“It’s so cool to come here to Pensacola and win. This is a track with so much prestige.”—Ben Kennedy Ben Kennedy captured his first career win in dominant fashion — leading the NAPA Auto Parts 150 wire-to-wire as the NASCAR K&N Pro Series East made its inaugural visit to Five Flags Speedway on Saturday. ___________________________________________________________________________________________Comments are currently unavailable. We’re working on the development of a NASCAR fan forum – please stay tuned. Kennedy grabs first career K&N Pro Series East win in home state of Florida Earlier in the day, Kennedy established himself as the one to beat at the half-mile track in his home state — topping the speed chart in practice and winning the Coors Light Pole Award in qualifying.The 21-year-old from Daytona Beach held off multiple challenges throughout the 150-lap event and maintained command even after his sizeable lead was erased by a late-race caution.”It’s so cool to come here to Pensacola and win,” said Kennedy. “This is a track with so much prestige, and this is phenomenal.”Fifteen-year-old series rookie Gray Gaulding had to settle for second, with John Van Doorn third. Brett Moffitt came home fourth, followed by Kenzie Ruston. Bryon Ortiz, Dylan Kwasniewski, Sergio Pena, Ryan Gifford and Brandon Gdovic completed the top 10.Kennedy, the great grandson of NASCAR founder Bill France Sr., got his first NASCAR win last year in the Euro-Racecar Series in Tours, France. This was his first win in the U.S. and came in his 30th NASCAR K&N Pro Series East start. His previous best finish was third (twice).Kennedy was one of five drivers in the field with previous experience at the Pensacola track. He has twice competed in Super Late Models at Five Flags.The NAPA Auto Parts 150 will be televised on SPEED on May 2 at 3 p.m. ET.The next event on the NASCAR K&N Pro Series East schedule is the Blue Ox 100 at Richmond (Va.) International Raceway on April 25.For more results, audio, photos and information, go to hometracks.nascar.com.
Coming to the Prowse Farm in Canton, MA, just outside of Boston, the new Festival On The Farm has just announced their initial lineup. The festival is a benefit for the B. Good Foundation, and will run on Saturday, July 30th.The lineup features a number of jam scene favorites, like Turkuaz, The Ryan Montbleau Band, The Motet, The Soul Rebels, The London Souls, Jesse Dee, Kat Wright & The Indomitable Soul Band, Muddy Ruckus and Josh & The Jamtones. There will be a ton of local food and drink vendors on site, as well as plenty of activities for kids to enjoy themselves!For tickets and more information about this new event, head here.
[Cover photo via Kim Blackburn Photography] There’s no denying that Freekbass is a master of the low end. The beloved bassist is so identified with the instrument, it’s in his name! Now he’s taking that connection to the next level, partnering with Stonefield Musical Instrument Company to create the first-ever Freekbass Signature Model.“…For me, the relationship of a maker with an endorsing artist has to be one of mutual benefit but first of all it has to be real. I love the Freekbass approach to funk, I dig his use of effects and his playing technique and I completely respect his role as a music educator. He’s the kind of person I want to work with and I feel lucky that he wants to work with us as well,” said Tomm Stanley, owner of Stonefield.Stanley tells us more about what it was like working with Freekbass on the new instrument:With the Freekbass Signature Model, right from the beginning of the build we kept two key things in mind: the look, style and unique features of a Stonefield and the flash, flair and funkiness of Freekbass. I remember him saying, “make the Batmobile.” How’s that for a challenge? We discussed a mod that reinforced some other player’s feedback about the string height above the body when slapping. I wasn’t crazy about modifying the instrument to suit a single playing style but he agreed with the comments. We discussed how the concern might best be dealt with and that became the Funk Plate. There was one mod requested that I just wouldn’t do and after explaining my reasons he was fine with it. That willingness on his part to bend got me thinking about what I could do to make the instrument stand out more from the rest of our line up. I suggested some circuit alterations, alternate choices for materials and other tweaks. Some of it he went for, other things he was clearly not interested in. We had a two way street kind of thing happening and that really was right from the beginning of the build. What more could anyone ask for?I’m really pleased with the instrument that we’ve created. The choices of woods that satisfied the Batmobile request also added a snap to the tonality. To get the blackness we chose African wenge for the topwood on the body and Solomon Island ebony for the fingerboard. We also used the ebony for the nut and floating bridge system. The combination of brittleness and density did magic for a woody tone with a funk edge to it. On top of that we have used our titanium hardware option to trim a bit of weight and have done the sweetest four-colour burst on the back of the through-body core: natural to amber fading into red before turning black but with red highlights peeking out of the black on the headstock points and heel transition. Absolutely gorgeous…Not only is Freekbass releasing his own custom bass, but he’s also traveling to New Zealand to film some promotional footage for the instrument. The bassist will star in something that’s “part reality, part fantasy,” essentially a mini-movie where Freekbass discovers the signature model! Keep it tuned to L4LM for more from Freekbass on his wild expedition!You can find out more about the bass via Stonefield Music’s website. Check out his tour schedule below:JULY-Saturday, July 2: Sterling Stage / Sterling, NY-Friday, July 8: Navy Pier / Chicago, IL-Tuesday, July 12 : Brooklyn Bowl / Brooklyn, NY (Freekbass performing with The Band Is Bond)-Wednesday, July 13: Ardmore Music Hall / Ardmore, PA (Freekbass performing with The Band Is Bond)-Saturday, July 23 : Whispering Sun Festival / Pataskala, OH-Thursday, July 28: Zoo Bar / Lincoln, NE-Friday, July 29: Quixotes / Denver, CO-Saturday, July 30: Owsley’s Golden Road / Denver, CO AUGUST-Monday, August 1: Town Square Tavern / Jackson, WY-Wednesday, August 3: Casey’s Whitefish / Whitefish, Montana-Thursday, August 4: Live United Concert Series/ Idaho Falls, Idaho-Friday, August 5: West Yellowstone Concert Series / West Yellowstone, Montana-Saturday, August 6: The Filling Station / Bozeman, Montana-Wednesday, August 24: Scarlet & Grey / Columbus, OH-Saturday, August 27 : Woodfest Festival / Mendon, OH SEPTEMBER-Friday, September 2 : Union Street Station / Traverse City, MI-Saturday, September 3: Hookahville Festival / Pataskala, OH-Friday, September 16: Cranky Pat’s / Neenah, WI-Friday, September 23: Secret Circus Music Festival / North Branch, MN-Saturday, September 24: Kathy’s Pub / Rochester, MN
Phish are returning to an old favorite tonight, as they will play Hartford’s XFINITY Theatre after a 252 show gap. Formerly known as Meadows Music Theatre and The Comcast Theatre, the venue is right in the middle of Phish’s home turf, holds 30,000 people (with a 22,500 person lawn!) and has seen some classic performances from Phish over the years. While the band gears up for tonight’s show, let’s go back in time and look at some of the best shows they’ve played at this classic New England amphitheatre.June 30th, 2000 – Meadows Music TheatreTheir first show at the venue, Phish showed up in a particularly playful mood, which was evident from their first-set-opening “Ha Ha Ha.” They followed that up with, “AC/DC Bag,” which flowed into a raging “Tweezer” that then bounced its way into “Runaway Jim.” A rare first set “Sneakin’ Sally Through The Alley” came next, which wound its way into bluegrass standard “Ginseng Sullivan” before landing on “Guyute.” Up next was “Golgi Apparatus,” which segued into another first-set-rarity in “Tweezer Reprise,” which was surprisingly followed by an uproarious, set-closing “Possum.”The segues continued in set two, as Phish opened up with “Halley’s Comet” into “The Mango Song” into “Twist.” Following a short “The Inlaw Josie Wales,” “Back On The Train” started, which eventually morphed into “Makisupa Policeman,” complete with the key phrase “One Bourbon, One Scotch, One Big Fat Doob.” The show ended with a trio of songs in “Farmhouse,” “Sleeping Monkey,” and “David Bowie,” before encoring with “Cavern.” What a show.See below for full setlist details and audio of “The Mango Song” from 6/30/2000.Listen to audio from “The Mango Song” from Meadows Music Theatre below, courtesy of YouTube user dgmaffi.Setlist – Meadows Music Theatre 6/30/2000Set 1: Ha Ha Ha, AC/DC Bag > Tweezer > Runaway Jim, Sneakin’ Sally Through the Alley > Ginseng Sullivan > Guyute, Golgi Apparatus > Tweezer Reprise > PossumSet 2: Halley’s Comet > The Mango Song > Twist, The Inlaw Josie Wales, Back on the Train > Makisupa Policeman, Farmhouse > Sleeping Monkey > David BowieEncore: CavernAugust 14th, 2009 – The Comcast Theatre, Hartford, CTIn 2009, Phish came back with all their cylinders firing. With their stop in Hartford coming in August, this show came near the tail end of their first summer tour after reuniting early that year. It was certainly a celebratory summer, and Phish’s return to venue, which was then known as The Comcast Theatre, was one of the grandest celebrations of them all. In what was an instant-classic 3.0 show, Phish opened with the always-exciting “Punch You In The Eye,” followed by “AC/DC Bag” into “NICU.” The real surprises began with the next song, as Phish busted out “Colonel Forbin’s Ascent” -> “Fly Famous Mockingbird” for the first time in the 3.0 era. The mere mention of “Icculus” during “Forbin’s” set the crowd on fire, and set the table for what was to come in the second set.Set two was ridiculous, and set the standard for high-energy crowds in the 3.0 era. After opening with a “Down With Disease” that contained a “Reba” jam, the band segued into a raucous “Wilson,” the found itself blissfully landing on “Slave to the Traffic Light.” “Piper” was next, which flowed gracefully into “Water in the Sky,” and then the real prize of the night arrived. The band closed the show with a ridiculous segment in “Ghost” -> “Psycho Killer” -> “Catapult” -> “Icculus” -> “You Enjoy Myself.” The Talking Heads’ “Psycho Killer” hadn’t been played in 282 shows, and “Icculus” hadn’t been performed in. 193 shows. The crazy “Icculus” focused on how people don’t read anymore, and encouraging the “kids” to put down their iPhones and read THE book.Also of note, Phish encored with The Beatles‘ “While My Guitar Gently Weeps,” which they also encored with at their previous concert at the venue on 7/1/2000.Watch an HD video of “Catapult” -> “Icculus” from The Comcast Theatre below, courtesy of YouTube user notmkdevoSetlist – The Comcast Theatre 08/14/2009Set 1: Punch You In the Eye, AC/DC Bag > NICU, Colonel Forbin’s Ascent > Fly Famous Mockingbird, Birds of a Feather, Lawn Boy, Stash, I Didn’t Know, Middle of the Road, Character ZeroSet 2: Down with Disease > Wilson > Slave to the Traffic Light, Piper > Water in the Sky, Ghost -> Psycho Killer -> Catapult -> Icculus > You Enjoy MyselfEncore: While My Guitar Gently WeepsJune 18th, 2010 – The Comcast TheatreThe last time Phish performed at this venue, they scorched the earth beneath them with a fun show, capped by a memorable encore. The first set contained fun versions of “Rift,” “Wolfman’s Brother,” “Foam,” and a great “Reba,” while the second set contained some great segues, with “Halley’s Comet” > “Light” -> “Billy Breathes” opening things up, before the meat of the set followed with “Tweezer” > “Theme From the Bottom” > “Harry Hood” > “Wading in the Velvet Sea.”However, it was the encore that truly captivated the audience. First, due to a request via a sign in the audience, Phish busted out “Sleeping Monkey,” which he encouraged the crowd to sing along to, since the sign was no-longer in sight and the person who made the sign might be able to hear the crowd singing it for him on the recording. Gotta love Trey Anastasio.Then, After a standard (yet always raging) version of “Tweezer Reprise,” Trey announced that they were going to play the song a second time to make it up to all the fans at Hershey Park who witnessed a “Tweezer” without its “Reprise. They started things back up for a wild, ripping version of the song. The band definitely loses tempo a few times getting lost in their excitement, but it doesn’t matter, as the crowd in front of them was going bananas.See below for full setlist details, and a video of the band playing both versions of “Tweezer Reprise.”Watch back-to-back versions of “Tweezer Reprise” from Hartford 6/18/2010, courtesy of YouTube user HarpuaFSB.Setlist – The Comcast Theatre 06/18/2010Set 1: Fee > Rift, Wolfman’s Brother, Summer of ’89, Foam, Possum > The Moma Dance > Julius, Reba, CavernSet 2: Halley’s Comet > Light -> Billy Breathes, Tweezer > Theme From the Bottom >Harry Hood > Wading in the Velvet Sea, Stealing Time From the Faulty PlanEncore: Sleeping Monkey > Tweezer Reprise, Tweezer Reprise
The Infamous Stringdusters just released a new music video for their song “Gravity,” off their thirteen-track album Laws Of Gravity, which was released in January of this year. The song was written by bassist Travis Book along with his singer/songwriter wife Sarah Siskind, with Book explaining the song as a “kind of a straight forward love song.” He elaborated in a press release, “In a lot of ways, it encapsulates the vibe around our relationship and our marriage. The lyric goes, ‘We thought the race was a long run, we didn’t know that we’d win it.’ When you’re in the middle of it you don’t necessarily realize this is it. You think there’s some trajectory but this is what it’s like to be in a relationship. And then hoping that gravity doesn’t let go, the forces that hold the earth together don’t just end and you all just sort of go floating off into space.”The video for “Gravity” was directed by Mara Whitehead, and is a touching nostalgia-inspired video showing moments of young love. After the Infamous Stringdusters’ video was premiered on CMT on the 18th, you can now check it out for yourself below. You can also check the band’s website for upcoming tour dates and to purchase the album here.
[photo by Sidney Smith] Brandon “Taz” Niederauer has been gaining the momentum he deserves since before even entering middle school. The guitar prodigy was initially recognized by the Internet for his Allman Brothers Band covers when he was only eight years old. When he was nine, he attended a music camp called Roots Rock Revival with founding member and drummer Butch Trucks and then-current bassist Oteil Burbridge. It was there that he impressed the right group of people with his performances of songs like “Stormy Monday” and “Southbound.” Just a few months later, he was invited to sit in with The Revivalists at the Brooklyn Bowl in New York City and wowed the audience with a blistering version of “Whipping Post.” In that same year, he performed for Ellen DeGeneres on The Ellen Show, playing a few popular snippets including the Allman Brothers Band’s “Jessica.”When founding member, lyricist, vocalist, and organist Gregg Allman caught site of these videos, he invited the ten-year-old to join him and his band in early 2014 at the Peabody Auditorium in Daytona Beach, Florida. The plans were initially for Brandon to sit in for “Hot Lanta,” but after a successful soundcheck, Gregg Allman invited Taz to return for a “Whipping Post” encore. See why in the video below:The day after this performance, Brandon Niederauer embarked on his first and only appearance to date on Jam Cruise to perform alongside a boat full of even more of his idols. It was on Jam Cruise that he met Col. Bruce Hampton, a friend and collaborator of the Allman Brothers Band since the very beginning, earning his guidance and mentorship. Niederauer’s success story ever since has been a direct result of these experiences.Stranger Than Fiction: The Cosmic Curtain Call Of Col. Bruce HamptonWhile performing a lead role as guitarist “Zack” in Andrew Lloyd Webber’s School of Rock The Musical for the last two years, Brandon Niederauer’s name has circulated the jam scene for many more reasons than that. His fate became clear earlier this month when he performed the final solo of “Turn On Your Lovelight” at Hampton 70, while Bruce majestically laid beside him. In what was initially interpreted as a Zambi prank, time made it clear that the “Grandaddy of Jam” had passed the torch to Brandon on that very stage.Brandon’s relationship with the Allman Brothers Band goes far beyond their music. Now engrained as an official part of the band’s history, the fourteen-year-old is utilizing the last several years of mentorship to the best of his ability. See below for some of the posts he’s written since the passing of Gregg Allman, Col. Bruce Hampton, and Butch Trucks.
“Melissa” was always Duane Allman‘s favorite song to hear his brother sing. So ten years after his death, Gregg Allman, Dickey Betts, and “Dangerous” Dan Toler took the stage at NBC Studios to perform the emotional song in his honor.Gregg Allman would often recount memories of his brother Duane at the dinner table, asking him to “play that song… the one about the girl.” While the core of the band died in the early 1970s, when Duane and Berry Oakley died in motorcycle accidents a year apart from each other, the last 40+ years have been dedicated to prolonging the life of the music through the remaining members, and whatever iteration of players the original bandmates recruited throughout time.The music stayed strong for 45 years, until the Allman Brothers Band officially played their last show in October of 2014. While Gregg, Butch Trucks, and Jaimoe all played in their respective bands outside of the ABB, there was still hope that the band would reunite for a 50th anniversary. With the deaths of Gregg Allman and Butch Trucks this year, we regret to realize the time has passed.Gregg Allman’s voice and songwriting has proved timeless already, and will continue to warm our hearts for years to come. Watch the 1981 performance, and take a moment to let it sink in.
Load remaining images Stratford, Connecticut’s Two Roads Brewing Company wrapped up their fourth annual Road Jam Music Fest over the weekend, with Twiddle, Mates of State, Pimps of Joytime, The Fogcutters, The Alpaca Gnomes, West End Blend, and Arc & Stones. Along with the tasty jams were Two Roads Brewing Company selections, along with the Cluster Truck™ food truck hub and perfect weather — rounding out a complete experience for the 2017 Road Jam Music Fest.Photographer Adam McCullough was on site for the fun, and provided the following gallery.Road Jam | Stratford, CT | 2017 | Photos by Adam McCullough
[Video: Kevin Higley]Umphrey’s McGee then moved onto the ending of “Mantis”, finishing their rendition from the canceled July show during which they only performed the first half of the song. After the group finally brought closure to the song started two months ago, the third and final set of the night ended with a crushing, metal-heavy “Wizard Burial Ground,” which housed a great solo from bassist Ryan Stasik. Umphrey’s McGee encored with “Day Nurse” and the end of “Divisions” to call it a night.You can check out photos from Umphrey’s McGee’s Saturday night show below, courtesy of Daniel Ojeda.Setlist: Umphrey’s McGee | Huntington Bank Pavilion at Northerly Island | Chicago, IL | Sept. 23, 2017Set 1: Nemo> Sweetness> Nemo, Upward, Gone for Good, Memories of Home, Susanah, Freedom of ’76, In The KitchenSet 2: Wappy Sprayberry > Crucial Taunt, Passing, JaJunk > Higgins, Make It Right, Remind Me > JaJunkSet 3: Divisions > The Floor, Ringo > The Triple Wide > Mantis, Wizard Burial GroundEncore: Day Nurse > Divisions There’s nothing quite like a hometown Umphrey’s McGee show… unless Mother Nature doesn’t cooperate. This past July, Umphrey’s was in the middle of the first set of a performance at Huntington Bank Pavilion at Northerly Island when inclement weather forced the group to cancel their show, much to fans’ displeasure. Not one to leave a fan disgruntled, Umphrey’s McGee quickly made plans to reschedule, with the new date occurring this past Saturday, and the show was the definition of a hometown throw down.Besides just making up the date, Umphrey’s McGee wanted to make their rescheduled performance special—Saturday’s show had three sets, including a show-opening acoustic set. For their fairly straightforward acoustic first set, Umphrey’s chose primarily songs that highlighted vocals and acoustic guitar work. With no Jazz Odyssey or jam to start the night, the group immediately began with “Nemo” that contained “Sweetness” sandwiched in. Pedal steel guitarist and longtime UM collaborator Mike Racky joined the band on stage for a couple of tunes like the rare “Memories of Home” and the 30db song, “Susanah.” They then covered Ween’s “Freedom of ‘76,” which saw excellent vocals from Brendan Bayliss. The only song of the set that featured some semblance of jamming was the set-closing “In the Kitchen,” but even that didn’t stray too far from the framework of the song.A fairly ordinary version of dance party “Wappy Sprayberry” opened the second set, though the set didn’t fully start clicking until fan-favorite “JaJunk” appeared mid-set. “JaJunk” quickly started transcending the experimental plane and reached some serious levels of rock and roll. As with all things Umphrey’s McGee, they were able to slowly turn down the tempo and provide a segue as smooth as butter, morphing the jam into “Higgins.” The song was a beast and contained some of the best improvisation of the night. Metal Umphrey’s McGee dominated in “Remind Me” before returning to “JaJunk” to close the second set.For the last set of the night, Umphrey’s McGee came out with “Divisions”, which was jammed through to “The Floor.” “Ringo” had some great jams that were highlights of the set, with the bunch of greasy animals eventually giving way to the e-drum intro of “The Triple Wide.” After a stellar rendition of “The Triple Wide”, the debut of a surprising cover of the Thompson Twins’ “Hold Me Now” popped up—a song that one may not know by name but would instantly recognize if heard—featuring Jake Cinninger on vocals on the song.“Hold Me Now” Umphrey’s McGee | Huntington Bank Pavilion at Northerly Island | Chicago, IL | 9/23/2017 | Photo: Daniel Ojeda [Video: feralsoul]“Remind Me” > “JaJunk” Load remaining images
In one of the most highly anticipated and well-attended performances of Brooklyn Comes Alive 2017, members of The Motet assembled a handful of funky friends for a fantastic tribute to Jamiroquai on Sunday evening at the Music Hall of Williamsburg. With longtime aficionados Joey Porter (keyboards) and Dave Watts (drums) at the helm, the group led a spirited audience on a journey down the alleys and annals of yesteryear. Brooklyn Comes Alive’s swollen all-star band provided an authentic balance, at once true to Jamiroquai’s ethos yet adding their own personalities and flair to the timeless compositions. Along with Motet bandmates bassist Garrett Sayers, guitarist Ryan Jalbert, and vocalist Lyle Divinsky, Porter and Watts called upon awesome auxiliary players to round out a dynamite ensemble: the inimitable Jen Hartswick on trumpet and backup vocals, her trusty trombone foil Natalie Cressman, and RAQ/Electric Beethoven scientist Todd Stoops on another rack of synths and keyboards. BCA MVPs Maurice Brown (trumpet) and Snarky Puppy’s Nate Werth (percussion) also joined in on the funk during the hour-plus adventure. Jamiroquai is back in the cultural consciousness in 2017 with their tremendous new album Automaton, released in March, yet the band has not performed on U.S. soil in a dozen years. This tribute took an opportunity to focus on the halcyon days of the band from 1992-1999—a span that encompasses their four most celebrated albums: Emergency on Planet Earth (1993), Return of the Space Cowboy (1995), Travelling Without Moving (1997), and Synkronized (1999). The songwriting and instrumental performances found on these records and the resulting tours are the stuff of legend, and provided a phenomenal roadmap for these virtuosos to explore. Beginning with the electro-disco funk of “Cosmic Girl”, Divinsky assumed the position as Jay Kay and offered his take on the Buffalo Man’s stylish delivery, while the band cranked out the four-on-the-floor groove, setting the proverbial tone for the excursion. On the early material like “Hooked Up”, “Emergency on Planet Earth” and Jamiroquai’s 1992 debut single “When You Gonna Learn?”, the group remained faithful to the aesthetics and arrangements of the originals. Jalbert held things down with quiet storm riddims and choice voicings, while Stoops and Porter were four hands gelling swiftly, comping mightily in honor of the late, great Toby Smith. Few artists can command a stage like Hartswick, and though she was not fronting the band, her presence was felt regularly. She and Cressman added divine elements and a feminine touch that brought a diversity to the vibe and the proceedings.On Space Cowboy’s magnificent “Light Years”, bright pianos stepped to the middle of the mix with authority, while horns took center stage with soaring brass leads and salacious swagger. The captivating conglomerate really found their footing on jams from the gazillion-selling Traveling Without Moving. On “Use the Force”, Brown stepped to the forefront and provided a thrilling trumpet solo, while Werth and Watts got busy underneath a freight train. The colossal “Virtual Insanity” saw the masterful Sayers channel Stuart Zender’s luscious lines with aplomb; all evening, the bassist did the legendary introverted virtuoso proud with nimble fretwork and a tastefully sexy attack. As Divinsky worked the crowd into fits of intoxication, he remarked that the band was nearly out of time, much to the chagrin of the teeming masses that were lapping up the performance. The group then rallied their way into 1999’s “Canned Heat”, a song burned into our hearts and minds forever from its classic placement in the film Napoleon Dynamite. With it’s “nothing left for me to do but DANCE” coda ringing out into the rafters, ’twas a fitting refrain and mantra for this set, for our current cultural climate, and for Brooklyn Comes Alive 2017 as it wound to a conclusion. Tribute To Jamiroquai “Cosmic Girl” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “High Times” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Light Years” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Use The Force” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Hooked Up” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Alright” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Virtual Insanity” 9.24.17 Brooklyn Comes AliveTribute To Jamiroquai “Canned Heat” 9.24.17 Brooklyn Comes AliveYou can listen to the full set below, as recorded and mixed by Eric McRoberts:Setlist: Jamiroquai Tribute | Brooklyn Comes Alive | New York City | 9.24.17Cosmic Girl, Too Young To Die, High Times, Light Years, Use The Force *, [email protected], Hooked [email protected], Virtual [email protected], Canned [email protected] To Jamiroquai:Dave Watts – Drums (The Motet)Joey Porter – Keys (The Motet)Garrett Sayers – Bass (The Motet)Ryan Jalbert – Guitar (The Motet)Lyle Divinsky – Vox (The Motet)Todd Stoops – Keys (Electric Beethoven, RAQ)Jennifer Hartswick – Trumpet / Vox (Trey Anastasio Band)Natalie Cressman – Trombone – Vox (Trey Anastasio Band)* w/ Maurice “Mobetta” Brown – [email protected] w/ Nate Werth – Percussion (Snarky Puppy)[Photo: Mark Millman]