Saturday, December 31, 2011

2011: Year in Review

Time to look back at 2011. Even in my advancing age, or perhaps because I didn’t spend a hundred some odd night in a city devoid of concerts, I was able to increase my total number of attendances, from 19 events in 2010 to 27 in 2011, including 21 concerts, 4 single day festivals, and 2 multi day festivals, bringing my average up to an event every 13 days. Twelve of these shows were sold out.

Again, I saw more shows in the DC area than anywhere else (23), with 9:30 Club (8) still being my venue of choice. Other DC area venues such as Merriweather Post Pavilion (4) and Black Cat (3) were also popular as well as the new Fillmore Silver Spring with two even though it only opened in September. Only four events took me out of town to Manchester, Tennessee; New Orleans, Louisiana; Philadelphia, Pennsylvania; and Camp Hill, Pennsylvania.

I saw more shows on Saturdays than any other (7), but Wednesdays (6) and Thursdays (5) were close behind. I saw at least one show on every day of the week. September was the leading month (5), including three shows in three days, the only time all year where I attended shows on sequential days. There were also four in both March and October. November was the only barren month.

Including all the bands that I specifically remember seeing, and therefore wrote about, I saw a total of 66 bands this year. This included 22 acts at single concerts, another 22 at the Bonnaroo Music Festival (my third year in a row to the festival and fourth overall), and 28 at other festivals. This excludes opening acts that I don’t remember the billing. I also saw several bands twice, including Alison Krauss & Union Station, Arcade Fire, The Black Keys, Chromeo, and Cut Copy. Chromeo was the only band in which neither event was a festival. I also saw good ole Club Scout thrice.

Concerts are always more fun with friends, and I was able to convince someone to come with me to every concert. Jeff Schiz attended more with me than anyone else with 6 shows. An additional 13 people attended two or more with me.

And of course, total ticket cost was $1,099.

Wednesday, December 14, 2011

Beirut, 9:30 Club, Washington, DC

It’s even better when you know you can go home and listen to it all over again

After sliding my way up on the far left side as far as I could at the 9:30 Club as I always do, I noticed signs around the club that NPR was at the show and would be doing a live simulcast of the performance for their listeners, as well as make the show available for later download. A show is even better when you know you can go home and listen to it all over again. Beirut took the stage around 9:15. I was blown away by how powerful the horns sounded from 9:30’s relatively small stage, as compared to what comes through on their album or from a larger festival stage. Combined with singer Zach Condon’s ethereal voice, they had much more of a presence on stage than the subdued sound on their albums would have led me to believe, proving they were as worthwhile listening to in a packed club as they were on a lazy Sunday morning.

A little bit unusual for a band touring after releasing a new record, they only played four songs from their new, more mainstream indie rock album, The Rip Tide. Instead, they played selections from nearly all of their albums and EP, drawing heavily from the more Čoček-influenced Gulag Orkestar from 2006 and The Flying Club Cup which followed a year later. While it was a great show, my only gripe was that it was a bit on the short side; the show on NPR only ended up being about 71 minutes. However, on a weeknight when you have a long drive back to Baltimore, ending early isn’t a terrible thing.

The download for the show can be found here.


Set List:
Scenic World
The Shrew
Elephant Gun
Vagabond
Postcards From Italy
The Concubine
A Sunday Smile
Santa Fe
Forks and Knives
East Harlem
Nantes
Goshen
Cherbourg
After The Curtain
Mount Wroclai (Idle Days)
The Penalty
My Night With The Prostitute From Marseille
The Gulag Orkestar
Siki Siki Baba

Saturday, October 29, 2011

Chromeo, The Fillmore, Silver Spring, Maryland

Costumes? We don’t need no stinking costumes.

…that was my opinion at least. I figured part of the great thing about going to a concert on the Saturday night before Halloween was not having to worry about a Halloween costume. Chromeo’s Dave 1 (David Macklovitch) and P-Thugg (Patrick Gemayel) seemed to agree with me, with the former in his signature suit and shades and the latter in his urban sheik apparel. However, everyone else seemed to still embrace the concept. Unlike their last show at 9:30, the show was not sold out weeks in advance, though it was still plenty crowded. With the large crowd and the still new venue, our group experimented with the best spots to stand during the show. For a dance party like this, I still prefer as close to front and center as possible. A lot of the setlist was very familiar, though they mixed it up on at least half a dozen songs compared to the last time that they were in town. Just like last time, lots of dancing, lots of fun.

Setlist:
Intro
Fancy Footwork
I'm Not Contagious
Outta Sight
She'z n Control
Tenderoni
Call Me Up
Opening Up
Hot Mess
Waiting 4 U
Money for Nothing
Bonafied Lovin'
When The Night Falls
You're So Gangsta
Momma's Boy
Needy Girl
Night By Night
You Make It Rough
Don't Turn The Lights On
My Girl Is Calling Me (A Liar)

Wednesday, October 26, 2011

Free Lobster Buffet, Wonderland Ballroom, Washington, DC

"Not dance?! What were we thinking?"

My friend Ben was making another whirlwind tour of the US when home from the Middle East for a week. When passing through DC, his old band, Free Lobster Buffet, happened to be playing a show, so he gathered a posse and led us to the upstairs of Wonderland Ballroom. I've possibly seen FLB more than I've seen any other band, but it wasn't until I was at the show, as few songs into the familar tunes that I realized how much I've missed them. Though the line up is one short, their brand of ska didn't lose any of the umph as they blasted the earbrums of everyone in the small venue. Just like always, it was a fun show with lots of dancing.

Thursday, October 13, 2011

Trey Anastasio, The Fillmore, Silver Spring, Maryland

Phish Lite

First, a few notes about the brand new venue, The Fillmore, Silver Spring, which opened in mid-September in downtown Silver Spring. With a capacity of 2,000, it is quite larger than 9:30 Club’s 1,200 person capacity. The set up however is very similar, with a balcony overlooking the stage, and the bulk of the crowd on the main floor. Supposedly the Fillmore also has a VIP section in addition to general admission. The acoustics and the feel are very similar, even considering The Fillmore’s larger size. Getting into the venue and showing ID isn’t as easy as at 9:30 Club, as it seems that they still have a few kinks to work out. However, getting out is much easier due to the shape of the foyer. It remains to be seen over the next months and years how the new venue, which I assume is in direct competition with 9:30 Club, will impact the acts that come to the area and ticket prices.

In typical fashion, Trey didn’t have an opener, he and his band just hit the stage around 8:15pm. And as notoriously cheap as hippies are, every single one in the venue that night knew that they would get their money’s worth from Trey. With at least eight or so friends on stage, including a sizable horn section, Trey played a great mix of classic Phish tunes (“Gotta Jibboo” and “First Tube), other original songs (“Simple Twist Up Dave” & “Night Speaks to a Woman”), well known covers (“Black Dog” & “Devil Went Down to Georgia”) and less well known covers (“Burn That Bridge” & “Alive Again”). Perhaps the most interesting choice was a cover of the trip rock band Gorillaz’ “Clint Eastwood.” The first set focused on much more of the blues rock nature of Trey’s musical influence, with tighter, shorter songs. I thought that it would have been the perfect show for fans of live music that have yet to muster the patience for Phish. The second set was much more instrumental and improvisational, reminiscent of a meandering Phish jam. The show, with a total running time of well over three hours, was a great opportunity to see a virtuoso like Trey on such a small stage. He looked just as at home on the small stage of the Fillmore as he does at a sold out show at Merriweather Post Pavilion or Madison Square Garden.

Setlist:
Set 1
In the Wee Wee Hours
Gotta Jibboo
Alive Again
The Devil Went Down to Georgia
Money, Love and Change
Burn That Bridge
Burlap Sack and Pumps
Push On 'Til the Day
Alaska
Tuesday
Black Dog
Set 2:
Sand
Valentine
Drifting
Simple Twist Up Dave
Liquid Time
Pigtail
Mr. Completely
Ether Sunday
Magilla
Night Speaks to a Woman
First Tube
Encore:
Clint Eastwood
Heavy Things
Sultans of Swing

Wednesday, October 5, 2011

Ben Harper, 9:30 Club, Washington, DC

No kisses stolen; nothing burnt down

We arrived in just enough time to get a decent spot for the sold out show. Though we missed the opener, we still had some time to wait as Ben didn’t take the stage until around 9:30pm. A full band joined him on-stage as well. Perhaps the Relentless7; perhaps not. If so, they weren’t billed as such. I really have no idea who the Innocent Criminals are vs. the Relentless7 vs. whoever else was on stage that evening. Nonetheless, they were all very talented and made a solid backing band. I’m not a huge Ben Harper fan, so I wasn’t able to distinguish much between old and new songs and hits and lesser known selections. “Diamonds on the Inside” was the only song that I recognized during the first set.

The first set ended about 10:45pm. After the set break, he came out alone for what I thought would be an encore. Not surprising. However, he ended up playing several songs by himself. At the time, I was expecting an encore, so was surprised that the band hadn’t joined him yet. When the band did join him again, I began to realize that we were well into an entirely second set. The highlight of which for me was when Ben sang acapella and without a microphone. Once the crowd finally hushed itself, the crowd at the 930 Club was as quite as I had ever heard it as Ben Harper belted out a gospel tune. Despite his thin frame, the man certainly has a set of pipes. So it ended up being a 12 song set with a 14 song encore…then a second two song encore. The show ended at about 12:20am, a little late for a school night in my opinion, especially when the show didn’t start until 9:30. Though we certainly got our money’s worth.

Setlist:
Set 1:
Better Way
Up To You Now
Fly One Time
Burn To Shine
Diamonds On The Inside
Masterpiece
Suzie Blue
Amen Omen
Lay There & Hate Me
Where Could I Go
Set 2:
Mutt
I'm On Fire
Pleasure And Pain
Not Fire Not Ice
Never Leave Lonely Alone
I Shall Not Walk Alone
Waiting On An Angel
Helpless
Vein In Vain
Spilling Faith
No Quarter
Better Than I Deserve
Encore:
I've Handled Myself Wrong
H

Saturday, September 24, 2011

Jason Mraz, Merriweather Post Pavilion, Columbia, Maryland

All the genres, all the style

Between his combined obsessions with being early and Jason Mraz, Joey made sure that we had a great spot in the GA pit for the show, dead center and perhaps only a dozen or so bodies back. We waited and waited until Colbie Caillet, the opening act, finally took the stage. Though I was not very familiar with her work, she played a good set and threw in a few hits that I recognized.

Jason Mraz had abandoned his trademark fedora for a bandana and between it and a head of long shaggy hair, looked much more like a hippie than I remember. Nonetheless, the music sounded the same. The show was still recognizable as compared his previous show, even though he was supported by a new backing band. What has always impressed me about Jason Mraz, particularly in his live performances, was his ability to pull from so many genres of music. His show started with almost a Tony Bennett traditional pop feel, but meandered its way through folk, jazz, swing, rock, blues, and even a few bars of opera. He had great interaction with the crowd and made sure that everyone was enjoying themselves. Of course, he cycled through all of his hits, “The Remedy,” “You and I Both,”and “I’m Yours.” And of course, Miss Caillat was invited back onstage during the encore to duet “Lucky.”

Friday, September 23, 2011

Fleet Foxes, Merriweather Post Pavilion, Columbia, Maryland

Still wondering if an empty venue is a good or bad thing

After a full day of rain, the sky finally cleared on the drive to Merriweather Post Pavilion. Though the ground was a little wet, there was fortunately no mud. I made my way to the lawn to find it the emptiest that I have ever seen it. I knew that Fleet Foxes would not be that big of a draw for such a large venue and the rain must have chased away a lot of other potential attendees. So despite it being a little lonely on the lawn, it was nice that it so easy to find a spot up front. It was also fitting considering the type of music that the Fleet Foxes play, a mainly slow type of indie folk rock perfect for sitting on the grass. They were however a lot louder and livelier than I anticipated, spicing up their live show with some additional instrumentals. It all sounded very good save for a brief interlude on a saxophone-like instrument that wasn’t quite noise but nor would I classify it as music. I’ve never played a Fleet Foxes album very loud and probably still never will, but that doesn’t mean it didn’t sound good when they did crank up the volume. Their setlist was a healthy mix of old and new, not that they’ve been around long enough to really develop an extensive catalogue. While his musical and artist talent are beyond reproach, Robin Pecknold’s skills as a frontman left much to be desired. He still hasn’t fully embraced the role and seems unconformable and awkward interacting with the audience.

Setlist:
The Plains / Bitter Dancer
Mykonos
English House
Battery Kinzie
Bedouin Dress
Sim Sala Bim
Your Protector
White Winter Hymnal
Ragged Wood
Montezuma
He Doesn't Know Why
Lorelai
The Shrine/An Argument
Blue Spotted Tail
Grown Ocean
I Let You
Sun It Rises
Blue Ridge Mountains
Helplessness Blues

Thursday, September 22, 2011

Elbow, 9:30 Club, Washington, DC

An evening with the most underappreciated band this side of the pond

After a wonderful show the two Septembers before, I was looking forward to again seeing the underappreciated British band Elbow. The show was very similar in form, mood, and style to the previous one. The band sounded great and this time brought out a few extra strings to join them on certain selections. I still cannot decide if Guy Garvey truly is as charming as I think he is or he’s just British. Maybe a bit of both. Nonetheless, he interacted seamlessly with the crowd, serenading one member of the audience, thanking the venue for the first time they invited him there ten years ago, and even leading a rendition of Happy Birthday to an obnoxious fan who insisted on letting him know that it was his annual special day.

The one slight difference from the previous show was the set list. While like any other band touring in support of their most recent album, Elbow leaned heavily on selections from that album, Build a Rocket Boys, nearly all of their remaining selections were from the album immediately preceding it, the Mercury Prize winning The Seldom Seen Kid. They played almost nothing from their three original albums, which I found surprising. Though I love The Seldom Seen Kid (not as crazy about their newest effort), I was disappointed that so little was included from their older album, especially considering how many amazing songs came out of those sessions. Nonetheless, beautiful show.

Setlist:
The Birds
The Bones of You
Mirrorball
Neat Little Rows
Grounds for Divorce
The Loneliness of a Tower Crane Driver
Great Expectations
The Night Will Always Win
Puncture Repair
The River
Lippy Kids
Weather to Fly
Open Arms
Starlings
Station Approach
One Day Like This

Thursday, September 15, 2011

Fruit Bats, Black Cat, Washington, DC

The Alt. Country Shins

Though we made it in time for the opening act, it was quite forgettable in every way. I can barely remember what they even sounded like as we sat at tables in the back club. Though I wasn’t familiar with the Fruit Bats at all before the show, other than a three minute YouTube clip, the venue was crowded and its attitude matched. From the clip I heard, I thought the show would be much more pop, but it ended up being more alternative country than anything, quite a pleasant surprise. Eric Johnson, the lead singer of the Fruit Bats since its formation in 2001 recently also joined indie icons The Shins. Oddly, his voice is very similar in tone and quality to James Mercer, the actual lead singer of The Shins. Go figure. It was a solid, enjoyable set, but the one thing that I consistently hate about weekday shows at the Black Cat is that they always start so late.

Saturday, September 10, 2011

Virgin FREEFest, Merriweather Post Pavilion, Columbia, Maryland

Another September, another FreeFest.

I continue to be surprised each year that Virgin Mobile and other corporate sponsors continue to bestow a free music festival on the DC region, the biggest event held at Merriweather Post Pavilion each year. After countless days of rain, it was finally a beautiful day, even if plenty of mud was left over, particularly at the second stage. Despite the traffic, we were able to navigate our way through a side street or two and into a parking lot fairly quickly, for the first time ever, actually arriving in time to see most of the first act of the day that I wanted to see. In this case, it was indie rockers Okkervil River. Even after the torrential rains of the past weeks, the sun had burned off most of the moisture from the grass at the main stage, making the lawn a pleasant place to camp out in the sun and start the day. Okkervil River was a good intro as well. Following on the main stage were Grace Potter & the Nocturnals with Grace playing a barrage of instruments. The show also marked the second time that I had seen Grace Potter in under a year.

We next headed over to the second stage, set up in an adjoining field on the grounds, for Australian dance punk band Cut Copy. Again, it was the second time in less than a few months that I’d seen Cut Copy and again I wasn’t disappointed. No one else in my group was really familiar with Cut Copy when I dragged them over to the adjoining stage. But they were all pleasantly surprised, always a good feeling, despite a bit of not-so-sweet-smelling mud. Next up on the same stage was Cee Lo Green, who gained fame as half of Gnarles Barkley but then struck gold on his own with the smash hit, “Fuck You,” despite only a heavily edited version ever being played on the radio. Cee Lo was so-so, but he played the song everyone wanted to hear. I was also surprised that he also played “Crazy,” a Gnarles Barkley song, since in my experience, artists frequently avoid playing collaborative songs during solo sets.

We walked out before the end of his set in order to head over to the other stage for Brooklyn-based indie rockers TV on the Radio. Extensively familiar and a fan of their entire catalogue and their live performances, I was right in my expectation that TV on the Radio would be the highlight of my day. My day ended with blues rock duo The Black Keys. Though I had seen them at Bonnaroo, I wasn’t in the best state of mind at the time to enjoy them there (no, not drunk or anything else, just exhausted, dehydrated, and starving after wrapping up ten hours in the heat of the front row of the Which Stage). So it was a treat to get to enjoy The Black Keys sitting in the cool grass of the Merriweather lawn, dead center and only thirty or forty feet from the jumbotron screen.

Black Keys Setlist:
Thickfreakness
Girl Is On My Mind
The Breaks
Stack Shot Billy
Busted
Act Nice and Gentle
Everlasting Light
Next Girl
Chop and Change
Howlin' For You
Tighten Up
She's Long Gone
Ten Cent Pistol
I'll Be Your Man
Strange Times
I Got Mine
Your Touch

Sunday, August 7, 2011

Alison Krauss & Union Station, Wolf Trap National Park, Vienna, Virginia

Bluegrass evening at Wolf Trap

Though I had just seen her at Bonnaroo in June, I knew I could not go wrong in deciding to see Alison Krauss & Union Station a second time. Besides, any excuse to go to Wolf Trap is usually pretty valid. Surprisingly, the place was packed. Though I had been a fan for a little while, ever since the O Brother Where Art Thou soundtrack, I didn’t realize she was getting to be so popular. However, I guess that her newest album, Paper Airplane has been doing pretty well. It’s also sometimes difficult to tell the popularity of an artist at Bonnaroo because you’re never sure who’s there to see the band, who’s just waiting around for the next band, and who just didn’t have anywhere else to be.

Our group, including Andy, his wife Lauren, and some of their other friends, was far back on the lawn. I could not really see much of the stage, but it was a least a good spot for a picnic, which is kind of the point for any show at Wolf Trap. Not knowing anything about Alison Krauss before the show, it was clear that Andy a little disappointed that all her songs were slow and mellow, often pertaining to love, heartbreak, and the like. I think he was expected a little livelier of a pop country type show. The show itself was very similar to their set at Bonnaroo, including the set list and several of their jams. The setting and our distance from the stage made the whole thing much more mellow as well. Nonetheless, it was nice to sit in the grass and relax as the melodies danced around the lawn.

Saturday, July 30, 2011

Club Scout, Velvet Lounge, Washington, DC


Another fun Club Scout show in DC.

Club Scout played a solid, if short set, and their music and performances are getting better and better.

Wednesday, July 27, 2011

Congressional Blues Festival, National Building Museum, Washington, DC


The Best Deal on Blues in Town

The Congressional Blues Festival is an annual event sponsored in part by members of Congress. The festival seeks to promote and honor the American tradition of blues music, including the original pioneers of the genre as well as those that are continuing the tradition. It seeks to raise awareness and funding for blues music and the artists that dedicate their lives to its pursuit. The 2011 festival, the eighth thus far, kept the tradition of blues, cheap tickets, and free food and drinks (yep, including booze). So for $25, live music, food, and an open bar, it was a pretty good deal.

Starting on the stage was guitarist, bassist, and singer Sol and his band Funk Root, even though most of the place was more focused on trying to get food from the incredibly poorly planned line. Next up was guitarist Michael "Iron Man" Burks and his band. In my opinion, Burks was the best act of the night and without a doubt the most talented musician in the building, jamming on a number of great electric blues solos. Next up was progressive hip hop artist Christylez Bacon with special guests Slyce-D and Rick Franklin. A DC local, Bacon had a fun little set that incorporated hip hop, blues, African, and go-go (a type of funk that originated in DC in the 60’s and 70’s) along with spoken word and storytelling elements. The rest of the evening, including Mudcat and Kenny Wayne Shepherd, was fine as well though I didn’t find it as interesting.

Sunday, June 12, 2011

Bonnaroo Music Festival, Great Stage Park, Manchester, Tennessee


Bonnaroo 4: Wedding in Mecca

The Preamble

I initially was not planning to do my now annual pilgrimage to Bonnaroo again this year. With much of my summer vacation already planned, having been to Bonnaroo the past two years, and without a line up that really blew me away as it had the past two years, I figured I’d take the year old. But in March my friends Greg and Alison announced that they planned to wed at the Bonnaroo festival grounds. When Greg told me, a big smile shot across my face as I instantly realized that I was going to have to make plans to attend. Come hell or high water, seeing my friends get married at Bonnaroo was an event that I could not afford to miss.

Wednesday, June 8, 2011

The actual trip down began at mid-afternoon on Wednesday when Lindsey and a group of her friends and friends of friends swung through DC on their way from New York City. After the normal group lag factor, we finally got on the road towards Manchester in pair of cars. We aimed to stop for the night at a motel outside of Knoxville instead of driving through the night as I had previously done. It would prove to be a nice change of pace to arrive at the festival having one last solid night of sleep.

Thursday, June 9, 2011

At my request to ensure that we met up with the wedding party on time to all go in together, we woke up early the next morning to get on the road. Greg requested that we get on the road even earlier, but seeing the tired demeanor of the rest of my group, recognizing that none of the rest of Lindsey’s group knew the wedding party, and all the additional energy I knew required expenditure, I only requested we get up early, not at the crack of dawn. We arrived at our designated meet up spot around 11:30am and were the last ones to arrive by quite a bit. The rest of the group, anxious to get to the camp ground and many having already began the festivities, piled into their cars prematurely as soon as we pulled into the lot, not recognizing that we were still waiting on an additional vehicle.

Our dozen vehicle, thirty plus person caravan made it into the campground in well under an hour to a decent camping spot. It was a little far away, but near food and bathrooms, and along a side-roadway so we had plenty of room. It was coincidently very near the place that I had camped the previous year. The wedding party’s campsite was quite recognizable with a huge white canopy perhaps fifteen feet wide by thirty feet long.

The small group consisting of the New Yorkers and myself had to do some tent wrangling to fit everything and assign sleeping quarters, especially when one assumed tent turned out to be a table. Clearly I wasn’t going to be amongst the most seasoned group of campers. We made due though, miraculously finding an additional old tent amongst our goods and cannibalizing yet another extra set of poles when others were unavailable. The whole process was a bit of a challenge especially considering the extreme heat.

I wandered into Centerloo around 4pm. After an introductory lap around the venue, we head to That Tent where we caught a bit of Futurebirds and Freelance Whales. I was looking forward to catching the latter but were not as good as I was hoping they would be since a lot of the electronic elements on their album did not hit as hard as part of a live set. I was not too disappointed when we decided to leave a bit early to go over to The Other Tent to see Karen Elson followed by Best Coast, though we were pretty far away for both. We then wandered around for a bit as the heat was dissipating, wishing that it could somehow be that pleasant during the day. Our last set of the day was Band of Skulls, a blue rock band similar in sound to the Black Keys and the highlight of the day, even though I wasn’t familiar with them beforehand. Afterwards, we decided to head back to the campsite and call it a night, making it likely my earliest night ever at Bonnaroo.

Friday, June 10, 2011

As expected, it was sweltering in the tent when the heat woke me in the morning. Lindsey and I only had a sheet and a blanket so we were a little chilly during the night. But as soon as the sun rose, we first shed our blankets, then opened the tent door and vents, then we were finally forced awake. This trend would occur each morning.

Friday was the actual wedding day, so everyone spent the first part of the day milling around under the canopy where the ceremony would be. Despite the minimalist nature of event, everything was well planned. We made a makeshift altar at one end of the canopy and set up chairs. We hung tapestries to provide a little relief from the sun as well as some pleasant atmosphere and a few streamers topped it all off.

At least thirty people were in attendance including some of Greg and Alison’s family members who instead opted to stay in hotels, including their parents and some siblings. The ceremony itself started around 1pm, a little later than expect so that the bride could wash her hair. Lindsey was happy that her contribution to the ceremony would be braiding said hair. Alison wore a simple white Lily Pulitzer dress and Greg pulled a white collared shirt on over his Phish t-shirt. Both already had a good bit of sunburn from the previous day. It was a refreshing change from many brides who obsess over looking perfect for their big day. The wedding was officiated by their friend, “Total Steve.” One of their friends videotaped the entire event so that those that could not be there could still see the event and one of the New Yorkers, Naomi, jumped in as the official photographer. Another of their friends, Seth, played the guitar. The moment when he forgot to stop playing so they could start their vows just added to the causal nature of the whole event.


Greg and Alison wrote their own vows, which included a big focus on friendship. Again, I found the casual and honest nature of it all very touching and it was perhaps the first time that I teared up during a wedding ceremony. The ceremony itself was short but sweet. Afterwards, we cracked open the bottle of champagne that I had brought and distributed a few cigars. We cooked kabobs on the grill and ate some wedding cake, a pile of stacked donuts with the traditional bride & groom topper.

I headed in to the fest about 2:30pm with Lindsey and Sarah. The line to get into the venue was unbelievable as it wrapped around the exterior of the venue as far as the eye could see. We ended up just cutting the line even though I felt like a jerk for doing so, but I had shows to see! In years past, when the line hit critical mass, security would stop checking bags and just let a group of people through security until the line became a little more reasonable. However, no such luck this year. It seemed that because they had set up a series of cattle chutes to funnel people up to the front, it created a disconnect between the long line and security so they didn’t realize just how bad it was. Later, other festival goers mentioned to me that they were in line for an hour and half and thought that others were in line even longer. It was unacceptable to me that Bonnaroo would allow such a thing to happen.

After finding our way in the venue, we headed to Which Stage to see the original line up of Béla Fleck & the Flecktones. Though it was a treat to see such talented musicians in person and they were on point as always, I only half payed attention because we were so far away and I could only concentrate on the complex instrumental music for so long before my mind would start to wander.

After Béla we wandered over to see dance punk duo Matt & Kim. Even from a great distance, we could feel the energy coming from This Tent. We could also see the massive amounts of dust that was kicking up from the dry earth. Throughout the weekend, the site just got more and more dry. Dust was everywhere and when a large group of people migrated from one place to another (pretty much every time a large show ended and people moved on to the next thing), it would kick up even more. Bandanas tied around faces were a common sight and everyone’s feet were filthy.

Later in the afternoon, we were joined by Sarah’s sister Kat who flew in from Boston. This smaller group would be who I would go to shows with for the majority of the rest of the festival. Our first order of business though was a trip to the Mushroom fountain to cool off, even if the water was brown with dirt. Later in the afternoon, we caught our first set at the What Stage with indie rockers the Decemberists. Though they put on a solid set, we decided to leave early so that we could catch all of Florence + the Machine. We found a good spot at the edge of That Tent and enjoyed the show as sun finally started to relent as evening crept in. Though we could not see well, we were able to get a glimpse of Flo’s bright red hair from time to time.

As the sun was finally setting, we walked back over the What Stage to see the headliners for the evening, starting with My Morning Jacket. Though I had trouble getting in touch with him via phone, we coincidentally ran into Greg and Alison in the crowd towards the back of the lawn. It was not particularly crowded where they were, so we had plenty of room to ourselves but still a decent view of the screens and could hear very well. Knowing what a big fan of them Greg was, it made my day to get to run into the man of the hour at such an opportune time. I had never been a huge fan of My Morning Jacket, but it was an amazingly hard hitting set, so I resolved to give them a more serious listen in the future. At almost two hours, it would also be the longest set that I would see the entire festival. After My Morning Jacket, we waited through the long set break for Arcade Fire, a personal favorite of mine that I had seen twice before, including a few months prior at Jazz Fest. They were great as always though my anticipation to see them could not match what it had previously been for past shows. Nonetheless, they played a great set and my trusty yellow paper refractive glasses were a hit amongst the group. By the end of Arcade Fire, I was exhausted and ready to get some sleep in anticipation for the following day, which would prove to be even more draining.

Saturday, June 11, 2011

We woke up early Saturday morning as always and soon headed into the venue. Everything that Lindsey and I wanted to see during the day was on the Which Stage, so we decided to just head there early and get a good spot. The highlight would be the indie bluegrass sensation Mumford and Sons who would close out the daytime shows before the evening’s headliners. After my experience in the photo pit with Mumford and Sons last year, I think Lindsey wanted her own experience of being as close as possible. Our group of four arrived at the Which Stage at 10am while the staff was still cleaning up the area from the previous night. We were the first people to arrive, though others soon filled in behind us. Recently, Bonnaroo had begun a new “European” festival style policy at the two largest stages where they separated a large section closest of the stage with gates. Festival goers could wait in line to be in this section, but after each set, it would be cleared out and a new group would come in for the next show. In this way, we were only able to spend the day in a section within about 75 feet from the stage, so we still had a great view, even if we were not immediately next to the stage. It’s a good idea in my opinion because it gives a number of people the opportunity to get a spot right up next to the stage instead of just a select few who camp out all day.

I made an effort to chat with people around me because I knew that we would all be getting really close as the day wore on and the extra space we tried to reserve with our blankets disappeared. In particular, we befriended two guys behind us, Nate and Ryan, pooling our water and sunscreen and positioning ourselves throughout the day to maintain an optimal footprint for the six of us. As impressive as I thought that our plans were for the day, to camp out in a single spot from 10am till 8pm, their day was much more aggressive, as they planned to stay the actual entire day, until String Cheese Incident finished their set around 3am that night. This made our ten hours look paltry in comparison to their sixteen. Most of the other people surrounding us were only there until Mumford and Sons as well. Furthermore, the ten hours that we were there were certainly the hottest and most uncomfortable part of the day, which was the true test, not the cramped quarters. Lindsey and I sucked down a five hour energy each every four hours or so to keep us going throughout the day.

The day started around noon with gospel/soul group Naomi Shelton & the Gospel Queens to warm up the crowd. They were fine but completely unknown to me and mostly forgettable. Following was local Tennessee band Old Crow Medicine Show, who kicked off the bluegrass/folk theme of the afternoon. I first experienced them last year when they joined Mumford and Sons for their encore the previous year. I was excited to see them on their own, as they played up their Tennessee accents and heritage as part of a solid set.

The heat made me not want to eat much. On top of that, even though I was applying copious amounts of sunscreen, I still felt my skin getting too much sun. It was just plain old hot, sitting and baking in the sun without anywhere to escape. Fortunately, we had plenty of water. Some people around us were either not prepared or still just unable to handle the heat and had to leave or be escorted out by medical staff when they started to become faint. I took my last bathroom trip of the afternoon following Old Crow Medicine Show. From here on out, I minimized my liquid intake so that I wouldn’t have to fight the crowd as it got even more dense.

Next up was Alison Krauss & Union Station featuring Jerry Douglas continuing the bluegrass theme of the day, though in a much more mellow demeanor. Despite it not being anything that would really energize the crowd, it was still a great set to be up close. Jerry Douglas’ extended steel guitar solos, including one point where he had the stage to himself, were especially impressive. Alison Krauss and friends played a lot from their great new album, Paper Airplane as well as plenty of older stuff, including music from the O Brother, Where Art Thou? Soundtrack (which put her on the map as far as I’m concerned). I was hoping that Robert Plant would join them onstage, since he was slated to play on the What Stage the following evening to play a selection or two from his joint album with Alison Krauss, Raising Sand, which ruled the dominated the charts (relatively for bluegrass) and Grammies a few years ago, but no such luck.

After Alison Krauss & Union Station was the show that we had all been waiting for all day, indie bluegrass/folk rockers Mumford and Sons. By this point, I was dehydrated and famished, just running on nothing but caffeine and adrenaline. Nonetheless, I joined the rest of the crowd in ecstasy as they took the stage. The four regulars were also joined by a horn section for the majority of the show. As expected, they played much of their freshmen album but also added in four or five new songs, all of which I instantly loved and hoped would show up on their next release. For their encore, they invited Old Crow Medicine Show and a bunch of other players (nineteen people in total) for an impromptu “Amazing Grace” jam session.

After the show, Lindsey asked me how it compared to last year’s set, which was one of the most amazing shows/experiences of my life. I had to admit that it did not quite live up to last year’s experience, but that was mostly because it was the second time around and nothing can really compare to the first time you’re able to see a band you love. Of course this time we also were not as close, which was a surreal experience in and of itself. However, there were a few elements that were actually an improvement as compared to the previous year. For starters, it was great to have someone with me, especially Lindsey, who was just as excited to see them this year as I was last year. Second, unlike last year, where I lucked out and got rock star accommodations, being escorted into the photo pit, this year, was more earning in that we showed up so early and waited so long. It made it all feel much more rewarding, including the communal feeling of watching it with other fans that had been waiting just as long. Finally, their set was technically better. They were more improvisational with their music and their set list flowed better. They rocked just as hard and were just as excited to be there. Overall the set was amazing and as I heard latter a huge draw at Bonnaroo, attracting way more people to the Which Stage than festival planner had anticipated.

Nonetheless, when the show was over, I was very relieved to leave that space. The area really cleared out and there was a lot of turnover after that show, which makes sense considering that the Black Keys would be playing on the What Stage in short order and the long wait until the next set on the Which Stage. We made our way to the What Stage in time for the beginning of the Black Keys set. However, we were all just wiped. For the first half of their set, I was either just zoned out or focused on hitting the bathroom, eating some dinner, and replenishing my fluids. Looking for a spot on the lawn near where we were the previous evening, I ran into a casual friend, Sam, that I did not know was at the festival and then Caroline a little later.

The garage/blues band The Black Keys rocked hard and put on a solid show. Unfortunately, I was a little mentally removed from the first half of the show, instead working to get back into a good physical and mental state. So it was a little disappointing when their set only last an hour, ending a half hour early and just as I was getting into the swing of it. I ventured closer to the stage to find out it would be the last song of their set, a bit of let down.

Afterwards, we waited quite a while for things to clear out before venturing over to see folk legends Buffalo Springfield on the Which Stage. We didn’t bother to venture too, too close to the stage, but for some reason it was really hard to hear from a distance, so we got just close enough to hear. For the first time during the festival, we saw lightning and felt rain drops. Fortunately, that a storm seemed imminent, none came. It would have been more welcome if I would have thrown a rain fly over our tent and the thought of our campsite might be getting the worst of it. Fortunately, we later returned to camp to find that it stayed relatively dry.

We returned to the What Stage for the beginning of Eminem. From the stage set up and booming voice introducing him, it was clear that this show would be the remnants of his recent Recovery Tour. Joined by Mr. Porter of D12, Slim Shady took the stage to all the flash and hype expected of such a high profile hip hop star. He cycled through all of his hits or at least partial versions or medleys of them. There were several songs that I didn’t recognize, presumably from his newest albums. I also forgot how depressing some of his songs are, such as “Stan” and “Love the Way You Lie.” It was certainly not Jay-Z the year before, but it was a pretty good show. Again, there was a mass exodus out of the venue via the side entrance that was the only to the rest of the festival grounds and there was a major traffic jam created by the bottleneck at the entrance. The problem was exacerbated a ten foot wide muddy trough at the peak of the bottleneck with only a few foot bridges to get people across without stepping into the mud. The vast majority of people waited patiently to get through the crowd, but of course there were a few jerks who tried, mostly unsuccessfully, to somehow push their way through as if they were trying to get someplace that oblivious to everyone else in the sardine case.

Eventually, we made it back to the Which Stage for the String Cheese Incident, who took the stage a half hour late themselves. I thought about Nate and Ryan up in the very front closing out their night after an very long day. Thought the show was certainly enjoyable, and I would have stayed any normal night, we only stuck around for another twenty to thirty minutes before a few girls wanted to call it a night. Surprising even myself, I could have stayed a little longer, but it did not take me much convincing to call it a night. Despite it being our earliest and longest day, it was also our latest. It also completed our seeing at least some of every act that played the Which Stage that day, another first for me.

Other than a bit of String Cheese Incident, this was also the first Bonnaroo that I did not see any of the late night sets, which are often some of the sets that I and look forward to the most. Had we not been out and about for so long, I could have definitely stayed out and seen more String Cheese or gone to one of the many other things going on including Gogol Bordello, STS9, or Girl Talk, but they were all bands that I had seen before anyway, so returning to camp to get some sleep did not sound like a bad idea.

Sunday, June 12, 2011

Early the next morning as I was waking up, a group including Greg and some of his college friends were still up from the night before enjoying a few drinks and whatnot. Sometimes around their bodies as they started to fall asleep, we packed up camp. A lot of people were heading out immediately. Our group went into the festival early to see the The Head and the Heart, an indie folk band that Lindsey had recently discovered and had quickly become a big fan and I was on my way to doing the same.

Despite being the first set of the day at the Other Tent, especially on Sunday, it was pretty crowded at the show. For that hour of the day, which often features up and coming performers, it was also one of the best sets that I had seen at any Bonnaroo as well even though being as new as they were, they only had enough material for about 35-40 minutes. Afterwards, we caught the tail end of indie rockers the Smith Westerns while sitting underneath a nearby tree, laying in perhaps a centimeter of dust, a layer of which would cake itself onto any body part that touched the ground. I was pretty mentally checked out at this point so the dust barely fazed me. Our final act of the festival was Neon Trees, who I had not heard of previously, so I only moderately attentive.

Afterwards we ventured back to the camp to head home. I was pretty disappointed to be leaving so early considering that there was a lot more later that night that I wanted to see including Iron & Wine and Explosions in the Sky, but these are the compromises that you make when traveling with a group and made an improper assumption that the status quo would be to stay till the end of the festival. Nonetheless, I welcomed the opportunity to spend the night in a hotel and get a shower and a decent night’s sleep before returning home the following day.

Thursday, June 9, 2011

Jeff's List of Advice for Bonnaroo


Packing:
  • Invest in high quality rain gear – if there is substantial rain, which is very possible, you’ll be very glad you had it
  • A canopy or tarp for your camp. Make sure at least one or 2 people in your group have one and can set it up.
  • Sunscreen – bring it; use it liberally. Nothing will ruin your trip like a bad sunburn. A hat AND sunglasses are great to have as well
  • Comfortable shoes that you can walk in all day – I always sport Chacos
  • Keep in mind the limitations of cotton – if it gets wet, it stays wet and doesn’t keep you warm. Clothes, esp socks, designed for camping are made of synthetic materials (polypropelene, polyester, etc) that are ideal for regulating temperature and keeping you dry
  • Showering is a pain; I never do it. Bring dry shampoo, baby wipes, etc. Gold Bond body powder is also pretty amazing for helping create the illusion of cleanliness
  • Get some dry ice for your cooler. It’s not cheap as compared to regular ice and only some select grocers carry it, but it’s the best way to keep perishables cold for a few days. And it’s still way less expensive than the ice they sell there.
  • Bring more water than you think you’ll drink. I recommended that you get enough large bottles (1.5 quarts) that EACH person in your group can bring at least one, maybe 2, in with you each day. They only let you take sealed bottles into the venue, so get enough for each day. You’ll still have to refill (long lines) or buy more (expensive), but it helps to start with a good amount
  • I have a friend that works for a bottled water company for some empty sealable water bottles from work. That way we can fill them up with booze and sneak them into the venue
  • Consider bringing something fun to trade: glow sticks, refractive glasses, etc.
Getting There:

  • You’ll need to drive into the campground with anyone that you’d like to camp with. Once you park, that’s where your car will stay until the end of the festival. There’s a Wal-mart nearby that’s a great place to rendezvous.
  • Manchester Police close down roads and exits in the area on Thursday morning, so getting to the Wal-Mart in the past has been some tricky in the past
When You Are There:
  • Make friends with your camp neighbors. Make friends with everyone! Bonnaroo is nothing but nice, happy people. Everyone is glad to stop and chat and make friends.
  • Prioritize what you want to see and remember that alcohol takes a lot out of you in the heat of the day. Do you want Friday to be a full day of music, running around seeing all the acts then followed by staying up to see late night sets on Friday night? If so, don’t drink too much on Thursday night. Nap if you can; I know Lindsey will plenty.
  • The campground is huge. It is luck of the draw as to where your spot will be, but it could be upwards of a 20 minute walk into Centeroo (where the music and events are). Thus, it’s not easy to get back to your site just to grab a raincoat or an extra bottle of water. My daily schedule was to walk into the venue each day in the early afternoon and be prepared to only come back at the end of the day, around 3 am.
  • As per the above, don’t go crazy with buying too much food for the campsite. Perhaps a few meals (esp breakfast) is all you’ll actually eat there. You’ll probably end up buying most of your meals at the concession stands. There’s lot of options for food and it’s reasonably priced ($10 for a good meal). A few packable snacks (granola bars, etc) that you could bring in with you are a good idea.
  • Know the limits of your cell phone battery. Lines to charge your cell phone are even longer than to get water. Invest in a way to charge your phone in the car in the morning (run the engine, not the battery so make sure you have a full tank of gas when you enter). If you have a smart phone, turn off the data plan and wifi switches. I actually kept my phone off the entire weekend except for when I specifically needed it to make a call or send a text. Definitely make sure to turn it off before you go to bed, no matter how drunk you may be. Maybe even buy an extra battery for your phone. I just got a generic one on amazon for ~$8 including shipping.

Monday, June 6, 2011

Brian Wilson, Wolf Trap National Park, Vienna, Virginia


The results are in: Brian Wilson is a rock legend

Seeing Brian Wilson was a last minute decision, but I figured I couldn’t go wrong in deciding to see the Beach Boy rock legend on a beautiful summer evening on the lawn at Wolf Trap. The night continued to improve when a guy trying to unload his extra seats outside the venue sold us seats in the orchestra pit for less than what lawn tickets would have cost and a fifth of what they would have originally cost him.

Nonetheless, we made way into the venue and onto the lawn as we had wanted to sit in the grass and enjoy some food and drinks before making our way down to the seats. The lawn was nearly empty and we were able to pick a spot right near the front. Brian and his new 10 piece crew started promptly at 8pm. His selections included a number of famous Beach Boys hits including “Good Vibrations,” “Surfin’ USA,” “Fun, Fun, Fun,” and many others. It’s almost mind boggling to remember just how many hits the Beach Boys had had over the years, most of which happened from the mid- to late-sixties. Equally impressive is that his voice still sounded pretty good after all these years. While he couldn’t hit the highs quite the same as he could in his younger days, it was a solid showing for a man approaching 70 years old. He also had rearranged many of the songs over the years in some interesting ways, adding in intros/outros, instruments, and verses as well as blending his works with other famous songs.

After an hour long set, Brian and his band left the stage. While we waited for them to return to the stage, we took the opportunity to migrate from the lawn to our seats down below. They were an incredible deal, in the orchestra pit only three rows from the front of the stage. The sound at that distance was much different. We were close enough that we were hearing the instruments being played directly, both the drums and percussion on their own as well as the small stage amps behind each musician, instead of through the large speaker system on the lawn. This of course made for a much more intimate show. However, Wilson’s voice was much less pronounced being that close, being drown out by everything else happening on stage. In contrast to the Adele show I just wrote about, someone at Wolf Trap was at their peak of their professional, seamlessly bringing his delicate voice to the back reaches of the venue. However, there’s not as much acoustically that can be done at that close range to balance it out. At that distance, Wilson certainly looked his age was well, requiring help around the stage by band members and roadies. Most of the set consisted of the a live playing of Wilson’s new album, “Brian Wilson Reimagines Gershwin,” which includes covers of ten George Gershwin songs, bookended by passages from Rhapsody in Blue, along with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett. The new arrangements to the classic songs were layered, detailed, and beautiful, truly an example of music coming to life as art, especially that close to the performance. At the end of the set, Wilson shuffled off-stage though returned for two solid encores of more Beach Boys hits and covers.

Saturday, May 14, 2011

Adele, Electric Factory, Philadelphia, Pennsylvania


Powerful soul music; somehow no one cried

The line just to get into the Adele show was getting longer and longer as we arrived at the Electric Factory in Philadelphia and made our way to the bar next door to grab some food. Unfortunately, their kitchen was really backed up and we had to finally head over to the show hungry, not the best start. By this time, the line just to get into the show was wrapped around the building and around several other buildings. I had frankly never seen anything like it before, though it was only my second time at the venue and probably the first time in about a decade.

Despite the length of the line, it moved quickly once the doors opened and we were still able to get a pretty decent spot, only slightly to the left and not more than 35 feet or so from the stage, so the night was getting much better already. The opening act, The Civil Wars, an indie folk duo comprised of singer-songwriters Joy Williams and John Paul White, were one of the best openers that I had seen in quite a while. Mixing simple chords with complex vocal harmonies, they were a beautiful way to start the night. They seemed to really be enjoying themselves and each other on stage and had great chemistry. We were quite disappointed to find out later that they weren’t a couple as we definitely assumed that they had to be sleeping together. Perhaps it’s an open relationship.

Adele took the stage to thunderous applause, beginning by singing “Hometown Glory” mostly acapella, then being joined by a large backing band. Despite being relatively early in her career, she’s already developed a number of solid hits and crowd favorites, including selections from her modestly successful debut album “19” and her sophomore smash hit “21.” The inspiration of the majority of the songs on the latter mainly stemmed from a recent breakup and she truly bares her soul in both her lyrics and her delivery of them. I was also pleased to hear her cover the Steeldrivers song, “If It Hadn't Been for Love,” which the Steeldrivers had included in their set the previous week when we had heard them at Jazz Fest. The power of Adele’s voice is something that few of her contemporaries can match, and she already easily deserves comparison to voices like Aretha, Mariah, and Christina Aguilera. She’s also quite a presence on stage, playing up her delightful British-ness to her American audience, telling jokes, and espousing her appreciation for her recent success. My one grip however was that the acoustics didn’t seem properly adjusted for such a voice-centric performance and the over amplification of the drums, guitars, and bass at time took some of the focus off her singing. Fortunately, her voice is so powerful that she was able to compensate for the bad acoustics and still sound pretty good.

Approximate Setlist:
Hometown Glory
I'll Be Waiting
Don't You Remember
Turning Tables
Set Fire to the Rain
Daydreamer
If It Hadn't Been for Love (Steeldrivers Cover)
My Same
Take It All
Rumour Has It
Right as Rain
One and Only
Love Song (The Cure Cover)
Chasing Pavements
Make You Feel My Love (Bob Dylan Cover)
Someone Like You
Rolling in the Deep

Saturday, May 7, 2011

New Orleans Jazz & Heritage Festival, Fair Grounds Race Course, New Orleans, Louisiana


Jazz Fusion Ahead

Though the annual New Orleans Jazz & Heritage Festival lasts for a total of seven days spread over two weekends, sadly my schedule only permitted me to take a short trip to New Orleans. So while I was only able to attend two days of Jazz Fest, those two days were able to give me the flavor of the festival experience. Located a short drive away from downtown New Orleans and the French Quarter, Jazz Fest attracts some 60,000 people each day to upwards to ten or so stages, featuring an ecelectic mix of music. Whiles acts like Pearl Jam, Dave Matthews Band, and Bon Jovi headline each day, the focus of much of Jazz Fest are the lesser known acts earlier in the day. I’ve never seen such a long list of acts and known so few already, especially considering the size of the festival. Many of the artists are jazz themed or at least jazz influenced, including many local acts. Though the die-hard improvisational jazz fan could certainly find plenty of more traditional improvisational jazz, many of the most popular acts, including those I came to see, are more of the jazz influenced variety, who fuse elements of rock, blues, and funk into their style.

Our Jazz Fest experience started early Friday afternoon, several hours after the gates had officially opened for the day. We made our way to the Gentilly State, one of the larger at the venue, for Buckwheat Zydeco, named for the zydeco music he plays, a style developed in New Orleans creole style of music with fast tempos and featuring the use of an accordion and washboard. We next wandered to the slightly smaller Congo Square stage for another local act, Kermit Ruffins & the Barbecue Swingers.

A big part of the “heritage” element of Jazz Fest is sampling the local cuisine, so I shared some alligator stew with my brother as we sat in the grass and listened to 90’s two hit wonder Better Than Ezra. I couldn’t help think, “Play ‘Desperately Wanting’ and ‘Good’ and get off the stage,” though I refrained from voicing it at a decibel level audible above our little group. Clearly, I need some more Jazz Fest heritage, that is, their policy of providing guests with leftover cardboard boxes full of ice for your beer that you’ve bought in bulk. Like any festival, the most popular acts are always stacked up at the tail end of the day, but no one objected to making our way to a more minor stage for the bluegrass band, The Steeldrivers. We then finished our day at the main stage, finding a great spot not far from the stage where some other guests left their large tarp staked in the ground. Since Arcade Fire was the only band of the trip whose catalogue I am intimately familiar with, it was certainly the highlight of the day for me.

On Saturday, we again made our way into the Jazz Fest festival grounds in the early afternoon. We started our day at local act My Name is John Michaels, which despite being a terrible name for a band in my humble opinion, was a good way to start off the day. Next up for the day was another local band, Trombone Shorty & Orleans Avenue, a brass band who I was already familiar with and had seen at several festivals before. They were the epitome of my previous statement regarding the style of the festival, jazz influenced fused with other genres. I also happened to run into some friends from college, which was a pleasant surprise.

For the last set of the day, I split my time between Jimmy Buffett on the Acura Stage and Lauryn Hill on the Congo Stage. Jimmy is of course always fun but I was not, shall we say, in the right state of mind (i.e drunk enough) to have the full experience at a Buffett concert. Nonetheless, it was fun briefly. Michael wasn’t too into it; I don’t think he really knew any of the songs. Lauryn Hill was also fine, but nothing special. It was a much different crowd, both in demographics and temperament. Far away from her stage, there wasn’t much to see and truth be told, we really weren’t that into the whole thing. So not the best way to close to the festival for us, but nonetheless another good day overall.

Sunday, May 1, 2011

Sweetlife Music Festival, Merriweather Post Pavilion, Columbia, Maryland


The summer music festival season offically kicks off at Merriweather

Though not the first small, single day festival held at Merriweather Post Pavilion, it was the first Sweetlife Festival, I believe named after the local salad-specialty restaurant, Sweetgreen. With a much smaller line up and a relatively inexpensive ticket price, Sweetlife featured about a ten bands all of which played on the main state at Merriweather, guaranteeing that patrons could see every band in the lineup but leaving them to sit through whatever was up next.

I had some trouble with my car keys in the early afternoon and the additional logistical wrangling caused our group to arrive at the venue later than expected. So by the time we arrived, we had already missed nearly half the acts of the day, including several that I did not really care to see anyway such as Modern Man, U.S. Royalty, Walk the Moon, and Theophilus London, as well as a few that I would have liked to see including Ra Ra Riot and the majority of Cold War Kids, the latter of which we only arrived for the tail end of their set. However, it had been raining most of the afternoon and it was still coming down at a good clip when we arrived, so it wasn’t terrible to have to stay out of the rain a little while longer. It was tolerable with a rain jacket, but even sitting on a blanket, it was impossible to prevent one’s ass from getting damp. I lamented not buying VIP tickets underneath the pavilion.

The first act we saw in its entirety was the indie electronic Crystal Castles, with a fun, danceable set to start the day off. The female lead singer was quite a site as well. It was clear she was excited to be playing such as large crowd, taking swigs from a fifth of bourbon and screaming at the top of her lungs. However, judging from the fact that she had a broken foot, which I heard was caused by her failed attempt to stage dive at a previous event, perhaps her demeanor had little to do with the crowd.

Following was Lupe Fiasco, performing what I would dub pretty mainstream and uninteresting hip hop (though I’m no connoisseur of the genre). I still can’t decide if I love or hate his new song which utilizes for its hook the notes from the chorus of Modest Mouse’s “Float On.” While I’m happy to hear the ditty in a new context for a new audience, it’s always disappointing to hear the bastardization of a song that you love so much. However, I was sure that I thoroughly hated his long, nonsensical political rant towards the end of his set.

The sun had not quite yet gone down as mash-up master Girl Talk hit the stage. Though I’m still disappointed that I have not seen Girl Talk in a club atmosphere, being treated to his live performances in a festival setting is still without disappointment. More so than anything thus far, the whole crowd was moving and singing along to his various samples.

Garage rock revival indie gods The Strokes were the final act of the night. While I certainly consider them an act to see for posterity, I’ve never been a huge fan. Nonetheless, it was a solid set and I realized how prolific their music is after over a decade together.

Wednesday, April 6, 2011

Club Scout, Black Cat, Washington, DC


Celebrating the release of the new Club Scout 7"

It was another fun Club Scout set at the Black Cat. This show was in celebration of the release of their new 7” vinyl. Now if I could only get my record player working.

Wednesday, March 30, 2011

Cut Copy & Holy Ghost!, 9:30 Club, Washington, DC


The hipsters came from far and wide to see the fun synthpop band

I walked into the venue with opener electropop duo Holy Ghost! already on stage. I had recently heard of them and figured they’d be a good way to start off an evening. Their high energy and carefree beats got the crowd dancing even as the night was young. The crowd was on the young side and damn were there were a lot of hipsters. Guys in skinny jeans and girls in ironic trucker hats everywhere. And lots and lots of plaid. Scanning the crowd, I attempted to position our group as close to the stage and adjacent to the biggest group of hipsters that I could find. I figured this would be our best bet for getting amongst a group that would also be dancing and having fun. As a bonus, it seemed a number of hipsters in this group were gay – no one dances like gay hipsters – jackpot! Cut Copy took the stage, and the sold out crowd went wild. And of course, I was dancing and jumping up and down right in the middle of it all. The show was blast and the band sounded great as they cycled through their hits, both older selections as well as from their newest album, Zonoscope. Who said that hipsters didn’t know how to have a good time?

Approximate Setlist:
Visions
Nobody Lost, Nobody Found
Where I'm Going
Feel the Love
Corner of the Sky
Lights and Music
Take Me Over
Pharaohs & Pyramids
Saturdays
Hearts on Fire
Sun God
Need You Now

Tuesday, March 22, 2011

DeVotchKa, 9:30 Club, Washington, Dc


A unique blend of Eastern European Gypsy, Mariachi, and indie rock with beautiful vocals and a mini- burlesque show

Since discovering them on the Little Miss Sunshine soundtrack (which I now realize was almost five years ago), I’ve been consistently impressed by DeVotchKa, in both their studio releases and live performances. The four-piece multi-instrumental and vocal ensemble fuses Romani, Greek, Slavic, Bolero, and Mariachi music with American rock and folk roots to produce a sound which few other groups can compare. This show, almost unfortunately, wasn’t sold out. I’m consistently surprised that DeVotchKa hasn’t developed more of a following. A Tuesday night in late March at the 9:30 Club would be my second time seeing them at my standard venue and my third time overall (other time was with David Byrne at Wolftrap). Having seen them previously, I was anticipating a good show and looking forward to hearing both old staples as well as live versions of songs from their newest album, 100 Lovers, released earlier in the month.

It was arguably my favorite of any of their performances that I’ve seen, which is remarkable since often second and third performances don’t stack up to the first. Perhaps it had something to do with lead vocalist Nick Urata. For some reason, perhaps the mood I was in, the place I was standing, or the effects that were chosen, the clear highlight of the evening was his enchanting singing. His powerful yet haunting voice sounded amazing as it carried through the small club as he savored each note. His voice was incredible, just incredible. It’s been some time since I’ve been so impressed in a vocal performance, although it probably didn’t hurt Nick’s chances that I was so disappointed with Shane MacGowan’s drunken stammering at the Pogues show the previous week.

The story I’ve heard is that DeVotchKa got their start playing as a backing band to burlesque acts. So another aspect worth mentioning is that they still incorporate some of these elements into their live performances. The last time that I saw them, an area in the audience was cleared so a female acrobat could propel herself up and down a ribbon/cloth/rope during their encore. This time around, they upped the ante a bit, with a pair of acrobats performing throughout the show, including the aforementioned highwire acrobatics as well as some more grounded sensual dancing and rhythmic gymnastics. The whole thing added a fun and unique layer to the performance. Top notch all around.

Approximate Setlist:
The Alley
Head Honcho
Queen of the Surface Streets
Poland
The Clockwise Witness
The Man from San Sebastian
We're Leaving
Vengo! Vengo!
Exhaustible
All the Sand in all the Sea
How It Ends
Basso Profundo
Undone
Contrabanda
I Cried Like A Silly Boy
100 Other Lovers
The Enemy Guns
Only Love Can Break Your Heart
You Love Me
Such a Lovely Thing

Saturday, March 12, 2011

Shamrock Fest, RFK Stadium, Washington, DC


Finally, the sun shines on Shamrock Fest!

Though I had tickets again to Shamrock Fest, I was up in the air about going, mostly because the past several years had been so rainy and miserable. I ended up dumping my VIP tickets and just showing up at the gate without a ticket in hand. Considering the price I paid for my ticket and the cost of beer on the inside, perhaps not the greatest deal, but I was happy to not have feel like I should try to get my money’s worth from a ticket that includes free beer.

None of the acts at Shamrock are ever really that memorable, but it’s just a good excuse to be outside, have a few drinks to celebrate St. Patty’s, and see some live acts. The various Irish bands are always fun, even if they always blur together in my mind, both the more traditional acts as well as the Celtic Fusion ones. Perhaps the highlight of the day was DJ Pauly D, that’s right Jersey Shore Pauly D, though more for just the novelty rather than the DJ set. The set itself was very forgettable as he just spun a few random tracks and talked over them at inopportune times. If nothing else though, it did make me appreciate just how hard it really must be to DJ well. Despite any particularly good acts, it was a nice day to be outside and worth the trip.

Tuesday, March 8, 2011

The Pogues & Titus Andronicus, 9:30 Club, Washington, DC


Getting reved up for St. Patty's with this great Irish fusion band and relative newcomver Titus Andronicus

Titus Andronicus was already on stage when we arrived at the 9:30 Club. Despite the sold out crowd, it was still pretty empty and we were able to make our way fairly close to the stage. I’m a passive fan of Titus Andronicus, liking but not loving their recent albums. While they sounded fine, it was nothing close to what I remembered from their albums. I wondered if knowing their audience and who they were opening for, they opted for a harder, more punk sound. Even for a Tuesday night, much of the crowd was well lubricated and ready to get down. At the slightest hint of a worthy song, about 15 or so guys in the front of the crowd took it upon themselves to start a mosh pit. While we were just far enough back to avoid the chaos, a few other people weren’t quite so lucky and were quite startled. One guy, who didn’t seem to understand that a mosh pit was a distinct possibility when standing close to the stage at a Pogues concert, was visibility angry when someone transferred the contents of his drink to his shirt. Though I feel for the guy, he was standing in the path of a tornado and such has to be expected. All this from a crowd that was amongst the oldest that I’ve ever seen at the 9:30 Club.

The Pogues took the stage and got straight into their typical set, beginning with “Streams of Whiskey.” Frontman Shane MacGowan sauntered on stage with a tumbler full of booze in one hand and a cigarette in the other. These items seldom left his hands throughout the night. He was dressed in sunglasses and a long leather jacket. With his portly, aging, drunken, and disheveled demeanor, he reminded me of a cross between Neo from the Matrix and Willy, a regular at a pub I used to frequent in Dublin who was enough of a staple of the establishment to warrant having his own dedicated bar stool and the clout to occasionally grab the microphone and belt out Irish tunes despite a complete lack of talent. Like Willy’s, Shane’s singing left much to be desired. Though he has always had a gruff and somewhat unique voice, it was just a mumbling shadow of what it once was, with most of his words slurred together and barely intelligible. The only words I could understand were those that I already knew by heart. However, the rest of the large ensemble was spot on in their sound, and I had a great time dancing amongst the crowd. The setlist was exactly what I wanted to hear, including their classic songs “A Pair of Brown Eyes,” “Sunny Side of the Street,” “Thousands Are Sailing,” and “Sally MacLennane” as well as great covers that they’ve made their own such as “Dirty Old Town” and “And the Band Played Waltzing Matilda.” Certainly the highlight of the night for me was “Tuesday Morning,” a song I’ve loved since I first discovered it when I was about 11 years old. So while the concert left a little to be desired, I still certainly enjoyed it and felt that I got my money’s worth. The true test will be if I get tickets when the Pogues come back to help DC kick off St. Patty’s Day next year.

Thursday, February 24, 2011

Galactic, 9:30 Club, Washington, DC

The New Orleans jazz funk troop joined by Cyril Neville and the Rebirth Brass Band

The night started out with the opener, another New Orleans-based band, the Rebirth Brass Band on stage. They were an eclectic mix of players with their own brand of jazz funk. With trombones, trumpets, a tuba, and traditional rock instruments, they were a crew of about 7 or 8 on stage in total. The most memorable was the Mohawk-sporting Celtic punk tubist who flashed the audience to reveal that he wasn’t wearing anything under his kilt as well as the band’s only female member notable because for most of the show she didn’t do anything on-stage except just hang out and occasionally dance and bang a tambourine. She did however supply vocals on a number or two with her own blend of hip hop and soul. The band ended their set parading through the audience, including the upper sections of the venue, a realm I’ve never seen an artist traverse at the 9:30 Club. It’s great feeling like you’ve already gotten your money’s worth after just the opening act.

I’ve only ever been a passive Galactic fan, but have enjoyed parts of their live sets at festivals. So I was looking forward to getting to see a night dedicated to their music. They made us wait a long time before taking the stage, but what we saw was worth it. Each member of the quintet was talented in their own right and as they mixed in their own brand of jazz funk with elements of jam, electronic, world, rock, and blues. Guest vocalist Cyril Neville of the Neville Brothers gave some added context to their jamming with well sung soul verses. His addition was a great choice for their live shows to focus the evening and make their music a little more cohesive. The Rebirth Brass Band was also invited back on stage for a few selections.

Saturday, February 19, 2011

Millennium Music Conference & Showcase, Siamese Sundown, Maddam Ink, & Identity X, Gullifty's Underground, Camp Hill, Pennsylvania


A sampling of hard rock and metal acts from the Millennium Music Conference & Showcase

I headed home to Harrisburg, Pennsylvania to catch a few acts from the Millennium Music Conference and Showcase, a smattering of regional acts that converge on Harrisburg each year. Though a number of venues had bands on Saturday night as part of the showcase, I hadn’t really heard of any of them, so it was a lot of guess work in listening to MP3 samples online to determine where our best bet for the evening would be. I let my brother do the legwork and pick the venue that most interested him, which meant music a little more geared towards heavy metal and hard rock that I typically listen. Nonetheless, I’m always open to seeing new music and experimenting with new genres, so I was looking forward to the night. Michael decided to wear his Mohawk up in full regale for the evening to give us some cred as compared to my button down shirt and hipster glasses.

Gullifty's was nearly empty when we arrived a little before 9 and didn’t ever get that much more crowded as the night wore on. We were treated to 3 acts in the evening – Siamese Sundown, Maddam Ink, and Identity X, in order of appearance. Siamese Sundown was probably the tamest of the group and the least favorite of both Michael and me. Maddam Ink was the hardest, our choice for the most talented musicians and best songwriting as well as our favorite act of the night. The third, though not as talented, was enjoyable and won the prize for the most enthusiastic and best stage presence as they were ecstatic to just be part of the event. The lead guitarist was running through the crowd and jumping through the air for much of the show. It was approaching midnight when we finally left, content that the past 3 hours of music were well worth the $5 cover charge. I also paid my $6 bar tab for the night on the way out. Apparently, Saturday nights classify as happy hour at Gullifty's. I love Harrisburg.

Saturday, February 5, 2011

Chromeo, 9:30 Club, Washington, DC


Even sans Darrel Hall, the electrofunk duo still put on a great show

I returned to the 9:30 Club for my first show in 2011 to see electrofunk duo Chromeo. Everyone in the venue was excited as they all knew how much fun a sold out dance party at the 9:30 Club can be. If there was an opener, I didn’t show up in time to see them, but no matter. As expected, our large group just had a lot of fun dancing and imbibing a few beverages of a spirituous nature. The dance floor was kind of just a hot, sweaty mess, though everyone was a having a great time. Though there was a brief effort to continue the party afterwards at a local bar, it wasn’t much of an effort as there really wasn’t much chance of that any follow up could even compare.

Setlist:
Intro
Don't Turn the Lights On
I'm Not Contagious
Outta Sight
Tenderoni
Call Me Up
Opening Up
Hot Mess
Waiting 4 U
When the Night Falls
Bonafied Lovin'
You're So Gangsta
Night By Night
Momma's Boy
100%
Fancy Footwork
J'ai claqué la porte
Needy Girl
Grow Up

Thursday, January 6, 2011

Club Scout, Black Cat, Washington, DC


Club Scout comes into their own for their best show yet

To kick off the 2011 concert season, I went to a Sunday evening show of my friend Benny’s band, Club Scout. I’ve seen Club Scout several times before, but it was by far the best show that I’ve ever seen them play as they opened up for chiptune band Anamanaguchi in front of a sold out crowd in the lower room of the Black Cat. Their deepening setlist remained tight, the band looked relaxed and prepared, and Benny manages excellent banter with the crowd. It’s amazing how far they’ve come in the past few years of playing together. Despite their collected attitude, I think they were still a little dumbstruck about the number of people they were playing for and the support they received. Great show and would highly recommend checking them out. Since I’m guessing that he’ll see this post eventually and I don’t have it handy, I’ll let Benny post the setlist in the comments section if he remembers it.