popwreckoning

Kansas City doesn’t usually dance at concerts, but if there were to ever be an exception to that rule, it would have been Friday night’s show at the Beaumont Club with Foals, Freelance Whales and The Naked and Famous.

Beaumont Club is usually one of the few venues that you can count on to start on time, but Friday, they actually started just a few minutes early.  Unfortunately, many were still in line to get in when New Zealand’s The Naked and Famous took to the stage with “All of This,” the opening track off their debut album, Passive Me, Aggressive You. Then the familiar synth trickle intro to “Punching in a Dream” resounded across the venue. If the audience wasn’t already hooked on this band with the first song, this one did the trick. There’s no way to stand still for this addictive Passion Pit-esque tune. A little later in the set, audience member’s who had just seen that week’s episode of “Gossip Girl” and heard “The Sun” were treated to a live rendition of the song, which at times had musical similarities to some of Phoenix‘s more instrumental-based songs. “Girls Like You” and US radio hit “Young Blood” ended out the stellar set. Alisa Xayalith and Thom Powers almost sounded even better live than on record as they traded vocals back and forth for the two final electropop numbers. Do yourself a favor: catch them live if you can. In a soon-to-be-posted PopWreckoning interview with bassist David Beadle, he says that the band should be back stateside for a headlining tour in Fall 2010.

The Naked and Famous Set List:
All of This
Punching in a Dream
A Wolf in Geek’s Clothing
The Sun
(The Source)
No Way
Girls Like You
Young Blood

“Cute,” “Adorable,” “Happy” are all words that come to mind as when New York five-piece Freelance Whales take to the stage next. But just because the band have a cutesy pop sound – thanks mostly to their avid use of glockenspiel – don’t brush them off as not serious music. They may sound like Owl City, but their songs also have the depth of a Death Cab for Cutie. The band played songs mostly off their debut album Weathervanes, many of which are familiar to through their popular use on TV shows and Starbucks commercials such as “Generator ^First Floor” as well as “Generator ^Second Floor.” But it has been just about a year since the release of their banjo-plucking swirl of a debut, so they also had plenty of new songs to share with the audience. The new songs still had the bright, sound that makes them so lovable, so look out for an official release of these songs soon. Of course, the song that really got the crowd’s attention was “Hannah,” which has winding musical phrases matching the winding spiralcase mentioned in the lyrics. This was a big singalong number that really got people smiling.
The UK’s dance-rock outfit Foals headlined the night’s electric lineup. About three years ago when this group came through the US right after their debut, Antidotes, release you could count on a band that sounded great, but seemed lost in their own little world on stage. They gyrated to their tunes, but never looked up from their hands. It made them come across as a little shy and uncertain of their own performance. Well in the three years since, they sure have changed their live show performance and they seem like a brand new band – one that’s confident in their playing and capable of embracing the audience. The result – they still sound great, but it’s even easier to get hooked as their new-found enthusiasm is contagious. It’s now as interesting to watch them as it is to listen.

Foals began with “Blue Blood,” the opening track off their sophomore release Total Life Forever. The set was an even mix of songs off that album and debut Antidotes, the second track alternated to the debut’s “Olympic Airways,” and then switched back to the sophomore release for “Total Life Forever.” The vocals on that song are just a blast to sing along to, “I knoooooow a place…” the audience howled along. “To your house,  down to your house,” the audience seemed to follow singer Yannis Philippakis‘ every crescendo and decrescendo for this song. But as the Foals’ set went on, all eyes were on drummer Jack Bevan. The man was a machine and tore up nearly every beat. Walking around the Beaumont before the set, Bevan is an unassuming figure, easy to glance over. But behind the drum set? He’s a jaw-dropping power house. He often added to his challenging rhythms by standing from his seat before a song and clicking his sticks together to get the audience to clap a pattern, but then sitting back down to play an unexpected syncopated rhythm. Bevan was the reason songs such as “Spanish Sahara” stand out as such amazing dance numbers. Seriously fantastic.

Foals’ Set List:
Blue Blood
Olympic Airways
Total Life Forever
Balloons
Miami
After Glow
What Remains
2 Trees
Spanish Sahara
Red Socks Pugie
Electric Bloom
//

?
The French Open
Two Steps, Twice

*Freelance Whales photos by Andrew Dunlap

New York City’s folk pop band Freelance Whales (pictured right) and Oxford, England indie dance rock band Foals will be touring North America together in April and May. In several markets (San Francisco, New York City, Philadelphia, and Washington, DC) the two bands will be co-headlining. The support act for this tour is Auckland, New Zealand electropop band the Naked and Famous.

Tour Dates
Apr 10 – Commodore Ballroom / Vancouver*
Apr 11 – Showbox at the Market / Seattle*
Apr 12 – Wonder Ballroom / Portland*
Apr 14 – Great American Music Hall / San Francisco (Freelance Whales co-headlining with Foals)*
Apr 19 – Fitzgerald’s / Houston*
Apr 20 – Loft / Dallas
Apr 21 – La Zona Rosa / Austin*
Apr 23 – Firebird / St. Louis*
Apr 25 – Varsity Theater / Minneapolis*
Apr 26 – Metro / Chicago (Freelance Whales co-headlining with Foals)*
Apr 27 – Outland Live / Columbus*
Apr 29 – Beachland Ballroom / Cleveland*
Apr 30 – Phoenix / Toronto*
May 01 – Le National / Montreal*
May 02 – Paradise / Boston*
May 04 – Terminal 5 / New York City (Freelance Whales co-headlining with Foals)*
May 05 – TLA / Philadelphia*
May 06 – 9:30 Club / Washington, DC (Freelance Whales co-headlining with Foals)*
May 07 – Ottobar / Baltimore*
May 08 – Met / Pawtucket, RI*
*with the Naked and Famous

Freelance Whales: website | myspace | @ Rock ‘n’ Roll Hotel
Foals: website | myspace
The Naked and Famous: | myspace

Top 3 Albums of 2010:

• Kanye West – My Beautiful Dark Twisted Fantasy
• Beach House – Teen Dream
• FOALS – Total Life Forever

Best Show of 2010:

• Gorillaz – Coachella

Seriously, Damon Albarn and Paul Simonon in the flesh, holy shite! Okay, not like I haven’t seen them in the flesh before (i.e. seeing The Good, The Bad and The Queen two years prior) but still… I remember it just being speculation that is was going to be a proper live show and Damon Albarn and company where in fact going to be performing. So my teenage self got all giddy, once again, seeing Damon Albarn appear on stage along with the badass Paul fucking Simonon. It was as massively epic show — there were videos for each individual song, a well-designed set, and no fewer than 42 performers in total. Quite the package I’d say. Gorillaz mastermind Damon Albarn gallivanted about the stage giving the audience everything they wanted and more. Relinquished from his animated cage, Albarn indeed again proved himself a masterful showman. Dancing and singing about with my good friends from England in the desert night, watching legends perform onstage was incredibly magical.

• FOALS- San Diego at The Casbah

The last time I saw FOALS was in London with Bloc Party last year at Olympia Grand Hall. With a venue name like Olympia Grand Hall and opening for Bloc Party, you can imagine it was a rather intense show. We’ve all heard how rowdy fans can be across the pond. To actually experience seeing hundreds and hundreds of people screaming every word to each song and feeling the ground vibrate due to the intense amount of movement from the crowd was something not to forget. It was great to see them again in an intimate setting like the Casbah, where it felt more like a house show than a concert held in the venue. Saying the crowd was insane is a complete understatement. The whole night I was being pushed about, getting smashed up against the low stage where my knees took a good beating (note to self: seeing Foals in a dress is probably not the wisest decision) and being slammed over speakers, at least I was not the guy behind me who cut his foot on a broken piece of glass due to someone’s glass of whiskey falling on the floor… Needless to say, I gave up taking photos during the set and just enjoyed jumping about, dancing and sing along to new and old songs. Although, I woke up in the morning with bruises and my ears ringing, I loved every second of the show. It was my first time hearing the new material live and they fucking KILLED IT. Highlight of the evening was Foals front man Yannis, jumping on the bar continuing his performance of “Electric Bloom” whilst moving across the entire bar banging on things in rhythm to the song with his drumsticks.

Most Anticipated in 2011:

• Fiona Apple –I’ve been listening to hear ever since I was an angsty tween and always seem to crawl back to her music. Everything this woman does is magic and speaks to my soul. I can’t wait to hear wait to hear this new album.
• Kanye West & Jay-Z – Watch The Throne – As a devout follower of whatever these two do I am rather excited to hear the final production of this collaboration. They could come out with a disco-thrash-rap album and I’d still listen to it.
• Esben And The Witch – Violent Cries (a band from Brighton to definitely keep your eye and ear out for next year)
• PUJOL – Whatever this band does next, surely it will be epic and not something to miss out on
• Tristen- I have high hopes from this pop/folk singer hailing from Nashville. Seems promising.

Honorable mentions:

• Dr. Dre – Detox
• Cut Copy – Zonoscope
• PJ Harvey – Let England Shake It’s fucking PJ HARVEY, okay?!
• Smith Westerns – Dye It Blonde

Most Overrated in 2010:

• Ke$ha
• The Drums

Favorite Musical Memory of the Year:

I suppose this is where I am suppose to write about how cool it was to hang with this band or that band or meet this person or that person…I had my fair share amazing encounters and hang sessions with bands/people I truly admire but nothing compares to seeing one of your idols live.

Seeing Gil Scott-Heron at Coachella this year was definitely my favorite musical memory of the year. I’ve pretty much have been listening to Gil Scott-Heron ever since I was in my mother’s womb. My parents were both huge Gil Scott-Heron fans and constantly played him. Of course, as a kid it’s natural for you to rebel against having to listen to your parent’s lame “old school” music. Yet, once I was old enough to comprehend the message behind this man’s lyrics, I also became an instant fan. His words have guided me all phases of my life. I often found solace in his music, spoken word and writings. So when I heard that Gil Scott-Heron was one of the many artists to be performing at Coachella, I was not only shocked but also excited. I am not going to lie though, I was among many of the cynics thinking “there is no way he is going to show”. Scott-Heron aware of his past tendencies was first to make light of this stating once he got onstage in his typical deadpan manner, “For those of you who bet I would not be here, you lose.” Although 61 and looking extremely frail, Scott-Heron provided nothing less than a powerful performance that got me misty eyed. Being able to see whom I consider a living legend was a dream come true for me. Gil Scott-Heron didn’t play a single new song off his 13th album release this year “I’m New Here”. He stuck to the classics we all knew and loved like “The Bottle”, “Blue Collar”, “Home Is Where The Hatred Is”, “Is That Jazz?” and more. And if case you were wondering, you probably weren’t but I am going to pretend that you were and continue on…I did in fact call my mother during his set when one of her favorite songs was performed. Cue the “awwwws”.

The once aloof Oxford five-piece Foals has changed dramatically since their debut album Antidotes.

With their latest album Total Life Forever they shed their skin and expose themselves for the first time. They are no longer hiding behind cryptic lyrics like in Antidotes; it seems that we have discoverd a transformed Yannis. The mask is slowly coming off and us, the listeners, are gaining a new insight into the mind of these young, growing musicians. The songs are deeper and fleshier, less jangley guitars, and more strategic layering of instruments. The lyrics are even more melancholic than the last album.

Total Life Forever is not purposefully an act of conflict against the first album. You can still hear elements of the first album blending effortlessly into the second album. There is a linear progression.

Now, not only has Foals sound changed but their stage presence has changed as well. Where as once they used to face inwards toward each other not engaging with the crowd, they have now broken out of their shell and are more comfortable making eye contact with the audience, engaging with them, making them feel as though they are a part of the show.

With each show and each song we continue to see Foals grow and reveal a bit of themselves more and it’s an exciting thing to witness.

\”Spanish Sahara\” – FOALS

This is one of the many songs that displays the shift in Foals lyrics and mood of songs. While some favor the dancer friendly hits such as “Cassius and “Balloons,” “Spanish Sahara” digs deeper. From lyrics to the build up of an exploding ending, we are seeing and hearing Foals bare their bones and for the world.

The nominations for the 2010 Barclaycard Mercury Prize – awarded to the album deemed the best released during the prior year from the United Kingdom and Ireland – were announced earlier today, July 20, at a London ceremony by BBC 6music radio host Lauren Laverne. You may recognize several of this year’s nominees as acts previously featured on PopWreckoning.

Here are the 12 nominees for this year’s Mercury Prize:

Biffy Clyro – Only Revolutions
Corinne Bailey Rae – The Sea
Dizzee Rascal – Tongue N’ Cheek
Foals – Total Life Forever
I Am Kloot – Sky At Night
Kit Downes Trio – Golden
Laura Marling – I Speak Because I Can
Mumford and Sons - Sigh No More
Paul Weller – Wake Up The Nation
Villagers - Becoming A Jackal
Wild Beasts - Two Dancers
The xx – xx

Receiving a Mercury Prize nomination (and/or winning it) generally leads to increased album sales and increased celebrity profile for a band. London rapper Speech Debelle received the honor in 2009. The 2010 Barclaycard Mercury Prize will be awarded in London on September 7. The winning act will receive a cash award of £20,000 (over $30,000 US).

Oxford, England indie rockers Foals have announced a tour of North America for September and October. The tour begins in Minneapolis on September 23 and ends in Portland on October 21. The band also has a scheduled appearance at Austin City Limits this year. Total Life Forever, Foals‘ follow-up to their 2008 debut Antidotes, is now available on Sub Pop Records.

Tour Dates
Sept 23 – 7th Street Entry / Minneapolis
Sept 24 – Lincoln Hall / Chicago
Sept 25 – Magic Stick / Detroit
Sept 27 – Lee’s Palace / Toronto
Sept 28 – La Sala Rossa / Montreal
Sept 29 – Paradise / Boston
Oct 01 – Bowery Ballroom / New York City
Oct 02 – Music Hall of Williamsburg / Brooklyn
Oct 03 – Black Cat / Washington, DC
Oct 05 – Masquerade / Atlanta
Oct 08 – Walters / Houston
Oct 09 – Stubbs / Austin
Oct 10 – Austin City Limits Festival / Austin
Oct 12 – Larimer Lounge / Denver
Oct 14 – Casbah / San Diego
Oct 18 – El Rey / Los Angeles
Oct 21 – Doug Fir / Portland

Foals: website | myspace

Fly away and escape reality for a moment with the catchy dance tune “Pigeons” by Brooklyn duo The Hundred in the Hands. The dance pop song is already perfect for clubs, but remix gurus Foals went ahead and added their own spin.

Check out the original version here and then listen to the Foals’ take here. We’ve had both on repeat, but we really love the extension that Foals gives it with its trumpeting music interlude about two minutes in. The descending bass line also gives the song a darker edge than the bubbly original. Adding to the darkness, is the way Foals’ latches on to the lyric, “Fly away,” and uses that to help fade out their six minute take on the song just as they led into it.

“Pigeons” will be on the The Hundred in the Hands’ debut self-titled album due out September 21.
Pre-order the album here.

In this third and final installment of my three-part interview with Friendly Fires‘s Edd Gibson (guitar) and Ed Macfarlane (vocals/synths/bass), we turn to weightier issues. I get suggestions from the boys on what to pick up at the record shop round the corner. We get into a deep philosophical discussion about the state of American and English popular music and come to the surprising realization that we don’t listen to our countrymen as much as we probably should. And they look forward to their oh so little precious time off in the coming months they’ll have to record Friendly Fires’s album number two. Read on and enjoy.

Parts 1 and 2 of this interview are available here and here.

Mary Chang, PopWreckoning: So, what kind of music are you guys listening to now?
Ed Macfarlane, Friendly Fires: I’ve been listening to a band called Nomo, American band. I wish I knew more about them, they’re from the northern part of America. [Author's note: Nomo are from Ann Arbor, Michigan.]
MC: What kind of music is that?
EMac: It’s kind of Fela Kuti-inspired, it’s got like a jazzy feel to it. It might be Afrobeat, I dunno. I dunno know what proper Afrobeat is.
MC: It’s not like Vampire Weekend?
EMac: No, it’s not like Vampire Weekend at all. It’s like quite jazzy meets postrock meets…but not Do May Say Think…more jazzy. If that makes any sense at all. The head guy plays an electric kalimba, which is like an African instrument with metal tongs. It’s like a thumb piano, but with a jack on the back. It’s full of hooks. It’s not like pretentious, arty noise. It’s got beautiful and interesting, really great trumpet and saxophone lines and is really engaging. It’s the perfect combination of artiness and actual catchy, interesting music.
Edd Gibson, Friendly Fires: Are there loads of them [about the number of members]? Do they have a brass section?
EMac: Yeah…about 10?
MC: Whoa, big band.

EMac: So, what are you listening to, Ed?
EG: A lot of hip, ambient, drony music. Yeah, a band called Seefeel, and Cocteau Twins, who I haven’t properly listened to them before but I’m just getting into them because when we signed with XL [Recordings], they’re part of the Beggars Group, so we got to raid their warehouse. Gather up all these old LPs, CDs. Going through all of that. Really incredible. So for me, it’s Seefeel and Cocteau Twins.
MC: Seefeel…are they an English band?
EG: No, they’re American. [Author's note: After a search on MySpace, I believe he's referring to an ambient band based in London.]
EMac: To be perfectly honest, we haven’t heard that much English music lately.
EG: Yeah, English music sucks at the moment. (Edd and Ed laugh)
MC: No, don’t say that. I don’t listen to much American music, just a lot of British radio.
EMac: (looks shocked) You’re missing out!
MC: It [American indie music] just never gets played on the radio.
EG: What, English music? (puzzled)
MC: No, American indie music. Like the Airborne Toxic Event, they’re from L.A., and they’ve been to the Black Cat, all over America, all over the UK. They get played on 6music but they wouldn’t have a chance on local radio. And don’t get me started on local radio stations that have no DJs ands are just 7-hour continuous loops.
EMac: American indie bands, this is just a generalization, but I feel like they have less of a desire to sound poppy. Or popular. Whereas in England, it seems like lots of people are trying to write accessible, poppy music. Which is…there’s absolutely nothing wrong with that at all, but I think it means it’s harder for American bands to…I think Vampire Weekend was the last band to have penetrated the English market because their songs are very popular.
EG: And MGMT.
EMac: Yeah, MGMT. But then, their songs are really straight up pop melody and pop hooks. Anything remotely arty or that isn’t trying to be pop or poppy doesn’t really succeed in England. (turns to Edd for agreement) Is that true?
EG: Um, well yeah…I mean, you’re not going to get loads of artsy music [on British mainstream radio].
EMac: Not artsy music, but do you know what I mean, it’s got to be accessible and catchy and poppy in order for it to break in England. But that may apply to American music as well.

MC: I didn’t think Fleet Foxes would become so popular in England. But they did, and then the whole folk-rock-pop thing happened. They’re another band I first heard on British radio. They didn’t become popular in the U.S. until they were massive in Britain first.
EG: Yeah, they got loads of love in the broadsheet papers here and then middle-aged people started listening to them. Saying “Crosby, Stills, and Nash is cool again, but it’s got a different name!”
EMac: I was never a massive fan of Fleet Foxes, but when we were driving through middle America, surrounded by endless fields, someone put it [the Fleet Foxes album] on the soundsystem, and I thought, “now this works, now I get what this is all about.”
MC: Yeah, you might need the right scenery to go with the music.
EMac: The perfect soundtrack.
EG: Their EP was quite good too, but I thought the album was really boring. I think the new Grizzly Bear album is fucking amazing, I think it beats the shit out of that one. (chuckles) So, so beautiful.
EMac: The new Grizzly Bear sounds…”Two Weeks,” “While You Wait for the Others” – they sound like Beach Boys tracks.
EG: And they can pull it off live as well. I don’t know if Fleet Foxes can can do that. Hearing these harmonies live, really amazing.
EMac: It’s funny, I can’t really think of many English bands I listen to. I mean, I enjoy Foals live, but really, Foals sound like they’re a band emulating American bands. I feel like we kind of don’t emulate anyone. Or maybe a little bit. Maybe Do May Say Think in a post-rock sort of way?

MC: We’re almost to the end of May, heading into June and the rest of 2009. What are you most looking forward to doing the rest of the year?
EG: We’re playing Calvi on the Rocks, a festival in Corsica, which is really out of the way. It’s supposed to be one of the most idyllic places. That should be good!
EMac: (smiles broadly) The line-up is brilliant. All sorts of music we love. Good house music. Superpitcher‘s playing. James Murphy DJaying. It’ll be incredible!
MC: So a sort of Ibiza vibe?
EMac: Ah, a little bit, no…it’s kind of not as gross. (all laugh)
EG: (interjects) …unspoiled, untouched…
EMac: A little bit more classier, let’s say. You know, it’s French!
EG: If you take an amazing line-up that you’d be happy to see anywhere, and transport it to some otherworldly, beautiful place. Yeah! That’s what I imagine it to be like. I’ve never been to Corsica! (chuckles)
MC: That sounds like it’ll be a fun time.

EMac: I’m looking forward to finishing new songs, so we have some new material to play onstage. Yeah, that’s what I’m most looking forward to.
MC: Are we going to hear anything new tonight?
EMac: Not tonight, no.
EG: But the brass sections are new.
MC: I haven’t heard “Photobooth” live either.
EG: (puzzled) Have you not?
MC: No, you guys didn’t play that in D.C. [24 March, the first date on the "NME Presents" 2009 tour of North America]
EMac: (frowns, shakes head) That’s because we were made to support, when we were actually supposed to headline.
EG: (to Ed) No, in D.C., we were made to headline but were supposed to support. But they [White Lies] were in L.A or something…
MC: No, they were taping David Letterman in New York.
EMac: (to Edd) They were late, and so we had to support, and then they turned up, they came out.
EG: Oh yeah, you’re right.
EMac: Had we headlined, we would have played it. But, to be fair, we kind of changed “Photobooth” around and added brass to it, so I think it’s good you’re over here now to hear the new live version of it. It’s way better. (grins) But yeah, looking forward to having new songs done, and yeah, being able to have some fucking free time to write some music. Don’t get me wrong, I love playing live, but when you play live all the time, you’re like, you really want to write something new and interesting. A different part of the whole creative process of being in a band. If you’re not doing that creative element, you’ll go insane.
EG: It’ll be good to have another load of songs to choose the best from.
MC: Do you think you’ll be done with the new material before the end of the year?
EG/EMac: No, no way! (both laugh loudly)
MC: (laughs) Sorry, I don’t know what your time frame for finishing songs is!
EG: It’d be amazing if we could. It’s because we haven’t had a proper chance to sit down and do it. It took 2 years to do the first one. Hopefully this one won’t take as long…
EMac: I dunno, maybe 5 years to do the next one… (both laugh)

MC: When will you guys be able to get off the road and go home?
EMac: It doesn’t seem like we ever can! I mean next year, I think we’re booked through June.
EG: We’ve got definite chunks off between September until halfway through October. Towards the end of the year there’ll be patches of free time.
MC: Oh yeah…is it true you’re touring with Maxïmo Park in the fall?
EG: (nods) Yeah, in Germany. They’re huge over there.
EMac: It’s one of those things where it’s a good opportunity, and we get to play to lots of people and yeah, see if we can steal some fans. I’ll be honest, I’ve never been a massive fan of Maxïmo Park, but it was nice of them to ask us. So yeah, so we can to play to a lot more people than perhaps we would on our own.
EG: And people like that are bound to like what we do.
EMac: (laughs) Yeah, if they like them, I’m sure they’ll like us!

MC: Well guys, I think that’s all the questions I have. Is there anything else you’d like to say to America?
EG: (grins) Now I feel like I’m Bernie Mac. (attempts a lower-pitched voice) “Listen up America!”
EMac: But Bernie Mac’s dead though.
EG: Yeah, I dunno then…we love you America!
MC: (to Edd and Ed) Come back to America soon and often, please?
EG: Yeah, and America, keep coming to our shows, please! (smiles)

Author’s note: I’d like to thank Edd and Ed of Friendly Fires very much for taking a large chunk of time out of their day in Nottingham on 24 May for this candid interview and for being so gracious. You chaps are ace – best wishes to you all and cheers.

Three-part interview conducted and transcribed and gig photos in this post by: Mary Chang

Friendly Fires: website | myspace | Friendly Fires album review | Remix Monday: Friendly Fires “Skeleton Boy” | @ Black Cat, Washington D.C. | @ Dot to Dot Festival, Rock City, Nottingham, England | Dot to Dot Interview with: Edd Gibson and Ed Macfarlane of Friendly Fires (Part 1) | Dot to Dot Interview with: Edd Gibson and Ed Macfarlane of Friendly Fires (Part 2)

Nestled between Oakland and San Francisco is a small man made island built for the World’s Fair in 1940. Being that there’s less than 1,500 residents, it’s the perfect site for a music festival since there’s no one to disturb. With two stages, no overlapping sets and attendance of 10,000 it was a great setup for people that wanted to enjoy music without the big festival hassle. The highlights of the day was Antibalas‘ high energy Fela like funk, Foals, Hot Chip and TV on the Radio.

I arrived to catch Chester French and spent most of my time scratching my head. The singer introduced one of the songs stating that it was about groupies. The hook was,”You can be my Puerto Rican Pamela Lee.” How much longer until TV on the Radio?

San Francisco by way of Brooklyn Aesop Rock was up next and the crowd treated him like family throwing their arms up at his frequent requests. They played a lean set that featured their DJ Big Wiz putting on a clinic towards the end.

Brooklyn’s Antibalas followed by opening with a sped up version of Bob Marley‘s “Rat Race.” They didn’t stop the groove and made use of every second during their 45 minute set. Every member on stage had a massive grin throughout their set. They could have played for 4 hours and not broken a sweat.

The sleeper band of the weekend that blew me away was the Foals, they only had 30 minutes but I’m sure every member in the crowd was wanting more by the end. I don’t even know of any similar bands that I can compare them too, all I can say is they’re poised for greatness and won’t be playing second stages for much longer. Even with a solar power outage, they couldn’t stop playing. The drummer broke into a beat that got the other band members involved in a mini-percussion jam until power was restored. On a side note: to whomever is in charge of the solar panels next year, please aim the panels TOWARDS the sun, not away. Thank You.

Hot Chip arrived on stage to an anxious crowd and quickly broke into the multi-textured sound that’s impossible to classify. While they may be the reigning kings of the remix, they’re also a force to reckon with live.

Amon Tobin and Mike Relm sets were sandwiched around Hot Chip and Goldrapp. Amon Tobin’s set was built around ambient textures instead of beats, which fit the SF crowd perfectly. Although DJ’s are big draw these days, it’s hard for a performer to come off sincere if they’re staring at their laptop for most of their set. The highlight of Mike Relm’s set was breaking into Rage Against the Machine‘s “Killing in the Name of” then segueing into One Day as A Lion‘s “Wild International.”

Goldfrapp took the stage in all white outfits as the sun set over San Francisco. With her hair and dress flying everywhere Alison Goldfrapp pranced the stage barefoot while loving every minute of it. Their set included all their hits and a near perfect mix of all the musicians on stage. There wasn’t any stage banter. Goldfrapp came there to play and the audience was there to listen and dance.

Touring behind their amazing new album, “Dear, Science”, TV on the Radio came on stage as darkness set. The light show accompanied their visual compositions, perfectly setting the table for a flooring performance. Hailing from what used to be Williamsburgh, Brooklyn they were backed by their neighbors, the horn section from Antibalas. Plenty of bands carry the “art rock” card these days but TVOTR is the genuine article. They incorporate so many genres of music within each song and their harmonies are surreal live. Sometimes bands can’t pull off their studio compositions live but TVOTR takes it to a another level, they are truly a phenomenal live band. Pardon for the lack of a full band shot but I had to put the camera down, it was just too good to not stand there and listen.

Stay tuned for the Day Two wrap up.

Treasure Island Festival: website | line-up

photos and writing by: Ajay Malghan

Monolith Music Festival at Denver’s Red Rocks Amphitheatre was a breath-taking show in so many ways. If the outstanding indie line-up or the gorgeous natural landscape wasn’t enough to take away your breath, then the hike up the stairs in the high altitude would do it.

Although I felt like a terribly out-of-shape and asthmatic half the time, the physical weariness was well worth running around between the five stages Monolith had set up.

Saturday, Sept. 13, 2008. Part I.

1:00 P.M. to 1:30 P.M. Dressy Bessy – Esurance Main Stage

Local Denver band Dressy Bessy kicked things off on the Main Stage with a rocking set that immediately set the bar high for the rest of the bands that followed. Front woman Tammy Ealom perfectly commanded the stage and made coming early well worth their highly energetic set.

1:00 P.M. to 1:30 P.M. Lovelikefire – Woxy.com Stage

I ran inside to catch some of Lovelikefire. This San Franciscan group also featured a female front woman, and much like Ealom, Ann Yu quickly proved that the girls were not there to mess around. With vocals reminiscent of Grand Ole Party‘s Kristin Gundred, Yu also gave a fun, rocking set complimented nicely by Dave Farrell‘s rolling drums and Robert Kissinger‘s heavy bass.

1:30 P.M. to 2:00 P.M. Colour Revolt – Gigbot Stage

From Lovelikefire I dashed over to the other inside venue to catch some of Colour Revolt. Unfortunately, the acoustics in this room were a little dead and their vocalist lost his voice among the other instruments. It also caused some of the harmonies to be a little off. In another setting, this band would have been a lot better and the crowd still loved them, but this set seemed off.

1:45 P.M. to 2:15 P.M. The Veils – New Belgium Stage
After being slightly disappointed by Colour Revolt, I headed back outside for European rockers The Veils. Their first song left much to be desired, but the next few songs had me hooked as vocalist Finn Andrews stretched out his every last word, forcing the audience to hang onto his every syllable. Girl power again represented as Sophia Burn killed on the bass.

2:00 P.M. to 2:45 P.M. Foals – Esurance Main Stage

Next up, I caught some of buzz group Foals. They walked out looking all suave and like they were too cool to be at this show, but then once they started playing, they just let loose. Their focus was purely on their instrumentals. Voice added an extra flourish, but was not their immediate concern.

2:00 P.M. to 2:30 P.M. Port O’Brien – Woxy.com Stage

I had never heard of Port O’Brien, but I am so glad I stumbled across their set. This was probably one of the best bands out of the entire show and very few people knew to check them out. The alt country group featured free flowing guitar and banjo riffs and some of the best harmonies I heard during the entirety of the festival. Near the end of their set, the group passed out pots and pans and invited the crowd onto the stage with them. They are definitely worth checking out if they come anywhere near you.

2:30 P.M. to 3:10 P.M. The Morning Benders – Gigbot Stage

The guys in Morning Benders seem to be everywhere lately. I’ve seen them multiple times in the last few months opening for different bands and it seemed like every corner I turned at the festival, I would run into a different member of their group either checking out a band or playing ping pong. As for their actual set, it was very laid back, but sadly in the dead acoustic room, so the quality of it was lost upon many.

2:45 P.M. to 3:15 P.M. The Muslims – New Belgium Stage

The Muslims are another band that you should kick yourself for if you don’t check them out immediately. The vocals have an element of folk to them, but the drum solos are what you would expect to hear from a dance electronica group. This eclectic mix works quite well for the group and properly earned them a huge crowd at that stage.

3:15 P.M. to 4:00 P.M. Superdrag – Esurance Main Stage

Superdrag lived up to their name. Their set seemed to have a super drag to it. While the guys moved around and made faces like they were trying to be the rockstars expected of them, they ended up being a little out of place and kind of boring. They even ended up being pitchy.

Set list:
Slow to Anger
Keep It Close
Gimme Animosity
Filthy and Afraid
Carried
Garmonrozia
Do the Vampire
Sucked Out
Cynicality
True Believer
Destination

3:45 P.M. to 4:30 P.M. John Vanderslice – New Belgium Stage

John Vanderslice is a musical genius. The arrangements performed here were absolutely gorgeous and chill. Their violinist had great technique and I loved the effect of his reverberated pizzicato. I could have easily gotten lost in the lush harmonies of this band.

Set list:
Pale Horse
Codeine
Exodus Damage
Up Above the Sea
Angela
Underneath
Kookaburra
Time to Go
Too Much Time
Time Travel

That’s just the first half of Saturday. Look for the next installment shortly.

Monolith Music Festival: website | Saturday line-up

Photos and Writing by: Bethany