popwreckoning

My editor Bethany informed me that acquiring this press pass means I have to actually post some articles. Having thought about this for a few hours (minutes) I’ve determined my angle.

I had three main goals for attending this year’s SXSW: helping to put on the MidCoast Takeover, promoting the band I’m managing (The Grisly Hand), and to see a ton of bands.

Everyone’s covering the bands, so I’m going to cover my attempts at getting The Grisly Hand on the national stage.

Top 3 Albums of 2009:

• The XX – The XX
• Animal Collective – Merriweather Post Pavilion
• Coconut Records – Davy

Best Show of 2009:

• Fleet Foxes at Metro Chicago. 8/8/09. Despite overcrowding and horrible heat inside the building, Robin Pecknold and gang gave far more to the crowd than could reasonably be expected.

Most Anticipated in 2010:

• She & Him
• Arcade Fire
• The Shins
• MGMT

Happy birthday to our amazing Technical Editor and all around internet god, Nick Davis!!!

Canadian collaborative Broken Social Scene is known for great and experimental music where the only thing more surprising than what they’ll think of musically is who will play with them next. Popwreckoning‘s Bethany got the chance to talk music and food with one of the group’s core members and co-founder, Brendan Canning. Read the interview below:

PW: Let’s start off with some recent events. I just caught your Omaha show and you had to do an impromptu DJ set.
BC: Yeah, Lizzie [Powell], was, well she had a bronchial infection.
PW: Aw. Is she doing better today?
BC: Yeah, she’s doing much better, I haven’t actually spoken to her, but I think she’s on the mend, which is good for everyone.
PW: So no impromptu DJ set tonight?
BC: No, no DJ set tonight, I had to borrow most of those records from the bartender at the Slowdown.

PW: So how do you plan out your set if you hadn’t seen the records before?
BC: Oh, well, I looked at them and I knew most of them. It is pretty easy to put on a PiL record and once you do that it’s like, well, I guess Gang of Four goes well after PiL and you try to go from there.
PW: So how did that compare to the other times when you’ve DJed some of those celebrity parties in NY?
BC: Well, normally I show up with my records. Ha. And I don’t do too many celebrity parties to be quite honest. The odd party here and there. I do like it, though.
PW: So is Lizzie like an official member of Broken Social Scene now?
BC: Well, we try to avoid the word “official” in regards to anything with Broken Social Scene, but she’s playing shows with us and she’s up on stage with us. I’d say that’s as close to being a member as anything right now. She sang on a couple of tunes on my record.

PW: Now when she wasn’t able to perform in Omaha, you guys had to call up some guest singers like Orenda Fink.
BC: That’s right.
PW: Is that hard for you to get a hold of people to do the music or are they pretty willing?
BC: That was not because Val, at the club, she called her up and then I talked to her and she came down to club. We’re very fortunate to have people like Orenda Fink around who can just kind of come in, not really knowing the songs at all, and just come up on stage and do it up. I thought she did a good job.

PW: Do you guys rehearse with guest musicians or is just a quick sound check?
BC: That wasn’t even a sound check. That was just like her, on stage, just her, me, Charlie [Spearin] and I, sort of going over the song for 5-10 minutes because we didn’t even really know what we were going to do that night. So that sort of came together about 8:00 in the evening.
PW: Wow. Now, Nate Walcott of Bright Eyes also played with you. Did he get any more advance notice?
BC: He might have gotten a couple hours extra notice. He’s a great player, though.

PW: So all these musicians, because you guys have other people in other cities that perform with you, all these musicians are pretty much cold turkey?
BC: Yeah, it’s not like they can fly up to Toronto to rehearse with us or anything. I mean, it’s not that difficult. It’s just music after all. If you got ears and some ability, our music is not that hard to comprehend.

PW: With all these guest musicians, who would you ideally like, dead or living, who would you like to perform with?
BC: Oh, I don’t know. That’s kind of a funny question. Who knows? I can’t really answer that because I don’t even know who we’re going to have play with us tonight even. Especially if we have some great player tonight that I don’t even know about yet. There’s not an ideal guest. I’ve never thought in terms like that.

PW: Last year when you guys came to Omaha, you played a secret show.
BC: I don’t know if it was a secret show, but it was an impromptu show. We had the day off there and we just kept running into people who talked to us about playing. We thought it was a good idea, too. We were there in Omaha, so we figured we’d make use of our time.
PW: Does that sort of thing happen a lot?
BC: No, it does not.
PW: How does a show like that compare to last night’s planned show? Are the crowds pretty different?
BC: Nope. Comparable, I’d say.

PW: I do like that you guys surprise and improv, so what’s the story on the “science experiment” and how involved is everyone in that?
BC: That’s Charles. Charles has an album coming out. He made a record with a bunch of conversation blips from some of his neighbors. He’d be better poised to answer, but ultimately he just chopped some conversation clips and made musical pieces and started added instrumentation to different conversations following melody lines.
PW: Yeah, I was just impressed because the first one at the show had been done before, but then the second one you did on the spot and you came out to join.
BC: Ha, yeah, well I mean I hadn’t played the cowbell before to that one, but like I said, it’s not that hard to pick up a drum stick or two and play along on cowbell or to pick up a guitar. It’s just music.

PW: So with your new album, you’re front and center with this tour, does your attitude with that also just go along with “it’s just music” or is it nerve-racking?
BC: It’s different in the sense that now instead of me just doing it for one or two songs in the set, now it’s like four or five. I’m a comfortable front man.

PW: What songs are you most excited about audiences hearing on this tour?
BC: I don’t know. I never really think about that. I’m just happy to be out there, playing music for people. I hope that there’s not just one song in particular that’s going to wow them and that’s it. I hope we get a good two hour show running from top to bottom.
PW: I think the Omaha one was kind of pushing three hours.
BC: Ha, yeah, I know. That was awfully long. We were just talking about that tonight and being like, “Ok, that’s it. We can’t be playing that long every night.” Unless, maybe we will start doing that, but take a little break in between.
PW: It was really impressive, but I think everybody was a little confused when there were like eight endings.
BC: Oh right, that’s good. Confusion is good. We don’t want to sound like something ordinary or give something that everybody’s seen before.

PW: Were you guys operating off of a set list for that show?
BC: Probably the first half. Then it kind of, well, like most of our shows, we sort of have a set list, but then about halfway through the band just kind goes and throws that out the door. We go wherever the moment seems to be taking us.

PW: At the show, you guys also brought up politics. Are you guys concerned with United States and the presidential election being Canadian?
BC: We’re so closely linked to American politics. We’ll have to witness it everyday of our lives. We’re all tuned into anything. It is going to affect our livelihood in the end because we spend so much time in the US working. We spend time working here in the US like we do in Canada, so we’re very concerned about the future of the US, the American economy and the people who live in this country who are very concerned with how it’s going to move forward. We can’t not be concerned.
PW: Now Canada just had an election as well.
BC: Yeah, it was kind of a joke. The Prime Minister called for the election thinking that he could get a majority government. It all happened very fast, but all it did was waste tons and tons and tons of money on “Oh, thank you.” It was a stupid idea and it wasted tons of money on advertising without out really solving anything. The most it did was give was give a little face time to the green party, Elizabeth May, so that’s a good thing. Another political party that has a voice outside of the common politics of a running candidate.

PW: Ok, let’s talk about your album a little bit. Your recent album was a solo album, but you still collaborated with your Broken Social Scene chums and then it got the title of Broken Social Scene Presents: slapped onto it as well. How do you keep a solo album separate from BSS when it is still that closely connected?
BC: In this instance, it was just me in the driver seat the whole time, having the ability to make the final decision on the tunes. That’s where it becomes different.
PW: Do you think you’ll do more solo albums?
BC: I think so. I got a long career ahead of me as a musician and the world’s my oyster. At the same time, I think BSS is cooking something and plans on making a full band record before another Brendan Canning solo album comes out.

PW: Will there be another BSS record before another BSS Presents?
BC: I think so. That’s the plan, but I can’t really say for sure.
PW: Because Justin [Peroff] is working on something solo isn’t he?
BC: We’ve all got lots of ideas up our sleeves, but yeah. Justin’s got a bunch of ideas, too. Probably a bunch of those will go to a BSS record. It’s really kind of an unwritten chapter that we haven’t read through yet. We’ll just take the time here and there and piece it all together, map it out.
We’ve put a lot of time on the road this year, so I know next year will be less time on the road and more focused on recording and whatever becomes of those recordings.

PW: Do you guys think you’d ever want to try to get some of the original collaborators of BSS back together in sort of a massive reunion sort of show or is that impossible since Leslie Feist and the members of Stars and all those other groups are pretty busy with their own projects.
BC: Nobody’s really thinking about a reunion because this band has never broken up and members are always coming in and out and we’ve always made records. The core that is touring right now, this is essentially BSS. Myself, Charles, Kevin [Drew], Justin and Andrew [Whiteman], we’ve been sort of the five core for the career of the touring band.
A couple of people have sort of dropped in and out, the Stars gang have come in and out, the Metric gang have come in and out an another hundred or two hundred or so players. The idea of a reunion, there is no reunion to be had, since nothing’s been disbanded. It’s more just whomever is going to be around when it comes time to make the record.

PW: Bruce McDonald is making a documentary about your life.
BC: Yeah, it’s for the Independent Film Channel. It’s sort of a little postcard of my finishing my record. It’s not my life story.
PW: So it’s about the album making process?
BC: Yeah, a little bit of that. It’s just a snap shot. There are some nice vignette moments.
PW: Did he ask to do that because you had worked together in the past?
BC: Yeah, he had the project with the Independent Film Channel and was looking for something to film, so it sort of came about that way.
PW: There’s not going to be like a DVD release?
BC: Not at this point and I don’t officially own the rights to it.
PW: Is there anything surprising for fans in it that they might not know about?
BC: I’m pretty handy in the kitchen, I suppose. There’s a little cooking moment. It’s not like I’m cooking something and then serving it to Bruce.
Is there anything surprising? I don’t know. I don’t really know what people know about. Maybe they might be, but it’s tough to say. I like, I can say that much. Some of it is mildly embarrassing, but I think that’s just because it is me watching myself. I think they did a good job. Nothing’s grossly out of proportion in it.

PW: What type of stuff do you like to cook?
BC: I can cook anything. You name it. Whatever you want, I’ll make it for you. I’m pretty handy in the kitchen.
PW: Alright, next tour, I’ll take you up on that.
BC: Yeah, sure. As long as there’s nice pans. I like nice pans.
PW: Of course, those are very important.
BC: Yeah. Pans and good knives. Oh and fresh herbs, lots of fresh herbs.
PW: Do you get to cook on the tour bus at all?
BC: No and we had a shit meal today, so I guess I should have known better.
PW: Too bad, there are some good places to eat in Kansas City.
BC: What’s that?
PW: You’re in KC, right?
BC: Yeah, KC, MO.
PW: There are lots of good places to eat there. You got to try to find good food.
BC: I did yesterday.
PW: Where’d you go?
BC: An unnamable diner.

PW: Ok. So, I saw on some sites that you’re nicknamed “The Champ.” What’s the story on that?
BC: It’s just a nickname I have sort of had since my old band hHead.
PW: How’d you get it?
BC: I used to pretend that I was a drunk prize fighter and I’d take swings at my drummer. And he’d say, “Hey Champ, Champ. It’s me, Champ,” and then I’d sort of come to. That was the game and for some reason people seemed to really gravitate toward the nickname. Then DJing, it just became a sort of DJ handle.
PW: Do you have any other nicknames?
BC: Only little funny ones that my girlfriend calls me, nothing I want to share.
PW: Alright, we can keep those private.

PW: My last question for you is: BSS did a Guided by Voices cover and I think I’ve heard you guys do that in the past, so if you could personally cover anything, what would you want to cover?
BC: Maybe “Goodbye, Pork Pie Hat” by Charles Mingus. It is a really great ballad. You should check it out, it’s one of the all-time classics.
PW: Will do. That’s all I have, thank you for talking with me.
BC: You’re welcome. Thank you, Bethany.
PW: Good luck with your show and find some better food. Eat some KC BBQ, you’re not vegetarians are you?
BC: No, there’s a few in our crew that are, but yeah, I’m sure we’ll find something.
PW: Good. Take it easy.
BC: Bye.

Broken Social Scene: website | myspace | photos
Brendan Canning: website | myspace

Photos by: Nick Davis

Legendary. That’s the only way to describe the last time Canadian collective Broken Social Scene‘s last show in Omaha, Nebraska. Last year the guys were just chilling at a local coffee shop without a booked show, when a native recognized the boys and insisted they play. Broken Social Scene agreed and quickly set up over at the Slowdown Jr. stage. There was no announcement or promotion, but word quickly spread and a decent sized crowd gathered in front of the stage for a free, intimate set by BSS. They closed down the bar and went on their merry way leaving those in attendance feeling blessed to have bragging rights that they were at this special show.

Cut to 2008 and the band’s current tour in support of Brendan Canning‘s solo album. Tickets cost a hefty $20 and the band had moved up onto Slowdown’s bigger stage. The ticket price, which the band joked about and said their agent made them charge to make up for last year’s free show, did not seem to hold back people from coming.

Not everybody was there for BSS. Many Omahaians (if that isn’t a word, I’m making it one) were curious to check out the band’s tour mates and Land of Talk who recently signed to Omaha label Saddle Creek Records. However, Land of Talk’s singer Lizzie Powell was a little ill (I think bronchitis might be the culprit, but don’t quote me on that) and had to pull out. To make up for their absence, Canning saved the day by playing a special DJ set, borrowing vinyl from one of the venue’s bartenders. It wasn’t your usual oomp-oomp-oomp, let’s go clubbing DJ mix. It was a more chill, oldies blend that allowed people the chance to just drink and talk, but they could still have danced if they had wanted.

After listening to Canning DJ for a good hour, he put on a final tune and jumped up on stage where he joined the rest of his BSS chums to seamlessly begin their set. They began with some mostly instrumental tracks, which sounded great, but didn’t immediately grab the audience’s attention. It wasn’t until about the third number that the crowd broke loose and started jumping and moving along.

Canning istarted off lead vocals, which isn’t that surprising considering his album was the focus of this tour. However, in true BSS fashion, front man duties were constantly shuffled around and Kevin Drew was soon back at the helm.

The set list was a great mix of old and new BSS material. However, with Powell out of commission, many were curious what would happen to the band’s numbers that feature female vocals. These, fortunately, were not cut from the set and Omaha’s very own Orenda Fink stepped up and saved the day, joining the group for numbers like “7/4 (Shoreline).” Never struggling to obtain guest musicians, not only was Fink present, but BSS was also joined on trumpet by Nate Walcott, whom you may better know from one of Omaha’s biggest exports, Bright Eyes. Nothing like a brass section to make a show better.

[youtube=http://www.youtube.com/watch?v=GjQB1JKLQD4]

About midway through the show, the kick drum pedal gave out and as most of the band left to deal with the problem, Charles Spearin remained out on stage to entertain by presenting his “science experiment” as Drew referred to it. Basically, he played a sample of his neighbor speaking then had a sax imitate the cadences of her voice. It was like the woman was right there on stage speaking back to us, the mimicry was that good. The audience was quite amused. The kick drum problem not immediately resolved, Spearin started in on another voice sample, which the saxophonist tried to mimic by ear. He was shortly joined by Canning on cowbell and the rest of the band trickled back in.

It was kind of an intermission to the set and many more hits followed. My favorite number was when Drew had the audience scream their guts out on “Ibi Dreams of Pavement.” It was a nice catharsis after a long day.

An epic performance of “It’s All Gonna Break” seemed to end out the set, but Drew was not ready to quit. He looked around at the other guys and started talking to the crowd. As he talked, drummer Justin Peroff started to lay down a beat, which Canning quickly picked up on bass. The rest of the crew joined in and Drew sat down and let the boys just jam for a good 7 minutes.

Not being able to end on a freestyle, the band played another raucous tune that seemed to have eight endings. Seriously. It would start to end and Drew would get behind the mic where he’d say a rather circular speech that always ended, “And it goes/sounds like this” and the band would repeat the tune.

This seemed to complete the set, but Drew was still not done. Everybody walked off and the crowd started to leave. Drew and Peroff came back out to play a Guided By Voices cover before finally calling it a night.

Total set time: 2 hours, 45 minutes. It might not have been secret and free, but this show was legendary in its own right. BSS might argubably be Omaha’s favorite live band.

Broken Social Scene: website | myspace

Written by: Bethany
Photos by: Nick Davis

Posted on iLike yesterday:

We are in the process of creating a live section of our website and need your assistance. We’ll have different areas where you can view video footage and photos from tour dates as well as hear select audio for some shows.
….
We’d also like for you to submit your photos for possible inclusion as well.

Exciting, right? I’d love to be able to help out one of my favorite bands by providing the pictures I took. However, there’s a slight glitch. Before I shot that show, I had to sign a contract.

Unfortunately, the contract states (emphasis mine):

Photographer hereby agrees that neither Photographer nor any of his/her respective assigns, parent companies, related entities or successors in interest will use or publish or license or permit the use or publication of any of the Photographs, or Artist’s name, voice or likeness, except in print in connection with articles or press coverage of the applicable performance of Artist set forth above. No other uses whatsoever shall be made of the photographs.

….

In the event Photoghrapher uses or authorizes the use of Photographs in breach of this Agreement, in each such breaching instance the photographer shall pay artist $30,000.

Sorry, Raconteurs. I’d love to help with this project, but I just don’t have the $1,050,000 it would take to pay the fines. Maybe in the future you’ll remove this silly idea of forcing people who want to give you free publicity into ridiculous contracts (and, this contract was nearly identical to the one I signed to shoot the White Stripes). No one else I’ve covered requires a contract.

by: Nick Davis

Transforming Kansas City’s 150 year old City Market, into a downtown amphitheater is not always as good of an idea as one would assume. In the past, these events have run into problems: several bands simply didn’t have the pull to sell tickets. Other events, such as Ben Folds and Rufus Wainwright saw struggling numbers due to rain the night of the show. This night however, could not have been a better night to open the “2008 Buzz Under the Stars Concert Series.” And, as a reward Kansas City came out in droves.

The evening’s first band, The Morning Benders found its way to Kansas City by way of the Kooks‘ current national tour, serving as the latter’s support. Nonetheless, they couldn’t have fit into the show’s lineup more flawlessly. Their performance, driven by the flow of dark yet dance pop songs, like “Waiting on a War,” set the tone for what would be an energy fueled event. With a sound as infectious and catchy as The Shins and the ability to grab exposure from such great tour mates, I look for big things to happen to this band. The Kansas City crowd of almost 20,000 who seemed glue to the group’s set seemed to agree. They cheered and supported this band in a manner that would almost seem as if they had come to see only them. That was honestly really nice to see.

Following The Morning Benders, we found The Kooks, fresh off the release of their major label release, Konk. We also found our evening’s most energetic act. Vocalist Luke Pritchard‘s interactions with the crowd, ranging anywhere from intense eye contact all the way to hopping on the amps, were second to none. But, not to be pegged as all show and no sound, The Kooks orchestration was tight. Their set, which was a perfect mix of older tunes and new, was constructed and presented in a concise and efficient manner, supplying Kansas City with a showcase of why The Kooks are quickly climbing to the top of the indie scene’s biggest cult bands. This band does not disappoint. If you haven’t already, you certainly need to check them out.

It is my opinion that Rogue Wave, the lineup’s third performer, had the weakest set of the evening, but that might not be their fault. Based on the extreme showmanship of the bands they were following, and the acoustic setting in which they were playing, I feel that this show was not a great fit for them. I honestly think Rogue Wave would be an amazing band to see in a more intimate setting, like an indoor music theater, something that would enhance their somewhat detailed and atmospheric sound. While I was not impressed with their City Market performance, I really do look forward to catching this band again in a different venue. I’m sure they won’t let me down.

Death Cab for Cutie, the evening’s headlining act, certainly made an effort to not let anyone down. Their set included as many old favorites, like “The Facts Are In and We’re Voting Yes” and “Styrofoam Plates” as well as new radio tracks from Plans and Narrow Stairs. Ben Gibbard‘s uncanny ability to create an environment of happiness and enjoyment through detailed and documented songs of sadness and disappointment is almost amusing. It’s as though the catchy nature of the group’s music overshadows the depressing content of their lyrics. Nonetheless, the set was beautiful and catching, capturing the attention of an audience and generating a unified buzz throughout the Market. Few left following the short intermission, waiting for what would become a fairly long and impressive encore. I was very pleased with the selection of the set and came away from the City Market happy with Death Cab for Cutie’s attention to both its old fans and new.

Overall, I must confess that the night was a success.

The Morning Benders: website | myspace
The Kooks: website | myspace | KONK review
Rogue Wave: website | myspace |
Death Cab for Cutie: website | myspace | Narrow Stairs review

*Photos by Nick Davis and Joshua Hammond

The Raconteurs – April 29, 2008 – The Uptown Theater, Kansas City, MO

Brendan Benson and Jack White duet while drummer Patrick Keeler looks on

There’s no possible way I can be objective about this show or this band. Brendan Benson and Jack White are musical heroes of mine. I’ve seen Jack play with the White Stripes, but seeing The Raconteurs play together is another thing entirely.

Brendan Benson/Jack White

Jack seems as relaxed as one can imagine he can be. With a stellar rhythm section behind him (“Little” Jack Lawrence on bass and Patrick Keeler on drums), and an amazing vocalist on his right, he seems freed from having to always play the leader.

Brendan and Jack singing an amazing duet

However, let there be no doubt that he is. For one thing, the roadies all wore matching uniforms. Yes, like the roadies for the White Stripes do. Another, I signed almost exactly the same contract to be allowed to shoot the Raconteurs as I signed to shoot the White Stripes, except the penalty for violating the Stripes’ contract was $10k per infraction, compared to $30k for the Raconteurs. Talk about inflation! This is Jack’s machine; only the players have changed.

Contract to Shoot The Raconteurs

But, at their core, The Raconteurs are about the give and take between Jack and Brendan. Brendan is as laid back as Jack is intense. Brendan brings his butter-smooth voice, killer melodies, and pop sensibilities. Then Jack takes it to the next level, adding killer guitar riffs and solos, and drags Brendan’s sugary-sweet power pop through the mud, stomps on it, smacks it around, and puts his stamp on it. Anyone who dismisses this band as just a Jack White project, or simply the White Stripes with a rhythm section is missing the boat. The core of the songs are Brendan’s. If you don’t believe me, check out “The Alternative to Love”, Benson’s most recent album.

Jack White and Brendan Benson

Only someone as docile as Brendan (or Meg White) could work well with Jack White. In this respect, Brendan perfectly fits the bill. Rarely moving from his mic, and rarely displaying much energy, Benson shows his equality to White through his vocals and his calm, laid-back attitude. To play on Jack’s terms would be a guaranteed loss.

The band shares a rare moment of levity

Nothing was lost on the packed crowd, however. The Uptown Theater had electricity in the air. The cheers from the crowd almost equaled the volume of The Raconteurs themselves, and this was one of the loudest shows I’ve seen in a while. It’s obvious that the band (probably Jack) took care in picking their gear. The speakers were modern (not your normal road gear), and the lighting was well-planned. The set was decorated with drapery and tree branches on the backdrop. The finale brought a disco ball and The Raconteurs’ logo forty feet tall on the Cyclorama.

The well-planned set and lighting add the proper touch

The Raconteurs, especially Jack White, held back no energy at this show. Once you’ve seen enough shows, you can tell when the band is tired, not into it, hungover, or just lazy. This band takes their performances seriously, and like The Arcade Fire, spares no emotional expense in delivering their songs to their fans. If you are lucky enough to have these guys play within a few hundred miles of your house, you’d be insane not to go experience them.

View all Pictures from the Show.

Tracie and I went to the Beaumont Club to check out Gogol Bordello. If you’re not aware of them, New York-based Gogol Bordello claims to be a “Gypsy Punk” band. Fronted by the unique Eugene Hutz, who starred in Everything is Illuminated alongside Elijah Wood, the band puts on a kinetic performance that could leave you exhausted just watching.

Since I am now shooting for music blog PopWreck(oning), I was able to get in front for the first 3 songs with an official photo pass. To say it was my toughest assignment yet would be an understatement.

The show was packed, much more packed than I would have imagined. The crowd was definitely alternative and punk, heavily tattooed and ready to mosh. My first realization of this was when 6 massive stage bouncers took to the front of the stage. One looked down at me and said “If I tap you on the shoulder, MOVE!”.

With me that night was my Canon 20D with my 85mm 1.8 attached, and my 5D with my 24-70 2.8L attached. Both cameras were set to spot metering, tungsten white balance, 1600 ISO, aperture priority. To be safe, I was bracketing a full stop on the 20D. I would normally have put the 24-70 on the 20D and my 70-200 2.8L on the 5D, but that lens is at Canon now for repairs.

The band took the stage like Kansas Citians take to a buffet. Game on. I perch down and try to get focused, but the lighting was awful. The basic setup was a bunch of red lights, with occastional full-on white lighting. The white balance was fine for the white lights, but the red lights leave everyone very, very red. Most of those shots are the ones in black and white.

I’m used to shooting mildly-energetic indie acts: Singer-songwriters, power-pop, and the like. They’re 90% in front of their mic stand, 10% moving. Eugene Hutz is 93% running, 4% jumping, and 3% flinging sweat everywhere. I’m pretty sure he never stopped moving. In low light he was almost impossible to shoot. I was glad to have that f1.8 lens at times, but it needed to be much wider. When Hutz was 24 inches away, that 128mm (effective) lens was way too long.

30 seconds into the first song, I get the first tap on the shoulder and was guided stage right. Seconds later a body comes flying over the barrier wall. I retake my spot and 30 seconds another tap and another flying body. 20 seconds after that a drink is in the air and it’s raining some liquid substance. Who knows.

So Equene is everwhere, bodies are flying, and mysterious liquids are coming down. Did I mention this was a difficult shoot? Difficult, but a ton of fun. It’s these shoots where I’m glad I had everything set correctly before the gig starts.

For the third song I go stage right just in time for a flying body that actually resists the bouncers. All 100lbs of this girl gave quite a struggle. The bouncers did an admirable job removing her without force, and an even more admirable job keeping a body from falling on me.

After the 3 songs I retreated to the back where I found Tracie sitting. This is a show where you either are up close and moshing with the crowd or you’re way in back. Neither of us had it in us, so we were in the back, which at the beaumont means not much of a view. Oh well, I had mine.