featured ARTISTS

“Since I joined the Allman brothers band back in 1997 I always heard this phrase over and over again. “The road goes on forever“ Roots Rock revival is how that actually happens. While the road may go on forever I physically cannot. Nor can any of us. At least not in the same body.
But we keep hold of a flame that was given to us. We make sure that that flame does not go out. And then we pass a piece of that very same fire directly to those at our camp.
I have already seen multiple flames from Roots Rock Revival take hold and burn brighter and bigger. We seek to inspire and guide. I can already guess who will be teaching the camp when Luther, myself and many others will be too old. And that’s a pretty amazing feeling.” - OTEIL BURBRIDGE
Two-time Grammy winning bassist Oteil Burbridge has been in the music business touring and recording for over three decades. His first step into the national spotlight came in 1991 when he became a founding member of the Aquarium Rescue Unit featuring Col. Bruce Hampton, a cult classic that has stood the test of time.
That led to his membership in the classic rock group The Allman Brothers Band. Since 1997, his work with the band has earned him two Grammy nominations for best rock instrumental, in 2003 and in 2004.
Over the years, Oteil has shared the stage with rock and blues legends such as Eric Clapton, Carlos Santana, Levon Helm, Taj Mahal, Buddy Guy, Pinetop Perkins, Hubert Sumlin, Billy Gibbons, Chuck Leavell, Bob Weir, Phil Lesh, Johnny Winter, Bonnie Raitt, Sheryl Crow and Trey Anastasio. In 2012, Oteil received a Grammy Lifetime Achievement Award for his 15 year contribution to the Allman Brothers Band as the longest running bassist in the band’s history.
Other production projects over the last decade include the Susanna Hoffs album, “The Deep End” released in 2023; Kate Taylor’s 2021 album, “Why Wait” in 2021; and “Revamped” for Elton John in 2018. The Peter Asher produced album, “Love Has Come For You” with Steve Martin & Edie Brickell began a creative process that resulted in the development of the Broadway Musical “Bright Star”. Peter served as Music Supervisor for “Bright Star”, and among the accolades showered on it were five 2016 Tony nominations and a Grammy nomination in 2017 for the Peter Asher-produced Original Cast recordingPeter has also contributed extensively to the world of film, working with Hans Zimmer on films such as “Rush”, “Man of Steel”, “Sherlock Holmes” and more, writing and performing the love theme from “Madagascar 3” (“Love Always Comes as a Surprise”), and supervising several other scores.
His collaborations with Hans Zimmer also led to him directing Hans’ live concert tour which premiered in London to rave reviews and then stole the show at Coachella 2017, going on to play arenas throughout Europe, the U.S., and more. The show turned the compositions of film music’s unquestioned genius into an astonishing evening on stage with some 80 musicians performing it live in a massive and elaborate production under the direction of Mr Asher.
Peter’s “A Musical Memoir of the 60s and Beyond” multimedia concert events are in their 16th year in 2025. “Memoir” remains a unique creative performance that prompted the New York Times to comment that Mr. Asher “Conjured history in the making, before it was set in stone”, while the Wall Street Journal correctly observed that “Mr. Asher knew everyone who rocked and anyone who mattered”. His radio show on SiriusXM’s the Beatles Channel, “Peter Asher: From Me To You” is a runaway success, with millions of listeners each week, as it nears its 300th episode.
Despite the drive forward, Peter could not ignore the call of a great English institution when he was summoned by Her Majesty the Queen to visit Buckingham Palace. There he was made a Commander of the Most Excellent Order of the British Empire, in an investiture ceremony conducted by Prince William in 2015.

“Has always been more than a music camp. Since Butch Trucks first called Cody and I with the idea of starting a camp as a platform to share and pass on what we have learned and developed with other musicians face to face, hand to hand it immediately began evolving exponentially. For my family, the Trucks family and many others it’s become an annual safe zone music sanctuary where can all regroup, process and blossom together as we jam all day into the last night surrounded by nature that’s healing and nurturing to us all.
RRR has become, as Oteil says, a “Love Bomb” and everyone knows a welcome.” - LUTHER DICKENSON
Nothing runs deeper than family ties. Brothers, sisters, fathers, mothers, sons, and daughters understand one another at the purest level. When families rally around music, they speak this oft-unspoken bond aloud and into existence. After 25 years, twelve albums, five GRAMMY® Award nominations, and sold out shows everywhere, North Mississippi Allstars open up their world once again on their thirteenth album, Set Sail [New West Records],
welcoming other family (by blood and by the road) into the fold. As legend has it, Luther and Cody Dickinson started the band in 1996 as a loose collective of like-minded second-generation musicians who shared a local repertoire and regional style. Over the years, the lineup shifted by design, and each subsequent record offered up a different combination of collaborators. This time around, they mined the talents of Jesse Williams on bass and Lamar Williams, JR. on vocals. During the Allman Betts Band Family Revival, the Dickinsons first linked up with Lamar, son of the Allman Brothers bassist Lamar Williams, Sr., becoming fast friends and collaborators and eventually paving the way for Set Sail.
“The chemistry we have with this lineup is powerful,” observes Luther. “We are all second-generation musicians and share a telepathic, relaxed ease about creating and performing. I believe music is a form of communion with our loved ones and conjuring this vibe with members of musical families can be inspirational. Lamar and I are like-minded. I’ve never had the pleasure of working with a singing partner like Lamar. He has a true-blue quality in his musicality that will pull you in and break your heart. At the same time, Jesse grew up playing music with his brothers and his father—as did we. He plays like a sibling. We recorded the album fresh off the road and captured the energy we had worked up with him. I’m drawn to musical families, regardless of style. Playing with second- or third-generation players allows us an easy unspoken musical dialog. It’s not a big thing; it’s just what we do. We never had to figure out what it means and takes to be a musician. We all inherently know.”
They picked up this wisdom by osmosis. As sons of legendary producer and musician Jim Dickinson, Luther and Cody have been producing records themselves since they were teenagers. Separately, the brothers have produced albums by Samantha Fish, R.L. Boyce, Lucero, Amy Lavere, the Birds of Chicago, Ian Segal, and more. Luther produced two records from Otha Turner, including Everybody Hollerin’ Goat, which was named one of the ten most important blues albums of the nineties. Luther and Cody co-produce North Mississippi Allstars records as the “Dickinson Brothers.”
“We learned an enormous amount from our father,” Luther says, “Cody and I made mistakes, but we’ve always believed in ourselves, and we had to learn for ourselves. Rock ‘n’ roll is self-taught. Each generation has to reinvent itself and shed the skin of the elders. On Set Sail, we feel as if we’ve once again ‘broken the code,’ and know what we want and how to get it.”
Following 2019’s Up and Rolling, which received a GRAMMY® Award nod in the category of “Best Contemporary Blues Album,”Set Sail continues the band’s tradition of creating roots music that displays remarkable variety. Luther and Cody Dickinson dig in with the production and different guitar tones; the record sizzles with hard yet understated groove, grown folk music. Luther’s wide-ranging guitar style features jazz riffs, psychedelic sounds, and soulful slide. Drummer and multi-instrumentalist Cody draws on roots music, rock, jazz, rap, and other styles to create rhythms that propel the band’s sounds and move it forward. Their two aesthetics combine to create the band’s unique style, “Primitive Modernism,” melding the new and the old, traditional, and futuristic, crafted lyrics and improvisational music. Speaking of, the first single and title track “Set Sail Part I” [feat. Lamar Williams, JR.] rides a riff right out of the Southern Delta into the embrace of a horn sectionas the vocal interplay simmers on the line, “The water may rise again, but we shall set sail.”
“‘Set Sail’ really set the tone,” Cody goes on. “It could be taken literally or figuratively. Philosophically, it’s about the way the waters literally do rise. We’re talking about climate change in a literal sense, but it’s also symbolic in a social sense. It won’t be the first time.”
“See The Moon” [feat. Lamar Williams, Jr. & Sharisse Norman] hinges on a head-nodding bass line as Sharisse’s harmonies uplift a downright spellbinding performance from Lamar underlined by Luther’s unpredictable guitar phrasing. The most familial moments on the record happen when Luther’s daughters Lucia and Isla sing together on “Authentic” and “Didn’t We Have A Time,” marking a full circle moment in poetic fashion. Delicate instrumentation wraps around plaintive and powerful lyrics laced with nostalgia on the lullaby-style chorus. “It’s one of my favorite songs,” smiles Cody, who has recently become a father himself. “Hearing my nieces on it was a high point. It was really meaningful, deep, and beautifully sad, but also hopeful.”
Strings and horns give way to the smoky blues of “Never Want To Be Kissed” [feat. William Bell], illuminating yet another side of the sound. Luther notes, “Most of these songs have been floating around in my lyric books, waiting for their time to come. ‘Rabbit Foot’ and ‘Outside’ were inspired by conversations I remember having with Otha Turner and R.L. Burnside. We leaned into our other greatest influences: folk, soul, and psychedelic rock, but everything we play feels like North Mississippi. The recording also benefited from a new creative process I learned from a book, Q on Producing, that Cody sent me. I read about Quincy Jones’s philosophy of never recording a vocalist reading a lyric sheet. Up and Rolling was recorded with the band in the room. The genesis of Set Sail was the nylon string guitar and the vocals, and letting the memorized lyrics shape the song structure or lack thereof. This led to a whole new phonetics-based editing process that I’d never used before. Some of the lyrics were improvised and created on the mic, capturing the moment of creation.”
Building the songs from the guitar and BPM on Set Sail enabled Luther and Cody to experiment with their drum and guitar sounds in a leisurely way they hadn’t afforded themselves since their debut album, Shake Hands with Shorty (2000). In the studio, Cody mixed the songs again and again, working tirelessly but never losing perspective. Cody’s grooves and Luther’s songwriting furnish the album’s foundations.
Luther admits, “Recently, I had my mind blown by Rick Rubin saying that fitting lyrics into the puzzle of structure can compromise the message. Indeed, rules are made to be broken. I’m glad these songs came to fruition at this time because I was able to express my stance on life and love. The fear of having my children grown up and asking me why I didn’t speak up for what I believed in has driven me and helped mature my songwriting and solidify my stance. Having kids made me get my story straight.”
The Dickinson brothers have recorded and toured with Mavis Staples, Charlie Musslewhite, John Hiatt, Robert Plant and Patty Griffin, G Love, Jon Spencer, the Tedeschi Trucks Band, Los Lobos, and the Black Crowes. Meanwhile, their seminal debut, Shake hands with Shorty (2000), earned the band the first of five GRAMMY® nominations, and changed the Dickinson brothers’ lives forever.
Luther adds, “Quincy says, ‘Music gives back what you put into it.’ We have dedicated our lives to music, and it’s given us a fantastic journey that’s still only beginning.
In 1997, R.L. Burnside hired me and took me on the road. R.L., Kenny Brown, and Cedric Burnside taught me how to tour nationally after years of touring locally. The Shake Hands with Shorty tour in 2000 took Cody and I around the world and changed our lives. We never really slowed down.”
They forge ahead always as a family, first and foremost. “North Mississippi Allstars means family,” Cody concludes. “I get the joy of working with my brother. Our families keep growing too. There’s a sense of history. The older I get, the more I realize how important it is to record this music, so younger kids can hear it. I just want to make sure we pass it on. It’s a huge honor to be a part of this tradition.”

“I come from a musical family, and every year at Roots Rock Revival that family grows. This week is about more than teaching and playing music, it’s about finding your people and making your heart bigger.” - VAYLOR TRUCKS
“Roots Rock Revival, to me, is more than a camp—it’s a living, breathing community built on connection, mentorship, and the passing down of musical intention. It’s also deeply personal, because it’s one of the strongest ways I feel connected to my father. His vision and heart are woven into every note played there, and being part of that legacy has shaped not only who I am as a musician, but who I am as a person. It’s a place where musicians and music lovers come together to share connection, where the roots of the music run deep, and where I’m constantly reminded that music is about listening, growing, and honoring those who came before us while finding your own voice within it.” - MELODY TRUCKS
Vaylor and Melody Trucks, each with their own projects, are coming together to play their family's music, the music of The Allman Brothers Band. Joining them is Eric Sanders (Col. Bruce Hampton's Fiji Mariners).

Surrounded by a familial community of noteworthy talent, bassist Berry Duane Oakley developed his deeply ingrained love for music. As the son of The Allman Brothers Band’s founding bass player, the late Berry Oakley, and with stepfather Chuck Negron (Three Dog Night), Oakley’s musical calling seemed preordained. He first met Devon Allman and Duane Betts, as a teenager, during The Allman Brothers Band’s 1989 Dreams tour. Often Oakley sat-in with the Rock and Roll Hall of Famers, laying the foundation for his prolific and successful career now entering its fourth decade.
In 1991, he toured with his godfather, Robby Krieger, then with Bloodline- in a lineup including Waylon Krieger and Joe Bonamassa. Bloodline’s self-titled debut launched a Top 20 single, leading to national TV appearances and support sets for Bob Dylan and B.B. King, among others. In 1996, Oakley teamedfor the first time with Betts for the Oakley Krieger Band.
In 2000, he joined Blue Floyd, the supergroup brainchild of Gov’t Mule’s bassist, the late Allen Woody. Additionally, Oakley served a stint with Betts, again, in Backbone69, and for 11 years with Negron in CNB. In 2015 he founded Butch Trucks & the Freight Train Band with the legendary, now deceased,Allman Brothers Band drummer.
Gathering annually in the Catskills, Oakley is also a recurring presence at Roots Rock Revival camp, performing with prominent players such as Oteil Burbridge and North Mississippi Allstars’ Luther & Cody Dickinson. At home in Sarasota, Florida, Oakley leads his Indigenous Suspects, including members of The Dickey Betts Band.

“Being part of the Roots community is always inspiring. The atmosphere is a constant calling to grow into your best musical expression. It is a family of teachers and students committed to the joy of creativity and it’s always an honor to be there with everybody!” — Amy Helm
Amy Helm has quietly become one of the most treasured multi-generational live musicians and best kept secrets as a singer, songwriter and performer. Her critically acclaimed album, Silver City (Sun Records, 2024), draws inspiration from varied stories of womanhood in all of its complexities: a young fan struggling with substance abuse, a rural ancestor who was married off, a teen reeling from her first heartache and Helm’s own life as a single mother and hard-touring singer. The songs blend the folk twang of Helm’s childhood with gospel and soul.
Amy carries a storied “musician’s musician” reputation. The grammy-award-winning producer and daughter of Levon Helm has an extensive musical pedigree. Amy embodies an authentic live musical tradition in her solo work and with the Helm Family Midnight Ramble, which carries on her father’s legacy.

Nikki Glaspie is many things to many people, not least of which being among the premier drummers in music today. She has touched countless lives, laying down the groove for us to live our lives. Glaspie has played behind and alongside musical luminaries amid an array of genres, cities and scenes. As a founding member of The Nth Power, she continues blazing a path of light behind the kit, leaving a trail of fire behind her, and rolling waves of love in her wake. Nikki is already a living legend, and her name rings out among an impressive array of collaborators, calling to all corners of the globe.
Though born Fredericksburg, Virginia, Glaspie split time between Montgomery County, Maryland and Raleigh, North Carolina in her formative years. Her family were Black, Southern ministers, and Nikki Glaspie, who first hit the skins as a toddler, found her first groove at eight years old, holding down the rhythm in her church. It was evident from early on that she would not be a traditional Southern belle. She joined the choir band alongside her mother, who played keyboards, and they bonded in a shared love of music and God. It was in the church as a youth that Nikki found her calling on the drums, as well as solidified her lifelong relationship with God.
“I started playing drums when I was two years old. I started getting paid for playing drums when I was 15. I was the full time drummer for my church when I was about eight or nine. Then we moved from Maryland to North Carolina when I started my first year of high school. I then realized, it was time to get paid, because I had been playing in church for free for years.”
Around the age of fifteen, Nikki’s father started introducing her to secular music. His tastes and selections ran the gamut, as she experienced everything from Van Halen, The Gap Band, The O’Jays, Rage Against the Machine, Hall and Oates, and so many points between. Glaspie’s dad thought that since Nikki had been drumming since two years old, he would expose her to a new world of music and cultures, and see where she might take it from there. Predictably, she immediately fell in love, her mind officially blown. However, her paradigm would shift most dramatically after graduating from high school; in 2001 she then relocated to Boston to attend the prestigious Berklee College of Music. In the Beantown environs flush in virtuoso and metropolitan vibrations, Glaspie expanded her horizons even further, delving deep into the realms of funk, fusion, and jazz. The stage was set for her education, entertainment, and evolution. Berklee provided an embarrassment of riches for the wide-eyed Glaspie, who did her best to sponge up all the experience, perspective, and knowledge that surrounded her. She took private drum lessons from Francisco Mela, studied with the likes of Kenwood Dennard and David “Fuze” Fiuczynski, was exposed to long time heroes Dennis Chambers and Horacio “El Negro” Hernandez. Yet Nikki credits the conductor of the hip-hop ensemble, and founder of the Jazz Hip Hop Orchestra, Angelamia Bachemin, as the most influential instructor during her time at Berklee, and in her life as a whole. Nikki refers to Bachemin as a mother figure, and says that she taught her more about life, inside the music and out, than anything or anybody else.
“Angelamia gave me the practical tools to be able to gig and make a living for myself in that way. She broke it down for me: you got a gig to play? How do you get there? How do you get paid? What do you need at the gig? You gotta take a rug so the kick drum doesn’t slide, because you don’t know what kind of floor you’ll be playing on! She taught me a lot of things teachers don’t even think about.”
While the long-lauded Berklee gave Nikki a firm foundation, traditionally, academically and thematically, Glaspie credits the frequent gigging at the legendary Wally’s Jazz Café in Boston as an enormous and fortuitous factor in her musical education. It was at Wally’s that Nikki connected with a variety of players in a series of pseudo-student/teacher relationships. The scene on any given weeknight resembled what many of today’s jam-band super-jams aspire to. A smattering of young, inspired players would come together in a wide variety of combos, and team up with a teacher or two from Berklee, or a well known local virtuoso. The results would be staggering, spiritualized sets of music that would propel the careers of many of today’s heaviest hitters in the jazz and jam spheres. With it’s Uptown at the Apollo vibe and a “sink or swim” culture, Nikki was called to bring her best drumming and listening, and her most daring ideas to the jam, In doing so, she proved to herself that she could hang with the baddest cats in the game.
“I used to go to Wally’s Jazz Cafe, and that’s pretty much where everything started for me and for a lot of people. I started in there when i was 18 years old. Charles Haynes was there playing drums, Mark Kelley playing bass, Davy Nathan was playing keys, Jeff Lockhart was on guitar…there were several different bands. The first night that I went down there was a Thursday night, that was Francisco Mela’s night, that was an Afro-Cuban gig. I started playing every Sunday, and when Mark Kelley left, I took over Tuesdays and Wednesdays. That’s pretty much where I learned everything.”
Glaspie spent her collegiate years geeking out to the styles, patterns and approaches of a melange of accomplished drummers. She studied the likes of Dennis Chambers and Horacio Hernandez, the grooves of early Doobie Powell, the punked-up bombast of Dave Grohl, and the minimalist, snapping hip-hop beats of Ahmir “Questlove” Thompson. Glaspie burrowed through seminal records from all arenas of the art, mining influence and perspective from Hezekiah Walker, Fred Hammond, and James “J Dilla” Yancey. One of the most influential people in her life would be Maurice White (Earth Wind & Fire) He is her hero and aspires to be just like him when she grows up.
While living, schooling and gigging in Boston, Nikki Glaspie shared the stage with a variety of diverse and accomplished artists spanning several generations and genres; the likes of which include Andre Ward, State Radio, Cee-Lo Greene, Pharoah Monch, Me’Shell N’dege Ocello, Vernon Reid (Living Colour), Brenda Russell, Greg Phillinganes (Micheal Jackson), among others. Glaspie relished her role of leading the music forward, of setting the pace and the movement of groove.
“Angeliamia taught me that being a drummer means that I’m the driver of the bus. I’m the leader of the band. I lead them, they can’t go anywhere without me. I love being in the drivers seat. That’s where I live.”
Shortly after finishing school, Glaspie hooked up with another Berklee alumni, Sam Kininger, then-saxophonist of Lettuce and Soulive, who led his own funk-jam band. Nikki teamed with bassist Aaron Bellamy, Guitarist Mike Feingold and keyboardist Amy Bowles Bellamy an this mighty band made the festival and club circuit rounds. From this seat Glaspie left her first striking impressions on the newly fertile jam band scene. Meanwhile, she co-produced Adam Joseph’s R & B debut How I Seem to Be. Glaspie also scored her first endorsement, a cymbal deal with the renowned Zildjian.
The fuse was lit, and Nikki’s burgeoning career was launched skyward. R&B/rock rebel-soul guitarist Martin Luther scooped up Glaspie, in a trio with Arron Bellamy, they toured Europe and beyond. Luther came back from tour inspired, and they recorded a smoking engagement in Manhattan’s Lower East Side, the live record Martin Luther Live at Arlene’s Grocery. Glaspie was again gigging for Kininger when she manifested a game changing opportunity, in the form of an audition for Beyonce Knowles’ brand new, all female touring ensemble.
“I wasn’t even considering going to the audition. I had just moved to New York 6 months prior. I was trying to establish myself, but I was still going to Boston to play weddings and other gigs just to pay my bills. The audition came up on a Monday – I had a gig with Sam [Kininger] in Nantucket. I had 50 bucks in my pocket and said to myself, “What am I gonna do?” Which lead me to staying in New York for the audition. I didn’t hear anything until the following Friday. They congratulated me and asked me back, so I auditioned again on Saturday – this is after hours and hours of playing and sitting and waiting and playing- it was all of this for probably 8 hours each day that week. Finally, at the end of the day they told us, “You ten have been selected to be in the band.” And that was the beginning of Beyonce First ever all female band.
From there began a whirlwind few years for Glaspie as a drummer for SUGA MAMA, the collection of femm-fatales that rolled on tour with the now-ubiquitous celebrity Beyonce. Glaspie again had to study and adapt to new styles and a simpler, restrained role in the band. Playing alongside percussionist Marcie Chapa and set player Kim Thompson (the latter with whom Nikki appeared on the cover of the February 2007 Modern Drummer Magazine), Glaspie toured the world with one of the biggest entertainment stars of this generation. Her schedule took her from Saudi Arabia to the White House; she experienced the music business from a perch that few ever get to see. Glaspie played every major network morning show or nighttime talk show, recorded on the platinum album 4, and spent the better part of five years as part of the singer’s meteoric rise to fame. From Beyonce, Nikki learned about persistence, professionalism, perfectionism, and pride in yourself and your work.
“I definitely had a great school with Beyoncé, because it’s a well-oiled machine, a major production. I paid attention to every single little thing that happened around me. You pick up little gems, ‘Oh, this is how it’s done.”
On the heels of SUGA MAMA shape-shifting her career arc and life, Nikki Glaspie then hooked up with a legend of a different kind, no less potent or influential. Ivan Neville of the storied Neville Brothers family tree welcomed Nikki into the womb and the world of New Orleans funk music, and Glaspie dove in head first with aplomb. Soon thereafter, she joined Neville’s rumbling NOLA funk syndicate Dumpstaphunk, and connected muscularly with the band’s double bass attack of Nick Daniels III and Tony Hall. Glaspie took no prisoners from this drum spot, propelling Dumpsta into the top tier of touring funk bands on the festival circuit, including high-profile slots at Bonnaroo, Voodoo Music Experience, High Sierra Music Festival, Outside Lands, and more. Glaspie was also in the studio with Dumpstaphunk when they recorded their second full-length LP Dirty Word, and her fingerprints are all over the bulbous grooves that populate that release. Dumpstaphunk were invited to open for Lionel Ritchie at a coast-to-coast series of shows to promote the record.
Through Dumpstaphunk, Nikki’s reputation as a funk machine began to follow her wherever she laid down a greasy groove. In a serendipitous twist of fate, Glaspie was asked to fill in for Adam Deitch, playing two sets with Lettuce at Bear Creek 2014. The celebrated funk festival was also site of another classic Glaspie sit-in, with five-time Grammy Award-winning jazz champions Snarky Puppy. Nikki has been fortunate to play frequently at the New Orleans Jazz and Heritage Festival, both at the Fairgrounds and in the clubs well into the night. Glaspie has shared the stage with Soulive, Karl Denson, G Love & the Special Sauce, Melvin Sparks, Russell Baptiste, The North Mississippi All Stars, Big Sam’s Funky Nation, George Porter, and countless others. It was a late night, Jazz Fest, Maple Leaf gig in 2012 that would connect her with what has become her passion project and life’s work, The Nth Power.
“We want to spread love all over the place and we do that through music. We believe in the healing power of music and love. We believe in the power of love. That’s what we do. That’s what we’re doing and that’s what excites me.”
Nikki Glaspie departed Dumpstaphunk in the summer of 2014 to focus on The Nth Power full time. The public praise, and rabid responses to an independently released 2013 EP Basic Minimum Skills Test told Glaspie what she already knew inside; that she was on to something special with this band, with this music, with this feeling, inside this LOVE. The collective, which includes Nate Edgar (John Brown’s Body) on bass, Nick Cassarino on guitar and vocals, believes in music as a higher power, tapping into vibrations that are both spiritual and sexy.
Glaspie’s furious gospel chops, her focused hip-hop swagger, her funky stutter steps, and serene R&B grooves are all on display, front and center, within The Nth Power’s mesmerizing gumbo. The band released their proper debut album, Abundance in 2015, and have been relentlessly touring the US in support; their songs of faith and devotion have blessed Bear Creek Music and Arts Festival, Electric Forest, Catskill Chill and North Coast Music Festival. The Nth Power’s music and message has also taken them all the way to Australia, to perform at Caloundra Music Festival, as well as Costa Rica’s The Best Festival and at the Harvest Festival in Midlothian, ON, Canada. The band’s simple-yet potent messages of love are spoken in a language that anyone, on any continent, can easily understand.
“Just in my short experience living life & traveling the world, my eyes have been opened to the world and what it actually is and how dark and dirty and messed up it is, so we’ve taken it upon ourselves to spread the light.”
The future is indeed beyond bright for Nikki Glaspie and her band of troubadours The Nth Power, as more and more people get hip to the magic brew that they are sharing in all four corners of the land. Yet if you ask her for a few words about her career prospects moving forward, she offers this life mantra instead:
“Never take anyone or anything for granted, for it can be taken away in an instant. Take care of each other. We’re all we got.”
Nikki Glaspie is endorsed by Zildjian (cymbals), Vater (drumsticks), Yamaha (drums), and Remo (drum heads) Esp & Lpd guitars.
B.Getz
July 2016

A self-taught blues-rock musician and soulful vocalist, Junior Mack has been playing guitar since 1968. Influenced by countless blues, rock and gospel musicians and singers, he’s combined years of listening and learning into one unique style. Aside from his own band (The Junior Mack Band) and solo efforts, he’s currently the front man for Jaimoe’s Jasssz Band and a founding member of the Grammy Nominated Heritage Blues Orchestra. His style of music has been enthusiastically received by audiences within the United States, Europe and as far away as India. Junior has sat in or worked with numerous artists including The Allman Brothers Band, Warren Haynes, Derek Trucks, The Marshall Tucker Band, Honeyboy Edwards and Cyndi Lauper among others.
His soulful style is rooted in gospel and blues. Among his vocal influences are The Soul Stirrers with Sam Cooke and Paul Foster, The Sensational Nightingales with Reverend Julius Cheeks, and Gregg Allman. Inspiration for his guitar playing developed from artists such as Lightnin’ Hopkins, Duane Allman, Dickey Betts, Jan Akkerman and Wes Montgomery.

SPECIAL GUESTS

FAMED KEYBOARDIST JOHN MEDESKI IS NOT EASILY CONTAINED TO A SINGLE PROJECT OR GENRE; HE IS CREDITED ON OVER 300 WORKS TO DATE, MOST NOTABLY AS ONE THIRD OF THE GROUNDBREAKING TRIO, MEDESKI MARTIN & WOOD.
Equally comfortable behind a Steinway grand piano, Hammond organ or any number of vintage keyboards, Medeski is a highly sought after improviser and band leader whose projects range from work with John Zorn, The Word (Robert Randolph, North Mississippi Allstars), Phil Lesh, Don Was, John Scofield, Coheed & Cambria, Susana Baca, Sean Lennon, Marc Ribot, Irma Thomas, Blind Boys of Alabama, Dirty Dozen Brass Band and many more. Classically trained, Medeski grew up in Ft.Lauderdale, FL where as a teenager he played with Jaco Pastorius before heading north to attend the New England Conservatory. He released his first solo piano record, A Different Time, on Sony’s Okeh Records in 2013, and current projects include a new album in the works with his band MadSkillet (Terrence Higgins, Kirk Joseph, Will Bernard), and HUDSON (a collaboration with Jack DeJohnette, John Scofield & Larry Grenadier), plus a documentary on Medeski Martin & Wood.

Carlton "Santa" Davis is a musician from Jamaica, primarily known for his drumming with bands such as Bob Marley & The Wailers, The Aggrovators, Soul Syndicate and Roots Radics. He has worked with reggae artists such as Jimmy Cliff, Black Uhuru, Burning Spear, Big Youth, The Wailers, Peter Tosh, Andrew Tosh, Wailing Souls, Ini Kamoze, Big Mountain, Michael Rose, and Ziggy Marley.
Davis was born in the Greenwich Farm area of Kingston. He got his "Santa" nickname as a result of a skating accident which left his face swollen and red.[2] At the age of ten he began playing in his local Catholic church marching band, staying with them for the next five years. During his time there he was tutored in the rocksteady beat by Bobby Aitken. At the age of fourteen he joined The Graduates, a nightclub band which also featured Earl "Wire" Lindo (later of The Wailers), Richard Daley (later of Third World, and Earl "Bagga" Walker.
Davis joined his friend George "Fully" Fullwood in the Rhythm Raiders in 1969, the band soon changing name to Soul Syndicate, and was the drummer in Bunny Lee's studio band
The Aggrovators in the 1970s, originating the "flying cymbal" sound. Davis also played in the Roots Radics.
In the 1980s he played on Bob Marley & The Wailers' Uprising and Confrontation albums on "Coming in From The Cold", "Chantdown Babylon" and "Africa Unite" and also in Peter Tosh's band, and was injured during the shooting in which Tosh was murdered.
He later joined Big Mountain.
He has also recorded with many non-reggae major artists such as Isaac Hayes, Carlos Santana, Chaka Khan, Pink, Eddie Griffin, Champa on their debut album and Willie Nelson on his album Countryman in 2005.
At present, Santa is the official drummer for Ziggy Marley.

Born and raised in Port Washington, New York, Adam studied music at University of Miami, and stayed in the city after college working with a who's who of Latin and pop music while cultivating his own projects and immersing himself in the city's musical melting pot.
In 2009 he relocated to Los Angeles where he continues to work with artists from all corners of the musical world. He is currently on tour with Ziggy Marley and can be heard on his last two releases. One that won the grammy for Reggae album of the year, while the follow up album was nominated.

Aba Diop and Jason Hosier’s duo project blends West African sabar rhythms and vocals with jazzy, lyrical guitar melodies in an unexpected emulsion of polyrhythmic fusion.

Aba is a master percussionist, arranger and composer born in Senegal who has played on world stages, festivals and ceremonies with diverse groups and individuals including Yo Yo Ma, John Medeski and Billy Martin, Kehinde Wiley’s Black Rock, and many more.

He met Jason, a seasoned performer from New Jersey, in 2022 when they first bonded over a mutual love of West African music. This unusual collaboration is a conversation between tradition and modernity, between east and west, both acoustic and electric, where the listener is invited into the adventure unfolding in the songs.

Thurtdelic, is a contemporary artist associated with the Parliament-Funkadelic (P-Funk) musical collective. As part of the 3rd Generation Parliament (3GP), Thurtdelic continues the legacy of P-Funk, blending traditional funk rhythms with modern sounds. His recent album, "Thurtdelic," is available on various streaming platforms. Thurtdelic's work exemplifies the enduring influence of P-Funk, introducing its distinctive style to new audiences.

Born « on the Mothership » of Parliament-Funkadelic’s rise to fame in 1978, Garrett Shider came out the womb wailing for the hand-me-down diaper of his parent’s legacy. Son of P-Funk’s guitarist/vocalist Garry Shider, aka Starchild, aka Diaper Man, young Garrett began his life surrounded by his father’s infamous funk band. For decades, his father continued touring as an accompanying frontman with the band, giving Garrett his first shots at recording on « Pumpin’ It Up » and a feature on Red Hot Chili Peppers song « Brothers Cup » when he was just seven years old. The wild antics incumbent of the band’s live performances and cult followings inspired Garrett to follow in his father’s legacy while proving his own original talent and carving a future for young African American guitarists. After four decades by the side of George Clinton and Parliament Funkadelic, Garrett’s father Garry had played P-Funk’s shows all the way up until his passing in 2010, even against doctor’s orders.
Feeling the great absence of his musical partner, George Clinton invited Shider’s son Garrett to join the band in his place in 2011, continuing in his father’s place on guitar and vocals (while ditching the diaper look his casual collection of superhero t-shirts) and penning tracks on the first Funkadelic album release in over 30 years, Firts Ya Gotta Shake the Gate.
While his talents and familiar sound pushed him to the lead the gamut of P-Funk’s tours most months out of the year, Garrett carved out time for writing and recording a solo project. The project would evolve into a legacy project not just by its dedication to his father, but by incorporating three generations of the Shider family, with Garrett’s mother Linda and daughter Bria contributing on vocals, accompanying three generations of the Clinton family as well, including George, his son Trev Lewd, and grandson Trazae. While Garrett’s singing & guitar playing aches with a familiar gravelly haunt, an inherent capability echoing with the legacy of his father, Starchild, Jr.’s fresh material casts him in a class of his own. In his debut album, Hand Me Down Diapers, the artist reveals his own imaginative songwriting style, i.e. “Sugar Rush” is dripping in candy-melted metaphors, while “Hard Pill” is a poignant and sardonic political song that captures the daily frustration and hypocrisy of our nation in this time of its duress. Starchild, Jr.’s last song on his debut album is a dedication to his father, the story of Starchild Sr.’s upbringing and the journey to stardom and fatherhood, and ultimately to his passing of the torch to the younger Shider. Some liken Hand Me Down Diapers to the unearthly vibes of Parliament-Funkadelic’s ninth album Hardcore Jollies released in the year before his birth, 1976. That classic album was « dedicated to guitarists everywhere » and indeed heavily influenced Jr.’s earliest understanding of music and the cultivation of the dream to be a guitarist himself. In a relevant effort , the musician is also aiming to « help young African American kids get back into guitar and [is] working on a web series that features different guitarists that could inspire them. » Garrett’s Regurgitated Youth is « a humorous, satirical album that takes on some social issues while still being good dance music. » On his birthday, May 11, 2019, George Clinton and Parliament Funkadelic accepted a Grammy Lifetime Achievement Award

Michael “Clip” Payne (born William Michael Payne on September 25, 1958 in Detroit, Michigan) is an American musician. He has been a member of the Parliament-Funkadelic collective since 1977. First credited on Parliament’s 1979 release Gloryhallastoopid with “Choir Chours”, he has appeared on over 20 Parliament-Funkadelic collective recordings primarily as a vocalist and keyboardist. Payne, who is sometimes called “The Man in the Box”, typically acts as an on-stage commentator during Parliament-Funkadelic’s live performances.
Payne’s first professional work was the recording of Edwin Starr’s “Twenty-Five Miles” with producer Norman Whitfield. In addition to his work with George Clinton and P-Funk, Payne has performed with DRUGS, Cadillac Heights, The 420 Funk Mob, Stoney Clove Lane, and Cacophonic FM.
Payne founded WEFUNK International in the late 80’s as a vehicle for his solo projects which became WEFUNK AD2k Records and Filmworks in 1999. Currently associated with label are the groups DRUGS, 420 Funk Mob, and Cacophony FM, all of which are led and produced by Payne, as well as Stefanie Keys, Joey Eppard, and Stoney Clove Lane.

Steeln’ Peaches is Florida’s premier tribute to the Allman Brothers Band, celebrating the music of Southern rock’s founding fathers with authenticity, passion, and creativity. Faithfully recreating ABB classics while offering fresh interpretations, this seven-piece ensemble brings the iconic sound into the 21st century.
Featuring members from acclaimed Florida acts like The Groove Orient, and Thomas Wynn & The Believers, Steeln’ Peaches formed through a shared love for the Allman Brothers’ legendary catalog. Founding members Chuck Magid (guitar/vocals), David Vanegas (percussion), and Aaron “Bucky” Buckingham (drums)—veterans of The Groove Orient—laid the groundwork for the band, inspired by Chuck’s fiery guitar work, which even shaped the group’s name.
The band’s evolution accelerated when Chuck teamed up with blues guitar virtuoso Daniel Heitz. Their mutual admiration for ABB classics turned casual jams into a dedicated project. Daniel brought along keyboardist Colin Fei, whose mastery of the Hammond organ channels the spirit of Gregg Allman. Rounding out the lineup are bassist Glenn Kastrinos, a versatile musical force, and drummer Adam Volpe, whose addition completed the band’s rhythm-heavy foundation.
With exceptional talent, dynamic chemistry, and a commitment to honoring the ABB’s expansive jams and virtuosic compositions, Steeln’ Peaches delivers an electrifying live experience that resonates with audiences old and new. This is more than a tribute—it’s a revival of a timeless musical legacy.

JAM HOSTS

Deseree Spinks

Deseree Spinks is a three time Asbury Music Award winning performer, multi instrumentalist and lead singer/songwriter of the band Des & the Swagmatics. Her career began as a backup vocalist in the bands DeSoL and Captain James and the P.A.I.N. before branching out into a solo career. Since then as the leader of the Swagmatics, she has released a self titled EP, a music video produced by WeStar Productions, released a single co-produced by Grammy winner Ebonie Smith and had the opportunity to open for Southside Johnny, perform for Governor Phil Murphy, and be featured in an Emmy winning PBS profile spotlighting Asbury Park. As a solo performer, she has had the honor of a residency in the Borgata and Sugarland casino, and singing with Sister Sparrow and the Dirty Birds, The North Mississippi Allstars, Spin Doctor’s Anthony Krizan, Bernard Purdie and Melody Trucks.
Deseree in her spare time is a vocal and piano instructor and loves spreading her love of music and inspiring young minds
RYAN GREGG

Ryan Gregg is a piano-playing singer, songwriter, composer, producer, music director & bandleader. He has had the pleasure to share the stageon keyswith Eric Lindell, Dana Fuchs, J.T. Bowen, Roosevelt Collier, Oteil Burbridge, The Lee Boys, Scott Sharrard, "Stormin" Norman Seldin, The Ocean Avenue Stompers, The Melody Trucks Band, Soul Project Nola, Uncle Scotchy & Juke, Des & the Swagmatics, Jet Weston & the Atomic Ranch Hands, Matt O'Ree, Arlan Feiles, The Black Flamingos, The Billy Walton Band, and many others. Music Licensed to Comedy Central, PBS, and more. Have written songs for puppets, cartoons, and humans on occasion.
Kevin Stryker

I am a father and professional bassist from Asbury Park NJ and a Roots Rock Revival Alumni from year one!
I perform, write and record with many bands including, Des and The Swagmatics, Alexander Simone and The Whodat!? Live Crew, Geenetica, Joe Stuby & Rockinghorse, The Duel of the Decades, Agular Faimly Band, and more.
When not performing I am a music, art and cooking tutor in adult group homes across monmouth and ocean county NJ.
At Roots you can find me down by the yurt hosting the creek side jam we have been growing each year and I cant wait to see you there!