Friday's Bonnaroo festivities started with great promise, as we were treated to a surprise performance by Jack Johnson in the press tent. Johnson is a last-minute fill-in for headliners Mumford and Sons, who had to cancel because their bass player had a medical procedure to fix a blood clot in his brain earlier this week. Warmth and humility emanated from Johnson as he debuted two brand new songs accompanied by ALO's Zach Gill on accordion.
An hour later Trixie Whitley slithered on to the Which Stage in a long black gown and proceeded to mesmerize the mid-day crowd with her hypnotic and soulful swamp Rock. There were moments during her set when she sang with such power and pathos it literally knocked the wind out of me. The crowd was so awed by Whitley's performance they stood in a stunned silence so quiet that at times you could hear shutters clicking in the photo pit.
I don't think Chuck and I stopped laughing once during a spontaneous and hilarious 15 minutes we spent chatting with Daniel, Thomas and new drummer Johnny Colorado of the Futurebirds. We barely had time to catch our breath and regain our composure before a 4 p.m. press conference that featured comedians Michael Che and Mike Birbiglia, as well as Jason Isbell and Jazz Fusion guitar legend John McLaughlin.
Around the festival grounds today we've heard remarkable performances by Jason Isbell and 400 Unit, Nashville's Alanna Royale and Trombone Shorty.
Coming up later tonight: Wilco, Paul McCartney, ZZ Top and many more.
Cincinnati based Hip Hop tag-team Jova and J. Al, better known as Those Guys, are back at it again with a new single and video, “Soul Food.” The infectious, Trap-style beat produced by Bear E. Crunch combined with the group’s ever-improving lyrical prowess and another well-directed video from Miles Joyner gives the duo a more than edible summer anthem to serve up to all Hip Hop heads out there looking for something fulfilling to chew on. (Check out the group's explosive clip for "You Ain't Know" here.)
So if you’re into “Good Hip-Hop Music” (who isn’t?), check it out.
As Thursday began, we heard the tragic news of two people from the Tristate who were killed in an automobile accident on their way to the festival. (Five others were injured in the same crash.)
All told, Bonnaroo attendees and staff number close to 90,000 souls during peak hours. For this long weekend in June Manchester becomes the seventh largest city in Tennessee, with births and deaths on-site like one would expect in a small city over the course of any 96-hour span.
On a brighter note, this year's festival kicked off with a young couple tying the knot under the multi colored arch at Bonnaroo entrance.
In the late afternoon I wandered through Centeroo, perusing the various vendors' booths. Corporate sponsors abound, but non-profits and independent artisans dominate the Bonnaroo bazaar.
In the shadow of a Ferris wheel and psychedelic light tower a giant throng gathered in and around the area surrounding the Other Tent to greet Cincinnati's pure Pop pride and joy Walk The Moon.
Technical glitches delayed the start of their set but they had the crowd bouncing, clapping, singing along and eating out of their hands from the minute they took the stage.
WTM singer Nicholas Petricca shouted, "We're called Walk The Moon! We're from Ohio!" and the crowd roared as the band launched into their single "Tightrope." This writer has never seen a larger crowd assembled for a performance in the Other Tent and Petricca's buoyant charm and boundless energy kept the crowd pumped and jumping throughout the bands' entire performance.
Later in That Tent, Father John Misty brought the weird and the beard via his sardonic Folk Rock parables. I half-expected the depth and humor of FJM's material to sail over the heads of most Bonnaroovians but I was pleasantly surprised to hear many people singing along. A huge fan of his new Fear Fun album, I think I would have driven all the way to Tennessee just to hear Misty sing "Only Son Of The Ladiesman". He didn't make me wait long, playing it in the No. 2 slot.
(Walk the Moon hotos by Chuck Madden)
EDITOR'S NOTE: For this year's installment of the Bonnaroo Music and Arts Festival in Manchester, Tenn., CityBeat sent the veteran ’Roo team of writer (and musician) Ric Hickey and photographer Chuck Madden down south again to report on the festivities. Keep an eye on this here music blog for updates, pics and more from Tennessee all ’Roo weekend. (If you can't make it to the fest, Cork n' Bottle in Covington is having a "Road to Roo" party that runs through tomorrow's festivities, with a live stream from the fest, drink specials and a rotating collection of visiting food trucks.)
Turkey vultures circled overhead as Chuck and I drove through the rolling green hills of central Tennessee between Murfreesboro and McMinnville, on our way to Manchester for the annual Bonnaroo Music and Arts Festival. Our circuitous route through small towns and backwoods was briefly complicated by pounding rain. But soon the skies cleared and we found our way to the media campground located behind Bonnaroo's Which Stage, happily settling into an area that's just a few minutes walk from the festival grounds.
The friendly spirit of the festival was upon us immediately as we were greeted by new friends, fellow travelers in the campground and other members of the assembled press in the backstage Media compound.
Highlights of our Thursday perambulations included Futurebirds in This Tent, a glimpse of slam-bang Country rockers Houndmouth in the On Tap Lounge and a display of first class Honky Tonk by J.D. McPherson in That Tent that stopped Chuck and me in our tracks.
McPherson had the crowd smiling and dancing to a Rockabilly hybrid that swung like a wrecking ball. Western Swing met Chicago Blues as McPherson and crew featured upright bass, B-3 organ and saxophone for a syrupy saunter through Bo Diddley's "I Wanna Try For You." McPherson himself added some tasteful Telecaster licks, bringing a warbling echo of Surf music to the mix.
Fan-shot video of McPherson swingin' through "Your Love."
“Has anyone seen Kanye lately? I haven’t heard him piss off the world in like a week so I’m starting to worry.” – Tweeted by me on May 16 at 3:59 p.m.
Not 30 minutes later, at 4:28 p.m., this tweet from Rap-Up.com popped onto my Twitter feed, “‘I ain’t kissing nobody’s motherfuckin’ babies. I drop your baby and you sue me’ – Kanye West”
Like many other Kanye West fans, this is what I’ve had to deal with for the last 10 or so years of his solo career. Whether this soon-to-be father is ranting about not being a celebrity and holding random people’s children, drunkenly yelling at pretty white girls at award shows, freaking out Mike Myers on live television or impregnating the bumper sticker on the Bentley of pop-culture, Kim Kardashian, it’s been hard for Yeezy fans to deal with how “cray” Kanye has been since he was thrust into the public eye.
But with his near-brilliant performances of “Black Skinhead” and “New Slaves” on SNL recently (songs from his forthcoming album, Yeezus, due this coming Tuesday), all of Kanye's followers were reminded that Kanye is a lot like your drunken uncle at Christmas.
Sure, it was embarrassing when he threw up on your sister’s gifts halfway through his tirade about “Obama phones” and how the commie teachers at the university you recently graduated from are ruining America’s youth. But after a long clean up session and your mom stops crying, you open up the card that he gave you before his seventh Scotch and the contents inside contain a joint, $300 and a note stating, “Don’t spend it on drugs,” then you’re immediately reminded of why you loved him in the first place.
So no matter what outlandish behavior Kanye comes up with next, I think we all need to be reminded that the “cray” that has inspired Kanye’s less attractive moments is the same “cray” that has been the driving force in creating some of the most genius and interesting songs in Hip Hop of the last decade.
14. “Drive Slow (feat. GLC & Paul Wall)”; Late Registration – As the laidback beat puts the listener in a trance, Kanye paints a vivid picture of a summer spent driving around with his friend/mentor Mali; blasting his demo tape, looking for girls and desperately trying to grow up too quickly. Even though Kanye displays his great storytelling ability on this song, the real accomplishment here is that West found a way to make Paul Wall’s feature not sound ridiculously out of place, which is a feat in and of itself.
13. “Say You Will”; 808’s & Heartbreak – 2008 was a weird year for Kanye. Hell, 2008 was a weird year for all of us. But his unabashed openness (as you’ll see with the rest of this list) about his lady troubles is what makes this a song stick out. The only downside of this track? It gave Drake the green light to be all open and overly emotional on all his records, so thanks a lot, Kanye!
12. “Drunk and Hot Girls”; Graduation – A lot of people don’t care for this song, which is understandable because it’s not one of Ye’s deeper cuts. What this song does do, however, is give a perfectly, comical description of how one-night stands go. Plus, the song ends in him getting this girl pregnant, which brings to mind that slap-in-the-face reality check that every man and woman has the morning after a random sexual encounter (“Oh my god, not only did I overdraw my account at White Castles last night but is this the person that’s going to ruin my life for the next 18 years and nine months?!?”).
11. “Bittersweet”; Graduation – This is the first time Kanye blatantly admits he is in the wrong on a track. Sure, the first half of the cut makes him seem like a total asshole (wanting to drunkenly “shake the shit out of” his girl), but it makes his soul-spilling at the end all the sweeter.
10. “Addiction”; Late Registration – What’s your addiction? Is it money, girls, weed? Kanye has been afflicted by not one, but all three. But hey, that’s what makes this cut great. There is no catharsis or happy ending about how he found his will power and conquered his many ailments. But instead, we get a track about how, no matter what happens, no matter how hard he tries, his will power will always lose to the bad parts of his life, because they are just too damn good to resist – which is something everyone can relate to.
9. “Everything I Am”; Graduation – He’ll never be picture perfect like Beyonce (no one will, ever) or rock some mink boots in the summer time like Will.I.Am (no one should, not even Will.I.Am), but what Kanye can do is spit some harsh truths about public criticism and Chicago violence over a soothing beat. So please, keep talking shit about him at barber shops if this is going to be the outcome.
8. “Can’t Tell Me Nothing”; Graduation – Kanye addresses a few of his crazy outbursts on the first verse of this track (including the whole “President Bush doesn’t care about black people, right Mike Myers?” incident) and handles it with a precision and poise. He admits that the scrutiny and pressure of fame has changed his behavior, but he doesn’t know how to be himself (slightly crazy) without being criticized by the media. Can any of us understand that feeling? No. Does it sound like a bullshit excuse? Yeah. But hey, at least he knows he has a behavioral problem. Admitting it is the first step.
7. “Spaceship (feat. GLC & Consequence)”; The College Dropout – Anyone who has had a shitty job (service industry, retail) would be lying if they hadn’t felt violent urges towards overzealous mangers who take their jobs too seriously. Lucky for us, we can live vicariously through Kanye on this joint instead of becoming the next viral sensation on worldstarhiphop.com.
6. “Jesus Walks”; The College Dropout – This song came out right when I got confirmed, which, as any of you were raised Catholic will know, is also the same time you stop going to church. It made me feel good to listen to Kanye, like his brand of socially conscious, Christ-loving jams were the sole key to my salvation and the only thing that could outweigh my deeply engrained Catholic guilt. Plus, who else could make a club banger about Jesus? Nobody but Yeezus.
5. “All Falls Down”; The College Dropout – Does anyone else remember when Kanye was the self-conscious outsider of the Rap game? You probably don’t, hell, I don’t even know if Kanye remembers. You’d think Kanye’s egotisical façade he has concocted in place of his old persona would force him to listen to his own music more. But, alas, I fear that this Kanye is dead and gone, much like the career of that cute girl from Clueless that was in the music video.
4. “Roses”; Late Registration – “You know the best medicine go to people that’s paid/If Magic Johnson got a cure for A.I.D.S./And all the broke muthafuckers past away/You tellin’ me if my grandma was in the N.B.A./Right now she'd be ok?/But since she was just a secretary/Working for the church/For thirty five years/Things s’posed to stop right here?”
Kanye makes you feel the pain, anger and confusion of his family as they sit at the bedside of his dying grandmother on this track. I cry literally every time I hear this song come on, but I’m emotionally unstable. Then again, I’m pretty sure if you don’t at least slightly tear up; you don’t know what love is or your mom didn’t hug you enough as a child.
3. “Blame Game (feat. John Legend & Chris Rock); My Beautiful Dark Twisted Fantasy – This track is almost “Bittersweet” in reverse because it’s West whose emotions are constantly toyed with by his love interest as she lies about seeing another man. Although this song is mostly serious (especially heavy during the beautiful done Chloe Mitchell poem) it ends hilariously as Chris Rock is revealed as the “mister” (male version of mistress?), reaping the benefits her apparent education at “Kanye West School of How to Wear Some Fucking Jimmy Chu’s”
2. “Through The Wire”; The College Dropout – If you ever question Kanye’s dedication to the craft, go back and listen his first single, “Through the Wire”. Done only two weeks after a car crash that almost took his life, Kanye hit the studio and rapped with his jaw wired-shut. Nowadays, Nicki Minaj can’t even show up to her set at Summer Jam 2012 because radio personality, Peter Rosenberg, dissed her Katy Perry rip-off, “Starships.” So next time you want to diss Kanye, just remember, despite his flaws, he’s one of the only popular artist’s keeping the spirit of hip-hop alive.
1.“Runaway (feat. Pusha T)”; My Beautiful Dark Twisted Fantasy – He pleads without being pathetic. He’s unflinchingly honest without being cliché. But most of all, he’s artistically progressive without losing his knack for pop sensibility. The beat is one of the most simplistic of his career, but never once feels repetitive or overdone by the end of this 7-minute-and-49-second journey. From top to bottom this has to be considered Kanye’s masterpiece, but who knows, he’s outdone himself before.
Other Notables: “Heard ‘Em Say”, “The Glory”, “We Don’t Care”
Proto-Hip Hop legend/innovator Blowfly returns to Newport, Ky., tonight for a show at the York Street Cafe. The altered-ego of Clarence Reid, who wrote and produced R&B tracks for artists like Betty Wright and Wilson Pickett, "Blowfly" began releasing cult fave "adult" material in the ’70s/’80s, his cool, spoken flow setting a blueprint for rappers to come.
Blowfly (who appeared at York Street Cafe last September) has continued to put out albums, notably 2006's classically ridiculous Blowfly's Punk Rock Party, which featured reworked satirical renditions of hits by The Clash ("Should I Fuck This Big Fat Ho"), The Dead Kennedys ("R. Kelly in Cambodia," featuring Jello Biafra himself as a guest) and the immortal "I Wanna Fuck Your Dog," based on The Stooges' seminal "I Wanna Be Your Dog." Reid was also the subject of the interesting and acclaimed documentary, The Weird World of Blowfly, which you can watch through Netflix.
Tonight's show kicks off at 8 p.m. and features special guests Hurricane Hot Pants and Vampire Weekend at Bernie's.
Incredibly impressive young AltRock trio PUBLIC is celebrating the one-year anniversary of its first release, the four-track EP Red, today. In honor of the occasion, the band — one of the “Best New Artist” nominees at the most recent Cincinnati Entertainment Awards — is offering Red as a free download.
Those interested in grabbing all four tracks without paying the usual $5 will have today only to nab it at publictheband.com.
PUBLIC is currently readying a new single, “Honeybee,” which will drop in conjunction with the group’s appearance at the Bunbury Music Festival on the fest’s opening night, July 12.
Give the EP a listen below then go grab your very own copy.
• Death Grips is a primal force of nature that seems built to subvert. Entering the world of this Sacramento-based experimental Hip Hop trio — frontman Stefan “MC Ride” Burnett, keyboardist/programming guru Andy “Flatlander” Morin and drummer Zach Hill — is akin to being trapped in a demented, all-immersive video game designed and conceived by Harmony Korine and Charles Manson. Strap in for a wild, sensory-altering ride.
Death Grips' full-length debut, The Money Store — somewhat improbably released by the bigwigs at Epic Records in April of last year — is a dense, claustrophobic head-trip marked by Burnett’s rapid-fire raps, most of which are hard to discern amid the clanging sonic assault that surrounds him.
The Bomb Squad’s Public Enemy heyday is an obvious touchstone, as is any number of far lesser known art-damaged outfits. A glance at the lyric sheet confirms the workings of a paranoid mind. Try this from “The Fever (Aye Aye)”: “Blade cut me/Sewer drain grated/Bubonic plague/Spreaded faceless/Lurking in the deadest spaces.”
The Money Store is challenging, fully-realized stuff, which makes the details of its follow-up, No Love Deep Web, released six months later, another fascinating wrinkle in the ongoing Death Grips narrative. The trio dropped the sonically spare (for these guys) album as a free download after Epic balked at releasing it so soon after The Money Store. The label supposedly hadn’t even heard the finished “product.” Then there’s the fact that the cover art features a photo of Hill’s erect penis with the album’s title written on it in black magic marker.
And now for the only obvious development in Death Grips’ creative trajectory to date: They have since parted ways with Epic. (Preview by Jason Gargano)
Death Grips performs tonight downtown at the Ballroom at the Taft Theatre. Ratking opens at 8:30 p.m. Tickets are $20 at the door.
Here's a video clip for Death Grips' "I've Seen Footage," from The Money Store.
• Josh Tillman is a funny, hyper-articulate guy with an absurdist streak that makes itself readily apparent in interviews and between-song live-show banter. Yet you wouldn’t know it by listening to the seven solo albums he put out as J. Tillman from 2004 to 2010, all of which were pretty serious-minded, sonically straightforward affairs in the mold of the folkies he once supported as an open act: Damien Jurado and Richard Buckner.
“When I was 21 I wanted to be (seen as) a 40-year-old alcoholic trucker,” Tillman said of his early, vanity-driven persona in a recent interview with KEXP.
Enter Father John Misty, a moniker/conceptual shift that seems to have unlocked the 32-year-old singer/songwriter/multi-instrumentalist’s playful side. FJM performs tonight at the 20th Century Theater in Oakley. Showtime is 8 p.m. and tickets are $17 at the door.
The new outfit’s 2012 debut for Sub Pop, Fear Fun, is a musically diverse gem, moving from the lilting Folk of “Funtimes in Babylon” to the lush Pop gold of “Nancy From Now On” to the atmospheric rocker “Hollywood Forever Cemetery Sings” with seamless grace.
The affecting album-closer “Everyman Needs a Companion” brings to mind a meld of the criminally underappreciated Grant Lee Buffalo and the kinda over-praised Fleet Foxes (for whom, curiously, Tillman was the drummer from 2008 to 2011). Best of all is the rollicking, twang-infested ditty “I’m Writing a Novel,” which features some of Tillman’s most inspired word play and impassioned singing.
Then there’s Tillman’s “performance” as Misty, which takes on a whole new dimension in a live setting. With his lanky frame, handsome, bearded face and slithery-hipped dancing, he conjures Jim Morrison as lounge singer — which, believe it or not, is a good thing. (Preview by Jason Gargano)
Here is the video for "Funtimes in Babylon."
Opening the show is Pure Bathing Culture. The upstart two-piece (and, when live, four-piece) — led by old friends, romantic partners and Vetiver members Sarah Versprille and Daniel Hindman — filled the genre box on its Facebook page with “New Age/Slow Dance/Adult Contemporary/Spiritual.” Though it could be a joke on the band's part, the connection makes sense.
“Pendulum” — a track off PBC's debut full-length Moon Tides — has the pretty reverb and general je ne sais quoi of an Indie Pop song, but its soothing lyrics about swinging like a pendulum and downbeat, sunset-on-a-beach vibe also reflect the band potentially using New Age as a legit influence.
By the time of Moon Tides’ release in late August, when the band leaders are doing the press rounds, hopefully someone will think to ask about this link and close the case for good. (Preview by Reyan Ali)
Here is PBC's video for "Pendulum."