If there is any place to feel like an outlaw, it’s Texas. When weekend warriors kicked up a dust storm at Auditorium Shores, festival goers at Austin’s Fun Fun Fun Fest donned a fantastic array of bandannas, making the crowd look like a menacing Jesse James convention (complete with new age knuck tats). It wasn’t a surprising turn of events. If New York festivals bring out the models and California the starlets, then Austin brings out the weird, the wild, and the most fantastical of freaks. If it hasn’t already been declared, FFF Fest proved that Austin is truly the festival capital of the United States. Thus, in honor of Austin’s most fun (fun fun) event, The Owl Mag brings to you “the weird,” “the wild” and “the most” fantastic aspects of Fun Fun Fun Fest.

The Weird

The choices regarding facial protection:

Danzig

Let’s just get this one out of the way first, shall we? Weird things don’t always have to have a negative connotation, but when it comes to Danzig‘s Friday night headlining performance it’s hard not to go down such a path. Of course, perhaps “weird” isn’t really an appropriate title for a man who’s built his life around bands like The Misfits, Samhain, and Danzig. But what was strange were the rumors (and later revealed truths) as to why Glenn Danzig would not perform. In order they are: he felt sick (true, although when they called in a doctor, the reports are he checked out as fine), it was too cold (true, at 50 degrees he had production halted so the stagehands could put in space heaters and tarp the sides of the stage), he wanted them to chop down a tree behind the stage (unconfirmed), he was unhappy with the stage (true, he wanted to play on the slightly bigger Orange stage where Slayer would play on Sunday), he was dead (false), he was taken into police custody for some reason (false), he was being a big ol’ crybaby (the facts speak for themselves).

OBN III

It should be noted that the FFF Fest guide book was a stellar festival contribution, one that included not only the standard artist bios (although these were better than usual summaries), grounds maps, and set times, but also a Misprint Magazine drawing contest, a “How to Book Fun Fun Fun Fest Guide” and a memo from Slayer on their rider requests. However, weary and tired on the last day of the festival, a quick flip through the guide brought to attention the words “unforgiving stooges-style rock ‘n roll. Fans of: The Reatards.” It was an easy sell for the band OBN III. Of course, it also wasn’t a random comparison. While musically the two hold similar stylings, OBN III‘s lead singer Orville Bateman Neeley also replaced Jay Reatard on recordings for another great Austin band, The Strange Boys.

The moment Neville kicked off the 1-2 count, he embodied the proto-punk, snotty, pissed-off aesthetic. He roamed around the stage, eyes rolled behind his head, kicking and screaming. He got down into the pit and put the mic down his pants, he took glasses off audience members, hit himself with his shoe and finally collapsed on the floor all while spitting out catchy, dirty rock. (While you won’t get the live experience, although you should make a viewing a priority, check out their single “That’s No Way to Rock ‘N Roll.”)

Ryan Gosling

For a moment, the most whispered sentence on the dusty grounds was: “Did you see him? Did you see Ryan Gosling?” And while we did catch a glimpse of the blonde heartthrob, that wasn’t the weirdest thing. What was was that the people of Austin didn’t really seem to give a hoot. Yes, of course media outlets ran with the story and the moment of wide-eyed fascination was there, but in line with what seems to be the growing trend of all-around badassery, the Fun Fest goers were more interested in music than movie star sightings. Huh, what a concept.

NoBunny

The Picture Pretty Much Says it.

That being said, NoBunny is delightfully weird and woefully catchy. Just try, “It’s True” or “I Am a Girlfriend.”

Future Islands

Yacht

Despite the sun highly peaked in the sky, that didn’t stop cosmic misfits Yacht from giving a strong and, as always, slighty strange performance. The set started with a yoga session led by Jona Bechtolt. This apparently loosened all the muscles needed so that Bechtolt and Claire L. Evans could contort, flail, and flip about the stage to their euporhic dance beats and twisted bass lines. At times, Evans resorted to a pandering technique most commonly associated with Gaga (although surely she is not the first), occasionally referring to the audience as “her creatures” or some sort of nonsense. Aside from this however, the set went off without a hitch, and perhaps in the moments of sun-soaked disco the audience really did feel like they were creatures of electro-pop.

Austra

The Wild

Ty Segall

With the ill-fated Danzig banner lowered right before his set, Ty Segall approached the mic with a slight grin, “Hi, we’re Danzig. We’re gonna play you some tunes.” If FFF Fest had one act to root for it would be California virtuoso Segall. Having transfixed much of the left coast for years in bands like The Traditional Fools, Sic Alps, Party Fowl, The Perverts, and Epsilons, Segall is a man who apparently dislikes free time. While Segall is often categorized as garage rock, it isn’t a fitting title. His songs are more corrupt, psychedelic, terrifying, and yet lustful. Segall isn’t afraid to break strings or go far off the metronome count.  He’s what happens when kids leave their parents basement and step out into a world that is frightening, yet electrifying.

If that isn’t enough, Segall closed his set with something personally witnessed only once before. He gave away his guitar. “Here, I don’t want this. Take this and don’t give it back.”

Thee Oh Sees

Wrestling

Tune-Yards

Tune-Yards is perhaps one of the most solid acts debuted within the past 5 years. Merril Garbus seems incapable of a bad performance. Of course, no one is complaining, least of all the FFF Fest Audience who provided the first packed crowd of Saturday afternoon for her Orange Stage show. “Gangsta.”

M83

Guess Who??

…

The Flaming Lips’ Wayne Coyne. Although he wasn’t performing, Coyne proved that he may spend more hours greeting people and shaking hands than he does sleep.

Ceremony

Ted Leo & The Pharmacists

While quite a bit of shade was thrown at the Legacy over the weekend, no one did it better than Ted Leo. Never afraid of expressing his opinions, Leo donned a black wig and came out on stage belting out The Misfits covers that “you all missed” and apologizing profusely for his bad behavior. Well done.

Lykke Li

Trash Talk

“Holy shit, holy shit,” a young man muttered as he clutched the lip of the stage. His eyes were the only thing seen through his black bandanna, big blue orbs that kept darting to his illuminated cellphone anxiously awaiting it to strike 8:15. While the crowd had rushed forward as soon as the stagehands began to set up, there was a strange silence as if a communal vow had been made to inhale and never let go. With a crowd that had faced Danzig, The Damned, Slayer, and a whole stage devoted to a weekend of metal and doom, it should have been a sign when these same people started tugging nervously at their sleeves. Nervous energy simmered into chants: “TRASH TALK! TRASH TALK!”

With the Odd Future gang watching from the wings, and the yelps growing louder, Lee Spielman finally arrived on stage. What happened next was something that can hardly be explained; it must be seen. It was like watching Darwinism happen while pressing a fast forward button.

What Trash Talk does isn’t anything new and the ire it provokes has been witnessed for decades by angry youth. But inside a dusty, enclosed tent it felt like its own apocalypse. Spielman didn’t discourage violence, he championed it. “See those people against the wall? Pull them, take them with you, I don’t give a fuck.” But here’s the strangest part. Despite fearing from your safety, your health, and your bodily functions, there’s something addictive about watching chaos and seeing the world burn. But if you listen to Trash Talk, you already knew that.

Odd Future

On a separate stage, Odd Future followed Trash Talk, a juxtaposition that made them seem almost tame in comparison. That was until an audience member threw a water bottle at Tyler’s face at which point he jumped into the crowd, much of the OFWGKTA crew following. A few moments later, who rushed in to help Tyler by supermanning into the audience like a dark knight of the apocalypse? Why Lee Spielman of Trash Talk. No one was surprised.

The Fantastic

HUM

The Media Tent

Let’s just go ahead and call it: best media tent ever.

Henry Rollins

Living legend is a title too easily bestowed (or perhaps too widely defined?), but Henry Rollins would easily be one of its most deserving candidates (although, to be fair, he would likely scoff at the notion). Given the current confines, it would be impossible to summarize all that he is done (although we can add officiate a wedding as he did it earlier in the day for a FFF Fest couple) or even all he talked about on that late Sunday night. But here are some of the topics he broached: travelings, North Korea, Blue Velvet, scaring the bejesus out of Dennis Hopper, John McCain, drugs, politics, life, longing, and “Life is short. You’ve got to get as many of these stories as you can under your cap.” In his parting words to the audience, where he enthused the importance of the contributions from each generation, he also imagined a world of “24-7 p-funk, Ramones block party.” The man is a genius.

Spoon

Spoon played an exciting and electrifying set to a crowd who calls them hometown heroes. But this quiet moment of the band practicing in their trailer seemed to speak to their never shy, but always graceful and grounded nature.

Girls

In a weekend marked by much thrashing, smashing and metal, there was nothing that stood in such contradiction, nor as so devastatingly beautiful, as the Girls set late Saturday night. An entire crowd swayed with the band back-lit by the Austin skyline, a setting that betrayed itself as despite its openness, it failed to feel anything but personal and intimate. The fragility of such a moment not lost on many with the audience falling into a hush during the softer minutes of songs like “My Ma” and “Love Like a River.” There are few bands that truly make an impact, who you feel will make a difference when the stage lights go out, the writers go home, the photographers turn in their gear. But the band whose songs were heard hummed the most while walking home across the South Congress bridge? Well, that’d be Slayer. But let’s just assume that’s because they were playing at the time.

The best shows this year weren’t necessarily bands that ranked the highest in terms of personal iPod plays, but these particular shows did capture everything a concert experience should be: entertaining, invigorating, and providing an overall I-can’t-believe-that-just-happened good time.

Photo by Phil DeFalco

Metric @ Indie Fest, San Diego on 3/27/10

Metric headlined this neighborhood celebration of indie bands playing in the parking lot of an old theatre. Relatively aloof with the audience and crew, they kicked major ass with the tunes. Emily Haines was a goddess, entrancing viewers in her teeny sequined dress and beat-up boots.

Download: “Help I’m Alive”

-Vanessa Anton

Deerhunter/Spoon @ Fox Theater on 4/13/10

Two of the best bands in the world on the same night, on the same stage! The result was some lightning in a bottle, my friends. It was a damn love fest with both bands stepping in for each other. Deerhunter opened up, and Bradford crowd-surfed with his tambourine, and Spoon showed why they’re the archetype for long-lasting indie rock success: don’t make the music people expect, make the music you want.

Download: “He Would Have Laughed”

-Jeff Bracco

Muse @ Coachella on 4/17/10

Coachella has become my yearly “Spring Break” of sorts, welcoming the summer with open arms and a serious need to soak up a shit-ton of music. Luckily this year there were 79,999 other people to share with me the brilliance that is UK-based Muse. Their live show is mind bending, and will have you questioning the validity of any other music you’ve ever seen.

-Dustin Shey

Local Natives from FYF Fest 2010

Local Natives @ Coachella on 4/18/10

Never did I imagine that a middle-of-the-day performance under the white Gobi tent would be the most memorable of my first-ever Coachella. I’d listened to and loved Local Natives’ debut album, but witnessing their raw talent live was a completely different experience. These multi-instrumentalists harmonized flawlessly while rocking the shit outta their tunes, and blew my mind in the process.

Download: “Airplane”

-Trina Lynn

Frightened Rabbit @ Sound Fix Records on 4/30/10

Frightened Rabbit played a great show at Webster Hall that night, but the day’s most memorable moments came during their incredibly fun acoustic set earlier in the day at Sound Fix Records, where Scott Hutchison abandoned his usually professional stage persona in favor of frequent profanity and prolonged inappropriate inside jokes with the audience. And as big as their songs are with the full band, they also work wonderfully stripped down.

-Kiri Oliver

OONA @ the Independent on 5/7/10

As a recent San Franciscan and longtime live music slut, I gotta say that Oona is the single most standout act from the Bay that I saw in 2010. She’s the most wiry thing I’ve seen since Paramore’s front lady Haley Williams, and has the energy of four Tina Turners. And boys, she’s not bad to look at either – take your girl out, you’ll both enjoy it.

-Dustin Shey

Mumford and Sons @ The Belly Up, San Diego on 6/6/10

There’s nothing like four humble lads from west London to take you away to another time and place. The music is them, and while they play they seem to wear the struggles of the downtrodden. I swear, these gents are not of this modern world, and the entire venue felt it.

Download: “Little Lion Man”

-Vanessa Anton

from The Heavy @ The Independent - 11/10 (photo by Spencer Crooks)

Sharon Jones and the Dap Kings with The Heavy @ The Wiltern, LA on 6/26/10

Ms. Jones laid down her signature hearty soul stylings, including a 10-15 minute review of popular dance moves of the 70′s featuring a medley of soul and funk favorites. Everyone left sweaty and exhausted from dancing so hard.

-Sharon Payne

She & Him from Day 2 - 2010 Treasure Island Music Festival

Bird and the Bee, She & Him, and The Swell Season @ The Hollywood Bowl on 7/18/10

Never before have I witnessed such a perfect combination of sweet, melodic, and stylish bands. A perfect LA event.

-Sharon Payne

Neon Trees @ Slim’s 7/27/10

I only went to about 5-6 shows this year (not enough, I know) and Neon Trees was my topper. They were simply superior in the fun department… more so than any other band: styling, extreme energy on stage, good vocals, and musicianship. Their sound is just straightforward pop, but they’re surprisingly impressive on stage.

-Eugenia Loli-Queru

The Dead Weather @ Don Hills on 8/4/10

Perhaps it was the illegality of being there, perhaps it was the look of terror from the models and corporate suits in the mosh pit, or maybe it was because what began as a half-assed idea of showing up to an invite-only show actually worked. No matter, The Dead Weather show at Don Hills was truly as ubiquitous as the term may be, epic. “Fuck you, you hip motherfuckers,” Jack White seethed to rousing applause, while Allison Mosshart seductively prowled the stage doing all but impregnating the mic. Ahhh, sex and loathing, the rockstar’s guide to a good time.

Download: “Gasoline”

-Olivia Harrington

(photo by Spencer Crooks)

Terror Pigeon Dance Revolt @ Cafe du Nord (Rumble SF) on 8/4/10

I often imagine that I’m just a child and my parents have taken me to see Sesame Street on Ice. In this daydream, myself and 15,000 other people are dancing on the ice amidst streamers and balloons that have fallen from the ceiling with Mr. Snuffleupagus, Big Bird, and the Count. And that’s what TPDR can do to a 30 year old – make them feel like they were a mere child, dancing and singing away, though we all had just learned the songs.

-Dustin Shey

Joseph Gordon Levitt @ Pianos on 8/16/10

Put down the pitchforks! This does relate! Joseph Gordon Levitt’s “Summer In the City” concert/multimedia series was a celebration of his organization hitRECORD (Check it out. Be inspired.), and the man proved he’s a genius on screen, off screen, and with a computer screen. Aside from the night’s other wonders, the host himself sang a version of “Natural Woman” following a performance from Nels Cline. Non-legitimate contribution be damned!

-Olivia Harrington

Michael Franti & Spearhead @ The House of Blues, San Diego on 9/23/10

The beaches emptied out into downtown San Diego with Michael Franti in town. A little reggae and a shit load of funk, and the crowd went insane. For two hours or so, anything that was horrible about life was turned into a giant celebration of strength, determination and pot.

-Vanessa Anton

Titus Andronicus @ Rock and Roll Hotel on 9/24/10 & @ Public Assembly (CMJ) 10/23/10

There simply are no words for how good this band is live. And considering the notably verbose nature of the source, that should say a lot. Alas, perhaps it was Shakespeare who already expressed it best, “If music be the food of love, play on.”

Download: “Four Score and Seven (part one)”

-Olivia Harrington

Muse @ Honda Center, Anaheim on 9/23/2010 & Staples Center, LA on 9/25/2010

I got a double dose of Muse – because once was simply not enough – and I can now die a happy lady. If you’ve never witnessed the powerhouse that is Muse, you are seriously missing out on one of the most dazzling rock bands in the world. Both shows were packed with colorful lights, dizzying lasers, explosive sounds, and giant white balls falling from the ceiling. I’ve never been so thrilled to have white balls on my head! Aside from the amazing visuals, the showmanship and stage presence they had that night was just as impressive as the ear piercing falsetto coming out of Matthew Bellamy. This was Jeff Buckley vocal work x1000. Muse is a dynamite progressive rock trio that had their audience by the throat. Number 1 show of the year – hands down.

-Liz Ortega

Stars @ Littlefield on 9/26/10

After playing NYC’s massive Terminal 5, Stars announced a couple of last-minute shows at small venues, including Brooklyn’s Littlefield. The intimate affair was complete with white roses that littered the stage (and got chucked into the audience periodically, one smacking me in the head), and was the perfect setting for a career-spanning set of Stars’ smart, romantic pop songs.

-Kiri Oliver

The Black Keys from Not So Silent Night @ HP Pavilion 12/10

The Black Keys @ The Hollywood Palladium on 9/27/10

Just great fucking rock ‘n’ roll…two guys, a couple instruments, gigantic amps, some Christmas lights and a jam-packed, sweaty, low-key crowd loving every second.

Download: “Next Girl”

-Sharon Payne

(photo by Spencer Crooks)

Arcade Fire @ The Greek on 10/2/10

I’ve been to a lot of shows, but this one easily tops the list. With unbridled power, energy, and emotion, the band of misfits that are Arcade Fire charged through the stadium like a pack of wild horses. A rarity to see them live, their unforgiving raw talent blasted the at-capacity and overflowing 8,000+ outdoor venue for a life-changing 2.5 hour set on this particular night. This was a show I surely will not forget.

-Julie Dyer

The National @ Pomona Fox Theatre on 10/16/10

Music makes me cry. It’s what I love so much about it, but rarely do I cry at live shows. Yeah, I get choked up, but cry? Naw. Well I cried like a broken-hearted Bieber teen on this particular night. Did I say cry? Silly me, I meant sob. No really, snot and all. This show was a heart-pounding, soulful, spiritual, outer-body experience. I saw God that night, in the image of Matt Berninger.

Download: “Lemonworld”

-Trina Lynn

(photo by Spencer Crooks)

Jónsi @ Fox Theater, 10/19/10

To call Jónsi’s live performance a “concert” is like using “circus” to describe Cirque du Soleil. It’s an experience, much closer to theater than a concert. What the five-member group produces is on par with a large symphony; creating hypnotic, emotional music, inflated by powerful ambient noise that seems to push the walls aside and take the audience on a journey.

-Spencer Crooks

Oh Land @ CMJ 10/20/10

I caught Danish electropop singer Oh Land on the first night of CMJ, and would have gone to every single one of her other CMJ shows (and there were a lot) if I didn’t have so many other bands to catch. She easily won over the audience with her quirky and instantly memorable songs, unique instrumentation (a “contraption” topped with balloons that showed projections), beguiling stage presence, and daring sense of style.

-Kiri Oliver

Face to Face @ The House of Blues, Anaheim on 11/11/2010

This is a band that has not toured much since their recent reunion, so to be able to catch a one-off show in my neck of the woods was almost mandatory. Face to Face came equipped with nothing but the classics. They dove head first into their most stellar albums to date; Don’t Turn Away, Big Choice and S/T. They also debuted a few songs off their much anticipate release, Laugh Now, Laugh Later (2011). I can honestly say, with conviction, that the majority in attendance were hardcore fans, and those who were newly exposed to the punk band from Victorville, CA — left madly in love. I was thrown back to 1995, when I was a carefree teen with no direction in life. Face to Face made so much sense to me this particular night. I understood my place. This show is near and dear to my heart.

-Liz Ortega

from Weezer @ Nob Hill Masonic Auditorium 11/29

Weezer, Best Coast @ Gibson Amphitheatre, LA on 11/26/2010

I can hardly say I am a true Weezer fan, but I am not alone when I say that the Blue album was probably their best album, ever. Luckily, Weezer set out on a Memories Tour and on this select night, performed the entire Blue album! I have never been surrounded by so many nerdfans in one setting. Not that there is anything wrong with nerdfans, I mean, who I am to judge? I love Journey. This show was fantastic not only because I got to hear my favorite album but because Jorge Garcia, from ABC’s Lost, made a cameo on stage and sang along to “If You’re Wondering If I Want You To” with Rivers Cuomo. Weezer mixed it up in the beginning, playing songs from various releases (in order). I enjoyed listening to Bethany Consentino of Best Coast, who lent her voice on “Island In The Sun.” My observations conclude that every single person at the Gibson Amphitheatre had their wildest dreams come true. I may have possibly been converted.

Download: “Boyfriend” (Best Coast)

-Liz Ortega

OK Go @ Club Nokia, LA on 11/27/10

Dressed in red, yellow, blue & green the band of music-video fame shot their confetti wads as if it was somebody’s birthday (oh wait, it was… mine!) Not only did OK Go put on a stellar show musically but also theatrically with beaming lazers from furry guitars, performing “What To Do” on the hand bells (!!!), and showing their video for “White Knuckles” in 3D. When was the last time you wore red/green shades with a couple hundred other music lovers? It was a show of colossal proportions and the perfect way to usher in the next decade of my life.

Download: “White Knuckles”

-Trina Lynn

Ah, the radio station sponsored summer festival. The show where everybody and their little sister is there. Walking into Shoreline Amphitheater for this year’s Live 105′s BFD I had the same pout as everybody else (besides the crazy FlyLeaf fans) that the lineup was less than desirable. This however, turned out to be a reasonably decent show, despite the mass amounts of hackeysack games being played (poorly) around the venue.

With two stages and a tent, there’s something for everybody, however most people I asked who they were there to see, they just gave me a blank stare and said “uhm, everybody.” This makes for a boring crowd to say the least. Unenthusiasm was abound for some of the best sets. Spoon played an incredible set (as usual) yet the crowd stood there and only slightly moved around for “I Turn My Camera On.” Brit Daniel’s voice live never ceases to amaze me, but I suppose that’s just not good enough for everybody else. The Temper Trap also fell to the radio-friendly crowd while playing one of the best sets of the Festival stage. Every single member played with extreme vigor and the switches between guitar and high hat and drum shows how versatile frontman Dougy Mandagi is. The crowd of course, was relatively dead for most the set, although they did know the words to (only the chorus) of “Sweet Disposition.” Typical.

The general ambiance of the Subsonic tent was very sweaty and dancey, even the Shoreline security got into the DJ sets by Dyloot and BT. The Limousines, subsonic tent alumni and local favorites, played harder and louder than I have ever seen them. Along with new material, iPad fingerbanging, and confetti – they also announced that their first full length album is due out next month. The headliners for the tent were the mind blowing Matt & Kim. There are very few bands who sound better live than recorded, and they are one of them. The pair’s stage presence is phenomenal, full with climbing on top of speakers, drums, and even booty dancing on top of the crowd. Kim hits her drum kit faster than anybody, all with a huge smile on her face while Matt compliments it with another smile and charming vocals and keys. There’s more to them than the cute factor, their live set can surely turn any cynic into a super fan.

Hole started the 90s flashback at the main stage, and surprisingly better than I expected after seeing them a couple months back at Terminal 5. I could go on about the shouting instead of singing or how Courtney Love just isn’t how she used to be, but that’s a tired concept and she knows it, stating “I’m old and I can’t sing, so give me a fucking break.” The fact is, although the quality isn’t the same, she’s an icon whether you want her to be or not. She knows what people think, but she doesn’t care. She continues to make new music whether you want to hear it or not, (she begged the crowd to let her play new songs with rewards of playing tracks off Celebrity Skin “for you fuckers that can’t get out of the nineties” ) Surprisingly, the best of the set were the two covers they played. The first being Leonard Cohen’s “Take this Longing” which put the entire amphitheater in a complete silent awe which Courtney later thanked them for. The set closed off with a cover of Alex Chilton’s “Big Star” which she showed some humbleness and took a step to the side for the guitarist, whom she had earlier yelled at on stage about the set list, for his solo. While her crazy antics have toned down, her boobs “stay in these days, but they’re still perky!” as she explained to a fan, this is the perfect analogy for herself.

The headliners were Sublime with Rome. Now, I went into this set with a bad attitude and expecting it to be terrible. Now take note because I don’t swallow my pride often, but they were actually pretty decent. They had a weird set up that was less Sublime with Rome and more Rome with Sublime, as he way up front and everybody else in the back, despite this everybody but Rome provided a quality performance. Drummer Bud Gaugh made the show worth seeing, while Rome’s vocals were decent as a lead to massive sing-along’s to old favorites (he’s still no Bradley though) and his guitar playing lacked luster. Fortunately, I doubt anybody noticed what with the massive smoke cloud hovering over the amphitheater.

BFD lessons learned: nostalgia does wonders for filling a show and there’s always some shining gems in a not that great lineup.

The last day of Coachella is always bittersweet, with the lack of energy and dehydration everybody is laying around the grass telling all their friends how badly they don’t want to go home. After an incredible past two days, I had a rough start to my last one (an unfortunate sunburn and missing two great bands I had planned on seeing—MuteMath and Local Natives). Fortunately, I got to the festival just in time for Florence and the Machine. Fully equipped with attitude and a harpist, the set truly peaked when Cold War Kids frontman Nathan Willet joined for a duet on the song “Hosptial Beds.” Shortly after was Julian Casablancas‘ set. I went with low expectations as I had heard the poor reviews from the shows he did a few months ago. Those low expectations were equally met with a low quality performance. There was no dance party, people showed up for “11th Dimension” and to ogle at Casablancas’ tight red jeans, and the entire set was utterly dull. However, I will give props to the fact he played “Hard to Explain,” making me and everyone else dream he’d quit the act and put out the new Strokes already.

Spoon had a phenomenal set, including special guest Deerhunter’s Bradford Cox playing guitar and White Rabbits frontman Stephen Patterson on drums for “Who Makes Your Money.” After seven albums and multiple tours, Spoon still delivers a set that leaves you wanting more. Towards the end of their set, the crowd started thinning out as people started making their way to the Phoenix set. A chart-topping album and a car commercial have done wonders for the Frenchies. By the time I made the transition, the closest I could get was a mile or so back from the stage. In their entire set, there was not one dull moment on and off the stage, the guys next to me discussed “with this band – every song is a hit.” I couldn’t agree more.

Pavement, one of the main reasons I made the trek to Coachella in the first place, were the best set of the day. It was the first time I’ve seen them since I was 5 years old and they made sure I instantly fell in love with them all over again. Playing a set that was as Stephen Malkmus put it “the 90s in a nutshell,” the slacker-indierock forbearers played every song just like how they would have 20 years ago, with extreme vigor and clamorous passion. There were definitely no bottles being thrown during the hour like the last time they appeared at Coachella, although the crowd was thin most likely due to the mostly born right as Pavement’s Slanted and Enchanted was released.

After hearing the rave reviews from the show last week at the Fox, I was excited to see Thom Yorke, err, Atoms for Peace, even though my energy level was at about a 2. The super 90s icon group comprised of Yorke, Chili Peppers’ Flea, and Nigel Godrich played the whole album, Eraser. I have a newfound appreciation for bassists after watching Flea rock it on “Harrowdown Hill.” For the encore, Yorke re-emerged with two awe-inspiring acoustic Radiohead songs and was then joined by the other atoms for “The Hollow Earth” to close out the festival with a bang for those who decided to skip out on Gorillaz such as myself.

The end of Coachella means back to reality, but at least it’s only a little over a month until Sasquatch!

photo by Mike Rosati

Two of my all time favorite bands on the same night, under one roof?! I mad dogged my contact for months for this show. I can’t remember anticipating a show more: the closing end of the Spoon/Deerhunter super tour. Love was in the air between the bands and the crowd.

photo by Mike Rosati

When Spoon broke into “Before Destruction,” it became clear that their studio tricks translated well live, and songs like “Who Makes Your Money” (with a guest appearance on guitar by Bradford Cox), “Is Love Forever?,” and “Nobody Gets Me but You” sounded better than they do on the record. Spoon is so easy to like. Even when they are experimenting and making some pretty weird music, their pop foundation makes it fun and accessible. “My Mathematical Mind” twisted and turned, with guitars breaking in from unexpected places. “Everything Hits at Once” featured a Brit Daniels howling “I Summon You” brought the house down, as did the cover of Wolf Parade’s “Modern World.” The encore really had the people moving with “The Underdog,” “I turn My Camera On,” and “Cherry Bomb.” It was an effortless hour and a half set.

Deerhunter is a very different band than Spoon, but no less brilliant or compromising. Challenging to the point of frustration one moment, making shockingly beautiful pop music the next, Bradford Cox and the boys are a bit of an enigma. It’s part of what makes them so beloved by their fans. They wound up to “Cryptograms” to start the set, stretched out “Never saw it Coming”, and transformed “Disappearing Ink” into a 10 minute epic set closer with cameos from Spoon’s Rob Pope and Jim Eno. As the band was ripping, Bradford started talking about the absurdity of death and the value of friendship. It was really poignant, actually. Then he decided to crowd surf as he played his tambourine. Embraces were shared as the bands left the stage and you could feel the fondness and respect between the two groups.

Starbucks knows how to capitalize on those of us poor saps who like to see some of our favorite indie artists cover some of the most rockin’ love songs ever recorded.

Read the full story

A valid argument can be made for Spoon as the “Best American Rock Band” currently making music (Wilco is right there as well) as far as consistency goes. You’d be hard pressed to find a band that has that has produced albums as satisfying over the last seven years. They also have the following to show for it with three sold out shows at the legendary Fillmore.

The show started at just after nine with “Mathematical Mind,” and finished close to eleven with an excellent cover of The Rolling Stones’ “Rock’s Off” with the horns and all. It was a highly enjoyable set with the guys pushing the limits of the rock genre. Taking the crowd from a dance party with “I Turn my Camera on” and “Don’t You Eva,” to a head shaking cool fest with the rock anthems of “The Beast and Dragon Adored” (Daniels ripped on guitar), “Jonathan Fisk,” and “Rhythm and Soul.”

When the band slows it down as on “Black Like Me” and “I Summon You” the textures of Brit Daniels voice really shine, as does the bands impeccable patience. The intimacy of “The Ghost of You Lingers” showed the bands range and willingness to experiment. “You got your Cherry Bomb” and “The Underdog” got the audience jumping, with people yelling out as Daniels pounded on the acoustic guitar and the horn section went nuts.

I’ve seen the band a handful of times, and they’ve been sharper than they were on Monday, but Daniels said it was the first time they’d played in a while. And still, the show was a blast.

- Review submitted by Jeff Bracco.

Artist: Spoon
Album: Gimme Fiction
Label: Merge Records
Genre: Rock/Pop
Rating:
Buy it >>

Britt Daniel and Jim Eno seem to thrive on ignoring conventional wisdom. After Elektra Records dropped them back in 1998, they responded in 2001 with Girls Can Tell, which sold more records that year than their entire back catalogue had managed in five years. While people were trying to figure out 2002′s Kill The Moonlight, they toured the hell out of it and eventually saw one of its tunes (“The Way We Get By”) placed on “The O.C.” Their latest album was pushed back from its original release date nearly a year ago, and speculation ran wild, claiming that they’d finally run out of ideas and were trying to micromanage a dud into something passable.

Well, if that is the real story, it worked. Pushing aside the more quirky pop Spoon has become known for, Gimme Fiction is an ode to straight-up rock ‘n’ roll. Channeling Billy Joel’s bouncing piano lines and mining The Rolling Stones for a few of their disco-ish moments, you’d have to be dead to avoid singing along to this record. Words of wisdom from Daniel himself: “When you don’t feel it, it shows/ They tear out your soul/ But when you believe, they call it rock ‘n’ roll.”

- Review submitted by Mike Krolak.