Stephen Inglis

Artist Information

Biography

Recognized as one of the most diverse artists in Hawaii today, Stephen is equally at home on the acoustic & electric guitar. The art of Ki Ho’alu; Hawaiian Slack Key Guitar, has been at the heart of his music in recent years. In 2012 Stephen joined Hawaiian music legend Dennis Kamakahi, and was honored for Waimaka Helelei; 2012 Na Hoku Hanohano “Slack Key Album of the Year”. Stephen’s composition “Redwood Slack Key” was featured on the Grammy Nominated and Na Hoku Hanohano award winning album, “Hawaiian Slack Key Kings Volume 2? in 2009. His music has also graced Film and Television projects like, NBC affiliate KHON’S: “Hawaii’s Saint Damian: A journey of Sacrifice”. Slackin? on Dylan, his last solo project, won the Hawaii Music Award for “Folk Album of the year”.

Stephen has also contributed guitar work to albums by renowned artists such as Kenneth Makuakane and has toured with Slack Key Masters Dennis Kamakahi,Ozzie Kotani, Cindy Combs, Makana and Hawaiian Music Legends The Makaha Sons. Stephen was born and raised in the beautiful valley of Palolo, on the island of O‘ahu. He found music in his life initially through the piano, when at the age of 5 he performed on stage with the founder of the Suzuki method. Stephen?s musical life continued with the Honolulu Boy Choir from age seven to nine.In his teens, the piano was quickly replaced by guitar, during which time Stephen played with local favorites Red Session, Palolo Jones and The Grateful Dead’s Bill Kreutzmann.

In 2002 Stephen left Hawaii and moved to the Bay area for some mainland experience, an experience that ultimately grew his love for ki ho‘alu (slack key guitar) and new appreciation of his island home. His first album release Fringes on the Wayside shared his singer/songwriter side that eventually evolved, showing his island roots in his second release Driftwood and utilizing more slack key tunings on guitar. After the release of Driftwood, it was clearly time for Stephen to return home to Hawai‘i. Upon return, Stephen was introduced to Slack Key master Ozzie Kotani, who became Stephen’s kumu (teacher). Under Ozzie’s guidance, Stephen quickly gained recognition in Hawai’i as a strong talent in the traditional style performing locally and nationally as a solo artist, while also performing with Ozzie, Makana, and other Honolulu artists. Now deeply rooted back in Hawaii and the slack key tradition, Stephen’s latest release on ‘Aumakua Records entitled Mahina O Waialae “…evokes memories of Keola Beamer and establishes his credentials as an artist who can sing in the old island style as well” (John Berger, Honolulu Star Bulletin). Mahina O Wai‘alae was recorded to honor Stephen’s island home of O‘ahu with many mele (songs) about places, love stories and experiences on O‘ahu. Mahina O Wai‘alae was released October 2007 with an all island tour following.

2008 was the release of Na Po Makole, a piano and slack key duet album by S&S. ( Shawn Livingston Moseley and Stephen Inglis) This year also marked Stephen’s return to Electric guitar joinng Honolulu Rock Icons the Piranha Brothers Band. SI plays 20 some odd shows a month with the P.B.B. Stephen’s fourth album, Live at Ward’s Rafters was released in December 2009. His fifth solo album, Slackin’ on Dylan was released in August 2010 winning the Hawai?i Music Award for Folk Album of the year and garnering a Na Hoku Hanohano Nomination as well.

In the late summer of 2011, legendary Hawaiian composer and slack key guitarist Dennis Kamakahi met with his friend and student Stephen Inglis to go over a few songs. Dennis was to be a guest artist on a solo album by Inglis. After hearing Stephen?s composition Na Pua O Kalaupapa, the two discovered more and more mutual connections with friends and ?ohana at Kalaupapa.The late composer/activist Bernard Punikai?a was a close friend of Dennis and Stephen and two of his songs were chosen to record. Inspired by the theme the album was taking on, Dennis composed two new songs about Kalaupapa. At this point it was clearly no longer a solo record and the duo?s first joint effort; Waimaka Helelei was born.

Dennis and Stephen have a busy touring schedule in 2012 to promote their new album, both in Hawai?i and the continental U.S.

Official website: www.stepheninglis.com

Facebook.com: www.facebook.com/stepheninglismusic

Reverbnation.com: www.reverbnation.com/stepheninglis

Myspace: www.myspace.com/stepheninglis

Aumakua Records/Soulsoundhawaii: www.soulsoundhawaii.com/

Dennis Kamakahi & Stephen Inglis: www.kamakahiandinglis.com

Instrumentation

Stephen Inglis Guitar and Vocals

Discography

Waimaka Helelei - Dennis Kamakahi and Stephen Inglis
Released December 20011 on Aumakua Records AR001

Live at Wards Rafters
Released December 2009 on Aumakua Records AR005

Na Po Makole, The Night
Rainbows Released March 2008 on Aumakua Records AR002

Mahina O Waialae released October 2007 on Aumakua Records AR001

Driftwood, released November 2005 LocoMotive Music
LMM05001

Fringes of the Wayside, released July 2004 LocoMotive Music WTWCD001


Tracks from all albums have streaming and radio airplay worldwide

Official Website

http://www.stepheninglis.com

Links

• Twitter
• MySpace
• Reverb Nation
• Facebook
• Stephen's Blog

Audio

• Blind With Haste
  Listen  
• Mahina O Waialae
  Listen  
• Whole Lotta Nothin'
  Listen  
• Pomaikai no kakou
  Listen  
• Maria Luisa
  Listen  
• Pua Lililehua with Ozzie Kotani
  Listen  
• Old Things
  Listen  
• Dont Postpone Joy
  Listen  
• Na Po Makole
  Listen  

Lyrics

• Old Things
• Whole Lotta Nothin'
• Maria Luisa

Video

Stephen Inglis on Pakele Live - Blind With Haste

Photo Gallery

Press

• Island Sounds 10/8/07 [+ Show ]
  

  "Mahina O Wai'alae" by Stephen Inglis; 'Aumakua Records # Genre: Traditional Hawaiian. # Dis...
  "Mahina O Wai'alae" by Stephen Inglis; 'Aumakua Records
  
  # Genre: Traditional Hawaiian.
  
  # Distinguishing notes: Stephen Inglis is a seasoned entertainer and slack-key guitarist who invites his mentor, Ozzie Kotani, in an instrumental-vocal journey through 15 titles, mostly Island classics (with a couple of Inglis originals).
  
  The fare is largely familiar — personal renderings of "No Ke Ano Ahiahi," "E Ku'u Sweet Lei Poina 'Ole," "Pauoa Liko Ka Lehua," "Pua Lililehua," "Ka Makani Ka'ili Aloha," "Palolo," "E Nihi Ka Hele," "Kaimana Hila." It's like a best-of-Hawai'i assembly, some with lyrics, others with the nostalgic burst of ki ho'alu.
  
  Inglis' title song, composed for his wife, Christa, is a sentimental newbie; his other original, "Pomaika'i No Kakou," captures the spirit of yesteryear in lyrics (English and Hawaiian) and in melody. To discover more about the artist and to examine lyrics (not on the CD), go to http://myspace.com/stepheninglis or www.stepheninglis.com.

• City Wise 10/13/07 [+ Show ]
  

  Stephen Inglis’ love letter to his homeland is song after song of tranquil slack key compositions—mo...Stephen Inglis’ love letter to his homeland is song after song of tranquil slack key compositions—most of them traditional, some of them original—that belong on the shelf with the best of them. The title track, “Mahina O Wai‘alae” is gentle and moving—a chicken-skin homage that sets the tone for the album.
  
  

• Island Sounds by Wayne Harada [+ Show ]
  

  "DRIFTWOOD" BY STEVE INGLIS; LOCOMOTIVE MUSIC # Genre: Acoustic folk-rock vocals, with slack-ke... "DRIFTWOOD" BY STEVE INGLIS; LOCOMOTIVE MUSIC
  
  # Genre: Acoustic folk-rock vocals, with slack-key.
  
  # Distinguishing notes: Steve Inglis has the spirit of a folkie, who imposes his guitar and gentle voice onto originals and borrowed Island faves. Result: a contemporary reflection of life then and now, of people and places. "Palolo in the Moonlight" is typical of his style — soothing, nostalgic and romantic, reacting to the beauty that is Hawai'i. The song could be his breakout cut. "Makiki Rain," is similarly introspective. He delivers the Lili'uokalani classic "Ahe Lau Makani" with exquisite eloquence. Inglis is comfy and agile with Hawaiian lyrics, too, on tracks like "Sanoe" and "Ipo Lei Manu." And he makes a smart move, getting help from guitarist Makana, who performs on ki ho'alu, and Pierre Grill, who not only plays bass but provided the studio for the session.
  
  # The outlook: Inglis' second CD establishes him as a serious contender; his material and stylish performances rank with the best.
  
  # Our take: Inglis joins the prolific, caring new breed of singers-composers.
  
  •
  

• Whisperinandhollerin.com [+ Show ]
  

  Fringes of the Wayside Label: LocoMotive Music Genre: Folk Release Date: 2004 Catalogue No: WT...
  Fringes of the Wayside
  Label: LocoMotive Music
  Genre: Folk
  Release Date: 2004
  Catalogue No: WTWCD001
  
  Our Rating:
  There's a feeling one gets, especially if you were raised in the '70s, when an old James Taylor song is played on the radio. Although completely unacceptable in the hip pockets of the globe, Taylor was a true craftsman and a virtually flawless storyteller. And if there's an artist that singer/songwriter Stephen Inglis recalls, it's none other than Mr. Taylor himself.
  
  Inglis has crafted an album of laidback, comforting acoustic pop that soothes the temples, relaxes the heart, and makes you want to breathe in the spring air. In the rat race of modern society, that's actually not an easy task, but Inglis' pleasing vocals, clear lyrics, and skilled, dramatic guitar playing are soaked in good vibrations.
  
  There's a country flavor in Inglis' folk preferences, especially noted in "Dusty Road" and the heartbreakingly pretty "Blues for Tonight." More than that, there's a cinematic quality to many of these tunes. The wind-swept "Stranded" and the image-evoking "Something About October" should be on movie soundtracks.
  
  The record is spare in its instrumentation but filled to the rim with naked emotion. Whatever your taste in music, it's hard not to be moved by such songs as "Mele for Makana" and "Swingset 'Neath the Stars," a loving recollection of childhood.
  
  Author: Adam Harrington

• Reviewcentre.com [+ Show ]
  

  Review of Stephen Inglis' Fringes of the Wayside By Barry Andrews From Manchester, England on ...
  Review of Stephen Inglis' Fringes of the Wayside
  By Barry Andrews
  
  From Manchester, England on 17th May 2005
  
  User Ratings
  Other Artists Listened To: Jack Johnson, John Mayer, Bob Dylan
  Value for money: 10/10
  Overall rating: 10/10
  Recommended: Yes
  
  Good Points:
  A poet's ear for narrative, hypnotic guitar plucking, emotionally stirring songs.
  
  Bad Points:
  
  General Comments:
  When singer/songwriter Stephen Inglis (http://www.steveinglis.com) relates his stories, you are compelled to listen. Give credit to his delicate, heartwarming vocal delivery (if his vocals on "Mele for Makana" do not touch you, you must have the heart of an iceberg), but the masterful plucking of his guitar. "Fringes of the Wayside" presents some of the most hypnotic handling of the acoustic guitar you'll hear this year; even without his thoughtful words his fingers express a myriad of emotions through their command of the strings.
  
  Who is this man?
  
  Inglis is an artist that should be on your Must Purchase Now list with this impeccable release. "Swingset 'Neath the Stars" will bring back memories of innocent youthful days long gone by while "Cold City Rain" is made for London winter weather. I receive hundreds of CD's throughout the year, but very few of them are perfect for cuddling with the wife. I have to thank Mr. Inglis for recording an album that my wife and I can appreciate together, absorbing its textures and tales told.

• Ink 19 [+ Show ]
  

  Stephen Inglis Fringes of the Wayside LocoMotive Music Familiarity with the singer/songwriter...
  Stephen Inglis
  Fringes of the Wayside
  LocoMotive Music
  
  Familiarity with the singer/songwriter genre can be both pleasant and painful. On one hand, it's hard to find something original, given the limitations of the solo-act style, especially when an acoustic guitar is being employed. However, when somebody arrives who is unique, it can be a celebratory occasion. This is one of those times. By mixing folk, country and blues, Stephen Inglis is expanding the boundaries - or at least the perceived restrictions - of the singer/songwriter genre. You can hear all three drifting in and out of his songs effortlessly, without calling attention to themselves. In fact, it's frightening how easily he accomplishes the feat; you quickly realize that these styles belong together.
  
  That Inglis is incorporating country into his acoustic pop is a brave and refreshing accomplishment, given that so many of his peers are opting for a John Mayer approach, leaning towards the alternative side of the fence. Not Inglis. There's a purity to his work that is intoxicating and uplifting. Stainless songwriting and a genuinely good-natured personality let the tunes come alive. They may seem too slow for some, but that says more about the short attention span of today's listeners than anything else. Inglis gives his songs time to unfold, and they're thoroughly fulfilling. This is an album that deserves to be played from beginning to end without interruption.
  
  Stephen Inglis: www.stepheninglis.com
  
  Kyrby Raine

• Smother.net Editor's Pick [+ Show ]
  

  Stephen’s take on the traditional singer/songwriter is a refreshing one. His voice is smooth and h...
  Stephen’s take on the traditional singer/songwriter is a refreshing one. His voice is smooth and honest as he weaves tales that anyone could relate to without sounding wishy-washy. I love how the recording picks up the metal sounds of the acoustic guitar’s string as he moves up and down the fret board. While it might not seem overtly complex in structure its wanton use of creative note plucking and the light filler instrumentation in the background gives it a porch rockin’ vibe. This is a musician that you’ll never mind paying a cover to hear.
  
  - J-Sin

• Coming Home [+ Show ]
  

  July 15, 2004 Coming Home: An island guitarist with a debut CD offers lyrics of wanderlust an...
  July 15, 2004
  
  Coming Home: An island guitarist with a debut CD
  offers lyrics of wanderlust
  and flavors of home
  
  By Gary C.W. Chun, gchun@starbulletin.com
  
  It took a move to the East Bay of California for local musician Steve Inglis to allow his muse to go full flow.
  
  "A lot of the songs came during a hot period for writing last summer," he said earlier this week from his Berkeley home. "I went into the studio in October to record them." The former guitarist for popular bands Red Session and Palolo Jones hadn't been in a group situation there for some months, so he was working on his chops, "exploring open tunings and playing more acoustic guitar."
  
  Inglis will premiere his debut CD, "Fringes of the Wayside," with accompaniment by percussionist Petro Bass and local bassist Lono Ka'umeheiwa, and special guests/friends Mary's Meltdown tomorrow night at Hard Rock Cafe. (Inglis is keeping his fingers crossed that the CD will be ready for sale at the gig, but it will be available at his Web site at steveinglis.com, as well as the indie music site cdbaby.com.)
  
  "Going to Northern California marked a big change," he said. "Me and my wife moved here at the end of '02. I ended up joining a band for a few months but then left to woodshed on my own, with the intent of exploring something new. ... Some of the songs have matured more; others were literally 2-3 weeks old. I've written a bunch of songs since then, and my playing is more finger-style since I'm no longer in a band."
  
  An advance listen to five of the tracks from Inglis' album reveals a confident musical vision. It's a pleasant selection of songs with a Hawaiian-folk flavor, with lyrics filled with colorful images of wanderlust. Songs like "Blues for Tonight" and "Something About October" even have a sound reminiscent of the first Olomana album from back in the day.
  
  "I've been writing metaphorically, more than straightforward songs. Bob Dylan has a been a big influence, plus Neil Young and Richard Thompson."
  
  Inglis comes from a musical family, the middle of three children. "I liked music as a real little kid, so I started playing piano at age 5. I was taught using the Suzuki method by Kenneth Ishida, who used to have a studio at Kalakaua and King. I actually remember playing with Dr. Suzuki at age 6 at Orvis Auditorium. It was a recital devoted to students of his method, and Dr. Suzuki was visiting, so we played a piano-violin duet.
  
  "I remember being so nervous that I bowed with my back to the audience."
  
  After he stopped playing the piano about three years later, Inglis spent some years as a member of the Honolulu Boy Choir. At 14 he broke away to learn rock guitar. He admits that he's "still into Hendrix, Led Zeppelin and Pink Floyd," thanks, in part, to his older drumming brother, Daniel; they shared a time in Palolo Jones.
  
  Before Palolo Jones, Inglis played with reggae ska band Red Session during 1993-95. When he opted not to join the band when they moved to the Golden State, Inglis split his time between Palolo Jones and Grateful Dead drummer Bill Kreutzmann's House of Spirits, located on Kauai. "But the local scene had gotten a little stale for me, and I wanted to see what else was out there and explore a little more," he said.
  
  The product of that exploration will be heard tomorrow night at Hard Rock.

• Method Man [+ Show ]
  

  July 14, 2004 Method Man: Suzuki prodigy Stephen Inglis releases his debut CD By Jamie Winpe...
  July 14, 2004
  
  Method Man: Suzuki prodigy Stephen Inglis releases his debut CD
  
  By Jamie Winpenny
  
  Just 28, Honolulu guitarist Stephen Inglis has already played with Grateful Dead drummer Bill Kreutzman, worked at one of San Franciscio's top commercial recording studios and this week he sees the release of his debut solo CD.
  
  He's been at it since he was 5 years old, when he made his first public performance on piano with Shinichi Suzuki at Orvis Auditorium at the University of Hawai'i music department. Whether it's under the monkeypod tree canopy of the Inglis family's Palolo home or under the stage lights, Inglis has been captivating audiences since, well, his hanabata days.
  
  He began studying music under the Suzuki Method, the educational theory that focuses on hearing and pitch rather than on traditional staff reading. He still uses that method today, says Inglis.
  
  His first gig as a professional was picking up the bass for local act Red Session. Although he's a guitar player, the band members were so confident in his musical ability that they bought him a bass.
  
  After a one-year stint with the ska outfit, Inglis broke off to form the jam band Pablo Jones with his brother Daniel and childhood friend Chad Pact.
  
  With a repertoire that leaned toward noodling, meandering Grateful Dead songs and a handful of likeminded originals, the Joneses developed a large and loyal following at Anna Bannana's. It was an ideal situation for Inglis to hone his skills as a phenomenal lead guitarist, and to improve his singing.
  
  Inglis's playing became eerily similar to that of Grateful Dead guitarist Jerry Garcia, as did his appearance. He wore glasses and black t-shirts: he got girthy and smoked cigarettes like a fiend. Soon, however, his playing began to exceed the expectations of his audience, and crowds grew as word of the Pablo Jones prodigy spread.
  
  When the hand took an indefinite hiatus. Inglis hooked up with Honolulu journeyman Eric Petersen to form Reign Cheq'd. Sharing the spotlight with Petersen, the guitarist's abilities as a rhythm player blossomed.
  
  Possibly because of his Suzuki Method background, Inglis was able to incorporate a variety of styles into his playing. His songwriting continued to mature.
  
  Then came his "big break" - in the form of every Deadheads fantasy since the Acid Tests of the 1960s. Grateful Dead drummer - and Kaua'i resident - Kreutzman asked Inglis to front his band House of the Spirits. To Inglis's family and friends, it was a matter of destiny manifested. He was onstage with a member of the hand that he had emulated for so long.
  
  But Inglis had talent and aspirations beyond being an itinerant Jerry
  Garcia impersonator. After marrying his sweetheart Christa two years ago, the couple moved to Berkeley to explore musical opportunities beyond these shores.
  
  Beyond Jerry
  
  "It has been such a learning experience." says Inglis. "I've always just had to show up with my guitar and play gigs. I knew nothing about booking or promotion, about what it takes to a working professional. Basically. I've learned that you have to bust your ass."
  
  Gone is his music-biz naivete. He has worked with people from Bill Graham Presents on the promotional and marketing aspect of his career and he recorded his debut solo acoustic album, Fringes of the Wayside, at San Francisco's Closer Studios. He used analog equipment to capture the warmth of tone and timbre of voice that is lost in the digital record process now most commonly used in the industry.
  
  "All this time I've been in California, I've really been exploring the acoustic guitar and all sorts of different tunings," says Inglis. "Doing that really opened up my songwriting."
  
  The acoustic album features slack-key sensibilities combined with jazz, folk and bluegrass. His lyrics are laced with metaphor and literalism. Often humorous and ironic, his words are full of imagery and wisdom unexpected from a man in his twenties.
  
  "His talent is so natural, so innate, that he has absolutely no attitude about it whatsoever," says Honolulu singer-songwriter James McCarthy.
  
  Artistic arrival
  
  Because of frequent Honolulu appearances, with Makana and other Hawai'i notables, Inglis' s two-year absence may have escaped notice.
  
  And that's why Friday night's CD release party for Fringes of the Wayside, at Hard Rock Cafe, will be more of an artistic arrival than it will be a personal homecoming.
  
  The show will feature special guests, including opening band Mary's Meltdown. lnglis will be joined onstage by bassist Mykhal Compton and renowned percussionist Petro Bass, who has done tour and studio work with the Four Tops, the Temptations and the late Gregory Hines.
  
  But the night will be all about a young musician who had the courage to strike out on his own. And whatever follows, Inglis's career trajectory appears to have one direction: up.

• Aloha Folk Pop [+ Show ]
  

  Aloha Folk Pop Stephen Inglis plays the kickstand Cafe By Michael Sutton The definition of “gu... Aloha Folk Pop
  Stephen Inglis plays the kickstand Cafe
  By Michael Sutton
  
  The definition of “guitar hero” in the rock and roll dictionary usually doesn’t cover the acoustic side. But there’s an art to playing the acoustic guitar, an it’s a skill that requires subtlety and versatility. Singer/songwriter Stephen Inglis has been receiving rave reviews for his debut album “Fringes of the Wayside” throughout the U.S and U.K. “ I love how the recording picks up the metal sounds of the guitar strings as he moves up and down the fretboard” raves J-Sin at smother.net giving the cd an “editor’s pick” rating. “This is a musician you’ll never mind paying a cover to hear”.
  Now Tacoma music fans will get to hear Inglis’ Hawaiian-inflected folk pop live at the Kickstand cafe Friday, August 12th. Inglis recently took some time during his tour of the Pacific Northwest to talk to the Weekly Volcano.
  WV: When did you learn to play the guitar?
  SI: I began playing guitar at age 14. I’m now 29.
  WV:Who are your musical influences?
  SI: When I was 15, my older brother turned me on to classic rock- Zeppelin, Hendrix, Pink Floyd, The Doors, Cream, etc. Digging up the roots of these bands, I became acquainted with the blues. It was discovering Jerry Garcia and the Grateful dead that really left a mark on my playing.. Probing deeoer again,the American folk and traditional music that the dead drew inspiration became part of my musical landscape as well. Getting to be in a band with Grateful dead drummer Bill Kreutzmann years later was an amazing experience for a deadhead like myself. My horizons were soon broadened, soaking up jazz giants such as John Coltrane, Miles Davis, Charlie Parker, Thelonious Monk and Charles Mingus. Being born and raised in Hawai’i, I’ve soaked up the beautiful music and culture my whole life. Slack key guitar legends such as Gabby Pahinui, Atta Isaacs and Sonny Chillingworth have been huge influences. Since leaving Hawai’i, this has come full circle. My carrer has shifted to solo acoustic performing as I have studied Ki Ho’alu [slack key] more intensely over the last few years.
  WV: When did you begin writing songs and singing?
  SI: I began playing piano at age 5. At age 7 I joined the Honolulu Boy’s choir, which is when I began singing. I remember writing silly songs on the piano as a kid. The first “real” song I wrote was when I was 16. That tune-“Dusty Road” is on my first album.
  WV: How would you describe your music?
  SI: Hawaiian Tinged Modern Folk. I think that covers it pretty well. My next album will definitely step over the tinged line with heavy Hawaiian and slack key presence. Slack key, which is an incredibly rich folk tradition lies at the heart of my sound. The fusion of other traditions such as jazz, blues and country-I believe, make it modern.
  WV: What are your plans for the future?
  My plan is to spread my music and Aloha everywhere I can. I also make a point not only to play slack key, but to also educate my audiences on it’s history and inspire them, thus helping to keep the art form alive. I am very excited to be on tour for the first time this summer in support of my debut album. I will be recording my next album when I’m back from tour this fall. My plan is to strengthen the fanbases I build on this run by doing a follow up tour, shortly after releasing the new album. I’m also shooting for festivals and larger audiences on next year’s calendar.
  WV: Describe your best and worst experiences playing in public
  SI: The best: I have the good fortune of having one of the greatest slack key players alive as a friend and colleague. In 2002, as a member of guitarist Makana’s band, I traveled to Tahiti for a week. Along with TV and radio promo gigs, we played a concert at an outdoor amphitheatre. The crowd was so attentive, you could hear a pin drop. The energy they were beaming up to us pushed us to a peak performance. Several shows when I was in Grateful Dead drummer Bill Kreutzmann’s band, where we were locked into some cosmic improvisation. I’ve had many “interesting” gigs in my life that I call “ character builders”. Nothing stands out as THE worst. Here’s one: I was playing bass in a popular reggae/ska band in Honolulu. We were playing at a Halloween party in a ballroom. We were set up with glass windows behind us. Midway through our set, a fight broke out. I remember trying to play dodging beer bottles. Someone was actually thrown through the glass.
  

Setlist

Set lists vary to suit the performance. Draw from a catalog of originals from all five albums. Non original material includes traditional Hawaiian songs and slack key standards, Bob Dylan, Richard Thompson and many more.

Basic Requirements

Calendar