Weird Phishes

Weird Phishes is exactly what it sounds like – the iconic melancholy
rock songs of Radiohead completely reborn as danceable, crunchy
jams. With full-album performances, unexpected mashups, and gluey
funk-driven improvisation, their jam-heavy take on alt-rock classics has
sparked unexpected energy in audiences across the northeast.
A quick glance at the band’s social media gives a glimpse into why this
unlikely mashup proves worthwhile. “Bought tickets on a whim
because I love both bands, had wanted to check out the club and
thought it would be amusing. I was not expecting such incredible
musicianship and thought that had gone into their set…it was one of
the best shows I’ve seen in years.” Said one user. “Clean, creative
mashups of a favorite album and great Phish selections. Great energy.”
says another. “Impossibly excellent show.”

In July 2019, Weird Phishes solidified their place in the New England
jam community, playing back-to-back afterparties for Phish’s
performances at Fenway Park. With a growing fanbase and an
ever-changing setlist, the band continued their breakout year with
several headlining performances in Boston and a fall tour to the
midwest, topped off with Phish afterparties in Providence and New
York, and the very last performance at legendary venue Nectar’s
before the pandemic hit. When live music returned in 2021, Weird
Phishes returned with a force. The band made its triumphant return
with a headlining performance at the inaugural Safe and Soundz
festival, and took a victory lap in their home city, selling out the
Aeronaut Cannery and performing at the legendary Paradise Rock

Squeaky Feet

Squeaky Feet is an electrifying band guided by the infinite potential of musical improvisation. The sonic diversity attracts listeners with all types of musical tastes. Whether it’s dance, trance, jazz-funk, progressive rock, or metal, Squeaky Feet delivers something for everyone. The band specializes in cerebral and stimulating compositions, accompanied by relentlessly intoxicating grooves.

Squeaky Feet was conceived within the walls of Berklee College of Music. Its members relocated to Denver in 2018, and their hunger for greatness manifested into what the band is today. Comprised of Colin Shore (guitar/vocals), Greg King (guitar), Jimmy Finnegan (bass/vocals), Brian Keller (keyboards/sax/flute/vocals), and Kevin D’Angelo(drums), Squeaky Feet is poised for success.

Since the beginning, things have happened fast for Squeaky Feet. In 2022 alone, the band has shared the stage with acts such as Dopapod, Aqueous, Neighbor, and Spafford. During this time, they’ve also completed two national tours.

The next chapter for Squeaky Feet is an exciting one. They’re finishing the year by heading into the studio to record their first album. Keep your eyes peeled and follow them on all their musical expeditions.


Is it a fruit? Is it a band? Is it a transforming mechanized battle robot from another planet? Well we aren’t exactly sure but what we do know is that when this quartet comes together and plays it’s not something you want to miss. Based out of West Palm Beach Florida, Guavatron has been taking the southeast music circuit by storm with their smooth jams and hard-hitting peaks of musical ingenuity.

Gaining a loyal fan base through local shows and pop-up campsite sets at festivals, they have as of late been making the way to the top of lineups and opening for national touring bands such as Aqueous, Particle, Perpetual Groove, and The Heavy Pets. With an emphasis on improvisation, Guavatron creates a fresh sound at every show while keeping their roots of dance, rock, electronica, and funk involved.

Freekbass & The Bump Assembly

Freekbass, to the core, is an accomplished bass player with a particular passion for Funk. Yet beyond the instrument, he is also a producer, a songwriter, a teacher, a host, a superhero-geek, and a showman. His unique musical style, a blend of 70’s funkadelic, 80’s synth, electronic dance, and some old-school James Brown flavor, has become a vehicle for Freekbass to spread positivity, while also embracing his funk roots.

Freekbass put together a live band, “Freekbass & The Bump Assembly” and toured relentlessly, expanding his circles and reaching cities, coast to coast. His high-energy live shows led him to the festival scene, and he simultaneously did dates with the supergroup, Headtronics.

The current touring line-up for Freekbass & The Bump Assembly is a 6-piece wonder team that includes Freekbass on bass and vocals, drummer Dione Howard, Sky White on keys (Foxy Shazam), Sammi Garett (previouly Turkuaz), Reilly Comisar on vocals, and Nate Lewis on guitar. The friendships and wealth of collaborative musicianship in this group is apparent on stage, where infectious grooves meet nonstop-energetic performances.

Crooked Coast

In a world where music genres are irrelevant today Crooked Coast focuses their writing on powerful lyrics, melodies and undeniable hooks. Sonically, they borrow from hip hop, rock, reggae and more to create something too vibrant to nail down. Their live shows don’t waste a minute getting to the goods. The band’s ability to tell a story and connect with their audience tells a tale of both individualism and community.

Crooked Coast’s 2020 single “Rise & Shine” debuted at #5 on the iTunes reggae charts marking the beginning of their work with acclaimed producer/engineer Courtney Ballard (5 Seconds of Summer, Good Charlotte, The Used.)
Summer 2022 they released the full length album Picture This, mixed entirely by Courtney Ballard. The album finds the band refining their songwriting and experimenting sonically while sticking to their trademark sing along hooks. They spent the summer performing at major festivals like Boston Calling and Beach Road Weekend as well as their own Coast-Fest which they produced and headlined.
The band blurs the line between music and visual art, self producing music videos, graphic design and an extensive line of merchandise.
“The Bay State’s Crooked Coast has swept the region with extremely innovative shows and music for years”
“The Cape Cod band takes inspiration from classic rock, hip-hop, and reggae to create a vibrant, powerful sound that hits nostalgic notes while staying new.”
-Dig Boston

Kyle Tuttle

International Banjo Champion Kyle Tuttle is shredding his way through the jamgrass scene. Since moving to Nashville in 2012 Kyle has shared the stage with many epic performers, most notably as a member of the Jeff Austin Band for 3 years. Kyle has also worked closely with Jamgrass legends Larry Keel, Travelin’ McCourys, Leftover Salmon, Greensky Bluegrass, Billy Strings, and Railroad Earth. In addition to being seen around the jamgrass circuit, Kyle is a studio musician in Nashville, and recently produced the Chain Station album ‘Backroads’.

A few words from Jeff Austin about Kyle,

“He’s one of a kind, I’m telling you. If there’s a better banjo player then show them to me. It’s a rare gift when somebody can connect theoretical musical depth, like knowing what phrasing you’re using, or what key you’re in, or what variation on the chord you’re using with, fucking balls of fucking steel. To just be able to dig in like he does and play his ass off, it’s amazing.”

Kyle’s debut album ‘Bobcat’ was released in 2016. Pete Wernick of Hot Rize says about the record,

“Precious few banjo players have both solid mastery of traditional Scruggs style and also the impulse and ability to make eclectic excursions using high-challenge techniques. On Bobcat, that combination creates a likeable “anything might happen” feeling that pulls the listener in. Kyle’s tone and execution are clean and attractive, and help sell his musical choices to the listener. In all, Bobcat is a welcome debut, introducing us to a banjo player who deserves our attention.”

Mystic Bowie’s Talking Dreads

On “Life During Wartime,” the first single from Talking Heads’ 1979 album Fear of Music, David Byrne famously sang the immortal lyrics, “This ain’t no party, this ain’t no disco…no time for dancing…” Yet all those anti-fun declarations go gleefully out the window when Mystic Bowie, aka the “Head Dread,” takes the stage, re-imagining and infusing fresh life into the Talking Heads’ classic catalog with his high octane mix of roots reggae, ska and lover’s rock (aka “romantic reggae”).

Since debuting his musically revolutionary Talking Dreads project live at the High Times Music Festival on the beach in Negril in late 2015, the charismatic Jamaican-born singer and performer has electrified audiences at more than 300 shows across North America – spinning the heads of initially skeptical Talking Heads fans, and getting everyone else grooving along to the infectious, joyous rhythms and jubilant spirit of his native island. Considering the success of these events, it was only a matter of time before Bowie – who has lived in the Northeastern U.S. for many years – headed back to his cherished homeland and set up shop at the famed Barry O’Hare Studios in Ocho Rios. He gathered old friends he had played music with since childhood, along with younger musicians, legendary Jamaican artists and other surprise guests to capture all the magic of his live performances on the epic, 13 track recording Mystic Bowie’s Talking Dreads.

“Talking Dreads is much more than a cover band,” Mystic says. “I am very much drawing on my own musical culture and history to make these amazing songs my own, while at the same time preserving the integrity of the Talking Heads songs. I’ve always felt that reggae’s dance-inspiring, feel good vibe is universal, as are many of the band’s songs. And don’t forget their intelligent, powerful lyrics, which are fun to sing and shine fresh light on through this new fusion of styles. It took a lot of effort to deconstruct and dissect each song to make it work seamlessly with my singing and performance style. I removed all the instrumentation, kept the story and words, then created my own reggae, Caribbean and tribal feel and
married those two elements – then brought back a few of the melodies that captured my attention back in the day.”

Mystic can trace his passion for all things Talking Heads back to his early days performing at hotels in Jamaica, when he heard “Wild Wild Life” – but his connection to the legendary new wave band goes much deeper. His close personal and professional relationship with Chris Frantz and Tina Weymouth, founding members of Talking Heads and Tom Tom Club, began when he joined the latter group as a singer in 1996. He appeared on their 2000 album The Good, The Bad and the Funky and performed with them for nearly 20 years. Mystic’s first spark of inspiration for the concept that evolved into Talking Dreads began during his time with Tom Tom Club, when there were attempts by certain entities to secure a new Talking Heads album and reunion tour.

“I was already fantasizing about being a backup singer,” Mystic laughs, “but when that hope was not realized, I thought about my own lengthy solo career and my work with Chris and Tina and mused, ‘Why not marry the two ideas, my reggae culture and heritage and Talking Heads Music and lyrics?’ I kept this as a secret for eight years and then went to Berklee College three years ago, recruited a handful of students to jam with me and started reconstructing some of the band’s classic songs. My only criterion was that the kids were familiar with the band and were reggae fans.”

After creating rough recordings in a Berklee rehearsal room, Mystic moved to a pro studio in Boston to create a fully produced demo. The demo featured 11 songs that spanned the entire Talking Heads’ discography, starting with early favorites like “Psycho Killer” and “Pulled Up” and continuing with their best known hits such as “Burning Down the House,” “Crosseyed and Painless,” “Houses in Motion”; and brilliant but more obscure gems like “This Must Be The Place.” He got an instant “thumbs up” from Frantz and Weymouth, then ran it by Seymour Stein, the music industry mogul who had signed Talking Heads to his label, Sire Records, and helped make them superstars. “Seymour’s exact words were, ‘Why
the hell didn’t I ever think of this?’ When I asked for his blessing, he said, ‘On one condition: that you include ‘Love, Building on Fire,’ which is the song he heard them sing at CBGB’s in New York that ultimately inspired him to sign them.”

The Talking Dreads debut features an amazing lineup of legendary reggae figures, including singer Freddie McGregor, whose recording career dates back to his 1980 album Bobby Bobylon; ska guitar master Ernest Ranglin, session player and arranger of Millie’s hit “My Boy Lollipop” and the Melodians’ “Rivers of Babylon” (Bob Marley, Jimmy Cliff and Monty Alexander); singer and Soul Train Award nominee Tarrus Riley (“Start Anew,” “Good Girl Gone Bad”) and saxophone great Dean Fraser. Bridging
generations, Mystic also invited his young drummer friend Kirk Bennett and his old friend Lincoln Thomas, who is McGregor’s longtime guitarist. The sole non-Jamaican on Mystic Bowie’s Talking Dreads, Cindy Wilson of the B-52s, was chosen as a voice that harkens back to the era of Talking Heads’ new wave heyday. Wilson duets beautifully with Mystic on a dreamy, soulful rendition of “Heaven.”

“I decided to go with all Jamaican musicians,” Mystic says, “because there was always the risk that if I worked with American musicians who were big Talking Heads fans, they might lean towards the original style and melodies, and I wanted to make the album authentically Jamaican. So I featured a lot of these artists from the island and legitimized the entire process to be accepted and understood by Jamaicans. The rest of the world knows Talking Heads, so they’re going to catch on with the lyrics easier. In the Caribbean, you have to give them that thing that’s going to attract them to it, and that was their cultural genre attached to these songs. In the studio, I would make sure everything was authentically Jamaican, but also make sure it was true to the Talking Heads’ vibe, I would run ideas past Frantz and Weymouth.”

Mystic complements the 11 Talking Heads re-imaginings on Talking Dreads with his own unique, Jamaica-fied spin on two songs originated by other artists that are near and dear to his heart including “Piece of My Heart” — best known for its hit version by Big Brother & The Holding Company featuring Janis Joplin, and the Grateful Dead’s “Shakedown Street.” Mystic recalls that while growing up, his late mother, a single mom, worked all day long in the fields. When she was upset or in a bad mood, she would
sing “Piece of My Heart” for comfort. He recorded this as a personal tribute to her.

As for “Shakedown Street,” let us allow Mystic’s brilliant way of weaving a narrative take over: “When I was a teen performer at hotels, a lot of musicians would be nearby hanging out on the beach. I remember one of them being friendly to me one day, showing me how to play a few chords on his guitar. He taught some other local kids as well. Much later in my life when I was living in Connecticut, I was talking to some friends about the Grateful Dead. When they showed me a picture of Jerry Garcia, I knew that was the musician with the curly afro on the beach who gave me that song to play. Besides that reference, the lyrics of the song are dear to me and, in some ways, tell the story of my life.”

Another classic Mystic tale is his recollection about encountering musical legends without even knowing who they were when he was a young musician in a mento (Jamaican folk) band that had a gig at the Junkanoo Festival in Nassau, The Bahamas. When he was 13, he won a contest sponsored by the Jamaican Cultural Development Commission, and began playing with the renowned group at local hotels; and later at festivals in Peru, Mexico and The Bahamas. At night, while the other members were out
talking to girls, he wandered off and happened upon Compass Point Studios, which was founded by Chris Blackwell, owner of Island Records. In the late 70’s and early 80s, this was a hotbed of superstar recording activity – and the sight of musical instruments made Mystic hang around as long as he could. Everyone from Grace Jones, the Stones, U2 and James Brown recorded there.

One of the funkier elements of the Compass Point story finds him in the presence of Frantz and Weymouth back then. Years later, when he was living in Fairfield, Connecticut, he needed a backing band for a Mardi Gras show he was hired for at Tramps in NYC. The promoter provided him with an all-star band that included Frantz and Weymouth. Mystic went to their house for a rehearsal, but they didn’t recognize him as the young boy from Compass Point.

Even better was his “then and now” encounters with the late Keith Emerson: “At the end of each night, his gentleman with a British accent gave me rides on his motorcycle. I had no clue he was a famous musician. One night, he was about to give me a ride when a drunk guy jumped on. I grabbed the guy by his shirt and yanked him off. I was afraid so I ran back to my hotel room. Years later, I was coincidentally performing at a film festival in British Columbia with Keith. When I walked in to say hi, Keith recognized me from all those years ago and said, ‘Nice to meet you, my ass.’ He told me that that drunk guy was none other than Ringo Starr. We had a good laugh and we hugged and did a great show.”

Get Mystic talking about his heritage as a member of the Jamaican maroon tribe, and he will start a deep discussion about its indigenous tribal music forms (Myal and Pucomina), and an 18th Century history lesson about his ancestors, who escaped from slavery on Jamaica and established free communities in the mountainous interior, known as Cockpit Country. Even as he has lived in the U.S., his memories of an impoverished upbringing and limited educational opportunities prompted him to help make the future brighter for the Jamaican children of subsequent generations. In 1991, he began purchasing and shipping school supplies in large quantities to the island. The charitable organization he launched that year became known officially seven years ago as the Mystic Bowie Cultural Center. As a registered non-profit, the organization can raise more funds to continue the flow of school supplies.

Mystic has been awarded two Certificates of Special Recognition from The Overseas Maroon Council, and the Accompong Primary and Junior High School in Jamaica for his efforts. Two years ago, he opened the Mystic Bowie Accompong Library and has stocked it with more than 15,000 books and 16
computers. An open air space is used to hold after school programs and primary school graduations. He is the founder of the Maroon Youth Culture Group, a gathering of young singers, chanters, drummers and
dancers, that reflects his commitment to sharing the art of music beyond the stage. Mystic has also been named the reigning “Minister of Youth and Culture” for his beloved tribe.

“I am very committed to the Maroon traditions and passing these down to the younger generation, along with the principles of what it means to be part of our tribe,” he says. “No matter where I am living or performing in the world, I am entrenched in these sacred roots, and am building a home there where I can retire someday. There are millions of Maroons that live abroad, and I love to use music to draw attention to where I come from and how it has shaped me. It’s all about community and caring for one another.” He continues: “That’s also the sense I felt when I was calling on all these amazing Jamaican musicians to participate in the recording of Talking Dreads. I am so appreciative that they saw me as worthy of their
time and talents. Both live, and with the album, I enjoy putting myself out there and expressing my love for this great music, hoping people will continue to sing along and dance and appreciate what I add to the legacy of the Talking Heads. I give 100% thanks to that band for their extraordinary artistry and an enduring legacy that has inspired me throughout my life.”

The Werks

On their LP Magic, jamband favorites The Werks transcend their roots while never losing their identity. Poignant songwriting and engaging melody come together on a record that showcases their maturation as a multidimensional group of uniquely creative musicians.

The virtuosic rhythm junkies of The Werks have released four highly acclaimed studio albums over the past ten years – Synapse (2009), The Werks (2012), Mr. Smalls Sessions EP (2014), and Inside a Dream (2015) – performed well over one thousand shows (including launching their own multi-day music festival The Werk Out), and released countless live recordings including last year’s Live at The Werk Out live album. In that time they’ve earned a devoted fan base across the world and reputation as one of the most energetic, compelling, and downright entertaining live acts in the business. They’ve developed a hard won confidence, and a willingness to fearlessly chart new sonic territory on Magic.

“This is our first truly multi-genre album” says Chris Houser. “Each track has its own unique vibe and sound. We didn’t write these songs to please people, we wrote them because this is what we hear when we turn off the outside and let the creativity flow.”

The songs on Magic started as sketches the band members crafted independently. Coming together in their sonic dojo The Werkspace, those seeds of groove were nurtured by the group, growing into fully wrought songs through holistic arrangement and organic improvisation. “Our writing is collaborative,” explains Dan Shaw, “but starting with demos written individually gives each band member a chance to leave their fingerprint on a tune.”

The songwriting finished, the band decamped to Sonic Lounge in Grove City, Ohio. There lead engineer and producer Joe Viers (Blues Traveler, Twenty One Pilots) settled down to work with the studio’s legendary Amek/Neve 9098i mixing console. One of only thirteen in the world, Sonic Lounge’s was originally installed in Olympic Studios in London, England, where it served to document the unique creative mojo of Eric Clapton, Pink Floyd, and more.

Joining Viers were assistant engineers and producers Aaron Oakley and B.J. Davis, and the unstoppable horns of Columbus’ own Hoodoo Soul Band – Chris Young (trumpet), Kevin O’Neil (tenor), and Phil Clark (Baritone) – while Kenny Holmes, tour manager and right hand man, was the gaff tape that held it all together. Finally Columbus native and current Los Angeles, CA resident Brian Lucey (Train, Dr. Dog) mastered the record.

From those sessions emerged a rare jewel of a record; Magic is muse put to tape, a direct download of the creative spark. “This is a recording of the music that’s in our souls” explains Rob Chafin. “In a way, the past decade has been leading to this moment. We play and write together so seamlessly now, we’re able to channel the inspiration in our hearts out into our instruments, and come at this from a pure place.” Together, these visionaries have crafted a record where melodies take flight, dancing and twisting around the sonorous main of the tune itself. By fusing their spirited improvisation to a core of immediately engaging songwriting, The Werks have truly performed a feat of modern musical Magic.

Spiritual Rez

Not long into the writing and recording process of their fourth studio album, Setting in the West, reggae-fusion act Spiritual Rez knew they were creating something special. Under the guidance of producer Kenny Carkeet, a founding member of AWOLNATION, the eclectic sextet fused their high-energy reggae sound with an edgy contemporary pop polish.

Tireless touring and a higher education in music has found Spiritual Rez in complete harmony on stage; forging a reputation as a live act that never fails to exhilarate a crowd. Carkeet describes them as “one of the hardest working bands in showbiz.” He’s also taken note of their years of hard work paying off in the studio, saying, “Each one of the guys are incredible with their instrument, which made my job easy. Frontman Toft Willingham’s outstanding voice was really fun to work with.”

To date, Spiritual Rez has shared the stage with notable names likeGeorge Clinton and Parliament
Funkadelic, Steel Pulse, Jimmy Buffet, and countless others. “I have total confidence in every member of our operation on and off stage,” says lead vocalist and guitarist Toft Willingham. “Having recorded four albums before Setting in the West, we felt honed and ready to bring that confidence to the studio.”

Setting in the West is a conglomeration of story songs, love songs and songs featuring a common
message from past Spiritual Rez records: follow your dreams and never give up. “Our last record was very politically and socially driven,” Willingham recalls of their 2014 self-produced concept album, Apocalypse Whenever, which reached #2 on the Relix/Jambands Radio Chart and #8 on the iTunes Reggae Chart. “For this album, we wanted to break away from that and write about love and things that resonate with the masses. We wanted to tell stories and encourage people. Determination has always carried us as a band. After college, we were homeless for four years, just touring nonstop, committed to never giving up.”

Despite the contrasting lyrical content, the subject matter is always positive. “Red Room,” a reggae-rock banger meant to inspire the youth to chase their goals, features Duddy B of The Dirty Heads, as well as co-writing by Goldfinger’s John Feldmann. Setting in the West features additional notable collaboration with rising reggae star Hirie on the ballad “Together Always,” and the trombone stylings of Reel Big Fish’s Billy Kottage on “Bad Girl.”

The reggae-hip hop anthem “Sober,” is a tale of a party romance with an infectious chorus. “‘Sober’ has the best chorus we’ve ever written,” says Willingham. “Our bassist Jesse Shaternick brought the groove to the band. Jesse, Kenny Carkeet, and our drummer Ian “Meat” Miller fleshed out the track while Max and I wrote the lyrics. It just flowed.” Willingham is referring to Max Collins of Eve 6, who co-produced and co-wrote the record. Collins says of the band, “They create their own world, and it was such a joy to be immersed in their deep, warm psychedelia.”

In addition to Willingham, Shaternick, and Miller, Spiritual Rez is rounded out by Mohamed Araki
(keys), Quinn Carson (trombone) and Julian Dessler (trumpet). Setting in the West was recorded at Jim Kaufman Productions in Los Angeles, Hookbeat Studios in Venice Beach, CA and 9B Studios in Milford, MA.

The album’s last track, “Digital Age,” delivers a message to not fear change, but to embrace it.
Willingham explains that it’s the last song on the album for a reason. “It embodies our desire to progress and never stop striving to make the best art possible,” he says. “To have made it this far doing what we love and not see an end in sight is a testament to hard work, but above all, it’s a blessing.”

“Working with Spiritual Rez was such a fun time. Each one of the guys are incredible with their
instrument, which made my job easy. Toft’s outstanding voice was really fun to work with too. Super happy for these guys, one of the hardest working bands in showbiz.” – Kenny Carkeet (AWOLNATION)

“It was such a pleasure to make a record with this troupe of insanely talented weirdos. They create their own world and it was such a joy to be immersed in their deep, warm psychedelia. Sounds so sexual! Cuz it is!” –Max Collins (Eve 6)