Kacey Musgraves, Riviera Theatre, Chicago, Illinois

Country star Kacey Musgraves took the stage on a Saturday night at the Riviera Theatre to Ennio Morricone’s theme from The Good, the Bad, and the Ugly. She was off to a great start as far as I was concerned. Taking the stage with her was a backing band of five guys wearing illuminated mariachi suits, including acoustic and electric guitars, drums, bass, and keyboard to compliment her acoustic guitar. She also switched over to banjo for a few songs. The stage itself was decorated with neon cacti.

Though she has released a total of four studio albums, the first of which when she was just 14 years old, I was only really familiar with her most recent, Same Trailer, Different Park (2013). Fortunately for me, most her set consisted of songs from this most recent album, ten in all. Another four songs came from other albums and a variety of covers, ranging from other country songs (Dolly Parton and Miranda Lambert) to R&B (TLC) and reggae (Bob Marley).

She performed well, without much additional fanfare besides creating some intimate moments with the audience – sitting on the edge of the stage and playful banter with the audience. To close the show, her band crowded around her for an a capella rendition of the Roy Rogers song “Happy Trails.”

Setlist:
Silver Lining
Stupid
Blowin' Smoke
I Miss You
High Time
Here You Come Again [Dolly Parton cover]
The Trailer Song
Keep It to Yourself
Back on the Map
Mama's Broken Heart [Miranda Lambert cover]
No Scrubs [TLC cover]
It Is What It Is
Step Off / 3 Lil' Birds [Bob Marley & the Wailers cover]
Merry Go 'Round
My House
Encore:
Biscuits
Cup of Tea
These Boots Are Made for Walkin' [Nancy Sinatra cover]
Follow Your Arrow
Happy Trails [Roy Rogers cover]

Riot Fest, Humboldt Park, Chicago, Illinois

Saturday

Though it originated ten years ago in more humble beginnings, as a multi-venue series of shows across the Windy City, Riot Fest has evolved into a massive, Friday-Sunday festival. Though the hub of Riot Fest is Chicago in early September, several smaller festivals are also held throughout North America. Humboldt Park, the festival’s home since 2012, is in an urban no man’s land on the west side of the city. As such, it’s a bit of a pain getting there. The park itself is separated by a lake. Other than the entrance, the entire festival was on the north side of that lake. This meant that festival organizers had to squeeze a lot of stages and other activities into the grounds, making it a bit tight. Some stage set ups were a bit awkward, such as the Riot stage, which had at least 40% of the ideal standing area for the audience cut off by an inaccessible baseball field. Most of the stages were set up similar to those of Lollapalooza, with a pair of stage across a field from each other. When the music on one stage ended, it began on the one across the way.

Most bands at the festival have at least some punk influence, be it punk rock, new wave, hardcore punk, emo, or ska. It’s not a strict requirement. Many lean more towards alternative rock or metal. There is often even hip hop and indie pop thrown in to round out the experience.  Nonetheless, unlike general festivals like Bonnaroo and Lollapalooza, Riot Fest aims to fill a specific niche. The style of music was also reflected in the attendees. Without a dance tent, there wasn't anywhere for a bunch of college-aged hipsters to congregate. While the weather in mid-September was certainly cooler than at the beginning of August, it was clear that the lack of male tank tops was mostly an aesthetic choice. Even though we saw ample tattoos throughout the grounds, few of them were ironic. There were also many attendees with piercings and non-naturally colored hair. However, the vast majority of people, even if dressed in a slightly alternative manner, could take out the piercing, comb their hair, and put on a suit for their job at a bank come Monday morning.

Based on the daily lineups, we decided to attend only on Saturday and Sunday. Noticing that the north entrance was a mob scene early Saturday afternoon, we walked right through security at the south entrance. When I noticed how lax security was, I immediately regretted not sneaking some booze into the venue. Our opening band of the day, California punk/emo Samiam, was at the Rebel stage. After heavy rains on Friday night, the grounds near the stage were covered in a ridiculous amount of mud. It was a bit disconcerting, as I thought we would spend the whole day trudging through it. Fortunately, we found that the while there was mud throughout the grounds, it was by far at its worst at the Rise and Rebel stages. Unlike the wet muddy puddles at Lollapalooza, the mud at Riot Fest was so thick and viscous that I had to tie my shoes tighter so they wouldn't get sucked off with each step. Despite the weather on Friday night, Saturday and Sunday were perfectly clear, so at least we missed what actually caused the mud.

After Samiam, we headed over to the Roots stage for Tokyo Police Club, a Canadian indie rock band. It was still a bit muddy but not a complete mess. It was the first show of the day that I was looking forward to seeing, and they play a good set.

Tokyo Police Club Setlist:
Argentina (Parts I, II, III)
Nature of the Experiment
Favourite Colour
Toy Guns
Breakneck Speed
Bambi
Hot Tonight
Tunnel Vision
Wait Up (Boots of Danger)
Your English Is Good

It was back to the punk scene, though with a bit more ska flavor, for Streetlight Manifesto on the Rock stage. We started watching from a distance, up on a hill overlooking the stage with a view of the Loop in the background. Even when we moved closer, I wasn't all that engaged, especially when I found an open hammock in the back. I wasn't particularly tired, but I knew I had a long day ahead. I’d now doubt be grateful for any time I could spend off my feet. As previously mentioned, the Rock stage was the most egregious example of the occasional awkwardness of the festival’s set up. A huge section of area in front of the stage was occupied by a baseball field which was closed off for attendees.

Canadian indie rock must have been the theme for the Roots stage that afternoon because after Streetlight Manifesto, we were back for City & Colour. The band, a vehicle for singer-songwriter Dallas Green, was the only acoustic-based band we would see all weekend. As such, the set was more subdued than most of the other bands we saw that weekend. Another good set which was particularly enjoyable because we were fairly close to the stage but still had plenty of space.

City & Colour Setlist:

Of Space and Time
The Lonely Life
The Grand Optimist
As Much as I Ever Could
Comin' Home
Fragile Bird
The Girl
Thirst
The Day We Hit the Coast (Thrush Hermit cover)
Sorrowing Man
Sleeping Sickness
Two Coins

With a bit of a lull in the lineup, we finally took a bit of time to wander the festival grounds, even though we didn't find much interesting to see – other than the people. The festival also has carnival rides. I don’t know why anyone would wait in line for a Ferris wheel at a music festival; there are so many bands to see!

We were back down to the Rock stage for Say Anything. I had heard of them before but can’t say that I was too familiar with their music. However, this was one of the highlights of the weekend for Eric and Benny. The former pushed his way up as close as he could get. The latter and I were back a little further, though still fairly close. The Los Angeles-based emo emo/alternative rockers brought lots of energy, which was met and raised by the crowd. In fact, it the first show of the weekend that I was at where the people surrounding me were completely engrossed in the performance. I didn't even know any songs but still had fun. The lead singer amused me as well. He was very punk but a bit older. So even though he still sported a tight tee and skinny jeans, now they covered up a slight gut. He still hopped around the stage as I imagine he did when he was thirty pounds lighter.

Say Anything Setlist:
Six Six Six
Spidersong
Burn a Miracle
Baby Girl, I'm a Blur
Judas Decapitation
Surgically Removing the Tracking Device
The Writhing South
Cemetery
Every Man Has a Molly
This Is Fucking Ecstasy
Belt

We next made our first stop at the Rise stage for The Get up Kids, more emo punk that would be another weekend highlight for Benny and Eric. I was never more than a casual fan over the years, but was at least familiar with their music. However, The Get Up Kids were one of ten bands which agreed to play one of their seminal albums in its entirety. Though certainly not the first time I've heard a band do this, it was a nice perk of Riot Fest to get to hear so many at once, especially for a guy like me who still prefers to listen to albums all the way through. It was also helpful in preparing for their set, as I could become quite familiar with their defining sophomore album, Something to Write Home About (1999) in anticipation of hearing it. I also found that I really enjoyed it in its own right. It is a bit strange to hear albums performed live though, and I know it must be even stranger for artists to play. The design of a track list is different from that of a concert setlist. Sometimes a song that sounds great in the studio doesn't translate well to a live performance, or the mood and flow that works well on your home stereo creates a buzzkill in the middle of a live set. In this case, the lead singer accidentally skipped “My Apology,” so had to go back to it and play after “I'm a Loner Dottie, a Rebel.” Nonetheless, I appreciate the attempt. However, it generally works well for the band as well. The Get Up Kids aren't a band well known for just a handful of singles. While there are no doubt some fan favorites, there was no mass exodus after any of them. People wanted to stay and hear every song of that album. They had enough time at the end for an extra three songs as well.

The Get Up Kids Setlist:
Holiday
Action & Action
Valentine
Red Letter Day
Out of Reach
Ten Minutes
The Company Dime
I'm a Loner Dottie, a Rebel
My Apology
Long Goodnight
Close to Home
I'll Catch You
Coming Clean
Shorty
Don't Hate Me

We caught a bit of another Canadian indie rock band, Metric, this time across the way at the Riot stage before turning left for the Flaming Lips on the Root Stage. It was at least my third or fourth time seeing the Flaming Lips, so I knew what to expect for their grand spectacle of a show. However like the band themselves, I wasn't expecting that as their first song, “The Abandoned Hospital Ship,” built up to its initial crescendo, the combination of sound, light, and confetti would overload the stage’s circuits, plunging it into silence and darkness. No lights, no music, no jumbotron screen, just an initial burst of confetti still floating to the ground. While I was worried they wouldn't be able to continue, it only took about 15 minutes for them to figure out everything and get the show rolling again. The remainder of their set was their typical fare. I didn't stick around the entire time, instead opting to walk over to the Riot stage for The National, though I could at least hear the rest of Flaming Lips set from a distance and even see frontman Wayne Coyne get into his giant plastic bubble.

Flaming Lips Setlist:
The Abandoned Hospital Ship
Yoshimi Battles the Pink Robots, Pt. 1
The Golden Path (Chemical Brothers cover)
Race for the Prize
Vein of Stars
The W.A.N.D.
A Spoonful Weighs a Ton
Do You Realize??
Lucy in the Sky With Diamonds (Beatles cover)

Over at the Riot stage, things weren't going any better. However, this time it was because The National were late to take the stage. Apparently, they were in route from a show at the Ottawa Folk Festival the previous night and had some flight delays. In other words, Blame Canada. I can only imagine the series of heart attacks festival organizers were having a short while ago when the lights went out at the Flaming Lips. Would they get things up and running again? Would The National show up? After a 25 minutes delay, The National did show up, giving the Flaming Lips a bit of extra time to finish their set. Matt Berninger apologized for their tardiness, and the band launched into a great, if short, 12 song set. We were standing fairly close, though not as close as the last time that I saw them at the Chicago Theatre. If we were standing behind the parents of anyone famous, I wasn't specifically aware.

The National Setlist:

Don't Swallow the Cap
I Should Live in Salt
Bloodbuzz Ohio
Sea of Love
Afraid of Everyone
I Need My Girl
This Is the Last Time
England
Graceless
Fake Empire
Mr. November
Terrible Love

Sunday

We arrived at a similar time on Sunday afternoon, pleased to find that even the Rebel and Rise stages had dried off significantly since the previous day. The sludge-like mud that covered the field had hardened into packed clay. We started our day with the Front Bottoms, an indie rock band that has been around for a few years but a recent discovery for me due to their album, Talon of the Hawk (2013). I was the only one familiar with the band, so while we didn't bother to get to close to the stage, everyone agreed it was a good way to kick off the day. Though they played a short set, it did include their biggest hit, “Au Revoir (Adios).” Lead singer Brian Sella challenged himself to chug a beer on stage towards the end; I’m sure no one doubted his ability to do so.

Front Bottoms Setlist:

Skeleton

Flashlight

Au Revoir (Adios)

The Beers

Backflip

Swimming Pool

Maps

Twin Size Mattress

Afterwards, we stayed for The Hold Steady, a band that I had seen before with the same group of friends at a festival a few years ago. Even though I had liked a few of their albums, and we were quite close to the stage, I was a bit disappointed with their last performance. Though my expectations were lower,  I enjoyed them much more this time. It seemed like a more excited crowd, and the band brought more energy. I’m not sure that I liked it enough to seek out one of their club shows, but another good set for early in the day.

The Hold Steady Setlist:

I Hope This Whole Thing Didn't Frighten You

Stuck Between Stations

The Swish

Sequestered in Memphis

You Can Make Him Like You

Constructive Summer

Hot Soft Light

Spinners

Chips Ahoy!

Your Little Hoodrat Friend

Southtown Girls

Stay Positive

We again stuck around, turning to the left for hard rocker Andrew WK on the Rise stage. I didn't realize it until I checked the setlist following the show, but his set was another full album. It was his debut, I Get Wet (2001), which is also the only album of his that I've heard –apparently not that extensively. Andrew WK easily wins the award for hardest rocking act of the festival. He’s a bit of a caricature: a bit gruff and aloof; Keith Richards without the flamboyance or swagger. His opening songs, “Interlude (It's Not a Show, It's a Party” is perfectly named. His “party” was even complete with suggestively dancing girls. One voluptuous girl in particular spent equal time proving backing vocals and shaking her ass. He’s both the life of the party and a complete tool all at the same time. It’s hard to tell to what degree his whole image is all tongue in cheek. Does he take himself seriously or is it all a joke?

Andrew WK Setlist:

Interlude (It's Not a Show, It's a Party)

I Get Wet

It's Time to Party

Party Hard

Girls Own Love

Ready to Die

Take It Off

I Love NYC

She Is Beautiful

Party Till You Puke

Fun Night

Got to Do It

I Get Wet

Don't Stop Living in the Red

Following Andrew WK, I listened to some Motion City Soundtrack from a distance. While the fun power pop sounded like something I could have gotten a bit more into, I was quite content to take a trip to the bathroom and relax underneath the shade of a tree while my friends got a bit closer. We next migrated over to the Riot stage for indie pop sisters Tegan & Sara. It was very crowded; I had no idea that they were so popular. I always thought of them as a band that everyone likes but no one loves. However, clearly this was a narrow view. Even where I was standing at the back of the field, people surrounding me were belting out every single lyric. The sisters discussed their punk roots and played a mix of old and new songs.

Tegan & Sara Setlist:

Goodbye, Goodbye

I'm Not Your Hero

Back In Your Head

The Con

Walking With a Ghost

Living Room

How Come You Don't Want Me

Shock to Your System

Drove Me Wild

Closer

We turned towards the Roots stage for another packed set, Dropkick Murphys. Even though I typically reserve listening to the Celtic punk rockers on or around St. Paddy’s Day, they weren't completely out of place with the rest of the punk rock scene happening around them. From a distance, I could see their high energy on stage, but the acoustics were a bit off with way too much bass. With the massive crowd, it wasn't worth squeezing any closer, especially since I really only wanted to hear a single song, “I’m Shipping Up to Boston,” which entered the pop culture zeitgeist after being featured in the Martin Scorsese film, “The Departed.”  Dropkick Murphys did seem like it would have been a really fun show on a smaller stage with a lot of Guinness or Jameson in your system.

Dropkick Murphys Setlist:

The Boys Are Back

Citizen C.I.A.

Prisoner's Song

Going Out in Style

Blood and Whiskey

Cruel

The Walking Dead

Johnny, I Hardly Knew Ya

Vengeance (Nipple Erectors cover)

Rose Tattoo

Out of Our Heads

I'm Shipping Up to Boston

Takin' Care of Business (Bachman-Turner Overdrive cover)

We're an American Band (Grand Funk Railroad cover)

After a quick bite of food, we were back at the Riot stage for Patti Smith, sometimes known as the "Godmother of Punk.” Upon the release of her debut album, Horses (1975), her fusion of rock and poetry became highly influence in the early punk movement. We only caught a bit of her set, but I was happy that it included “Because the Night” the often-covered song that she wrote with Bruce Springsteen. Unfortunately, many of those cover versions are better than hers. At 67, her voice isn't nearly what it used to be. Nonetheless, it was a nice treat to hear a few songs from an iconic musician.

We returned to the Rebel stage for Chicagoland natives Cheap Trick, though the main purpose was really to secure a spot for Weezer, who would be closing the festival on that stage a bit later. Cheap Trick played their album Heaven Tonight (1978), which I again didn't realize until after the fact, though I did recognize several of the songs including “Surrender.” Interestingly, it also includes a cover itself, “California Man” by 60s English band, The Move. The hard rock band is mostly thought of as a collaboration between Robin Zander (lead vocals, rhythm guitar) and Rick Nielsen (lead guitar, backing vocals), though Tom Petersson (bass, backing vocals) is a founding member of the band and has been involved with all but a few years’ worth of the their forty year history. Daxx Nielsen, Rick’s son, took over for Bun E Carlos several years ago on drums. Before the sun set over the crowd, I noticed that most attendees were a bit older than most of the sets over the course of the weekend. I don’t think they ever picked up a whole lot of fans in my age cohort. In fact, I was the only one of my friends that had even heard of them. Robin Zander was wearing what appeared to be a navy admiral’s uniform. Rick Nielsen didn't have nearly as many necks on his guitar as I was expecting.

Cheap Trick Setlist:

Surrender

On Top of the World

California Man (The Move cover)

High Roller

Auf Wiedersehen

Takin' Me Back

On the Radio

Heaven Tonight

Stiff Competition

How Are You?

Oh Claire

I Want You to Want Me

After Cheap Trick had wrapped up their set, we turned slightly to the left to see Primus, hoping we’d be able to enjoy some of their music from a distance. We also noticed they brought giant inflatable astronauts with them on stage. What I heard sounded quite good even if I was only moderately engaged among the chatter of those around me. Primus was definitely something I would have like to see up close at some point. While they didn't play the South Park theme song, they did play “Jerry Was a Race Car Driver.”

With a good spot secured, we turned our attention back towards the Rebel stage for alternative rock, power pop band, Weezer, who had a significant influence on me as a young music lover. Their set would include the entirety of their debut album, Weezer (1994), generally known as The Blue Album and perhaps my single favorite album of all time. As Primus was wrapping up their set, frontman Rivers Cuomo took a few last minutes sound checking guitars. He wore a mask to draw less attention to himself. The backdrop for the show started as a banner from their new album, Everything Will Be Alright in the End (2014). The band took the stage with Rivers announcing that the band was taking the audience for a trip in a time machine, heading back to where it all started. Weezer kicked off the evening in the current year with the lead single, “Back to the Shack,” from their most recent album. It was by far the most appropriate song on which to open. With lyrics like, “Sorry guys I didn't realize that I needed you so much, I thought I'd get a new audience, I forgot that disco sucks, ” it’s a nod to fans to of their original material who have griped about their more recent work, me included. The band continued taking us back through time, with Rivers announcing cuts from of the various Weezer albums back through the years – “Pork and Beans” from The Red Album (2008), “Perfect Situation” and “Beverly Hills” from Make Believe (2005), and “Island in the Sun” and “Hash Pipe” from The Green Album (2001). Eventually, we arrived at “El Scorcho” from Pinkerton (1996).

Every person in earshot knew what was coming next, though they teased it out a bit more with a short set break. During the break, the Everything Will Be Alright in the End backdrop came down with The Blue Album’s cover hoisted in its place. However, perhaps because original bassist Matt Sharp is no longer with the band, the banner was a modified version that didn’t include a photo of the band. Retaking the stage, Weezer immediately launched into “My Name is Jonas,” the opening track from the iconic album. The crowd went wild. There was a bit of moshing, mostly a single group of guys situated near us. Note:  If you look around and notice that you and your friends have created a mosh pit that everyone else around you is trying to avoid, then everyone hates you. However, it would have taken much more than a few rambunctious youngsters to put a damper on the experience of seeing a complete rendition of the The Blue Album. The entire time I was torn between not wanting it to end but thoroughly anticipating the next song, especially the epic closing track, “Only in Dreams.” The building crescendo of the ballad is the perfect end to an album, a set, and a weekend of music. The entire weekend was worth that second Weezer set.

Weezer Setlist:

First Set: Time Machine (The Hits)

Back to the Shack

Pork and Beans

Perfect Situation

Beverly Hills

Island in the Sun

Hash Pipe

El Scorcho

Second Set: Blue Album (1994)

My Name Is Jonas

No One Else

The World Has Turned and Left Me Here

Buddy Holly

Undone - The Sweater Song

Surf Wax America

Say It Ain't So

In the Garage

Holiday

Only in Dreams

Fully satisfied, we followed the crowd onto the streets of Chicago. The previous night, we were lucky enough to have Lindsey pick us up outside the venue. Being late on a Sunday, Lindsey was already asleep at home, so we had to arrange our own transportation home. This was the point for which Riot Fest’s choice of venue at the isolated Humboldt Park was quite frustrating. Without an L station close-by, thousands of people were all trying to secure a bus, taxi, Uber, or Lyft. Thus, we had to walk quite a ways to get a bus, then a taxi home. Overall, well worth it though.

Chicago World Music Festival: Bombino & Vieux Farka Touré, Jay Pritzker Pavilion, Chicago, Illinois

A Thursday evening in September would be my first visit to Jay Pritzker Pavilion in 2014, an open stage in Millennium Park. Unfortunately, I had just missed summer, and it proved to actually be the first cold day of fall, with high winds and temperatures dipping into the 50s. The lawn was nearly empty, so we laid our picnic in the grass very close to the stage.

We had come for opening night of the 16th Annual Chicago World Music Festival, put on each year by the city. Since it began in 1999, the city-wide, multi-venue, eleven-day festival has presented over 650 artists and ensembles from over 80 countries. Tonight, we would be seeing two West African artists, Bombino and Vieux Farka Touré, hailing from Niger and Mali, respectively. Both are only a few years older than me with bands that included other Africans as well as westerners.

Blues rock guitarist Omara "Bombino" Moctar was taking the stage as we arrived. Bombino is a member of the Tuareg, a Berber people, born during a time of strife in his homeland. As a young musician, he picked up the name "Bombino", which is derived from the Italian word "bambino," that means “little child.” He was forced into exile after the guitar was banned for the Tuareg by the government but has since gained an international audience. He was joined by three other musicians on stage, including bass, drums, and another guitarist.  His 75 minute set was mostly instrumentally, though there was some singing. Bombino himself didn't speak much English, so one of his bandmates, an American, did a lot of the talking for him. Towards the end of his set, we moved down into the pavilion only a few rows from the front.

Boureima "Vieux" Farka Touré is the son of Grammy-winning Malian musician Ali Farka Touré. Even though his father did not encourage him to follow in his footsteps, Vieux taught himself the guitar at a young age. His style is similar to that of his father’s, using an African fingerstyle technique. Like Bombino, his reputation around the world has grown. His backing band consisted of another electric guitar and drums as well as a guy playing a ritti, a one string fiddle, the neck of which appeared as if it were an unpolished stick. Unlike Bombino, Vieux spoke English well enough to communicate with the audience. We didn't stay for all of his set, though I enjoyed it a bit more than the first, mostly because of Vieux’s technical proficiency.

Trampled by Turtles, Riviera Theatre, Chicago, Illinois

Trampled by Turtles is a bluegrass ensemble hailing from Duluth, Minnesota. The band consists of guitar, bass, banjo, mandolin, and fiddle. An extra guitarist also joined them on stage for the entire set as well as a string quartet for a few songs. We didn't arrive particularly early but with the show not being anywhere close to sold out, we were able to get very close to the stage.

Most of the crowd standing near us in the front were really into the show, including one character that was asking where everyone around him, “Where are you from, no, I mean really from?” I think he was just proud that his home state of West Virginia was more American than anywhere else. He also loudly proclaimed throughout the show, “Fuck ISIS,” as if it needed to be stated.

While I couldn't find the exact setlist, the turtles played most of the songs that I wanted to hear including “Codeine,” “Lucy,” and “Wait So Long.” It was a lot like seeing other modern bluegrass jam bands like Yonder Mountain String Band and Greensky Bluegrass. There were a lot of extended jams; one song meandered into the next. They also played a long set, such that the venue was becoming even emptier as the show went on; we even left before any encore.