CAMPOUT IN THE PINES WITH THE STRING CHEESE INCIDENT (TWO NIGHTS)

The past three decades have written a story packed full of surreal experiences, epic moments, groundbreaking involvement and huge accomplishments. The String Cheese Incident has been recognized for their commitment to musical creativity and integrity, for their community spirit, philanthropic endeavors, and for their innovative approach to the business of music. 
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When The String Cheese Incident’s growth first started gaining momentum in the 1990s, as the Internet was just beginning to take hold and the major-label business model was failing, the band decided to make music on their own terms.

Since then, The String Cheese Incident has gone on to carve out a completely unique  approach to the business of music; they are truly pioneers of a new way of “making a band.” With the Internet as their tool, SCI was among the first artists to disseminate information online, such as tour dates, release information, and other news, to their growing fan base. Rather than doing business on such terms as “the bottom line,” SCI put their music and their fans first, opening companies of their own, including a ticketing company, a merchandise company and a fan travel agency, to best serve their community. The band’s record label, SCI Fidelity Records, has always operated under the same ideals. Even early on, SCI Fidelity embraced downloadable music and file sharing, delivering SCI’s “On The Road” series, where every show the band plays is made available for download on the Internet. Whether they realized it at the time or not, The String Cheese Incident was inventing grassroots band development. Today, literally hundreds of bands are using some version of this same approach to build their brand.

Few bands stick around for thirty-five years. Even fewer bands leave a legacy during that time that marks them as a truly special, once-in-lifetime type band. And no band has done all that and had as much fun as Leftover Salmon.

Since their earliest days as a forward thinking, progressive bluegrass band who had the guts to add drums to the mix and who was unafraid to stir in any number of highly combustible styles into their ever evolving sound, to their role as a pioneer of the modern jamband scene, to their current status as elder-statesmen of the scene who cast a huge influential shadow over every festival they play, Leftover Salmon has been a crucial link in keeping alive the traditional music of the past while at the same time pushing that sound forward with their own weirdly, unique style.

The band now features a lineup that has been together longer than any other in Salmon history and is one of the strongest the legendary band has ever assembled. Built around the core of founding members Drew Emmitt and Vince Herman, the band is now powered by banjo-wiz Andy Thorn and driven by the steady rhythm section of bassist Greg Garrison, drummer Alwyn Robinson, and dobro player & keyboardist Jay Starling.

The current lineup is continuing the long, storied history of Salmon which found them first emerging from the progressive bluegrass world and coming of age as one the original jam bands, before rising to become architects of what has become known as Jamgrass and helping to create a landscape where bands schooled in the traditional rules of bluegrass can break free of those bonds through nontraditional instrumentation and an innate ability to push songs in new psychedelic directions live.

Salmon is a band who for more than thirty-five years has never stood still; they are constantly changing, evolving, and inspiring. If someone wanted to understand what Americana music is they could do no better than to go to a Leftover Salmon show, where they effortlessly glide from a bluegrass number born on the front porch, to the down-and-dirty Cajun swamps with a stop on Bourbon Street in New Orleans, to the hallowed halls of the Ryman in Nashville, before firing one up in the mountains of Colorado.

The album, Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish.

For these six life-long partners: Adam Deitch (drums), Adam “Shmeeans” Smirnoff (guitar), Erick “Jesus” Coomes (bass), Ryan “Zoid” Zoidis (saxophones, synths), Eric “Benny” Bloom (trumpet), and Nigel Hall (vocals, keyboards), Cook marks a bold expansion of their ever-widening musical palette. Released on their own Lettuce Records label, the album arrives on the heels of tours with rap icon GZA of Wu-Tang Clan and reggae legend Ziggy Marley, as well as the release of their live album and concert film Lettuce with the Colorado Symphony. Still, there’s a generous dose of Lettuce’s signature funk throughout paying homage to James Brown and the JB’s while honoring longtime mentors like Tower of Power and Maceo Parker.

More than just a figurative title, Cook debuts alongside Lettuce Red Crush and Orange Crush wines in collaboration with Aquila Cellars, plus a limited-edition recipe book of pairings included with the vinyl and digital release.

With Cook, the band feels like their concepts and ideas can come to fruition with an innovative team and devout fan base behind them—they’re in a fresh new headspace ready to savor a new chapter.

Eggy is redefining the modern jam band experience with a blend of exploratory improvisation, rich songwriting, and magnetic live energy. The Connecticut-based quartet—Jake Brownstein (guitar/vocals), Dani Battat (keys/vocals), Mike Goodman (bass/vocals), and Alex Bailey (drums/vocals)—has built a reputation for crafting emotionally resonant songs and transforming every live set into an unpredictable adventure.

2024 was a breakout year, marked by the release of their sophomore album Waiting Game, a refined studio showcase co-produced by White Denim’s James Petralli. The band took their new music on the road for their largest headline tour to date, while also lighting up festival stages at Austin City Limits, Electric Forest, and Suwannee Hulaween.

Now, with the 2025 Here & How Tour underway and festival appearances at One Big Holiday, Northlands, and more, Eggy’s ascent is undeniable. Their ability to weave seamless jams, heartfelt lyrics, and crowd-favorite covers has cemented them as one of the most exciting rising acts in the jam and rock scene.

From intimate clubs to marquee festival stages, Eggy continues to convert first-time listeners into lifelong fans. Catch them on tour and experience the magic firsthand.

Something organic has been blooming from Asbury Park, New Jersey, and is now making its way around the world. Dogs In A Pile, a band of five twenty somethings with old souls and limitless chops, is waking people up to the timeless and ineffable joys of psychedelic-tinged jazz-funk rock n’ roll.

This is one of the busiest touring bands of today, averaging 130 live shows per year since 2022. The road has become their creative engine, generating a rapidly growing catalog of original tunes. Distroid, the band’s newest album, is a 10-song collection featuring long-awaited studio versions of some of the Dogs’ most beloved repertoire.

Dogs In A Pile is guitarist Jimmy Law, guitarist Brian Murray,  keyboardist Jeremy Kaplan, bassist Sam Lucid, and drummer Joe Babick. In addition, the Dogs In A Pile community includes the Dog Pound, the group’s extended family of fans across the country.

Besides being a lyric from the Grateful Dead song, “He’s Gone,” the name “Dogs In A Pile” is an apt description of the five-piece band’s stylistic breadth. The sonic image it conjures is a heap of storyteller Americana, bluegrass, jazz improvisation, eccentric instrumental excursions, pop-rock sophistication, and deep-pocket grooves, ranging from funk to Latin to reggae and beyond.

Distroid features material that has already become staples of the band’s live show. These studio renditions have afforded the group a chance to present the compositions just how they envision them. Distroid offers a cross-section of the Dogs In A Pile essence, tight and tuneful four-minute funk and jazz informed psych-rock songs, and then sprawling 15-minute compositions with intricate unison lines, agile genre-jumping, and dazzling improvisation.