popwreckoning

Grammy Album of the Year winners the Arcade Fire have announced a late Spring tour of the U.S.

Dates kick off April 9 in Denver and include a Coachella headlining set before the tour concludes with the New Orleans Jazz Fest on May 6.

Joining the Canadian indie rockers will be Local Natives, Explosions in the Sky, Okkervil River and The National. Full dates and support are below.

More information is available on arcadefire.com. And just a fair warning, you had better know who the Arcade Fire is or hipsters will kill you:

Tour Dates:
SAT4/9/2011 Broomfield, CO 1st Bank Center *
MON4/11/2011 Orem, UT The UCCU Center *
WED4/13/2011 Phoenix, AZ Comerica Theatre *
THU4/14/2011 Las Vegas, NV The Joint at Hard Rock Hotel *
SAT4/16/2011 Indio, CA Coachella (Sold out)
MON4/18/2011 Santa Fe, NM Santa Fe Convention Center
WED4/20/2011 Kansas City, MO Starlight Amphitheatre **
FRI4/22/2011 Chicago, IL UIC Pavilion (Sold out) **
SUN4/24/2011 Chicago, IL UIC Pavilion (Sold out) **
MON4/25/2011 Chicago, IL UIC Pavilion (Sold out) **
WED4/27/2011 Indianapolis, IN The Lawn at White River State Park **
THU4/28/2011 Memphis, TN Orpheum Theatre
SAT4/30/2011 Dallas, TX Gexa Energy Pavilion ***
TUE5/3/2011 Austin, TX The Backyard ****
WED5/4/2010 The Woodlands, TX Cynthia Woods Mitchell Pavilion ****
FRI5/6/2011 New Orleans, LA Jazz and Heritage Festival

* Local Natives Support
** The National Support
*** Okkervil River Support
**** Explosions in the Sky Support

For those that are unaware, most bands use this little piece of paper called a ‘set list’ during their shows. This paper helps the band keep track of what songs they plan on performing and their order for a particular evening. Set lists are especially useful for bands with lots of members, a fairly extensive catalog and the plans to play for a long time in a mid- to large-sized venue. A perfect example of a band that would need a set list is New York-by-way-of-Ohio indie rock band The National.

So yes, “Lemonworld” is a fantastic song and it is nice to show a band you appreciate a song. However, when the band takes the time to explain that (1) they have a set list and (2) if they keep getting heckled for a song, they’ll feel less likely to play it, then it is probably a good idea to stop shouting “Leeeeemonworld” nonstop. And yeah, “Lemonworld” was nowhere to be found on the set list, but it still hefted 18 of their other darkly poetic masterpieces. So it was understandable that the band was a little frustrated that their picks weren’t enough to appease the entire crowd. But they handled the heckling well.

So after explaining the concept of a set list and then joking about how they’ll play requests as long as that is the next song on the list, front man Matt Berninger announced, “This is ‘Lemonworld’…I’m joking. This is a song about eating people.”

This story shows off the primary contrast between the National at a club/venue show compared to the National at a fest. The National were frequent guests at some of the Summer’s biggest festivals (Bonnaroo, Lollapalooza, etc), but in broad daylight with shorter set times, the band’s greatest interaction was with their wine glasses and not so much the audience. They played through songs which were difficult to differentiate once they were all done. It made this reviewer a little hesitant to see them again in such a short time period after this Summer, but their Kansas City show at the Uptown was a completely different ballgame. The group was still suited up and clutching wine glasses, and for the first few numbers, there was a tension that made it seem like this show would be a repeat of the fests. But then they broke loose.

Once feeling more warmed up, Berninger looked up from the floor, moved his mic out closer to the crowd and prowled the stage in a triumphant step that matched the triumph of the brass section. His rich baritone layered over big instrumental arrangements. Sometimes he sang almost in a revered lullablylike lull and other times he built up into a passionate howl. When he hit the more scream-like levels, it looked as though he was throwing his whole body into making the sound.

For a long time, it was hard to watch anyone else. But then Berninger drew attention to drummer Bryan Devendorf. “The pressure’s on,” said Berninger referencing the fact that Devendorf plays C&C Drums, made by a local company whose owners were watching the drummer. Devendorf must do extra well under pressure because the guy was explosive to watch and exercised more dynamic control than most drummers are capable of in their entire life.

Though Berninger was hard to stop watching for too long. When it came to the encore performance of “Mr. November,” Berninger reached his howl-like volume levels with everyone excitedly shouting, “I won’t fuck us over,” and that singalong moment would have been enough to make the song feel epic. Then, Berninger grabbed the microphone, jumped off the stage sang a chorus bracing the front row of the crowd and then he proceeded to enter the heart of it. It’s the moment that gives security heart attacks, but makes the hearts of fans skip a beat.

My only critique was that after a moment like that, “Terrible Love” had a tough act to follow to match the excitement. Perhaps, “Terrible Love” is more like the cool down after a work out. Either way, the show was fantastic and a vastly epic improvement to the band’s festival appearances.

Also fantastic was the opportunity to finally see Canadian violin virtuoso Owen Pallett (previously Final Fantasy). This is the man known for composing practically every string arrangement for anyone who’s an anybody in indie music. Seriously, his resume boasts all Arcade Fire albums, Beirut, Basia Bulat, etc. He was just nominated for a Polaris award…again. The guy makes Andrew Bird look like a beginner. Since Pallett is a solo writer, he began his performance with just him at the microphone with his violin, keyboard and loop pedal. He was later joined by his lone touring musician that helped him fill in some of the percussive gaps and harmonies. The modest musician apologized before one tune for always messing up, but promising to do his best. So despite a few hiccups, Pallett’s opening performance on this tour is not one to miss. Pallett’s warm vibrato, beautiful tremolo and pizzicato flourishes carried the audience through the story of Lewis, the romance of Win and Regine and more. With each looped tale, Pallett won over the hearts of many who might not have previously realized they already heard his work with many of their beloved tunes on their iPods.

The National’s Set List:
The Runaway
Anyone’s Ghost
Mistaken for Strangers
Bloodbuzz Ohio
Brainy
Slow Show
Squalor Victoria
Afraid of Everyone
Available/Cardinal Song
Conversation 16
Apartment Story
Abel
Daughters of the Soho Riots
England
Fake Empire
//
Vanderlyleeeeee (Vanderlyle Crybaby Geeks listed on the set list, but All the Wine performed)
Mr. November – in the crowd
Terrible Love

We all love a good Columbia River backdrop or acres and acres of open field at our music festivals, but what makes MusicFest Northwest different than most festivals is that it takes places within the city – at all the Portland venues you know and love. It’s not just a celebration of music but also a celebration of Portland in general.

In just under two weeks’ time, Portland’s Pulitzer-Prize-winning alt-weekly newspaper Willamette Week will be hosting its 10th annual MusicFest Northwest, which has grown to be the third-largest indoor music festival in the country.

At no other festival else can you park for free in suburbia, take a light rail downtown, then pick up an orange Tang doughnut (yes, I said Tang), and walk a block down at 1 a.m. to catch The Builders and the Butchers at Berbati’s Pan.

Voodoo Doughnuts and Berbati’s Pan are very conveniently placed literally 125 away from each other. Just a tip.

Because of this indoor, inner city set-up, you won’t have to empty your bank account for festival food, or use smelly port-a-potties. But I’d never expect anything different coming from Portland, with the casual, low-key vibe that I love about it so much.

Here’s what I’m planning on doing, but trust me – with the MAX light rail running at full capacity over the 5-day festival, you’ll have the opportunity to see so much more, whether it be a 21+ show, or an all-ages (AA) show.

Wednesday, September 8^th:

Act: Panda Bear
Time: 10 p.m.
Location: Comcast and opbmusic stage at the Crystal Ballroom

Ever since seeing Animal Collective play live over a year ago, I’ve been holding out for another chance to see any of the guys in a live capacity. To coincide with the release of his highly awaited album Tomboy, Noah “Panda Bear” Lennox will be gracing Portland with his mesmerizing presence on the first night of the festival at the Crystal Ballroom (which has floors with a bit of bounce in them). AA

Thursday, September 9^th:

Act: Ra Ra Riot
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

In the past, Ra Ra Riot has opened for such amazing acts as Editors, Art Brut, and Tokyo Police Club, but now as part of their headlining tour for their new album The Orchard, Ra Ra Riot will be taking the stage at the Wonder Ballroom. I’m intrigued to see their unique brand of baroque pop live. Plus if you have time afterward, circle the block to get some pizza at Sparky’s or if you feel more adventurous, Ethiopian at Queen of Sheba.  AA

Act: Ted Leo and the Pharmacists
Time: 9 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

For something with a bit more attitude, you can head back over to the bouncy floors of the Crystal Ballroom for Ted Leo and the Pharmacists. You’re sure to have a good time with these old school punks, and you’ll still have enough energy to go for the rest of the night afterwards. Heck, walk a few blocks down Burnside and you can still browse around Powell’s Books until 11 p.m. AA

Act: The Thermals
Time: 10:30 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom
Local darlings The Thermals will have literally released their fifth album two days before when it comes time for their show at the Crystal Ballroom. They’ve been working with Chris Walla again on Personal Life, so I’m anxious to hear what these pioneers of Portland rock of the ‘00s have put together with Mr. Walla. AA

Act: Major Lazer
Time: 11 p.m.
Location: The Roseland Theater

For the most part, I probably won’t be heading to the Roseland too much just because there are so many great bands playing everyone, and it’s already hard to choose. But I’m going to make it a priority to see Major Lazer’s reggae/hip-hop hybrid. You’ll be sure that you won’t see any other act like them at the festival, and as far as I know, there won’t be another chance to see them in the northwest for a while. AA

Act: Justin Townes Earles
Times: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Four blocks away, you’ll find yourself back at Berbati’s Pan (and maybe after another round of Voodoo Doughnuts) for the considerably less hyphy Justin Townes Earle. It’ll be the nice way to end the night after burning all your energy at the last show. Maybe you could get a drink and relax to Earle’s mandolin-laden country folk. Earle’s blend of deep-south vintage country is so far from today’s mainstream country that you almost expect someone to be playing a water jug and a washboard.  21+

Friday, September 10^th:

Act: Surfer Blood
Time: 5:30 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

As the start of a ridiculously full two-month tour, Surfer Blood will get to bring their beachy indie rock to the Wonder Ballroom. A friend of mine put their song “Swim” on a mix tape for me earlier this year, and ever since I saw Pitchfork give the song spot number 37 on the lost of the 100 Best Songs of 2009, I’ve been wanting to see them play live. Now you have that chance too.  AA

Act: Black Lips
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

When going through the list of bands playing at this year’s festival, I immediately put Black Lips on my “list to see,” because of their extensive history, guitarist Cole Alexander’s work with Deerhunter’s Bradford Cox, as well as what I’ve heard of their chaotic stage antics (including nudity, fireworks, band members kissing, and vomiting). AA

Act: Sara Jackson-Holman
Time: 8 p.m.
Location: Ash St. Saloon

Mixing classically-influenced piano, soft and longing strings, and winsome vocals, Portland native Sara Jackson-Holman falls into the ever-growing “melancholy piano songstress” genre, but her smoky voice and strange bent harmonies make her worth seeing. Within a couple blocks of the saloon you could also hit up Esan Thai or Kells Irish Pub for dinner if you like. 21+

Act: People Eating People
Time: 9 p.m.
Location: Mississippi Studios

After the disbanding of her band Mon Frere in 2007, Seattle native Nouela Johnston decided to record some of her own stuff under the moniker People Eating People. Her powerful piano pop will be perfect for one of my favorite venues ever – Mississippi Studios, which was built for musicians, by musicians. It’s located in a residential neighborhood and you can literally park in front of someone’s house. The floor is small, but the wraparound balcony provides just as good a view. 21+

Act: Morning Teleportation
Time: 10 p.m.
Location: Hawthorne Theater

I saw Morning Teleportation in June, and they had the most inexplicably enjoyable set that it’s impossible to explain. Psychedelic, rootsy jam-band, electro-indie rock is one way I could describe it. If you’re still confused, I recommend that you make time to go see them at the Hawthorne Theater. Lead vocalist Tiger uses a Talk Box. That’s worth it enough just to see that. AA

Act: Okkervil River
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I’m not sure whether or not Roky Erickson will be gracing the stage with Okkervil River in this instance, since they just released True Love Cast Out All Evil with Erickson, but either way, the critically acclaimed Austin band is surely not one to miss. AA

Act: The Tallest Man On Earth
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Performing at the most comfortable venue I’ve ever been to, The Tallest Man On Earth will be bringing his bluesy brand of acoustic folk to the Doug Fir. When I first heard Kristian Matsson’s music, I didn’t realize that he was Swedish for awhile, until I eventually got how clever Matsson’s moniker is (people of Scandinavia are predominantly over 6 feet tall). 21+

Saturday, September 11^th:

Act: The Builders and the Butchers
Time: 1 a.m. (yes I just said 1 a.m.)
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Seeing the instruments that the Builders and the Butchers play, you wouldn’t expect to essentially rock out at one of their shows, but they defy all stereotypes and bring massive amounts of energy to their acoustic guitars, mandolins, and banjos. Seeing that the Builders and the Butchers are from Portland, I’m expecting this particular show to be crazy awesome. Having seen then 2 short months ago, I can back up that claim. 21+

Act: Laura Veirs
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

Laura Veirs will be the first of a few shows that you should absolutely check out on the main stage at Pioneer Courthouse Square. The neo-folk songstress returned to her roots with July Flame this year, her 6^th studio album, putting out hauntingly beautiful songs full of odd instrumentation and Veirs understated vocals. AA

Act: The Decemberists
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

I’ll just be sticking around at Pioneer Courthouse Square for The Decemberists after Laura Veirs, because it will surely be one of the best shows of the weekend. Even when they aren’t playing for hometown crowd, The Decemberists are awesome live, but in this instance I can only imagine. The last time I saw them, it was on the Hazards of Love tour, so this time we’ll get to hear songs from all throughout their catalogue. AA

Act: The Globes
Time: 9 p.m.
Location: Backspace

Playing at one of best coffee houses in Portland, Seattle’s own The Globes will be bringing their experimential ambient indie rock to the tiny venue. I saw them play a show in Seattle back in November with Telekinesis and The Lonely Forest, and with how much they downplay the energy, The Globes put on a great show. Think My Bloody Valentine with harder riffs and a rainy-day ready wall of sound. AA

Act: The Head and the Heart
Time: 9 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Bluesy folk with soft harmonies and bubbly beats permeate through Seattle’s own The Head and the Heart’s music, and it should be quite delightful to see them in Berbati’s Pan’s small room. Plus if you haven’t had dinner yet, you can get yourself some Greek cuisine while you’re there. 21+

Act: The Smashing Pumpkins
Time: 10:15 p.m.
Location: MusicFest Northwest and KUFO stage at The Wonder Ballroom

I honestly had no idea that the Smashing Pumpkins were playing until about five days ago, and I’m surprised that they’re playing The Wonder Ballroom, because it’s not that big. So if you want to get in at all, I suggest getting there relatively early, even if you have a wristband, because this will undoubtedly be one of the most attended shows of the festival. I can’t remember the last time they toured, so I’m pumped. AA

Act: Suckers
Time: 11 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

What’s funny is that right after playing up against each other at separate venues at MusicFest Northwest, Suckers will be going on a month-long national tour with Menomena. Employing Talking Heads-esque multi-layered vocals with the passion of former tourmates Local Natives, Suckers will definitely fill the small room with fervor. 21+

Act: Menomena
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I have to be honest, I haven’t listened to Menomena’s new record yet, but Friend And Foe was one of my favorite records of 2007, and it’ll be interesting to see how the band’s eerie experimental indie rock will play out to their hometown crowd. Also, the band members always shuffle around who sings and who plays certain instruments, so that always makes for a more intriguing show. AA

Act: Champagne Champagne
Time: 11 p.m.
Location: Jimmy Mak’s

Seattle hip-hop favorites Champagne Champagne mixes traditional hip-hop with peppier electro-pop, and I love it. Again, I’ll reiterate my normal dislike for hip-hop, but when locals sing and rap about Molly Ringwald, I’m sold. But again, I’ll have a hard time deciding which show to hit up at 11 p.m. 21+

Act: The Dodos
Time: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Even though The Dodos are probably best known for having two of their songs in two separate television commercials, their albums are rich with offbeat instrumentation like toy piano and pulsating drums. And you can’t deny that if a band has their songs on television, the songs are undeniably catchy. 21+

Act: Japandroids
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Having two guys on stage, you wouldn’t expect them to create the sound that Japandroids manage, but the raw and fuzzy guitars will be a great way to end out the penultimate night of the festival. And while you’re there, definitely check out the restaurant upstairs. Also there’s free parking around the corner, so that’s another plus. 21+

Sunday, September 12^th:

Act: The Walkmen
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

It seems like it’s been way longer than 2 years since The Walkmen put out new music, but this performance will be two days before their new album Lisbon is released, so I’m happy. One of only a select few shows on the last day of the festival, The Walkmen’s drowsy surf rock should carry well through the outdoor amphitheater. AA

Act: The National
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

After having seen The National play at the Columbia River Gorge back in May, I was anxious to see them again. Although I think The National is one of those bands that you may or may not like live. Lead singer Matt Berninger has an oddly intense stage presence, but the energy might turn some people off. If you haven’t seen them play live though, I strongly recommend giving them a shot, because they sound fantastic live. AA

However long this preview is, it’s still just a taste of what’s coming to the tenth annual MusicFest Northwest. I mean, I’m going to try to see all these bands, but who knows how full the venues will get or how quick the public transportation will run that weekend? To see the full lineup or purchase tickets, go to http://www.musicfestnw.com. General admission wristbands are still available for purchase that will guarantee entry to all club shows and all shows at Pioneer Square (however you must choose to see either The Decemberists or The National with this ticket). All show wristbands are also still available, which guarantees you entry to all shows, no exceptions. If you don’t wish to purchase a wristband, you can buy tickets at the individual venues the night of the show.

Sunday nature battled itself giving us both the coldest and hottest day of Lollapalooza. But there was still music to be heard! So a poncho-packed crowd stumbled through the mud to start their day dancing to “USA Boys,” with HEALTH. As the guys thrashed about the stage with the guitar-driven dance rock, my only thought was that they should have had one of the prime evening spots like similar acts in Cut Copy and Hot Chip. I couldn’t believe they were stuck in one of the earliest sets of the day. Not with how good they are and how popular I thought they were. I’m sure everyone has at least heard one of their remixes at one time or another.

I picked my way past puddles to Perry’s where Team Bayside High was getting ready for their DJ set. I have to give the kids at Perry’s props: the rain seemed to peak during this set, but it didn’t kill their dance buzz for a second. It helped that the DJ duo in Team Bayside High really knew how to interact with the crowd and get them amped up. There wasn’t a single mix that they played that slowed them down too much or killed the mood. As they smoothly went from Franz Ferdinand to a Mario theme, I could see why these guys were asked to play a permanent residence at Rehab in Chicago: they were diverse and fun. For a special treat at the end of their set, Moneypenny‘s Jess joined them to sing her part live on their new single “Party Professionals.” You can actually download the track free at Team Bayside’s site. (We also did an interview with Team Bayside High, so check back to PopWreckoning soon for more from these guys.)

Having seen many of the next acts several times before, I walked past Company of Thieves as their female singer belted out Oscar Wilde refrences, past the Dodos’ percussion heavy set that features a bowed vibraphone and ended up at the Hard Rock Hotel for lunch.

The place was more packed than it had been for the entire weekend. I set off to to investigate what was going on. Turns out one of the larger lobbys had been completely closed off as a “special VIP” had requested privacy while getting a new tattoo. So I went into the cafe to eat and enjoy some hip hop music from Chiddy Bang. Hip hop isn’t usually my thing because I’m a lyric gal and often times the lyrics are offensive, dumb or just downright vulgar. I didn’t have this problem with Chiddy Bang and actually found it witty. I particularly liked that there was a live drummer and not just pre-recorded backing tracks for the performance.

After the performance, I ventured back up to the closed lounge, which was still closed. I was about to ask a girl standing next to me if she knew what was going on, but a beefy, tall man ushered her out of the lobby just as I opened my mouth. Turns out that girl was Hayden Panettiere – you know, from Heroes, Remember the Titans, etc? And it also turns out that she was the “special VIP” who had shut down the room for her new tatt. I guess the cast of Scream 4 had come down to Lolla from filming in Michigan. A part of me wishes I had realized who she was sooner, but I’m also glad I didn’t. That’s kind of the cool thing about Lolla. Actors and musicians are just walking around. You never know who you’re going to rub shoulders with, but at that fest, we’re all equals. We’re all music lovers.

So, since I am such a big music lover, it was time to take my leave of the Hard Rock and head back to the fest for some more bands. Only this time, instead of walking back, I took the Vitamin Water Bus back. This was kind of a cool thing set up where you could relax, rehydrate and enjoy some DJ music going back and forth between the Hard Rock and the fest. I wish I had thought to use it sooner!

I continued my love of watching bands that make you dance by checking out Hockey, who started with “Song Away,” played a few new songs before amping people up with “Work” and “Too Fake.” This set was a lot tighter than their technical-difficulty filled set from the year before. After that I went over to Yeasayer.

If you should know anything about me, it’s that I’m always feeling Yeasayer: multiple vocals, big guitars, lots of synth and even bigger drums. Plus you can dance! What’s not to love? “O.N.E.” got people to stand up and dance through a majority of the set, but it was really “Ambling Alp,” that drove home their awesomeness as a set closer. As I turned to watched MUTEMATH on a neighboring stage, I couldn’t help, but feel a bit bored after the great set that Yeasayer had just delivered.

Fortunately, Frightened Rabbit restored my faith that there was still awesome after Yeasayer. They’re completely different from that dance rock sound and pretty much straight up indie rock. It’s the cool Scottish accents and sweet harmonies that make this band stand out.

But I couldn’t stay there long. I needed to see the shit show that would be Erykah Badu and a shit show it was. Blonde hair and a hideous green dress that no one in the world could pull off. And let’s be honest – her music is uninspired, so we all just were gathered there to see what she would wear and what diva moves she’d pull. This was a clusterfuck, so I made it as long as I could before heading into media to grab some water.

In media, I got a special treat. Festival founder and lead singer in Jane’s Addiction, Perry Farrell, was making the rounds and greeting people. It was so cool to see the icon acting so down-to-earth, especially with how big his Lolla project has become.

I exited media in time to see a bunch of hair bouncing, hear surprisingly killer vocals yowling and watch as hands whizzed through Zepplin-inspired guitar riffs. This was Wolfmother and this was awesome. No, it isn’t something I’ll listen to the CD over and over for, but it is something I’d watch live again.

From here, it was indie rock hour on the other side of the venue. So I trekked over to see MGMT, The National and my most anticipated: Arcade Fire.

MGMT is one of those acts where I really, really, really love the singles, but feel ho hum about the rest of their music and even their live show. I’ve seen them a few times and was disappointed and bored. I wasn’t expecting much at Lolla, but they completely took me by surprise. I don’t know if people complained enough or what, but they were a changed live band. They talked to the audience, interacted, and offered up spots for the crowd to take over singing duties. They even had a frog puppet! It was bizarre and shockingly fun. And yes, songs from the new album did receive a more lukewarm reaction, but I was reeling from the overall change in the band, that I could care less about that. Nice work, MGMT. Maybe you do deserve your fame.

As people flocked to the National on the neighboring stage, I moved closer to a better a spot for Arcade Fire. Sounds of “Blood Buzz Ohio” buzzed in my ear, and as much as I like the National, it wasn’t long before their music became exactly that: just a buzz. Their songs started to sound the same, but it might have been that I was just antsy for Arcade Fire to start.

Oh, Arcade Fire. You, with your bajillion members and insane amounts of instruments from accordion to violins to brass and more. Can I join your band?

Before the fest, one of my friends tried to insult the Arcade Fire by calling them, “The indie world’s Coldplay.” In other words, they meant the band was wildly popular, but without any real merit. You have to understand, this same friend is driven crazy by Coldplay’s unwillingness to use more than three chords. After seeing them live, I can attest, that Arcade Fire is not overhyped. They deserve all the attention they get.

While fireworks went off for other headliners and light shows blinded, Arcade Fire settled on a simple video backdrop and relied only on their music to dazzle. They fittingly started with “Ready to Start” and from there it was just one great song after another. Everything was tightly performed with jubilation. For a moment, I forget my painful blisters and just let their complex instrumentations swallow me. Fantastic. I couldn’t have asked for a better way to end Lollapalooza 2010. Sorry Soundgarden – Arcade Fire is where it was at this year.

Now who’s ready for 2011?

…

Be sure to check out the rest of the Lollapalooza 2010 coverage on PopWreckoning.com. More posts and interviews!

Lollapalooza is an intense experience, but a fun one. Should you manage to find energy after already having spent 12 hours listening to music in downtown Chicago’s Grant Park, then it’d be in your best interest to continue the festivities with official Lollapalooza afterparties.

Thursday after shows include Devo with Dirty Projectors, Slightly Stoopid with Collie Buddz, The New Pornographers with The Dodos, The Big Pink with Night Gallery, and Cymbals Eat Guitars with Young Galaxy.

Friday shows include MGMT, Cut Copy with Dragonette, The Walkmen with Warpaint, Edward Sharpe and the Magnetic Zeros with Freelance Whales, Wild Beasts, and Rogue Wave with Gamble House.

Saturday shows are The National with The Antlers, The Black Keys with the Morning Benders, Minus the Bear with Miniature Tigers, Blitzen Trapper with Avi Buffalo, The Soft Pack with Royal Bangs, Wavves with Harlem, Gogol Bordello, and Precision Guided Musicians featuring Hot Chip (live), Rusko, Steve Porter and more.

Sunday ends with Phoenix with Toro y Moi and HEALTH with Chandeliers.

Tickets for the after shows go onsale Friday, June 25 at 10 a.m. Get them here.

Bonnaroo Friday had a rocky start for PopWreckoning. Sweltering temperatures and a “knock” on our tent woke us to inform us that we had camped in the wrong spot. Frustrated, we packed up our tent and began rewandering the muddy roads trying to figure out what we couldn’t figure out the other day. Fortunately, the Bonnaroo fates finally took mercy on us and we at last got our new camping spot: in VIP. Huzzah! Free showers and close to Centeroo!

Press goes through orientation on Friday, so after resetting up our tent, we headed to the media area to hear the ins and outs of Bonnaroo with the wonderful Big Hassle Crew. They shared some good insights, photo rules and a few good jokes.

Press got a special treat today: an acoustic performance of Dr. Dog. The band played about three songs rich with banjos, guitars, and light drumming. acoustic. Check back for a video from the band’s acoustic performance a little bit later.

I glimpsed a bit of alt country act Jessie Baylin and a long line waiting to see Conan O’Brien, while I was walking over to the uke wielding Julia Nunes. The quirky singer played a very long set list of her original tunes and fun covers. Never has a been a ukulele been more bad ass than in her hands. When it came time for her to play a cover of Weezer, Nunes hinted that she might be joining the band for their Bonnaroo set on Saturday. Nunes also announced she had been camping with the rest of us plebes instead of enjoying a trailer or hotel like many other artists. All the more reason to love her.

Then, it was off to see Canada’s Tokyo Police Club over at the Other Tent. The young rockers began with the feedback that kicks off their first song on the newly released, Champ. “Favourite Food” is one of my favorites on the new album and it was a great way to start their set. The band looked absolutely jubilant at the audience’s warm reception. They followed it up with the classic “Nature of the Experiment” before delivering another new one. The old hits were there, but so were plenty of new ones. I can’t wait to see these guys take off with Champ.

Begrudgingly, I pulled away from TPC to go to the Troo Lounge to see Young Veins, a new 60s revivalist rock band. I went into the set knowing nothing about them, but the tunes were catchy and it was a well done homage to rock of old. As I bobbed my head along with the tunes I couldn’t help, but think something was…pretty odd. For a band I had never heard of, they sure looked familiar. Turns out I knew them better than I thought. This is the new band of former Panic! at the Disco members, Ryan Ross and Jon Walker.

No Springsteen at Bonnaroo this year, but we did get Jersey’s second best: The Gaslight Anthem. These guys just released the killer, anthem-heavy American Slang and delivered a set chock full of those tunes as well as the stuff that helped get them national attention.

It was a rough decision where to go from there: Edward Sharpe and the Magnetic Zeroes were singing their heartwarming tunes out at the Other Tent and the Gossip would be setting up at This Tent, but as great as it is to see some of the bigger stages/acts, the best part of Bonnaroo is seeing the up and coming talent on smaller stages. So I made my way to Troo to see PopWreck love Kevin Devine. He’s been doing pretty well for himself, playing nearly all major US festivals this year, and it seems word of his passionate rock is beginning to spread. Troo was packed – and not just with general public fans. It seems Kevin was the musician’s choice, too. Members of Manchester Orchestra hung around backstage watching their fellow Favorite Gentlemen perform his tunes that range from the political to the heartbreak. I also spotted Person L/The Starting Line’s Kenny Vasoli watching, too.

Of course, I didn’t spend too much time people watching. It was hard to take my eyes off Kevin as he dipped down with his guitar just to pop back up to yell into the mic on an especially emotionally-charged chorus. Kevin modestly talked to the crowd, but some of the stuff he said in between songs was just as great as the songs: “You might be saying ‘are there two bass rockers on that stage?’ There are! You’re not fucked up on mezclin yet. You wil be. And I’ll be selling it to you.” He must have been feeling the Bonnaroo love because he then played a new song, “She Stayed a Steam,” off an upcoming Fav Gentlemen release. The song starts slow, but the buildup is great to an especially big chorus. I can’t wait to hear more. Kevin ended with “Brother’s Blood,” and I had a gut-feeling that nothing left at the fest would even begin to compare to his performance.

Giving my feet a break from all the walking, it was back to press for a mini-press conference with some big name artists such as The Flaming Lips’ Wayne Coyne and Ok Go’s Damien Kulash. While the band members talked about the differences between playing music at a fest vs. a club and what Bonnaroo means, comedian Jeffrey Ross stole the show with his clever quips about the fest: “I saw a band called The xx. They put me to sleep. They should have been called The zz,” he joked. But it was all in good fun: “I only roast the bands I love. All comedians are wannabe rockstars. That’s where this comes from.” Jeff is in charge of the Bonnaroo Roast and based off this sampling, it’s going to be a good roast.

The next chunk of the fest was like a special movie edition of Bonnaroo, and no, I didn’t go to the Cinema Tent. Three of the next four acts I saw consisted of people well known for their work in films. Zooey Deschanel (Elf, Yes Man) sang vintage rock in She & Him with the amazing guitarist that is M. Ward. Though She and Him basically is Deschanel and Ward, they were backed by a band that included several girls simply there to give back up vocals and harmonies. The music was pleasant and made more rockable by Zooey’s constant jumping up and down. Though many went to go see Zooey, they got hooked in by the music and stayed for the whole set.

The only thing that kept me from staying for their whole set was that The National was set to begin playing soon and I love the way the bass vocals carry over their big brassy and string heavy indie rock tunes. Half-expecting good music with little stage presence, I was blown away by the energy and enthusiasm they delivered. Lead singer Matt Berninger joked with the audience and even crowd surfed. It was big; it was fun.

Then it was time for movie star number two: Jack Black in his band Tenacious D. This was also my first glimpse of Conan O’Brien who had been emceeing the What Stage all day. It was fun to have a comedian introduce the comedic group. The set was like a cross between a play and a rock concert. The guys are skilled musicians, but their stage banter was just as essential to the act’s performance. For example, at one point, Jack Black pretended to accept an emergency phone call: “What? You want to make a ‘Pick of Destiny 2’? But there’s a catch? You want me to do it with the guy from ‘Mall Cop’?” This caused Kyle Gass To storm off and Black to perform “(Dude) I Totally Miss You.”

My third and final movie star act was none other than Steve Martin and the Steep Canyon Rangers. It was kind of insane the reaction Martin got. The guy had only walked out to the side stage to huddle with his band before the set and people swarmed the barricade to get a picture of him…again, not on stage. Martin took the almost-too strong reaction kindly, “I’ll tell you one thing. I wish I practiced,” he said. “It has been a long time dream of mine to play bluegrass at Bonnaroo. Today, I feel one step closer to that goal.” Then the band began their bluegrass tunes. The pluck of banjos, the flying bows of fiddles: it was furiously fast and fun. Then time for more jokes before the next jam: “This is a song that…well, that pretty much says it” or “I wrote all the songs you’re hearing myself, which I think distinguishes us from every other bluegrass band at Bonnaroo playing their own stuff.”

I left Martin a little bit early to explore and walked by the psychedelic jams of Les Claypool and the piano songs of the adorable Tori Amos. This was on my way to jam rockers Dawes at the Troo Lounge. Dawes again proved that Troo, despite being one of the smallest stages, had one of the best lineups of the day. Dawes was the type of rock music that you could sit back and relax to, but you could also stand up in dance. Definitely, check them out.

Kings of Leon had the undivided attention of Bonnaroo for the next chunk of the night: no one was up against them. The What Stage was packed as the Southern rockers blazed through tunes “Sex is on Fire,” “The Bucket” and even a Pixies cover. To be honest, I found it a bit boring, but there are thousands of other people who seem to disagree with me. Oh well. I do give the band props on the long set and also the long encore that included the popular “Use Somebody.”

Without a doubt the Flaming Lips were one of the primary draws of Bonnaroo this year. Not only was the band going to perform all of Dark Side of the Moon with Stardeath and the White Dwarfs, but they were also treating fans to a regular Lips show. The infamous hamster ball made its return after the “birth” of the other members onto the stage. Coyne wheeled around over the audience, immersed in a sea of confetti. It just got bigger from there: more confetti, more fog, more dancers and guest singers (Beth Ditto and Margaret Cho). In stark contrast, the Dark Side performance lacked the theatrics of the preceding performance, but that was still pretty cool, too, because it proved the Lips weren’t just a gimmick band. I guess there was one major theatric. They ended with a giant fog projection of the artwork from Dark Side over the audience. Epic.

Though it seemed like at first that everyone and their moms were at the Lips, the Black Keys did somehow manage to wrestle a sizable crowd to their set at That Tent. The set wasn’t as crazy a spectacle as the Lips, but it was still a good show in which they invited up extra musicians and played a decent number of brand-spanking new songs.

I know that it is almost blasphemous that I didn’t return back to the Lips to see all of Dark Side of the Moon. But Bassnectar was beckoning. Bassnectar is a bad ass dj and he turned This Tent into a giant dance party. I would have been content just dancing into the morning twilight with him, but even though it was 2 a.m., there were still tons of acts to go.
Rumor was that Kid Cudi wouldn’t be able to perform since he was arrested in New York the day before. So I skipped it. Turns out he did perform. Alas. But it wasn’t too bad because it just meant I had more time to enjoy LCD Soundsystem. They were surprisingly awkward, but it was fun and worked well for their style of music. It was still a dance party at the This Tent, but a different sort of one from the remixing of Bassnectar. Not surprisingly, people went crazy for “Drunk Girls,” considering that’s what half the crowd was. I love how intimate the band made this performance feel and in their hands, it was pretty easy to find the energy to party with them until 4 a.m. What a great way to end the night.

More photos and recaps from Bonnaroo coming soon. You can view Day 1: Thursday’s recap here.

Taking the three-hour drive to the Columbia River Gorge is a boring trip. You merge a couple times from state route 16, then from I-5 to I-90, over a mountain pass and through the eastern Washington flatlands. But when you reach the Gorge on Memorial Day weekend, it’s like a dome of awesome civilization in the middle of empty Washington wasteland. It was the second year in a row that I traveled to the Sasquatch! Music Festival, but this year I’d be spending all three days at the Gorge, camping about a quarter of the mile from the festival grounds, where one could still hear the music late into the night after tucking one’s self into one’s sleeping bag.

This weekend was nothing less than glorious. The clouds defied the weather forecast, which told us that it would be cloudy and possibly raining all weekend. Only a couple bouts of rain didn’t damper the festival at all. In fact, the rain we did get was refreshing and added to the greatness of the Columbia River Gorge.

I’ll start with Saturday. After waiting in line for over an hour, I finally arrived on the festival grounds, and headed over to the newly renamed Bigfoot Solar Stage. It used to be called the Wookie Stage, but as a preemptive action against any sort of lawsuit from George Lucas, the Sasquatch organizers changed the name. Catching the second half of Mumford and Sons, I could tell that people were already crowding in front of each stage.

Following Mumford and Sons was Portugal. The Man on the same stage. I’m really glad I stayed to watch them, because the crazy psychedelic rock that you find on their record Censored Colors sounds even better live. And with such songs like “Lay Me Back Down,” the relatively large crowd could sing right along with the chorus. It was a good way to start the day. The very long day.

With my first of two steep treks down to the main stage, I was reminded how much I really love this venue. Actually, Damian Kulash of OK Go, the band playing on the main stage next, said it best:

“You know, we play a lot of these festivals, and most of the time the venue sucks and the bands blow, but this place is fucking awesome.” Or something like that. You get the gist.

As much as I love OK Go for their genius music videos, they were surprisingly good live. Fun and energetic, and it was only 3 in the afternoon. It was too bad their crowd was small though, because I’m pretty sure Kulash would have crowd surfed a lot further if he’d had the ability to. Playing through some oldies but goodies, like “Get Over It” from their 2002 debut album, as well as the funky “White Knuckles” off their newest Of The Blue Colour of the Sky, it was a joyful and satisfying set. One thing though – with how breathy and seductive Kulash’s voice is most of the time, you’d never expect him to bust out this gut-draining shriek. But he did. It was cool.

I headed back up to the Yeti Stage, the smallest of the three outdoor stages, to see one of my favorite local bands The Lonely Forest for the third time this year. What can I say? They’re really good. But I could tell that it was still a bit intimidating being at Sasquatch because they were good, but they weren’t as good as at the Seattle clubs. But that is one of the parts of Sasquatch that I really love – we get a lot of locals. Sasquatch doesn’t import nearly as many acts as other festivals do. The Lonely Forest did mention the new record they have coming out this year that they just finished recording with Chris Walla’s new label Trans. Hearing those new songs again was nice.

Back at the main stage, The National was getting ready to take the stage and the floor started to fill up. This was about when the sun started to set, and the smell of marijuana was inescapable, and the threat of sunburn in the part of your hair was no longer a worry. The perfect time of night at the Gorge. The National took the stage a bit late, making everyone in the pit incredibly anxious, but in the end it was worth it. Playing some of their best songs, including the haunting “Afraid of Everyone” off High Violet as well as a plethora of older songs, the crowd was clearly satisfied. Matt Berninger actually ventured out into the pit towards the end of their set holding up his microphone cord as to not get tangled in the jumble of fans. Some would find Berninger’s energy flat, because it is an odd stage presence. At times he seems a bit angry, but I enjoy his intensity. It’s a quiet intensity. I think without the jumbo screens adjacent to the stage, it wouldn’t have been suited for the giant amphitheatre, but this time it worked.

A stark change from The National’s energy, the lovely and adorable and so full of energy Vampire Weekend took the Main Stage at as on-time as they could have been. I was so thankful when they announced the lineup for Sasquatch this year, because when I saw Vampire Weekend back in December it wasn’t for but twenty short minutes. And that’s not nearly enough time to fully enjoy a band. It got a second chance to love Vampire Weekend at Sasquatch. Being shoved in that pit made it even better, because everyone around me was equally as excited. This guy, about 6’3”, standing next to me kept saying, “I’m so happy right now!” And that was the general consensus I gathered from the thousands of people in the amphitheater that night, as well as from the band. Frontman Ezra Koenig made the second declaration of the Gorge’s sheer awesomeness that day, and Koenig has enough energy himself to carry the entire place. It was the perfect way to follow The National, with a giant dance party to songs like “A-Punk,” “Walcott” and ridiculously quick and almost derailing “Cousins.” And it was quite magical to hear thousands of people singing at the top of their lungs “Blake’s got a new face!” during the song “One.”

It was as I hiked up the hill to the campground that I knew that this was going to be a good weekend.

Stay tuned for a recap of Sunday and Monday, which were equally as awesome.

For a full set of photos from Saturday, go to http://www.flickr.com/photos/abbigshmail/sets/72157624061143157/

Sunday’s coverage: http://popwreckoning.com/2010/06/03/sasquatch-festival-sunday-with-local-natives-kid-cudi-dirty-projectors/

Monday’s coverage: http://popwreckoning.com/2010/06/04/sasquatch-festival-monday-with-the-temper-trap-the-mountain-goats-mgmt/

The roster for the 2010 Austin City Limits Music Festival is official. The Eagles, Muse, Phish, The Strokes, M.I.A., Flaming Lips, LCD Soundsystem, Spoon, Vampire Weekend, and Norah Jones top the bill of 130 acts slated to rock Zilker Park October 8-10. Also performing the ninth edition of this year’s Festival: Band of Horses, Monster of Folk, Deadmau5, Sonic Youth, Gogol Bordello, The National, and Robert Earl Keen.

This year’s line-up is diverse as ever, with something for everyone, and plenty of new talent to discover. Broken Bells, The Temper Trap, Girls, and Miike Snow are all making their first ACL Festival appearance, and getting a lot of attention from fans and critics alike. Ryan Bingham and The Dead Horses, Robert Randolph & The Family Band, Ozomatli, Nortec Collective, and Trombone Shorty & Orleans Avenue span a wide array of genres, and reflect the flavor of the Festival and the tastes of what ACL fans have come to expect.

The full line-up listed by day is available at www.aclfestival.com. Single Day Tickets are on-sale today, May 18 at 10 a.m. CDT.

Three-Day Passes for the 9th annual Austin City Limits Music Festival sold-out in 14 hours, a record since the Festival’s inception in 2002. A limited number of Three-Day VIP passes and travel packages are still available.

Austin City Limits Music Festival happens October 8-10 in Zilker Park.

The 2010 Austin City Limits Music Festival is generously sponsored by Budweiser, AMD, ZYNC from American Express℠, Austin Ventures, BMI, H-E-B, and Sweet Leaf Tea.

The Eagles
Muse
Phish
The Strokes
M.I.A.
Flaming Lips
LCD Soundsystem
Spoon
Vampire Weekend
Norah Jones
Band of Horses
Monsters of Folk
Deadmau5
Sonic Youth
Gogol Bordello
The National
Robert Earl Keen
The Black Keys
Broken Bells
Slightly Stoopid
Yeasayer
Pat Green
Rebelution
Beach House
The Sword
Matt and Kim
The XX
Portugal. The Man
The Temper Trap
Edward Sharpe and the Magnetic Zeroes
Girls
Ryan Bingham & The Dead Horses
Local Natives
Gaslight Anthem
Lucero
Devandra Barnhart
Blues Traveler
Pete Yorn
The Soft Pack
Gayngs
Amos Lee
Robert Randolph & The Family Band
Ozomatli
Richard Thompson
Martin Sexton
Manchester Orchestra
The Almighty Defenders
Miike Snow
Mountain Goats
Bear In Heaven
Mayer Hawthorne
Midlake
Foals
Switchfoot
Cage The Elephant
JJ Grey & Mofro
Kinky
Angus & Julia Stone
The Morning Benders
Hockey
White Rabbits
David Bazan
Asleep at the Wheel
Trombone Shorty & Orleans Avenue
Nortec Collective
The Very Best
Beats Antique
Henry Clay People
Blind Pilot
GIVERS
Dawes
Band of Heathens
Charlie Mars
Two Door Cinema Club
Lissie
Sarah Harmer
Constellations
T. Bird and the Breaks
Chief
Frank Turner
Those Darlins
Carolyn Wonderland
Kings Go Forth
The Relatives
The Ettes
Qbeta
Mynamisjohnmichael
Basia Bulat
Balmorhea
Dan Black
The Jane Shermans
The Kicks
Ponderosa
Two Tons of Steel
Caitlin Rose
SPEAK
Run With Bulls
Maxim Ludwig
Gospel Stars
Heavenly Voices
Wesley Bray & The Disciples of Joy
Jones Family Singers
Ashley Cleveland & Kenny Greenberg
Buddy & The Straight Way Travelers
Ruby Jane Smith
Verve Pipe
Frances England
Jellydots
Elizabeth Mitchell
Okee Dokee Brothers
Tom Freund
School of Rock
Q Brothers

High Violet sounds like the silver lining on a cloudy day. Well, if a silver lining made a sound, that is.

Violet is filled with melancholy, moody and agitated songs. Although the album’s overall feel is dark, its songs’ light melodies are peppered with sounds of absolution and pleasant agitation.

Fuzzed electronics, solid drum beats, crisp guitar riffs and tired vocals bring Violet‘s songs together, and tell of a somewhat distracted and dreary, but determined so-and-so.

“Afraid of Everyone” serves a full dose of rainy-rock. The song drones on, while Berninger’s voice chants hauntingly, “I’m afraid of everyone.” “Afraid” sounds of complete isolation, so, keep the razors locked away during the track’s duration.

Fret not, though- the entire album isn’t filled with mope inducing ballads. Violet‘s “Bloodbuzz Ohio,” is quick-paced and while it’s still wanting, it sounds of hope. “Sorrow” bleeds a happy/sad feel. Matt Berninger states, “I don’t want to get over you,” in a way that says, “yeah, I’m down, but at least I can feel, man.” Very Dostoyevsky.

“Anyone’s Ghost” has memorable steady drum beats scattered across swerving melodies, while the slow building “Tribble Love” exudes needing want.

And then there’s “Conversation 16,” which romps along in a Joy Division way until Berninger proclaims, “I said what I said; I didn’t mean anything,” and that “I was afraid I’d eat your brains. Cause I’m evil.”

Violet‘s songs sound almost deafening at times; scratchy and rough, shrill and bleak. But the melodies and subtle instrumentals bring out each song’s beauty, and almost softens each tune’s overall grit.

The National‘s 11 track album, which was released on 4AD, is out May 11. Download a few of the album’s tracks here.

Track listing:

01. Terrible Love
02. Sorrow
03. Anyone’s Ghost
04. Little Faith
05. Afraid of Everyone
06. Bloodbuzz Ohio
07. Lemonworld
08. Runaway
09. Conversation 16
10. England
11. Vanderlyle Crybaby Geeks