, be seen merely as a piece of archive material. However, Penny Rimbaud is quick to retort with, “What’s changed? Wars continue, politics fluster, and all the while love too easily loses its lustre”. Rimbaud has spent much of his long life in seeking to remedy these ails, notably with Crass, and then with his much-loved aphorisms of which “Love is all or love is not at all” just about nails it. “There is no authority but yourself” tags in as a second runner.
Rimbaud, working alongside saxophonist and flutist Louise Elliott, will release ‘Touch Is Hold’ through his own imprint Caliban Sounds on April 18th.
Rimbaud and Elliott display a richly intuitive relationship founded through their long-term collaborative efforts. “Louise and I rarely rehearse together, and generally we don’t attempt to analyse our results. To us, it’s all a matter of simply doing it. Yes, it’s more usually called improvisation, but I prefer simply to call it trust, the poetry of jazz and the jazz of poetry. And so it is that we exist both before and beyond all consideration of sentience. The touch which is hold; the eternal solemnity of being.”
Penny Rimbaud co-founded seminal anarchist punk band Crass, who disbanded in 1984. Up until 2000 he devoted himself almost entirely to writing, returning to the public platform in 2001 as a performance poet working alongside a wide variety of jazz musicians. In 2003, together with Crass vocalist Eve Libertine, he founded what was at first known as 'The Crass Collective', then 'The Crass Agenda', then 'The Last Amendment’ and finally 'L’Académie des Vanités' – a loose collective of jazz musicians, artists and filmmakers who shared Rimbaud's lifelong interest in progressive, improvisational art.
Tenor saxophonist/flautist Louise Elliott was known for her appearances with cult rock outfits Laughing Clowns, The Saints, Ed Kuepper and Paul Kelly. She left Australia for London in 1985 and has performed with a wealth of international musicians, notably a distinguished selection of African and South American musicians from the Grand Union Orchestra, South African pianist Mervyn Africa and American drummer, the late Clifford Jarvis in his band The Jazz Prophets. Louise has appeared with Brian Abraham’s District Six, The Annie Whitehead Group and has toured regularly with British jazz guitarist Deirdre Cartwright. While working in London she has featured on recordings by Annie Whitehead, Jah Wobble and Deirdre Cartwright. Louise’s own music reflects the diversity of these influences; a rich blend of saxophone with electric guitar, a fiery commitment to inspiring and energetic live performance which has been referred to in the media as “her profoundly diverse smorgasbord of funk, blues and rock”.
Art credit: Gee Vaucher
Track listing
In SilenceNot TheyBraking PointOf Flanders GardenStepping Out In RedSong Of SelfTi Jean (1st Version 2010)Sax Duet (Louise Elliott & Lol Coxhill)Us Boys
Music credits
Written by Penny Rimbaud and Louise Elliott
Louise Elliott – sax and flute
Penny Rimbaud – poetry and voice
Lol Coxhill – sax
(Recorded with Louise Elliott at London’s Marx Library 2003)
Recorded by Harvey Birrell at Southern Studios. Summer 2012
Mastered by Alex Gordon at Abbey Road Studios. Winter 2023
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Peter Wolf Releases First-Ever Memoir ‘Waiting On The Moon: Artists, Poets, Drifters, Grifters And Goddesses’ (Little, Brown) To Rave Reviews From Critics And Peers Alike
Peter Wolf Releases First-Ever Memoir ‘Waiting On The Moon: Artists, Poets, Drifters, Grifters And Goddesses’ (Little, Brown) To Rave Reviews From Critics And Peers Alike
Release Celebrations Kick Off This Week, At Boston’s First Parish In Cambridge (With Peter Guralnick) And New York’s Strand Book Store (With Warren Zanes)
Peter Wolf and Little, Brown celebrate the worldwide release of Waiting on the Moon today, Wolf’s first-ever memoir, which highlights the legendary musician as one-of-a-kind raconteur - with a narrative voice perfectly-suited to Wolf’s life of nearly-unbelievable encounters and experiences. Through a series of dynamic snapshots and vignettes, Waiting on the Moon finds Wolf at the epicenter of 21st century America’s most important cultural moments: 1960s Greenwich Village, Warhol’s Factory and Hollywood’s Second Golden Age to name a few. In these vital and vibrant settings, he chronicles days spent with many of the most influential artists of our time - a list including Bob Dylan, Alfred Hitchcock, John Lennon, Tennessee Williams, Lou Reed, Muddy Waters, Edie Sedgwick, David Lynch, Julia Child and The Rolling Stones. But what shines through more than anything is Wolf’s natural ability as a storyteller and observer - as his deeply moving, often hilarious and action-packed insights transcend any and all of the expected ‘rock memoir’ tropes. Pre-release raves for Waiting on the Moon have ranged from top critics to music’s biggest icons:
“He’s a master storyteller…Waiting on the Moon is not just another celebrity confessional...it reads like a dream dinner party" - Washington Post
“Never a dull moment” - Rolling Stone
"A fascinating new book...the end result makes a powerful point: sometimes the story of who we are can best be told by the things we love." - The Guardian
“Illuminating.” - Wall Street Journal
“Sometime back Pete gave me a biography of the painter Chaim Soutine said he was the Jimmy Reed of the art world but I already knew that. Soutine is nowhere in this memoir nor is Jimmy Reed but there’s plenty of other folks who are. This book reads like a fast train and you’ll get a glimpse of everyone passing by through the windows. Characters that have crossed Pete’s path who he’s known up close and personal. A diverse crowd, one you wouldn’t think belong in the same book: Marilyn Monroe with a scarf on her head sitting next to him in a movie theater, Muddy Waters, Faye Dunaway, David Lynch the filmmaker, Eleanor Roosevelt, Jagger -- Tennessee Williams, Merle Haggard. They all play an important part in Pete’s life, come alive in more ways than one. As you’ll see Pete’s been on quite a journey. But before it all began, he had hopes to become a great painter, but then out of nowhere early on he went in another direction and never came back. This memoir has been a long time coming and it’s Pete’s great painting.” - Bob Dylan
“Arriving home from my 114th tour date, I find that Wolf’s book has kept me wonderful company. As the eastern sun rises through my airplane window, the warmth of its rays reminds me of the love of life and living so beautifully expressed in his writing.” - Bruce Springsteen
“Peter is a terrific writer. It’s great to get his unique take being around some of the most fascinating music and cultural figures of our time. I especially love his recounting his time with Muddy Waters, John Lee and Van Morrison. Captures them as only an insider with soul could. Love his book as much as I love his music…Couldn’t put it down!” - Bonnie Raitt
“This is the book I’ve been hoping Peter Wolf would write since we walked the streets of Paris together, back in the twentieth century. A true account of his life, love, and music told with unique humor and rare humility.” - Elvis Costello
Wolf will host a series of events to discuss Waiting on the Moon across the country this year, beginning tonight in his hometown of Boston (with renowned biographer Peter Guralnick) and continuing tomorrow night in New York at the iconic Strand Book Store, in conversation with Dr. Warren Zanes (Deliver Me From Nowhere). He’ll continue to celebrate in Ridgewood, NJ on March 13 at Bookends, in Portsmouth, NH at The Music Hall on March 18 and at Philadelphia’s Free Library on March 27. April will see Wolf make appearances at RJ Julia Booksellers in Madison, CT on the 8th, and at the Los Angeles Times Festival of Books, alongside Mike Campbell, on the 27th.
Peter Wolf - Waiting on the Moon - Book Events:
March 11 - Cambridge, MA - The First Parish In Cambridge (with Peter Guralnick)
March 12 - New York, NY - The Strand’s Rare Book Room (with Warren Zanes)
March 13 - Ridgewood, NJ - Bookends
March 18 - Portsmouth, NH - The Music Hall
March 27 - Philadelphia, PA - Philadelphia Free Library (with Larry Platt)
April 8 - Madison, CT - RJ Julia Booksellers
April 27 - Los Angeles, CA - Los Angeles Times Festival of Books (with Mike Campbell)
SUMAC and Moor Mother share new piece "Hard Truth"
SUMAC and Moor Mother share new piece "Hard Truth"
New collaborative album The Film is out April 25th
SUMAC and Moor Mother performing together April 17th in Berlin and April 19th at Roadburn Festival
[image error]SUMAC and Moor Mother by Paulo Gonzales
SUMAC and Moor Mother share the new piece "Hard Truth" taken from their upcoming work The Film, to be released on April 25th. The piece highlights how inscrutably bold their collaboration is, invoking a haunting vocal melody atop burbling electronics and a density of distorted pulses, the throb accentuated by tactile scrapes. As a mere hint to what is contained within the album's labyrinthian scope, the piece is brimming with the subtle, yet boundless creativity that the ensemble explores across the album.
The Film’s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: “The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.” The Film does have clear themes running throughout – again Moor Mother expounds: “the themes are universal in nature - land - displacement - the climate - human rights and freedoms - war and peace - the idea of running away from the many violent forces and horrific systems of man and empire.”
Listen / share "Hard Truth" on Bandcamp
[image error]The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album.
Around the record's release, SUMAC and Moor Mother will be premiering their collaborative performances in Berlin and at Roadburn Festival. Additionally, SUMAC will be heading out on a European tour this Spring with special guests, Japan's ENDON, while Moor Mother will be playing select European dates with Lonnie Holley in May.
Pre-order SUMAC and Moor Mother's The Film here.
SUMAC and Moor Mother tour dates
Apr. 17 - Berlin, DE - Festsaal Kreuzberg *
Apr. 19 - Tilburg, NL - Roadburn Festival *
SUMAC on tour
Apr. 15 - Warsaw, PL - Hydrozagadka
Apr. 16 - Poznań, PL - 2Progi
Apr. 20 - Tilburg, NL - Roadburn Festival performing 'The Healer'
Apr. 21 - Brussels, BE - Botanique ^
Apr. 22 - Koln, DE - Bumann & Sohn ^
Apr. 23 - Karlsruhe, DE - Jubez ^
Apr. 24 - Fribourg, CH - Fri-Son ^
Apr. 25 - Innsbruck, AT - PMK ^
Apr. 26 - Munich, DE - Strom
Apr. 28 - Athens, GR - Kyttaro Live Club
Moor Mother on tour
May 11 - Krems, AT - Donau Festival %
May 14 - Bern, CH - B-Flat %
May 15 - Frankfurt, DE - Jazz Montez %
May 16 - Berlin, DE - X-Jazz Festival %
* Moor Mother collab set
^ with Endon
% with Lonnie Holley
The Film cover art:
[image error]The Film tracklist:
Scene 1Scene 2: The RunHard TruthScene 3Scene 4CameraThe Truth is Out ThereScene 5: Breathing Fire
