Logjam Presents

Slightly Stoopid

How I Spent My Summer Vacation 2019 Tour

Matisyahu

Tribal Seeds

Hirie

KettleHouse Amphitheater

Missoula, MT
Add to Calendar 07/11/2019 18:30 07/12/2019 01:00 America/Boise Slightly Stoopid

Logjam Presents is excited to welcome back Slightly Stoopid to KettleHouse Amphitheater for a live concert performance on July 11, 2019. Tickets go on sale Friday, March 1st at 10am The Top Hat, online or by phone at 1 (800) 514-3849. General Admission standing pit tickets, general admission stadium seating/lawn are available. Shuttle and parking tickets for this event are… Continue Reading

Logjam Presents - Missoula, Montana false MM/DD/YYYY
5:30PM (door) 6:30PM (show)
$35-$39.50 (Adv.) + applicable fees
All Ages
Tickets Shuttles / Parking

Logjam Presents is excited to welcome back Slightly Stoopid to KettleHouse Amphitheater for a live concert performance on July 11, 2019.

Tickets go on sale Friday, March 1st at 10am The Top Hat, online or by phone at 1 (800) 514-3849. General Admission standing pit tickets, general admission stadium seating/lawn are available. Shuttle and parking tickets for this event are also available for advance purchase here. All ages are welcome.

General Admission Pit: General admission pit tickets allow access to the standing room only section located directly in front of the stage.

General Admission Seating/Lawn: General Admission Seating/Lawn tickets allow general access to the stadium-style seating and upper lawn area of the amphitheater.

Additional ticketing information and policies can be found here.

All concerts are held rain or shine. Be prepared for extremes such as sunshine, heat, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather, tickets will not be refunded.

About Slightly Stoopid

The Ocean Beach, California-based band formed by multi-instrumentalists Kyle McDonald and Miles Doughty has matured into a versatile musical ensemble consisting of drummer Ryan “Rymo” Moran; percussionist Oguer “OG” Ocon; saxophonist Daniel “Dela” Delacruz; keyboardist Paul Wolstencroft; trumpet and trombone player Andy Geib, and an arsenal of guests that frequent the stage, most notably Karl Denson (Rolling Stones/Greyboy Allstars), Don Carlos, Chali 2na (Jurassic 5) and Rashawn Ross (Dave Matthews Band). The band’s prolific 2017 schedule has included international shows in South America, Australia, England and the Netherlands, in addition to the 30+ national headlining dates that encompassed the band’s annual outdoor amphitheater tour, titled “Sounds Of Summer 2017,” ranking in Pollstar’s Top 100 Global Tours of Summer 2017. In December 2017, the genre-mashing outfit will host its 4th annual Closer To The Sun festival, a four day gathering of music in an intimate “all inclusive” setting for their hardest core fans and favorite hand selected talent, taking place on the sand in Puerto Morelos, Mexico, amidst the spiritual Mayan Peninsula. The Closer To The Sun festival also represents Slightly Stoopid’s philanthropic side, as the event helps to raise funds for the non-profit charity, Positive Legacy.

Additionally, Slightly Stoopid has generously supported the pediatric cancer organizations Grind For Life and the Sheckler Foundation by teaming with the legendary skateboarder Danny Way for a limited edition custom skate deck/CD fundraising project. Also, the 2017 animated video for their recent single “One Bright Day” (featuring singer Angela Hunte), included an “on-line auction” component utilizing limited edition hand-painted canvases used in the video.

The effort helped to provide light to 4 villages associated with the Global Brightlight Foundation, a charitable organization for providing third world villages in need of solar power.

Recently Slightly Stoopid also churned out its second live webcast performance with music legend Bob Weir (Grateful Dead) at his TRI Studios complex, a session that yielded live versions of Grateful Dead’s “Franklin’s Tower” and Prince’s “Purple Rain” (the latter recorded at the respectful request of Weir on the morning that witnessed the legend’s unanticipated passing).

An eclectic band when it comes to musical styles as well as collaborations, Slightly Stoopid, now in their second decade of making music, continues to manufacture an energizing and multifaceted sound that has been described as “a spiritual bath of positive party energy.” Look for new music from the band in 2018..

How I Spent My Summer Vacation 2019 Tour

Matisyahu

Matisyahu at KettleHouse Amphitheater

When Matisyahu first started touring to packed clubs more than eleven years ago, it was prior to the release of Live at Stubbs, the now Gold record, and prior to that record’s single “King without a Crown” reaching #1 on the alternative rock radio charts.  His performances were a raw expression of his spirituality at that time and were supported by musicians who played a foundation of roots reggae augmented by the energy of a rock trio. Fans latched on quickly for a variety of reasons, but in August of 2005, just months after the release of Live at Stubbs, Matisyahu found himself on stage at the Bonnaroo Music and Arts Festival with the de facto leader of improvisational rock-n-roll; Phish’s front man Trey Anastasio.  Many early fans of Matisyahu remember that moment clearly not because of the songs he played in front of the 80,000 person crowd, but because of his seemingly unfettered confidence (or perhaps naiveté) in helping lead Trey and his band through an improvisational display of beat boxing and lyrical gymnastics during the two songs performed.  It may have been unrefined, but Matisyahu’s passion for full band improvisation was laid bare.

Fans within the improvisational-jam scene began flocking to Matisyahu’s shows shortly thereafter.  “King without a Crown” climbed the charts and Matisyahu’s follow up record Youth was nominated for a Grammy, but the blessings and curses of mainstream success each took root. While Matisyahu’s bands have always been comprised of serious multidimensional players who have artfully molded the foundations of roots reggae into many genres, that early; if only a brief display of complete surrender to the music, seemed in some way to take a back seat.  Through his lyrics however, Matisyahu developed a more personal, artistic, and sophisticated way to express the yearning for deep spiritual meaning, and as his own beliefs opened up to find more variety and depth, the desire for his performances to match the unpredictable flow of life developed as well.

Now, more than a decade later, Matisyahu has formed a band that truly gives itself over to the music on par with his lyrical desire to connect to something beyond the self.  The band features original Stubbs guitarist and longtime staple of the downtown New York improv scene Aaron Dugan, Dub Trio bassist and long-time Matisyahu collaborator Stu Brooks, percussionist Joe Tomino and Virtuoso keyboardist Big Yuki .  Combined, the music and lyrics transcend their parts. At its most basic moments the music now feels alive; an entity unto itself, being born in the moment and evolving each night. No two performances of a song are alike.  At its most exultant moments the music becomes full-band improvisation. Lyrics are rearranged on the spot to serve the energy of the jam, no instrumentalist is playing simply to demonstrate individual skill, and Keiper’s percussive mastery finds the subtle cracks within Matisyahu’s beat boxing to propel the music beyond anything it’s ever achieved previously.

What makes this music so engaging and unmatched, is that Matisyahu; a vocalist with no other instrument at his disposal, is an integral creative part in the improvisation. Dugan and Yuki work well beyond the constraints of the “solo” constantly working to modulate the improvisation, while Brook’s pocket is so deep and harmonically smart, that regardless of how far the melodic elements of a jam may get pushed, it’s impossible not to feel rooted to the core of any tune performed.  Matisyahu allows his band to breathe within each tune, finding his place with a wordless melody that serves to enhance the harmonic elements of an improvisation, developing the rhythmic ideas with his beat boxing, or crowning a jam with a full-on lyrical call-to-the-heavens and the great unknown. It’s that cathartic moment as a jam summits and the audience lets out its release that tells the performers we are all in it together. During the most recent Fall 2015 tour, video and audio posts of these moments inspired a steady stream of comments and inquiries asking, “What album is this song on?” It’s not on any album.  It is the song of that moment, and that moment only.

These moments have the ability to connect the many different kinds of Matisyahu fans. The fan going through a hard time, looking to connect to lyrics about faith and searching.  The fan looking for that unmatched connection inherent in the risk-reward of improvisational music. The fan who finds pride or representation in some of the ancient sources of Matisyahu’s inspiration.  All of these fans share the space together with Matisyahu who is now both a player and a playee, bound to his bandmates’ creation in song and in spirit.   It’s been more than a decade for Matisyahu the singer; this is the time of Matisyahu the band.

Tribal Seeds

Tribal Seeds at KettleHouse Amphitheater

From San Diego, California, award-winning reggae group Tribal Seeds have become known for their spiritually driven, refreshing rock vibe they have infused with the roots style of reggae music. Originally started by two brothers, Steven Rene Jacobo (lyrics, vocals, guitar) and Tony-Ray Jacobo (producer). Tribal Seeds now boasts six members, including: Victor Navarro (bass), Ryan Gonzo (guitar, vocals) & Luis Castillo (keys, vocals).

Tribal Seeds’ unmatched musical talent and authentic sound has brought them to the forefront of the reggae rock genre, as their art form has reached people of all ages across the United States, and worldwide. The band’s debut, self titled album “Tribal Seeds” was released in 2008 with their second album “The Harvest” following, June of 2009. iTunes named both albums “Best Of” in the Reggae genre, for their respected years. Their debut album helped garner them the “Best World Music” title at the San Diego Music Awards in 2008, and “The Harvest,” which contained fourteen new and original songs, debuted at the number 5 spot on the Billboard Reggae Charts. The tracks, written and produced by Tribal Seeds, were recorded and mixed by Alan Sanderson at Signature Sound Studios in San Diego, and mastered by Erik Lobson at Universal Mastering.

On July 19, 2011, Tribal Seeds gave listeners a brand new EP entitled “Soundwaves,” which peaked at number 2 on the Billboard Reggae Charts. The band notes that the album was inspired by their life experiences, being on tour, and their desire to inspire youth to raise their voices and seek a higher consciousness.

On May 13, 2014 Tribal Seeds released their highly anticipated fourth album, Representing. The new album debuted at Number 1 on the Billboard Reggae Charts as well as the iTunes & Amazon charts. The new album is sure to not only reaffirm but solidify their pioneering classic blend of Roots and new era Rock-Reggae. The album brings you 12 original recordings and features some of the genres favorite stars: Don Carlos, Mykal Rose, Kyle McDonald (Slightly Stoopid), Vaughn Benjamin (Midnite), New Kingston and the band’s own, Maad T-Ray and lead guitarist Gonzo.

Tribal Seeds have toured throughout the United States, and have also performed in Mexico, Guam & Aruba. They have shared the stage with artists such as Dave Matthews Band, Jack White, Red Hot Chili Peppers, Jane’s Addiction, Skrillex, MGMT, Cee Lo Green, Jason Mraz, Matisyahu, Sublime with Rome, Taking Back Sunday, O.A.R., Pretty Lights, Steel Pulse, The Wailers, Pepper, Collie Buddz, Julian Marley, Stephen Marley, Gregory Isaacs, SOJA, Rebelution, and many more.

Hirie

Hirie at KettleHouse Amphitheater

Hirie­­ — the frontwoman of the exhilarating reggae band HIRIE­­ — grew up a global citizen. Her father worked for the United Nations and she was born in the Philippines, spent years in Italy, before her family settled in Hawaii, which became her spiritual home.

While in Hawaii, Hirie fell in love with reggae music, and took to the culture naturally. On the radio, and in conversation, she would hear the exclamation “iris.” The popular reggae term is derived from a Jamaican patois, and it encompasses warmth and positivity — it’s a greeting, an affectionate term of approval, and a mindset. In these painfully complex times, we could all use some irie in our life.

San Diego’s seven­-piece band HIRIE is ready to offer a global spiritual uplift. Melding the balmy island touches of its singer’s beloved home — as symbolized by its moniker’s first letter, a “H” for “Hawaii,” with that feeling of irie, the award­-winning group offers a soundtrack of hope. Now, with its masterful new album, Wandering Soul, brimming with invigorating female-­fronted shamanistic reggae an oasis of positivity is just an album away.

“Hirie is a lifestyle choice, it’s about healing the body, the mind, and the spirit. Our fans and our band are always saying ‘let’s get HIRIE,’ it’s a way to detach from the painful complexities of the world, and bask in joyous energy,” says the band’s lead singer and sage who has taken the band’s namesake for her own.

HIRIE is poppy and purposeful, harnessing the power of accessible songcraft, social consciousness, world class musicianship, and the disarming and spellbinding qualities of reggae, the band exudes mainstream appeal without diluting its artistic vision. HIRIE is Hirie lead vocals, guitar, uke; Chris Hampton saxophone, flute, melodica, and accordion; Andrew McKee trombone, guitar, didgeridoo, and percussion; Andy Flores bass; Blaine Dillinger lead guitar; and Joey Muraoka on drums.

The mission to spread HIRIE began in 2013, and, since then, the septet has garnered some high watermarks. HIRIE was nominated as San Diego’s Best World Music Award, and its video for the hit “Sensi Boy” has accrued over 545,000 views. The group has received airplay nationally and internationally, with strongholds in Hawaii, Guam, New Zealand, and Tahiti, and in the college market. Its self­-titled album debuted at #4 on the iTunes Reggae chart and rocketed to #9 Billboard Reggae chart. For three years, the group toured tirelessly, building a robust and highly dedicated fanbase. Select live performance highlights, past and present, include nationwide tours with Tribal Seeds, Iration, J Boog, and The Rebelution Tour. In the fall of 2016, HIRIE will tour with Nahko & Medicine for the People.

Onstage, the band is comprised of formidable performers. A collective of virtuosic musicians united in the selfless power of serving the reggae skank. At the center of it all, leading the way to spiritual musical enlightenment, is Hirie. Her signature aesthetic conjures the seductive expressiveness of divas like Mariah Carey and Whitney Houston, the raw emotionality of Lauryn Hill and Tanya Stephens, and the mystic sensuality of Enya. Together, HIRIE put on a polished show complete with choreography that offers big ­production entertainment and big­ heart transcendence.

Hirie’s immersion into the reggae lifestyle came at a young age through growing up in Hawaii, after stints living in the Philippines and Italy. Reggae is the top music in Hawaii, and it was only natural when Hirie emerged a singer­-songwriter she would be vocalizing over skank reggae rhythms. “It’s just how I write music,” she says. At 19, when she moved to San Diego, California she made the leap from open ­mic intimacy to craving the power and majesty of a full band.

In 2013, she issued her debut, but it would take three years of touring to produce the septet’s defining work, thus far, Wandering Soul. True to its title, the album explores spiritual searching, the life-­changing experiences of meeting new people and sharing in the profound emotions that bond music fanatics. The album also celebrates the band’s solidification as a creative powerhouse. Working together nonstop for three years sharpened HIRIE’s chops, group musical interplay, and distinct pop-­reggae vision.

“Living like a gypsy, I began to pose a lot of foundational questions, and being in touch with fans and people on the road enlightened me. So there is this soul searching quality to the music, it’s not religion, it’s just a general feeling of spirituality,” Hirie reveals.

Wandering Soul’s lush construct reflects this depth. The songs feature chord sequences that have a sophisticated, tension and release accessibility. The musicianship is high-­level restraint, showcasing that point of mature virtuosity where laying back implies instrumental prowess. The album’s trippy production — the bulk of it courtesy of Danny Kalb (Beck, Ben Harper, Sia) — replete with adventurous textured passages, heady dub segues, and subtle psychedelic flourishes, make it a rare headphone experience for a pop oriented record.

The album opens with the smoldering and ambitious title track — a sonic journey through heartfelt longing, and heady dub passages. The militant “Renegade” features Nahko Bear of Nahko and Medicine For The People and boasts stately horns, simmering grooves, and call-­to-­arms individuality against the massification of culture. The personal “Melody of a Broken Heart” and “You Won’t Be Alone” shine a light on personal domestic struggles. “I wrote ‘You Won’t Be Alone’ for my daughter with the hopes that she understands my life when she hears me on the radio. I hope she understands how much I love her and how I can be a role model by showing her she can be anything she wants,” Hirie confides. The sleek futuristic electronic textures of “Boom Fire” represents HIRIE’s party vibe and exudes vivaciousness of in the moment HIRIE living.

Reflecting on the power of HIRIE, Hirie shares this story: “I met a fan who was suffering from six tumors. He shared with me ‘Your music is the reason I get out of bed, you’re my medicine.’ That drives me to push this movement forward to share conscious music. I feel a responsibility and a duty to share a positive message.”