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Archive for the ‘Festivals’ Category

SOUNDTRACK: BAND OF HORSES-Live at Newport Folk Festival (July 25, 2014).

 I was checking out some of the Newport Folk Festival archives at NPR and found this show from 2014.  This was Band of Horses’ first time at Newport and they sound great and have fun with the set up, by slowly building to a full band.

They start “quietly” with Ben Bridwell singing “St. Augustine” solo on acoustic guitar.

For “Part One,” the bring out Ryan Monroe and Tyler Ramsey to sing along.  You can hear a heckler shout “you need more beard.”

Then they bring out Bill Reynolds to play upright bass on “Weed Party.”  This song sound so very different from the album version–it’s a much more country, don home version, rather than the soaring record.  There’s even a middle break with room for a bass “solo.”

Finally, out comes Creighton Barrett behind the drums for “Everything’s Gonna Be Undone,” their then newest song and the only one from their 2012 album that they play.

The rest of the set is primarily from the first two albums, and the songs sound great.  Ben’s voice is in good form and the band is tight.  “Great Alt Lake” rocks and “Is There a Ghost” even gives Ben the opportunity to shout 1,2,3,4 mid song as they bust out the rocking section.  Ben even screams in the intro to “Laredo.”

Things slow down for “No One’s Gonna Love You.”  When he plays that opening chord everyone cheers, but he says, “that’s the wrong thing, though. that’s not right.” and then he gets himself sorted (with a pitch pipe?) and they play a gorgeous version of it.  The rest of the set sounds equally good, including a rousing “The Funeral.”

They end the set with a cover of a classic blues song “Am I a Good Man?”  Each band member gets a little solo and they even act out some soul with a “Newport are you ready? “One time!” [pow] “two times!” [pow pow] “half a time [tss].

It’s a great show and a precursor of future great shows that I’ve seen from them.

  • “St. Augustine” *
  • “Part One” *
  • “Weed Party” *
  • “Everything’s Gonna Be Undone” ****
  • “The Great Salt Lake” *
  • “Is There A Ghost” **
  • “Laredo” ***
  • “No One’s Gonna Love You” **
  • “Islands On The Coast” **
  • “The General Specific” **
  • “Ode To LRC” **
  • “The Funeral” *
  • “Am I A Good Man?” [cover]

[READ: August 17, 2017] “The Itch”

The story begins that after his divorce, the narrator felt an odd physical and mental numbness although over time he began to talk more to people.

But the most persistent thing is the itch.  Sometimes the left wrist.  Although at home in the evening, it was the upper arms.  Thighs and shins at night.  He began to think of it as “sense data from the exterior.”  Although he didn’t really believe that,.

The only person he has told about the itch is his friend and co-worker, Joel.  Joel told him that he should contextualize the itch–look for a famous statesman with the same problem or perhaps something biblical.  He capitalized The Itch.

He had been seeing a woman whose name was Ana.  He liked that it was spelled that way but when he asked if there was a reason for it–family tradition, a European novel?  She disappointed him and said no.  Just a name spelled a certain way.   He hadn’t told her about The Itch.   (more…)

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SOUNDTRACK: LUCIUS-Live at the Newport Folk Festival (July 27, 2018).

I was considering going to see Lucius at Union Transfer on July 25.  Something came up and I wound up not getting tickets.

While hearing a stream of them isn’t quite as good as seeing them live (especially since their look is so arresting), it was great to hear what I missed.

For this tour, Lucius was unplugged–acoustic versions of their songs and some covers.

It sounds like there may have been more going on at Newport (as there always is)

Accompanied by members of yMusic, students from the Berklee College of Music on strings and J. Blynn, along with Lucius regulars Jess Wolfe, Holly Laessig, Dan Molad, and Peter Lalish. The group also incorporated choreography into the set, with the dancers known as The Seaweed Sisters.

Songs included favorites new and old, like “Woman” and Turn It Around.” Tears were shed as they movingly tributed the recently departed producer and musician Richard Swift. Lucius performed Swift’s song “The Most of What I Know” (from his 2006 album Dressed Up for the Letdown) and, in typical Newport fashion, were joined by Brandi Carlile and the Twins, Nicole AtkinsSharon Van Etten and Bedouine.

Go Home” is my favorite song of theirs.  They opened with it.  I could have gone home happy.  “Right Down the Line” is a song I didn’t know by Gerry Rafferty.  It sounds pretty 70s–slick and poppy.  “Something About You”  featured the Seaweed Sisters doing choreography.

“Feels Like a Curse” is a slower number with strings.  It’s quite pretty.

“Turn It Around” is another favorite of mine, with big claps and a wonderfully catchy chorus (yes, I would have stayed for this!)  I love the power behind the chorus: “She’s looking through the wrong end of the telescope ha!”

Brandi Carlisle joins them for “Dusty Trails” and when they sing the “we’ll be alright” at the end, it is really transportive.

Next up

“They movingly tributed the recently departed producer and musician Richard Swift. Lucius performed Swift’s song “The Most of What I Know” (which I don;t know) and, in typical Newport fashion, were joined by Brandi Carlile and the Twins, Nicole Atkins, Sharon Van Etten and Bedouine.

“How Loud Your Heart Gets” is a little too overwhelmed by strings to really appreciate their vocals (which is crazy since they sing loud!).  “Woman” also sounds great and is a stunning set closer. The “encore” (sort of) is “A Dream Is A Wish” a lovely a capella version.

Below is the set list from Newport and what i would have seen had I gone to Union Transfer.

SET LIST:

  • “Go Home”
  • “Right Down The Line” (Gerry Rafferty)
  • “Something About You”
  • “Feels Like A Curse”
  • “Turn It Around”
  • “Madness”
  • “Dusty Trails”
  • “Most Of What I Know” (Richard Swift) [did not play at UT]
  • “Two of Us On The Run”
  • “How Loud Your Heart Gets”
  • “Woman”
  • “A Dream Is A Wish” (Daniel Bedingfield-Disney Song)

UNION TRANSFER SETLIST (duplicated songs in bold)

  1. Go Home
  2. Tempest
  3. Right Down the Line (Gerry Rafferty)
  4. Something About You
  5. Neighbors
  6. Feels Like a Curse
  7. Until We Get There
  8. Sweet and Tender Romance (The McKinleys)
  9. Turn It Around
  10. Madness
  11. True Love Will Find You in the End (Daniel Johnston)
  12. Two of Us on the Run
  13. How Loud Your Heart Gets
  14. Woman
  15. Dusty Trails
  16. Strangers (The Kinks)
  17. A Dream Is A Wish (Daniel Bedingfield-Disney Song)

[READ: August 6, 2018] “Displaced”

I enjoyed this story but it seemed to take forever.  I attribute this to Ford’s writing style although there’s nothing I could point to about it that makes me feel this way.

This is a story about a recently turned 16 year old boy, Henry, whose father died unexpectedly.  Henry’s main sadness about the is that if his father had lived longer, his mother would have divorced him and Henry could have gone o military school.

He is now alone, with his mother, in the South.  His fellow students have placed him in a strange limbo because of his father;s death .  He doesn’t like it.

In their neighborhood is a house for “transients.”  Out front is a sign that says DIAL 33377 (that’s all) and everyone referred to it as the DIAL house.  Secretaries and waitresses lived there.   Young married couples.  Even two men living together.  Henry realizes now that he and his mother were transients too, they just didn’t call themselves that. (more…)

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SOUNDTRACK: DARLINGSIDE-Live at Newport Folk Festival (July 27, 2018).

Darlingside never disappoints and this stream from Newport Folk Festival is an excellent opportunity to hear them live.

The sound quality is excellent and their voices are more clear than on the record!

I had no idea this was only their first time at Newport Folk est and Harris is suitably excited (even though it’s only 11AM).

It’s also an opportunity to hear their one of a kind banter.

The harmonies on “Go Back” are just heavenly.  And they are positively angelic on “Singularity.”

The introductory cello solo at the beginning of “Harrison Ford” was a delightful change.  And the guitar really rocks loud on “Eschaton” (almost like a real rock band!)

There’s also the hilarious band member introduction (different at every show).

Auyon says that they were able to play for a boys and girls camp, Camp Grovernor.  But something was lost in communication and the camp director thought the band name was “Don Mitchell,” (their banjo player).  And the director was asking, “Is it Don Mitchell and the…”  Auyon explained that the Don Mitchell is silent and it’s just Darlingide.  This got him to wonder what the band would be if each member was the main character.

Dave Senft plays kick drum, bass and guitar.  Dave had a child recently so it would be Dave Senft and The Weird Uncles.
Harris Paseltiner plays cello and guitar. Harris lights his beer light in body and light in color and as far as I can tell utterly devoid of flavor…  so Harris Paseltiner and The Lightest Beers.
Don Mitchell plays banjo and guitar.  Don is from CT and is steeped in New England traditions, like nativism and xenophobia which he demonstrates every time he uses Midwestern as an insult…. which is particularly irksome to those of us in the band who are from the Midwest.  In the spirit of brotherhood, Don Mitchell and The Midwesterners.
Auyon Mukharji plays mandolin and violin and with me we would be Auyon Mukharji and the Best of Friends.

Harris: it’s the first time he’s ever been earnest.  It must be something in the water.
Don: that was the height of Midwesternness.
Auyon: and it felt really good.

This the first time I’ve heard them play the Neil Young song “Red Sun” which sounds great of course.  It’s done a capella, too.

  • “The God of Loss”
  • “Go Back”
  • “White Horses”
  • “Extralife”
  • “Harrison Ford”
  • “Singularity”
  • “Eschaton”
  • “Red Sun (Neil Young)”
  • “Blow The House Down”

[READ: February 4, 2016] “Five Arrows”

This is strange little story about a man who moves to an island because his gangrenous foot smells so bad that he has ejected himself from polite society.

But it is told from the point of view of a young boy, Insu.  Insu is from the village of Bupyeong in Korea.  But he has lived in The United States and Germany for the last two years.

Insu is shocked at what has happened to their village–the river which five years ago was so clear you could see the bottom was now dammed up and cloudy.  The locals were trying to grow carp.

It turns out that Insu and his friend are rowing across the river to find Big Uncle and Little Uncle.  They are skipping school and know that the uncles can keep a secret. (more…)

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[ATTENDED: June 16, 2018] 8th Annual Mercer County Cultural Festival & Food Truck Rally

One of the cool things about working near Princeton is that Mercer County ha an active an exciting Parks Cultural Scene.  There are almost always festivals going on in one of the many parks in the area.

I love going to multicultural festivals–doesn’t matter the culture.  And this one was delightfully generic sounding so that it could encompass all cultures.  Perfect!

Clark also had to attend some kind of multicultural event for a Merit Badge, so this seemed like a win-win for everyone.

We arrived a little late (everyone was hungry), so we got some delicious food.  There were about two dozen food trucks serving all manner of food from various countries.  I could have stayed all day. (more…)

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[ATTENDED: April 24, 2018] Double Ferrari

I first heard about Double Ferrari when NPR covered them for their SXSW special.

They were described as “a thrillingly over-the-top throwback to a time when guitar virtuosos noodled their way to arena-sized stardom, Double Ferrari crafts giddily triumphant odes to giddy triumph.”  And why would you only have one Ferrari when you could have a Double Ferrari?

The song on the show was an instrumental based around guitar riffs.  That’s what they do.  I felt like they took the best solos from classic British heavy metal and built songs around them–with two guitars playing the parts in delicious over the top harmony.  And of course I love that the band Double Ferrari has a song called “Double Ferrari ” from the album Double Ferrari. (more…)

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SOUNDTRACK: KATIE VON SCHLEICHER-“Mary” NPR’S SOUTH X LULLABY (March 29, 2018).

I had never heard of Katie Von Schleicher.  I don’t know what the rest of her music sounds like.  But this ballad sounded a lot like Cowboy Junkies.

This is a pretty, sad song.  her voice is lovely, but the thing that I enjoyed the most was watching her guitarist Adam Brisbin play high notes and then a cool tumbling style of playing low notes.

This was recorded at the Spire Studio Tour Bus (basically a camper trailer, parked on Cheer Up Charlie’s lot, with brilliant recording gear, amps guitars) It’s the quietest song from Katie Von Schleicher’s magnificent 2017 album, Shitty Hits.

Katie Von Schleicher wrote to me just after this filming to tell me more about “Mary.” “I’ve been teaching a songwriting class and it’s funny now to break these things down into craft and intention,” she says via email, “but I do feel that writing to a person’s name is a really tender practice, one that can unlock kindness and a conversational tone. If speaking to a part of yourself, personifying it, singing warmly, you can spare your faults and self-criticisms by speaking as if to another person [and] maybe even take your own advice. As much as they’re personal, I’m also trying to get close to some of my favorite things, which also include Randy Newman’s ‘Marie’ and Raymond Carver’s short stories (so full of conversation). For me, ‘Mary’ is a place and time rather than a person, childhood and youth and the strange space I’ve found in going back to the house where I grew up in Maryland to make records now.”

[READ: March 28, 2018] “The Intermediate Class”

I really enjoyed the way this story used the set up of the foreign language class as a way to explore feelings and sentiments that are too hard to express.

Kiril’s mother wondered why he would want to take a German class now, why spend his time with “lazy old American housewives.”  His mother didn’t approve of his taking German back in college either.  He majored in computer science and had no time to waste.  Plus, he was a native English speaker (unlike her who was til trying to learn it).

Kiril has shown up to the Intermediate German class a little late, but the class was welcoming.  There were four people in the room: a woman with an Afro, Wanda; a pale thin woman, Morgan; a Latino man, Alejandro; a sunburned, angry white man, Arthur.  There was piano playing from behind a wall in the class.   It stopped and a man and a young woman came out.  The woman was Claire, a student in the class.  The man was the teacher.

He said he would ring a bell and they would only speak in German afterward.  When the bell rang the atmosphere changed.  (more…)

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SOUNDTRACKSOCCER MOMMY-“Wildflowers” NPR’S SOUTH X LULLABY (March 26, 2018).

I was supposed to see Soccer Mommy open for Phoebe Bridgers.  But I got sick on the way to the show and missed the whole thing.  Boo!  Since then I’ve been hearing more and more about Soccer Mommy.

This song, “Wildflowers” reminds me a lot of folkie alt songs from the 1990s.  There’s something about the kind of slackerish delivery of her vocals.

Our South X Lullaby with Soccer Mommy took us … to my favorite store in all of Austin, Texas: Uncommon Objects, a self-described “one-of-a-kind emporium of transcendent junk” or “your eccentric uncle’s attic on steroids.”

The song from the Switzerland-born, Nashville-raised artist’s album Clean which was released earlier this month is, as I hear it, about finding your place in the world — to discover who you are and to blossom.

“Wildflowers don’t grow in the city
I dreamt the sidewalk broke in two
The earth was calling to me”

I also like the way her chords are largely unexpected.  She plays a lot of chords high on the neck (but without a capo).  The melody that she plays (while playing the chords, which is cool) is also nicely compelling.

I don’t know if she is all folkie, but I’d like to check out more by her and now I’m even more bummed that I didn’t make the show.

There are 24 different antique sellers under the single, Uncommon Objects roof, and for Sophie Allison, aka Soccer Mommy, we found the perfect setting for her song “Wildflowers.” It was, in fact, filled with objects related to blooming flowers.

[READ: January 9, 2018] “The Year of the Frog”

This story was by turns confusing, infuriating, too long and then really interesting.

It begins with the narrator, a young girl, describing their horse, Sweet Macho.  The horse was a former racehorse who carried himself with ceremony.  Their mother’s boyfriend, known inexplicably as The Frog, is delighted.  Horses?  Why didn’t you say you had horses?  The narrator chuckles because the other animal, Gert, isn’t really a horse, she’s a Shetland Pony.

They had a real father but all they knew about him was “he’d been a son of a bitch, he’d worked in the fields and he’d once screamed like a woman when a bee got in the house.”

Their mother was an excellent horsewoman.  However, she had no time for the horses because she took care of three rich widows–she kept their gloomy houses clean.  Thus, neither creature had been ridden in years.  When he asks to ride, she says forget it Sweet Macho would throw you in a second. (more…)

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CV1_TNY_06_08_15_09.inddSOUNDTRACKLUCY DACUS-“Historians” NPR’S SOUTH X LULLABY (March 21, 2018).

I’m looking forward to seeing Lucy Dacus live in a few weeks.  Her music is often spare but grows very intense.  For this particular song it is just her and her guitarist who is creating textures and sounds as Lucy sings clearly and starkly.  She plays the (almost) title track from her new album Historian.

The idea behind our South X Lullaby series was to offer intimate moments with musicians as an antidote to the commotion and deluge that is the SXSW music festival. When we met Lucy Dacus for her Lullaby and found out she’d perform “Historians,” a most somber song from her deeply personal and triumphant album Historian, it felt just right. It’s a song of reflection, the story of two intertwined partners and the way they document one another’s lives and preserve each other’s memories.

With simple but compelling swirls of sound, Dacus begins singing clearly with a bit of softness on the edges of her words.  It’s fascinating to watch her face illuminated by the video around her (the same video that Stella Donnelly performed in front of).

The song is warm despite the sadness inherent in it.

The setting for this performance, by Lucy Dacus and guitarist Jacob Blizard, is an interactive art installation by the multidisciplinary Israeli artist Ronen Sharabani that’s part of the SXSW Art Program. This work, titled “Conductors and Resistance,” explores human-machine interaction in our ever-evolving technological world. The images projected behind Lucy and Jacob are two coffee cups, one empty and one that’s been almost drained, both tangled in and tugged at by a complex series of wires, representing what I think is human communication and miscommunication.  This is just one of three walls onto which images are projected in this installation — you can see another wall behind Stella Donnelly in her South X Lullaby video.

[READ: April 13, 2016] “The Magic Mountain”

Back in June of 2009, The New Yorker had their annual summer fiction issue.  Included in that issue were three short essays under the heading of “Summer Reading.”  I knew all three authors, so I decided to include them here.

This essay was about Aleksander Hemon’s childhood in Sarajevo.

He says that (not unlike Angell) his family had a cabin on the mountain called Jahorina.  His family would spend winter breaks there skiing and partying.  His parents thought it was heaven up there.  But he and his sister hated to go there in the summer. (more…)

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CV1_TNY_06_08_15_09.inddSOUNDTRACKKEVIN MORBY & KATIE CRUTCHFIELD-“Downtown’s Lights” NPR’S SOUTH X LULLABY (March 20, 2018).

I don’t know if Bob Boilen ever explained how he starte dto get people doing South X Lullabies, but here he explains why he started doing them:

In the midst of all the chaos that is Austin, Texas during the SXSW Music Festival, we seek moments of calm. And so one night, as the week was nearing its end, we made our way to the courtyard of St. David’s Episcopal Church, just a few blocks from the thousands of festival participants and onlookers. There we found a trickling garden-side waterfall, where Katie Crutchfield and Kevin Morby performed “Downtown’s Lights,” from Kevin Morby’s recent album, City Music.

I don’t know Kevin Morby.  I’ve heard of him, but aside from a Tiny Desk Concert, I’ve never explored his music.

“Downtown’s Lights” is a simple folk song.  He’s got a bit of a Bob Dylan delivery in what feels like a very deliberate folk song.  Katie Crutchfield is Waxahatchee who I’m excited to see in a few weeks.  Waxahatchee has been really rocking out the last few albums, so this folk song (and her Southern accent) stand out somewhat.

Their voices work nicely together, and that moment when you hear someone yelling, it almost sounds like a wolf howling.

“Downtown’s Lights” is a song of comfort and prayer for someone who is down and out in the city, and this version, with Katie singing — and the sounds of the city echoing in the background — is wistful and peacefully perfect.

[READ: April 13, 2016] “Two Emmas”

Back in June of 2009, The New Yorker had their annual summer fiction issue.  Included in that issue were three short essays under the heading of “Summer Reading.”  I knew all three authors, so I decided to include them here.

This essay was about Roger Angell’s summer home in Maine.

He says that on late February nights his mind often returns to his family’s cottage in Maine and the books that are on its shelves.

Those books have been there for as long as he can remember, and have been read and re-read every summer.  The list is interesting:

Good Behaviour [Molly Keane], Endurance [Alfred Lansing], Framley Parsonage [Anthony Trollope], Get Shorty [Elmore Leonard], Daisy Miller [Henry James], Dracula [Bram Stoker], Butterfield 8 [John O’Hara], Goodbye to All That [Robert Graves], Why Did I Ever [Mary Robison], Oblomov [Ivan Goncharov], The Heart of the Matter [Graham Greene], Sailing Days on the Penobscot [George Savary Wasson], The Moonstone [Wilkie Collins], Possession [A. S. Byatt], Morte d’Urban [J. F. Powers], Quartet [Jean Rhys], Emma [Jane Austen] and dozens more. [I have to chime in and say that this sounds heavenly].

He says that fat books like Martin Chuzzlewit [Charles Dickens], Orley Farm [Anthony Trollope] and the Forsythe Saga [John Galsworthy] were saved for a tedious week of Down East fog. (more…)

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CV1_TNY_06_08_15_09.inddSOUNDTRACK: SOUNDTRACKSTELLA DONNELLY-“Talking” NPR’S SOUTH X LULLABY (March 19, 2018).

The South X Lullaby is a really fun way to get to know a new (or familiar, but mostly new) artist in an intimate live setting.  I had heard one of Stella Donnelly’s songs before, but this Lullaby presented her by herself (with a very cool backdrop) with an amazingly clear recording of her voice and guitar.

Stella Donnelly has only one EP to her name, but that’s been enough to make her sharp wit come through in sweet, quiet songs that rage loudly. The Australian singer-songwriter’s Thrush Metal EP was recently reissued in the U.S. with a bonus track, “Talking,” which she performs here surrounded by video of wires, a weaving machine and woolen yarns.

Her voice is clear with big open vowels (you can kind of hear the Australian accent, but it’s somewhat indeterminate).  Despite it being just her electric guitar, she plays a in a couple of slightly different styles throughout the song which adds a lot of texture to the piece.

For the end of the song she really unleashes her voice even as the guitar doesn’t alter all that much.  It’s pretty intense.

I wish you could see the art installation a bit more (I realize this is a video for her, but the installation is pretty neat).  At least they hold the pull-back screen at the end a little long so you can see what’s going on.

Donnelly played “Talking” in Conductors and Resistance, an art installation by the Israeli artist Ronen Sharabani that’s on display as part of the SXSW Art Program. Like Donnelly’s direct and feminist folk songs, Sharabani confronts the viewer to increase action in areas of high resistance, the only way to ensure a strong reaction.

[READ: April 13, 2016] “A Soldier Home”

Back in June of 2009, The New Yorker had their annual summer fiction issue.  Included in that issue were three short essays under the heading of “Summer Reading.”  I knew all three authors, so I decided to include them here.

This essay was about Yiyun Li’s growing up in China.

And I was astonished by the first line: “The summer after my year of involuntary service in the Chinese army….”  I didn’t know that women were made to be in it.  She says that after that summer, she read Hemingway compulsively. (more…)

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