by RIC HICKEY
After 96 consecutive hours of baking in the Tennessee heat and humidity, walking from stage to stage to take in as much music as possible and drinking and dancing sometimes from noon until dawn, even your third and fourth shower after returning home from Bonnaroo can be like a religious experience. Though the festival itself gets under your skin in a way that one does not necessarily wish to ever wash away. Indeed, coming down after the festival, returning to the mundane realities of everyday life, can be a difficult proposition for hardcore Bonnaroovians struggling to simply settle back into their daily routine on planet earth.The fourth and final day of Bonnaroo 2014 found (photographer) Chuck (Madden) and I sun-dazed but smiling, still eager to soak up and savor every bit of music we could. Among the few campers stirring that murky morning, I woke early and wandered the eerily empty festival grounds well before noon. I’ve attended the festival six times since 2006, but Sunday morning was the first time I rode the Bonnaroo ferris wheel. After an hour or so of tapping away on my trusty laptop in an empty press tent, the ferris wheel ride gave me an opportunity to chill and be still for a few minutes, surveying the scene from a bird’s eye view. A crowded cornucopia of bright lights and loud music after dark, it was both surreal and serene to view the Bonnaroo festival grounds silent in the morning.The silence wouldn’t last. Even before I disembarked from the ferris wheel I could hear Lucero doing their soundcheck on a stage that I could barely see in the distance.Chuck’s day began with a pair of bands he would be raving about for the rest of the afternoon: Kansas Bible Company on the tiny On Tap Lounge stage and much-talked-about new arrivals Lake Street Dive in That Tent, where a surprisingly large crowd had already gathered for the band’s 1 p.m. start.Cloudy skies and occasional drizzle kept temperatures tolerable for the first three days of the festival. But Sunday was all clear skies and blazing sun, sending temperatures into the 90s for most of the day. Always an endurance test, Sunday at Bonnaroo 2014 was a brutal trial for the thousands on site who were forced to either hydrate, hunker in the shade, or both, until the sun relented in the early evening. But shade is not easy to come by at Bonnaroo, and sitting in a hot tent is no kind of relief whatsoever. Sunscreen, long sleeves and floppy hats ruled the day. Experienced Bonnaroovians are well-familiar with the physical demands of the festival. It just so happens that after three days of relative ease and comfort, Sunday’s weather conditions upped the ante on a panting throng already sunburned and exhausted.Arguably some of the finest acts on the Bonnaroo lineup were featured on the festival’s final day, as Bonnaroo attendees were treated to phenomenal sets by Broken Bells, The Avett Brothers, Fitz and the Tantrums, Carolina Chocolate Drops, Arctic Monkeys, Shovels & Rope, Washed Out, Wiz Khalifa, The Lone Bellow, Okkervil River and an afternoon performance by Yonder Mountain String Band on the main stage that featured Bluegrass legend Sam Bush on violin.This writer tumbled into the Other Tent just in time to catch a rousing set by Those Darlins. Like Nashville’s Wild Feathers before them on the weekend itinerary, this was sort of a hometown gig for Those Darlins, a band whose founding members met at a Rock & Roll camp in Murfreesboro, Tenn. A sparse but dedicated crowd happily held lead singer Jesse Zazu aloft as she tumbled over the barricade and into the audience. Laying back on a sea of fans’ hands, her guitar squall raged unabated at full steam as her eyes rolled back in her head. (Those Darlins play a free show in Cincinnati this Friday, headlining Fountain Square’s MidPoint Indie Summer concert.)After a ridiculous amount of pre-gig hype, the controversial Kanye West’s Friday night performance delivered nothing but disappointment to a Bonnaroo audience that should have known better to have expected anything more. Saturday headliner Jack White and Sunday’s top dog Elton John showed that good material and passionate, substantive performances will always trump shallow arrogance, hype and bullshit. To Mr. West, who once claimed himself to be “Shakespeare in the flesh,” I submit this famous quote from Macbeth:
“Life’s but a walking shadow,
A poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
It is a tale
Told by an idiot,
full of sound and fury,
Signifying nothing.”Of far greater significance than this writer expected was a stellar Sunday night performance by Elton John, who reeled off one classic after another to close out Bonnaroo 2014. I knew Elton’s set would be great, but I was not prepared for just how truly amazing it was. With a band featuring guitarist Davey Johnstone and drummer Nigel Olsson, who have been with him for 45 years (you read that right), Bonnaroo 2014 was Sir Elton’s first-ever appearance at a U.S. festival. Opening the show with Side One of his classic Goodbye Yellow Brick Road album from 1973, Elton proceeded with a version of “Levon” that concluded with a virtual clinic on Rock & Roll piano playing in the extended outro. Though I was dubious at first about Elton closing out the festival, this two-hour performance instead turned out to be such a stunner that I know I will forever count it among my all-time favorite Bonnaroo memories.Thanks again to CityBeat for this amazing opportunity and to Chuck Madden whose concert photography is simply the best and whose friendship and company are a big part of what makes the Bonnaroo experience so meaningful to me.
by P.F. Wilson
Posted In: Live Music
at 11:28 AM | Permalink
It was quite a treat for area fans of (forgive the term) Alternative Rock as Arctic Monkeys rolled into Covington’s Madison Theater again this past Monday night. As one of the millennium’s most influential acts, the band from the English Midlands can normally be found playing arenas and large theaters, or headlining festivals throughout their homeland and the rest of Europe. Yet, they managed to schedule Covington on this tour, knowing they would easily be able put butts in the seats (even though there are few seats in the venue), which indeed they did. The sold-out but well behaved crowd witnessed the band flawlessly execute a 20-song set, that was heavy on new tracks, but still filled with “hits.” They got right down to business opening with “Do I Wanna Know?” before powering into “Brianstorm” and “Don’t Sit Down ‘Cause I Moved Your Chair.” Lead singer Alex Turner’s banter with the audience focused mostly on the correct pronunciation of “Covington.” He eventually adopted a passable American accent and assured the crowd that a good time was going to be had. That statement was not inaccurate. The band’s energy steadily increased, tempered only by Turner’s occasional breaks to comb back his hair — which the audience seemed to love. Their main set ended with the perfectly arranged trifecta of “I Wanna Be Yours,” “Fluorescent Adolescent,” and “505.” The encore was similarly paced, ending with fan-favorite “R U Mine?”A pleasant surprise was opening act The Orwells. There’s been some heat on this Chicago-based quartet since the Arcs hand-picked them as their support act, and because of their very well-received appearance on The Late Show with David Letterman a few weeks back. Lead singer Mario Cuomo’s vacant yet engaging style captured the crowd’s attention, many dancing and bopping along to the band’s Post Punk stylings. Hope to see them back.
by Deirdre Kaye
Posted In: Live Music
at 09:45 AM | Permalink
There are concerts that are fun and there are concerts that kick your ass. If you were at the sold-out U.S. Bank Arena Friday night for the opening date of The Black Keys first headlining arena tour, you probably got your ass kicked. First up, Arctic Monkeys caused a ruckus on the floor. Most (but not all) of the folks in the seats wandered around aimlessly or sat there, watching listlessly. There was certainly uproar in front of the stage, though. But as the English boys played, sang and sassed, the crowd in the arena filled in and loosened up. It helped that their lighting guys strobed the shit out of them, too. The seizure-inducing lights may have been Morse code for “Love Arctic Monkeys. Swoon over our accents.” If so, it worked. By the time Arctic Monkeys closed with “When the Sun Goes Down,” the crowd on the floor had nearly doubled and, at the very least, those in their seats were nodding their heads and smiling. Those boys put on a fun show. After spending the entire intermission only getting halfway through the beer line, nearly everyone gave up and fled to their seats when The Black Keys began. Not that anyone sat, though — they were all too busy dancing and freaking out. Strictly speaking, The Black Keys may not be from Cincinnati but it’s safe to say we treat them like hometown boys, anyway. Dan Auerbach (singing/guitar) even recalled playing Southgate House a few years ago. Upstairs. In the small room. From a titanic disco ball that lowered from the rafters (for only one song) to the graphics on the screens behind them, the show was far different from their days playing tiny rooms. With each beginning there was an outburst of recognition. The middles of songs gave way to dancing, flailing and air guitar (or drums) and each ending note was drowned out by thousands of shrieks, whistles and catcalls. Two things were learned last night. First, if you have any doubt about the amount of noise that one guitar and a set of drums can make, go see The Black Keys. Their albums don’t do justice to the sheer volume Auerbach and Partrick Carney (drums) are capable of producing. Second, you haven’t lived until you’ve heard an entire arena try to whistle. If you weren’t there, you missed the best kind of Friday night possible. If you were, you’re probably already making plans for the next time The Black Keys come to town.
April 9 • Madison Theater
0 Comments · Monday, April 5, 2010
Arctic Monkeys' latest album, last year's 'Humbug,' was co-produced by Queens of the Stone Age's Josh Homme and became the band's third consecutive UK No. 1 and U.S. Top 25 album, spawning a number of successful singles and EPs. It's only hype if it isn't true: Arctic Monkeys are well on their way to becoming one of Britain's historically great bands.