Phish Launch Weekend Two at Sphere, Tedeschi Trucks Band Honor Dave Mason
Jazz Fest Day One Photos, Gillian Welch and David Rawlings Debut “Truckin’” in New Orleans
Relix Daily
April 24, 2026
April 24, 2026
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Phish’s Sphere residency is a gift that keeps on giving. Last night, the pioneering jam quartet returned to commence the second of three weekends in their second series at the technologically peerless arena, and there can formally be no doubt that they’ll maintain the fervent energy of their first three shows through to the end of the run. Thursday’s performance exceeded expectations again with a heaping helping of titanic jams, matched to more stunning visual effects and specked with a few twists for keen-eared listeners.
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Last night, Tedeschi Trucks Band’s Sun, Sand and Soul Weekend opened on Florida’s Gulf Coast in Miramar Beach. The third annual festival came amid the group’s support for their latest studio endeavor and the resulting set, Future Soul, which was reflected in the evening’s choice of material. As a special feature of the ensemble’s latest performance, they concluded their appearance with a cover of Traffic’s “Feelin’ Alright?” The delivery nodded to Dave Mason, the song’s key contributor, who passed away on Sunday, April 19.
Before there were setlist apps and lot vendors, there was the Fillmore Auditorium and psychedelic poster artists who made San Francisco in the 1960s and 70s look like no place on earth. This collection brings together original vintage concert posters, handbills, and tickets from two promoters that defined the era: Family Dog Productions and Bill Graham Presents.
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Last night, Gillian Welch, David Rawlings and Paul Kowert arrived at the Saenger Performing Arts Theatre in New Orleans for the second-to-last staging of their Acoustic Reckoning Tour, which pays homage to the Grateful Dead’s 1981 double live LP. The trio’s latest appearance included a debut of the Dead’s city-slickin’ “Truckin’,” which worked in two ways: evoking the original group’s Bourbon Street lore and serving as a fitting representation of their own road-fledged journey in support of the Dead’s songbook this spring.
For more than half a century, Bob Weir stood at the center of American music, a founding member of the Grateful Dead whose rhythm guitar work, distinctive baritone, and restless creative spirit helped define one of the most enduring legacies in rock history. This edition of Relix honors an artist who never stopped moving forward. It’s been lovingly crafted for fellow Deadheads, music lovers, collectors and everyone who misses their Bobby.
GALLERY
In 1970, the first official New Orleans Jazz & Heritage Festival drew a modest crowd of 350 people to Congo Square, just outside the French Quarter. Over five decades, the intimate gathering has swelled into a regional phenomenon, attracting nearly half a million attendees during the two-week spring format, which honors the songs, spirit, and distinct Big Easy flair. On Thursday, April 23, the 2026 iteration of the beloved cultural event returned to the Fair Grounds Race Course to rev up another vivacious season in the bayou.
LISTEN
Every Friday, Relix surveys the wealth of new music released over the past seven days and selects standouts for the Relix Staff Picks playlist. Read on for the highlights from this week’s batch, presented by Qobuz: experience the difference with high-quality music streaming and human-curated selections from the platform that puts artists first.
NEWS
Grateful Dead Detail Workingman’s Dead (Rhino High Fidelity): Audiophile Vinyl, Reel-to-Reel, Plus Mickey Hart’s Atmos Remix
As the sun dawned a new day and birthed June 14, 1970, the Grateful Dead were preparing to embark on the next phase of their career. With five years in the bank and a history that leaned more psychedelic and explorative than anything else, change was afoot by way of Workingman’s Dead: a direct lean into the folk-rock ether that subsequently evoked a twang in their capacity to muster humble Americana-focused tales from the timbers of Fennario to the Cumberland mine, while introducing characters like Black Peter, Casey Jones, and Uncle John.
WATCH
Michael Stipe appeared on The Late Show with Stephen Colbert last night. In a rare televised appearance, the iconic singer-songwriter and former R.E.M. frontman reflected on his progress on his long-awaited debut solo album, which he said will arrive by the end of the year, and performed a new song called “The Rest of Ever.”
REVIEW
Bill Callahan works from a distance. Through three decades of writing songs that marry folk’s pastoral candor with indie rock’s taste for obscurity, he’s stood just close enough to shed light on the human condition, but removed enough to cordon off much of his own interiority. Next to his unaffected vocals, arm’s-length poetics have long been a calling card, distilling his deeper meaning into fragmented glances.
FEATURE
“I was in a band called Mixel Pixel for a long time. We did some tours with the likes of Montreal, Man Man and different kinds of indie rock bands. I never liked being on stage though. I preferred being in the merch booth, talking to people after the show and making posters for our band. Then I started making posters for other people’s bands, as well,” remarks artist Rob Corradetti, creator of the psychedelic art brand Killer Acid.
