This past August’s LOCKN’ Festival in Arrington, VA was a highlight of the summer of thousands of music fans. The festival put together a truly unbelievable lineup for 2016, including headliners Phish, Ween, and My Morning Jacket, sets from Umphrey’s McGee, Vulfpeck, Charles Bradley, Turkuaz, Joe Russo’s Almost Dead, Circles Around The Sun, Tedeschi Trucks Band, Twiddle, Lettuce, Keller Williams, Gary Clark Jr. and many more, as well as two Phil & Friends performances that saw the Grateful Dead bassist play with Phish’s Jon Fishman and Page McConnell, Anders Osborne, Joe Russo, and the Infamous Stringdusters one night and Chris Robinson Brotherhood with Gary Clark Jr. the next.Bask In The Glory Of These Precious LOCKN’ Moments [Full Gallery]Today, LOCKN’ released their official recap video, providing a glimpse of the magic that occurred on the scorching summer weekend. You can check it out below:Virtually the entire Live For Live Music team made their way to Arrington for this year’s festivities, and LOCKN’ most definitely did not disappoint. Thanks to everyone involved for putting on a great show. We’ll see you next summer![Group photo – Patrick Hughes // Cover photo – Sam Shinault]
Tamzin Outhwaite is a major TV name in Britain, where her West End credits include Di and Viv and Rose and the title role in Sweet Charity, but the actress is returning to her roots by co-starring in the revival at the Theatre Royal Haymarket, of the classic Alan Ayckbourn comedy How the Other Half Loves. The engaging performer took time prior to the start of previews to talk about growing older and not having to sing eight times a week.You began your stage career with Ayckbourn, so how does it feel to return to this? It was my first-ever play. I played Evelyn in Absent Friends and in the 20 years since I haven’t done an Ayckbourn play at all. So when I got the call about this, it felt right to be revisiting someone whose work had brought me so much joy. I don’t feel with Alan that I am out of turn in using the word “genius.” His stuff is extremely clever as well as being extremely real, and the comedy only comes from the realism and the truth of what’s actually going on—a truth that can sometimes get quite dark.His structure, too, is amazing—in this very play, for instance.Yes! How the Other Half Loves famously has a dinner party scene where geographically you’ve got one couple in two different places at two separate evenings but shown in the same theatrical time. It’s the most chaotic but also brilliantly written scene.Tell us about your character of Teresa Phillips.I think she’s a bright girl but she’s married to a man, Bob, who spends less and less time at home, so she feels very unappreciated and doesn’t leave the house much. As I see it, they were probably very much in love but they have had a baby who has probably ruined everything for them. I think everyone’s experienced at some point something that goes on between one of the three couples in the play.Ayckbourn is pretty ruthless on the topic of marriage.Very much so. [Co-star] Jason [Merrells] and I are pretty much continually at each other’s throats, and it feels at times as if it could get quite violent. Sometimes, you find yourself laughing and thinking, “that doesn’t feel right,” but if we haven’t got laughter, what else have we got? I’m not sure I want true darkness with no comedy.Has doing this play affected your own view of dinner parties?I actually love throwing dinner parties, but I don’t get much time to do them, and I think at the time this play was written , dinner parties were a lot less relaxed than they are now. People are much more sociable nowadays.Did you worry that the play might be dated?Not in terms of the dialogue. The portrait of the relationships holds up in every way. The only way it might seem a period piece is through the clothing and the props. That’s where the clues are.You were at the same theater six years ago starring in Sweet Charity, so this is quite a change.It is, but there’s a lot to be said for just playing the scenes without breaking into song and dance. Funnily enough, when I first did Alan’s work 20 years ago I was desperately trying to be taken seriously as an actress and not just someone who could do what we call a twirly and a turn.But you also love musicals?I do. There’s something about a musical that has a buzz like nothing else, when you’re singing and dancing at the same time with a large chorus and harmonies that sound wonderful and you can see that what’s happening onstage is affecting the whole audience. The buzz you get from that is like no other.For someone who came to attention on TV in EastEnders, why have you retained your devotion to the stage?That’s because when we were at college, we didn’t train in TV or film; we trained to be onstage because that’s what you do. And it sounds cliché, I know, but going back to the theater feels like going home to me. It makes me scared—even terrified sometimes—but terrified in a very healthy way.What about the States—do you feel the need to try and crack the American market?I went out there a long time ago and got a great manager and did pilot season and stuff like that, but L.A. isn’t the place for a lady of my age. Since having children, life’s priorities change: schooling means that I’m quite tied to London at the moment, and I think as you get older, you spend less time being desperate to do things.Any musicals you’re eyeing for the future?Well, there’s a lot of Sondheim I would love to do but my ambition at this point isn’t really about doing this or that specific title but really to keep going—to me, that’s success. Tamzin Outhwaite & Nicholas le Prevost in ‘How the Other Half Loves’ (Photo: Alastair Muir) View Comments
Chances are, even if you’re not familiar with Bronze Radio Return, you’ve heard one of the band’s songs. The ubiquitous “Shake, Shake, Shake” from the 2011 album of the same name has reached ears around the world, thanks to placement in TV shows and commercials, including a global campaign for the Nissan Leaf.“There was a day and age when that was viewed as selling out, but in the current climate of the music industry, it’s a vehicle that works well,” says band front man Chris Henderson.Despite using mainstream outlets, the sextet’s celebratory roots-based sound comes from a pure place. The group’s name was derived from a bronze-colored radio that Henderson listened to in his father’s art studio in Maine. It’s where he heard many forms of traditional American music, including blues, jazz, and country. When the band formed, they realized similar influences informed the sound they were crafting.“Essentially it’s the return of all of our bronze radios,” Henderson explains. “It’s those early influences and how they shape the way we still look at music.”Henderson formed the group back in 2007 after attending the Hartt School of Music, a well-respected conservatory in Connecticut. The band includes Rob Griffith on drums, Craig Struble on banjo and harmonica, bassist Bob Tanen, keyboardist Matt Warner, and Patrick Fetkowitz on lead guitar. They deliver colorful folk rock with an alternative edge, highlighted by joyful harmonies and anthemic hooks similar to Mumford and Sons. Banjo rolls keep pop melodies grounded, while the best energy often comes from the band members stomping and clapping in unison.“The chemistry comes from spending long hours together—both in the van and on stage,” Henderson adds. “In addition to playing music together, we listen to music together and all have open minds. We work together as democracy and stay open to each other’s ideas.”The group has earned plenty of fans on the road through relentless touring. In addition to high-energy club shows, the group has opened for the likes of John Mayer, Grace Potter, and Michael Franti and Spearhead. But unlike many young acts of the day, the members of Bronze Radio Return also enjoy crafting new work in the studio. The band’s third full-length album, the recently released Up, On & Over, was made during a five-week retreat to the foothills of the Blue Ridge. The group likes solitude when recording, and they found it at White Star Sound, a studio located on a historic farm in Louisa, Va., just outside of Charlottesville. Tucked down several miles of dirt road, the studio offered little to do but work on the record, play ping pong, and drink whiskey. In the remote setting the band stayed focused and knocked out 15 new songs, including the uplifting front porch-flavored lead single “Further On.”The new song has already found a home on TV, used during the PGA Tour’s national ad campaign that featured Tiger Woods and Phil Mickelson. But the plan is to get this new material out to people night after night on the road. The band will embark on a national tour this fall that starts with two dates at Bristol Rhythm and Roots Reunion on September 21 and 22.“We just want more ears on the music,” Henderson says.You can stream a track from Bronze Radio Return as part of our July Trail Mix Free Music Playlist.Syndicate’s New GrooveThis month North Carolina roots rock favorites Acoustic Syndicate will release their first new album in nearly a decade. Rooftop Garden marks a steady comeback for the band that dominated the regional club and theater circuit in the early 2000s but called it quits in 2005 so brothers Bryon and Fitz McMurry and their cousin Steve McMurry could focus on different work, including managing the family’s farm in Cleveland County, N.C. Gradually, in the past few years, the band has started playing an increasing number of shows, and with the recent addition of dobro ace Billy Cardine, the group has found new momentum. The album’s lead single, “Heroes,” has a familiar Syndicate sound—driving rock rhythm, intricate banjo rolls and soaring harmonies that highlight the chemistry of familial bonds. With the new release, the band has plans to tour extensively this fall, including a top billing at the Lake Eden Arts Festival in Black Mountain, N.C., on October 18.
The Stop Ebola Transmission Initiative (SET) has concluded technical details for organization, integration and coordination of community-based groups seeking to prevent the transmission of the Ebola Virus in Liberia. The structure of the community-based effort requires that all communities in Liberia should be enumerated and houses numbered. A SET release signed by its chairman, Oscar Cooper stated that for the purpose of organizing community residents to take the lead in fighting the Ebola disease, each administrative locality in the country is divided into zones; each zone is further divided into communities; each community is then broken down into blocks and neighborhoods; and the houses in the neighborhood are enumerated with no two having the same number. In the rural setting, the neighborhood is the same as a town or a village.To ensure intensive comprehensive involvement and ownership of the effort to stop Ebola from spreading, each Neighborhood Monitor is assigned the task of observing the health status of four houses in his or her immediate neighborhood. Neighborhood Monitors will be trained and equipped on how to do the daily monitoring and how to make reports on the health status of the households to the Ebola Control System. Information provided by the Neighborhood Monitor or anybody who has observed a situation will trigger response from the Ebola Control system.The enumeration of houses has started and will continue until all houses in Liberia are numbered. The number assigned to a house will indicate the county; the administrative locality; the community; the neighborhood; and the house number.Numbers assigned to houses will make it easier to track and trace case incidents. It will also facilitate the planning, allocation, targeting and delivery of material and non-material support to individuals and households during the Ebola crisis. Bio-data of each household will be registered in the community directory.Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)