ChordStrike

Sasquatch! 2010

Local writer Travis Hay and photographer Dave Lichterman covered Sasquatch! on behalf of ChordStrike this year. Wish you were there... (Heck, we wish we were there!)

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FRIDAY
The Sasquatch! Music Festival proved to be a monstrous beast of music during its three-day run. Throughout Memorial Day weekend, Sasquatch! featured more than 80 bands spread across three stages and a dance and comedy tent. Kicking off the summer concert season in the Pacific Northwest, the festival’s first day contained a grouping of buzz bands and established acts, making for a day of musical ecstasy. It was a theme that carried throughout the weekend. Set at the picturesque and remote Gorge Amphitheatre (about 150 miles east of Seattle), Sasquatch! boasted not only one of the most eclectic and indie-friendly lineups you'll find, it also took place in the most beautiful spot in the country to take in a show. The sundresses, sandals, and ponchos (the festival is known for having unpredictable weather) were in full effect.

America's perfect bar band, the Hold Steady, showed that they are also the perfect festival act. Craig Finn's story-songs helped create a rousing performance in the summer sun, filled with shout-along choruses and plenty of fists pumping in the air. As a performer Finn is like a rock n' roll Muppet, wildly gesturing, smiling, and laughing when not singing. His enthusiasm is infectious, which is what makes the Hold Steady such a fun band to watch live. Three songs--"Rock Problems," "Hurricane J," and "Barely Breathing"--from the recently released Heaven is Whenever, were peppered into the set and fit perfectly alongside Finn's other narrative tales about partying, religion, and rock n' roll lifestyle.

In the early evening, the action really picked up on the main stage, with the National (left) delivering an emotionally stirring set just before the sun went down. Songs from the critically acclaimed Boxer and this year's High Violet dictated the performance. Some of the material was sparse, while other songs carried a full sound punched up by horns that filled the Gorge. As a performer, singer Matt Berninger is so compelling that you practically feel the emotion. It made for an entertaining and highly engaging show.

Anyone who doubted the hype surrounding Vampire Weekend (below) should have seen how the nearly 20,000 people reacted to group's sunset performance. Thousands of people on top of the Gorge's hill jumped up and down while dancing to the likes of "Cousins," "A-Punk," and "Horchata." It was the biggest set and biggest response of the day.

While the National were stirring up emotions on the main stage, Nada Surf was closing down the activities on the solar-powered Bigfoot stage. The set was heavy on covers, several from their new album, the palindromic If I Had A Hi Fi. The Go-Betweens' “Love Goes On” and Kate Bush’s “Love and Anger” stood out, but the best selection came when Nada Surf turned Depeche Mode's “Enjoy the Silence” into a poppy love ballad.

The night was capped by My Morning Jacket's two-hour headlining set. Jim James and the rest of his band came blazing out of the gates with a hard-rock instrumental unlike anything in the MMJ canon, which led right into "One Big Holiday." From there "Dondante," "Off the Record," the short but extremely funky "Highly Suspicious," and about 15 others songs followed in a career-spanning set list. These touring warhorses are one of the best live rock bands in America, and their set was a fitting way to cap a day filled with a wide variety of music.

Brad, fronted by the soulful Shawn Smith (far left) and featuring Pearl Jam's Stone Gossard, morphed into the darker and heavier Satchel for two songs after Gossard left the stage. OK Go played a high-energy and hit-laden set. Power poppers Posies played a blissful set of unreleased songs, and Portugal. The Man’s psychedelic rock (left) and the excellent Afro-pop of Fool's Gold were two distinct styles of music that stood out.

Check out all of Dave's Friday photos.

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SATURDAY
Sasquatch!’s second day kicked off with a dance party on the main stage, led by the dual drumming assault of Caribou. The high noon set woke up the sleepy-headed campers that showed up early, its upbeat rhythms and tempos providing a great precursor to what would come later in the evening (hint: LCD Soundsystem).

Local Natives (right) filled the day’s quota in the soon-to-be-breakout-bands category. The quintet encompassed the entire musical vibe of the festival with a sound that is melodic, poppy, jangly, and jammy. In a festival forged around musical discoveries, Local Natives was the cream of the crop of the blog-friendly buzz bands.

Speaking of buzz bands, London’s XX (left) played dreamy, synthesized bedroom music and was one of the bright spots of the afternoon. The set could’ve been a disaster, given the music’s slow-burning leanings in such a large and expansive environment, but the material translated well, and the crowd was enamored by the music, singing and swaying along to every song.

The swaying turned to full-blown dancing when James Murphy and his band (a.k.a. LCD Soundsystem) managed to stir up the crowd with driving beats and plenty of cowbell. Highlights included the one-two punch of “Daft Punk is Playing at my House” and “Drunk Girls” from This is Happening, which was the most unstoppable dance force of the weekend.

While dancing was a dominant part of the day, the most anticipated set of the festival came from reunited influential indie rockers Pavement (right). The set was a bit sloppy and surprisingly started with “Cut Your Hair,” the band’s most well-known song. Later it got a bit messy, with a few botched intros to “Rattled by the Rush” (due to instrument troubles), but once Pavement got over the rough patches, they sounded great. Frontman Stephen Malkmus, who was celebrating a birthday, appeared to be annoyed by the minor hiccups, but the crowd didn’t seem to care much as the band played more than 20 songs from its catalog, including “In the Mouth of the Desert,” “Unfair,” “Two States,” and others.

Public Enemy (left) headlined the Bigfoot stage while UK electro icons Massive Attack (below right) headlined the main stage. The latter set was chill, moody, and relaxed, complete with a terrific light show that worked well under the Gorge’s canopy of stars. Public Enemy, on the other hand, brought the noise. Flavor Flav showed he is still hip hop’s reigning jester, while Chuck D held court with a nonstop assault of golden age hip-hop hits, heavy on material from It Takes a Nation of Millions to Hold Us Back.

Mt. St. Helens Vietnam Band played a fantastic set of math rock with progressive leaning while filling in for City & Colour, which had to cancel due to singer Dallas Green's pneumonia. Tegan & Sara almost humorously introduced “Alligator” by beat-boxing. The Long Winters (right) played unreleased material and ended their set with a cover of the Grateful Dead’s “Touch of Grey.” And the humor of They Might Be Giants had thousands of people getting their geek on while singing and dancing along to “Istanbul (Not Constantinople).”

Check out all of Dave's Saturday photos.

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SUNDAY
Mother Nature made her presence known as the Sasquatch! Music Festival wound to a close Day with warm temperatures, a constant threat of showers, and--at the end of the day--a rainbow.

Throughout the day patches of light rain combined with spots of bright sunshine to create an interesting combination on what was the festival’s strongest day. The rainbow appeared during the summery sounds of the Zooey Deschanel / M. Ward combo, known as She & Him. It was the perfect accompaniment to Deschanel’s voice, which were the main attraction, but M. Ward nearly stole the show during a cover of “Rollover Beethoven.”

The Heavy (right) opened the main stage off with a mix of inspired British neo-soul, funk, and rock, engaging the Sasquatch! early risers with hits off of their latest album, The House the Dirt Built, closing off the set with "How You Like Me Now?". Having seen their performance earlier in the year before their explosive set on Late Night with David Letterman sent the quartet's careers into high gear, the addition of live horns added new dimensions to a fantastic set.

If Ben Bridwell’s constant smile was any indication, Band of Horses was the main stage act that had the most fun performing. His toothy grin was almost as enjoyable as the songs performed from Infinite Arms. Another band that was clearly having a blast was the Canadian indie supergroup New Pornographers, which features Neko Case, A.C. Newman, Dan Bejar, and others. It was impossible to not smile and sing along to the group’s catchy, upbeat songs.

MGMT (left) was the main course of the day, even though cult rockers Ween handled headlining duties. MGMT seemed in awe of the grandeur of the Gorge’s spectacular setting and amazed at the size of the crowd (they drew the most people of the festival), though they appeared strangely bored on stage. Vocalist Andrew VanWyngarden dedicated the Memorial Day set to fallen soldiers, started things off with “Pieces of What.” A few songs later, “Flash Delirium” began to work up the crowd, and when “Time to Pretend,” “Kids,” and “Electric Feel” finally came along, the dance party was in full force. Similar to Vampire Weekend’s Friday night set, MGMT showed they are capable of anchoring a major U.S. festival.

Sasquatch! wouldn’t have been a summer music festival without a good old-fashioned mosh pit, which is exactly what Vancouver, B.C., duo Japandroids (right) spurred on during the most intense set of the weekend. Prior to Japandroids’ set of thrashing, Canadian, post-garage rock, the deep-fried Southern rock of the Drive-By Truckers washed over the main stage crowd with a three-guitar assault. Patterson Hood’s storytelling skills were in fine form during the twisted “The Wig He Made Her Wear,” while guitarist Mike Cooley showed his skills as a frontman on “Get Downtown,” both from The Big To-Do, one of the Truckers' strongest records in years.

There were several more memorable moments from Sasquatch!’s final day, making it difficult to narrow things down to just a few. The Seattle Rock Orchestra crammed more than 30 musicians on stage to play a wonderful set of Arcade Fire covers. Aussies Tame Impala proved to be well worth the buzz they’ve garnered, creating a Wolfmother-meets-Howlin' Rain / wall-of-psychedelic sound that rang throughout the festival grounds. On the other end of the Australian rock spectrum was the Temper Trap (below), a band with modern-rock radio written all over it.

By the time the 2010 incarnation of Sasquatch! was over, it was clear that the taste-making festival is a force to be reckoned with in the destination festival circuit. Excellent music was happening around every corner at one of the most beautiful concert settings in the country. Sasquatch! is well worth the trip, and if this year’s lineup of more than 80 bands was any indication of what’s to come in 2011, you’ll want to be there next year.

Check out all of Dave's Sunday photos.

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Dave Lichterman is a programmer by day and photographer by night. "Concert photography bridges the gap between my love of music and my love of photography," he explains, "whilst making up for my complete and utter lack of musical talent. Nothing compares to the thrill of seeing and capturing musicians performing their art." Check out more of Dave's photos @ http://www.flickr.com/lavid/.

Travis Hay is a Seattle-based writer who has been covering music in the Northwest for the past decade. He was a music critic at the Seattle Post-Intelligencer and started the award-winning blog and website Ear Candy. His work has appeared in Sound Magazine, The Seattle Weekly, Crosscut.com, Three Imaginary Girls, and other print and online publications.

Concert Review: The Crystal Method in Seattle

 

I used to live in France, and I never thought it would be possible to approximate my European rave experience here in the U.S.  I love trance and electronica, but lately I’ve felt like the oldest person at the party when I'm rocking out with people ten years younger than me.  Not that there's anything wrong with this.  It's just that I feel somewhat out of place.  When I lived in Europe, it seemed like electronic music enthusiasts skewed a bit older and I felt like I fit in more. 

But my sense of disconnect might not have anything to do with age at all.  Maybe it’s more the fact that the electronic music scene has always been more about the scene than the music itself.   Either way, I seem to have more fun nowadays listening to electronic music in the car than I do at a live show. 

So it was with some trepidation that I headed down to the WaMu Theater in downtown Seattle last Saturday to see The Crystal Method play along with DJ Kaskade and The Prodigy.  I’ve been a Crystal Method fan for some time now, and I think their new album, Divided By Night, is fantastic.  Bright and stylistically varied, every track pulsates with a hypnotic sort of energy that reaches out and pulls me right into the heart of the music.  And every track has that special something that makes Crystal Method music distinct, even amid all the (admittedly awesome) guest artists, like Matisyahu, Meiko and LMFAO.  Rarely has an album, let alone an electronic music album, left me so entranced (pun intended!) on my very first listen. 

Despite my love for the album, I didn't really know what to expect when I arrived at the show.  I’d never seen The Crystal Method live, and I wasn’t sure how their music would translate from album to stage.  The fact that I got to interview Crystal Method members Ken Jordan and Scott Kirkland before the show helped allay my apprehensions.  I sat down with Jordan and Kirkland in their dressing room and discovered that aside from being just about the nicest guys in the world—laid back, interesting, and fun conversationalists—they're also intensely dedicated to both their music and to musical innovation. 

This dedication was evident from the moment they took the stage.  After Kaskade laid down a solid set, the lasers dimmed, a hush rippled through the crowd, and Jordan and Kirkland materialized, bathed in the cool blue of the stage lights.  They kicked off their set with my current favorite single of the moment, “Drown in the Now” featuring Matisyahu, and kept everyone dancing for well over an hour.  Deftly sliding between laptops, synthesizers, and keyboards, Jordan and Kirkland somehow seemed to translate both their energy and passion to the crowd, keeping us on our feet with shifting rhythms and rolling waves of energy—lulling us into an almost hypnotic calm, then slowly building back up again. 

Halfway through the set I looked around at all the intently dancing people and realized how much I was enjoying myself.  There was a unique quality permeating the arena—a sense of ebullience—that you rarely find at a live electronic music show.  This was what I’d been looking for—this elusive sense of feeling alive, in the moment, thinking only of the rhythm and the music and nothing else.  I don't know quite how Jordan and Kirkland were able to produce this effect—maybe it's the fact that they're masters of their craft, or maybe it's their obvious passion for their work—but it made the quality of their music inherently joyful, and my experience at the show even more so.

I’ll be posting my interview with Jordan and Kirkland soon, so stay tuned.  In the meantime, check out our Divided By Night Listening Party and the surrealistic music video for “Drown in the Now” below.

--Bri Nguyen

5 Things I Will Remember About Sasquatch 2009

Now that I've finally recovered from three exhausting and thrilling days of sun, music, and elephant ears, here, in descending order, are the five things I will remember most about this year's Sasquatch Music Festival:

5) Finding out about Jay Bennett's death from Silversun Pickups' frontman, Brian Aubert, who dedicated a song to Bennett, adding, "may he rest in peace" --

I'm so utterly addicted to the interent/blogosphere that it was shocking to actually hear a breaking news item from a real live person, let alone a quasi-rock-star. It was a sad, strange moment.

4) Meeting one of my favorite singers, Mark Kozelek (Red House Painters/Sun Kil Moon), during the Bon Iver set --

I was on my way to go pull a friend away from the YYY's mainstage show when I spotted Kozelek in the crowd taking in the Bon Iver set. I shook his hand, told him how much I love his music (especially his album of acoustic AC/DC covers) and moved on. He seemed genuinely appreciative and I was thoroughly stoked.

3) St. Vincent --

After taking in this performance, my crush on St. Vincent's Annie Clark escalated from "slight" to "unhealthy." H-E-L-P!

2) Shearwater --

Shearwater was flat-out fantastic live. I liked 2008's Rook, but I wasn't expecting much when I meandered over to the Wookie stage to check out this Texas-based band, fronted by former Okkervil River member and bird-enthusiast Jonathan Meiburg. I won't go into the details, but if you like this band at all, don't miss them the next time they roll through town--they are the real deal.  

1) Bon Iver --

Closing out the first night of the festival on the Wookie stage, Bon Iver came off less like a new-kid-on-the-indie-singer-song-writer-block and more like an elder statesman showing all the wannabes how it's done. The sun had just set when Justin Vernon and co. took the stage, the waning light and surreal landscape of the Gorge providing the perfect backdrop to Vernon's sad, rousing melodies. Even Mos Def, who I spotted checking out the set from stage-side, was bobbing up and down to "Skinny Love." 

Oh, 'Squatch, I miss you already.      

Sasquatch! 2009: Grizzly Bear, Black Moth Super Rainbow, Horse Feathers, Santigold

Another amazing, sunny day here at Sasquatch! I've coated myself with the highest SPF sunscreen I could procure and set off running. Here's a sampling of some of the acts I've caught so far:

Grizzly Bear:

My first band of the day was Grizzly Bear, who played through the majority of their new new album Veckatimest, which they'll unleash on the world starting tomorrow, along with some old favorites like Yellow House's majestic single, "The Knife." It was a great, mellow way to lull the crowd back into the last day.

Black Moth Super Rainbow:

The smooth and psychedelic sounds of Black Moth Super Rainbow up on the Wookie Stage had a similar impact on the crowd there. I feel like their albums can be a bit meanderery, unstructured, and noisy, but this live set was beautiful--swimming in vocoders, analog synths, and bliss.

Horse Feathers:

I only caught a couple songs of Horse Feathers' set on the Yeti Stage, but enjoyed what I heard--acoustic strings, including cello, viola, banjo, and acoustic guitars that completed the mellow vibe blanketing the festival from every corner.

Santigold:

Here's where the tempo's picking up. Santigold had the crowd throwing their arms in the air with her mixture of world beat's driving rhythms and new wave pop's sleek synths and structure. The audience was all over this, especially when she played her hit single "L.E.S. Artistes."

Alright--I'm off to check out more bands, and will report back later

--Alan Wiley

Sasquatch 2009: Day 2 Wrap-Up

Ok, so I realize this didn't exactly hit the presses anytime yesterday, but really--a lot happened, and we didn't want to miss anything, and by the time the day was done, I literally passed out with my laptop on my stomach trying to write it all up, so please forgive me. I caught pieces of incredible sets by the Walkmen, Fences, the Avett Brothers, TV on the Radio, the Dodos, Nine Inch Nails, M83, Natile Portman's Shaved Head, and Of Montreal. Here are some highlights:

The Walkmen:

The crowd was excited to see the Walkmen, who debuted several new songs during their set, but it was their hits from their three albums that really got everyone riled up and jumping around. With the sun blasting full-tilt, the east coast favorites delivered. It was at this point that I realized I was so hungry that I had to pause for a food break. One $8 5-inch pizza and another $8 foot-long "colossal dog" later, I was ready for more music.

TV on the Radio:

I got the feeling that this band was one of the reasons a lot of people came to the festival in general, and you could see why. Their catchy melodies, coupled with their complex harmonies and unique songs made for a memorable set, that the sardine-stacked main stage crowd ate up like so many cinnamon coated elephant ears.

M83:

Jeff and I discussed it, and it was unanimous. M83 wins the sexiest band at Sasquatch award (Jeff adds, "There wasn't a lot of competition.").  Performing as a 3 piece, they, along with the crowd, challenged the heat and setting sun with thier cool, chilled-out, synth-driven songs, that felt like a wash of cool water over everyone. That, and they both looked incredibly sexy.

The Dodos:

 

Though I didn't catch their whole set (they played at the same time as M83), these guys were relentless. The drummer's physicality was tangible, and the fans were cheering for encores after they were finished.

Of Montreal:

Somehow, Jeff and I ended up on stage with Of Montreal. It all happened kind of fast, but we were asked to "act" as part of their set. We were supposed to be tourists being led on a guided tour by a guy in a naked suit with a tiger head. Then we were supposed to be frozen in fright, at which point we were posed by a guy in drag who came in carrying another naked suit tiger headed guy, this one bloodied. There were karate moves, glitter, and then we left the stage. A very odd experience that seems like it could only happen during an Of Montreal show. Here's Jeff right before we went on stage (sorry, Jeff!):

 

and here's a shot I took while on stage--we were actually supposed to take pictures, being tourists and all.

 

I ended the evening with a little bit of Natalie Portman's Shaved Head and then caught the tail end of Nine Inch Nails' set. He ended with "Head Like A Hole," one of his first singles from Pretty Hate Machine, and it was pretty great.

Jeff and I both just couldn't take it anymore, so we left before Jane's Addiction took the stage, but could hear the beginnings of their set while we looked for my car in the sea of vehicles parked in the adjoining field. Today is a new day, and we'll try to bring you updates throughout the day.

--Alan Wiley

Sasquatch! 2009: Point Juncture, WA

So far, Portland, Oregon's oddly named Point Juncture, WA has been my favorite band I've seen at the festival so far. I'd never heard their music until our car ride on the way up, and I'm really glad I took the time to see their whole set. Thier set was on the Yeti Stage, the smallest at Sasquatch, and was comparitively sparsely attended. This means that I was easily able to come right to the front of the stage--what a treat! These four talented multi-instrumentalists switched around their instruments, ranging from standard guitars, keys, drums, and bass to bells, trumpet and various percussion, on nearly every song, and successfully brought together elements of such loved bands as Stereolab, Sonic Youth, and Yo La Tengo into a sound that was distinct, pretty, noisy, and well polished. They said they were just wrapping up five weeks of touring, so catch them next time they hit the road, you won't be disappointed. As soon as I get home, I'm buying everything I can find by them, and if this discovery alone were the only thing to come of this adventure, it would be well worth it. Yay for finding awesome new bands!

--Alan Wiley

Sasquatch! 2009: Mos Def, Yeah Yeah Yeahs

Mos Def ruled the Wookie stage Saturday evening, rhyming over a variety of beats to an enthusiastic, capacity crowd. We were lucky enough to get on the side of the stage with him, and it was great seeing such a dynamic performer so close up. The audience threw fists in the air, sang along, and had a great time. As cool as it was, I left his performance a little early in order to catch the Yeah Yeah Yeahs performance on the main stage, while Jeff stayed behind.  He'll possibly chime in later with a more in-depth assesment of the performance.

The YYYs captivated their audience and brought a ferocious energy to a crowd that was tiring as quickly as the sun was setting (the sunset here at The Gorge is amazing). They played every song I wanted to hear, and I was more than satisfied to spend the twilight listening to songs like "Zero" and "Maps." It was truly a beautiful night, but I have to admit--the early morning, long drive, hot sun, and relentless lineup have taken their toll on me, and I'm certainly ready for a good night's sleep, and am relatively certain that I'll konk out pretty quickly as soon as I get back to the hotel tonight. After all, like the rest of this crowd, I've gotta get up and do it all again tomorrow! See you then!

--Alan Wiley

Sasquatch! 2009: Animal Collective, Tons & Tons of Sweaty People

The crowd was anxious to see internet band of the year®, Animal Collective play their set on the main stage, but had to wait an extra 15 minutes while the band's many electronic gadgets were properly set up, but once the music started, everyone went wild. Funny smoke began pouring out of the crowd from seemingly everywhere, which complimented the psychedelic big screen video. I couldn't deal with it, and had to bail from the middle of the crowd. The humanity was too thick, the smoke too heavy, and the sweat too pungent. I enjoyed the rest of thier set from afar, and they didn't disappoint.

I like the sunshine and music, but sometimes the sheer number of people is overwhelming. Here's an example of the number of people:

 

Off to go catch more bands!

--Alan Wiley

Sasquatch! 2009: Doves

Doves played a majestic set on the main stage that wrapped up just a few minutes ago. Their songs are pleasant, yet rocking. The crowd seems seems to be enjoying the tunes and the energy feels like everyone is warming up to the idea of 3 days of blistering heat--by the way, it's really hot here--especially for those of us more accustomed to rain and clouds than full sun. Sunscreen and skin are everywhere you look and there is much vitamin D being created. Gonna go run and catch Dent May!

--Alan Wiley


P.S. Here is a retaliatory photo of Jeff at our overnight digs. Thanks, Jeff. :)
 

John Lennon Exhibition Opens in NYC

It’s been nearly three decades since Mark Chapman fatefully fired his gun outside New York's Dakota building, but the fever surrounding the memory of the murdered John Lennon shows no sign of cooling. As one quarter of The Beatles, one half of the Lennon/McCartney songwriting partnership and one of the most charismatic figures in modern popular music, the nostalgia and adulation which he engendered places him high on the list of most influential musicians in living memory. There will always be a thirst for Lennon-related information and that means that the forthcoming exhibition in the NYC Rock & Roll Hall of Fame Annex, “John Lennon: The New York Years,” is a guaranteed hot-ticket. Exhibits include letters documenting Lennon’s battle against deportation from America, handwritten lyrics and most controversially, a paper bag containing the bloody clothes from the night he was gunned down. Yoko Ono admitted “It was hard to include,” but added that it was “important for people to see that, and for people to understand what violence is about." In the exhibition, a poignant placard containing a quote from his widow presents the bloody bag to a world which still mourns their idol: “John was king of the world. John who had everything any man could ever want came back to me in a brown paper bag in the end.”

The exhibition is open now and is expected to be open until the fall. 

--SoundUnwound

Semi-formal Pavement reunion last weekend

Tripwire reports on the Pavement reunion that took place Saturday... as a wedding band.

Bob Nastanovich, Pavement drummer/singer/toaster/fancy dancer, got hitched in Nashville. His old band mates rocked the reception. Apparently word got out and fans crashed the event but were flummoxed by the funk and 80's repertoire.

Congratulations to the newlyweds!

Back in Bumber-Love

(Video: "Bumbershoot" by Sean Pecknold)

Having lived in Seattle for the majority of my adult life, I have a treasure-trove of memories from the city’s largest music and arts festival, Bumbershoot. Held every Labor Day weekend at the Seattle Center, the festival boasts some of the largest local, national, and international acts in music, dance, and comedy. I am a huge show-goer as it is and am content listening to live music pretty much anywhere, but some years ago Bumbershoot’s huge crowds and hefty cover charge became too much for me. So I jumped ship, aborted mission, said “enough is enough”, and opted to start attending music-only local festivals like Sasquatch Festival  and Capitol Hill Block Party.

This weekend, however, I felt brave enough to venture into the swirling, sweaty, drum-circled crowds once again to see what was poppin’. I have to admit, I was more than a little surprised at how pleasant the whole experience turned out to be. I was able to move freely about the Seattle Center grounds all day, none of the lines I stood in were more than a few minutes long, and I heard a combination of musical acts that you would be hard pressed to find at any other festival.

Here is a brief sampling of highlights to illustrate…

2:00 - Eased into my day gently (read: sarcasm) with one of Seattle’s most buzz-worthy bands, Shim, who’s electric-guitar-drenched arena-rock opened every sleepy Sunday eyelid with a jolt.

2:45 - “Nowheresville, PA” band, The Shackeltons, had the entire, typically-reserved Seattle audience hugging each other and swaying 60’s-style by the end of their set. Not at all what I expected from such a seemingly dangerous rock band, but it was a truly awe-inspiring show.

3:35 - Stopped off to hear a song from John Ramberg’s (of Minus Five and Model Rockets fame) latest band, The Tripwires.

3:45 - Spent a restful moment with lovely country-rock singer-songwriter Kathleen Edwards.

4:00 - Heard the sounds of hip-hop's T.I.  pouring from the outdoor stadium stage…ran for the beer garden. 

(insert blackened-salmon-sandwich-and-refreshing-microbrew-break here)

4:30 - Perched high on the hill of the beer garden, took in a few of Howlin’ Rain’s psychedelic blues-rock jams, started to feel a little bit too much like my dad, and made a break for the comedy tent.

5:00 - Heard side-splitting comedy, spent a blessed hour in a theater seat, and a got much-needed second wind.

5:45 - Ate an ice cream cone while shakin’ my hips to funk/soul band Orgone.

6:15 - Killed some time with friends and then slowly made our way to the stadium for....wait for it.....

7:45 - THE BLACK KEYS!!!  Holy smokes two dudes can produce a lot of sound with an electric guitar, a voice, and a drum kit. I thought they sounded every bit as good live as they do on record and thousands upon thousands of fans seemed to agree with me.

8:15 – Sprinted back across the festival grounds and on my way overheard local hip-hop group The Saturday Nights covering Fleet Foxes’ “White Winter Hymnal.”  I chuckled and cheered at my good fortune for having caught such a ridiculously delightful moment.

8:20 – “Shake, shake, shake, shake!” Continued running like the wind in order to catch the last few songs of Glasgow’s cabaret/punk band Sons and Daughters. Got there just in time to hear them do my favorite song, “Dance Me In” from their album The Repulsion Box.

9:00 – Ended my night on a calm and cozy note, sipping a Starbucks coffee (fitting), and listening to Ingrid Michaelson sing of heartache and sweaters. Her voice acted as a balm for my blissfully over-stimulated heart and soul.

There was of course much more to been seen and heard at this year's Bumbershoot, and the festival continues to rage on as I write. But I would like to take this opportunity to issue my humblest apology to the monstrous festival for turning my back so many years ago when we could have really had something.

Dearest Bumbershoot,

I have judged you wrongly and I am sorry. I thought we were just incompatible, you and I. I believed you to be chaotic, unpredictable, and inconsiderate of my personal boundaries. But you have shown a renewed dedication to my needs and desires, and my heart has been changed. As of this moment I am officially back in Bumber-love.

Yours hence-forth,

--Shelby Earl

(Photo credit: Jeffrey Blackburn)

Cindy Lauper Will Bring Ya to the Brink

My colleague Matt Wold and I recently had the chance to speak to '80s icon Cyndi Lauper backstage at her True Colors tour. Still fiery, Cyndi talked to us about her new dance album Bring Ya to the Brink; her business savvy 10.5 year-old; and the importance of having a disco ball in your kitchen. Though she's probably best known for her single, "Girls Just Want to Have Fun," I found she's pretty hell bent on the serious matter of making the world a better place for all of it's inhabitants.

--Renata Sadunas

Eastern Block Rock

Well, not exactly rock. But it rhymes nicely, doesn't it? I was recently in Lithuania, where I visited the M.K. ?iurlionis museum in Kaunas. I have learned throughout my life (via the blank stares that I get) that it's safe to assume that most people have never heard of Lithuania/any person or thing emanating whenceforth. So, let me share with you an synopsis of  what I learned about ?iurlionis:

?iurlionis, who was born in 1875, was primarily a composer, and secondarily a painter. He felt that he was a synesthete: that is, like Kandisnky (who came after him) he perceived colors and music simultaneously. Many of his paintings bear the names of musical pieces: sonatas, fugues, and preludes. His paintings are at once vibrant, dim, surreal, and ethereal; his piano compositions emotional (listen to a snippet of "The Sea").

To my amazement, Amazon.com actually carries some ?iurlionis recordings, on MP3 no less, which serves as further evidence that we really do carry the Earth's widest selection.

--Renata Sadunas

Capitol Hill Block Party: Throw Me The Statue

 

Seattle's best local band, Throw Me The Statue, absolutely nailed it inside Neumo's this evening. The crowd was jumping up and down, singing along almost the whole time. Their whole set, as well as many others from the festival are being broadcast live on KEXP (they broadcast on the Internet too at KEXP.org). Check it out! Two days of this has really started to wear on me. I'm not sure how long I'm gonna last this evening. either way, I'll sleep well tonight.
--Alan Wiley

Capitol Hill Block Party: Kimya Dawson

 

After the incredible success of the Juno soundtrack, it's no wonder Kimya Dawson is playing the main stage here. She's running through several songs from her upcoming children's album "Alphabutt," and they're fantastic. There's something about Kimya's simple down-to-earth songs and attitude that make me feel like she'd be my best friend if she weren't so hugely popular.
--Alan Wiley

Capitol Hill Block Party: The Cave Singers

 

So far today it's a little less crowded, but everyone knows that will change soon enough. Seattle's own folky hipster hillbillies the Cave Singers are bringing some peaceful and mellow vibes to the event, and there's room enough for everyone. The overcast skies are a bit daunting--here's hoping we won't suffer the rain that's been forecast, although a part of me wouldn't mind a little sprinkling, it's warm out.
--Alan Wiley

Capitol Hill Block Party: Vampire Weekend

 

After a rousing welcome from Washington Guv'ner Christine Gregoire, Vampire Weekend hit the stage. At this point the crowd is so thick I can hardly breathe anymore. I've gotta bail. After the first two songs I make a break for it. I know, I'm a total wuss, but it's been a long week, and there's still tomorrow to come. I'll catch up with y'all then.
--Alan Wiley

Capitol Hill Block Party: Best Merch

 

Best merch at the CHBP--Natalie Portman's Shaved Head's inflatable dolphins.
--Alan Wiley

Capitol Hill Block Party: Girl Talk Pt. 2

 

...to Wham! to Lil' Wayne to Tone Loc to the Romantics to M.I.A. to Journey...

--Alan Wiley