popwreckoning

For a long time, it seemed like St. Louis was only going to purport its stereotype of being a rap and hip hop town. Nelly was the most recognizable act from this gateway city. If a music fan wanted to listen to some indier acts, they’d have to traverse to Chicago or even Kansas City. Bands seemed to skip by this place unless they were of amphitheatre magnitude, and without anyone to step up and organize an event to draw these smaller indie acts, St. Louis seemed helpless as to how to change this.

But the people started speaking up – showing their musical tastes to be more diverse than just Top 40 radio. And guess what? The city answered. Slowly there has been a trend where these smaller rising bands and even more established, but not-quite-amphitheatre-status groups started visiting the Lou. And then the biggest boost: this year, St. Louis was presented with the first (hopefully annual) LouFest.

LouFest, a two-day music festival in the beautiful Forest Park, featured over 18 acts this past weekend with Canada collective Broken Social Scene headlining Saturday and the band crush of many, She & Him, on Sunday. Though the line-up seemed to focus more on indie folk or garage rock, it found its diversity in other ways: Jeff Tweedy and Built to Spill brought a classic touch, while Fruit Bats and So Many Dynamos brought a newer touch. Carolina Chocolate Drops gave a bit of a musical history lesson, while Gentleman Auction House, Kim Massie and others showed the range of local talents.

Bottle Rockets had the honor of being the first band to play at the first LouFest. Though their set was rocking for this established act, the crowd was sparse that early in the day. People were either trying to beat the heat or the steep ticket prices (lower cost is the number one suggestion for the 2nd LouFest!) because the crowd didn’t start filling out until around 5 p.m. Which is a shame because some of the best bands of the whole festival played that early afternoon.

Stephaniesid‘s music seemed to be unfamiliar to most everyone, but by the end of her set she had made everyone feel like old friends. She had a bit of a country alt rock thing but with the adornment of little, almost jazzy, freestyle yelps. This woman knows how to own a stage – she danced with the decorative drapings, sang her heart out and even got the crowd to singalong and participate, which wasn’t easy in that heat.

St. Louis’ own So Many Dynamos took over the blue stage after Stephaniesid and they had surprises in store for their hometown crowd. The boys invited out the Funky Brass Butt Band to amp up their set.

Adam Reichmann on the yellow stage had a harder time finding an audience for his slower jams, not to say he and his band were bad, but at least in this setting, the music and jokes fell flat.

But Titus Andronicus didn’t have any trouble finding enthusiasm for their brand of punk indie rock. Perhaps it was the contagious smile of violinist/guitarist Alexi Crawford or the New Jersey quips or catchy lyrics of frontman Patrick Stickles, but this was one of the best performances of the entire festival and that was evident by the crowd’s reaction.

That energy was set to carry over into Lucero’s set, but unfortunately the lead singer was ill and they had to call things short despite an admirable effort to play a rocking set even with his weary voice. St. Louis understands, but come back soon?

Word is that when LouFest organizers put out a survey to see what bands the city wanted them to bring – the number one response was Airborne Toxic Event. This is the viola-wielding, piano beating band that brought radio “Sometime Around Midnight” with a hushed intro that grows into a screaming, guitars blazing end. Yeah, they’re undoubtably good, but the number one request for the fest? Turns out Airborne Toxic Event had never played St. Louis in their 370 or so shows since their inception. So they were well overdue for an appearance. The band must have been feeling a little guilty for their extended performance absence and they spoiled St. Louis by debuting a bunch of new songs, which feature the same dynamic drive that powers their radio hits. You won’t have to worry about sophomore slump with this band.

Built to Spill as classic indie rock staples drew a huge crowd not just from LouFest attendees, but also from bands curious to see live one of their primary influences.

Broken Social Scene swamped the stage with their many collective members trading off vocals and instruments. There really couldn’t have been a better headliner for the night. Brass, double drums, great harmonies and tons of energy from staple Kevin Drew. While most bands save their big stunts for a big set closer, Drew showed by the second song that they weren’t holding anything back; he jumped off the stage and was embracing the audience. If you’ve never had the chance to experience this band live, you must. Their recordings don’t do the live show justice.

Sunday’s bands would have to really pull out all the stops to top what was delivered Saturday.

Since Sunday is the lord’s day, the bluesy, soulful voice of St. Louis’ miss Kim Massie delivered a special Gospel set to start the day before Magnolia Summer and then one of the more buzzed about bands: Carolina Chocolate Drops. They’re perhaps best known for their cover of “Hit ‘Em Up Style,” but the americana trio is more than just a novelty cover. Though the instruments are untraditional to what the typical guitar-based band, this act is all about the traditions: water jugs, fiddle and banjo. It was a fun lesson for what really is American’s musical history. But, of course, the fun cover made this set perfect.

Gentleman Auction House was another act representing St. Louis. Two drummers, two keyboardists and the enrichment of brass. St. Louis bands aren’t afraid to break out a little pomp to boost the volume of their sets.

Cory Chisel & the Wandering Sons continued the trend of delivering feel good Americana songs, unfortunately, with such stand up acts before them, they didn’t stand out quite as much as they usually would have.

Fruit Bats continued the festival’s trend of delivering feel good folk music over on the Yellow Stage. It was a bit more lively than the preceding set and got people moving.

Alejandro Escovedo was an artist that I hadn’t really heard, but had heard a lot about. Everything from “classic” to “best guitarist” ever were some of the excited boasts I had heard. However, while the music was good, it was too laid back to really take a grip. Perhaps Alejandro was just a little overhyped.

Jeff Tweedy might be St. Louis’ favorite son. Actually, earlier that day, the mayor had proclaimed that day “Jeff Tweedy Day,” to which Tweedy responded in true rebellious son fashion, “That’s the dumbest thing I ever heard.” The Wilco front man appeared without his usual band mates, but that didn’t stop him from performing the Wilco hits with his acoustic guitar. This set really was a treat for the Tweedy/Wilco fan, but for first time listeners, they might have had a hard time getting into – be patient, keep giving the music a chance and start with Wilco recordings before returning to the solo stuff would be my advice to those people.

Jeff Tweedy

She & Him closed off the weekend, but honestly, I could have done with an encore performance from Broken Social Scene. Sure Zooey is the band crush of many, but she didn’t really engage with the audience. M. Ward tried and I have to admit, I liked his songs about more for their rocking edge. I really enjoyed the cover of “Roll Over Beethoven,” that they closed with. But with how much praise this indie duo gets, I have to say that it was a bit of a letdown to see them deliver their set with lackluster energy and then short the audience of 20 minutes of performance with an early departure. Bring back BSS, please!

Though I found some of the 2nd day a bit more dry in the quality of performance, LouFest still did a great job and I can’t wait to see what they have in store for next year.

St. Louis’ debut music festival, LouFest, is this weekend in Central Field at Forest Park. So what can you expect from the green friendly fest?

First off, if you procrastinated buying tickets, they have not sold out yet. You can get them without hidden service fees here. It’s $64 for two day passes and $38 for single day passes. Kids 10 and under are free with a ticketed adult (there’s even a kids stage and activity area!). Single day passes are not allowed re-entry. Another warning: it’s cash only at the box office should you wait.

Now like many other outdoor fests, Loufests has some rules. No flags, coolers, glass, food, laser pointers, pets, professional cameras, weapons or oversized umbrellas. However, you can bring in a sealed bottle of water (up to one liter), non-professional cameras, blankets and folding chairs.

Don’t sweat that they’re not letting you bring in food. LouFest has a “Nosh Pit,” a fun area of local foods that are even vegan and vegetarian friendly. They’ll have everything from the standard burgers and brats to the more unique options of sushi and crepes. Check out the full list of food and vendors here.

Another cool thing about LouFest? They got the Metro to add an additional stop at the fest and extend service for August 28-29. Just be sure to take the #3 Forest Park Shuttle.

Also, don’t be sure to miss out on the sweet after-parties. Honestly, what is a fest without an after-party? Some amazing DJs will be kicking it at the Gramophone Saturday night, so join Hey Champ and AcidKids celebration of LouFest and London Calling. Go here to buy tickets – they’re $8 in advanace and $10 at the door. Doors open at 9 p.m.

Then on Sunday, head to the Flamingo Bowl as DJ Clockwork spins with DJ TrashTalk, Nick O and more. There will also be art, an auction and prizes. Cover is $5. Head here to learn more.

Finally, the most important thing about LouFest: the music! Check out these videos below from some of the acts that you must not miss!

Carolina Chocolate Drops – “Hit Em Up Style” cover:

So Many Dynamos – “Search Party”

Airborne Toxic Event – “Sometime Around Midnight”

Fruit Bats – “The Ruminant Band”

Jeff Tweedy (of Wilco) – “Fake Plastic Trees”

Broken Social Scene – “Cause = Time”

Schedule:
Saturday
12 p.m.    Bottle Rockets
1 p.m.       Stephaniesid
2 p.m.       So Many Dynamos
3 p.m.       Adam Reichmann
4 p.m.       Titus Andronicus
5 p.m.        Lucero
6 p.m.        Airborne Toxic Event
7 p.m.        Built to Spill
8:30 p.m. Broken Social Scene

Sunday
12 p.m.      Kim Massie (special Gospel set)
1 p.m.         Magnolia Summer
2 p.m.         Carolina Chocolate Drops
3 p.m.         Gentleman Auction House
4 p.m.         Corey Chisel & the Wandering Sons
5 p.m.         Fruit Bats
6 p.m.         Alejandro Escovedo
7 p.m.        Jeff Tweedy
8:30 p.m. She & Him

read ROTHBURY Day 1 and ROTHBURY Day 2

Son Volt // Ranch Arena
Able to boast a former member of Uncle Tupelo (which boasted Wilco‘s Jeff Tweedy) Son Volt entertained hundreds at the Ranch Arena Stage with their great alt country/folk rock sound that would fit in perfectly on adult contemporary radio. They played many songs off their new record, American Central Dust, which was released on July 7th of this year.

Railroad Earth // Ranch Arena
I only passed by Railroad Earth, also playing Ranch Arena, briefly, but was impressed with what I’d heard. If it weren’t for Zappa Playing Zappa just minutes later at Sherwood Court, I would have undoubtedly stuck around for these guys. Their roots/Americana jam is something worth hearing.

Zappa Plays Zappa // Sherwood Court
My father, typically a few beers in, likes to talk about Frank Zappa and his experimental music and goofy lyrics, most typically quoting “Don’t Eat The Yellow Snow”; “Watch out where the huskies go / and don’t you eat that yellow snow.” After a lifetime of hearing about him, though admittedly never pursuing the curiosity that arose with each of my father’s mentions, I knew I had to catch Zappa Plays Zappa at ROTHBURY. Zappa Plays Zappa is just that: Frank Zappa’s son Dweezil Zappa (he named his other children Moon Unit, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Uh huh.) travels with a touring band covering some of his pop’s best and most memorable material. As previously mentioned, I couldn’t compare what I heard to the originals, but I was absolutely blown away by the band’s musicianship. My interest in both generations of Zappa has been renewed and I fully intend on immersing myself in all that Hot Rats has to offer. Next time I’m able to catch Zappa Plays Zappa, I will be well versed in all things Frank.

The Black Crowes // The Odeum
I once walked by Chris Robinson on the street in New York’s Tribeca neighborhood. It was a hot early summer day and he was dressed head to toe in black complete with signature beard. Until ROTHBURY, this had been my only live experience with the Black Crowes. Needless to say, ROTHBURY blew that experience out of the water. In keeping with the M.O. of the weekend, the Black Crowes’ set was solid, bluesy and jam-tastic.

Les Claypool // Sherwood Court
I hung back in the media tent just behind the Sherwood Court stage where Primus‘ Les Claypool rocked it, but I heard it all crystal clear due to my proximity. I can only assume that Claypool wowed the crowd with his funky licks.

The Dead // The Odeum
My mother incorrectly assumed that I would miss The Dead. Moms. Well I proved her wrong, not just because these headliners didn’t have any competition (no was one was allowed to play during the same time slot), I even went so far as to show up to the main Odeum stage early to secure a decent spot and prepare myself for what was in store. I don’t think I’d ever seen so many individuals in an altered state as I had before and during The Dead’s set. The Dead’s following is one of the most devout I’ve ever come across – many of the people I’d met at ROTHBURY were Dead Heads through and through, following their idols across the country and back, despite ROTHBURY being their only summer performance. While I’m generally completely disinterested in jam bands, I was digging hard on The Dead; they’re simply classic. If you’re ever lucky enough to experience The Dead, do so. While the days of Jerry are before my time, I can’t see how a band could get any better.

Thoroughly exhausted by this point, I skipped out just a touch early from The Dead’s second set and made my way back to camp, a bit altered myself.

Stay tuned for the final day of ROTHBURY.

ROTHBURY: website | interview with

Photos: Jon Gitchoff

Day 3 of Bonnaroo promised to be huge. Unfortunately, after going to bed after 4 am and waking up to the ridiculously humid weather in Tennessee, the only thing I could foresee being huge was my headache. I honestly don’t know how some of those people can show up to this fest and hardly eat or sleep, while drinking and doing drugs and still function enough to make it from band to band. Is there some secret Bonnaroo trick that I was missing as a first timer?

After downing a few Advils and using a water bottle to semi clean up, we made our way back to the main grounds for Day 3. Though it was early in the morning, already ILO and the Coral Reefer AllStars were getting a lot of buzz. And rightly so, turns out this basically was a set of Jimmy Buffett and friends singing his songs. It was weird to see a usual headliner start things off.

So as Buffett was making his way down Margaritaville, Joshua and I made our own visit to Dearland and caught Elvis Perkins in Dearland. I had seen these guys before and they were just as bombastic, if not more. Constantly switching between instruments and tempos, the guys give folk tunes an edge. Just as before, the drummer really impressed when he came out from behind the set with his one man band get up. There was just one sad moment in this set when Perkins tried to get Becky Stark, who was at Bonnaroo on Saturday to perform with the Decemberists, to join him on stage for a song she had performed with them on the record. It must have been too early for Stark because the boys had to play on without her.

Like a ping pong ball, we bounced back to the Which Stage to catch a bit of Heartless Bastards. With a name like that, I was expecting something completely different and was pleasantly surprised by the front woman’s voice rock voice with a bit of a twang.

Bon Iver was next on the agenda and this group was apparently high on the list for many as Drew Barrymore and Justin Long were spotted in attendance. It was a good set to watch and for “Yo La Tengo” the boys in Elvis Perkins in Dearland even came back out to join in the number.

Saturday was a busy day, so Joshua and I had to split up for a bit to catch all the acts that we wanted to see. Having a love for redheads, he went over to That Tent to see indie darling Jenny Lewis who rocked her solo works and was even joined by Elvis Costello for a number.

Meanwhile, I stuck around This Tent for Of Montreal, which I think was the smart move. Their theatrical performance was one set that was not worth missing and whether you like their often high-pitched sound or not, I recommend seeing them at least once in your lifetime. In fact, this performance was so big, I gave it its own post.

We couldn’t miss the legendary Wilco, so Josh and I regrouped to walk over to the What Stage for some Jeff Tweedy action. As we were walking there, I had to stop to see the band that was rocking the Troo Music Lounge. Alas, BrakesBrakesBrakes, we will meet again. With the recent death of a Wilco player, and knowing that Tweedy has a tendency to be a bit more of a curmudgeon than most, I was surprised with how genuinely excited the band seemed to be at playing Bonnaroo. They delivered all the hits and left the crowd pleased, but as usual, there were so many cool things going on at Bonnaroo, it wasn’t long before we were off to see our next bands.

Partly because I knew my mom would kick me if she knew I skipped him, I went to That Tent to see some of Elvis Costello. I guess in this case, mother knew best, because Costello is a classic for a reason. He had me charmed the moment he waved his hat as he walked on stage.

From here I went over to the Decemberists, who were acting out their tale of the Hazards of Love. Not too different than when I saw them a few weeks ago, Shara Worden, really was the brightest of all the gems in that band. Although, I must admit, that Stark wasn’t as wispy and a lot more confident this time around. They ended with a cover of a Heart song.

Meanwhile, Josh was watching the rock storm that was Mars Volta. They were delivering old hits and new songs off their soon to be released album.

Nobody was up against the Boss, so Josh and I regrouped for Bruce Springsteen. Bruce was there to please and which was noticed by the crowd who was yelling “Bruuuce” not “Boooo”, which sound surprisingly similar when chanted by thousands. I preferred the people shouting “Bruceroo” instead. Not only did he bring out all the hits, but he even played requests from the crowd. That’s right, as a response to a crowd request, he even played “Santa Claus is Coming to Town” in the middle of June. If anybody can get away with that, it is the Boss.

Josh and I split again and he went to shoot NIN‘s final show on American soil. A weird mixture of sadness and great joy filled the crowd as they said goodbye to Trent Reznor amid a mix of smoke and stage fire.

I left early to see some of Yeasayer. I walked by a weird circus sort of performance on the Sonic Stage before witnessing the beauty that was Yeasayer’s set up.

Yeasayer played amidst a stage filled with glowing orbs of different sizes. Their indie yelps and synth heavy tunes resonated nicely off the orbs.

Ending out the night was MGMT. This finally explained Drew Barrymore’s strange face paint from earlier as I soon learned that it was actually quite common for MGMT fans to don facepaint for the group a la the “Time to Pretend” music video.

The band played songs from their album, about three new songs and were even joined by Chairlift‘s Caroline Polachek for a few numbers. That Tent was glow stick central as the crowd danced away to the band’s too cool for school rock tunes. If you couldn’t see, which was the main complaint from this packed tent, I wouldn’t worry. The guys weren’t that crazy on stage and mostly just delivered a tight sound.

Another late night, but overall a fun day. Just one more recap to go and loads more pictures. Look out for Day 4…

Bonnaroo: website | Day 1 | Day 2 | Of Montreal @ This Tent | Spotted: Drew Barrymore | Quick News 1 | Quick News 2

In the early 1970’s, the term “singer/songwriter” became synonymous with artists like Joni Mitchell, James Taylor, Jackson Browne and Carly Simon, among others, all of whom just happened to reside in Southern California’s Laurel Canyon. Along with soft-rockers like The Eagles and Fleetwood Mac, these artists wrote intensely personal and lyrically strong pop with shades of folk, rock, and sometimes jazz and country. Their records are meticulously produced: polished, smooth, earthy, and acoustic, and the musicianship was always top notch. Some of these records were phenomenal (Fleetwood Mac’s Rumours, Joni Mitchell’s Blue); some were not, regardless of what Rolling Stones says (James Taylor’s Sweet Baby James, The Eagles’ Hotel California). Times were good. Cocaine, sex and cash flowed freely and the California sun was shining high in the sky. But then came punk rock and the 80s and everything changed.

The last two years, however, have seen an inordinate number of contemporary artists releasing albums hearkening back to the sound and style of those old Laurel Canyon songwriter albums. It’s hard to say when it started or with who, but artists and bands as diverse as Jason Collett, Conor Oberst (aka Bright Eyes), Gonzales (producer of Feist’s The Reminder), Ben Kweller, David Vandervelde, Wilco and She and Him have all recently come down with cases of what I have termed “Laurel Canyon Syndrome”: a desire to recreate in whole or in part the sound of the songwriter-focused soft-rock, folk, alt-country or acoustic music made popular in the early 1970s.

Why? Well, there are numerous possible explanations. Many of the aforementioned artists are now in their 30s (some even their 40s) and grew listening to Fleetwood Mac and James Taylor on the radio, or had parents who would endlessly play their Jackson Browne vinyls while their children unknowingly soaked it all in. For some, those records would come to define what music meant to them. “When you listen to most of the records that really had an impact on you, they always seem to be from a different era,” said Wilco front man Jeff Tweedy in an interview with Pitchfork in reference to Wilco’s last album Sky Blue Sky, and its notable 70s-influenced sound. “I still don’t think that this record sounds as good as that period of music. I still don’t have any clue why. All I’m saying is I feel like we’ve gotten close enough for it to be comfortable to listen to.”1

The Laurel Canyon Syndrome could also be related to the recent indie-folk boom (as seen by the success of Bon Iver and Fleet Foxes last year) in that in both cases modern audiences are turning towards more earthy, acoustic material. “I think it sort of speaks to a larger idea that people are being more and more drawn towards organic sounding music, especially in light of the so-called “digital age”, you know?” said Tony Dekker of Toronto-based folk band Great Lake Swimmers in an interview I did with him for the Dalhousie Gazette. “I think that having music that sounds really organic and that traces its roots back to – not necessarily a simpler time, but something that has been passed on for centuries before the dawn of the recording – I think it allows people to connect with it on a deeper level, I guess.”2

Another possible explanation is that in today’s world of indie rock, for better and/or worse, many bands and artists no longer write songs with the same discipline and emotional resonance with which the Laurel Canyon songwriters debateably represented in its peak form. Jason Collett, in an interview with Scene Point Blank said, “That’s the basic difference. [Broken] Social Scene [note: of which Collett is also a member] tries to take the form of a song and turn it inside out and upside down, I still am attracted to something that’s ultimately a traditional form.”3 In today’s world of indie rock, we don’t have songwriters on the level of Lennon, Townsend, or Dylan: writers who not only knew how to compose a timeless melody, but to accompany it with lyrics that had weight and meaning. Sure, songwriters like Sufjan Stevens and Okkervil River’s Will Sheff may compose lyrically inspired modern semi-masterpieces like Illinoise and The Stage Names, but has either of them – or anyone else of this generation for that matter – composed anything as genuinely moving and foundational as “Won’t Get Fooled Again”, “Imagine”, or “Tangled Up In Blue”?

It seems as though ever since Dylan defined the modern concept of the songwriter in the early 60s, those who want to be taken seriously as songwriters (not musicians, but specifically songwriters) have favored a more acoustic approach that allows people to focus more on the lyrics and less on the rhythm and drive of the music. As things have worked out, many of the serious songwriters of the 60s now sound amazingly dated with the exception of Dylan, Paul Simon and Leonard Cohen. Phil Ochs, Fred Neil, and even Tim Buckley simply sound too troubadour-y for modern tastes, but for some reason “Running On Empty” is still a kick-ass song. So is “Go Your Own Way” and “You’re So Vain” and everything on Court and Spark. Which is probably why we still hear artists trying to replicate the sound of those records. There have always been great songwriters, as there always will be, but it seems as though now, if you want to create an album that’s highly personal, lyrical and earthy sounding, the albums that set the precedent were the ones that came out of Laurel Canyon.

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Sources:
1 http://pitchfork.com/features/interviews/6602-wilco/
2 http://www.dalgazette.ca/?cmd=displaystory&story_id=2927&format=html
3 http://www.scenepointblank.com/features/105

Photos:
Zooey Deschanel and M. Ward of She & Him (top right and left, respectively): Jessica McGinley
Ben Kweller (center): Bethany Smith
Conor Oberst (bottom left): Dese’Rae Stage

Ed O’Brien and Phil Selway, from some band called Radiohead, will once again back Neil Finn for a follow up to the acclaimed 7 Worlds Collide, a project supporting international development organization Oxfam.

Seven years ago O’Brien and Selway were invited by Finn to participate in a special series of concerts in New Zealand under the banner Seven Worlds Collide. Also returning from that original Seven Worlds Collide lineup will be founder of the Smiths and member of Modest Mouse Johnny Marr, Soul Coughing bassist Sebastian Steinberg, songwriter and violinist Lisa Germano, and Liam Finn. Artists newly joining the project include Jeff Tweedy, John Stirrat, Glenn Kotche and Pat Sansone from Wilco, and New Zealand songwriters Bic Runga and Don McGlashan. Behind the mixing desk will be master recording engineer Jim Scott. And, as if the project weren’t rockstar-studded enough, more names will be added to the lineup in the coming weeks.

The album will be recorded over the next few months in Auckland’s Roundhead Studios and is due for release in 2009. Like its predecessor, the project will also see a series of concerts featuring many of the artists included in the lineup. The shows will take place in Auckland early in the New Year. As soon as more details are available, you can be sure to catch the news here.