Artists include Southern boy Big K.R.I.T., Kendrick Lamar’s crew Black Hippy, Bone Thugs N Harmony, Common, Curren$y, Tyler the Creator, rap’s most prolific socio-political commentator Immortal Technique, Talib Kweli, Tech N9NE, and of course Wu-Tang Clan.
Unfortunately, some of the really great artists like Kid Cudi, Common, Jhene Aiko and E-40/Too $hort will only perform certain dates, but for a baseline price of $89 (top ticket prices go up as high as $240, and that’s not including VIP) we can’t get too greedy. My guess, and I got five on it, is E-40 will hold down the Bay Area show. But I’m still hoping for a Kid Cudi appearance.
Check this week’s live announcement with Indiana-born, NYC-bred Supernatural (also performing), who set the world record in 2006 for the longest continuous freestyle rap at the Rock The Bells Festival in San Bernardino, CA. He rapped for 9 hours and 15 minutes. Holy shiiiit.
BottleRock is here. And we can only hope it returns.
Arriving late on Friday, I caught the last half of Andrew Bird’s set. I’ve always thought he would be better in a concert hall than a festival, and I still think that. He was good, but there’s something about the violin and looper pedal that runs counter to the spirit of a big rock show. On the next stage, the Shins, who were rumored to have played a warm-up show the night before at the Phoenix Theater in Petaluma to about 15 people, were tight and professional. They’re about as surgically precise as a band can be, sounding just like the record. Almost too perfect, but very good. At the same time, Blues Traveler started tearing into their set. I caught “Run Around” and stayed for a couple songs because, damn, that John Popper can blow! I haven’t heard if he and Charlie Musslewhite, who is also playing the festival, are doing or have done a harmonica duet. I don’t know if the world could handle it.The set up was similar to Outside Lands, but without the one-mile trek between stages. This meant that no matter where you stood, there was music playing. Not that lines were a big problem (the longest I waited for anything was about 10 minutes), but it would suck to know you’re missing the main reason for the $130 ticket because there is not an adequate number of beer stations. The addition of comedy to the festival was tough, making yet another thing to choose from to watch in addition to the great bands. But the comedy headliner each night (last night was Jim Bruer) started at 10:15, just after the last band. Not sure if that meant more or people would stick around because the rock show was over. But there were lines for each of the other comedians throughout the day.
Before the Flaming Lips took the stage (they were the last act of the second stage), it was time to refuel. There was festival food, but this being Napa, there was so much more. Cochon Volant BBQ actually ran out of buns for its pork sandwich, but the line did not diminish upon this announcement. They served instead a plate of just meat and coleslaw, which was incredible. The deep smoke flavor went nicely with a Sierra Nevada fresh-hop Harvest brew, another culinary upgrade from usual festival fare. Tons of restaurants, including Morimoto (of Iron Chef fame), were dishing up fancy foods. And with what seemed like hundreds of wineries on hand with popup tents and tasting lounges, it felt like a good representation of the California culinary scene. Imagine coming from Philadelphia or New Mexico to a festival that not only cares about food but almost worships it like a groupie does a rock band. It made for a good vibe.
Scarfing down my pork and ‘slaw, I got pretty much front-and-center to see the Flaming Lips. I’d seen them at Treasure Island a few years ago as the headlining act, and they raised the bar for me for festival acts. Frontman Wayne Coyne and company did not disappoint. In fact, they raised the bar yet again. Wayne, in a blue polyester suit, stood atop his lumpy, space-age, shiny bubble pulpit with a baby doll in the crook of his arm, cooing an playing with it while the band rocked around him. I’m glad he didn’t do anything crazy like throw it into the audience or rip its arm off or something. It gave that baby a symbolism it would have otherwise not held. The stage faced the setting sun, meaning the band got to watch a beautiful Napa sunset while the crowd didn’t have to squint at sun spots (good planning, BottleRock!). Coyne remarked how beautiful it was, and said how cool it would be if the sun set and then rose again immediately after (this ain’t Alaska, Wayne). He also praised the festival and thanked “whoever got us to play here” because it was a good thing to be a part of. As it got darker, the light show became more pronounced. Lasers, smoke, a truss of lights that moved down from the sky to just above Coyne’s head and shot strobe lights and huge flood lights across the crowd. Being directly in the center, I was blown away. You’ve seen people put hands on their head in that oh-my-god-what-am-I-even-seeing-right-now move of disbelief? That was me several times during this performance. Luckily, there are photos to help explain, because words are hard sometimes. The Flaming Lips received a well-deserved ovation, prompting a real encore (the lights had even come back on already). All this while the headliners, the Black Keys were about half an hour into their set already. People stayed for the Flaming Lips encore, and almost demanded a second encore.The Black Keys were good. Even had a full band for the second half of their set. But if someone could explain why this is the end-all-be-all of bands right now, I’d love to listen. They rock, yeah, I dig that. But Blues Traveler rocks, too, though I suppose they had their time in the sun as well. Leaving the festival was relatively uncomplicated. There were plenty of volunteers directing the masses to the shuttle locations, and five shuttles filled and left at one time, so there wasn’t much of a wait. Upon arriving at the, ahem, parking lot, it was a different story. I hope everyone loaded their car’s location into Google Maps as a “favorite location,” because with no lights whatsoever and no volunteers directing the crowd, finding your car out of 10,000 in five separate lots would be tough. I parked at the back of a lot, and was really hoping I remembered correctly which one because it’s a 15-minute walk back to the dropoff point, and who knows how long from there to the other lots. I was right, and left with little delay.
One more point is the sound. It was excellent, but could have been a little louder on the main stage, especially for the Black Keys. Maybe this was a city ordinance thing, but it’s a rock show. Give it some gas!
Early on in the Robyn Hitchcock tribute show last Thursday at the Fillmore, a smiling Rhett Miller recalled when first saw the British songwriter, opening for R.E.M. in the ‘80s. “I’ve loved Robyn Hitchcock ever since I was weird,” he said, to scattered applause.
While the line between mainstream and subversive are not as clear these days, the offbeat, neo-psychedelic songwriter is undeniably a cult figure, which was evident on this belated 60th birthday bash planned by longtime fan Colin Meloy of the Decemberists. The bulk of the mixed-age crowd (filling only about ¾ of the venue) was clearly unfamiliar with his repertoire beyond minor hits like “Balloon Man” and “Madonna of the Wasps”. Predictably, Meloy and former R.E.M. guitarist Peter Buck received the most applause (Fan: “I met you at a show in Fresno in 1984!”/ Buck: “It wasn’t me.”).
Me? I knew about five Robyn Hitchcock songs walking in, which made the evening an exhilarating journey similar to a star-studded Harry Smith tribute show I attended back in college. Viva Hitchcock was the best kind of crash course on an artist with 30-plus years of material, and I do believe the singer can count dozens more as fans after last Thursday.
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“There’s nothing wrong with PlayStation and jacking off. . . . but it was really messing with my creativity.”
See that dude in the photo up there? Yeah, that’s not Macklemore. Sorry. You’re cruising BottleRock, you see a guy in a fur vest and waxed-down blonde hair, and chances are that with the amount of Macklemore impersonators out there, it’s not really gonna be Ben Haggerty, b. 1983, hit song, “Thrift Shop.”
And what do you care? You’ve come in hopes that your gut feeling on Macklemore is off-base. You want Macklemore, live and on stage, to somehow take those eyes you so irritatedly rolled at first hearing (or, realistically: seeing) “Thrift Shop” and knock them right out of your head, and say: “Hey man, don’t be so fuckin’ jaded, I grew up on Paid in Full too. Just have fun, okay?”
On this night here in Napa, kicking off BottleRock, Macklemore’s “Can’t Hold Us” has just hit Billboard’s #1 spot, and while you’re watching his dutiful set you realize why he enjoys such wide mainstream appeal: there is simply no reason to really hate the guy. He bounces and traipses around the stage as if following an exercise regimen, he delivers his repeated patter as if it were fresh every night, and he shows up on time (big points in the rap world for that last one). (more…)
It’s hard to imagine how such a minimalist band can incite such riotous reaction from crowds around the world. A plain-sounding guitar, melodic bass riffs and a simple snare drum with one cymbal makes up the Violent Femmes, who formed in sunny Milwaukee, Wisconsin in 1980. One might argue that his band, with hits like “Blister in the Sun,” “Add it Up,” “Gone Daddy Gone” and “Dance, Motherfucker, Dance” is truly what made Milwaukee famous.
These are the original folk-punkers. It’s music that simply does not give a shit about what anyone thinks, and these days, that’s a refreshing sentiment. This stripped-down mindset and musical style makes for a memorable concert, creating those fleeting moments where we forget where we are, what we’re doing and all the bullshit in our daily lives.
The only shame is Violent Femmes are playing at the same time as Primus (8pm, Thursday). These bands have many fans in common, and it would be easy to make the completely not hyperbolic comparison to Sophie’s Choice. Which band will you see perform, and which band will die?
Gabe Meyers, co-founder of BottleRock, stood in front of the crowd at the Uptown Theatre last night and asked “Did you ever think this would happen in… Napa?”
He was referencing the four-day music festival, the largest thing to hit the sleepy city since, well, ever. He received thunderous applause from the crowd awaiting an on-stage appearance by Dave Grohl, lead singer and guitarist of the Foo Fighters and drummer of Nirvana, in town last night for a screening of his documentary, Sound City. Meyers then reminded the everyone in the one-third–full venue that tickets were still available for most days of the festival. “Sometimes it feels like a bit of a surf break secret, like you don’t want to tell anybody,” he said. “But we really need people to know about it.”
The attendance for Grohl’s film was affected by the last-minute booking—it was finalized less than a week prior—and because it was a benefit for autism causes, tickets were $100. But the movie is fantastic, especially for audio nerds like myself (I even wore an Onkyo shirt to the screening). Sound City is about the recording console at a fucked up, nasty studio in Los Angeles that recorded some of the best rock albums of all time. It’s captivating for even the non-audio engineer thanks in large part to the vast swath of famous producers, musicians and engineers interviewed for the movie.
“Originally the idea was just to make a short film and it kind of just exploded into this idea,” said Grohl before the screening. “We wanted to inspire the next generation of musicians to fall in love with music as much as we did.” After much applause, he continued, “We decided early on we wanted to make this completely independent of any major studio or any Hollywood shit, we just wanted to make our own movie. It cost a fuckin’ fortune, just so you know.” Cue more applause.
Grohl’s interest in making Sound City was piqued when he learned the studio was closing and selling all of its gear. The band that made him famous, Nirvana, had recorded the album that made them famous, Nevermind, at the studio. Nothing sounds like a recording made at this studio on this board, one of only four like it ever produced by engineer Rupert Neve (it cost twice as much as a house in the area at the time). “I wouldn’t be here if it weren’t for this board,” says Grohl in the movie. So he bought it and installed it in his own studio. The documentary chronicles the history of the board, and of Sound City Studios, and highlights the beauty of analog recording using consoles like this and two-inch tape instead of computers to capture sound.
“I have to honestly say that this is probably the thing that I am most proud of that I have ever done creatively in my life,” said Grohl, “because it’s not for me, its for you.”
There were may cheers from the audience during both the movie and the 45-minute Q&A session between Meyers and Grohl afterward. Music in the movie, all of which was recorded on the console, was blared loud and often, which made the atmosphere less like a movie theater and more like a rock concert. Beer and wine helped, too. Some had too much, like the girl who tried valiantly to remain upright during the autograph session following the Q&A session, trying to get something signed.
All in all, it was a rock concert of a movie, and a smart and fun way to kick off BottleRock.
She is known as the Queen of Rock n’ Roll. Rolling Stone Magazine called her one of the 100 greatest guitarists of all time. She’s hot, she’s vegan and she runs her own NYC-based record label Blackheart Records. Viva La Glam Rock!
“I Love Rock ‘N’ Roll” was originally by the Arrows but Jett’s version hit the stratosphere of classic rock anthems (Billboard number 1 in 1982). If she doesn’t win this year’s Rock And Rock Hall Of Fame nomination, you’ll be stoked you saw her before she becomes embossed in rock and roll gold.
If you avoid Top-40 on the radio and don’t tune into what’s left of MTV, you probably haven’t seen the music video for “Thrift Shop” by Seattle hip hop duo Macklemore and Ryan Lewis. Well here it is, and it’s good – its got nearly 300 million YouTube views for crying out loud.
“One man’s trash is another man’s come up”: they strut grandpa’s coats, jump racks of old blue jeans, and mock everyone in the club with matching $50 t-shirts. It’s an ode to the working class and a big overdue fuck you to capitalism. For all the materialistic lust of the early 2000′s, in post-recession times what else is there to do but hype the thrift shops?
Macklemore and Ryan Lewis perform the official opening night of BottleRock. If you already have a 3- or 4-day pass you can go for free, but you need to fill out the RSVP form to guarantee a ticket. They are asking for donations as little as $1 are requested to benefit Autism Chords and The City of Napa Parks and Recreation. And if you didn’t buy festival passes, tickets are only $40 (purchase them here) – definitely the most affordable show on the BottleRock bill.
From inside the dark, dingy dives of century-old buildings to the roof-top pool bars of boutique hotels, Mexican rockers Café Tacvba are played at least once every hour, of every day, somewhere in Mexico City. They are by far one of the most prolific bands of the “Spanish Rock” movement of the 1990′s. And with the same original members since starting in 1989, their sound is perfected experimental rock. If that makes any sense.
Five years after the release of their last album Sino, which won two Grammys for Latin song of the year, the band just came out with El Objeto Antes Llamado Disco (The Object Once Called An Album). The record is a pretty good look at the band’s sound over the last decade, including their classic mix of alt-rock with ska, electronica, and varieties of indigenous folk music of the Americas – you can hear the entire album here.
The New York Times once called Cafe Tacvba “one of the most important bands in the hemisphere. A smart, cosmopolitan band with a broad streak of lighthearted surrealism.”
Among many great tracks, one of their more famous songs is “Eres“, but this video of “Olita de Altamar” (2013) shows the eccentricity and spirit you can probably expect on stage at BottleRock.
At first, the only sensible reaction was giddy laughter that it was even happening at all. At the SFJAZZ Center last night, Jason Moran’s jazz quartet led a jam session on stage—while in the audience, with the first five rows of seats removed, eight skateboarders held a different kind of jam session on a specially built miniramp. Pretty funny, right?
But a few songs into this amusing pairing, conceived by Moran himself, the serious corollaries between the two art forms of jazz and skateboarding began to make perfect sense. As the band onstage improvised in real time, so did the skateboarders, trying trick after trick. As the band was beholden to rhythm and tempo, so were the skateboarders, slaves to that next transition in the ramp, always approaching. As the musicians played off each other’s ideas, so did the skaters, by positioning their boards on the platform for the more daring of the bunch to use as extensions of the ramp.
The results were nothing short of thrilling.
Moran, wearing a T-shirt from the East Bay hip-hop group Souls of Mischief, compared modern-day skateboarding to the early days of modern jazz at Minton’s Playhouse, “when Diz and Bird and all them were trading ideas and the language was changing so quick.” (more…)