popwreckoning

It was the final day and it was already sweltering hot before noon. This didn’t stop Bonnaroo goers from making the best of their final day though.

I began with Japandroids, a garage rock duo playing over at This Tent. For only two guys, they had a very large sound and I really liked how they switched lead vocals between the guitarist and the drummer. This was a good way to start.

Japandroids

Next, I went to a band that completely contrasts Japandroids: Calexico. These sleek rockers were joined by some friends from Spain on some brass instruments. The resulting sound was like a more mainstream mariachi band. It was the perfect soundtrack to the summer sun beating down on the crowd.

Calexico by Joshua Hammond

What’s Bonnaroo without checking out a few good jam bands? We headed over to the What Stage to watch of Australia’s John Butler Trio deliver some of their folky jams before the lady we were really dying to see this day: Regina Spektor.

John Butler Trio by Joshua Hammond

The adorable pianist is bubbly and charming as her gentle voice skips into the upper octaves, but then Regina takes you by surprise: “Fuck. That’s not how this song goes. I don’t know how you all do it: a whole day in the sun. My mind is just a fuck puddle.” Only Regina can make cursing sound so polite. Then again, perhaps that cursing isn’t such a shock if you think about the content of somehow her songs, “Someone is fucking to one of my songs,” just one of a few examples I can think of.

Regina Spektor by Joshua Hammond

Regina Spektor by Joshua Hammond

Punk rock was a popular theme of the day: Against Me, Dropkick Murphys and Rise Against were all performing Sunday. Punk music is really dependent on the energy level of the show, and with the high temperatures, I was worried these bands might take a hit. That worry was unnecessary because these bands tore it up. Against Me, with new member Franz Nicolay, even wore their leather jackets as they sang out their vein-popping energetic set. Dropkick Murphys was like a big party with the multi-instrument band filling up the stage with accordions and guitars and strings. Raucous and fun.

Against Me! by Joshua Hammond

Dropkick Murphys by Joshua Hammond

Dropkick Murphys by Joshua Hammond

In between the two punk bands, Josh caught the classic rocker John Fogerty before joining me for the self-described geek rockers: They Might Be Giants. They’re goofy, but brilliantly so. They’ve been around for quite some time and just released some new great material, perfect for any aspiring scientist. I was kind of surprised by how many of their songs I knew, but didn’t realize was them. Yet another fun set.

John Fogerty by Joshua Hammond

They Might Be Giants by Joshua Hammond

After that it was time to watch a few Grammy-winners. Country artists Zac Brown Band was first up over at the What Stage. I’m not a fan of country music, but these guys are pretty easy to get into to with their speed-demon riffs. My personal favorite moment of the set was their cover of “The Devil Went Down to Georgia.” It was a nice moment for their violinist to show off his chops.

Zac Brown Band by Joshua Hammond

Phoenix, as far as the indie Bonnaroo fans were concerned, was Sunday’s headliner and as the Parisians tore through an intense rock set not just of the new Wolfgang songs, but songs from their entire repetoire, they kind of did steal the show. There were times when singer Thomas Mars‘ voice sounded a bit hoarse and worn from their constant touring, but even with that, the crazy guitar riffs and big drums made up for it.

Phoenix by Joshua Hammond

Phoenix by Joshua Hammond

Phoenix by Joshua Hammond

Dave Matthews Band was Sunday’s official headliner. I think I owe these guys an apology. I had kind of written them off as a frat band with boring tunes, but in actuality, they are fun and the band has plenty of personality. They do deserve success for their long jams. It was a bit bittersweet to watch them play though. It was surprisngly great to enjoy them, but sad to see their set signal the end of the fest.

Dave Matthews Band by Bethany Smith

Dave Matthews Band by Bethany Smith

Dave Matthews Band by Bethany Smith

Dave Matthews Band by Bethany Smith

Dave Matthews Band by Bethany Smith

Dave Matthews Band by Joshua Hammond

Another Bonnaroo over. Despite the lack of surprise collaborations and guest stars, this was a stellar year with solid performances. Though my aching feet are thankful it’s over, the rest of me can’t wait to see what the next year will bring.

by Joshua Hammond

View recaps and photos from Thursday, Friday and Saturday.

I showed up at  Visualite just as the doors to the venue were being opened, knowing that I would need some time to tweak my camera settings. As the time grew near for the opening band to begin, I started to get worried; the crowd was sparse at best. Did the unusually cold weather keep everyone in their homes? Hoping for the best, I made my way stage-front to start snapping photos and to enjoy the musical stylings of Justin Robinson & the Mary Annettes. I had never seen or heard the primary instrument being wielded by the front man. Thanks to my friend Stephanie, I now know that it’s called an autoharp, and Mr. Robinson played the instrument both skillfully and beautifully. Accompanying him were two ladies on solemn violins playing mostly separate parts (acting almost as a rhythm and lead guitar) with a drummer who combined a regular drum kit with an electronic drum pad. After one of their dirges and some modest applause, Justin quipped, “Thank you…all seven of you.” Oh no, I thought. Is it still that empty? I turned around for the first time in several minutes and saw that the venue had in fact filled in quite a bit. Justin, thou doth exaggerate too much. Alternately mournful and toe-tapping, their set was pleasing and a good start to the evening.

Next up was Sallie Ford & the Sound Outside (very catchy band name, I must say). I had just seen them open for The Avett Brothers on New Year’s Eve, and I preferred the small theatre experience at Visualite to the arena experience in Asheville. I really don’t want to compare Sallie Ford to Regina Spektor because it’s too easy, but it’s an unavoidable comparison. Quirky, well-crafted pop songs? Check. Strong, nasal, but ultimately beautiful voice? Check. Cuteness factor? Check. Not to be forgotten, the Sound Outside join Ms. Ford at all the right times in her songs, adding whimsical electric guitar riffs and a steady rhythm section in the form of simple drums and a stand-up bass. The songs I heard were folk/roots music on the surface, but pure pop songs at heart. Expect bigger and better things from this quartet in the future.

By the time Sam Quinn + Japan Ten were ready to take the stage, the crowd had finally become a true crowd. The roots music scene in North Carolina is a thriving one, and the gathering on this evening was a virtual who’s who of local musicians and industry folk (pun intended). Sam Quinn introduced himself and the band as P.M. Dawn, which naturally elicited chuckles from all seven people who got the joke; thus began the headlining act. The set list was comprised of numerous The Everybodyfields tunes (Sam Quinn’s previous project with songstress Jill Andrews) mixed nicely with new songs. Their performance was wonderfully intimate. In fact, this show could have been set around a big campfire in the Great Smoky Mountains, and I got the sense that I was a new member in a close-knit group of musical friends. Authenticity is written all over this act; it’s clear that they’ve been writing country/folk songs long before snap-button cowboy shirts were being sold en masse at Urban Outfitters, and they’ll continue to do so long after the fad has passed like so many others. For an encore, the band played an Elton John mash-up of “Crocodile Rock” and “Can You Feel the Love Tonight?” followed by “Aeroplane,” the first track from The Everybodyfields’ record Nothing is OK. Evocative like the gate of your old house (as my wife so poetically put it), this song should have a place of honor in the annals of pop music. The show then came to a close, and much too soon, as I could listen to Sam’s music well into the night. Sam Quinn + Japan Ten are in the process of completing an album, so hopefully it won’t be too long before I’m able to share more thoughts on these guys.

New York’s Jupiter One recently created their brand new Van Pilates video to help all you touring artists, musicians, and music fans alike to jump start that New Year’s resolution to get in shape! Spending a good portion of the latter half of 2009 on the road with Regina Spektor, Jupiter One is excited to shares moves like The Sub-Dominator, The Long Distance Relationship, and the Pelvis Costello with you so you can lose that unsightly tour fat, too. BOOSH!

Catch a fit and trim Jupiter One at Philadelphia’s North Star Bar on Saturday, January 9th with Run To Sandy, The Levee Drivers and Evergreen. Doors at 9PM, $8, 21+. Buy tickets now. Hope to see you there!

Jupiter One: website | myspace

Not so ‘Far’ that she can’t be reached…Regina Spektor’s recent performance proves that her performance needs to be seen before she’s unobtainable.

For those not in the know Soviet-born, Bronx-raised and classically trained folk-pianist turned quirkster-songwriter, Regina Spektor began her career as a solo artist with training from the Manhattan School of Music and Purchase College. After honing her skills as a solo artist in New York’s East Village, Spektor scored a contract with Warner Brothers’ record label Sire Records in 2004 and this little piano lady with a huge smile and wide eyes hasn’t looked back.

In the passing years since The Strokes took their first tour in 2003 with then the little-known opening solo act, the tides have changed for Regina – scores of fans have been gathered, collaborations with the likes of Keane, Ben Folds and The Kings of Leon have garnered attention and the previously main stage drummer (Fabrizio Moretti) well, he’s become the opening act with a little-known and sweet band called Little Joy. The now 29-year-old Spektor has taken the Indie and Pop World(s) by nothing short of a tidal wave and as seen by the turn out at the recent Chicago Theater performance this past Saturday, it appears that Regina’s reign will not come to a downfall any time in the near future.

Stepping on stage to reveal a florally white dress, pink shoes and bright red lips – Regina Spektor swiftly walked to her silhouetted piano and struck up the first chords (“The Calculation”) to kick off what was to be a special evening of new offerings from her recently-released fourth album. For added flair, Regina also had in tow drummer (McKenzie Smith), cellist (Dan Cho) and violinist (K Ishibashi) to help aid in bringing the underlying sounds, intricacies and plush arrangements of her recordings to life.

The first half of the 90-minute performance played tribute to Far by highlighting on all but two tracks. Of the new material, the George Orwell inspired “Machine” was possibly one of the earliest and best performances of the evening – Spektor, in fine form and equally matched by cello and drums, brought forth a tortured story only intensified by samplings, deep vocal screeches, and darkly tinged solos on cello. “Folding Chair” proved as driving as ever with Spektor showing off her vocal prowess for finite intonations and trills, while “Laughing With” brought everything back to the essence of who Regina Spektor is – an artist with an ability to touch people at the truest and most honest level.

Songs such as: “Bobbing For Apples,” “That Time,” “Apres Moi,” “Human of the Year” and “Man of 1000 Faces” rounded out the solo portion of the evening while “Poor Little Rich Boy” certainly became the crowd pleaser as The Village- inspired artist managed to whittle down a drum stick to mere shavings from self-percussion on a wooden chair.

As “Samson,” “Us,” “Fidelity” and “Hotel Song” saw the re-emergence of Regina’s band during the encore, one can tell that of the greatest item which Regina brings as an artist is her ability to reach an audience through talent, intimacy and personality by giving us warts and all.

Overall Regina’s voice on this evening was as loose and precise as one would hope – this performer can show that her range and precision are not just proven in the studio, unfortunately this did not begin to reveal itself until at least 30 minutes into the set. At times Regina’s presence to hold the stage energy and focus (esp. during her band’s absence) may be due to the size of the Chicago Theater’s 3,880 seats or this artist may just be too polite and shy for her own good. And perhaps as this artist has grown from her solo days to packed houses, some of her mystique may have gave way to a bombardment of media, press, interviews, phone calls, fan sites and the day-in-day-out life of a touring musician who has the ability to sell out 4,000 seat houses in a matter of a few hours. Whatever the case may be anyone who was witness to this show could tell you from the constant yells and barrage of cat calls which Regina has come to accept on a nightly basis, the only thing that seems to matter to her 20 to 60-year-old concert-goers are the connections and messages which each person seems to gain from this true artist.

Overall Concert Review: A –

Regina Spektor: website | myspace | @ uptown theater | mp3 minute: “Laughing With” | Far review

Written by: Matt W. Miles

After already popping my Lollapalooza cherry in 2008 and coming back home actually looking like a cherry, I came prepared to Lollapalooza 2009 with lots of sunblock and summer dresses. However, Friday quickly showed that 2009 would not be like 2008 in that regard. As a cold rain trickled throughout the day, I spent the entire day shivering uncontrollably and cursing that I had left my sweatshirt 30 minutes away at the Catholic worker house that I was crashing at. In an attempt to warm up, I even tried to buy one of the absurdly expensive festival sweatshirts, but every booth was sold out, leading me to curse some more.

I was not alone in my cursing of the way events transpired that day. As Hockey kicked off the day over at the PlayStation Station, severe technical difficulties cut their set abruptly short. The large crowd which had gathered to hear the band that has exploded onto the scene since JC Penny started playing them in a commercial was disappointed, but Hockey tried to make up for the sound problems by jamming out with an impromptu drum solo and then throwing beer into the crowd (which I am sure made security happy as who knows how many minors caught those cans).

It was a tough call to choose between Manchester Orchestra and Hey Champ. Manchester Orchestra is a band I’ve seen several times before and they have always impressed, but Hey Champ has been getting a lot of buzz lately, so I wanted to see them too. I watched a few Manchester Orchestra songs first. I was impressed with how extra intense the yowls of Andy Hull were and how extra beardy he looked. Despite Hull’s chops, Chris Freeman always steals the show with alternation from keyboard playing to air guitar.

I dashed over to catch some Hey Champ and as I was walking up, they warned the front row to “cover your faces because this next song will make them melt.” Now, while there wasn’t a re-enactment of Indiana Jones: Raiders of the Lost Arc, the fun electropop rock of Hey Champ might have at least rocked socks if they didn’t melt faces. I’m not sure I saw enough to decide if they were worth all the hype, but they are worth looking into further.

The Knux were next on my schedule. Despite not being a part of the usual genre that I like, it was fun to watch as the hip hop/rap crew invited fans on stage then proceeded to teach us how to do a dance and “put it in the air.” Despite the unnecessary swearing and the confusion of what song was about to be played (they would start a song, say it didn’t feel right and play something else), it was a blast to be in the crowd.

I was again torn at 2:00 p.m. as to whom I should see. I started with a bit of Jersey rockers The Gaslight Anthem. I’m not sure if if was them, sound problems or the weather, but something was just off and I left early, unimpressed. I went to the opposite end of the venue to watch some White Lies, which started to lift my spirits in the cold rain, but still was not enough to wow me.

The “wow” band was soon to come. And I caught Kevin Devine tucked away on the BMI stage. The crowd wasn’t the largest of the day (Bon Iver was a few stages over and LeAnn Rimes was getting ready to play as a special guest over at Kidzapalooza), but the people there were excited to see him. I was especially excited to see him get his own set at Lollapalooza this year after he surprised us last year by joining Brand New on stage for their performance. Kevin sang his heart out, but the crowd got distracted when they noticed Manchester Orchestra’s Andy Hull sitting on stage mouthing along to the set. As the overzealous crowd yelled for a guest performance, Hull eventually left the stage to let Kevin enjoy his moment in the spotlight. Hopefully no hard feelings, the crowd did not mean to make diminish his performance with their request.

I took a break to do an interview and got back in time to catch some Ben Folds. His piano chords carried throughout the streets and as  I heard “You Don’t Know Me” start, I ran over in hopes of seeing a surprise guest of some sort do the Regina Spektor part. The song was great, but I was disappointed to see that no guest would be joining him and a recording track would take care of the part. Alas.

The perfect harmonies of the Fleet Foxes warmed me up a bit, and I especially enjoyed their good humor as they joked about their beards. I would have liked to have heard some more new songs, but like many Lollapalooza bands, they stuck to what people knew and shied away from anything that was still in the works.

Tummy grumbling from a long day, I skipped the Decemberists, whom I heard were a bit of a let down, and walked past the jams of Thievery Corporation to grab some food and wait for Of Montreal.

As I expected, Of Montreal owned the day with their clusterfuck of a stage show. Costumed characters, balloons, confetti, trippy videos, glitter and more, they not only were tight as musicians, but they were the best performers of the day, really interacting with the crowd. They even had the best surprises. Janelle Monae joined for a few numbers, some of the stage performers surfed the crowd in an inflatable boat and to end the set, the singer tossed his guitar up in the air twice. When it didn’t break he just handed the whole guitar to a kid in the front row. Imagine going to a festival and leaving with a souvenir that was an entire guitar. Mind-blowing.

It was actually really hard to be super impressed after that set. Kings of Leon were kind of boring for a follow-up to Of Montreal. Depeche Mode was cool, since they’re fairly legendary and influential to some of my personal favorite bands (Killers at Lollapalooza on Sunday!!!), yet again, they couldn’t beat out Of Montreal as my most memorable act of the day.

Lollapalooza doesn’t end at 10 p.m. People flooded off in all directions to hit up after parties, both official and unofficial. I hit up one that was supposed to feature Kid Cudi and the Knux and an open bar (holla!). After a bit of a Nick and Norah’s Infinite Playlist moment–where’s bunny–they told us we had the wrong entrance and the line of people mad dashed to the other side, we finally got into this party. The acts did show, but went relatively unannounced and only did like one number, but the open bar was still pretty ace. The only performer who was there the whole time was a very intoxicated Hollywood Holt, but he was just enjoying the party.

Lollapalooza: Friday in summary:
Best set of the day: Of Montreal
Best surprises of the day: Of Montreal giving away an entire guitar, Janelle Monae, LeAnn Rimes
Breakthrough of the day: Kevin Devine
Biggest let downs of the day: Kings of Leon, Decemberists
Crazy crowd moment: Saw a woman taking a dump in the middle of the crowd at Depeche Mode…ew!!!

Lollapalooza: website | schedule | set lists | saturday