Eufórquestra is the host band at Camp Euforia. They have been helping to organize and play the event since it's inception in 2004. Eufórquestra is an act at Camp that needs almost no introduction. Each year they play both Friday and Saturday night and consistently feature a range of special guests that helps to highlight the true depth of music that the band can create. Through this Eufórquestra has been instrumental in shaping the tradition and community that is Camp Euforia.
For the 16th year in a row Camp Euforia is proud to present...
Eufórquestra (pronounced yoo-FOHR-keh-struh, think euphoria+orchestra) is energy and rhythm personified. An ever-evolving sound that has been influenced by music from all over the world with an emphasis on funk, pocket and groove. For over a decade the band has been igniting dance floors across the country, blending the roots of funk, soul, afrobeat, reggae and dub to create a sound that “explodes, dances and melts in your ear with sheer bliss” (Chris M. Slawecki; AllAboutJazz.com).
Eufórquestra’s fifth full-length record, FIRE, was produced by Kyle Hollingsworth (of The String Cheese Incident) and captures the passion and musical maturing of these road warriors. Over the course of 14 tracks, the band takes you on an hour-long adventure that will touch your heart and mind, and keep your fingers and toes tapping. A handful of special guests, including Elliot Martin (John Brown’s Body), Gabriel Mervine and Kim Dawson (The Motet) and Mr. Hollingsworth himself, put their own touches on the band’s already cohesive sound that is “tight and engineered to a fine, funky precision.” (Jeremy Frazier; Chicago Jam Scene) The result is a record that is distinctly modern, maintaining one foot in the future and firmly planting in the musical roots traditions of the past.
With almost 1,000 shows under their belt, Eufórquestra shows no sign of stopping. A perpetually heavy tour schedule keeps the band and fans happy, as performing live in front of an audience has always been the band’s top priority. As noted in a live show review by Grateful Web, “...the boys seem to play like the apocalypse will happen at any second and they want to die doing what they do best...”
Kim Dawson will be the featured vocalist for both Euforquestra sets at this year’s #CE16!
“The first sounds I think I ever heard were the sounds of gospel music and, as I grew up, I just soaked up whatever music I could. I loved it all."
It comes as no surprise that Kim Dawson is a highly in-demand vocalist and performer. At age five she began studying classical violin and performed in youth orchestras and countless violin competitions. Kim studied music at Texas Christian University and the University of Northern Colorado, where she earned her degree in Vocal Performance.
Kim’s work is what can only be described as an eclectic mix of R&B neo-soul funk with a love-laced passion for all things jazz. Her musical influences range from Stevie Wonder to Sarah Vaughan to Karen Carpenter. But, there has always been one commonality, one unbreakable thread: soul-driven devotion to singing. She develops sounds that elevate, invigorate and ultimately transport listeners to her musical world. She has performed with music legends and Rock and Roll Hall of Famers such as Bernie Worrell, Ivan Neville, and George Porter, Jr.
Kim has brought her skills to the teaching arena at Kent Denver School, The National Theater Conservatory, and she currently teaches at Swallow Hill Music. Her talent is matched only by her drive to learn, develop and finely hone her craft and she delivers a sound that is rife with her breadth and depth of experiences.
Although I share my love of music every time I perform, there’s something special about bringing my knowledge, experience, and enthusiasm to music students. As a teacher, I find it wonderfully satisfying to help them develop good singing techniques and practices. Every student can apply those vocal techniques and learn how to sound the best they can.
My teaching experience includes formerly holding the position of middle school choir director and resident voice teacher at Kent Denver School and being a faculty member at Rocky Mountain Vocal Jazz Camp.
I currently offer private voice instruction and I teach voice on faculty at the National Theater Conservatory.
On their new album Shapeshifter II: Outbreak, New York-bred band TAUK offer an unsettling but ultimately exhilarating look at artificial intelligence and its potential to upend our world. With its dynamic sense of tension and cinematic mastery of mood, TAUK’s all-instrumental blend of progressive rock, hip-hop, and jazz proves to be the perfect backdrop for such explorations, giving way to an album that’s both powerfully hypnotic and intensely thought-provoking.“We’re all very much interested in A.I., and this idea of machines getting out of the hands of the people trying to control them,” notes TAUK guitarist Matt Jalbert, whose bandmates include bassist Charlie Dolan, keyboardist Alric “A.C.” Carter, and drummer Isaac Teel. “This album felt like a good setting to tell that kind of story, but in a way where we could have fun with it and let the listener escape into a whole other world.”Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina, Shapeshifter II: Outbreak embeds that narrative into TAUK’s most sonically adventurous, emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I: Construct, the new album picks up its predecessor’s narrative thread with “Prelude”: a fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set the tone for what’s to come. “The idea is that in the EP you’re seeing the construction of this being, and in the album you’re seeing it break out and become something that you can’t ignore anymore,” Carter explains.
From there, TAUK charge forward with the driving rhythms of “Recreational Outrage” (a track laced with the ominous throb of a robotic heartbeat), the futuristic soundscape and heady grooves of “CMF 9000,” the gauzy reverie and glorious chaos of “Checkmate,” and the bright melodies and soulful guitar sprawl of “Convoy.” One of the album’s most mesmerizing moments, “Let It Ride” builds a brilliant tapestry from its luminous keyboard tones, kinetic guitar work, and kaleidoscopic rhythms. And on “Upside Down,” TAUK close out Shapeshifter II: Outbreak with a thrillingly epic burst of unfettered experimentalism.
Free-flowing yet elaborately composed, Shapeshifter II: Outbreak came to life in collaboration with TAUK’s longtime cohort Robert Carranza—a Grammy Award-winning producer/mixer/engineer also known for his work The Mars Volta, Ozomatli, Marilyn Manson, and Taj Mahal. In a departure from their previous releases (including 2016’s Sir Nebula), the band shunned the typical studio environment and holed up for weeks in a long-abandoned, century-old home that Teel describes as “the Jumanji house meets Addams Family meets Amityville Horror.” Located in their homeland of Long Island, the house turned out to be the ideal spot for their makeshift studio, allowing for a creativity-enhancing seclusion. “Overall the whole process was incredibly organic—there were no constrictions as far as time or space, nothing ever felt forced,” says Dolan. “There was a greater feeling of possibility, and it ended up being a really liberating experience for all of us.” Jalbert adds: “The location definitely added to the vibe of everything we were going for. It was like we set up a laboratory in the middle of nowhere and shut off the rest of the world, which really helped get us into a specific headspace.”
True to its thematic terrain, Shapeshifter II: Outbreak endlessly blurs the boundaries between organic and electronic, with TAUK broadening their sonic palette to include a vast spectrum of synth sounds and programmed effects (such as those exquisitely eerie vocal samples heard in “Prelude”). And in sculpting the album’s intricate arrangements, TAUK called on such esteemed musicians as The Naughty Horns, Ghost-Note’s Nate Werth (a percussionist who’s also played with David Crosby, Q-Tip, and Snarky Puppy), and Juan Alderete (longtime bassist for Racer X and The Mars Volta).
Throughout Shapeshifter II: Outbreak, TAUK reveal the potent chemistry they discovered in childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade. After playing together in various projects, the trio brought Teel into the fold in 2012, cementing the final lineup. Since then, TAUK have shared stages with acts like Umphrey’s McGee, Widespread Panic, and Lettuce, appeared at festivals like Electric Forest and Bonnaroo, and earned acclaim from major outlets like the Washington Post (who praised TAUK for “creating a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities”). As Teel points out, the band’s incessant touring over the years has significantly strengthened their musical connection. “The four of us as individuals are all very animated souls in our own right,” he says. “We each have our ideas and our perspectives, and when it all comes together, it creates this collective statement that takes on a life of its own.”
In creating Shapeshifter II: Outbreak, TAUK made that statement more deliberate and impactful than ever before. But while several upcoming videos and the vibrant artwork of illustrator Raul Urias add a new dimension to the album’s concept, the band purposely maintained a certain open-endedness in its execution. “People tell us all kinds of stories about what our songs mean to them, and it’s always cool to see how wide the gamut of those stories is,” says Carter. “What the song means to me might not be the same as what it means to you, but that’s one of the great things about this whole experience. There’s room for everyone to develop whatever narrative they want.”
Proud to be firmly installed in the new-funk movement, KUNG FU is quickly popularizing their unique sonic contribution, blurring the line between intense electro-fusion, and blistering dance arrangements. Making fusion music "cool" again, the band draws on influences such as early Headhunters and Weather Report, and merges those ideas with a contemporary EDM informed sensibility. Imagine 70's funk-fusion meets a modern dance party!
Although the ensemble cast enjoys a seasoned pedigree that reads like a late-night summer festival all-star jam, this fledgling "nu-sion" project is growing a unique and rabid following by commanding audiences at theaters, clubs, and major national festivals since 2012.
The powerhouse quintet's live show has been described by critics and fans alike as "lethal funk", "explosive", "jaw dropping", and "musically mesmerizing". For the uninitiated, the experience is typically shocking yet the focus is simple: just sit back and enjoy the ride!
Kung Fu Features:
Tim Palmieri (guitar & vocals)
Robert Somerville (tenor sax & vocals)
Beau Sasser (keyboards & vocals)
Chris DeAngelis (bass guitar & vocals)
Adrian Tramontano (drums/percussion)
The Ghost of Paul Revere
The Ghost of Paul Revere
"We grew up listening to Radiohead and the Beatles and Led Zeppelin and Pink Floyd," says Griffin Sherry, guitarist/singer in The Ghost Of Paul Revere. "Everyone assumed we were a bluegrass band because we were playing these traditional instruments, but we weren’t writing traditional music. We were just writing songs with the instruments we had."
The result is a sound that the Portland, Maine-based band describes as "holler folk," not because it involves a lot of hollering, per se, but because it invokes the rich communal tradition of field hollers, with their call-and-response melodies, sing-along hooks, and densely layered harmonies. That sense of musical camaraderie is essential to everything The Ghost of Paul Revere does, and nowhere is it more evident than their sophomore album, ''Monarch.'
The album builds on the success of the band's 2014 debut full-length, 'Believe,' and their 2015 EP, 'Field Notes Vol. 1,' which was recorded primarily in a single day at Converse's Rubber Tracks studio in Boston. The session was part of a prize package presented by the iconic Newport Folk Festival, which had invited the band to perform at the storied Rhode Island musical gathering earlier that year as part of a lineup featuring everyone from James Taylor and Jason Isbell to The Lone Bellow and Bela Fleck.
"The Monday before Newport we got a message saying to pack our bags and come on down," remembers Sherry. "We hadn't played much outside of Maine or started opening for any big acts yet at that point, and it was a hugely inspiring moment."
Word began to spread about the rowdy pickers from the north. The Boston Globe raved that they "create the type of music for which festivals are made," while No Depression said they "prove that superior roots music can come from anywhere," and Dispatch Magazine wrote that they possess not only "the chops, but the heart to reach their audience and leave an undeniable impression." Hitting listeners straight in the feelings has been the band's M.O. since its inception in 2011, and they've used their powerful stage show to convert the masses at every stop along their long and winding journey, which has included shared stages with artists like The Avett Brothers, The Travelin' McCourys, Brown Bird, The Revivalists, the Infamous Stringdusters, and more. The band sold out Port City Music Hall, Stone Mountain Arts Center, and the Strand Theater multiple times, won Best In Maine at the New England Music Awards, and capped off 2015 with an electrifying headline performance on New Year's Eve at Portland's State Theatre in front of 1,600 enraptured fans.
When it came time to record, 'Monarch,' though, the band knew they wanted to push the sonic envelope beyond the live-in-the-studio setup that had guided their previous efforts.
"Every other record has just been the three of us in a room with microphones until we got a take we liked," explains Sherry. "We approached this one differently. It was the first time we did a lot of arranging and writing in the studio. We decided we'd worry about learning how to present the songs live after we'd recorded everything instead of the other way around."
"It enabled us to get a lot more adventurous with our ideas," adds bassist/singer Sean McCarthy. "We wanted to do something new and explore where we could take the sound while still staying true to who we are."
The album opens with "Little Bird," a playful, infectious foot -stomper that blends blues and soul and roots and perfectly reflects the communal, inviting nature of the band's music.
Banjo player Max Davis takes over the songwriting and lead vocal duties for "Avalanche," an emotional anthem featuring one of the album's most lush arrangements along with driving drums from special guest Tony McNaboe (Ray LaMontagne, Rustic Overtones), while "King's Road" finds the band expanding their sonic palette to include strings and electric guitar, and "Honey Please" channels 60's R&B and Motown through old-school folk instrumentation. At the core of everything The Ghost of Paul Revere does, though, are their powerful, stop-you-dead-in -your-tracks harmonies. On songs like "Wild Child," "Welcome Home," and "Need Somebody," the band conjures up whole worlds of shimmering sonic beauty in the blending of their voices.
"The album follows this arc where it starts very bright-eyed and optimistic and then hits a turning point where it gets really dark," says Sherry, "like a relationship that starts beautifully and then grows sour. As we started to build the record and expand the sound, it had a place sonically and emotionally.”
By the end of the record, the song cycle reveals that traveling through the darkness is in fact a necessary step for positive growth. 'Monarch' closer "Chrysalides" evokes the imagery of metamorphosis, a transformation that represents rebirth and new beginnings.
"It's about what happens in that moment of metamorphosis and change," says Davis. "I was interested in combining different words into a new term that could capture that feeling, so 'Chrysalides' is a play on chrysalis. This was one of the first times that I allowed myself to bite into and really take advantage of that space in the writing."
If there's one takeaway from 'Monarch,' it's that change is inevitable. Lovers, families, friends, instruments, sounds; they all transform with time. The key to thriving and surviving in a challenging world is to embrace those transformations, to accept them not as endings but as fresh starts. What comes next? Only time can tell. One thing's for sure, though: by opening their hearts and souls with such artistic grace and humility, The Ghost of Paul Revere have created a rich, rewarding, passionate community, one that they can count on to join them for every step of the remarkable journey that lies ahead.
Horseshoes & Hand Grenades
Horseshoes & Hand Grenades
In 2010, the five Wisconsinites that make up Horseshoes & Hand Grenades found themselves in a living room in the college town of Stevens Point, WI, holding acoustic instruments and enjoying a hodgepodge of fermented beverages. Music and revelry ensued that evening and, while many of the party guests eventually bid their goodbye well into the morning hours, Horseshoes & Hand Grenades wasn't ready to let the get-together fade. Many years later, the music still hasn't stopped and the party is still going strong, from the mountain west to the river towns of the Midwest that the quintet calls home, and all across America.
While strongly rooted in bluegrass, old-time, and folk music, the band produces a sound that draws on the vaults of music collectively and individually enjoyed throughout the course of their lives thus far. The music doesn't lend itself well to categories or boundaries. One could possibly be formed, but the boys seem to generally prefer fishing a river, or enjoying the company of friends and barley beers.
With their music well-defined or not, Horseshoes & Hand Grenades has begun to form a place in the American music scene, gaining recognition on both a regional and national scale. The band took 3rd place at the Telluride Bluegrass Festival's Band Competition in 2012 and has since shared the stage with Trampled By Turtles, The Travelin' McCourys, Railroad Earth, Merle Haggard, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, and many more. The group's third full-length Middle Western was released in March of 2015 and another record is expected in 2017. Being mostly inspired by rivers, valleys, good friends, and good drink, this five-piece is as sturdy as any Midwest riverbed and will make your toes tap from sundown to sunrise.
Harmonica, Accordion, Spoons, Vocals / David C. Lynch
Fiddle, Mandolin, Vocals / Collin Mettelka
Banjo, Fiddle, Vocals / Russell Pedersen
Guitar, Dobro, Vocals / Adam Greuel
Bass/ Samual Odin
Since their inception in Spring of 2015, Mungion (pronounced mung-yin) has quickly made a name for themselves as one of the rising stars of the jam scene. Composed of Justin Reckamp (guitar/vocals), Joe Re (keyboards/vocals), Sean Carolan (bass/vocals) and Matt Kellen (drums/vocals), the Chicago-based four-piece is rooted in their ambitious compositions and improvisational abilities, offering up a raucous and joyous sound that’s guaranteed to have you smiling ear to ear and leave you wanting more.
Known for their whimsical songs, goofy stage antics, and undeniably explosive improvisations, Mungion’s jubilance is a natural extension of its members. Underlying the band’s quirky nature is their virtuosic musical abilities. This inherent talent and playfulness emboldens the group to be fearless in the studio and on stage, making for live performances that are infectiously lighthearted, refreshingly energetic, and deeply sincere.
With sonically rich and vibrant compositions, the band’s critically acclaimed debut album, 2016’s ‘Scary Blankets’, proves that the sky’s the limit for Mungion. You can catch them on tour at venues nationwide or at high-profile music festivals, such as Suwannee Hulaween, Summer Camp, and The Peach Music Festival.
Old Salt Union
Old Salt Union
A great band is more than the proverbial sum of its parts, and in the pursuit of becoming something that can cut through the clutter of YouTube stars and contest show runner-ups, a great roots music band must become a way of life. Less likely to rely on production or image, they’ve got to connect with their audience only through the craftsmanship of their songs, the energy they channel on the stage and the story that brings them together.
Old Salt Union is a string band founded by a horticulturist, cultivated by classically trained musicians, and fueled by a vocalist/bass player who is also a hip-hop producer with a fondness for the Four Freshmen. It is this collision of styles and musical vocabularies that informs their fresh approach to bluegrass and gives them an electric live performance vibe that seems to pull more from Vaudeville than the front porch.In 2015 they won the FreshGrass Band contest and found the perfect collaborator in Compass Records co-founder and GRAMMY winning banjoist and composer, Alison Brown, whose attention to detail and high standards pushed the group to develop their influences from beyond a vocabulary to pull from during improvisation and into the foundation of something truly compelling in the roots music landscape.
Violinist John Brighton mentions some names familiar to the Compass roster as key influences, musicians like Darol Anger, Edgar Meyer, Mike Marshall and Mark O’Connor, all of whom have collaborated with Brown in the past. Primary vocalist and bassist, Jesse Farrar (for the indie rock heads - yes, he’s related – Son Volt front man Jay Farrar is Jesse’s uncle) brings an alternative rock spirit as well as his unique formative experiences as a hip hop producer and bass player for a national tour of The Four Freshmen. The band’s self-titled Compass debut combines these instrumental proclivities with pop melodies and harmonies into a coherent piece of work that carves out a road-less-travelled for the band in the now crowded roots music genre.
The album kicks off with a nod to alternative rock sensibilities – a deconstructed symphonic drone creeps in slowly, while Farrar emerges through the atmospherics to deliver the first lines “Stranded on a lonely road/Trying to find my way back home/A dollar and a broken heart/Didn’t seem to get me very far”. His words are followed by a dramatic moment of silence (a trick often used in hip hop) that quickly launches into “Where I Stand”, a hard-driving bluegrass track that gets moving so powerfully you almost don’t notice the layer of angelic harmonies flowing consistently underneath.
Mandolinist Justin Wallace takes over lead vocal duties for the second track “Feel My Love” as well as a version of Paul Simon’s “You Can Call Me Al”. He pops up again on his composition “On My Way” and his no-frills, approachable voice is the perfect complement to Farrar’s more gymnastic style. The two work together beautifully on the Wallace-penned, “Hard Line”. Wallace is further showcased on the disc’s lone instrumental “Flatt Baroque”, composed by Brighton, who joins him in some twin mandolin, and it’s this more contemplative moment on the album where the listener hears him reaching to be in perfect sync with his bandmate, that best reflects Wallace’s role in the evolution story of the band. If Farrar has emerged as the heartbeat, then Wallace is the soul.
Perhaps most surprisingly, the band was founded by banjoist Ryan Murphey, the aforementioned horticulturist who came to bluegrass music and the banjo later in life. Finding a kindred spirit in Dustin Eiskant, the band’s former guitarist and Farrar’s cousin, the pair started the band in 2012 and Murphey played the banjo and led the band’s business through its early incarnations, including the recruitment of Farrar in 2014.
When Eiskant quit in 2016, just as the band’s already impressive trajectory seemed to be taking a significant step forward, Murphey and the band were able to reset, adding guitarist Rob Kindle to the lineup. Kindle brings a bluegrass foundation from his early exposure to the music as a child in family settings, as well as a degree in jazz performance to the mix.
Though the band had established themselves as a growing festival act with performances at LouFest, Stagecoach Festival, Bluegrass Underground, Winter Wondergrass, Freshgrass, Wakarusa, Yonder Mountain String Band's Harvest Festival, and the 2014 Daytona 500, it was their breakout track on Spotify, “Madam Plum” that seemed to amplify awareness of the band beyond the bluegrass bubble.
Of working with the band in the studio, producer Brown says, “These post modern bluegrassers are true renegades. While they look like a bluegrass band, their musical sensibilities run much deeper and broader, borrowing as much from indie rock and jazz fusion as from Bill Monroe. And, even more exciting to me, they know no fear! They are wide open musical adventurers and we had a great time experimenting in the studio at the crossroads of these disparate influences.”
The most unexpected but possibly most fascinating song on the album is a ballad entitled “Bought and Sold”. Its earnest beauty is balanced with a youthful inventiveness that leaves a solemn mark on the listener who might wake up at the end of it thinking, “What just happened?”.
At this point, the future of the band seems marvelously unclear. The album closes with “Here and Off My Mind” which seems like the bluegrass song that Conor Oberst never wrote featuring a lyric that ends with the promise of “a better life” though from the all-hands-on-deck jam session that breaks out in the middle (is that a kazoo?) one gets the sense that the band can’t imagine a better one than they have in the beat up Winnebago they currently call home.
MARBIN is a progressive jazz-rock band based in Chicago, IL, with a unique story that stands out in today's music world. With a do-it-yourself approach, Marbin started touring extensively in 2011, bringing their original instrumental music to every part of the United States. Through word of mouth, Marbin has gained hundreds of thousands of devoted fans all over the world and has sold tens of thousands of albums. Marbin has released seven albums: Marbin(2009), Breaking the Cycle (2011), Last Chapter of Dreaming (2013), The Third Set (2014), Aggressive Hippies (2015), Goatman and the House of the Dead(2016), and Israeli Jazz (2018). Marbin regularly plays in clubs all over the US and in jam and jazz festivals around the world.
2018 has already been a busy year for Sophistafunk. New music. A Cali Tour. A new vehicle. Now the band is embarking on another tour from February 16th through 25th, which includes stops in Boulder, Denver, Fort Collins, Lincoln, and Chicago.
From their home in Syracuse NY, Sophistafunk has gained international notoriety with their unique combination of live hip hop, funk, and jam music. Last week, after returning from a nearly 4-hour show with 5 encores at the Boom Boom Room in San Francisco, the guys immediately took off to Connecticut and bought a Mercedes Sprinter tour van. It was yet another new addition for drummer Emanuel Washington, who recently became a first-time father with the birth of his son Onyx this past August.
Sophistafunk will be debuting new songs from their upcoming album during the Colorado Tour, which begins Friday, February 16th in Boulder at The Lazy Dog. The next night, February 17th, the band travels to Denver to perform at Cervantes’ Other Side, followed by Fort Collins at Downtown Artery on Feb 18. After a private event with Zac Brown Band in Las Vegas, Sophistafunk returns to Nebraska and Iowa before concluding the tour at the Tonic Room in Chicago on Sunday, February 25th(full details below).
Following the success of their recent single “No More War” on the national circuit, Sophistafunk will be even busier in 2018. They will also be joined by their newest member, saxophonist Tommy Weeks of the Funky Dawgz Brass Band.
He has performed with or in front of many of the world’s biggest musical acts, and wowed crowds on some of the biggest stages and talent shows.
Aaron Kamm and the One Drops
Aaron Kamm and the One Drops
Hailing from St. Louis, MO, Aaron Kamm and the One Drops merge flavors of Roots Reggae, Mississippi River Blues, Improv-laced Jams, and Soulful Vocals. With a High energy performance and a unique sound this band is a must see.
Critically-acclaimed hard roots rock reggae outfit Natty Nation is a collective of spiritual warriors. For over twenty years, the Madison, Wisconsin-based group has purely and fearlessly followed its inner artistic continuum. Along the way, Natty Nation has burst through genres while retaining a distinct roots reggae core.
The Candymakers are a Rock N' Soul band with the traditions of old-school R&B and funk. This young band offers a sound that is contemporary, yet keeps the essence of music past. Though the band is known for its soulful male vocalist, it is anchored by the collaborative genius of its blues driven guitarist and funky rhythm section. Often joined by a rotating cast of horn players and vocalists, the band can be seen with up to 12 members on stage.
After forming in 2010, they were awarded 1st place in the 2011 Iowa Blues Challenge. After reaching the semi-finals in both The International Blues Challenge and The Kings of Beale Street Competition, they returned home to release their debut album in February of 2012. Their second studio effort "Ridiculicious" was released in September of 2014, and they just release a new EP “Family Flowers” in February 2019.
Al Sweet - Vocals
Randy Leasman - Bass
Bret Dale - Guitar
Andrew Ross - Drums
Nick Vasquez - Keyboards
Bethann Gavin - Vox
Erin Moore - Vox
Chrissy Boyer - Vox
Jaden Carlson Band
Jaden Carlson Band
The Jaden Carlson Band is a power quartet from Boulder, Colorado, led by 17 year old guitarist Jaden Carlson. The group is comprised of some of the best talent to be heard, with varied influences coming together from all over the country. Their newest album, “Keep It Movin’”, taps into their unique chemistry to develop their blend of jam, funk, hip-hop, electronic, and jazz.
Jaden Carlson is a guitarist, vocalist, keyboardist, and producer. She has a technical prowess that is unmatched by most, and a style that is well beyond her years. As the front of JCB, Jaden’s jaw dropping guitar and synthesizer playing is something you won’t soon forget.
Keyboardist Chris Beck can be found gigging with the best jazz, funk, and rock bands in Colorado. He adds his original style and soulful taste on keys and synths, which gives JCB one of the biggest sounds you’ll find with a four piece band.
Drummer Eric Imbrosciano hails from New York, and brings his wealth of knowledge in jazz, hip-hop, and funk, to the ever growing sound of JCB. His years of experience from gigging around the New York scene are easy to hear in his solid drum work. You can catch Eric all over Colorado playing with many of the area’s best musicians.
Bassist Fred Reisen’s ultimate goal is to make the music feel good. Born into a musical family, his influences were honed while having a full RnB/Soul group rehearsing at his family home in New Jersey for a decade. An active member of the Colorado scene for over 5 years, he also plays bass and produces in the live electronic group Dynohunter.
The band has been appearing at some of the nation’s most notable festivals: Suwannee Hulaween, Summer Camp, The Friendly Gathering, The Vertex Festival, 80/35, Bumbershoot, LEAF Festival, The Werkout Music and Art Festival, Jazz Aspen Snowmass, ARISE Festival, Bohemian Nights, Nedfest and many others.
The Jaden Carlson Band has headlined major venues all over Colorado, as well as played direct support for national touring bands Twiddle, The Revivalists, The Nth Power, The Werks, Robert Randolph and the Family Band, Kung Fu, DeVotchKa, The Motet, Robert Cray, Anders Osborne, and Marco Benevento, just to name a few.
Jaden is the youngest musician to play on the Red Rocks Stage at age 11, with Michael Franti and Spearhead, and again the next night with Blues Traveler. She has also had numerous sit-ins with Umphrey’s McGee, The Revivalists, Lettuce, Dumpstaphunk, The Main Squeeze, The Nth Power, Twiddle, The Werks, TAUK, SOJA, Zoogma, The Motet, Dopapod, members of Snarky Puppy, Vulfpeck, Big Gigantic, The String Cheese Incident, and many more.
Specializing in the Grateful Dead’s catalog and sound from 1969 through the late 1970s, Winterland pulls you back in time to a place where the Dead’s rhythm andblues, folk and country roots were still deeply embedded in their music even as they explored the wild and experimental outer reaches of psychedelic rock. More importantly, though, Winterland channels the music of the Grateful Dead with uncanny authenticity, a sublime fidelity to the Dead’s musicianship, tonality and, in particular, emotional relationship with the audience. Walk into any given Winterland show and witness firsthand: every face is radiant, reflecting the elation of sharing — with the band and with each other — the pure, innovative, beautifully complex music of the Dead. This interconnectedness, which breaks down the barriers between people and music and allows everyone to become collaborators in an elusive web of fleeting, living art, represents an essential unity of musical experience. In other words, what Winterland has attained has proven to be a microcosm of the feat that the Grateful Dead of the late ‘60s to the late ‘70s achieved and escalated to a full-fledged cultural phenomenon. It is a thing of subtle and wily magic, not to be missed.
Photo credit: Patrick Bloom
For over 10 years, the Western Illinois based roots rock/jam band "The Dawn" has been spreading their love of cutting edge improvisational rock throughout the Midwest. From their humble beginnings in the shadow of the Mississippi River, they have crafted out their place as one of the premier up and coming jam bands.
The Dawn's live show experience has proven contagious and is tightly gripped in spacious jams, roaring guitar and soulful harmonies. Now a six-piece, The Dawn pushes the envelope at every performance and audiences are rewarded with an experience that can only be described as "The Dawn Effect." Coupled with an equally adventurous light show, The Dawn concerts keep their dedicated and growing fanbase coming back for more.
Staples of the Quad Cities’ jam scene for years, The Dawn’s 2014 release Waiting On The Storm was received with excellent reviews and helped catapult the band to major festival experiences including the inaugural Phases of the Moon, Summer Camp and Camp Euforia.
This momentum has continued to build over the last few years with more major festival appearances including playing host to their own “Dawn and On” Music Festival, debuting in 2015 and drawing over 1500 fans last summer. Combined with high profile club gigs, the Dawn is turning many heads in the jam scene.
The Dawns latest studio release, Wooly, was released on both CD and Vinyl in October 2015 on Cartouche Records.
The Beaker Brothers Band
The Beaker Brothers Band
Before there was alternative…there was the only alternative. The one place to go to find out where music was headed. Before XM schlock and FM rock, there was the Mighty 1090, churning out progressive rock way after bedtime. Clyde Clifford’s Beaker Street on KAAY from Little Rock, Arkansas was the beacon pointing the way for our music, and we were listening.
We cut our teeth on the music of Eric Clapton, Jimi Hendrix, Santana, the Allman Brothers and the Grateful Dead, and we’re still gnawing on it. Now, we’re going back to where the jam bands came from, to the time when rock, blues, jazz and Latin music met and grew into our inspiration. Call it what you want — post-psychedelic, proto-alternative, protest music (we like that one), retro, southern-progressive-hippie rock, whatever — you can bet that great as they are, bands like Phish and Moe and Umphrey’s McGee would still be punching the clock at their day jobs without the contributions of Jimi, Eric, Carlos, Duane, Jerry… and Clyde.
The Beaker Brothers Band isn’t a nostalgia act or a tribute show. We’re playing music that has been in our heads and our hearts since we first heard it. It’s music of the night from Back in the Day, played by guys who are as awed by it now as when we were driving home from a gig in 1969 and suddenly pulled off the road on a hilltop ’cause Clyde was blowing our minds again, and we couldn’t get the signal down in the valley.
It’s now more than twelve years on from our first practice, and we still feel the thrill when we play the music that helped us learn to love music. Appearing at festivals, concerts, civic events, private parties, cycle rallies, reunions, nightclubs and wherever, we’re thankful for the inspiration we get from our musical heroes, but we play the tunes as if they were our own. As if we possessed the music, instead of the other way around. Come see us, and watch us try to figure it out.
This is not your father’s rock band. No, wait, maybe it is. Anyway, we’re sure you’re gonna dig it. Boogie, children.
Matt G Funkma$ter
Matt G Funkma$ter
Matt G FUNKMA$TER is a multi-instrumentalist. His live looping shows can best be described as live music production. Essentially transforming “behind the scenes” recording studio art forms into live performances. With drums, bass, keyboards, guitar, dobro, vocals, and a looping device called an Electrix Repeater, he is able to put songs together one instrument at a time. His performances consist mostly of what he describes as "live remixes" and mashups of classic Reggae, Hip-Hop, Funk, and Soul music.
Since his 1st looping performance in the Spring of 2003, he has shared the stage with groups like Digital Underground, Beenie Man, Hieroglyphics, The Pharcyde, The Pimps Of Joytime, Lotus, Mad Professor, Blackalicious, Juno What?!, The Dirty Dozen Brass Band, Rebirth Brass Band, Easy Star All-Stars, Eek-A-Mouse, B*Side Players, Mike Love, John Popper, That 1 Guy, Zach Deputy, Bernie Worrell and the Woo Warriors, Paa Kow, and Heatbox.
In addition to live performances, he also works with MC's, singers, and instrumentalists as a producer, songwriter, and sound engineer. His original compositions can be streamed at
Matt Woods is both a native of Iowa, and a longstanding purveyor of its diverse blues scene. As a seasoned performer of many local, regional and national clubs and venues, Matt has developed a distinct style while staying true to his love of traditional American roots music. Woods is well-versed in the many shapes this music can take; from traditional delta, hill country and urban electric blues, to gospel, country and folk music.
Woods has been performing regularly since 2002 and has released 4 albums (two solo albums, and two backed by his unparalleled band, The Thunderbolts). He has also won the Iowa Blues Challenge and gone on the represent the state in the International Blues Challenge an unprecedented 3 times. Matt’s first solo album, “If I Was a Fish”, finished in the top 5 of the International Blues Foundation’s “best self-produced CD” category in 2006. His two subsequent albums, with The Thunderbolts, have also gained national attention. 2007’s, “Be My Friend”, was referred to as “blistering” by Dirty Linen magazine, and Living Blues magazine called 2010’s “Matt Woods and The Thunderbolts”, “a smoking amalgam of Hound Dog Taylor and Freddy King”. Additionally, Blues Revue called the album; raw, hypnotic and “very appealing”. Matt latest album, “Sawdust and Gasoline” was release in 2015. “Sawdust and Gasoline”, which has received extensive airplay in the U.S. and Europe, finished in the Top 5 of the International Blues Foundations “best self-produced CD” category in 2015, and has recently been nominated by Blues Blast Magazine for album of the year in the “Acoustic Blues” category!
Over the course of his career, Matt has also shared the stage with many notable acts, including; Hubert Sumlin, James Cotton, Pinetop Perkins, Louisiana Red, Eddy “The Chief” Clearwater, Willie “Big Eyes” Smith, John Primer, RJ Mischo, Delbert McClinton, The Arc Angels, Dr. John, Kelly Hunt, and Joe Price. Perhaps most notably, in 2010, Matt Woods and The Thunderbolts opened for Pat Benetar and REO Speedwagon at the famed Iowa State Fair Grandstand in front of a crowd of 10,000+!
A consummate live performer, Woods performs original music as well as many rare, once-forgotten covers with passion.
Camp Euforia All-Star Jam
Camp Euforia All-Star Jam
Get ready for a jam of epic proportions!
Join us Thursday night in the barn for a set provided by some of Eastern Iowa's greatest musicians and Camp Euforia family.
The CE All-Star Jam this year will be hosted by:
Ben Soltau - bass (Diplomats of Solid Sound, Meteor Cat, 10 of Soul)
Ben Franklin - drums (Dr. Z's Experiment, Public Property)
Craig 'Craigula' Heidgerken - guitar (The Uniphonics, The Fez, BEEs)
Derek Thorn aka MC Animosity - MC (The Uniphonics)
Nassor Cooper - vocals (The Uniphonics)
Nick Vasquez - keys (Candymakers, The Maytags, Winterland)
and will feature many other special CE special guests sitting in.
Don't wait to buy your 3-day tickets...this is one kick-off party you won't want to miss out on!
The Grosso Family Band
The Grosso Family Band
The Grosso Family Band have been a staple at Camp Euforia for many years, typically firing up your sensors on Saturday morning for "Coffee Hour" on Saturday and getting you pumped up for a full day of music. Catch them once again at CE16 at Jerry's Bar!
Baberhood Bluegrass Band
Baberhood Bluegrass Band
Baberhood Bluegrass Band has been bringing the sounds of both traditional American folk music along with their own brand of original music to Iowa and the Midwest for more than a decade, and have gained a loyal fan base known affectionately as 'The Baberhood'. Influences range from the high lonesome sounds of bluegrass' founding fathers, to traditional country, to contemporary folk and, at times, even from some of today's most popular artists. These influences meld with the generation gap closing songsmithery of Baberhood Bluegrass Band and they love nothing more than sharing their passion for timeless music with audiences all over the Midwest. The current lineup offers Dobro, Banjo, Guitar, and Bass Fiddle, along with harmonic singing reminiscent of classic ‘Brother Duets’ of days gone by.
DJ Buddha has been a staple in the underground music scene for over 25+ years. His love for dance music started at a young age. From his first introduction to house music with the legendary Chicago group the hot mix 5, to his weekly mix show on HOUSE HEADS RADIO based out of the UK. But his love for music goes deeper from Drums, Saxophone, and sound engineer for Rexroat sound. Buddha has been the front of house tech for the main stage at Camp Euforia for 7 years, and this will be the 3 year Buddha will be kicking off the festivities on Thursday night. DJ Buddha's sets are electric, soulful and creative. I has one goal in mind. To make you boogie... If you haven't experienced Thursday night at Jerry's Bar. Then you haven't experienced CE in full.
Dr. Z’s Experiment
Dr. Z’s Experiment
Formed in 1998, Dr. Z's Experiment began as a jazz trio at Kirkwood Community College in Cedar Rapids, IA. They have since grown to become a 5 piece Fusion/Rock/Jazz/Reggae/Funk/Experimental group. Dr. Z's Experiment is known for their blistering live performances - and more specifically for their improvisational jams that seamlessly transition between songs and genres.
Ryan Phelan - Guitar/Vocals
Ben Franklin - Drums
Steve Shriver - Harmonica/Percussion/Vocals
Luke Viertel - Keyboards/Vocals
Jeremiah Murphy - Bass
The Velies - an endeavor by Quad Cities music veterans Mo Carter, Tom Swanson, Aaron Jorgenson, and Marty Reyhons – formed in late 2015 after Carter’s and Swanson’s bands, (Busted Chandeliers and Jim The Mule, respectively) called it quits. Jorgenson (Funk Odysssey) and Reyhons (Tripmaster Monkey, Einstein’s Sister, Jim The Mule) were asked to join the band after Carter and Swanson performed for about a year as the acoustic cover band, Barstool Boogaloo, and The Velies was born.
The band writes, records, and performs introspective original music. They rely on the organic-meets-electric sound of acoustic and electric guitars, bass, ukulele, keyboards, and drums as the aural bed for rustic vocals. Carter and Swanson typically share lead vocal duties while all members lend supporting roles in that department, often exchanging and intertwining parts.
The Velies create bittersweet songs with lonesome undertones that can meander while maintaining a true sense of urgency, whether wrapped in a shiny, upbeat pop façade or a bombastic, gritty rock & roll head banger. To date The Velies have had the honor and pleasure of sharing the stage with luminaries including Chrash, Miles Nielsen & The Rusted Hearts, Mountain Swallower, Terra Lightfoot, The Candymakers, The Dawn, The Donkeys, The Still Tide, and Wild Rivers, to name a few.
The Velies released their debut EP, Caught In Places, in April of 2018 and are currently working on their next recording project.
Nikki Lunden is an Iowa native singer/songwriter and is currently touring the midwestern region with her band Natural Habits, an Original Midwestern Roots Rock band based in Iowa City, Iowa.