The Napa music festival will return in 2015 again as a three-day festival, May 29–31. It will again take place at the Napa Valley Expo, according to an official statement made today by Latitude 38 Entertainment, the festival’s producers. Bands have not yet been announced.
“We’re thrilled to be back at the Napa Valley Expo with the support of our community of music, wine and food lovers for 2015,” says L38 CEO Dave Graham in a press release.
The festival mostly cleared its name this year after a fun-filled first year took a nasty turn after the founders failed to pay nearly $10 million in debts after the five-day event. They sold the brand to the new owners, who hosted the event with just three months of planning and addressed nearly every complaint of the previous festival. Many vendors returned after cajoling by the new owners, and the only major issues seemed to be the exit line on the festival’s second day, owing to about 35,000 fans trying to exit to shuttle buses at the same time.
It’s 2am and this is what I’m feeling after getting home from Bottlerock’s biggest and best day: tired, deaf, a little hungry, tired, thirsty as hell, musically fulfilled, nostalgic, sore, tired, and, most of all, happy.
The three-day extravaganza known as Bottlerock began today in Napa, the city known more for restaurants and winetasting than music. To wit, the festival, now in its second year and under new ownership, has focused more on music this year—in addition to bringing internationally famous acts like the Cure and Outkast to Napa, there will also be over two dozen local bands playing at the festival, meaning that over one-third of the bands playing will be from the Bay Area.
This isn’t a new idea—local acts were featured at last year’s festival—but there are more of them this year, and it’s more than just an afterthought. Latitude 38, the company behind this year’s Bottlerock festival, says including local bands was the plan from the start.
“A lot of people didn’t know there were a lot of bands in Napa,” says Latitude 38 CEO Dave Graham. He says they’ve made a new tradition of kicking off the festival with a local band on the main stage. This year, it’s the Napa–based group Grass Child.
On Saturday, the first band to strum a chord, pluck a note, or bang a drum will be local favorites Trebuchet, the indie-folk quartet known for its original songs with glorious harmonies and wide-ranging instrumentation. They’ll be playing on the City Winery Lounge stage at Noon, greeting attendees just inside the main entrance with their explosive tunes and catchy melodies.
The opening slot at a festival is a blessing and a curse. “We don’t have any headliners to contend with,” says Eliott Whitehurst, the band’s mandolinist, guitarist and lyricist. “But at the same time, it’ll be a challenge because we’ve never been in that situation where it’s like, ‘Oh, look there’s all these people,’ and they continue to walk by.”
Whitehurst, who lives in Napa, says he is excited for this year’s festival—not in the least because he’ll be playing in it, but also because the concerns of last year are being mitigated. “Last year, we actually got out of town,” he says. “People in Napa were of one of two minds: either this is going to be awesome… or oh my god, we do not have the infrastructure to handle what is going to be thrown at this city.” With a festival expecting 30,000 people per day for an entire weekend, in a city of 78,340, that’s to be expected. Though he’s sure there will still be challenges, Whitehurst says, “I’m not as afraid of it this year as I was last year.”
Local acts playing in the festival come from as far away as San Francisco, and Whitehurst says about 150 bands sent entries to Thea Whitsil, who also organizes the annual Napa Porchfest, to fill 32 spots. Instead of having an “in” or being owed a favor, as is the case when so many bands are booked for a festival like this, Trebuchet and the other local acts were picked on merit. “That’s why we’re so stoked on it,” says Whitehurst, who knows the industry well, coming from a musical family.
The group made a one-shot montage video as an homage to the big names at Bottlerock, rearranging pieces of about a dozen songs into their own style. It was a hit—garnering over 1,200 Youtube views in just over two weeks. “It didn’t take us too long,” says Whitehurst. “We practiced for a day and maybe did 10 shots of us doing it live.” The festival is filled with nostalgia for those who grew up with the soundtrack of the ‘90s. Whitehurst is no exception. “I can’t deny how fun it will be,” he says. Outkast and Weezer will be great, and, because they’re a sure-fire way to heat things up, he’s also stoked to see Blues Traveler.
Welcome to Bottlerock, 1999! The Napa music festival announced the lineup for its second annual concert, and it’s full of ‘90s nostalgia. Weezer? LL Cool J? Outkast? Ok, I get those, but Third Eye Blind? Barenaked Ladies? Smash Mouth? That’s where I’m lost. I mean, Smash Mouth actually played at the Sonoma-Marin Fair three times in the past eight years. At least Bottlerock didn’t book Tower of Power and Elvin Bishop (nothing against those excellent groups but they play the fair every year, too). Want more ‘90s? Blues Travelor. De La Soul. Spin Doctors. Gin Blossoms. Camper Van Beethoven. Oh, how I wish I were making this up.
The Cure is also headlining, as is Heart. So there’s some ‘80s love being spread around, too. But these old-school bands are being placed alongside hip, young acts like Robert Delong, Empires and Deerhunter. Shoutout to Moonalice for representing the North Bay, maybe they’ll challenge Matisyahu, Sublime with Rome and Tea Leaf Green for the most smoke-filled stage. Oh, and country star Eric Church is the other big name, here. Robert Earl Keen is also playing. Diverse, indeed.
There’s still “more to come,” but I can’t imagine any huge names being announced. Spread out over three days, this will make for an interesting concert. Three-day passes are $249, and will rise to $279 soon. Single-day tickets are not yet on sale, but when they were available last week (at a discounted Napa residents price), they were $129.
As for this little gem, you’re welcome.
The full lineup, mostly for SEO purposes:
Camper Van Beethoven
De La Soul
Hurray For The Riff Raff
Karl Denson’s Tiny Universe
Keep Shelly In Athens
LL Cool J
Matt and Kim
Robert Earl Keen
Sublime with Rome
Tea Leaf Green
The Black Angels
The Stone Foxes
Thee Oh Sees
Third Eye Blind
Bottlerock, the weekend-long Napa music festival that began with a bang last year but nearly fizzled when it wound up owing almost $10 million to everyone from food vendors to port-o-potty providers, has announced that it will return this year under new ownership. Today, it was revealed that not only do the new producers have support from city officials, they’re ahead of the curve as far as submitting permits for the event at the Napa Valley Expo. “I appreciate the fact that Latitude 38 has brought in a team that has us far ahead of planning at this point last year,” says Napa Police Captain Steve Potter in a press release.
This is revealing for two reasons. First, it shows the faith city officials have in the new producers. The city was shorted over $100,000 the first time, and the Expo Center itself was owed over $300,000. Now, with new producers, everyone is all smiles. “The Latitude 38 team has the right business experience, skill sets and vision to make BottleRock Napa Valley thrive in 2014,” says Napa mayor Jill Techel in a statement. “BottleRock puts Napa on the map in a new and good way and as mayor, I look forward to Napa hosting it again.” Wow, that’s almost second base, right there. Keep the lights on, you two.
Bands will be announced in mid-March, say the event producers, but judging from last year’s lineup, which included the Black Keys, Kings of Leon, the Shins, Zac Brown Band, Jane’s Addiction, the Flaming Lips, Primus, Macklemore & Ryan Lewis, the Black Crowes and many others, it will be a big deal. At a pre-concert screening of his movie, “Sound City” last year at the Uptown Theater in Napa, Dave Grohl said it didn’t work out logistically that year, but if Bottlerock happened in 2014 the Foo Fighters would play the festival. That would be pretty darned cool. And while we’re making suggestions, at least one music fan is crossing his fingers for Prince to be top the list of headliners this year, too.
This year’s festival takes place May 30–June 1 at the Napa Valley Expo.
Napa’s Comfort Slacks released their official video this weekend for “Biscuit on My Six,” and it’s highly suggested you watch it. This band makes catchy, fun music that’s so irreverent it’s hard not to find something to love in each song.
In this video, see if you can spot the following: Shake Weight™, a judge, weatherman, a toaster that has the word “cooking” hand painted on it, Etch-a-Sketch™, a man getting a haircut, wine in a coffee mug, a comically large “cigarette,” plastic He-Man™ toy, gold hotpants, underpants that fit four people at once.
The video, which is a genius riff on a local morning television talk show, dares the viewer to contemplete: What’s your favorite type of biscuit? Blueberry? Dog? Gluten-free? Whisker? Sweet? Buttermilk?
It’s a great video, but I have to say I’m a little disappointed that this isn’t an actual show. I’d watch it every morning.
She started as a wave, rolling in from far out in the ocean. She built up steam and, halfway through the show, her jokes began to land with explosions of laughter. Anjelah Johnson is more than a one-joke pony–this California comedian’s built to last.
Slipping seamlessly between “normal” and her lovable ghetto gurrrl voiced-characters, Johnson was a quick study for the audience at Napa’s Uptown Theater last night. Some hilarious jokes were performed so quick and nonchalantly that the audience, largely unfamiliar with much of the culture she was referencing, probably would have laughed even harder had they grown up in a more diverse area. Her opening joke nailed this sentiment. “I’ve never been to Napa before,” says the Mexican comedian who grew up in San Jose before moving to Los Angeles. “I thought it would be more…” and she made a snooty duck face. You know, the ones on every teenager’s Facebook page, but influenced by a glass of wine and a sense of entitlement. Before anyone starts up the hate train, I stress that she said it wasn’t like that. Unbundle your undies, already.
I’m going to sandwich a bit about Kabir Singh’s set in the middle because I don’t want anyone to miss it. This Indian comedian opened the night with hillarious riffs on Indian culture, among other topics. He’s very loud and energetic and it’s tough not to like him. Besides that, his jokes are great. One of my favorites was Indians bargaining: “Even an Indian getting mugged would bargain. ‘I’m gonna shoot you!’ ‘Ok, buddy, how about you just stab me and we call it a day, huh?'”
Johnson recently married a Christian rapper, who was on hand to pose for pictures with everyone leaving the theater. If you search Instagram, just type “Anjelah Johnson’s hudband”–this will yield more results than his name, surely, which I still don’t know. Even though she once had a whole joke about the oxymoronic music genre that is Christian rap, Johnson (and her huge, sparkly diamond ring) seems quite happy with the turn of events. Her jokes about moving in and starting a life together were not as brutal as they could have been. Maybe her biggest peeve was her husband’s use, once, of her toothbrush. “I never even thought of that as an option,” she says.
Johnson mostly went with new material, but a few Raiderettes in the crowd, waving pom poms after the best jokes, caught her attention. She busted out some moves (she was a Raiders cheerleader in 2003 when the team went to the Super Bowl), and even made a Raiders joke (the punchline was, essentially, the Raiders). The Raiders fan in the front row could not argue, and even took off his hat in a moment of shame.
She saved her “hits” for the end, busting out the characters of Bon Qui Qui and the Nail Salon Lady while showing T-Shirts and even a 3-song rap CD featuring the characters. She rapped along with some of it over the sound system and said the idea was picked up by Atlantic Records and to expect a full-length effort soon. With all her skills (she’s a talented dancer, singer and rapper in addition to being ridiculously funny), it’s a wonder she hasn’t landed more movie roles or her own TV show (though she does a significant amount of voice acting). If this album news is true, it could be the crossover hit that cements her career. Hey, good music is good, and good music that’s funny is often even more entertaining.
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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!
“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).
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.