Seven hundred acres of Manchester farmland is transformed into Tennessee’s sixth-largest city every June when 80,000 people invade the area for the annual Bonnaroo Music & Arts Festival. With live music from over a hundred bands on twelve stages from noon ‘til dawn for four days, Bonnaroo presents attendees with an experience that is almost overwhelming.
Unquestionably the most diverse music festival of its kind, this year’s top dog headliners include Elton John, Jack White, Kanye West, Vampire Weekend, Lionel Richie, The Flaming Lips, Wiz Khalifa, Arctic Monkeys, The Avett Brothers and dozens more.
Often described as “James Brown singing with Led Zeppelin”, Vintage Trouble is an L.A.-based band that has built a worldwide following after three years of non-stop touring in support of their 2010 debut album, including a much-coveted slot as the opening act for The Who on their 2013 tour. As the summer festival season is ramping up, Vintage Trouble continues their grueling tour schedule with a stop this weekend at Bonnaroo. I recently spoke to the band’s bassist Rick Barrio Dill. Calling from Los Angeles, where he is recovering from recent surgery after a retinal detachment scare, Dill was upbeat and eager to discuss the band’s history, philosophy and enthusiasm for the road ahead. I asked him if the band changes their approach when preparing for a festival stage, as opposed to theaters and arenas.
“Not really,” he said. “We might tweak the edges differently, but overall our approach to a festival gig is the same kind of sweaty, sexy late night vibe as the clubs of Los Angeles where we kind of honed our thing. We’d only been a band about nine months before we got the gig opening for Brian May that immediately put us in front of the theater crowds that were sitting down. Then we got the Bon Jovi tour where we were playing in stadiums to 40, 50, sometimes 70,000 people.
“It taught us that we like setting up really tight, really close together, so we can literally touch each other no matter what kind of stage we’re on. And everything is contained in that sort of mentality. So, no matter if it’s a giant stadium or a 150, 200-seat room, we want it to get sweaty and we want it to be as intimate feeling as we can make it on the stage and within ourselves and what we can throw out and I think everybody connects. So even when we’re opening up for The Who, it still sort of feels that same 200-seater room.”
Dill said that translates to the way Vintage Trouble records, as well.
“We recorded our whole record in two and a half days, all in one room, doing all full takes,” he said. “We sort of fell into this method and later saw similarities in the footage of The Beatles at Shea Stadium, where they’re set up real tight in the middle of this giant stadium. We don’t wanna spread out. We set up in a tight circle where we can touch each other and then everything’s gonna come out from there.”
I mentioned to Dill how refreshing and somewhat ironic it is in this modern age of technological advances in the way music is generated and delivered to the listener that the old method of just coming out onstage and kicking people in the ass still works.
Chuckling a bit, he replied, “Well, it works for us! You know, we’ve played in front of hardcore Death Metal audiences, Hip Hop audiences, Country audiences and we always seem to land on our feet. I think it’s kind of a testament to how somewhere in our DNA it always traces back to old Soul, Rhythm & Blues, old, early Jazz, and early Rock & Roll.
“One of the things we try to do is we try to pull everybody into it. And it’s funny because even if you aren’t familiar with music from 50 or 60 years ago or they way they performed back then, people seem to understand. People can sort of hear some trace of that sort of thumbprint in their DNA even if they don’t necessarily have those records or haven’t been privy to what those performances were like. People get it. And that’s what’s so great about music, especially the kind of music that we do. It just seems to kind of transcend a lot of genre-making that has gone on over the last 30-40 years.”
Editor’s Note: Cincinnati musician and longtime CityBeat contributor Ric Hickey and photographer Chuck Madden are once again covering the Bonnaroo Music and Arts Festival for us in Manchester, Tenn., this week. We’ll be posting their dispatches from the fest as they come in throughout the weekend. You can pretend you're there with them (minus the bugs and camping and stuff) by watching the live stream at Bonnaroo.com.
Insects crawl across my keyboard as I type this in the Bonnaroo parking lot. A vast expanse of several hundred acres of rolling green countryside blanketed with cars, tents, campers, tarps, trailers and people ready to party down, these Tennessee hills are alive with the sound of music.
Returning once again with my old friend and photographer Chuck Madden for our No. 1 favorite assignment, we dig in for the long haul. After all, four days of car-camping and toughing it out in the summer sun is no easy feat. But every year, with several heavy bags of electronic gear, cameras, lenses, recording equipment and laptops slung over our shoulders, we embrace the madness with big silly grins on our sunburned faces.
A couple years in a row we were able to camp in a “guest” area just behind the main stage compound. But this year it was not to be, as we were directed to join the long line of cars by the highway that were waiting to pass through the main entrance. After an hour of waiting and a cursory search of our vehicle, we drove into the massive parking lot and began setting up camp.
Kicking off the 2014 Bonnaroo festivities on the Other Tent stage was Nashville’s own Wild Feathers. The band has been all over the world since I saw them perform an acoustic showcase in the Bonnaroo press compound last summer. With three singing songsmiths fronting the band and complimenting each other’s close harmonies, The Wild Feathers put across some of the most pristine Country Rock vocal performances since CSN’s heyday. But plug ‘em in and crank it up and it becomes a different beast altogether.
Opening with “American” from their stellar 2013 debut album, The Wild Feathers fell confidently into the warm embrace of a hometown crowd that was singing along with every word. Still a young band, a year of non-stop touring has instilled in them a simmering confidence beyond their years. Their scorching “Backwoods Company” was taken at an accelerated clip that challenged the afternoon sun for heat and intensity. More than just a band to watch, I think I’d buy stock in The Wild Feathers if I could.
Elsewhere today Chuck and I took in sets by Cass McCombs, ZZ Ward, MS MR and The Preatures. Among the late night sets that I’m excited about tonight are a pair of my favorite new bands. J. Roddy Walston and The Business perform in This Tent, while White Denim takes the stage in That Tent at midnight. Their sets starting just 30 minutes apart, I’ll face my first serious schedule conflict of the weekend.
Ready for your Friday the 13th morning news? Let’s do this.
As we’ve reported a couple times already, Cincinnati is in a hard spot when it comes to affordable housing. So Rep. Steve Chabot, Republican representing part of the city, did the logical thing recently and tried to push through an amendment to a House bill that would cut $3 billion in funding for Section 8 vouchers. Wait, that doesn't seem logical at all. Keep in mind the Republican-authored bill he was amending already cut $1.8 billion from transportation and HUD programs. But Chabot thinks folks are hanging out in subsidized housing too long, calling the system that keeps people from homelessness “a way of life for too many in this country.” Luckily, even the heavily Republican House said “nah” to Chabot’s cuts. The amendment failed yesterday.
A $2,500 reward offered by Brogan Dulle’s family when the 21-year-old UC student went missing May 19 will be given to the woman whose 911 call lead authorities to his body a week later. The woman, who hasn’t been identified in reports, said she came upon Dulle’s body in the basement of building she works in on East McMillan next door to where he lived. The woman apparently didn’t know he was dead and called 911 reporting an intruder. Authorities found Dulle hanged in the basement, and the Hamilton County coroner later ruled his death a suicide. In total, $20,000 was offered for information about Dulle’s whereabouts. UC offered $10,000, and is still mulling what to do with the money. Local restaurant owner Jeff Ruby gave another $7,500, which he’ll be contributing to tuition at UC for Dulle’s younger brother Tim.
A new Pew research project released yesterday tracks the increasing partisanship among American voters. Though hardly surprising, the study quantifies the fact that people are hunkering down in their ideological biases, with more folks crowding to the far left and far right ideologically over the past few years and fewer holding a mix of views in the middle.
Pope Francis just keeps spitting hot fire. The pope said yesterday in an interview with a Spanish-language newspaper that the world’s economic system causes war and imperialism and that it squashes peoples’ individuality. Francis has made a name for himself pushing a relatively more inclusive vision of the Catholic Church and emphasizing its social justice tenets, and his recent eyebrow-raising remarks continue that trend.
Finally, yesterday was National Jerky Day. I know. I missed it, too. But apparently a major jerky company constructed a large model of Mount Rushmore made from a glorious 1,600 pound mix of dried meats. Really gross, but also kind of amazing. The company displayed it in New York yesterday and will now ship it back to headquarters in Wisconsin. It’s probably en route right now, actually. It will have to pass through the Midwest at some point. If you hear about someone hijacking three quarters of a ton of jerky as it makes its way across the Brent Spence Bridge, it totally wasn’t me.
Orange Is the New Black is back and it’s better than I imagined. The Netflix
series centered on a women’s prison premiered its second season Friday and,
despite my earnest intentions to pace myself, I couldn’t help but get through
12 of the 13 episodes (Thanks a lot, autoplay).
One of the striking differences this season is the fact that this is no longer The Piper Show. Yes, our blonde convict is still a major player, the thread throughout the series. But as Piper becomes more acclimated to prison life, she begins to share much more in common with her fellow prisoners, and we get a look into those women’s backstories — in such a fulfilling way. If you weren’t already invested in Red, Poussey, Morello and the other inmates, you will be after learning the very different and often surprising reasons they ended up in Litchfield. As for Piper, she’s hardened (perfectly if not cheesily represented by her selection of a 40 over a bottle of champagne on a night out during her furlough)— but not to the point where last season’s character is unrecognizable. If anything, the shift makes her more likable. For now, I’m holding off on the finale. I don’t want it to end!
Photographer Jeff Friesen has shot series of fun images using LEGOs for what’s culminated in an upcoming book, The United States of LEGO, available this September. In the series, each state is depicted in a scene full of colorful bricks and plastic yellow people (See Ohio here). Another, titled “Bricksy,” uses the popular toy to recreate various Banksy pieces.
Poet and thespian of our generation James Franco basically recounted Lindsay Lohan’s pursuit of him for Vice’s Fiction Issue. This “work of creative writing” that I’m just going to assume is completely true claims LiLo shamelessly came after Franco while they were both staying at Beverly Hills’ Chateau Marmont. In the end, she settled for a bedtime story reading of A Perfect Day for a Bananafish.
I’m not sure which part crushes my childhood memories the most: The fact that the Parent Trap ginge has fully blossomed into a desperate trash monster; or that Daniel Desario is actually a pseudo-intellectual douche/tattletale; or that I now have to burn my entire Salinger collection.
Nicolas Cage may have done his share of shitastic films in recent years, but you have to hand it to him: dude has a sense of humor about himself. This fact was illustrated recently in a photo of Cage, at a Guns N’ Roses concert with Andrew Dice Clay, dressed to the nines in a T-shirt with his meme-face on it.
Anyone remember Clone High?
The MTV toon depicted a
high school for clones of historical figures throughout time, was weirdly
hilarious and, thus, was cancelled after one season in 2003. The creators, Phil
Lord and Chris Miller, have since put out a successful string of productions: 21 Jump Street (and its sequel, 22 Jump Street, in theaters tomorrow), Cloudy with a Chance of Meatballs and The LEGO Movie. They talked recently of
revisiting Clone High as either a
show or movie — read more here.
Lil' Kim welcomed a baby girl this week, Lil' Lil' Kim. Sorry. But seriously, Blue Ivy, North West, Jermajesty, all y’all epic-named babies watch out. Royal Reign is in the house.
In things that are making me feel feelings this week: the Dumb and Dumber To trailer.
City Council on Wednesday passed legislation to help fund a bike share program in Cincinnati, but not before arguments over the bike paths prioritized in Mayor John Cranley’s budget.
The bike share program, run by a non-profit company called Cincy Bike Share, would allow residents and visitors to purchase a year-long membershipor a daily pass to gain access to 300 bikes from 35 stations in the central business district, Over-the-Rhine and uptown. Over the last few years, successful bike shares have started in a number of large cities, including Chicago and Washington, D.C.
The motion passed by council gives the startup $1.1 million from the city’s capital improvements fund to help get its operation off the ground. The group estimates it will need at least another $1 million in investment to ramp up, but Cincy Bike Share Executive Director Jason Barron ha