Vinyl Notes

A few weeks ago we hit the Seattle ground running at Bumbershoot, this weekend I’m in the Bay Area for San Francisco’s Treasure Island Music Festival (TIMF).

The lineup for the weekend is a collection of both veterans and up-and-comers including The Raconteurs, GoldFrapp, Tegan & Sara, Vampire Weekend, Chester French, The Kills, Loquat and TV on the Radio.

Ever since watching the streaming of the Lollapalooza AT&T stage, I vowed that I would see The Raconteurs live. It was a magical experience, and I wasn’t even in Chicago’s Grant Park that night. So this weekend is my chance.

Goldfrapp has been around for ages, but has only popped onto my radar recently. She has definitely undergone some changes since her 2005 glam-pop hit “Ooh La La.” I especially like “Happiness” with it’s lovely bouncing melody and breathy allure.

Beyond those two, this will be an adventure in discovery for me. With none of the sets overlapping, and being stranded on Treasure Island (so to speak), I’ll be able to take in most of the shows.

Check back over the weekend for festival coverage!

After an intentionally slow Saturday – besides Beck there were no absolute must sees – we headed back to Bumbershoot Sunday for a whammy of an evening. Everything we planned to see was packed into the last five hours of the day. The only reprise, however bittersweet, was a cancellation by Kid Sister.

The lawn surrounding the Starbucks Stage was packed with a diverse group of all ages from Pampers to Depends to catch Jakob Dylan. Surprisingly, the audience didn’t contain rabid women throwing their unmentionables. Much like his father, most of his set was indiscernible, with Dylan chewing on his words in mumbles. Unlike us, clearly, there were people there just for the music, many sitting and even laying in the grass.

Half way through Dylan’s set, we bailed, bound for the mainstage to see rock as pure driven snow from The Black Keys. Though, the audience was full already, as the Keys began playing, the floodgates opened and people poured into the venue like the tide. We overheard many a conversation among spectators wondering who was playing; one even vowing to make an iTunes purchase. The music cut through all distractions with laser like focus, driving people to dance involuntarily.

The last hour of our day, as we wanted to catch three performances who were all playing at the same time. First stop Stone Temple Pilots but they were late, so we left to see a recommended band called Thee Emergency. Described by a fan as “Saul Williams as a woman with soul,” our curiosity was piqued. Unfortunately, they didn’t deliver. It was also strange to see the lead vocal actively directing the band, though it was hard to see who was actually playing because so many people apparently loitering on stage. So we left.

Back at STP the crowd had gotten antsy. It was thirty minutes past the scheduled start and the roadies were still setting up. Finally, at 9:45 pm the tour bus pulled up and the audience went ape shit. The sheer volume of people in the stadium was astounding, and almost made the reception for Beck and The Black Keys look small. Seattle clearly loves STP. As the set began, we could see why. There was a good mix of easily recognizable radio hits as well as songs that were clearly for die-hard fans. These are veteran showmen; not only was Scott Weiland in constant motion, the rest of the other members of band also engaged the audience.

Though Weiland started the set in shades, hat, leather jacket, vest and scarf by night’s end he was down to his shirt. The organized mayhem of the mosh pit increased with each number and the band sprinkled their performance with just enough banter between songs. Someone once asked “What’s the Big Deal with STP? Answer, see them live.

We started the day refreshed, slept in, and took our sweet time getting to the festival. After the suck that was yesterday, we were stoked at the efficiency and consideration of the festival organizers, One Reel. Not a single detail was overlooked; right down to the free water refills and the convenient recycling bins. Also a pleasant surprise, patrons could re-enter the festival. Unfortunately, it was also a slow and arduous process; probably used to collect data. Ironic, considering the strong (get link) presence of RFID protesters.

Neko Case the perfect first course; preparing our musical pallet for what was to come. Her voice was strong and rich; the band tight. The response to her set could be likened to polite spectators at a tennis match, with people politely clapping and cheering. There were two stand-outs among the set, one a banjo country number the other, a plucky number with a surprising dose of yodeling.

The air around the Fisher Green stage buzzed with electric energy. The crowd was intent on Saul Williams, paying close attention to his words. They responded enthusiastically to his message and charismatic delivery. When Williams eluded to Seattle’s political activism the audience was appreciative. When the set was over, we bolted through the crowd like hounds on a bloody fox, determined to score an interview.

After alternately talking ourselves into and out of walking into his tent, we decided fortune rewards the bold. We tentatively pulled back the curtain to find Williams plainly waiting for us to come in. His air of self-assurance was calming and as we settled into his cramped, he told we could ask three questions. His response to questions regarding attempts to pigeon hole him was a gem.

“People will always have their preferences.” He paused briefly before adding, “and will tell you. I think we try to live our lives as poems, and try to remain open to possibilities.”

Williams had nothing but love for the results of the digital release of The Rise and Eventual Liberation of Niggy Tardust, unlike Trent Reznor his collaborative partner. In the past Reznor has expressed disappointment about free downloads versus album sales. Williams considers the free release a success.

“People get to say ‘I tried this out,’ and it’s guilt free,” he said. Another boon was that there was enough interest for the album to be released in stores, as well as an overall increase in album sales for Williams.

Our last stop of the day, Beck on the mainstage. He started the set with a classic, “Loser,” which he dedicated the city. Though a charismatic and seasoned performer, it was almost as if Beck was just going through the motions. All the ingredients were there, but the souffle didn’t rise. The energy of the set was inconsistent, starting strong before quickly descending to a down-tempo movement. It’s not that Beck’s set was bad, per se, it was just a disappointed considering the breadth of his talent and experience. Even the encore was dialed in and predictable. Regardless of our interpretation, the audience was definitely behind him, especially during the numbers from Midnight Vultures.

Come back for more festival coverage tomorrow…

© 2008 Kimberlee Morrison and Tanya Payne. Some rights reserved

Spring and Summer are prime time for people to get out to some of the best music festivals. Whether your taste is for indie rock, hip-hop, pop, gospel or jazz, there’s a something happening for everyone.

Since keeping it up with everything can be a chore, my gift to you today is a non-exhaustive list of concerts and festivals taking place May through September. The theme for the Summer seems to be going green and getting outside; go figure.

KJLH Gospel Music Showcase
When: May 17 (yes this Saturday!)
Where: Knott’s Berry Farm

Quite possibly one of the biggest gospel music events of the year, the artists featured at this festival are picked straight from the playlist of KJLH radio show “Spread the Word.” Shikinah Glory returns this year! I know some folks super excited about this one.

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Looks like Lollapalooza 2008 is on track for success this year. What with the buzz in both the blogosphere and the mainstream music news, and the announcement with some of the hottest acts in music today on the line-up; the festival is sure to be a winner. Since the line-up is probably what you’re looking for, here are some highlights:

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The 2008 Ragga Muffins festival was an improvement on several fronts from festivals past. The increased presence of “earthy” people combined with the decrease in the poser/wannabe crowd (Matisyahu fans…grrrrr) was refreshing. This trend was reflected in the make-up of the vendors; homogeny and commercialization reigned but there were a few bright spots of individuality.

Speaking of the vendors, there was quite a dichotomy present in their sales approaches and wares. This year real artisans finally returned. A local artist named Jimothy, sold handmade leather purses and cuffs returned for his 3^rd consecutive year. New to the mix was a gifted metalworker from Jamaica, whose copper jewelry was intricate, unique and lovely. Though this artisan was reluctant to be interviewed we hope he returns.

In sharp contrast to the artists were several booths featuring scantily dressed booth babes hawking everything from medical marijuana to tawdry and cheap clothing. The medical mary jane babes, dressed as naughty nurses, reminded passersby that “weed is medicine.” Taking the ticky-tacky prize were the women at an undisclosed clothing vendor who were not only dressed as two-bit prostitutes but also acted like them, bending over and licking their lips copiously when men passed. These women seemed intent on selling themselves in order to sell clothes.

Switching gears, the line-up did not disappoint. There are always a few artists whose lack of experience makes for a lackluster set. However as Barbara Barabino co-founder of Ragga Muffins Productions noted, these artists are often hand picked for their potential and should not be discounted. Our highlights this year were Anthony B, Gentleman, Sly & Robbie and Capleton. Aside: While Beanie Man was a headliner, the crowd enjoyed his show with a certain detachment, but more on that later.

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The 27^th annual Ragga Muffins Festival is this weekend, one of the largest reggae festivals in the US and quite possibly one of my favorite events of the year. For nearly 10 years I have been a festival regular, and this year will be no different…except, I will be sharing the experience with you, dear readers.

When the festival started in 1981 it was shortly after the death of Bob Marley, one of the most prolific reggae stars of all time. Back then it was named for Bob Marley and was a way for those who were close to him and the music to honor Marley and recover from the loss. Over time it evolved beyond the catharsis and became a way to showcase reggae artists from around the world.

Last year’s festival marked a return to the festival roots with Barbara Baribino, the leading lady of Ragga Muffins Productions, remarking that she remembered why it had all started in the first place. She had begun noticing that the changing demographic and the craft fair lacking cultural wares. So frustrated was she in the commercialization of reggae culture, last year’s crafts fair was much smaller than in previous years.

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