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Phish | Halloween 2010 | Review | Pics

November 5th, 2010 | No Comments

Words by: B. Getz | Images by: Dave Vann

Phish :: 10.29.10-10.31.10 :: Atlantic City Boardwalk Hall :: Atlantic City, NJ

Pop over here to see the full gallery of pictures from the Halloween run!

Like a whirlwind of ocean and sand, the tidal wave that is Phish 3.0 stormed into Atlantic City for a Halloween weekend to close their fall tour. Halloween runs are always an event for the band and its minions; this would be no different as the boys gave new definition to “Boardwalk Empire.” Phans descended on the nearly century old Jersey Shore landmark, funneling a much needed boost to the off-season economy of this blue-collar destination while also taking full advantage of its 24 hour playground. The hotels, casinos and nightclubs were crawling at all hours with revelers, costumed and imbibed like only we do.

Friday, October 29

Photo by Dave Vann Â© Phish 2010

An elated, palpable excitement permeated the salty ocean air as people filed in for the first gig. Though a sea of heads clogged the boardwalk outside the venue all three nights, the stately hall slowly filled as tickets were hard to even give away Friday. Yet once the band lined up for a barbershop quartet “Star Spangled Banner,” everything was set in place for an blockbuster weekend.

The first set of music started out innocently enough, brevity and excitability contained within spirited takes. “Light Up or Leave Me Alone” shifted gears quickly, a sonic foreshadowing of treats to come, Page’s gleeful verses and choice Fender Rhodes Winwood-isms sparking the twilight. The second portion of the first frame sought to harness the frenetic energy within the room. “Timber Ho,” “Axilla” and “Rift” saw Trey Anastasio charging with fierce Languedoc tones, leading the tightly wound troupe into proper funk. “The Moma Dance > Cities > 46 Days” only served to up the ante, low-rider, uptempo cow-funk giving way to raging arena rock bombast, a collective effort in spades. The first set displayed command of some of their dramatic yet cohesive amalgams of style and substance.

Friday’s second set saw more sonic diversity, showcased by the devastating “Sand > Carini.” If the stutter-step crunk of 3.0′s “Sand” is criminology, then this is Exhibit A. The intoxicating dance riddims and sensual aural layers detonated an aggressive, steppin’ groove. Trey juxtaposed a forceful metallic vengeance – a “Carini” segue wrought with rampant redhead riffage as Cactus digi-bombs bludgeoned and shared descending insanity culminating in a clav-drenched milieu.

To steer into port, the boys demonstrated distinct intent with a masterful tandem of “Slave” and “Fluffhead.” The former was a beacon of 3.0 reinvention, blissed-out and ethereal in flight, its emotional command tangible. “Fluffhead” was a love letter from the boys, signed, sealed and deliberate, as was the atypically tipsy “Loving Cup” that kissed us off into the windswept midnight Jersey shore.

Friday Setlist
Set 1: The Star Spangled Banner, My Soul, AC/DC Bag, Ocelot, Sample in a Jar, Light Up Or Leave Me Alone, Sugar Shack, Timber (Jerry) > Bouncing Around the Room, Axilla > Rift, The Moma Dance > Cities > 46 Days
Set 2: Punch You In the Eye > Sand -> Carini > Prince Caspian, Corinna, Piper > Theme From the Bottom > Golgi Apparatus > Slave to the Traffic Light > Fluffhead
E: Loving Cup

Order the show for Download on LivePhish.com

Saturday, October 30

Photo by Dave Vann Â© Phish 2010

Despite the typically great opening night, nobody could have dreamt the magic of the penultimate show Saturday night. After a soundcheck filled with their songs and a heavy-traction rumor that picked up steam, “Zeppelin” was on the tips of many tongues. On this marvelous evening, Boardwalk Hall would be adrift, a Mischief Night passage to a haunted house of the holy.

The punked-up bluster of “Cavern” announced an early fever, a tightly wound “Guelah Papyrus” scorched with concision. As the band careened skyward during “Chalkdust’s” fierce jam, Trey and Mike hijacked the vehicle with a potent “Whole Lotta Love” riff and the boys initiated a weighty liftoff. The ‘trick’ was unveiled with this vigorous verse, only this was a mission not a small time thing. A crunk detour in “Ha Ha Ha” and an anthemic “Walk Away” marched to an uber-funky Â‘Wolfman’s.” Toward the end of this boogie hustle, a peculiar vocal jam began bleeding into focused, mathematical cyber-funk sonic malevolence. This wicked display piloted into a phenomenal take on “Undermind.” With such first class Phish on display throughout the first frame, unmitigated bliss permeated the setbreak, and it seemed the band was keen to treat fans maybe not blessed with a Halloween ticket to their own magic carpet ride on this chilly Saturday night.

A second frame opening “Tube” was a proper funk workout, a lesson in premeditated groove science, but it was the open-ended “Tweezer” that set the room ablaze with an endless spate of getting the Led out. Portions of “Heartbreaker,” “Ramble On” and the exquisite “Thank You” were all stuffed inside the Zepplified “Tweezer,” only to cap the madness with an emotive rendering of “Stairway to Heaven’s” final coda, complete with Robert Plant-ish crooning and proper Jimmy Page-like wailing.

Lighting director Chris Kuroda was locked and loaded in furthering this mission, and per usual his accompaniment was indescribable visual delight. Phish fulfilled the Zeppelin rumor by bringing it to fruition – Halloween delivered early-style with gusto. The room was still reeling as “2001″ announced more funk ferocity, the band one nation under a groove, a collective in the zone, rolling into a magnificent “Bowie.” In suitable fashion, the evasive “Sleeping Monkey” settled back down to earth, with a colossal “Tweeprise” the exclamation point on a ridiculous penultimate journey.

Saturday Setlist
Set 1: Kill Devil Falls, Cavern > Foam, Guelah Papyrus, Chalk Dust Torture > Whole Lotta Love > Chalk Dust Torture, Ha Ha Ha, Walk Away, Wolfman’s Brother > Undermind > Bathtub Gin, The Squirming Coil
Set 2: Tube > Possum > Tweezer > Heartbreaker > Ramble On > Thank You -> Tweezer > Stairway to Heaven, Halley’s Comet > Also Sprach Zarathustra > David Bowie, Show of Life, Backwards Down the Number Line > Good Times Bad Times
E: Sleeping Monkey > Tweezer Reprise

Order the show for Download on LivePhish.com

Sunday, October 31st

Photo by Dave Vann Â© Phish 2010

After arriving and receiving the welcome news (via the PhishBill) that the musical costume was Little Feat’s 1978 live album Waiting for Columbus, the anticipation was bountiful. Boardwalk Hall was levitating as, appropriately, Page McConnell’s keytar-led “Frankenstein” ushered in the final excursion. Halloween had arrived and the natives were restless. Costumes were plentiful and more than creative, the sold-out AC massive quaking in its boots. After the astonishing Saturday show, the bar was more than raised for the last gig of the tour. An early and snaking “Ghost” traversed slowed-funk riddims as Trey unveiled “Spooky” to fit the premise. “Divided Sky,” “Roses are Free” and “Boogie On Reggae Woman” also brought the goods. This particular trifecta was intricately woven, disparate in design yet similarly methodical – wide-ranging, cohesive jamming, all strikingly diverse intentions extremely well executed. Surprisingly, it was the dark, foreboding jam tucked within “Stash” that not only illuminated the night’s haunted aura, but most defined the limitless potential of a reinvigorated foursome.

I would like to add to the chorus of applause for this musical costume. Little Feat’s seminal double live record, recorded in London and Washington D.C. in 1977 was a perfect marriage of styles, song craft and spirit for Phish to tackle. Augmented by a five-piece horn section consisting of Aaron Johnson, Stuart Bogie, Ian Hendrickson, Michael Leonhart and Eric Biondo for several tunes, the band was ably assisted by Giovanni Hidalgo on percussion for nearly the entire set. From the opening “Fat Man in a Bathtub,” the vibe peaked with a strong, emotional expedition through this great record. Highlights speckled the whole frame, and included the Cajun-fonky “Oh Atlanta” and the familiar “Time Loves a Hero” and “Dixie Chicken”.

However the strongest for this writer was the excruciatingly dirty swank of “Spanish Moon.” Fish carried a drunken funk swagger while Hidalgo mixed it up in the space between as Gordon laid down merciless grooves, half steppin’ along as they let the horns blow. Later, “Willin’” simply wowed; masterfully introduced by Mike Gordon’s sublime piano and expressively crooned by Fishman in full frontman mode. The band in full even took a victory lap around the arena wearing shit-eating grins. From start to finish Waiting for Columbus was an absolutely ideal collection of songs and jams that was expertly executed by Phish with extraordinary accompaniment.

Photo by Dave Vann Â© Phish 2010

The final set of tour was a celebration of sorts, a fantastic voyage through the Phish songbook. A restarted “Disease” settled into a jovial “Jiboo” that saw climatic band interplay achieve a galloping pace. Beginning with the swagger-funk of “Camel Walk,” bubonic Gordon bombs crunched Red’s descending riffage with authority, culminating in a sinister, grinding “Wilson” metal jam that pulverized the venue to the core, Trey’s leads channeling the ghosts of Hendrix and Stevie Ray. “Hood” and “Silent” offered introspection and an emotive dalliance, and “YEM” was what Phish is in its essence – a passionate, joy-fueled romance between a band and its audience.

The “Julius” encore was icing, with the full complement of horns and Hidalgo returning for a feisty rollicking sendoff that may have been the finest rendition this writer has heard.

There were few walking out of the venue not completely blown away by this incredible three-day Phish display. Even the most jaded tour veterans were nearly speechless, delighted, cheesy grins abounded as full-blown dance parties ignited at the bars and casinos that dotted the boardwalk. Magic was in the salty ocean air as people traded superlatives to describe their own takes on the “Zeppelin trick” or “Little Feat treat.” Nights, weekends and tours like this solidify the arrival of a new era for this band. The comeback sun has set, and as hoped, IT happened – once again.

Sunday Setlist
Set 1: Frankenstein, Big Black Furry Creature from Mars, Ghost > Spooky > The Divided Sky, Roses Are Free > Funky Bitch, Boogie On Reggae Woman, Stash, Character Zero
Set 2: Fat Man in the Bathtub, All That You Dream, Oh Atlanta, Old Folks Boogie, Time Loves a Hero > Day or Night, Mercenary Territory, Spanish Moon, Dixie Chicken > Tripe Face Boogie, Rocket in My Pocket, Willin’, Don’t Bogart That Joint, A Apolitical Blues, Sailin’ Shoes, Feats Don’t Fail Me Now
Set 3: Down with Disease > Back on the Train > Gotta Jibboo > Camel Walk, Suzy Greenberg > Wilson > Harry Hood > The Horse > Silent in the Morning > You Enjoy Myself

Order the show for Download on LivePhish.com

Continue reading for more pics of Phish’s 2010 Halloween shows…

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”0″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=164″);}); 10/29/10 – 10/31/10 – Phish @ Boardwalk Hall (Atlantic City, NJ) View Photos

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EBook Reader Review and Comparison Posted By : Shie

November 5th, 2010 | No Comments

This review is a study of the top ten ebook reader that is available to the market today. Ebook reader was developed the way we gather and view books, magazines and news.

Widespread Panic | Halloween | Review | Pics

November 4th, 2010 | No Comments

Words by: Frank Etheridge | Images by: Ian Rawn

Widespread Panic :: 10.31.10 :: UNO Lakefront Arena :: New Orleans, LA

WSP Fan Love by Ian Rawn

In a town where truth often out-freaks fiction, the serendipitous convergence of football, festivals and fun the last weekend of October in New Orleans – coupled with warm, gorgeous weather and clear skies – proved why this is the best American city to celebrate Halloween. Elegant yet decadent, gothic yet Catholic, the City of New Orleans thrives within its paradoxes, particularly during All Hallows’ Eve. Bustling with traffic and ringing with cash-register sales, NOLA on October 31st could not have provided a better backdrop for NBC’s primetime coverage of a game between the last two Super Bowl champs, the Saints and Steelers, with a circuses-not-bread feast that also featured countless celebrations, live music 24/7, the Voodoo Experience, and a Mardi Gras-scale parade.

Commenting on his city’s capacity – on merits of its haunted vibe, love of costumes and penchant for excess – to corner the Halloween market, parade organizer and float creator extraordinaire Blaine Kern told the Times-Picayune: “Everybody should want to come here for HalloweenÂ…Right now, Halloween is a $6 billion industry. In five to six years, I see it being $100 billion.”

Such unchecked optimism is only buoyed by Voodoo inking a deal to remain in a resurgent City Park through 2019, meaning dependable, significant revenue for a public green space doggedly recovering from Katrina (i.e. having planted 4,000 trees to replace the 2,000 lost in the storm). Peering back toward the genesis of all this spooky synergy, Voodoo founder Steve Rehage has acknowledged in interviews that Widespread Panic‘s annual NOLAweek run, and the profitable need to create 72 hours of entertainment to nourish the carnival surrounding its concerts, really started it all.

The Georgia-based band returned for a tradition that began 13 years ago, brewing its own perfect storm along the southern shores of Lake Pontchartrain with this trifecta of goodies in its gumbo: A tour-closer. In New Orleans. On Halloween.

Entering a stage of sublime, subdued decor evoking bayou hoodoo with graves, Spanish moss and palmetto shrubs, WSP bassist Dave Schools was greeted with a roaring response to his big pimpin’ white suit. “You know when you say, ‘Trick or treat,’ you know the answer is going to be trick,” Schools said.

Tricking, treating and tripping the light fantastic, Widespread Panic then commenced four face-melting hours of music and delivered an A+ performance worthy of placement on the pedestal with such NOLAween gems as 1998 and 2000.

Jimmy Herring by Ian Rawn

While a sinister, yet sensuous, reverb hung in the UNO Lakefront Arena rafters all night, the first set kicked off with a nod to Ozzy Osbourne, who was performing just a few miles south down Bayou St. John at Voodoo, with a cover of Black Sabbath’s “Fairies Wear Boots.” A rollicking “Big Wooly Mammoth” followed, this now-rare number showing John “JoJo” Hermann (dressed as Jason from the Friday the 13th movies) in fine form and the audience mercifully restrained in tossing just a few benign lighters as JoJo sang, “Somebody throw me a fire / So we can burn New Orleans down.” “BWM” segued into a musical space of spun cohesion, an abstract weirdness giving way to definite riff on Iron Butterfly’s “In-A-Gadda-Da-Vida.” Jamming this into “Worry” and through “Machine >Barstools,” Panic kept the mood dark and intense, but then switched gears with “Visiting Day,” a long-standing staple that’s been reworked into a upbeat, catchy tune on the latest album, Dirty Side Down.

A scarecrow for the evening, guitarist Jimmy Herring tuned up to playfully strum the bluesy twang that opens Muddy Waters’ “You’re Gonna Miss Me.” Herring’s interplay with JoJo, combined with Bell’s enjoyment in singing the blues, made this cover shine. Many WSP fans perhaps overextend logic when trying to decipher hidden themes in the Halloween cover selections, but it’s impossible not to tie this to recent rumor and innuendo that the band, marking its 25th anniversary in 2011, will possibly be on hiatus after next year.

Oozing into a melt preceding JB’s rap in “Diner,” the light show, superb all weekend, transformed UNO into a Dali-esque landscape – waves of purple and red cresting above the crowd; kaleidoscopic rainbows covering the floor audience; green floral arrangements twirling behind the band. Evoking departed friend Vic Chestnutt, JB whispered lyrics from his “Sewing Machine”: “I wanna be a vampire on HalloweenÂ…Mama makes the cape on the sewing machineÂ…sewing machineÂ…sewing machineÂ…SEWIN’ MACHINE!”

John Bell by Ian Rawn

Split down the middle between his typical rock-star garb and flowing women’s clothing and a wig, Bell jumpstarted the second set by belting out the best sing-along about sexual ambiguity: The Kinks’ “Lola.” Another highlight came with the thick, percussive madness led by Schools and percussionist Domingo “Sunny” Ortiz that moved into “Rock.”

“Now it’s on,” Schools prophesized as longtime Panic friends and collaborators the Dirty Dozen Brass Band took the stage for covers of the Talking Heads’ “Swamp” (debuted on this stage by WSP and DDBB on 10.31.98) and Bill Withers’ sexy romp “Use Me.” Trumpeter Efrem “E.T.” Towns masterfully blew his horn to psychedelic heights, a cherry on top of seeing these two legendary bands share the same stage in New Orleans once again, reveling in their pure bond and joyous musical compatibility.

Opting not for the usual classic rock anthem and paying homage to a contemporary band younger in age, Panic’s next cover was The Black Keys’ “Strange Times,” a rocker perfect for WSP in tone and muscle, though dragged out too long here. The wistful, blissful “Jack” reeled the madness back in before the band pummeled the hard-rocking “All Time Low” to the point that Schools’ pants fell down around his ankles. Not missing a beat, the Notorious DAS kept rocking in his drawers, bounding about the amps behind his rig. To close the set, JB caressed the mic, nailing the harmonica intro to Led Zeppelin’s “Bring It On Home” before Herring teed off on its hallmark Jimmy Page riff, knocking that sum-a- bitch out of the park.

With an encore 32 minutes long, Panic pushed 1 a.m. with the DDBB joining them for “Christmas Katie” (which they performed on for the Til the Medicine Takes studio version), followed by a monster “Superstition,” which the two bands also first debuted on this stage together in 1998. A funktastic, though a bit meandering, as it clocked in over 11-minutes, take on Stevie could only by topped by Panic’s paean to all things New Orleans, “Fishwater.” Halfway during this closer, someone must have flipped Schools’ insanity switch, as a thump of the thumb turned this version into a jaw-dropping monster, while JB’s free-verse “God bless, New Orleans” wail dotted the show’s exclamation point.

While Widespread Panic’s annual NOLAween run is undoubtedly an engine of economic development in New Orleans’ drive to carve its slice of the pumpkin pie, who knows if this lucrative tradition will be counted in Caesar’s kingdom. Or is the truth found in the lyrics to “Jack”: “Where the fools go, the rich don’t mind.” Perhaps NOLAween is best destined to continue its drift outside of the quantified, existing in a realm of freaks, geeks, light shows and adults as Sesame Street characters that digs deeper than the wallet as it walks, erect and proud, on the march through consciousness evolution.

Setlist
Set I: Fairies Wear Boots > Big Wooly Mammoth > Inagoddadavida Jam > Worry, Machine > Barstools And Dreamers, Visiting Day, You’re Gonna Miss Me, Disco > Diner > Porch Song
Set II: Lola, Pilgrims > Tall Boy > Rock, *Swamp > *Use Me, Strange Times > Drums > **The Other One Jam > Jack, All Time Low, ***Bring It On Home
E: *Christmas Katie, *Superstition > *Fishwater

Notes
* with Members Of The Dirty Dozen Brass Band
** with Terrence Higgins From The Dirty Dozen Brass Band On Percussion
*** with John Bell on harmonica

Continue reading for the full gallery of photos from Widespread NOLAween 2010…

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”15″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=165″);}); 10/31/10 – Widespread Panic @ UNO Lakefront Arena (New Orleans, LA) View Photos

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Market Samurai Review â€“ How Keyword Research Can Increase Your Traffic

November 4th, 2010 | No Comments

Ever since I started blogging, I intentionally stayed away from keyword research. It just seemed like one of those things that could take up too much of my time. I understood the principles of keyword research but felt that in order to do it effectively, I had a lot of work to do. I opted [...]

Voodoo Experience 2010 | Review | Pics

November 3rd, 2010 | No Comments

Words & Images by: Wesley Hodges

Voodoo Experience :: 10.29.10-10.31.10 :: City Park :: New Orleans, LA

See the full gallery of Voodoo 2010 pics here!

Day One :: Friday, October 29

Yim Yames w/ Preservation Hall @ Voodoo ’10

A picture perfect fall day brought a surprisingly massive crowd to the generally smaller scale first day of Voodoo. It’s hard to pinpoint the mission behind Voodoo when it comes to artist selection except perhaps as an attempt to bring in many of the alternative artists who sadly skip New Orleans on their general touring routes and provide a platform for local artists to gain more national exposure. Headliners Muse remarked that this was their long overdue debut trip to the Big Easy and I’d be shocked if it wasn’t Sigur Ros frontman Jonsi‘s first performance in South Louisiana as well. Also, Voodoo announced this week that the fest will remain in City Park through 2019 and offered unspecified plans for some permanent festival infrastructure. This year’s edition was a marked improvement over last year on every level, with the addition of the Le Plur Electronic Tent, new, better looking tents, amazing weather, and a generally cleaner environment (although the bathroom shortage remains a big issue). It also didn’t hurt to have Janelle Monae, MGMT and My Morning Jacket closing it down on Halloween Sunday.

1. Muse :: 9:00 p.m. :: VOODOO Stage

As a buddy put it, there’s just not much smaller bands can do to compete with the rock spectacle Muse put on for the main stage crowd of about 30,000 people on Friday night. The new stadium anthem “Uprising” opened an 80-minute set sparse on dull moments. The visual display was a mere accent to the bulldozing music onstage, with a nice mix of older songs like “Supermassive Black Hole” and “Starlight” and tracks from 2009′s huge release The Resistance. Muse is not your father’s traditional power trio. Instead, they carve their own niche, mixing club beats with Matthew Bellamy‘s metallic guitar heroics and somehow making it work. The blatant LED imagery calls for a cavalry, with lyrics displayed in large caps recruiting a modern revolution.

Muse Laser Show @ Voodoo ’10

The English band has been a big deal across the pond for quite some time now and it’s easy to see why major festival promoters over here are starting to take note. Green lasers, heavy smoke and giant eyeballs floating around the crowd gave the show some added flair without coming off as cheesy. Chris Wolstenholme‘s impressive harmonica solo segued into the closing “Knights of Cydonia” to cap off a solid first day in City Park and put a satisfying stamp on the best performance of the day.

Muse Setlist
Uprising, Supermassive Black Hole, Resistance, Hysteria (w/ Star Spangled Banner intro), MK Ultra, Citizen Erased, United States of Eurasia, Feeling Good, Undisclosed Desires, Starlight, Time Is Running Out, Plug In Baby. E: Stockholm Syndrome, Knights of Cydonia

2. Stanton Moore Trio plus Anders Osborne and Robert Walter :: 2:15 p.m. :: Preservation Hall
Bright skies beckoned the early comers and Stanton Moore Trio at the Pres Hall Tent was the perfect introduction to a whirlwind weekend in City Park. A 14-minute instrumental fittingly opened the show before Anders Osborne commanded the stage with a set heavy on tunes from his 2010 release American Patchwork. Osborne’s sheer talent and pop sensibility is of a star quality and the mix between driving, razor-sharp Fender workouts and upbeat pop tunes like “On the Road to Charlie Parker” rewarded the demographically diverse crowd. Lyrically, Osborne reads like a man who’s been through the ringer a time or two, with naked confessions on Katrina, down-on-his-knees substance abuse, and desultory escapism adding depth to the tunes. However, the flip side presented itself on the breezy reggae love song “Got Your Heart,” showing Osborne’s mainstream awareness (he’s written songs for Tim McGraw and Johnny Lang) and a surprisingly contented vibe. Next year, I vote for the Stanton Moore Trio as the daily Voodoo house band.

3. Hot Chip :: Le Plur
A trip down to the pondside Le Plur area of the festival was an event in itself. Voodoo focused the stage on electronic-leaning DJs, MCs and whatever Die Antwoord is, and from the looks of the youthful crowd, many probably didn’t leave the area for the duration of the day, lapping up the array of electronic artists at the newly-restored area. Hot Chip’s Friday night show was a pleasant surprise and comparisons to LCD Soundsystem are unavoidable. A hypnotic wash was bolstered by thumping live drums (including steel drums), and armed with the bawdy choruses of the group’s new album One Life Stand like “Over and Over,” these once electro-heavy artists seem to be squaring with the rockers at their own game and the extraordinary sounds stirred up one of the wilder crowds of the weekend.

4. Rotary Downs :: 6:15 p.m. :: BINGO! Tent
Comparisons to 90s bands like Pavement and Weezer were unavoidable and their use of trumpet evoked Cake, but Rotary Downs meshes the sounds of that formative decade well, and the early evening show before a smaller crowd was one of the surprises of the weekend.

5. Dead Confederate :: 4:30 p.m. :: VOODOO Stage
Confined to their usual existence in smoky, intimate clubs, the impact of Dead Confederate’s guttural, psychedelic hard rock show generally hits like a ton of bricks. In the beaming sunshine and wide-open space, songs like the Floydish burner “Wrecking Ball” were lost on some. However, Dead Confederate delivered a strong set on what was surely one of the largest stages they’ve played in their still short career. Also, the opening cover of Officer May’s “Smoking In A Minor” was definitely of the strongest songs of the day.

Galactic @ Voodoo ’10

Best Cover on Friday: Big Sam’s Funky Nation doing Gnarls Barkley’s “Crazy” (they also covered Lady Gaga and “Hard To Handle). Big Sam also demanded that the entire crowd get down on the ground at one point.

Best Headdress: Jonsi

LATE NIGHT
Galactic recorded the live follow-up to 2001′s We Love Â‘Em Tonight with a slew of very special guests before a packed house at their longtime haunt Tipitina’s Uptown. The original plan was to check out a portion of the show and attempt to get a little bit of rest before Day Two. Plans like that are destined for failure. Cyril Neville (who has one of the best voices I’ve ever heard) made an appearance along with guest spots by Trombone Shorty, Shamarr Allen and Ivan Neville (who stopped in for The Meters’ “Africa”), all of which kept the close attention of the raucous crowd until the bright house lights told us it was time to hit the dusty trail around 3:45 a.m. Galactic at Tipitina’s Uptown is about as home game as it gets for the insta-funk stalwarts, and this performance was just another example of why they are the city’s finest overgrown rhythm section.

Continue reading for Saturday Highlights from Voodoo…

Voodoo Experience :: Day Two :: Saturday, October 30

Buckwheat Zydeco @ Voodoo ’10

1. Buckwheat Zydeco :: 6:45 p.m. :: Soco/WWOZ Stage
Just a good old-fashioned foot stomper. The king of contemporary zydeco emanated and incited exuberance that was a nice contrast to the awful Die Antwoord performance moments before down at the Le Plur tent. Almost wholly unfamiliar with the genre, all I can really say is that Buckwheat’s jubilation-inducing brand of swamp rock was a stellar and unique form of dance music and the Lafayette, LA native represented the local genre very well. Also, a nice version of “Bourbon Street Parade” served as a nice reminder that Mardi Gras is only 125 days away.

2. Florence and the Machine :: 6:00 p.m. :: Sony Make.Believe Stage
Frontwoman Florence Welch floated around on a flowery stage like a whirling dervish, and the set was quite simply an hour showcase of Welch’s amazing vocal instrument and theatrical wherewithal. It was abundantly clear from the first song that we were in the presence of a true freak of nature, a beautiful oddity and a rising superstar. Her band is no machine, but the redheaded singer is a force to be reckoned with, evoking comparisons to the soul-blues-pop divas of the Motown era. Watching her highly choreographed and assured performance, you would think she’s been at this for decades, but Welch is still young and armed with a creative mind. It’ll be interesting to watch where she goes from here. The elegant and confident Machine made a lot of new fans in City Park on Saturday, including this writer.

3. The Whigs :: 4:00 p.m. :: Sony Make.Believe Stage
The Athens, GA natives are already veterans of the festival scene, and after opening for Kings of Leon this summer and fall, they are no longer a stranger to the big stages and amphitheatres. Parker Gispert’s familiar grungy growl and amazing flexibility (Gispert’s leg kicks and stretches never cease to amaze) on older songs “Like A Vibration” and “Already Young” accented the frantic pummeling of drummer Julian Dorio throughout the high energy performance. As per usual, Dorio went through enough drum sticks to tear down a shady grove, and it was nice to see The Whigs haven’t abandoned some of the deeper tracks from their excellent first two albums Give Â‘Em All A Big Fat Lip and Mission Control. Gispert’s tireless enthusiasm ensured that the crowd remained actively involved throughout the performance while keeping the between-song chatter to a minimum and focusing on maintaining a feverish pace throughout the set.

Street Sweeper @ Voodoo ’10

4. Street Sweeper Social Club :: 8:00 p.m. :: Sony Make.Believe Stage

As lead singer/rapper Boots Riley said, SSSC’s guitarist sounds a whole lot like the guy from Rage Against The Machine (Voodoo headliners in 2007). This is probably helped by the fact that the axe man for the uniformed social club – Boots insists they are a social club not just a band – is none other than Rage’s Tom Morello. Unsurprisingly, the same sort of bombastic, fiercely polemical music is the end product, and a heavy take on M.I.A.’s “Paper Planes” was a conscious nod to another artist refusing to conform to normative views and behavior. It was only a matter of time before the sloganeering banter against Big Brother, mixed with the thrash happy hip-hop pummeling, made it’s appearance, and Riley didn’t miss the opportunity to comment on the current political climate.

Best Random Festival Quirk on Saturday: The moving techno robot down the main spine of the festival – the only mobile party on the grounds. Bring it back next year, mysterious trance master, whoever you are.

Most Unexpected Cover on Saturday: Paul Sanchez & The Rolling Road Show doing Kanye West’s “Heartless”

LATE NIGHT: Trombone Shorty and Orleans Avenue’s midnight set at Tipitina’s Uptown.

Continue reading for Sunday Highlights…

Voodoo Experience :: Day Three: Sunday, October 31

Janelle Monae @ Voodoo ’10

The air is so thick with magic. -Yim Yames

Sunday was just one of those perfect festival days, where everybody plays with added gusto, the sets don’t overlap, the weather couldn’t be better, and everyone leaves satisfied and already looking forward to next year. Seeing Pres Hall and MMJ trade guest spots at each other’s sets, a performer with the ability to propel her show to stratospheric proportions (Janelle Monae) and the Scooby Doods of MGMT playing dreamy, make believe music on a (Sony) make believe stage on a make believe day was a surreal whirlwind that blew by in the blink of an eye. People will be talking about this day at Voodoo for a long time. I know I will. Halloween transformed City Park into a masquerade freak show and a dreamland for fans of people watching. Cookie Monsters, Frank the Donnie Darko rabbit, and a couple dressed as local Senate candidate David Vitter and his mistress coexisted for the day in the beautiful scenery in City Park, a space accented by oak trees and Spanish moss, setting quite a visual scene on this celebration of all things macabre. Not even going to attempt to rank performances here; on Sunday it was ALL good.

Janelle Monae :: 2:15 p.m. :: Soco/WWOZ Stage
One word review: Wow. Slightly longer review: An artist like Janelle Monae is of a rare quality, and when one of the band members told the crowd to get their texting/Facebooking/Tweeting out of the way before the show starts, he meant it. Monae commanded the crowd’s attention in mesmerizing fashion and displayed an unparalleled awareness of her mannerisms, bodily movement and facial expressions, all the while dodging and taking down zombies, painting pictures – yes, actually painting – and singing during the Funkadelic-style guitar monster “Mushrooms and Roses”, and even clearing a swath through the audience during the show’s final song. However, it wasn’t all a dance party, as Monae took a breather from pure dramatic domination to show her amazing range on a cover of the Charlie Chaplin standard “Smile.” Like MMJ later, fans left this one wanting a whole lot more.

This was quite possibly my favorite midday festival performance I’ve ever had the chance to see. While it’s too bad her buddies in Outkast haven’t toured together in years, after Sunday’s dazzling set, she’s filling that void in the space-funk world in grand fashion, and an opening slot for Prince in New York at the end of the year should garner even more believers. A quick ascent to superstardom is only a matter of time for Monae. To say she’s ahead of her time would be an insult. She’s light years ahead and quite possibly not of this Earth.

Preservation Hall Jazz Band :: 3:30 p.m. :: Preservation Hall
What was planned as a brief step back in time after the future sounds of Janelle Monae to check out the authentic jazz of PHJB turned into a good 35-minute stop once Yim Yames appeared for a guest spot on “Louisiana Fairytale” and a couple other traditional tunes, providing a great opportunity to see the MMJ leader up close in front of a small crowd. The rest of MMJ was checking out the show out in the crowd, not something you generally see from a festival headliner.

MGMT @ Voodoo ’10

MGMT :: 5:30 p.m. :: Sony Make.Believe Stage

The best costume of the day award goes to the five members of MGMT. Singer Andrew VanWyngarden wore a flowing orange wig and tights as Daphne. Keyboard player Ben Goldwasser went as Velma. Guitarist James Richardson wore the full-body Scooby-Doo costume, a tough task I’m sure with guitar in tow. And finally, drummer Will Berman and bassist Matthew Asti were a little more subdued as Shaggy and Fred. As a huge fan of this year’s excellent Congratulations record, it was exciting to finally hear “It’s Working” and the epic “Siberian Breaks” live. Like the studio take, “Siberian Breaks” drifted on past the ten-minute mark, oscillating between catharsis and disorientation with far-out vocal effects as the only constant. It’s kind of like a condensing Atom Heart Mother into one multi-phased song. The big jams like “Electric Feel” and “Time To Pretend” from the more pop-conscious Oracular Spectacular got the massive crowd going way more than any of the new singles, and perhaps these guys have hit their peak as far as mainstream popularity goes. The still-young band put on a solid performance and showed signs of musical progression and the ability to rock a big stage without the smoke and mirrors of a big, flashy light display.

My Morning Jacket :: 7:00 p.m. :: Voodoo Stage
I have been a huge fan of MMJ ever since the release of 2005′s Z album, and as a result I’ve attended some of the best concerts I’ve ever seen in the years since. Seeing the band closing out and headlining a major music festival in town like New Orleans on Halloween night was a surreal experience after some of the smaller venues I’ve been able to catch them in over the years.

The band floated out on stage dressed as some kind of moon wizard gods and opened the show in interpretive dance – a bizarre and comical introduction for what I am sure was a large contingent of young fans attending their first MMJ show. The boys stayed in costume for the first couple songs, opening with “Wordless Chorus” and “Anytime” before reverting to plainclothes for a pulverization of “Off the Record,” a tune showcasing the Kentucky-bred band’s pop awareness and serious musical abilities. As the band emitted retina-scorching white strobes, Two-Tone Tommy‘s swirling bass locked in with Jim James and Carl Broemel‘s two-headed guitar onslaught before tapering seamlessly into the achingly slow burning outro suite. The only low point of the show was the 15 minutes or so run through “Golden,” “I’m Amazed” and new tune “Circuital,” which hasn’t won me over as a song befitting a festival appearance yet. Once the band hit “Touch Me Part One,” the last 75 minutes or so blew by as James and Broemel more or less put on a guitar clinic, highlighted by the “Dondante > Smokin From Shootin’ > Touch Me I’m Going to Scream Part 2 > Lay Low Jam” accented by a host of glow sticks and a huge crowd-surfing stuffed rabbit.

MMJ @ Voodoo ’10

As he did at JazzFest, James again remarked on the spiritual connection he feels with the city of New Orleans, saying, “I feel like there’s no other place on Earth to be. Every song, my molecules get more pulled out into the ethos,” after pointing out that the band has always dreamed of doing a show in the Big Easy on Halloween. Towards the end, the Preservation Hall Jazz Band joined the band for four songs, which included a visceral take on Black Sabbath’s theme song and a celebratory spin on the Al Johnson Mardi Gras standard “Carnival Time.” Unfortunately, a couple songs were cut from the set due to time restraints (“Dancefloors” and “Move On Up”) and James remarked that this was the band’s final performance for some time (so MMJ can return to the studio to wrap their sixth album). It’s safe to say they left their mark, ending with “One Big Holiday” to send people on their way to the downtown Halloween madness or home to catch some badly needed rest.

This is where MMJ belongs, at the top of the heap at a major music festival, putting on their highly personalized and borderline peerless performances for the masses. On Sunday night, My Morning Jacket only grew their legacy and lived up to the lofty reputation bestowed upon them by critics and fans alike. It’s just a shame they can’t come here and do this every Halloween.

My Morning Jacket Setlist
Wordless Chorus, Anytime, Off the Record, Mahgeetah, Gideon, Circuital, I’m Amazed, Touch Me I’m Going to Scream Pt. 1, Dondante, Smokin From Shootin > Touch Me I’m Going to Scream > Touch Me I’m Going To Scream Pt. 2 > Lay Low Jam, Phone Went West, Black Sabbath* (Black Sabbath), Evil Urges, Highly Suspicious*, Carnival Time*, One Big Holiday

* w/ Preservation Hall Jazz Band

Best Cover on Sunday: A tie between Janelle Monae doing Charlie Chaplin’s “Smile” and Jacket’s take on “Black Sabbath” with the Preservation Hall Jazz Band.

Best Sit-In on Sunday: Yim Yames with Preservation Hall Jazz Band singing “Louisiana Fairytale”.

LATE NIGHT: One last round at Tipitina’s for British funk band The New Mastersounds, who were joined by the very special guest keyboardist Art Neville in the second set. One could have just gone to the late night offerings at Tipitina’s all three nights and had themselves one hell of a weekend at New Orleans’ hottest music venue.

Top 5 Shows of the Weekend

1. Janelle Monae
2. My Morning Jacket (a toss up with Monae)
3. Muse
4. MGMT
5. Buckwheat Zydeco

Halloween weekend in New Orleans, more fun than Mardi Gras? Who’s to sayÂ…

Continue reading for full gallery of Voodoo Experience 2010 pics…

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JamBase | New Orleans
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Tall Tree Lake Music Fest | Illinois | Review

October 25th, 2010 | No Comments

Words by: Matthew McGuire | Images by: Molly Young

Tall Tree Lake Music and Camping Festival :: 09.24.10-09.25.10 :: Tall Tree Lake :: Goreville, Illinois

Tall Tree Lake by Molly Young

The Tall Tree Lake Music and Camping Festival is held in the scenic and beautiful hillsides of Southern Illinois. Surrounded by the Shawnee National Forest and only a stone’s throw away from some of the region’s finest parks and wildlife preserves, Tall Tree Lake features over 250 acres of privately owned land. Dotted with native oaks and evergreens spread out over rolling vistas, Tall Tree Lake brings many beloved bands and artists together in an intimate, natural setting.

The 2nd annual Tall Tree Lake Music Festival l exhibited growth from the first year. This year Team B added two stages and doubled the size of the crowd. Schlafly Brewing Company sponsored the event and held a free tasting of their locally crafted beer for the thirsty Tall Tree Lake fans. After a pre-party Thursday, the festival started with a bang on Friday afternoon. It was mind-blowing watching the campgrounds fill up with over a 1000 people. I rested and watched Ballhog! on the outside deck of the Bluegrass Barn Stage. They played traditional bluegrass instruments while keeping the lyrics very modern and humorous.

The festival photographer needed to be picked up in a nearby city, and as I was leaving the festival one of the organizers asked me to also pick up a musician by the name Gift of Gab from the hip-hop group Blackalicious. Molly Y. was ready to hit the road and capture some amazing photographs over the beautiful fall weekend. The fall foliage creates a palette of gorgeous colors that mixed together harmoniously with the bright festival crowd. The Gift of Gab was also ready to get out to the festival grounds and indoctrinate the young crowd of music lovers.

Gift of Gab @TTL ’10
By Molly Young

Matt: Did you know you are going to be the first real hip-hop act to perform at the Tall Tree Lake Music Festival?

Gab: No, that’s cool though. It’s an honor to perform music for any kind of crowd.

Matt: The set you are about to perform reminds me of the set Jurassic 5 threw down at the first Bonnaroo. Do you know any of the members of Jurassic 5?

Gab: Oh Yeah, I know all of them. I live out in Oakland most of the time, and they also live in California. Yeah, I love the Wild West. Traveling all over the world helps me respect and appreciate my home life.

Matt: A sound guy and I were talking about sampling earlier today. What do you think about how sampling has evolved in hip-hop over the past twenty years?

Gab: [Laughs] Sampling is an art form. It is still very useful in hip-hop if it is executed properly. When hip-hop first started sampling was one of the only ways to create beats. Today hip-hop artists have the ability to easily create beats on live instruments. Hip-hop is powerful in the way that it bridges the gap for artists and musicians who normally would not pick up an instrument.

Later on Friday Mathien performed on the main stage. They play modern rock with rhythm and blues overtones. Gab and I talked with Mathien a little bit after his set about how sampling music can get you into trouble if misused. Gab hit the main stage next with his creative wordplay in an up-tempo, action packed, get up, get smashed and dance-inducing set. After his set, Gab hung out and talked about adding some hip-hop flavor to bluegrass music. He was almost ready to go freestyle on top of a fast paced bluegrass beat.

Emmitt-Nershi Band @TTL ’10 | By Molly Young

After I got him back to the hotel, I drove back to the festival for some wicked bluegrass in the barn. The Emmitt-Nershi Band was performing one of their two nights in the small packed barn when I arrived back. The barn is as solid as a rock, but the entire second floor had a wild crowd giving the flooring structure a good run for its money.

After some steamy bluegrass in the barn, I made my way over to the main stage to watch my first Big Gigantic set. The due from Colorado has been making some big waves in the music industry recently. They just dropped a new album that can be downloaded for free off their websitehere. Their set was non-stop fun; I was smiling from ear to ear for most of the entire set. It was such a relief to dance and relax during the chill set from Big Gigantic.

On Saturday the music started at 11:00 a.m. on the Cicada Stage and main stage. Small Time London Thug replaced The Moon Buggy Kids midday Saturday. Each of the bands is a local favorite and performs a modern style of punk music. The Sam West Trio, which also consists of local artists from the Carbondale, IL area, mixed it up on the Cicada Stage around sunset on Saturday.

Spread, a local jam band with a following of devoted music lovers, rocked the main stage and grew their following a bit at this fest. Spread recently won a Battle of the Bands at Tres Hombres for a spot on the Summer Camp Music Festival’s lineup. The Floozies from Lawrence, KS coin their style of music “funk for aliens.” They performed on the side stage just before the Family Groove Company took the main stage around dusk.

Tall Tree Lake by Molly Young

The Family Groove Company’s music was recently played on WDBX radio and one of the first time listeners said it reminded them of Umphrey’s McGee. It does make sense since both bands are based out of the Chicago area. The Family Groove Company electrified their adoring fans at Tall Tree Lake with jazz, rock, soul and hardcore funk. This was my eight Family Groove set, and I was pumped to hear some new music from the quartet.

The Emmitt-Nershi Band followed Family Groove, and their headlining set was a little more relaxing then their set in the barn. The cool breeze was a huge relief while I danced and celebrated an amazing set. After their set, Ana Sia kicked off the late night portion of the music. Portland, OR’s Emancipator also threw down a mix of downtempo beats after Ana finished on the main stage. Mouth knocked out a great late night set on the Cicada Stage.

The festival was an incredible success this year mainly due to the hard working people who put it all together. The weather was a cool 77-degrees during the day, and there was little rain. It was a weekend filled with music, friendship, selflessness, respect, tradition, adventure and camping.

JamBase | By The Water
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Jack Johnson | Santa Barbara | Review | Pics

October 22nd, 2010 | No Comments

Words & Images by: L. Paul Mann

Jack Johnson :: 10.13.10 :: Santa Barbara Bowl :: Santa Barbara, CA

G. Love by L. Paul Mann

Jack Johnson brought his feel good road show to the Santa Barbara Bowl for the first of two sold out nights. In fact, the shows had sold out shortly after they went on sale last April. Johnson, who has become one of the most successful pop stars in the country, has headlined nearly every major music festival in the nation. So the solid turnout was no big surprise for the hometown hero and master of California beach pop.

The show began early, in typical Jack Johnson style, with an impromptu acoustic jam in the garden just inside the venue. Johnson and longtime friend G. Love performed a short pre-concert jam, before most fans had any idea what was happening. After a few quick songs, Johnson bolted up the hill with his newest offspring in tow, just as a bewildered crowd began to jam the walkway.

The main stage show began right on schedule with an opening set by miniature Malaysian singer Zee Avi. The tiny singer with a big voice has become a recording sensation with a large Asian fan base on the heels of her self-titled debut album. Her music was discovered on YouTube, and found its way to Jack Johnson’s record company with the help of Patrick Keeler of Raconteur fame. Avi paints an interesting musical canvas with her pleasantly soothing voice wrapped around sounds from many musical genres. When playing her ukulele, she channels the sounds of the Pacific Islands, but with her band, the sound blends indie pop and jazz to create interesting textures. In a true testament to the power of the Internet, her music has become popular purely by the will of her fast rising fan base. The early bird crowd responded politely to her sweet sounds.

As the afternoon light faded to twilight, G. Love and Special Sauce hit the stage. G. Love has been making his own unique brand of hip hop infused Philadelphia blue since the mid 1990s. Always a great live performer and consummate entertainer, the musician seems equally at home as a street musician with a harmonica & beat-up guitar or a bandleader in front of a large amphitheatre crowd. G. Love has become forever entwined in the career of Jack Johnson. He first featured Johnson on his 1999 album Philadelphonic and played a version of “Rodeo Clowns” long before the world knew of the future California surfer musician phenomenon. Johnson opened for G. Love on his earliest tours. Now G Love records on Brushfire Records, Johnson’s label, and frequently opens for the musical prodigy he helped discover. G. Love and Special Sauce offered a funky, blues drenched live show that had many of the elements that make New Orleans music such a great live sound. The crowd greeted the band with an enthusiastic response throughout their 60-minute set.

Jack Johnson by L. Paul Mann

As a cool October evening fell on the Bowl, Jack Johnson emerged right on schedule to begin his triumphant two-hour set. It was no surprise that his presence was a catalyst for a vociferous, adulate crowd since the local surfer still maintains a house in Santa Barbara, and is considered a local hero. What was a surprise was how much his music and live performance have matured. Johnson has sold over 8 million records in less than a decade with his largely innocuous soft rock sound. His simplistic approach to music with a fine laidback sound has endeared him to a huge worldwide fan base. At the same time, fans of more complex music have criticized his sound as monotonous and uninspired. In fact, his live shows over the years have been lessons in minimalism, in both style and substance. But with the release of his most recent album and the subsequent tour, a more complex, mature musician has emerged.

Johnson now spends extensive time on the electric guitar, playing more intricate chords and riffs than in the past. His band has also followed his more upbeat, evolved sound. His drummer now sports a complete drum set and uses it to create a much more complex backbeats than in the past. His keyboard player Zach Gill (ALO) plays extensive honky tonk solos in the new work, too. Even Johnson’s bass player has taken on a new deeper, richer sound live. To be sure, Johnson still pulls out the acoustic guitar for some of his early, simpler hit songs, but his newer, throatier material provides a perfect juxtaposition to the older classics, painting a much more interesting and varied live portrait.

Johnson’s use of multimedia in his live shows also continues to morph into new and interesting directions. A large panoramic screen was painted in layers of environmental colors and images, interspersed with live inserts of the band and the crowd. The ever-evolving backdrop created a living link to the performance in a unique, artistic way. A steady stream of musical guests, also added additional layers to the show. Guests included Zee Avi on ukulelele and ALO guitarist Dan Lebowitz, amongst others. But it was the extended appearance near the end of the show by G. Love that was the highlight, and brought the evening full circle back to the impromptu garden jam. Singing, dancing and playing guitar and harmonica, the musical maestro clearly reveled in his performance with his former protege turned pop icon.

Fans of jam music may dismiss Jack Johnson’s music as being too simplistic, but they may want to give his newer music another listen. They just may be surprised at how much the surfer boy sound has matured. He may grow up to be a true jam musician yet.

var siteRoot=”http://www.jambase.com”;var newPhotoIndex=”24″;$(document).ready( function() { $(“#GalleryWidget”).load(siteRoot+”/Photos/Widget.aspx?galleryID=150″);}); 10/13/10 – Jack Johnson @ Santa Barbara Bowl (Santa Barbara, CA) View Photos

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Treasure Island Music Fest 2010 | S.F. | Review | Pics

October 21st, 2010 | No Comments

Words by: Eric Podolsky | Images by: Josh Miller

Treasure Island Music Festival :: 10.16.10-10.17.10 :: Treasure Island :: San Francisco, CA

Check out Josh Miller’s fab photo gallery here.

Treasure Island Fest ’10 by Josh Miller

As far as urban music festivals go, the Bay Area has got it made when it comes to gorgeous, out-of-the-way-yet-accessible locations to stage big parties. Now in its fourth year, Treasure Island Music Festival takes the cake for most unique location, situated right on the shoreline of the man-made island, a few miles offshore from SF. As there was no parking on the tiny island, a brigade of upscale buses provided free shuttle service to and from the island from downtown SF, which proved to be convenient, comfortable and efficient. Once inside the fairly small festival grounds, we were greeted to gorgeous views of the SF cityscape across the bay. Unfortunately, our luck ran out with the weather, as the Bay Area was bombarded with cold, clouds, wind and its first rains in months, right in time for festival weekend (after highs in the 80s earlier in the week). This took Saturday’s under-dressed crowd by surprise, and many were seen huddled against the Bay’s whipping winds, which swept across the exposed festival grounds.

With two closely situated stages sharing one field and no overlapping sets, this festival was a marvel of convenience that made it easy to expend as little effort as possible to catch your favorite bands. There were no half-mile walks from stage to stage, only leisurely strolls within the field’s confines. The icing on the cake was the inclusion of the Silent Disco this year, which offered the crowd a headphone-dance-party alternative to the main acts throughout the day. DJ Motion Potion‘s set really got my Saturday evening going right, as he induced a big headphone-funk dance party under a canopy of lit-up trees.

This year’s lineup was as indie as ever, and with the two days distinctly separated into “electro-dance-DJ day” and “sentimental-indie-rock-collective day” you may as well been at two different festivals over the course of the weekend. Saturday’s sold-out raver crowd swelled throughout the day, reaching a saturation point for Deadmau5‘s Daft-Punk-scale house music extravaganza. The electro beats of band after band carried the neon island party into the night before we were forced to board the buses, which deposited us back into the real word of downtown San Francisco.

Sunday was a different animal altogether, as cold and rain hit early in the day, putting a damper on affairs early on. Fortunately, the rain disappeared around 2 pm, and the rest of the day went along smoothly, and we were serenaded with the finest indie music around. Lovely harmonies, huge bands and well-crafted songs dominated the day, and the noticeably subdued and smaller crowd was all smiles, with many a couple seen making out all over the place.

The separation of each day into a general musical genre proved to be a smart decision that paid off for everyone, as people were able to choose which day to attend based on their musical tastes. Overall, even with lousy weather, the bands delivered in a big way, and the setting was naturally breathtaking and surreal. What more could you want from a festival?

Continue reading for Saturday highlights…

Treasure Island Saturday Highlights

LCD’s James Murphy by Josh Miller

1. LCD Soundsystem :: 9:35-10:50 :: Bridge Stage

After the straight house music barrage of Deadmau5 whipped the crowd into a manic frenzy with larger-than-life beats, headliner James Murphy and Co. took the stage and built their set organically with a mighty patience, letting the music breathe, swell and build to epic heights. Decked out in a brilliant white suit, Murphy was a straight crooner on this night, singing to us with a confidence and clarity I haven’t heard from him before. He had the crowd in the palm of his hand at every moment, and he knew it. Opening quietly with the slow-burner “Dance Yrself Clean,” Murphy forced us to lean into the music right off the bat, even before the song exploded into the dance party we were all waiting for. From there, Murphy led us through his infectious catalog of ass-shaking analog dance-rock, putting special emphasis on dynamics. His well-oiled band cranked out song after song of finely crafted, polyrhythmic grooves, and it was awe-inspiring. Many things blew me away about this set, most of all the sonic perfection of the mix. Every instrument came through bright and clear, and the band’s big, spacious sound filled the festival space perfectly. With drummer Patrick Mahoney driving the groove with his incessant pocket, the masterful maturity of this band shone through in the ever-urgent, slow builds of “Daft Punk Is Playing At My House” and “Tribulations,” which peaked in epic fashion before the band closed with the happy sing-along groove “Home.” My favorite set of the weekend.

2. Die Antwoord :: 3:00-3:45 :: Bridge Stage

It’s safe to say that this set left the entire crowd with their jaws on the ground. Storming out the gate on their first U.S. tour, South African MCs Ninja and pint-sized lady Yo-Landi Vi$$er blew our fucking minds with their over-the-top stage presence and lewd gestures, and backed it all up with some of the best MC skills I’ve ever witnessed. Presenting themselves as unabashedly white trash gangsta, it was easy to laugh at their weird haircuts and ridiculous braggadocio, but as soon as Ninja started rapping, his incredible skills more than justified any antics. Simply put, the set was pure, blazing hip-hop. Ninja speed-rapped with amazing clarity over minimal slice-and-dice beats, and it was off the charts awesome. Running around the stage in his boxers, shaking his dick around and sneering, he spat dirty sex rhymes and amazing freestyles, and blew us all away with pure MC skillz. Throughout the set, Yo-Landi Vi$$er acted as a sort of Joe C to Ninja’s Kid Rock, for lack of a better analogy. Her otherworldly, little-girl delivery complimented the songs, but mostly she was all attitude and sexuality, grabbing her chest with a snarl and mooning the crowd a couple of times. An truly tremendous concert experience.

3. !!! :: 4:35-5:25 :: Bridge Stage

I’ve known about these guys for a while, and was excited to see them for the first time. This band was one of the first to patent the now-widespread dance-rock movement a number of years back, and they still deliver live. Theirs is a dirty-punk groove approach, with Tyler Pope‘s funky, deep-fuzz basslines driving the songs forward. The band themselves was fantastic, but I couldn’t say the same for vocalist Nic Offer, whose breathy, low delivery didn’t compliment the band very well. At times it seemed like he wasn’t trying very hard, and it was often hard to hear his mediocre voice above the consistently engaging grooves. When the band decided to get instrumentally serious and jam a bit, it was fabulous, bass-bombing psychedelic dance-rock, complete with electro-glitch bloops and bleeps. The band’s horn section seemed under-utilized to me, as they were used more for sonic color than anything else. I danced my butt off anyway.

4. Holy Fuck :: 1:30-2:15 :: Bridge Stage

These guys pack a sonic wallop. This instrumental band is just a rhythm section and a couple of dudes tweaking and fiddling with knobs, but they sure make a lot of sound. They crafted an eerie ambiance with their weird toys, which complimented the driving rhythm. But this wasn’t really dance music, more a soundscape of ethereal groove-noise. Vocal loops and modulators evoked Lee Scratch Perry level experimentation in a rock setting (there was even a melodica), and the audience responded warmly to the out-there results, especially considering the set was so early in the day. Hunched over their toys, these mad professors won me over with their exploratory, order-in-chaos approach to music.

Deadmau5 by Josh Miller

5. Little Dragon :: 7:05-7:50 :: Tunnel Stage

I had never heard of this Swedish band before I caught this set, and their synth-soul-pop sound really caught my ear. Sometimes evoking the icy early-80s sounds of Grace Jones or even Bowie, Little Dragon has catchy songs and an airy-cool ambiance created by well-placed synths, which serve the melodies well. Their lead singer Yukimi Nagano is soulful yet detached in the languid, catchy way that synth-pop works best. This was one set that succeeded in inspiring me to actively seek out the band’s material. Great nighttime music.

6. Deadmau5 :: 7:55-8:45 :: Bridge Stage

Having no ear for or experience in the world of house music, I was somewhat baffled at the hordes of adoring fans that came out for this guy. His fans were definitely the most visible on Saturday, and the crowd was absolutely packed for his set. As I’m mostly unable to tell house music apart from other electronic music, I can say that his was a very simple, stripped-down style of epic tension-release beats and electronic sounds meant solely to make you dance. His stage show was the most elaborate of the weekend, taking a page straight out of the Daft Punk playbook. Deadmau5, with glowing mouse head on at all times, was perched atop a giant cube, which projected various images and light displays. This all combined to be a fun, high-energy experience, though not musical in nature. Talking with a fan later, I learned that the man uses no samples in his live show and creates all sounds in the moment with analog equipment. That said, I respect Deadmau5 for what he does, but can’t say the music engages me.

Continue reading for Sunday highlights…

Treasure Island Sunday Highlights

Broken Social Scene by Josh Miller

1. Broken Social Scene :: 5:35-6:25 :: Bridge Stage

Though I was mostly unfamiliar with this Canadian musician collective before this set, I was soon converted. Their ensemble approach to playing continually surprised me, with musicians continually switching instruments after every song. The band plays a sort of alt-rock chamber music, with each musician in the eight-piece band playing a very specific role in the sound and always serving the song. The set started with four guitars jangling away, and yet the sound was lean and not overly busy. “7/4 (Shoreline)” was rocked out nicely, and the mid-tempo “Texaco Bitches” was made interesting with some bloopy synths. At times the band evoked the wide-open-spaces feel of early U2, with shimmering guitar parts and soaring vocals. But the peak of the set had to be “Anthems for a Seventeen-Year-Old Girl,” a slow-building loop of a tune which repeated itself, each band member gradually adding something new at every repetition until it built to a soaring, heartfelt crescendo. As the band peaked the song out, singer Kevin Drew successfully crowd-surfed all the way back to the soundboard – a triumphant way to end the set.

2. Superchunk :: 2:30-3:15 :: Bridge Stage

I’d never heard of these guys either, and they thoroughly impressed me with their meaty, poppy punk rock. Superchunk has influenced countless indie rockers having been around for over 20 years, and listening to them play it’s easy to tell why. They work as a unit, slugging it out with duel guitar power chords and a rockin’ female bassist, her axe slung low, to boot. Singer-guitarist Mac McCaughan was right on all set with his great voice. Their new track “Digging for Something” had me rocking hard, and included the first real guitar solo of the entire weekend, believe it or not. “My Gap Feels Weird” was also awesome, and the anthemic “Crossed Wires” had a rip-roaring, jangly guitar duel. They closed their utterly satisfying afternoon set in grand rock fashion, with thrashing guitars and windmill power chords.

3. Belle & Sebastian :: 9:05-10:20 :: Bridge Stage

Another band I haven’t given a chance, these guys closed the festival out on a cheery note with their immaculate, gorgeous pop-rock melodies. In a day filled with large ensemble bands, this group beat them all with an 11-piece band, complete with horn and string sections. Lead man Stuart Murdoch was in high spirits, bouncing around the stage while his band churned out bright, meticulously crafted pop. All the songs were light and catchy, with a high gloss production that gave them a kind of George Martin feel. Songs like “I’m A Cuckoo” were amazingly clean and precise in their sound, and the audience was all smiles and extraordinarily attentive. Indeed, in between songs, I had never heard a quieter, more well behaved audience in all my years. This allowed the band to give their music the delicacy it required, what with its lovely flute and string parts and three-part madrigal harmonies. Tunes like “Suki In The Graveyard” and “The Boy With The Arab Strap” were gleaming, radio-friendly nuggets that got people bouncing around before the epic, feel-good climax of “Sleep The Clock Around” sent us to the shuttle buses, closing out a big day of music.

4. The National :: 7:15-8:15 :: Bridge Stage

This band is Matt Berninger. Everything about the archetypal indie rock this band plays revolves around his aching, Morrissey-like baritone and the heartbreaking lyrics it delivers. In this eight-piece band, all instruments function to serve the song, first and foremost. Strings, horns, guitars and keyboard are all complimentary color to his deeply soulful voice. Most all of his songs are about relationships and getting older, and all are tinged with melancholy. The music is always achingly beautiful, and tunes like “Apartment Story” and “Conversation 16″ make you feel more than you might expect. This was a deep show, and every now and then Berninger would freak out, as he did in “Abel,” screaming, “My mind’s not right!” His performance contrasted drastically with his funny, witty stage banter – definitely the winner for best banter of the weekend. Berninger has great stagecraft, and knows how to be a leading man to great effect. Some other lead singers from the weekend could have taken a tip or two from him…

M. Ward by Josh Miller

5. She & Him :: 4:00-4:50 :: Bridge Stage

This collaboration between M. Ward and Zooey Deschanel was a fun afternoon romp into 60s era doo-wop pop. Their band had a jukebox feel to it, with M. Ward’s soul-fried guitar work leading the band. Though Deschanel has a great voice, it was a cold, windy day, and she seemed a bit unsure onstage, and her voice didn’t fill the open field very well as a result. This would clearly be a great band to see in a small venue, but their delicate sound didn’t translate very well to a gigantic, open-air stage. Regardless, songs like “Black Hole” were fun and lighthearted, with backup singers doo-wopping it up. My favorite song had to be “This Is Not A Test,” a sunny, strummy, acoustic feel-good number. Another highlight included M. Ward leading the band through a folkified version of “Roll Over Beethoven” to close out a fun set.

6. Papercuts :: 1:55-2:25 :: Tunnel Stage

A short 30-minute set started my day off right with an introduction to Papercuts’ etheral indie-pop. Based in SF, they are led by vocalist Jason Robert Quever, whose high-pitched, quavering tenor blends with the band’s lo-fi sounds. Their songs are punctuated with strange washes of organ sounds, and are catchy if a bit generic sounding. I would definitely give them another chance, as a half hour is not much time to prove one’s worth as a band.

Continue reading for Josh Miller’s photo gallery…

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Steve Martin | California | Review | Pics

October 19th, 2010 | No Comments

Words & Images by: L. Paul Mann

Steve Marting & The Steep Canyon Rangers :: 10.08.10 :: Granada Theatre :: Santa Barbara, CA

Steve Martin by L. Paul Mann

The big question on everyone’s mind when Steve Martin made his much anticipated appearance in Santa Barbara was whether he would be funny or serious about his musical performance. The answer turned out to be a bit of both.

The sold out show took place in the newly renovated Granada Theatre . It took nearly a decade and tens of millions of dollars to restore the historic 1550 seat performing arts venue to its former glory and beyond. With an original grand opening in April of 1924, the eight-story structure was the only tall building to survive the devastating 1925 earthquake in downtown Santa Barbara. Subsequent city ordinances and strict building codes have ensured that the Granada remains the only tall building now and in the future in this conservative town. An almost over the top restoration has created one of the most beautiful and comfortable venues in the nation. Sponsored by the UCSB Arts and Lectures Series, which brings a treasure trove of multimedia and live performances to the city each year, the event attracted a sold out crowd, largely composed of academicians. Taking advantage of discounted tickets, UCSB staff and students flocked to the show, creating an invigorating and insightfully appreciative crowd.

The mercurial Martin actually seems to have more than two brains with his ability to excel in most any endeavor he attempts. He has mastered the art of filmmaking as a director, writer and actor. He was written countless books from biographies to children’s stories. He even has become a successful painter whose canvases are praised by many critics in the art world. But in Santa Barbara this night, the 64-year-old Martin kicked off the second night of his new tour doing the two things he loves most: “Comedy and charging people to listen to music.”

From the moment he stepped onstage, it was apparent that the king of 1970s stand-up comedy had not lost his brilliance as a humorist. Posing in an endless array of crazy facial expressions that have defined him for decades, he immediately launched into band introductions. Â“Hello Santa Barbara, these are the Steep Canyon Rangers,” he said as the group received a standing ovation. “The local newspaper called them the ‘Steep Canyon Ramblers’.” A hilarious diatribe about the difference between Rangers and Ramblers came next. Then he quipped, “Oh, now I wish I’d practiced. It’s a longtime dream of mine to do bluegrass in Santa Barbara. Now I am one step closer to that dream.” Then he launched straight into a frenetic bluegrass jam titled “Pitkin County Turnaround” from his Grammy Award winning new album The Crow. The stage was set for the evening, as Martin followed nearly every song with what began as an innocuous comedic rambling and ended with an insightful, witty story. The academics in the crowd answered with wild applause and laughter following his witty punchlines and even some of his more obscure references. Indeed, at times the evening almost felt like a college lecture, albeit a hilarious one, on the History of Bluegrass in America.

Martin & Rangers by L. Paul Mann

As funny as his diatribes were, his music held equal weight throughout the night. Martin, who actually began playing banjo at the age of five, has been an accomplished musician for decades. In his earliest stand-up routines, which sometimes resembled a vintage vaudeville stage show, he would surprise the audience with a flash of brilliant banjo picking, although it was usually while wearing a cap with a fake arrow stuck through it. The North Carolina-based Steep Canyon Rangers are a masterful bluegrass group who are successful in their own right. Combined with Martin’s amazing songwriting and banjo prowess, they are a musical tour de force.

As Martin struggled to tune his four banjos throughout the night it was hard to tell how much of his banter was scripted and how much was improv. He spent several minutes playing with his new iPad, which he used to store the setlist. At one point he stopped to post a tweet, which he end with the typical LOL but spelled out in long form. After a song he wrote for his dog (where the fiddle player made barking sounds on his instrument), Martin’s dog actually made a sweep across the stage behind him. Such hilarious moments rolled over the audience like a runaway train. Wondering if some in the crowd were just curious to see a movie star play banjo, he imagined some might think it was like “Jerry Seinfeld playing a night of original song for the bassoon.” Martin then got to plug his new song “Bird Alert,” which will appear on the soundtrack of the new film Big Year. The film, in which he has a part, centers on the story of competitive bird watching and stars Jack Black and Owen Wilson. “I’m finally getting a break in life,” Martin sneered.

After the first rambunctious hour ended, Martin retreated backstage with a beer that Charles R. Humphrey III pulled out of his stand-up bass. The Steep Canyon Rangers then had a chance to showcase their talents on a medley of songs ending with a fantastic acappella take on the bluegrass gospel classic “I Can’t Sit Down.” Then in typical Steve Martin fashion, the veteran performer returned triumphantly to the stage to lead the group in another acappella Martin original entitled “Atheists Don’t Have No Songs.” From this point on, the brilliant comedy and masterful music seemed to meld into one great performance and it became hard to separate the two.

The band played a bluegrass classic “Orange Blossom Special” for the encore, which featured Nicky Sanders, the group’s prodigy fiddle player. Doing a mash-up jam composed of fine fiddle prowess, he led the group through snippets of songs ranging from The Beatles and The Beach Boys to classical music. Finally coming full circle, in what seemed like a fitting finale, Martin played his first campy classic musical hit, “King Tut.” The 1978 novelty hit resounded across a standing, cheering crowd throughout the restored Granada, which opened in 1924 about the same time that King Tut’s tomb was discovered in Egypt.

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