Archive for the ‘Non-Festival Related Content’ Category

Americana Outlaws | Ray LaMontagne & The Pariah Dogs

Wednesday, June 15th, 2011

Americana Outlaws – Ray LaMontagne & The Pariah Dogs

Contributing Writer – Garret K. Woodward

Ray LaMontagne makes me feel like a teenage girl.

Screams of joy escape my lungs when I find out he’s nearby. All my friends grow weary over my constant babbling about him. If there were a life-size poster available, I’d probably buy one.

His music is just that good, just that ideal sense of wonder and comfort, making those dark days seem bright again.

For the better of a decade, LaMontagne (who reportedly heard “Treetop Flyer” by Stephen Stills and quit his job at a shoe factory to pursue music) has won over fans and critics alike with his smoky voice and poignant wisdom hearkening back to an era dominated by Neil Young, Joni Mitchell and Van Morrison.

Though a reclusive artist, he has a bright spotlight aimed in his direction. He symbolizes honesty, clarity and tradition, a perception few and far between in the studio and on the radio. With his phenomenal backing group, The Pariah Dogs, their latest release (God Willin’ and the Creek Don’t Rise) is a shooting star of style and grace across a musical industry congested with the smog of mediocrity and its own inconsequential priorities.

Moseying into Essex Junction, Vermont for a rare performance, LaMontagne found himself at odds with Mother Nature, who teased her unpredictable chaos throughout the day with severe thunderstorm and flash flood warnings.

The Midway Lawn at the Champlain Valley Exposition was a fresh vat of mud soup. Innumerable rain boots and Crocs made the hop, skip and a jump around the premises, drenched from weeks of unrelenting rain and improper drainage. Patrons sipped on hot coffee and cold beer in order to find some small piece of luxury amid the dampness.

LaMontagne emerged from the backstage darkness. “Hold You In My Arms”, like gravel wrapped in silk, silenced the raucous beer tent and left burning cigarettes dangling from astonished mouths (“When you kissed my lips with my mouth so full of questions/My worried mind that you quiet/Place your hands on my face/Close my eyes and say/That love is a poor man’s food”).

“Where does that sound come from?” a curious voice was overheard remarking.

Raindrops, teardrops and guitar notes trickled onto the cold ground. Like a farmhouse chimney in the winter, his calming breaths of lyrical magic (“For The Summer”) drifted into the crisp night air (“Can I come home for the summer/I could slow down for a little while/Get back to loving each other/Leave all those long and lonesome miles behind”).

“Thank you very much, thank you,” the aw-shucks singer modestly said after each selection.

The ensemble, resembling a gang of Americana outlaws in tone and appearance, is a well-oiled machine of grit, natural talent and playful ambition, pushing deeper into not only their minds, but also the psyche of those they play for and about.

Though hands held jackets tight against their bodies, gyrating legs in the audience splashed merrily in giant puddles ready to be classified as small ponds. Constantly yearning for the simple life, LaMontagne preaches pure freedom (“New York City’s Killing Me”), one that many often overlook or all too easily forget (“I get so tired of all this concrete/I get so tired of all this noise/Gotta get back up in the country/An have a couple drinks with the good ole’ boys”).

It’s not so much that Ray LaMontagne is doing something new, insofar that it’s about holding onto to something time-tested and aged to perfection. What he represents is sincerity and vulnerability, something missing from modern music that, like good whiskey, will only get better with age as not only he, but us, journey further down the desired path of righteousness and truth.

Lover Of All Things Beautiful | Interview with Fanny Franklin

Thursday, May 19th, 2011

Lover Of All Things Beautiful – Interview with Fanny Franklin

Contributing Writer – Garret K. Woodward

The crowd buzzed like a frenzied hive.

Though a curious stick or hungry bear didn’t provoke these busy bees, they were prodded by the ultimate tormentor- cabin fever.

With fat snowflakes tumbling from above, I strolled through downtown Boston to Copperfield’s, a venue within range of a wandering foul ball from nearby Fenway Park. The space is full of sweat, spilled beer, sticky floors and unrelenting smiles from those eager to checkout the next big thing to radiate from the stage.

And fate made sure I picked the ideal night to find my soul vulnerable to the unknown.

Huddled in the backroom like a boxer readying themselves to hit the ring, Fanny Franklin sat in a dark corner, hooded sweatshirt pulled over her head, gathering all of her strength, physically and mentally, only to pour it onto the listener until her tank was empty.

These people came here to see something special as she takes that word and twists it into something extraordinary.

Fronting the phenomenal funk/soul project Orgone, Franklin commands the stage in the footsteps of James Brown, Janis Joplin or Sharon Jones. Her steamy voice sends chills up your spine like a cold breeze. Her body shakes, gyrates and mesmerizes any who fall into her trance.

Watching her do what she does best, I was awestruck by the power and style bubbling from her small frame. Her talents and stop-you-in-your-tracks soul conjure the memories and potential I felt upon initial glance of Grace Potter, some five years earlier in the same city.

Now embarking on a solo journey, Franklin is currently putting together a slew of promising material reflecting her life, aspirations and rising career as a polished gem amongst the rockstars and pitfalls of an industry in dire need of pure, honest talent.

Garret K. Woodward: Who is Fanny Franklin?

Fanny Franklin: A mixture of a few things. I’m a teenager, an old lady, a lover of all things beautiful and an artist.

GKW: How would you describe your sound? Who are the influences?

FF: I listened to a lot of Michael Jackson, The Beatles, Janis Joplin and Motown growing up. Then I got into the whole modern era of the 80′s. When I got out of high school, I met the funk heads who led me to Parliament, Funkadelic and the black rock scene in LA, which included Fishbone, 24/7 spyz, Total Eclipse, Living Color.

GKW: When did you first know you could sing? Did you always want to be a singer?

FF: I’ve always wanted to be an entertainer, ever since I was a little girl. That was my first feeling, looking at a stage and saying, “ooo, I wanna do that” at the age of nine. The talent to be a singer/entertainer naturally had to comply with that little girls dream.

GKW: If your voice were an ice cream flavor, what kind would it be?

FF: Mint Chocolate Chip.

GKW: What do you love about the LA music scene?

FF: My job is to be out on the scene everywhere, so, when I’m home, I don’t really go out much anymore. But, my time on the LA music scene introduced me to all the amazing musician friends I have today. So many of them have gone on to do really big things, like my peeps Fitz and the Tantrums. I can say that anyone living in or visiting LA has the opportunity to see a variety of music on any given night, of almost any genre you could think of, and much of the shows are free. So, in that way, the LA music scene is alive and very accessible.

GKW: Where does that voice of yours come from?

FF: I had a few voice coaches when I was much younger, but mostly it’s been on the job training and absorbing. I went to cooking school, but it didn’t make me a better cook, it just taught me techniques. I think people are born with certain natural gifts.

GKW: What are you channeling onstage? What’s going through your head as you hit those high notes and climax of a melody?

FF: There are some definite moments of high vibration on stage when everything aligns with the instruments and the vocals. In those special moments I’m not thinking, but sharing in a moment. Just feeling.

GKW: How did your relationship with Orgone come about? Why did you decide to take a step back from such an incredible collaboration between you and them?

FF: Back in 2003, Orgone needed a singer to cover a version of “Funky Nassau”. A mutual friend, Dan Ubick (Connie Price and The Keystones), passed my number along to keyboardist Dan Hastie (Orgone) and he called me up. The session went well and they invited me to do some gigs. They had some cool covers they thought would suit my voice and we all got along, which is an important factor in moving forward with any group. From there, the relationship was born. My departure from Orgone happened for many different reasons, but mainly it’s time for Fanny Franklin to do Fanny Franklin.

GKW: Tell me about your new projects. What can we expect? How is this new chapter going to unfold and what are your hopes for it?

FF: I’m super excited about the music I’m writing right now. I can’t wait to put it out. It’s more personal whereas writing lyrics in a group is more edited to fit the group message. Writing for myself is about where I’m at now and how I want to express myself. I have faith that I will satisfy all of my desires as a singer and then some, which includes putting out amazing music and traveling the world playing that music live for people.

GKW: What are you thoughts on the current music industry? How do you want to be different, or contribute to the evolution?

FF: With today’s technology, the world of music is at all of our fingertips. We no longer are subject to what the radio wants to shove in our ears. We are free to explore any country, any genre at free will, and it’s amazing. My hope is that reality inspires people to do the art they want to do without compromise, knowing that it will be heard. Recreating the concept of industry to mean the world of music, not the world of making money over the true expression of the individual or collective group. If people feel forced to make music that they think will sell over what they really want to do, they are shorting the world of their unique vision and of the change that is possible. I just want to be me and spread the message that to be “the best you” is important, ain’t no one else fixing to do it.

GKW: How receptive have audiences been to your creation onstage?

FF: That’s a good question. I’m excited to see the reaction to my new project. With Orgone, my hope was that people would dance and party and have a good time, and that was generally what happened. There are many factors that play a part in how a crowd may react to me, or anyone for that matter. I know the day after New Year’s Eve, opening for the Roots in Reno, the crowd was understandably tired so they weren’t giving it their all. They were burnt, but committed to seeing the Roots and were glad to see a great opening band as well. The experience I plan to have with people, when I perform my music, will be different I imagine. We shall see.

GKW: What do you want the listener to ultimately witness or walk away with when they see you perform?

FF: A really good feeling, a feeling of excitement about his or her own lives and what’s possible for each person, truly. That’s the feeling that I get when I see someone like Sharon Jones or even watching old live footage of Nina Simone. It’s a feeling of connectivity that happens amongst human beings when they come together, all excited about the same thing, whether they know each other or not. And, from that, you feel inspired to do something wonderful.

GKW: How has your stage presence or confidence changed onstage over the years?

FF: I have always felt pretty right at home on the stage, like I was meant to be there.  But, of course, the pure magnitude of shows over the last two years especially has been a great space for me to grow. There is always more to explore when it comes to live shows and stage vibe.

GKW: What’s the craziest thing you’ve seen on tour?

FF: Watching and opening for the Reverend Al Green, who I never saw backstage, he stayed on his tour bus until show time, was life altering. I felt like myself and everyone else in that building had the top of their skulls blown off and there were beams of light being poured in through the tops.

GKW: What’s your state of mind right now?

FF: Positive. Focused on the goal of finishing my record and sharing my music with the world.

Garret’s Winter Survival Pack

Tuesday, March 1st, 2011

Winter Survival Package – Pearl Jam, Cake, Gregg Allman, etc.

Contributing Writer – Garret K. Woodward

There is only one way to kill cabin fever and that’s with good music. Though the unrelenting snowfall and harsh winds of winter have left some of us frustrated and many of us ready for sunnier days, below are a handful of releases chronicling the finest recordings of the last few months.

Pearl Jam – Live On Ten Legs

Once again Pearl Jam proves why they are the only relevant reminder of the grunge era. Yet, it seems almost an insult anymore to clump the Seattle rockers with the rest of the bottom-of-the-barrel forgotten faces and overplayed melodies of a time yellowing within the pages of history.

Live On Ten Legs provides the perfect sequel to Live On Two Legs (1998) and puts the band where it belongs, which is in the upper echelon of rock royalty. Where the rest of their peers faltered, entered rehab, or met horrific demises, PJ pushed forward by isolating themselves from the madness, ultimately finding their niche of unparalleled creativity and a formula for evolution we constantly marvel at with each subsequent release.

Key Tracks: “Just Breathe” / “Alive” / “In Hiding” / “The Fixer”

Cake – Showroom of Compassion

Just when you think they’re ready for the “Where Are They Now?” label, rock misfits Cake crack the whip and unleash another batch of radio-friendly jingles dealing with the usual societal shenanigans- mustaches, teen pregnancy, government control, and the eternal struggle between males and females.

One wonders how the group is able to truly keep a unique sound without ever once coming across like a cookie cutter ensemble. It is a true testament to the Sacramento alternative darlings that their intent, approach, and final product in the studio are routinely executed to perfection.

Key Tracks: “Sick of You” / “Federal Funding” / “Mustache Man (Wasted)”

Gregg Allman – Low Country Blues

With a never-ending tour schedule and constant health issues nagging him, it is an inspiration Gregg Allman even finds time for himself, let alone the unveiling of his latest recordings.

In his recent endeavors, he taps legendary producer T Bone Burnett for his first solo outing in almost 14 years. The entire album, except for the Allman/Warren Haynes melody “Just Another Rider”, is an array of Delta blues covers, ranging from Muddy Waters to Sleepy John Estes, Skip James to B.B. King.

Each piano stroke and vein-busting howl exposes and ultimately silences any personal demons. Allman seems like a man at the end of a long, arduous journey, one that has put wrinkles on his face and left him aged and weary. But, if anything, Low Country Blues shows he is ready another go-around because only the weak lie down and fade away.

Key Tracks: “Devil Got My Woman” / “Just Another Rider” / “Floating Bridge”

Peter Rowan Bluegrass Band – Legacy

Like whiskey and Demi Moore, the Bostonian bluegrass boy only gets better with age. On Legacy, Rowan calls upon a Rolodex of old friends, which includes Del McCoury, Ricky Skaggs, Gillian Welch, David Rawlings, and Tim O’Brien.

Within these collaborations bubbles up the beauty of bluegrass, a beauty that resides in the friendship, solace, and ultimate fruits that emerge when pure intent and natural talent combine forces into a genius work of art, something Rowan knows all too well.

Key Tracks: “Jailer Jailer” / “The Family Demon” / “So Good”

Railroad Earth – Railroad Earth

Harnessing the finest elements of bluegrass, folk, and rock, the band seamlessly weaves them together into an Americana gumbo hearty enough for even the most hungry of music enthusiasts. One begins to piece together the shared notion that Railroad Earth is crisscrossing the country with such vigor, talent, and harmony, could they be the current torchbearers of a legacy founded by the Grateful Dead?

Key Tracks: “Jupiter and the 119” / “Spring-Heeled Jack”

Top Albums of 2010

1. Ray LaMontagne & The Pariah Dogs – God Willin’ & The Creek Don’t Rise

2. Drive-By Truckers – The Big To-Do

3. John Mellencamp – No Better Than This

4. The Black Crowes – Croweology

5. Blues and Lasers – After All We’re Only Human

6. Sam Amidon – I See The Sign

7. Dead Confederate – Sugar

8. White Pines – The Falls

9. 7 Walkers – 7 Walkers

10. Cotton Jones – Tall Hours in the Glowstream

GigsWiz da Golden Ticket

Monday, February 14th, 2011

GigsWiz da Golden Ticket

Contributing Writer : Rashon A. Massey

This past December 2010, I had the opportunity to Skype with Kevin Hartz, CEO and co-founder of Eventbrite, a new, rapidly growing ticketing service [ ].  The video chat came on the heels of our meeting at a Las Vegas conference that not only showcased Eventrbrite, but several other emerging ticketing solutions offering 3rd party assistance to live music promotion and events.

That said, I thought I had witnessed just about every surfacing technology in the ticketing field.  There were booths from Ticket Derby, IN-TICKETING, Ticket Fly, Brown Paper Tickets…I mean…a plethora of options; however, with the New Music Seminar coming up and taking place February 14 – 16 at the Universal Sheraton in Los Angeles, I learned yet another ticketing company would be putting their stub into the collection.

Thus we have GigsWiz.

In conjunction with our coverage of the New Music Seminar, I took time to have a Skype chat with co-founder Joonas Pekkanen at 9 a.m. EST (lucky for him, it was 4:00 p.m. in Finland).  Joonas is a collegiate graduate with a Finance major, but became disillusioned with that scene relatively soon after completing his coursework.  He has dabbled in startups for the last five years, and just over a year ago, started working on the concept for GigsWiz in the spring before last summer.  Joonas, Juuso Vermasheinä and a tight-knit team who developed the company, all come from a social media and tech perspective and found people in the music business to aid in their understanding of how to better the flawed ticketing system by which the music industry is currently utilizing.

Here is my conversation with Joonas Pekkanen:

Where did GigsWiz come from?

We got an initial pre-seed investment which allowed us to quit our jobs and start working on the business idea early on.  The idea came from marketing and how until now there has been no real innovations in how to effectively use social media to promote live gigs, and then we decided to position ourselves as the first and only artist friendly ticketing service.  All of them out there have been on the side of promoters and venues, but to be able to effectively use social media between artists and fans, you have to be working with the artists.  That is where we saw opportunity.

Can you explain more about this chasm between ticketing services and artists?

Promoters and event organizers are having a hard time reaching the fans.  They have little tools to reach audiences – outdoor ads, radio or tv commercials, and still struggling to reach audiences through social media.  Early last summer, we [developing team for GigsWiz] made a quick tool/widget for musicians to start collecting requests from fans of where they should be playing live, simultaneously focusing a business plan towards something more artists friendly.  That took about a week or two.

Promoters can use us for ticket entry management, then GigsWiz eliminates, as much as possible, the work promoters have to do.  The service allows them to post to different gig sites, while also giving tools to the artists those promoters work with.

So you are launching GigsWiz in America at the New Music Seminar in L.A. on February 14, correct?

Yes.  We’re launching publicly in the States at NMS, and two weeks ago we launched in Europe.  Everyone seems to be excited about the concept.  It is something that builds value for the promoter and the artists.  We’re co-sponsoring the seminar and really hoping to reach the independent promoters and musicians.

I was just at a conference that featured several ticketing solutions aiming to stake claim in the music industry.  From Brown Paper Tickets to Ticket Derby.  I was able to chat with Kevin Hartz, co-founder of Eventbrite, a steadily rising service becoming wildly popular.  How will GigsWiz position itself as a service different and unique from the others?

Our initial position is for the medium and independent artist’s category.  Obviously Ticketmaster and the big ticketing companies have a strong situation with big venues, owning a lot of those venues, and that is obviously not something we are trying to enter right away.  Festival promoters are one of the positioning segments we are interested in.  A festival with 20 bands, each with 5,000 Facebook followers, well, that is already a direct reach to push the festival itself.  At the same time, we are working with medium sized promoters.

Eventbrite is doing a great job, and they are the only ones doing a good job on the social media side.  They are also doing a great job monetizing ticketing.  It is really easy to set it up and not a real heavy investment.  It’s the data, marketing tools, and the artists being the most important parties according to our philosophy, and we realize them [artists] and management really they need the data most ticketing companies don’t share or offer.

In terms of where we want to be, we want to be a global company in the next few years, getting a sizeable market share in the live music markets.

As a man of technology, are you already thinking about the next ‘thing’?  What will come after GigsWiz becomes a global brand?

We’re so new that right now I think I am just trying to do this to the best of my ability.  There is so much that can be done to really start leveraging social media for ticketing, artists and promoters and I want to make sure GigsWiz is offering the best before I move on.

Thanks for the chat!  Can’t wait to catch up with your colleagues at NewMusic Seminar!

Same to you.  Cheers!

Tom Silverman Interview

Monday, February 7th, 2011


Contributing Writer : Rashon A. Massey

Since TheRFW began, I have had the esteemed pleasure of being able to communicate, learn and grow from many of the key players from both the music and technology industries.

One crucial turning point in the structuring and building of TheRFW came when I attended the 2009 New Music Seminar in New York City, NY.  Co-founded by Tom Siverman, the New Music Seminar became the breeding ground and breaking point for bands and brands such as Nirvana, Dave Matthews Band, SXSW, CMJ and many more.  From 1982 – 1994, the New Music Seminar grew to become the largest intensive music conference in the world, and this all happened simultaneously as a little known community named hip-hop exploded and took over the world.  This is greatly attributed to both the seminar and Silverman’s Tommy Boy Records playing an active roll in discovering and launching the careers of Queen Latifah, Afrika Bambaataa, Naughty by Nature and several other well-known music influencers of today.

“So many great artists are out there that aren’t getting through for some reason.  I was […and been] racking my brain, why aren’t they getting through?  Is it because people are overwhelmed with choices? Has music become too active and not passive?  There isn’t a broadcast medium like radio driving traffic anymore,” spoke Silverman in an afternoon phone chat.  “So that’s what we [New Music Seminar] work on is to try to help artists break through and give tools to help that.”

The seminar took a hiatus from 1995 to 2009 simply because Silverman felt as if the gathering was becoming redundant.  The music industry had reached a leveling point, and there was not much of a reason to continue without being able to change the conversation that was occurring between industry experts and attendees.  Then, at the change of the century, the global community saw the rise of peer-to-peer (P2P) file sharing services such as Napster, Kazaa and LimeWire, and in the couple years following, we witnessed a decade that would usher in social networking.  With such tools surfacing, by the end of the 2000s, an undeniable impact and conversation needed to take place in music.

Today, iTunes has surpassed WalMart as the highest selling distributor of recorded music, and people are still blaming the fall of record labels on illegal downloading.

“Single sells out sold album sales 3.6 to 1 last year.  In the digital world, digital tracks are out selling album sales 15 to 1.  15 tracks that sell for every album that sales,” shared Silverman.  “The single business is a huge business that artists need to look at.  They need to find a way to break a single, a song that defines them and then try to cut an album.”

“If you can have a comfortable life supporting yourself playing your music, how great is that?  You may not be making 100k a year, but you are doing what you want, and that should be enough,” Silverman goes on to share, and that is the foundation of the modern New Music Seminar.

Taking place in Los Angeles from February 14 – 16, the New Music Seminar returns in 2011 stronger than before.  With five movements, intensive workshops, panel discussions, three artist showcases and a plethora of who’s-who of the music industry, this is the place to be whether you are a new artist or established act looking to take their career to the next level, utilizing tools by yourself without the backing of a record label.

“The New NMS has adapted the symphonic model to get across concepts, borrowing from the Ted Conference to teach intensive lectures.  We’ve added a songwriter workshop with Tom Jackson who will select a band, work with them and improve their show.  We’re doing the Artist On The Verge.  These are artists with a fan base with momentum and have some velocity, so they qualify to make a Top 3 to win 50k and all kinds of industry prizes.,” Silverman went on to exclaim with excitement about the 2011 L.A. conference.

“Now is a better time than any to be a musician, and personally, I am always looking for what’s the next thing?  How do we get there?  I get bored with stuff easily, and I get satisfaction in seeing stuff someone else might miss and showing people such as hip-hop or pioneering the new music seminar.  Seeing hundreds of the people come through the seminar and grow to be the leaders of the music business for the next twenty years gives me great joy.”

For more information on the New Music Seminar, visit

February 3, 2011 – New York, NY – New Music Seminar (NMS) announces the exclusive “After Grammy Jammy”, NMS Opening Night Party at The Music Box in Los Angeles, CA on Monday, February 14, 2011, the night following the 53rd annual Grammy Awards.

NMS Opening Night Rock ‘n’ Roll red carpet celebration will kick off with a cocktail reception from 6:00-8:00pm featuring MTV America’s Best Dance Crew DJ, DJ MIA from 7:00-8:00pm. The night will feature all-star performances by Sean Garrett, The Little Death, Blaqstarr, Of Verona, Jessie and The Toy Boys and Ben Hunter from 8:00pm-midnight.

Producer, songwriter, and rapper, Sean Garrett has 17 #1 hits and has worked with today’s biggest stars including Beyonce, Jay-Z, Usher, Fergie, Ciara, Enrique Iglesias, Mario, Ludacris and recently announced he is working on Justin Bieber’s next album. Focusing on his own music, Garrett has recently release his single, “Feel Love” featuring J. Cole on Columbia Records.

Rock/soul/blues band, The Little Death, features Laura Dawn (lead vocals), Moby (bass, guitar), Daron Murphy (guitar, bass, & harmonica) and Aaron A. Brooks (drums.) The band recently released their self-titled debut album to rave reviews from critics: “…incomparably soulful debut album…The Little Death’s sound is unmistakably inspired by classic blues. Voluptuous melodies and evocative lyrics are laced with a robust rock-and-roll edge.” And “One of New York’s best-kept sultry secrets….top notch players and volcanic generosity…singer Laura Dawn’s staging and rocket-fuel is punk…and her powerhouse voice channels blues and gospel…she’s a riveting performer, her own blend of Tina Turner and Janis Joplin…”

Hip-hop artist and DJ Blaqstarr has worked with M.I.A., Diplo’s Made Decent family, and fellow Baltimore MC, Rye Rye whom he discovered. Blaqstarr is releasing Divine EP, his first release for Neet Records, M.I.A.’s label through Interscope.

Los Angeles based Of Verona have been named MSN Music & Clear Channel Online “One To Watch” Artists and Yahoo! Music has names them one of their “Who’s Next” Artists. The four-piece rock-pop-electronic band has garnered positive buzz for their live performances.

Dance/electronica sensation, Jessie and The Toy Boys, who’s recently release single, “Push It” — produced by Jimmy Harry (RuPaul‘s “Supermodel) and No Doubt‘s Tony Kanal is garnering favorable comparisons to Gwen Stefani and Kylie Minogue, among others.

New Orleans singer-songwriter, Ben Hunter, combines elements of jazz, folk, rock, Mardi Gras Indian chants and Caribbean rhythms to create a unique and unforgettable sound. Hunter is gearing up for the release of his new album, “Delta Dub,” recorded at the famed Jack Ruby studios in Ocho Rios, Jamaica.

DJ MIA has worked with the Black Eyed Peas’, whose Jeepney Music release DJ MIA’s first mix tape, as well as appeared in videos for Eminem, Nelly, Blink 182, System of a Down, Hoobastank, Black Eyed Peas and JC Chasez. She was also a featured DJ on MTV’s Celebrity Rap Superstar and Nick Cannon’s MTV Wild’n Out.

The world’s first DJ/Guitarist/Producer Dan Morrell, has opened for acts such as Kanye West, Diddy, Justin Timberlake, Black Eyed Peas, LMFAO, Kelly Clarkson, Akon, T-Pain, Akon, Rhianna, Shakira, Run DMC, Sean Paul, LL Cool J, Mary J. Blige, Christina Aguilera, and Missy Elliott, and more. Dan Morrell will close the night out with a set starting at midnight.

Indie 103.1 on-air personalities, Wayne Jobson, Liz Warner and Tedd Roman will be the MCs throughout the evening.

For the full line-up and schedule go to

The Music Box is located at 6126 Hollywood Blvd Hollywood, CA.

Registration for the New Music Seminar will be open from 6:00 PM to 8:00 PM. **You must be registered to attend the NMS Conference for entrance to the NMS Opening Night Party.

NMS Conference Tickets are currently on sale for $295 and available at

See Final Schedule & Speakers here:

About the New Music Seminar

From the co-founder and director of the original legendary New Music Seminar comes a conference with a mission; to create a just, sustainable and profitable music business and to help artists break through the growing glut of artists and releases to success. Artists have never had so much power to control their own careers and build their success. This affordable event gives music business executives, technologists, and artists the knowledge, tools and connections to step into the tomorrow’s music business today.

The two-day, three-night conference includes a symphony of five “movements” (focused discussions) over the course of two days, eighteen18-minute Intensives (presentations) from key industry leaders, 25 mentoring sessions, 3 nights of music showcases, High-Level Industry Summit Meetings as well as the NMS creative workshops focused on Live Performances, Vocal Performances, Producing and Songwriting, with ongoing networking opportunities throughout.

The New Music Seminar is the must-attend conference for the emerging new music industry.  The Seminar will address both the artists’ dilemma of breaking out from the ever-growing glut of music releases and the development of a new business model for a sustainable music business.