“I’m getting too old for this shit.”
The phrase was a mantra as I entered the Pitchfork Music Festival 2011, the three-day-long music festival sponsored by the taste-making music website which blasted into Chicago’s Union Park from July 15-17. The thought of crowds thousands deep filled with folks almost 20 years my junior, sweltering heat forecast for the weekend and three stages filled with many bands that I had never heard before transformed this generally laid-back, open-minded reporter into a crotchety curmudgeon.
Tonight at Over-the-Rhine’s MOTR Pub, wildly impressive Cincy Soul/Pop/Rock quartet The Guitars celebrate the release of their new EP, High Action. Local Folk faves The Tillers open up the free show. Below is a review of the release, a slightly shorter version of which appeared in this week's CityBeat. You can also check out a track from the EP, so you can hear that I'm not lying when I say this is definitely one of the best releases by a local act this year.
Saturday at the Southgate House’s Parlour, area Indie band Fake Hands celebrates the release of its first studio project, the EP Here We Are After Dark, which follows a pair of self-recorded and -released efforts.
The five-track release is an excellent introductory calling card for the relatively new band, which features four core members and a handful of others who add horns and other ornamentation to the band’s clever spin on Indie Rock.
Our third and final day on-site at Bonnaroo was no less crazy than the previous two. I took occasional breaks during the day, sometimes in the air-conditioned press tent, and other times back at the campsite where I’d snack, get off my feet for a few minutes and pour water over my head.
The day began with an 11:30 a.m. press-tent panel discussion on changes in the concert industry since Bonnaroo’s inception 10 years ago. The panel included Bonnaroo founder Ashley Capps who reminisced about the festival’s early days. Capps and crew intentionally booked bands for the inaugural festival who already had direct contact with their fan base via the internet. By tapping into this pre-existing network, they were able to sell out the first Bonnaroo in just 18 days.
The Bonnaroo Whirlwind kicks into high gear on Saturday afternoon. Today it was hardly half past twelve when Black Joe Lewis & the Honey Bears ripped the Other Tent in half with 60 minutes of high fructose Funk and Gospel that had the surrounding throng speaking in tongues.
There’s no such thing as “just another day at Bonnaroo." This morning I was in attendance for a mesmerizing performance by Nashville AltCountry siren Tristen in the press tent that barely ended in time for me to race over to This Tent for a performance by Black Joe Lewis & The Honey Bears that shook me to my very soul. Their raging Funk and Soul revue literally had the crowd jumping and screaming for the duration of their 60-minute set.
The 4 p.m. press conference didn’t pack nearly as much star power as the one held earlier in the day, but it was loaded with much casual insight about the inner workings of Bonnaroo and the different artists’ experience playing at the festival. The second press conference panel of the day featured Hayes Carll, Ben Sollee, Jessica Lea Mayfield, and members of The Sheepdogs and Phosphorescent.
Howdy folks! It’s your loyal, intrepid Bonnaroo correspondent Ric Hickey. Once again I am pleased and honored to be covering the big festival for CityBeat. We’ve been on-site for barely four hours and already this is shaping up to be one of the best Bonnaroo experiences that I have ever enjoyed.
You, You’re Awesome, the opening-night main act for this year's MidPoint Indie Summer Series (this Friday on Fountain Square), has earned its way to headlining status by building an ever-increasing following with its crafty, magnetic Electronica, a mix of modern, energetic rhythms (thanks to Kevin Bayer’s live drums and Yusef Quotah’s smart programming), catchy, clever samples and an assortment of snyths and electronics that bridges early, pioneering usage and today’s more stylized approach.
Fifteen years ago, if you heard about a young, new Ska/Reggae band releasing an album, you’d be forgiven for thinking the crew played some variation on so-called Third Wave Ska, the Punk-driven, Ska-tinged sound popularized by The Mighty Mighty Bosstones and others. But if you subscribe to the belief that music lovers and makers often turn to more pure forms of music in times of societal uncertainty (as some say is the case with the Indie Folk movement), The Newport Secret Six’s dedication to the earliest forms of Reggae and the authentic sound they come up with should be no surprise. There are no distorted guitar or gang-vocal shouts on Licking River Rocksteady. It’s simply a fantastic modern Reggae album bustling with energy, soul, personality and tradition.