Leftover Salmon & Keller Williams On The Liquid Aloha Beach Stage at The Windjammer
Doors: 6:00 Show at 7:00ish…
Ages: 21UP or with Parent
Few bands stick around for 30 years. Even fewer bands leave a legacy 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 were unafraid to stir in any number of highly combustible styles into their ever-evolving sound, to their role as pioneers of the modern jamband scene, to their current status as influential elder-statesmen of that scene — casting a huge shadow over every festival they play — Leftover Salmon has been a crucial link in keeping the traditional music of the past alive, simultaneously pushing that sound forward with their own weirdly unique style.
Keller Williams released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE, SYNC, RAW, SANS and Add, those who have followed his career will know this. Each title serves as a concise summation of the concept guiding each project. GRASS, for example, is a bluegrass recording cut with the husband-wife duo The Keels. STAGE is a live album, and DREAM is the realization of Keller’s wish to collaborate with some of his musical heroes. THIEF is a set of unexpected cover songs, KIDS offers Keller’s first children’s record, PICK presents Keller’s collaboration with royal bluegrass family The Travelin’ McCoury’s, and RAW is a solo acoustic album. Each album showcases Keller’s comprehensive and diverse musical endeavors and functions to provide another piece of the jigsaw puzzle that is Keller Williams. Keller’s collaborative and solo albums reflect his pursuit to create music that sounds like nothing else. Unbeholden to conventionalism, he seamlessly crosses genre boundaries. The end product is astounding and novel music that encompasses rock, jazz, funk and bluegrass, and always keeps the audience on their feet.
Since he first appeared on the scene in the early ’90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar. With the use of today’s technology, Keller creates samples on the fly in front of the audience, a technique called live phrase sampling or looping, with nothing pre-recorded. The end result often leans toward a hybrid of alternative folk and groovy electronica, a genre Keller jokingly calls “acoustic dance music” or ADM.”