When a redheaded female with adorable bangs, a cutesy red dress, and bright red lipstick walked to the drumkit on Thursday night at Great American Music Hall, that was all anyone in the hundred-or-so person crowd needed to see to be slightly interested in the Parson Redheads. From there on, these openers filled the venue with sounds plucked straight from the ’60s, if not straight from The Byrds tour bus.

The long stringy hair of the Parson Redhead men didn’t help to disprove this theory. But if I’m dating myself mentioning their Byrds-like aesthetic, then a more contemporary comparison would be a noisier Fleet Foxes as the Parson Redheads have mastered harmonizing. So much so, that they grabbed everyone’s ears with an a capella Beach Boys cover of “Surfer Girl.” It was flawless and if that’s their regular shtick, then the Parson Redheads are a top-notch opener worthy of your earlier arrival.

Then it was onto the headliners, the Fruit Bats, who found their places on stage before an intimate, yet highly attentive audience. The quintet who lifted their instruments have been through a handful of changes over the years, but lead singer and guitarist Eric D. Johnson has always remained. In fact, Johnson mentioned that the last time the Fruit Bats played Great American was in April 2002, and it would be safe to guess that Johnson is the only Fruit Bat still on stage since that last go.

So it was Johnson, a man whose looks fall somewhere between pint sized soap star and dreamy Marlboro man until he slipped his thick framed glasses on at the end of the night. First, he led his band straight into “You’re Too Weird,” “Tony The Tripper” and “Heart Like Orange,” three new songs off their latest and generally positively reviewed album, Tripper. The diminutive crowd got raucously loud. They loved him. The new songs sounded even more excellent live.

But like a well aware musician, Johnson offered that this would be the end of new songs for a bit and the bulk of the set then fell to older tunes, mostly from 2009’s The Ruminant Band. Folk-country-rock songs were abound and when their modest hit, “My Unusual Friend” made its way into the mix a small dance party was underway at the back of the concert hall. The movements spread throughout the night, especially with the help of a tambourine, which made it impossible to stand still. During “When You Love Somebody” the whole assembly was foot stomping and hand clapping.

At the height of the dancing, the tambourine and all instruments were laid to rest for a break. However, the pulsating continued as the crowd rhythmically stomped, demanding an encore.

First Johnson returned for a solo rendition of “Singing Joy To The World,” afterwards his band mates reappeared, and then guest guitarist Bob Parins from Vetiver joined the mix as they closed out the night with “The Ruminant Band.” Even if these guys weren’t the ones on stage back in ’02, it sounded so tremendous you’d have never questioned that they haven’t been together for ages.

Ultimately the highlight of Day 1 at Seattle’s Bumbershoot Music Festival was San Francisco’s Vetiver. With soulful vocal harmonies and feel-good melodic instrumental breaks, this rock quintet molds a sound destined to raise your spirits and move your body.

Troy Andrews aka Trombone Shorty, the 25-year-old front man of Trombone Shorty & Orleans Avenue, is best known for his funky antics on the trumpet and trombone. But the unexpected highlight of catching two sets from the band, one in the Bumbershoot Music Lounge and the other on the Starbucks Stage, was Andrew’s beautiful soulful voice as the young musician belted out lead vocals during each song.

STRFKR played a captivating melodic set at the KEXP Bumbershoot Music Lounge at Bumbershoot in Seattle.

Nortec Collective Presents: Bostich+Fussible and Shabazz Palaces played ethnically-infused electronic sets Saturday afternoon at Bumbershoot in Seattle. The Tijuana-based Nortec Collective Presents: Bostich+Fussible played Northern Mexican techno featuring tuba solos by Adrian Rodriguez. Shabazz Palaces is a Seattle-based hip-hop electronic group.

Seattle’s Craft Spells played an upbeat melody-driven rock set at on the Fountain Lawn Stage.

Minus the Bear rocked out an exciting dance set late in the evening on the Fisher Green Stage on Saturday. The decade-old band is promoting its latest record, OMNI.

Mavis Staples closed out the first day of Bumbershoot with a spirit-rich gospel set. This Grammy awarded singer has some seriously well-conditioned vocal chords.

Click HERE for more badass photos of Bumbershoot Day 1.

Sea of Bees‘ frontwoman, Jules Baenziger, is quirky and giggly. Years ago I met her in her suburban hometown near Sacramento, attended a show of hers at the now shut down venue The Underground, and bought lattes from her at her day job. Now she’s a touring musician, garnering attention from the likes of NPR, SPIN, and LA Weekly. Her latest album Songs For The Ravens came out June 1st and while the instrumentals are acoustic and sweetly endearing, her voice is an indescribable warmth whose uniqueness has to be heard. Jules was kind enough to chat with us right before her SF show at Café du Nord.

The Owl Mag: How did the name Sea of Bees come about?

Sea of Bees: I did a lot of house shows and it actually wasn’t thought out too hard. My friends knew me as Julie Bee and I think I was just not thinking. So I just said “Oh hey, I’m the Sea of Bees.” Maybe it made sense. It came out unexpectedly.

The Owl Mag: Could you talk a little bit about which artists influenced you growing up?

Sea of Bees: Jeremy Enigk, lead singer of Sunny Day Real Estate, his solo stuff was my jam. I didn’t have that many… Sigur Ros.

The Owl Mag: How was your experience over in the UK? Do you think you’ll be heading back for another tour anytime soon since you signed to Heavenly Records based out of the UK?

Sea of Bees: Yes, I’m going back at the beginning of next year for the next album. They’re beautiful people. I came over not being known at all, and it’s been a trip. I was over there for three months and it was way cool. It was a good response, a really good response.

The Owl Mag: If you could only listen to one album for the rest of your life, which one would it be?

Sea of Bees: I want something full of life and sorrow: Rubber Soul by The Beatles. They had sadness and joy in it. No matter what, The Beatles will forever be number one in my book. I love that song that goes, “I’ve just seen a face I can’t forget the time or place where we just met./She’s just the girl and I want all the world to see we met.”

The Owl Mag: Is there anywhere you have to visit when you come to SF? Restaurants, shops, venues?

Sea of Bees: Café du Nord, Amnesia, Bar Jules, and Phillips Coffee, and I like the bagel shops. Just driving by them is good enough for me. When I make days for SF I try to go to all of those. I love Vetiver by the way. They’re fucking so fun. I love Andy [Cabic]. He’s been such an inspiration for me. When I started to record the album I was worried, but he said it won’t be long. He would come into the studio and make me feel better about it. It’s a lot of work. I think people think it’s an easy thing, but it’s like, no, you work every day in the studio and you keep track of what’s going on, meeting the right people. My new label, the publicists; there’s just a lot of teams involved and a lot of work to prove you can do what you want and do what you love. (Check out our recent interview with Vetiver‘s Andy Cabic here.)

The Owl Mag: How long have you been playing shows in the Sacramento area and which venues would you say are your favorite?

Sea of Bees: My favorite place to play in Sacramento was the old Sun Castle. It was called Sun Castle and it was one of my friend’s house shows. She put on massive house shows. It was really cool and intimate. Just played at Ace of Spades; that was cool. I think they only do metal shows, but randomly they did a show for us and Calexico so that was really nice.

The Owl Mag: Do you think “Harry and Lola” will make it onto any future EPs?

Sea of Bees: I wrote that for my friend in Honey Trees. It was pretty much about our cars ‘cause her’s was Lola and mine was Harry and what if they were in love? It was definitely something inside of me that wanted to have that kind of love that was sweet… like growing old with somebody that you really care about. I don’t know! You know, if I play with it. Some things are just in the past. I would do it for someone else. It wouldn’t be just for me. I like weird noises. I’ve been listening to a lot of Beatles and a lot of Beck. Just the textures and the sounds; Sparklehorse. You know that texture that’s soft, I kinda want to bring that out.

The Owl Mag: How do you think this next album going to be different from Songs for the Raven?

Sea of Bees: Definitely going to be different. I’ve been messing with the bass tracks. Not so folky, not so acoustic. I think it’s whatever is inside of you at the time, in your heart, brand new, fresh, a lot more textures, and stronger vocals where I know what I’m doing. I didn’t know recording during the first album, I didn’t know studio stuff that well. I know what I want and it’s going to have more pretty textures and good feelings. But not too folky at all, it’s going to be very… I don’t know… sparkly.

Watch the video for Sea of Bees‘ “Skinnybone”:

Sea of Bees – “Skinnybone” from Gravity Sleeps on Vimeo.

Photo by Alissa Anderson

While some people are very opinionated about where their ideas come from, Andy Cabic from Vetiver was reluctant to put a label (besides Sub Pop Records) on his music, leaving his fans to conclude what they will. His ambiguity is par for the course because it leaves the audience to form their own opinion, which has worked out well for the band. Their  fifth album Errant Charm was released on June 14th, 2011. Cabic talked with The Owl Mag about Errant Charm, touring, and why he loves doing what he does.

The Owl Mag: Errant Charm, your fifth and latest album was released mid-June. In your eyes, was it as well-received as you had hoped it to be?

Andy Cabic: I don’t know. My peers and friends seemed to dig it. I don’t try to anticipate them or care whether or not they reflect what I thought they might. But I don’t really know. I don’t assume anything I do will be well received.

OM: Did you accomplish what you intended to do with this album?

AC: The goal I really wanted to have wasn’t a goal; it was more of a matter of process. It was a reflection of a long, working relationship with Thom Monahan my manager. The prior two records I made were done in the studio live; this record wasn’t done that way at all. It started with myself and Thom in his home studio and some ideas, without a full song pulled together, and we just kind of started working on stuff. That’s sort of the difference between the past couple of records and this one.

OM: In the description of Errant Charm on SubPop.com, it is described as some of your “most unabashed pop songs to date.” Why do you think this album has a more poppy sound?

AC: The songs are poppier – those are the kinds of songs I was writing. I don’t really know why, it was what I was feeling at the time.

OM: What are the best and worst parts of being on tour?

AC: The best parts are getting to meet different people in different places and connect with friends that are scattered around the world and getting to play music with my friends who I don’t get to see unless I’m on tour with them. The worst parts would be waiting around, having to eat food you don’t want to eat; there can be lots of bad things but you try to offset them with concentrating on the good things.

OM: What do you miss most from being at home?

AC: Well, my neighborhood, the weather, my friends here, my apartment and all the things in it; the girlfriend.

Just when you thought it was safe to come up for air, the juggernaut that is Outside Lands 2011, bites at your ankles pulling you back into a swell of music and debauchery. With the announcement of OL night shows you might as well throw in the work towel now. August might see a spike in unemployment and an increase in Advil sales.

Clap Your Hands Say Yeah
Wednesday, August 10th
The Independent
San Francisco, California
9PM
$20
21+

Best Coast
Eskmo
Thursday, August 11th
California Academy of Sciences
San Francisco, California
6PM
$12
21+

The Original Meters
Thursday, August 11th
The Independent
San Francisco, California
9PM
$75
21+

Arctic Monkeys
The Vaccines
Friday, August 12th
The Independent
San Francisco, California
10PM
$35
21+

Vetiver
Friday, August 12th
Rickshaw Stop
San Francisco, California
10PM
$15
All Ages

STS9
Saturday, August 13th
The Independent
San Francisco, California
10PM
$35
21+

Warren Haynes Bands
Sunday, August 14th
The Independent
San Francisco, California
10PM
$30
21+

The annual FYF Fest (F’ck Yeah Festival) in Los Angeles wet our indie-music-loving ears this past weekend and yours truly was present to get the goods! This was the seventh year that FYF Fest has brought forth indie artists to Los Angeles music fans; however, this was my first trip down the aisle of The Los Angeles State History Park. Will I return next year? F’ck yeaaaIIIIII I’m not so sure, probably not.

In the week leading up to the fest organizers changed the schedule more often than they changed their underwear which created a bit of a stress-fest in my OCD planning, but I got it nailed by Saturday morning and was ready to tear the place apart once we got inside the park. Keep reading for a breakdown of the artists we heard, the images we saw, and even some we wish we hadn’t.

Abe Vigoda – Our official FYF kicked off with Los Angeles tropical-punk-electro-pop band, Abe Vigoda (don’t ask me where the tropical comes from, got that off their website, and oddly enough, it fits). We were lucky to have even caught the remaining two songs along with getting a couple of snapshots as we essentially ran to the stage once we got behind the pearly FYF gates. Abe Vigoda is a kick-ass band with a new album out this month. They are definitely worth checking out. A fabulous way to start the day!

The Blow – What I love most about Khaela Maricich’s music is that her effortless vocals make me feel as if we could be listening on a dusty-orange velvety couch. The quirky New Yorker wiggled like a caterpillar about the stage as her sound-chick took care of the laptop pop from a tent fifty feet away. As much as her voice was spot on sweet and the electronic beats were as clear as a bell, her set felt more like a beauty-pageant talent show rather than a music set worthy of a festival. I truly adore her musically, but seeing her live was, unfortunately, painful.

Screaming Females – My husband is a product of the 80’s punk rock era of Black Flag and The Germs so given that Screaming Females were performing on the same stage post-The Blow it was a no-brainer to stick around for their set. The three-piece punk band (only one screaming female, by the way) out of New Jersey earned the honor of taking my live-punk-rock virginity. Amazing sound, kick-ass energy, sensational set! Thanks, Screaming Females; I’ll never forget our special time together.

Vetiver – I know nothing of this band other than they performed at FYF Fest. While between sets we opted to cop-a-squat on six square-feet of grass to catch our breath and hydrate. In doing so, luckily for us, we became acquainted with this Phish-esque band. They were an utterly charming group as well as the perfect soundtrack for our afternoon recess.

Warpaint – Is there anything sexier than a quartet of gorgeous women making exquisite music? A quintet of course! I think not! Warpaint battled the heat as their gritty guitars and beautiful yet haunting vocals soared above concertgoers. The band left us in awe with songs including “Elephants” and new song “Undertow” from forthcoming debut album The Fool. Oh, Warpaint, what you do to me. I will return to see you again, and again, and again, and again.

Best Coast – The reverb-heavy-surf-rock trio, warmed up for their fall tour performing for their LA fans. Front-woman, Bethany Costentino, strummed on her sea-blue guitar wearing shorts, a sun bonnet and shades while bassist Bobb Bruno, played far to her left. They kicked off their set with “Boyfriend” and continued to perform their entire debut album Crazy For You. As their set progressed Best Coast sent their fans into a swirl of happiness. That is with the exception of us. Although the LA rockers sounded exceptional, their stage presence was about as exciting as eating Cheerios. Bethany, you may have porcelain white skin but you’re certainly not made of porcelain. Next time might I suggest some movement, you won’t break, I promise. Oh, and ditch the shades, eye-contact goes a long way.

Wavves – I shamefully admit that one of the driving forces behind my choosing to see the noise-pop band from San Diego was to witness the antics of jack-hole lead, Nathan Williams. I was curious to see if the frontman had adequately pulled it together for Los Angeloneans after his meltdown at Barcelona Primavera Sound Festival last year. (Okay, I also wanted to be present in case it happened again. Sue me.) Well he pulled it together all right, sending fans into a moshing frenzy with songs off their new album King Of The Beach. The pop-punk performance by the San Diego dipsh*ts was off the chain and no doubt one of the most memorable of the day! Way to stabilize, Nathan, way to stabilize.

7Seconds – (As I was catching Wavves’ set, my husband ran off to see punk-rock band, 7Seconds. This mini-review was written by him, Frank Palmer) The moment Troy Mowat struck his snare, the crowd disappeared into a dust cloud as fathers and sons moshed together to “Sooner or Later”. Kevin Seconds and his crew powered through 14 songs as his body cruelly aged but his heart and voice stood still in the 1980’s punk scene. As the crowd shouted out in unison during songs like “Not Just Boys Fun” and “You Lose” unfamiliar indie kids wondered why they haven’t heard of this new high-energy band. As 7Seconds rounded out their set with “If The Kids Are United” (a song the band has covered so many times I forget the anthem was originally written by Sham69) the positive energy left no question as to how the band has survived for over 30 years.

Local Natives – Last April Local Natives changed my life at Coachella, so when it was announced that they were added to the FYF lineup I squealed like a 13-year old watching that Bieber kid on the tele. The overwhelmingly talented, multi-instrumental LA band performed songs off their debut album Gorilla Minor including “Shape Shifter”, “Camera Talk”, and “Warning Sign”. Their four-part harmonies and crescendoing instrumentals were about enough to bring not only teens but also grandmas and everyone in between to their knees.

Washed Out – Days before FYF Fest I was introduced to chillwave musician Washed Out (aka solo artist Ernest Greene) thanks to a Twitter follower. His mixes of airy vocals and hazy beats touched my heart immediately so adding him to my must-see list was an easy decision. His crazy good looks along with the enchanting sway of his music delighted my senses. Unfortunately, however, as the sun set, the stage lights faintly illuminated, which was a complete drag. I felt myself getting more and more agitated as his set progressed because I had difficulty seeing him. Not only agitated with the light techs but for him personally. This was his moment to shine, and shine he did not.

Cold Cave – If there is one thing about indie music that I’ve learned it’s to explore and have an open mind. This was my experience with Cold Cave. We nearly didn’t see this band as they were performing against Ted Leo & The Pharmacists but luckily for me we decided to stick around. The band out of New York BLEW MY ELECTRO-LOVING MIND AWAY! Cold Cave is comprised of three synth players and a drummer who wore nothing but black. They graced the equally ominous stage and attacked their instruments with a mystery and sexiness that I will not soon forget. Even given the five minutes of ear-piercingly grating noise (spawning plugged ears, boos, and thumbs down from the audience) that synth players somehow recognize as music, Cold Cave was the highlight of my day!

School of Seven Bells –  Aside from their ridiculous good looks, School of Seven Bells produces staggeringly beautiful music, airy vocals, and succulent harmonies. The dream-pop band out of Brooklyn performed songs off their recent album Disconnect from Desire including the tracks “Windstorm” and “Half Asleep”. After a day of dust, sweat, and thirst SoSB was the perfect ending to our day.

Overall the music at FYF Fest was phenomenal, the bands kicked ass, and the sound was flawless! But unfortunately for the organizers, people also have basic needs like food, water, and using the John. This is where FYF Fest organizers failed and why I’ll think twice about returning next year.

The various schedule changes the week leading up to FYF Fest should have been an indicator that this festival was going to be a complete clusterf*ck, it in fact turned out to be.

Here are some FYF Fest lowlights:

1. Gates to open at 11:30 didn’t open until 12:30.
2. Attendees waiting for press passes weren’t inside until 1:30ish as the passes were lost.
3. Limited locations for selling food and water meant obscenely long lines.
4. No wristbands for the beer garden thus having to show ID each. And. Every. Time. (Meaning we passed on beer – major financial fail!)
5. The LCD Projector for Sequoia stage inoperable therefore a bright blue screen with sporadic computer digits behind Washed Out and half of Cold Cave until a dude climbed the scaffolding to fix it during their set.
6. Little to no lighting for Washed Out, Cold Cave, and School of Seven Bells.
7. Miss Nazi security lady blocking off press area for God knows why. Finally a rep for Force Field PR told Miss Nazi to let us in.

At the end of the day festivals are about bringing music to the fans so for that I say hallelujah to the artists and sound guys! Warpaint, Cold Cave, and Local Natives, thank you so much for putting the YEAH in what some are probably calling the FYOUF Fest of September, 2010.

Vetiver's Andy Cabic

After a few slightly clumsy songs, Mumlers singer, Will Sprott, confided in the audience that the band is now shy a bassist and tambourine player, forcing the now five-piece act to improvise their roles during select songs. If there is such a thing as a happy accident, this seemed a great example. Hearing a tuba replace a bass during a 60s-esque, R&B, she-left-me song added just the perfect amount of cacophony to their vintage sound. However, Sprott’s butter-melting voice, which rivals that of Nina Simone, is the real comeliness of this San Jose band. Boys, you are representing in the South Bay and I am won the fuck over.

Vetiver certainly took an already warmed up crowd to new heights. The SF band, fronted by Andy Cabic, who co-wrote songs on Devendra Banhart‘s Cripple Crow, is an extremely chill folk get-up that tastefully trims their songs with a southern charm. However, the performance seemed slightly one-note for those of us who require a little more weight in our music. Yet, the slightly more pop-y songs in Vetiver’s repertoire almost reached the aforementioned weight requirements, but not quite.

One of life’s many astonishing moments is when the opening band sets the bar higher than the headliner can reach, and The Mumlers certainly dropped jaws in that respect. Well, at least the jaw of yours truly.