Reliving the Magic of Suwannee Amp Jam #1: [Recap/Photos/Videos]

Reliving the Magic of Suwannee Amp Jam #1: [Recap/Photos/Videos]

Standing squarely at the intersection of extraordinary musical junctures, collaboration, fellowship, and renewal is Suwannee Amp Jam #1. Held March 6–8 over three blissful days at the enchanted Spirit Of Suwannee Music Park in Live Oak, Florida, the inaugural Amp Jam was a retrospective triumph that raised vibrations to new heights leaving fans slack-jawed and satiated.

Amp Jam’s unveiling featured SOSMP alumni Gov’t Mule, Dumpstaphunk, Lettuce, Shak Nasti, The New Mastersounds’ frontman Eddie Roberts performing with his side project Eddie Roberts & The Lucky Strokes, and The Legendary JC’s. Supergroup The Daze Between Band starring Grammy award-winning guitarists and SOSMP frequent fliers Jon Scofield and Eric Krasno, who were among an all-star cast on hand to honor New Orleans’ bass and funk luminary George Porter Jr. Recent additions to the SOSMP family included Diggin’ Dirt and Electric Kif and a first-ever appearance by legendary jazz ensemble The Headhunters blessed fans with a multigenerational musical celebration.

The site of countless festivals (big and small) representing numerous genres, SOSMP was once home to the storied iterations of beloved funk extravaganza Bear Creek Music & Arts Festival (2007-2014) and The Allman Brothers Band’s paragon Wanee Music Festival (2005-2018). Over the years, there has been a persistent push by fans to bring back the magic these two large-scale festivals produced. Answering the call was Paul Levine, SOSMP’s patron saint and the man behind Suwannee Hulaween, Purple Hatter’s Ball, and Bear Creek among others. By co-producing Amp Jam under newly formed company Funky Decisions, Levine hoped to recapture the golden days of music at SOSMP where spontaneous collaboration between musicians was matched by their contemporaneous interaction with fans – facets captured by both Wanee and Bear Creek.

“One of the great things about Bear Creek was that there was a very fine line between the audience and the fans — that everybody were friends,” Levine noted in a recent interview with MFN. “And it wasn’t an ego situation. I mean, there was some ego, of course, in that everybody was trying to outdo each other on stage, every guest appearance and every solo was better than the last and so, it was just this energy that just kept rising. By the end of the weekend, everyone was exhausted and blissed out in a special way. That’s what we’re hoping to achieve again.”

This time, instead of multiple stages sprawling across SOSMP’s expansive grounds, the focus would be on one mystical spot –  The Amphitheater Stage. Nestled at the base of a natural hippodrome covered in a canopy of live oak and pine trees dripping with Spanish moss, The Amp Stage has been the site of countless one-of-a-kind collaborations offering fans a more intimate and relaxed experience. Suffice it to say, Levine and his team can take a victory lap for creating a mythlogical experience with Amp Jam #1.

Thursday’s festivities started just as it had begun at Bear Creek in 2009 with Orlando-based funk/jazz/jam trailblazers Shak Nasti doing the honors opening both then and now. For the past several years, medical problems have sidelined members of the band. Despite the toll this may have taken, core members Tim Turner (guitar), Matt Lapham (bass), and Rion Smith (drums) with an assist from guest trombonist Clay Watson of The Legendary JC’s left it all on stage. In a performance that was all heart, the band didn’t miss a beat, delivering a satisfying collection of fan favorites including “Lemon Lime,” “Lisa,” “Mule Kicks,” and a rousing rendition of Frank Zappa’s “Willie The Pimp” with a little help from The Legendary JC’s Chris Bell on harmonica and vocals. Riding a wave of fan enthusiasm, Shak Nasti was proof positive that you can’t keep a good band down.

Next generation funk octet Diggin’ Dirt uncorked a set of unbound rhythms liberated from time’s confines. Channeling the funk of their forebearers, the band torched the stage with their own brand of incendiary funk, jazz, reggae, and soul. Frontman Zach Adler transfixed the crowd with frenetic dance moves and a dirty vocal timbre that could easily be mistaken for James Brown laced with the spirit of soulful reggae legends The Twinkle Brothers. Guitarists Rory Urquhart and Zach Gutierrez  along with bassist John Callahan and drummer Joey Incorvaia laid a flawless foundation of potent rhythms. Saxophonists Aaron Gottesman (tenor) and Tyler Martin (Baritone) truly sealed the deal with standout horns during a set that shot out the gate with “Queen Dub” and did not let up until the poignant and heartfelt rendition of “All Night” dedicated to Zach Adler’s late wife Clare. With Clare’s spirit moving the crowd to dance like there was no tomorrow, the band dug into The Temptation’s “Shaky Ground.”

Diggin’ Dirt at Amp Jam. Video Courtesy of FunkCity.net

The full band (temporarily sans Adler) ran riot with the psychedelic rock banger “Dirtless” before the frontman returned for a slow burn version of band original “Satisfaction” with the whole ensemble lending vocal assistance. A smashing closing came with the indubitably funky James Brown-inspired “J.B.” and a wild jaunt though “Nobody’s Fault But Mine,” the Blind Willie Johnson classic made famous by Led Zeppelin. Honoring both, Adler sang the intro in classic blues style before going full freight train with Zeppelin’s imprint buoyed by Gottesman taking front and center on sax. We were spent.

With Eddie Roberts & The Lucky Strokes up next for an hour-plus performance of old-fashioned, rowdy rock & roll — there was no rest for the weary. Comprised of blues vocalist/guitarist Shelby Kemp and the double-barrelled virtuosity of the Galbraith sisters – Ashley (bass) and Taylor (drums), the band is a labor of love and side project devised by New Mastersounds guitarist and frontman Roberts. While the The New Mastersounds have been a SOSMP mainstay, Eddie Roberts & The Lucky Strokes are becoming park regulars as well and gaining an enthusiastic following in their own right.

The set was a rollicking affair with Roberts blazing guitar chops and ear-to-ear grin revealing a musician in a state of unrestrained creative bliss. Fortified by the bottomless talent of his young bandmates, Roberts traded fiery guitar licks with Kemp while the Galbraith sisters demonstrated why they are one of the jam scene’s most formidable rhythm sections. As a singer, Kemp’s sinewy bluesy vocals puts him squarely in the company of young trailblazers like Marcus King and Christone ‘Kingfish’ Ingram. An uproarious delivery of “No Sugar Tonight/New Mother Nature” got the crowd even more involved than they were with fans practically drowning out the band with a deafening chorus. “These kids have got me playing rock and roll!” a gleeful Roberts proclaimed.

Eddie Roberts & The Lucky Strokes at Amp Jam. Video courtesy of FunkCity.net

The band’s set formed a wall of sound that embraced such roots-rock nuggets as “Stay on Track,” “Whiskey Makes Me Stronger,” and countrified classics such as “A Drop in the Bucket” and George Jones’ “The Race Is On.” Mid-set the Galbraith sisters shared the spotlight for an extended, mind-blowing instrumental interlude that induced goose flesh on every fan within earshot. Things went completely off the rails when Roberts challenged the crowd to match the bands feral energy finishing us off with Black Sabbath’s “Supernaut” and Led Zepplin’s “The Ocean.” Certifiable insanity.

Eddie Roberts & The Lucky Strokes would be a hard act to follow, but the jam world’s newest darlings Eggy rose to the occasion. Having played Suwannee Hulaween twice, the Connecticut-based quartet are no strangers to SOSMP but new to a corner of the scene that harbors the time-honored traditions of funk and soul. For their headlining set, Eggy mined the extended grooves and improvisation that mark them as ones to watch. The band delivered a sweeping, beautiful take on “Searchlight” by John Brown’s Body.  Little Feat’s epic “Time Loves a Hero” was the perfect bridge to “Wayless,” Eggy’s own rootsy original. At one point, Eddie Roberts jumped in for a spirited assisted on Paul McCartney’s “Coming Up.” Bandmates Alex Bailey (drums, vocals), Jake Brownstein (guitar, vocals), Mike Goodman (bass, vocals) and Dani Battat (keys, vocals) were the perfect low-key ending to a momentous day.

Friday dawned with sunshine and balmy weather and the ability to drink in the relaxed congenial atmosphere of the park and Amp Jam’s communal vibes. At high noon, sleepy fans slowly filled the natural bowl of The Amphitheater to witness The Legendary JC’s (Joint Chiefs), an Orlando conglomerate made up of top-notch Florida musicians who have been rocking the Sunshine State and beyond with soulful funk and blues for over two decades. The crowd quickly snapped awake as soon as the first notes were hit. Unstoppable frontman Eugene Snowden led the nine-piece powerhouse made up of Craig Cobb (bass), Anthony Diaz (drums), Anthony Diaz (Hammond B3), Roland Simmons (guitar), Katie Burkess (vocals), Dr. Dave Skey (sax), and Clay Watson (trombone) on a jubilant journey into the choicest dance and soulful blues grooves of yesteryear.

The Legendary JC’s at Amp Jam #1. Video courtesy of FunkCity.net

A man on mission, Snowden, who suffered a stroke a little over a year ago, charged ahead with “Rave Up,” reaching deep for the energy of his younger self. The Bear Creek alumni delivered a flawless performance staying tight through selections that included “Save Me,” “Everything,” and “Memphis.” Burkess’ powerful vocals mesmerized while Simmons guitar was a brilliant voice in its own right. Cobb, Diaz, and Rice formed an unbreakable backbone of rhythm, while the horn section landed a one-two punch more than once. Tears flowed from a grateful Snowden and an equally appreciative crowd for “Hard Times,” culminating with a sing-along for “Put a Little Love in Your Heart.”

Snowden reminded us of the simple truth that it’s good to be alive. 

Diggin’ Dirt appeared for their second set of the weekend without Zach Adler, who was called away on a family emergency, but the band’s second Zach (Gutierrez) ably filled in. The band laid down a primarily instrumental set punctuated by the magnificent work of the group’s horn section and trombonist Clay Watson sitting in to partake of the grooves.

Diggin’ Dirt at Amp Jam #1 Video Courtesy of FunkCity.net

Diggin’ Dirt made good use of unexpected events to showcase just how skillful they are as a jam and funk band, roaring through a set that included “Just Step,” “Cold Sweat,” and a sublime take on Grover Washington Jr.’s “Mr. Magic.”  The chill grooves of “Chain of Fools” soon gave way to the high-octane rush of “Mississippi Queen” and “Statesboro Blues” done dirty. We needed no convincing that the boys from Humbolt County are here to stay.  

Eggy’s second weekend performance was an exercise in iconoclastic improvisation and a delight for the ears and spirit. The extended jams meandered through Eggy originals “Apology,” “A Moment’s Notice,” and “Come Up Slow.” In the first of intergenerational jams to come, George Porter Jr. got a monarch’s welcome when he sat in for “Sugaree,” lending his signature growl and legendary bass to the beloved Grateful Dead classic.

Eggy at Amp Jam #1, Video Courtesy of FunkCity.net

Another brilliant highlight was the band’s cover of the Crosby, Stills, Nash & Young’s anthem “Carry On,” which segued nicely into “Laurel,” the band’s sunny ode to The City of Angels. Eggy optimized  their headlining status this weekend. 

Few bands have graced SOSMP’s as many times as funk/fusion cosmonauts Lettuce (guitarist Adam “Schmeens” Smirnoff, bassist Eric “Jesus” Coomes, trumpeter Eric “Benny” Bloom, saxophonist Ryan Zoidis, drummer Adam Deitch, and keyboardist/vocalist Nigel Hall) both collectively and individually, including making history at a number of Bear Creek celebrations. The first of two weekend sets that would feature blockbuster reunions and collaborations, tonight’s fete saw jazz legend and Lettuce hero John Scofield share the stage with the band. 

Lettuce with Jon Scofield Amp Jam #1. Video Courtesy of FunkItBlog

But before a note was sounded, Paul Levine dedicated the 90-minute set to Carol Bloom, Benny Bloom’s mother, who sadly passed away suddenly in February. Opening with the twin rhythmic wonders “Lock” and “Sam Huff’s Flying Ragin’ Machine,” melancholy gave way to celebration. Lifting vibrations higher, the sextet presented a melange of “Ready to Live” and Fred Wesley’s “Drivin” with keyboard wizard and vocalist Nigel Hall layering lyrics. Scofield stepped in for a futuristic romp through “Jungle Fiction,” originally recorded with Lettuce drummer Adam Deitch in 2002, and held court for the duration of the set, including a marvelous take on Prince’s “Musicology.” 

Perhaps the most anticipated act to appear at Amp Jam was Gov’t Mule with frontman Warren Haynes, who for years played host alongside the late Greg Allman and The Allman Brothers Band at Wanee. It’s been nearly a decade since Haynes and Gov’t Mule set foot in the majestic environs of SOSMP, and the anticipation was palpable as several thousand fans filled the spaces beneath the amphitheater’s magnificent oaks as the sun began to set. For what would become technically two sets and nearly three hours, Haynes along with bandmates Danny Louis (keyboards), Kevin Scott (bass), and Warren Haynes Band percussionist Terence Higgins, sitting in for drummer Matt Abts (who was temporarily sidelined by illness), delivered an outsized performance that included a parade of sit ins and special guests. 

Gov’t Mule Amp Jam #1 Video Courtesy of FunkCity.net

Dipping into the Gov’t Mule vault the band pulled out “Hammer and Nails,” “Mule” featuring Danny Louis’ superb keyboard work and “Banks of The Deep End.” Haynes followed that tribute to original Mule bassist Allen Woody with “Patchwork Quilt,” a tribute to Jerry Garcia. That was really moving. Later, Haynes and company brought the evening to a head, stacking the set with a full quiver of talent including Dumpstaphunk’s Aaron Neville, who made an appearance for “Hattiesburg Hustle.” Things really went berserk when George Porter Jr., trombonists Alex Wasily of Dumpstaphunk and Cadillac Jones’ Jonathan Lloyd along with the utterly captivating trumpeter/vocalist Jennifer Hartswick and Eggy guitarist Jake Brownstein joined in for a volcanic interpretation of Little Feat’s omnipresent“Spanish Moon.” Afterwards, with only the four members of Gov’t Mule left on stage, each shone on a hypnotic extended “Invisible.“ 

Gov’t Mule Amp Jam #1 Video Courtesy of FunkCity.net

After a brief intermission, Mule brought the evening to a close with a second half stacked with more special guests including George Porter Jr. who stepped in for a “When Doves Cry” teaser that gave way to “Beautifully Broken,” the latter barely containing Hayne’s explosive guitar. Fellow henchman and frequent collaborator John Scofield came aboard for “Sco-Mule” and a thrilling telling of The Allmans’ “Dreams.” Jennifer Hartswick returned to share vocals with Haynes for a stirring send up of “Soulshine,” a finale that left us swooning. 

Dumpstaphunk may just win the prize for most appearances at SOSMP events, including Bear Creek and Wanee. I’ve had good fortune seeing these New Orleans funk denizens many times, but tonight’s closing performance reached a whole other level of excellence despite shouldering months of turbulence and tragedy including the deaths of longtime bassist/vocalist and co-founder Nick Daniels III and longtime stage manager Patrick Bell. Dumpstaphunk vocalist and collaborator Viv Hawkins was also incapacitated by a stroke and is slowly recovering. Singing in her stead was Asheville-based Rebekah Todd, who won the hearts of fans this night with her sultry voice and sinuous moves. 

Supported by lead guitarist Ari Teitel, longtime drummer Deven Trusclair, and the stellar horn section of trombonist Alex Wasily and trumpeter Ashlin Parker, core members Tony Hall  (bass/vocals), Ivan Neville (keyboards/vocals), and Ian Neville (guitar) loosed an impassioned set of bona fide New Orleans funk and soul that can only be conjured by its most authentic brethren. Blasting off with the vintage grooves of “I Wish You Would,” the band proceeded to “tear the roof off that motha” diving into “Deeper.” 

Dumpstaphunk at Amp Jam #. Video Courtesy of FunkCity.net

Neville and Hall conjured Nick Daniels’ spirit, dedicating the set to their departed brother before honoring us with Sly & The Family Stone’s “Stand’ and the muscular beats of “Let’s Do It.” Eric Krasno soon appeared to blow a hole in the atmosphere with a blistering take on Jimi Hendrix’s “Fire.” Tony Hall offered up a stunning version of The Isley Brothers’ “Climing Up the Ladder.” “Justice,” Dumstaphunk’s enduring anthem for these troubled times crystallized the power of the moment and would have been the finale save for the rabid insistence of fans for one more song. For the encore, Dumpstaphunk “Put It In The Dumpsta,” topping a magnificent return to SOSMP.

Day three dawned with a few showers, but nothing could put a damper on our spirits, lifted high by a blissful weekend of communing with our favorite artists and friends — some old, some new. Miami’s power quartet Electric Kif did the honors opening the day with a savory performance of the distinctive psychedelic scores that have made them standouts in the jam world.

Electric Kif Amp Jam #1. Video Courtesy of FunkCity.net

Exploring the edges of jazz/rock and electronic fusion bassist Rodrigo “Digo” Zambrano, keyboardist Jason Matthews, guitarist Eric Escanes and drummer Armando Lopez unloaded an armful of mind-expanding soundscapes  such as originals “305,” “Square Grouper,” and “Labrats” Noteworthy highlights  included fabulous send ups of Weather Report’s “Elegant People” and David Bowie’s experimental cut “Girl Loves Me.” If coloring outside the lines is a thing, Electric Kif are its master illustrators. 

Eddie Roberts & The Lucky Strokes were back for another go-round of unvarnished soulful rock and blues. It was hard to tell who was having more fun — Roberts and his young cohorts or the fully committed audience. The thrills were self-evident on such tunes as The Brothers Johnson classic “Strawberry Letter 23” featuring guitarist Shelby Kemp and Roberts trading lighting-fast riffs.

Eddie Roberts & The Lucky Strokes. Video Courtesy of FunkCity.net 

The quartet steamrolled through “Gonna Get In My Way,” a New Mastersounds song penned by Kemp and an ode to Southern rock. “Good Morning Lady” was another fine Allman Brothers pastiche which laid the ground work for an uproarious interpretation of Led Zeppelin’s “Ramble On.” Allowing drummer Taylor Galbraith to stretch her wings, the band left us with their original banger “Stay On Track.”   

The old masters of jazz are slowly transitioning out of this world but some remain. So when the opportunity comes along to see living legends in the flesh, you better grab it. And so we did for the venerated jazz icons The Headhunters, Herbie Hancocks’ band who appeared on the keyboard master’s seminal 1973 opus Head Hunters. The current iteration of the quartet consists of percussionist Bill Summers and illustrious drummer Mike Clark, who joined the band in 1974. They both toured in the ’70s with Hancock under the guise of Herbie Hancock & The Headhunters. New Orleans master of the seven-string bass Chris Severin channeled the rhythms of the late Headhunters’ bassist Paul Jackson while fellow crescent city musician Shea Pierre ably played the role of Herbie Hancock on keys and synths.

The Headhunters at Amp Jam #1. Video Courtesy of Chan Lipscomb

We were treated to a cavalcade of classics before guitarist Eric Krasno and rumpeter Eric “Benny” Bloom joined in for enduring masterworks “Chameleon” and “Watermelon Man,” along with the lush keystrokes of Hancock’s “Butterfly.”  “We are the keepers of the frequency,” declared Bill Summers (for all time, we might add).

Few artists on the festival scene are as adored as George Porter, Jr., former bassist for NOLA funk pioneers and patriarch of the New Orleans groove, who has appeared countless times beneath SOSMP’s stately oaks. Porter’s long influential career and his frequent presence at SOSMP called for an ambitious celebration. Paul Levine rose to the occasion by bringing in The Daze Between Band, a New Orleans supergroup featuring a rotating cast of music’s brightest stars who normally perform in The Crescent City between the two weekends of The New Orleans Jazz & Heritage Festival. This would be the collective’s first appearance outside NOLA. 

A squad of startling talent and Porter collaborators including Warren Haynes, Ivan Neville, Tony Hall, Eric Krasno, John Scofield, Ian Neville, Alex Wasily, Ari Teitel, Rebekah Todd, Ashlin Parker, Eric “Benny’ Bloom, Ryan Zoidis Jennifer Hartswick, and Deven Trusclair was assembled for tonight’s performance. Levine’s introduction was fit for royalty, going so far as to seat a bemused Porter on a plush throne and anoint him with a golden crown and kingly velvet cape. With a 1000-watt smile plastered across his face, Porter looked on as the band ripped into Labelle’s “Lady Marmalade,” with Hartswick and Todd crushing the vocals with sex appeal  and panache. That was chased by Dr. John’s “Right Place, Wrong Time,” served with an extra helping of funk. These tunes and more to come were part of a carefully curated selection of songs that offered a mere sampling of the vast catalog of recordings containing Porter’s exalted bass. 

Daze Between Band at Amp Jam #1. Video courtesy of FunkItBlog

Far be it for Porter to sit on his laurels, and he soon joined in for a jaw-dropping performance that featured Allan Toussaint’s “Yes We Can Can” and a medley of tunes made famous by Robert Palmer including “Sailin’ Shoes” (penned by Lowell George) featuring an assist from Warren Haynes on guitar and vocals and “Hey Julia” with Ivan Neville on vocals and “Sneakin’ Sally Through The Alley,” (written by Allan Toussaint) with the king himself (Porter) taking over vocals. John Scofield joined the field for another Toussaint classic slow jam made popular by Lee Dorsey, “Get Out of My Life Woman” with Porter singing for the joy of it. The two, floating on the strength of the most insane backup band to ever grace SOSMP,  kept the funk alive for the triple threat of The Meters’ “Funky Miracle,” “Message from the Meters,” and “You’ve Got to Change (You’ve Got to Reform),” a heady anthem for the ages. We were completely besotted with love and admiration witnessing this rare amalgamation of star power humbly gathered to honor a giant. 

Gov’t Mule returned for a second epic bisected tableau fully loaded with special guests. For tonight’s first half, John Scofield reprised his roll as Haynes foil for an extended dual on “Hottentot,” also showcasing Danny Louis’ deft mastery of keys along with the commanding rhythmic presence of Terence Higgins’ and Kevin Scott. The quintet waded in deep with moe’s slow burn “Opium” and topped it off with The Allmans’ “Instrumental Illness” to finish the set.

Gov’t Mule Set 1 Amp Jam 3/8/25. Video Courtesy of FunkCity.net

After a brief intermission to regroup, Ivan Neville made an appearance for opener “Man In Motion.” Later the stage filled with an eye-popping panoply of guest players including Ashlin Parker, Jennifer Hartswick, Alex Wasily, Jonathan Lloyd, Ari Teitel, and Adam Deitch for an unhinged trip through Tower of Power’s “What Is Hip?” Hartswick stayed and was joined by Rebekah Todd for The Grateful Dead’s ecumenical “Shakedown Street” and a stunning deep dive into Steely Dan’s “Pretzel Logic” to close.

Gov’t Mule Set #2, Amp Jam, 3/8/25. Video Courtesy of FunkCity.net

We had no doubt Gov’t Mule would be back for an encore, but what we didn’t expect was the song that conjures the all-embracing power of love. Before the first notes were even struck (Haynes teasing a few chords in his signature playing style), we waited to exhale, never expecting to be felled by a sacred psalm capturing the eternal human struggle to find comity in disunity — U2’s “One” — Haynes’ earnest reminder to all of us: “One life but we’re not the same. We get to carry each other…” hit in all the right places, becoming all the more undeniable in these tumultuous times. The tears flowed freely . 

The Amphitheater Stage is where musical history is created, and few bands have made it their fountainhead like Lettuce. The funk/fusion juggernauts graced every Bear Creek along with standout performances at Purple Hatter’s Ball, various Hulaweens, Suwannee Rising, and Resonate Suwannee. The band’s two-hour closing set at Amp Jam saw Lettuce reunite with original member Eric Krasno for a thrilling performance as skin-tight as any favored by these environs. 

Lettuce “Sounds Like A Party To Me” Amp Jam. Video Credit: Chan Lipscomb

Purposefully drawing on a catalog from Krasno’s time with the band (2001-2015), Lettuce chose a tune destined for this historic roster opening with “Reunion.” The sheer joy of rendezvous-ing with each other again was overwhelming as they launched into “Squadlive,” a tour-de-force of rhythm and grooves. “Breakout” saw Adam Schmeens and Krasno gleefully duking it out on guitars before sliding into “Relax.” Nigel Hall’s intoxicating voice eased us into Curtis Mayfield’s “We’re A Winner” before running headlong into the horn-led orchestral booming of “Move On Up,” Mayfield’s call for positive change and action.

Taking a brief detour, the band snuck in a delightful hint of CeCe Peniston’s ’90s hit “Finally” before flooring us with “Mr. Yancy,” their iconoclastic homage to hero J Dilla. Lettuce left us limp and gratified with the barnstorming Lettuce staple “Madison Square,” then sealed the deal with “Sounds Like A Party To Me.”  

A huge shout out goes out to the folks at the Spirit Of Suwannee Music Park , Funky Decisions, and Paul Levine for putting together a sensational event that was so much more than just a successful party. With Amp Jam #1, Levine continues to create happenings that center on community and goodwill. No matter our diverse perspectives and disagreements, Amp Jam was beyond a shadow of a doubt proof that (for three days at least) we could all come together tied in spirit by a common thread — the love of music. Amp Jam reaffirmed my belief that music really can save the world if only we could all experience it like we did here. We need the healing environments of places like SOSMP and the restorative powers of the Amp Jams of the world now more than ever. This being a successful first, we know it won’t be the last and are counting the days when we can experience its magic again. 

A special thanks goes out to videographers FunkCity.net, FunkItBlog, and Chan Lipscomb along with photographers David Lee (Gypsyshooter) and Jay Strausser Visuals.

Suwannee Amp Jam #1

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