From there, the group moved into a cover of the classic “Feels Like Making Love” by Roberta Flack. Contrasted with The Band’s song that came before it, the funk number was a discrete shift both in tone and with the chemistry among the musicians on stage. As Divinsky noted, “With ‘Feels Like Making Love,’ at that point in the show, we had all become really comfortable with each other and the vibe, so this was the first time we really opened up and explored the reaches of what we were capable of.”The Road To Rooster Walk: Lyle Divinsky Of The Motet Talks SongwritingBefore the end of their performance, The Soul Survivor’s performed the title track of Divinsky’s solo album, Uneven Floors. (You can check out the album for yourself in full here.) As the show rolled to its close ahead of the final song “Hitman,” “Uneven Floors” was a powerful way to begin to wind down their set. With Divinsky’s soulful vocals, Farnsworth’s lyric keys, and Shmeeans’ gorgeous guitar stylings, the song was an example of the emotional range the group can portray with ease. Divinsky spoke on the meaning of “Uneven Floors” as well: “By the time the bridge comes, there’s a supreme arrival musically and emotionally. Shmeeans entered in with a straight up transcendent solo that brought the moment to a fully spiritual place for me. This song means so much to me, and to experience it in a new place with these incredible musicians for the first time nearly brought me to tears. I may have been luckiest guy in the entire world in that exact moment in time.”Setlist: Lyle Divinsky & The Soul Survivors | Cervantes’ Other Side | Denver, CO | 6/15/2017Set: Strengthen My Soul (Acapella Original), Disaster -> (Original), Can’t Hide Love (Earth Wind & Fire), Two Trains (Little Feat), Fallin (Original), Woman’s Gotta Have it (Bobby Womack), It Makes No Difference (The Band), Feel Like Makin Love (Roberta Flack), Ring My Bell (Rance Allen), Uneven Floors (Original), Hit Man (Original)Encore: Footsteps in the Dark (Isley Brothers) On Thursday evening, Lyle Divinsky brought his latest solo project, Lyle Divinsky’s Soul Survivors, to Cervantes’ Other Side in Denver, marking the first time The Motet vocalist has performed a show dedicated to his own originals in Colorado. Divinsky tapped Lettuce’s Adam Deitch (Drums) and Adam Smirnoff (Guitar) along with Mingo Fishtrap’s Dane Farnsworth (Keys) and Kyle Hollingworth Band’s Paul McDaniel (Bass) to round out the lineup for his Soul Survivors, making for a stellar crew to help bring his soulful numbers (as well as a healthy number of covers) to life.The Motet’s Lyle Divinsky Shares Soulful Cover Of “Fell On Black Days” As Tribute To Chris CornellAs the singer noted, “This show was really special to me. It was the first time I’ve brought my original music to Colorado. I had released my solo album, Uneven Floors, exactly a month before The Motet and I started talking, so the album had to be put on the back burner and for the most part ignored. Most people now associate me with heavy funk, but soul has always been what I’m drawn to. I haven’t seen a lot of soul music around Denver, so I was at the same time anxious and exhilarated. The band and the crowd far exceeded all hopes and expectations. Everyone on and off stage was ready to go any and every step of the journey together, whether it was an original they had never heard, a familiar funky groove, or a patient ballad. It only furthered my love and appreciation for the Colorado community and their relentless love and support for live music.”Two TrainsThe show opened with an a capella rendition of Divinsky’s original “Strengthen My Soul,” with the audience reverent as the singer showed off his vocal chops to start the show. The first string of opening numbers was a highlight of the night, with the rest of the band dropping in and making for an explosive transition into another original, “Disaster.” From there, the group moved directly through to the first cover of the evening, Earth Wind & Fire’s “Can’t Hide Love.” This spirited three-song sprint to start the show was augmented by the energy brought forth during Dane Farnsworth’s solo in “Can’t Hide Love.”After Little Feat’s “Two Trains,” another Divinsky original “Fallin’,” and Bobby Womack’s “Woman’s Gotta Have It,” the Soul Survivors put on a stellar rendition of The Band’s “It Makes No Difference,” marking another highlight of the evening. As Divinsky told Live For Live Music, “‘It Makes No Difference’ was an incredibly powerful part of the set for me. It’s one of my favorite songs, but it’s a different song than most people hear from me. I don’t know if anyone saw an acoustic guitar-driven slow soul/Americana ballad coming from a band like this, but everyone in the audience was fully there to go wherever we could take them. There was so much space, I felt like I could be in the song fully, exploring subtleties and nuances throughout the whole of it. Dane’s harmonies really drove the choruses, and then Adam Smirnoff’s solo to take it out was on another level. I was in heaven.”It Makes No Difference
When AEG Presents and the owners of Brooklyn, NY’s Barclays Center (Brooklyn Sports and Entertainment) purchased Manhattan nightlife staple Webster Hall earlier this year, they announced plans to spend roughly $10 million sometime in the near future renovating the multi-floor venue’s Grand Ballroom, Studio room, and Marlin Room in hopes of bringing them up to contemporary standards and adding a few more customer features. Now, the East Village venue has announced that its final night before it closes down for an extended period of time upgrades. The venue has planned a series of “Final Shows,” which include gigs with Rag N’ Bone Man, Good Charlotte, and more scheduled to perform and “goodbye nights” for its regular weekly party nights. The last listed performance in the Grand Ballroom is singer-songwriter Michelle Branch on August 8th, while the following night’s Marateck record release show in The Studio is the final overall performance on the Webster docket.AEG Presents And Barclays Center Owners To Purchase NYC’s Webster HallWhen it reopens, the venue’s booking will be handled by Bowery Presents, which was also acquired by AEG last year. According to Timeout New York, “Webster Hall has had many different forms since the first theater was built on the site in 1886. In the 1980s, it operated as storied club the Ritz, and since the ’90s has been run by the Ballinger family. As one of the biggest independent venues in city, Webster Hall has always had a kind of grimy charm. It’s unclear how much of that will change with the new iteration, but you may want to say your goodbyes.”Gerard McNamee Jr., the general manager of the venue’s weekly Saturday club night, GOTHAM, comment on the venue’s indefinite closing in a post on his Facebook page:While we’ll miss the appropriately labeled “grimy charm” of Webster Hall in its current form, we can’t wait to see what upgrades the venue’s new owners make![h/t – Timeout New York]
For a full list of artists, head to the event’s website. Two-day GA and VIP tickets are available now.,If you dug the DJ Premier & The Badder Band‘s Tiny Desk set, or are a fan of old-school hip hop in general, don’t miss their highly awaited set at the upcoming Brooklyn Comes Alive, set to take place across three venues in Williamsburg, Brooklyn on September 23rd – 24th. The unique homegrown event puts the focus on the musicians, curating dream team collaborations, tributes, and artist passion projects for two full days of incredible music both new and old.,The 2017 lineup is set to include hand-selected band lineups featuring all-star musicians like John Scofield, George Porter Jr. (The Meters), Al Schnier and Vinnie Amico (moe.), Aron Magner and Marc Brownstein (The Disco Biscuits), Joel Cummins and Kris Myers (Umphrey’s McGee), Mike Greenfield and Jesse Miller (Lotus), Jason Hann (String Cheese Incident), Alan Evans (Soulive), Cyril Neville (Neville Brothers), Henry Butler, Jon Cleary, Reed Mathis (Electric Beethoven), Michael League, Nate Werth, Chris Bullock, Robert “Sput” Searight, and Bob Lanzetti (Snarky Puppy), Jennifer Hartswick and Natalie Cressman (Trey Anastasio Band), and so many more!,For a full list of artists, head to the event’s website. Two-day GA and VIP tickets are available now. The 2017 lineup is set to include hand-selected band lineups featuring all-star musicians like John Scofield, George Porter Jr. (The Meters), Al Schnier and Vinnie Amico (moe.), Aron Magner and Marc Brownstein (The Disco Biscuits), Joel Cummins and Kris Myers (Umphrey’s McGee), Mike Greenfield and Jesse Miller (Lotus), Jason Hann (String Cheese Incident), Alan Evans (Soulive), Cyril Neville (Neville Brothers), Henry Butler, Jon Cleary, Reed Mathis (Electric Beethoven), Michael League, Nate Werth, Chris Bullock, Robert “Sput” Searight, and Bob Lanzetti (Snarky Puppy), Jennifer Hartswick and Natalie Cressman (Trey Anastasio Band), and so many more! If you dug the DJ Premier & The Badder Band‘s Tiny Desk set, or are a fan of old-school hip hop in general, don’t miss their highly awaited set at the upcoming Brooklyn Comes Alive, set to take place across three venues in Williamsburg, Brooklyn on September 23rd – 24th. The unique homegrown event puts the focus on the musicians, curating dream team collaborations, tributes, and artist passion projects for two full days of incredible music both new and old. SETLIST: DJ Premier Live Band | NPR Tiny Desk Medley KRS-One – “KRS-One Attacks”KRS-One – “MC’s Act Like They Don’t Know”Das Efx – “Real Hip-Hop”Nas – “Nas Is Like”Jeru The Damaja – “Da Bichez”Gang Starr – “Step In The Arena”Gang Starr feat. M.O.P. – “1/2 & 1/2”Royce Da 5’9 – “Boom”Gang Starr – “Moment Of Truth”[via NPR] You may not know DJ Premier (born Christopher Martin) by name, but you’ve without a doubt heard his music. Cited as one of the “definitive architects of New York hip hop” by NPR, the acclaimed DJ/producer has worked with some of the world’s biggest artists, earned himself three GRAMMYs, and helped crystalize the sound of his predecessors into a cohesive musical aesthetic.These days, Premo has been touring with a new live outfit under the moniker DJ Premier & The Badder Band, which breathes a new, veral energy into his expansive body of work. Recently, Premo and his band (featuring bassist Braden Watt, trombonist Mark Williams, drummer Frank Reece, and trumpet player Jonathan Powell) stopped by NPR’s offices for a brief performance as part of their ongoing Tiny Desk Concert series, marking the first time one of the acclaimed sets has been led by a DJ. You can watch DJ Premier & The Badder Band‘s NPR Tiny Desk concert below:In addition to his work as one-half of Gang Starr (along with rapper Guru), Premo’s resume includes DJ and production work for a veritable who’s-who of high profile hip hop artists, including Big L, Big Daddy Kane, The Notorious B.I.G., Common, KRS One, Jay-Z, and countless others. Premier’s work extends beyond the realm of hip hop as well: He has dipped his toe in the waters of nu-metal (on Limp Bizkit‘s “N 2 Gether Now” with Method Man), pop (as the main producer on Christina Aguilera‘s 2006 album Back To Basics), and even classical (on his RE:GENERATION project with Nas that samples Mozart‘s 36th Symphony).
The course that Prescott, AZ-based jammers Spafford have charted for themselves over the past few years is on another level. The quartet has worked hard and put in the time, going from support gigs playing in front dozens of people to now packing out some of the most well-known venues around the country, including their recent shows at NYC’s Brooklyn Bowl and Burlington’s Higher Ground.Coming off the East Coast leg of their fall tour, Spafford is prepared to make a triumphant return to Fort Collins, Colorado, on Friday, November 10th, with Soule Monde. Having played the inaugural sold-out Canyon Jam at the Mishawaka Amphitheatre and Hodi’s Half Note earlier this year, Spafford will move down the block from Hodi’s for their first headlining performance at larger, sister-venue the Aggie Theatre (purchase tickets here).Spafford Shares Pro-Shot “Ain’t That Wrong” With JJ Grey Jam SandwichSpafford Pays Tribute To Tom Petty With Three Cover Debuts [Full Audio/Video]2017 has been a breakout year for Spafford, with high-profile festival performances at Summer Camp, Electric Forest, The Werk Out, Canyon Jam, and an epic Phish Baker’s Dozen late-night performance at BB King’s in New York City. The group also recently released Abaculus: An Improvisational Experience, an album that saw the quartet going back to their roots and laying into an hourlong jam session in the studio. With no verbal or visual communication and, most importantly, no expectations, Abaculus is a master course in beautiful peaks and valleys, natural movement, group continuity, and profound inspiration. Take a listen below:Trey Anastasio Band members Russ Lawton (drums) and Ray Paczkowski (B3 Hammond/keys) and their Avante-funk project Soule Monde have been exploring the space of sound for several years now. Earlier this year, the group released Must Be Nice, an album full of hybrid sounds with tons of deep rhythms and gorgeous melodies. However, their live shows are truly where the duo comes alive, consistently delivering a deep pocket with plenty of room for jazz-based improvisational grooves and showcasing Lawton and Paczkowski’s deep musical connection.Soule Monde, “Take My Hand”[via VPR]Tickets for the Aggie Theatre show on Friday, Nov. 10th are currently on-sale and can be purchased here. For show updates and additional information, join the Facebook Event page.[cover photo courtesy of Patrick Hughes]Enter To Win A Pair Of Tickets Below!
You can check out a full track list and stream the new live compilation below via Spotify:Aqueous – Element Pt. II – Tracklist: Skyway – (5/25/17 Summer Camp)Don’t Do It – (9/29/17 Glens Falls)Marty – (8/25/17 Night Lights Festival)Weight Of the Word – (9/13/17 Minneapolis)Uncle Phil’s Parachute – (2/7/17 Kansas)Random Company – (Iowa 9/12/17)Triangle (9/7/17 Steamboat Springs)For more information on upcoming Aqueous shows and releases, head to the band’s website.[Cover photo – Phierce Photo by. Keith G.; Instagram: @PhiercePhoto] Trick or Treat! On this All Hallows Eve, Buffalo groove-rock quartet Aqueous have released a brand new compilation of live tracks, Element Pt. II, the second installment of their live compilation series. As guitarist Mike Gantzer explained when the series began this past Spring, “When we’re in the studio we tend to focus deeply on song structure, composition, lyrical content/depth etc, but for the live release, we wanted to put a spotlight on some of the longer and more exploratory improvisations that we’ll do within songs when we perform them live.”Aqueous Releases New Live Album, “Element Pt. I” [Full Stream]After taking input from countless hardcore fans and delving through the recordings of their many shows from throughout this year, the band selected seven tracks for the second volume in their live Element series, showing the diversity and contrast in their repertoire while maintaining a concert-like flow. The new Element set showcases a wide swath of tools from the band’s arsenal, like the “halftime rage groove” of “Skyway” from Summer Camp, the patient dance build of “Don’t Do It” from last month in Glens Falls, NY, the acoustic chill-out of “Marty” from Night Lights Festival in August, and the organic, smooth groove of complex recent composition “Weight of the Word.” From there, the EP rounds out with the dark, grimy dance-prog vibes of “Uncle Phil’s Parachute” from the band’s show in Kansas this past winter, the uplifting, Phish-y sound of “Random Company” from their Iowa show last month, and their exploratory “Triangle” from their 9/7 show in Steamboat Springs, CO.
This past December 16th, rapidly rising Buffalo-based groove-rock quartet Aqueous played their third-to-last show of a busy and successful 2017 at Pittsburgh, PA’s The Rex Theater. This week, the band has shared pro-shot video of that show’s opening two-song segment. The video shows the band open the show with a heavily distorted, hard-rocking cover of Metallica‘s 1984 Ride The Lightning classic “For Whom The Bell Tolls”.After going heavy on the intro of the Metallica cover, the band opted against finishing the song and instead made a detour into fan-favorite original “Kitty Chaser (Explosions)”. Where the opening “For Whom The Bell Tolls” was straight-up, fuzzed-out rock, the extended “Kitty Chaser” jam was a stank-face-inducing, down-and-dirty funk jaunt, complete with glitchy effects, a tease of the Darth Vader theme from Star Wars, and a build through airy, billowing whooshes of reverberating sonic swells floating back and forth across the sound mix.As the band asks in their video description: “Who says you can’t rock AND funk??” As far as we can see, it seems like there’s nothing Aqueous can’t do.Watch “For Whom The Bell Tolls” > “Kitty Chaser (Explosions)” from Aqueous’s performance at The Rex Theater in Pittsburgh, PA on 12/16/17 below, via Aqueous’s Facebook page:Aqueous is preparing to hit the seas for their first Jam Cruise next week. After that, they will head out on tour with Papadosio for an extended February-March run of tour dates. For more information about the band’s upcoming projects and tour dates, or to purchase your tickets to any of the upcoming performances, head to the band website.SETLIST: Aqueous | The Rex Theater | Pittsburgh, PA | 12/16/17 SET ONE: For Whom the Bell Tolls1 > Kitty Chaser (Explosions)2, Aldehyde > Random Company, Gordon’s MuleSET TWO: 20/20, Numbers and Facts, TriangleENCORE: A Day in the LifeNOTES:1 Intro only2 The Imperial March (John Williams) teases (Star Wars Darth Vader theme)[Cover Photo via Andrew O’Brien/OBImages; from 12/1/17 in Brooklyn]
Today, Widespread Panic has released the 34th edition of the band’s on-going Porch Songs archive.For this new edition of the two-track live series, Widespread Panic has released the group’s performance at Brick Breeden Fieldhouse in Bozeman, Montana, on November 10th, 2000.As noted by the band:So why Bozeman? Well, like previous selections from this particular tour (see Carbondale and Asheville), there was an especially unique energy (not to mention shows tapers and collectors keep returning tour to nearly twenty years later). Bozeman seems like it would be an unassuming stop in the farther reaches of “spreadhead-dom”, but in fact is a prime example of why so many fans went the distance to follow the band during this period and find that extraordinary experience.The group also called out the following highlights from the album:“Heroes” opener“Stop-Go” jam“Pigeons” > “Drums”Deep and ominous “Astronomy Domine” jam“Can’t Find My Way Home” > “Makes Sense To Me” encoreIn the release notes, the band also notes that ideally, Bozeman 2000 would have been released as full multi-track recording, though “unfortunately some recording errors on those tapes that could not be corrected.”You can purchase the latest Porch Songs release, Widespread Panic’s show from Bozeman, Montana, on November 10th, 2000, via LiveWidespreadPanic.com.Widespread Panic is fresh off a two-night run in Birmingham, AL this past weekend. Next up is a three-night stint in Washington, D.C. from March 15th – 17th. For a full list of upcoming performances, head to the band’s website.
Miley Cyrus was served a $300 million copyright infringement lawsuit by a Jamaican songwriter over her 2013 his single, “We Can’t Stop”. The plaintiff, Michael May, better known by his stage name Flourgon, claims in the suit that “We Can’t Stop” closely resembles his 1988 reggae track, “We Run Things”.According to a report from Reuters, May alleges:“We Run Things” has been “‘a favorite for lovers of reggae music worldwide’ since reaching No. 1 in his home country, and that about 50 percent of [Miley’s] ‘We Can’t Stop’ comes from him. … He accused Cyrus and her label, RCA Records, owned by Sony Corp, of misappropriating his material, including the phrase “We run things. Things no run we,” which she sings as “We run things. Things don’t run we.”While the two songs may not sound alike, May’s case surrounds the lyrics and the general musical aesthetic. The suit claims that Cyrus’ song “owes the basis of its chart-topping popularity and its highly-lucrative success to plaintiff May’s protected, unique, creative and original content.” Flougron may have a case after he won “formal copyright protection” from the U.S. copyright office for all musical arrangements in “We Run Things” last November.“We Can’t Stop” was written and produced by Mike Will Made It, P-Nasty, and Rock City, with additional writing from Cyrus as well as Doug E. Fresh and Slick Rick (presumably because the song’s chorus borrows a line from their 1985 track, “La Di Do Di”). If the plaintiff wins the case, or Cyrus’ camp settles, it is likely that he will be added to the list of songwriters for “We Can’t Stop” in addition to some sort of financial reparation. Such a settlement was reached when Sam Smith settled a copyright infringement case with the late Tom Petty over the melodic similarities between his hit “Stay With Me” and Petty’s classic “Won’t Back Down”However, in a recent case against Taylor Swift (that’s eerily similar to this one) regarding the similarity of her hit track “Shake It Off” to 3LW‘s 2001 song “Playas Gon’ Play”, the suit was dismissed by the presiding judge. As he explained, the lyrics in question were, in fact, too “banal” to copyright. While the lyrical similarities are apparent if you know what you’re looking for, it is uncertain how this may all play out in the legal arena.“We Can’t Stop”, from Miley Cyrus’ Bangerz, was met with initial public backlash for a variety of reasons including its sexualized portrayal of Cyrus, a former child star, its drug-referencing lyrics, and its alleged reappropriation of African American culture. As Reuters notes, “We Can’t Stop was kept from the top spot by Robin Thicke’s “Blurred Lines,” itself the subject of a high-profile copyright case over its resemblance to a 1977 Marvin Gaye song.You can listen to both songs below:Flougron – “We Run Things”[Video: ZionTopSound]Miley Cyrus – “We Can’t Stop”[Video: MileyCyrusVEVO][H/T – Reuters]
In 2016, The White House celebrated International Jazz Day by welcoming some of the best jazz musicians today. Performances from Herbie Hancock, Aretha Franklin, Wayne Shorter, Chick Corea, John McLaughlin, Robert Glasper, Terrace Martin, Sting, Buddy Guy, Zakir Hussain, Trombone Shorty, Rebirth Brass Band, Esmerelda Spalding and dozens more highlighted this glorious celebration, which featured an hour and a half of incredible music.The show was full of stand-out performances, including a brief performance of “Purple Rain” sung by “The Queen Of Soul” herself. She also performed Leon Russell’s “A Song For You” on the piano to open the ceremony, which also included a version of “Sister Moon” performed by Sting, Hancock, Glasper and more.Watch the Prince medley, featuring Aretha Franklin belting out “Purple Rain”, below:[Video: Christophe Geudin]Watch the full broadcast below, with the opening ceremony sung by Aretha Franklin starting at the 10:08 mark:[Video: United Nations]Aretha Franklin, you are truly missed.
As the autumnal weather commandeered the future weather reports, a chilly ocean breeze swept through the crowd waiting patiently for Modest Mouse to play the final show of the infamous Stone Pony’s outdoor “Summerstage”. Only a block from Asbury Park’s beach, hundreds came out and filled in the venue’s standing room–only space as the opening band Tropical Fuck Storm took the stage. Vendors dished out sausage and peppers on a fresh rolls as well as cold beers to the awaiting crowd.Just after 8 p.m., Modest Mouse took the stage to play one elongated set and returned to play a lengthy encore of five songs. The lineup had undergone many changes through the years, and the stage was packed with many multi-instrumentalists including founding member Isaac Brock on lead vocals, guitars, and banjo; Jeremiah Green on drums and percussion; Tom Peloso on upright bass, horns, keyboards, bass, and fiddle; Jim Fairchild on guitars, pump organ, banjo, and ukulele; Russell Higbee on bass guitar and pump organ; Lisa Molinaro on viola, bass, and keyboards; Ben Massarella on percussive effects; and Davey Brozowski on keyboard and percussion. Nearly all musicians on stage contributed toward the unique vocal blend, with Isaac Brock and Lisa Molinaro standing out vocally. Brock presented his witty lyrics in his casual, non-traditional vocal style, which kept the audience mesmerized.To open the long first set, Isaac led the band through “3rd Planet” from The Moon & Antartica, which featured isolated guitar riffs picking up steam into a percussive breakdown. The rare “Night on the Sun” from 2001’s Everywhere and His Nasty Parlour Tricks preceded “Sugar Boats” from their most recent release Strangers to Ourselves. Building off the momentum, Modest Mouse dusted off their first single from We Were Dead Before the Ship Even Sank with “Dashboard” before returning to their latest album with an electrifying cut of “The Tortoise and the Tourist” with distortion, reverb effects, and quick-spitted lyrics.The tempo cooled off for a nasty version of “Grey Ice Water” from the band’s 2000 album, Building Nothing Out of Something, which stood out with its extended, jammed-out, and psychedelic closing riff. Isaac Brock traded his guitar for a banjo for “Satin in a Coffin” from Good News for People Who Love Bad News and “King Rat” from No One’s First and You’re Next. Modest Mouse remained on the same album for the following bass-heavy groove of “Whale Song”. A solid performance of “Float On” came next, which was the track that broke them through to commercial success and garnered time on radio stations across the globe. Returning to Building Nothing out of Something, the band aced the slow and ponderous track “Broke” before finishing the set with “Ocean Breathes Salty”, another single from Good News for People Who Love Bad News.“Float On”[Video: javier alvizar]“Broke”[Video: Kyle54106]A lengthy encore consisting of five songs ended the night as well as the season for the Stone Pony’s Summerstage. Beginning with tracks from their latest album Strangers to Ourselves, Modest Mouse played “Shit in Your Cut” and “Pups to Dust”. Returning to The Moon & Antartica (taken from the newspaper headline in the opening scene of Blade Runner), Modest Mouse danced through a frantic “Paper Thin Walls” before touching upon a brutally honest “The Good Times are Killing Me”. To end the entire evening, Modest Mouse destroyed an explosive version of the rarely played “Shit Luck”, also the only track from Lonesome, Crowded West played.Encore[Video: rdeal1999]With that performance, the outside stage began to be dissembled until the warm weather rolls in for 2019. Modest Mouse plays shows at Sands Bethlehem Event Center in Bethlehem, PA, tonight followed by a show at the Palace Theater in Albany, NY, on Sunday. To see the full tour, head to the group’s website here.Setlist: Modest Mouse | Stone Pony Summerstage | Asbury Park, NJ | 10/13/2018Set: 3rd Planet, Night on the Sun, Sugar Boats, Dashboard, The Tortoise and the Tourist, Grey Ice Water, Satin in a Coffin, King Rat, The Whale Song, Float On, Broke, Ocean Breathes SaltyEncore: Shit in Your Cut, Pups to Dust, Paper Thin Walls, The Good Times Are Killing Me, Shit Luck