If only every relationship could end in an amicable music video.
Brooklyn-based couple Jonathan and Ivory are making viral headlines with their YouTube sensation song that chronicles their relationship’s demise in light of opposing views.
According to the song’s lyrics, Ivory takes an adamant stance against having children, in contrast to her pro-kid partner Jonathan who makes clear that he “wants to have babies.” After five years of dating, the couple have concluded their conflicting desires leave no other choice but the inevitable break-up.
The song delves further with its lyrics, assuring mutual friends that they “don’t have to choose” sides, “though it will be awkward, yes.” The ex-couple additionally requests invitations to friends’ parties, assuring they will still remain cordial: “No, don’t feel weird; we love all of you! After five whole years at each other’s sides, there’s just some things no relationship can survive.”
The YouTube video concludes with an eager Jonathan admitting he wants a couple of children, juxtaposed to a negating Ivory who simply shakes her head in disagreement.
What’s your take on this couple’s breakup rendition? Do you believe this civil break-up ballad ends on a musical note, or nonsensical approach?
It’s nice to see that ’60s lounge cool has yet to go out of style. Heck, if anything, it’s making a big of a comeback in the indie community. Jon Fratelli put his “Chelsea Dagger” day job on hiatus in order to make a boy/girl ’60s pop record with his wife’s best friend (they’re called Codeine Velvet Club, and they’re super cool), and let us not forget the ultimate hipster, slightly retro boy/girl duo the Bird and the Bee, whom the blogosphere keeps trumpeting, even though their tribute album to Daryl Hall and John Oates left us cold. More than cold, really. Frozen.
Enter the Moor, boldly going where, well, no one has made money in decades. This is to our immense gain, of course, not to mention some up and coming filmmaker who wants to use a Nancy Sinatra song without paying for a Nancy Sinatra song. “Warm Winter,” the leadoff track to their self-titled album, actually brings to mind a couple of bands from across the pond, with an extra jump over a fjord – Club 8 and the Acid House Kings. Those bands, like the Moor, are boy/girl duos, and all three are suckers for the mellow ’60s vibe, not that there’s anything wrong with that.
“There’s music everywhere you go, all the time, which is just a beautiful thing.”
The 25th anniversary edition of the South by Southwest Music Conference & Festival went down in Austin, Texas this month and it was one to remember. The festival once again featured everything from semi-secret shows by arena-level headliners to all the latest “buzz” bands, to ’80s favorites looking to make a comeback. This wide mix of talent is exactly what makes SXSW so unique. With somewhere around 2,000 bands playing at roughly 200 venues over five nights, it was pretty much heaven on Earth for live music junkies.
The festival keeps growing in attendance every year, so the urban chaos factor has been increasing too, leading NPR to describe the massive city-wide party as seeming like “one big crowded bar.” It did have that vibe at times, but isn’t that kind of fun? Indeed, it is. Traffic often did look like a nightmare (you gotta have a bike, people) and there were a couple unruly incidents this year. But if you’re a party professional, there’s really nowhere you can have a better time, not to mention being able to mix business with pleasure if you’re a music industry pro. It’s the influx of party amateurs that threatens to mess up a good thing.
Two incidents exemplified this: the gate crashing at Auditorium Shores when the free show by the Strokes on Thursday had filled to its 20,000 capacity, and the mini-riot that took place at the Beauty Bar on Saturday night after it had filled to capacity for Death From Above 1979, who were billed only as “special guest.” But there’s just no excuse for such behavior. There’s only, like, 200 other shows going on at any given time; if your first choice is filled to capacity, then go see someone else, This is why planning is key – you always want to have two or three potential choices in any given time slot, because you never know when your top show will either be at capacity or across town from where you’ve wound up and don’t really care to travel to at that moment.
Bringing or renting a bike is key. A bike also allows you to zip back and forth to have maximum flexibility to see your most preferred shows. It’s simple Vulcan logic. The other great thing about having so many choices is that SXSW can mean so many different things to so many different music fans. It’s all out there, as every genre is represented. You can focus on one or sample them all like the massive musical buffet that SXSW is. If you’re not having a great time, you’re just not trying. Here follows one Gen-X rock ‘n’ roller’s musical menu, broken down into headliners, other evening showcases and day parties.
The Headliners
Foo Fighters, Stubb’s BBQ
SXSW Music has traditionally run from Wednesday through Saturday. But this year they decided to add some showcases on Tuesday evening as well. Yet there seemed to be something missing compared to the past two years. There was no blank spot in the Friday night lineup at Stubbs BBQ for a semi-secret arena level headliner (which turned out to be Metallica in 2009 and Muse in 2010.)
But then something stood out on the Tuesday schedule for SXSW Film – the world premiere of The Foo Fighters’ new rockumentary “Back and Forth” at the Paramount Theater, with the program stating that Music badges were good for admission to the screening. Then word came down through a local music blog’s Facebook page early on Tuesday – a Stubbs employee said the the Foo Fighters would be playing a “secret” show at Stubbs that night. Was it invite-only, or would which badges would gain admittance? This was unclear. But applying Vulcan logic, it was easy to conjure a likely scenario – if you attended the film, you would get into the show at Stubbs, because wouldn’t it just make sense to play the show for the people who were big enough fans to attend the film premiere?
The Paramount Theater on Congress Avenue was a hub of activity, with no less than four different lines stretching in various directions. Chaos ensued with SXSW staff at first being unsure of whether Music badges were valid and then declaring that they were not. A mini-insurrection ensued, with a small group of music badge holders pulling out the official program, where it clearly stated that music badges were acceptable in order to gain admittance. The situation was rectified several calls later when staff were instructed to place the music badge holders in line. The coveted yellow wristbands with the band’s “FF” logo soon followed and so it was that heady Foo Fighters fans had the unique pleasure of viewing the film, followed by an after party at Stubbs featuring a smashing headlining set by the band, with open bar and tacos, no less (provided by a sponsor of SXSW Interactive for the closing night party.)
The film was compelling, tracing the band’s origins from the shocking suicide of Nirvana’s Kurt Cobain that sent Dave Grohl into an existential crisis, to becoming international stars, to the recording of the band’s new album in Grohl’s garage with Nevermind producer Butch Vig. Afterward, it was right over to Stubbs where a mob scene ensued as again there were no less than four different lines of people attempting to gain admittance. But it was the film attendees with the yellow wristbands who were admitted first.
The Foo Fighters also came on first and played a scintillating set that started off with a complete rendition of the new album Wasting Light, which definitely sounded like some of the band’s best work. In the film, guitarist Chris Shiflett had commented on how “All My Life” from 2003’s One by One was always a song that sparked a show higher. So it was again here as the song kicked off another electrifying 30-40 minutes of the band’s greatest hits. Grohl was on fire, drummer Taylor Hawkins was an animal as usual, and there was no doubt this was one of the top performances of the week. And it was only the first night of the festival.
Queens of the Stone Age, La Zona Rosa
Wednesday night also saw a stellar headlining set from an alt-rock favorite, as Queens of the Stone Age took the La Zona Rosa stage at 12:15 am and delivered a straight-up smoking set that went right up until 2 am. QOTSA also delivered a complete album performance, but rather than highlighting a new one, they threw down their self-titled 1998 debut that’s about to be re-released. The packed club reveled in every moment of the hard-hitting set, with Josh Homme and company in superb form on the tight, heavy material. Homme also put himself up for most rock star performance of the week by drinking straight from a bottle of vodka throughout the set.
The Strokes, Auditorium Shores/Widespread Panic, ACL Live at the Moody Theater
Thursday night featured hipster heroes the Strokes headlining the free show at Auditorium Shores, as well as jam rock titans Widespread Panic playing the first SXSW showcase that would also be a taping for the Austin City Limits TV show. The Strokes show was appealing, but the Panic showcase also had a strong conflicting undercard. The New Mastersounds and the Preservation Hall Jazz Band opened the show at the swanky new ACL Live at the Moody Theater venue. Fear of getting shutout led many Spreadheads to get there early, although the 2,700 capacity theater never did fill completely. Still, staying in one place for three great bands can be appealing, too.
Reports indicated that the Strokes delivered a high-quality show highlighting their new album to make up for two abbreviated sets at last fall’s ACL Festival. It was however a great night at ACL Live. The New Mastersounds got things going with a funky set, followed by a great set from the Preservation Hall Jazz Band, who received guest assistance from bluegrass legend Del McCoury and the Traveling McCourys, as well as Jim James from My Morning Jacket.
Widespread Panic delivered a solid set, if not quite the full-tilt barnburner that some badgeless local fans feared they might miss. There were no special guests but there were plenty of highlights, such as a sparkling “Pilgrims” and the soul-soothing “Up All Night,” an appropriate anthem for the SXSW crowd. “Chilly Water” closed the set with a surging take on one of the band’s jam staples, with bassist Dave Schools laying down a super-heavy low end. Some newbies and casual fans were probably surprised to find themselves getting wet from Spreadheads playfully shooting water from their water bottles up into the air, as is tradition during the song. A triple encore included a great “Dirty Side Down,” the title track from the band’s latest album and a gem that shows the band is still cranking out great new songs 25 years into their illustrious career.
The Airborne Toxic Event, Stubb’s BBQ
Friday night had a wealth of options in headliner slots, such as Duff McKagan’s Loaded at the Austin Music Hall, but this reporter had to see the Airborne Toxic Event at Stubb’s. A favorite new discovery at SXSW 2009, the band had graduated to a Friday night slot at Stubb’s, and if you’d fallen in love with their debut album, you wouldn’t want to miss the chance to see them make good here and check out new material from their forthcoming second album All at Once.
Singer/guitarist Mikel Jollett noted how the band wound up touring behind that first record for over two years, which meant he had to sing about his ex-girlfriend every night for over two years, which he doesn’t recommend. A great new song touched on this theme with Jollett singing, “Two years away, now I don’t miss home.” Many bands were clearly pacing themselves for a long week by drinking water onstage, but Jollett received party points when he toasted the crowd, saying “It is SXSW after all, and we are professionals,” followed by a slug from a Heineken tallboy. It was a zeitgeist moment for SXSW 2011 – you can party without having to be out of control. Another highlight of the week occurred when the band played their neo-classic, “Sometime Around Midnight.” The tale of heartache at seeing an ex that you’re still getting over can induce a tear, but it’s a cathartic song and it clearly struck a chord with the audience here. Violinist Anna Bulbrook drove the song to several peaks with her skillful work, and the set was a most triumphant SXSW homecoming for the band.
Men Without Hats, Club DeVille
There was also a major conflict in the closing slot, when rising Oakland buzz band Beats Antique were playing the Beauty Bar at the same time that ’80s icons Men Without Hats were to play around the corner at Club DeVille. Many music fans under the age of 30 have probably never heard of Men Without Hats, but if you were watching MTV in the ’80s, the Montreal band’s smash hit “The Safety Dance” was huge. There was a real buzz in the crowd at Club DeVille because it felt like one of those special SXSW opportunities that just don’t come around every day. When the group hit the stage with a charged cover of The Rolling Stones’ “Jumping Jack Flash,” the party was on. Singer Ivan Doroschuk had his mojo working and this energy translated to the crowd as the group ran through all their best material. “Everybody’s Happy” was interestingly dedicated to local radio talk show host and conspiracy theory icon Alex Jones. When the group triggered the opening synth run and beat for “The Safety Dance,” a jolt of electricity shot through the crowd with a wave of smart-phones rising in the air to record the moment as the crowd sang along. It was easily one of the most well-received songs of the week, as well as one of the most ecstatic moments.
Bright Eyes, Auditorium Shores
Saturday night featured another big free show at Auditorium Shores with Bright Eyes, where there was no trouble to be found, just great music. The only reason for anyone to be upset could have stemmed from spotting a huge prop Maker’s Mark vending machine, only to find that no whiskey was available for sale – just beer and frozen margaritas. Conor Oberst and company delivered a sparkling and lengthy set that sounded great on the balmy spring evening under the rare super moon, which appeared extra large and bright as the moon made its closest approach to Earth in 18 years. The crowd seemed to recognize every song, with one tune after another being met with huge cheers. Oberst was mostly in high spirits as the band featured material both classic and new from their latest release, The People’s Key. Oberst dedicated “Approximated Sunlight” to the super moon, while later noting that the US had just started its third war with the military action in Libya.
“It doesn’t even matter any more, it doesn’t bother anyone… I think it’s worth noting that today we murdered children as a country. Sorry to bring it down like that, but that’s what’s actually happening,” said Oberst before soothing the vibe with “Old Soul Song.” But ultimately, the indie rock star was as much in the spirit of SXSW as anyone, saying, “There’s music everywhere you go, all the time, which is just a beautiful thing.”
Deer Tick, Lustre Pearl
The evening ended with a bang too, for those who found their way over to Lustre Pearl for a 1 am set by Rhode Island’s Deer Tick. The charming Rainey Street club had been packed for a great set by Dawes, where members of Deer Tick joined the band for their last song. Deer Tick had apparently advertised the fact that they were going to pull a special stunt here, but the crowd seemed taken unaware when the band came on and launched into Nirvana’s “School.” It was just the beginning as the band played an entire set of Nirvana tunes, taking the audience on an exhilarating time travel trip back to 1993.
Deer Tick is known for a bluesy indie folk sound, but singer/guitarist John McCauley has a gritty voice that’s right in Kurt Cobain’s register. The band’s powerful sound did great justice to the material, as they tackled it with a sacred reverence. They delivered some of the hits such as “In Bloom,” “Lithium” and “All Apologies,” all of which received raucous singalongs. But they also covered more obscure fan favorites like “Blew” and “Aneurysm,” and the delirious crowd was just as into those. If you were starting to feel a bit weary after raging SXSW for five nights, this set was just what the doctor ordered to re-energize both body and soul. The band even went so far as to smash their instruments after the set-ending “Scentless Apprentice,” going all in on the tribute to one of alt-rock’s greatest heroes. What a way to close out the festival.
AUSTIN, TX – The 25th anniversary edition of the SXSW Music and Media Conference is upon us this week and it’s shaping up to be another gala event for live music junkies. The initial lineup may have looked a bit underwhelming, but that first announcement never shows the big picture. When you have around 2,000 bands from all over the world scheduled to play, there’s going to be more bands that you don’t recognize than you do. But the big name additions have been coming in over the past few weeks, as has the rising buzz on up and coming bands contending to be your new favorites.
Here’s my top 10 “name artists” I’m looking forward to hopefully seeing (even a badge doesn’t guarantee access if a venue has reached capacity, while a small handful of showcases are also private parties necessitating an invite.) Then I’ll list five “buzz bands” I’m eager to check out as well…
Widespread Panic – ACL Live at the Moody Theater – Thursday, March 17 – 11 pm
The southern jam rock titans from Georgia are celebrating their 25th anniversary in 2011. They’ll mark the occasion by playing the first ever SXSW showcase that will also serve as a taping for the Austin City Limits TV show. The brand new ACL Live venue – just opened last month – is a swank theater with a 2,700 seat capacity, although there have been rumors that ACL tapings will only take 800. Getting there early figures to be key, which is why Spreadheads may have to pass up the Strokes’ 8 pm set at Auditorium Shores (a park on Town Lake on the edge of downtown that offers free shows on Thursday, Friday and Saturday.) But Panic will also be preceded by some fine openers with the New Mastersounds at 8:15 pm and the Preservation Hall Jazz Band at 9:30 pm.
The Foo Fighters – Austin Music Hall – Wednesday, March 16
The alt-rock icons will be in town for the premiere of the band’s new rockumentary “Back and Forth” on Tuesday at the Paramount Theater. It was also recently announced that they’ll play at “The 2011 mtvU Woodie Awards” on Wednesday along with Wiz Khalifa, Two Door Cinema Club, Sleigh Bells and more, which will air live on three MTV channels. But this is not listed as an official SXSW showcase, so badge holders apparently need to win one of 850 tickets MTV will be giving away. Fingers are crossed.
Men Without Hats – Club De Ville – Friday, March 18 – 1 am
Anyone who grew up with the dawn of MTV in the early-to-mid ’80s will remember this Canadian band and their iconic video for their infectious smash hit, “The Safety Dance.” There’s a lot of attractive showcases happening in this hour on Friday, but this Gen-Xer is not passing up his chance do the Safety Dance at one of Austin’s nicest outdoor clubs.
The Airborne Toxic Event – Stubbs BBQ – Friday, March 18 – 10:30 pm
These Los Angeles indie rockers with the heartfelt sound were one of my favorite random discoveries at SXSW in 2009. I was walking out of the convention center when a girl connected with the band in some way said I shouldn’t leave because a great band was about to play. She described them as having a Bowie-ish vibe with a female violinist. That drew me in to witness a scintillating afternoon set that was a triumph. They’re about to release their second album and playing at Stubbs – ground-zero for SXSW showcases – means they’re moving up to the big time.
Bright Eyes – Auditorium Shores Stage – Saturday, March 19 – 7:30 pm
Conor Oberst has put his Mystic Valley Band on hold to put out a new album with Bright Eyes and the band will headline the Saturday night show at Town Lake. You get an eclectic mix of people since it’s a free show and it’s a gorgeous location for a show with the Austin skyline looming in the background. The band got a lukewarm review on their Radio City Music Hall show from The New York Times, but hopefully they’ll be ready to deliver the goods here. Oberst starred with Monsters of Folk at last October’s ACL Festival.
Immortal Technique – Mohawk Patio – Wednesday, March 16 – 11 pm
One of the most militant and revolutionary MCs in the world, Immortal Technique is a role model for any artist that wants to do it their own way. He’s remained steadfastly independent, refusing to allow major label control of his music or brand. It’s hard to conceive of a major corporate entity that would let him do his thing though, due to his radical way he speaks truth to power. If you feel that 9/11 was an inside job, Immortal Technique is your man.
The Kills – Emo’s Main Room – Thursday, March 17 – 11 pm
Singer Alison Mosshart’s profile was raised to a higher level when Jack White teamed up with her in the Dead Weather. Now she returns to her previous band, where it should be interesting to see how charismatic dark angel incorporates her Dead Weather experience. I can’t catch this set since it conflicts with Widespread Panic, but I’m hoping to see them at the SPIN day party at Stubbs on Friday or their appearance at the IFC House.
TV on the Radio – Stubbs BBQ – Thurday, March 17 – 12:30 am
SXSW will be booming on Thursday night as these trendy indie-pop rockers will be headlining Stubbs BBQ. They’d flown a bit under my radar until Phish covered the band’s “Golden Age” at an Albany show in 2009, then played it again last fall in Colorado. The catchy tune and its uplifting message certainly caught the attention of the Phish Nation. Attendees of Widespread Panic won’t be able to get here for this either, but the band is also headlining that SPIN day party at Stubbs the next day.
Beats Antique – Frontgate Tickets Party – 1711 South Congress – Friday, March 18 – 4:20 PM
This trio out of Oakland has been blowing up on the festival and jam-rock scene over the past year with a groovy vibe that features an Eastern sound with mystical overtones. Their official showcase is Friday night at the Beauty Bar at 1 am, but that’s a conflict for anyone who wants to see Men Without Hats. But the band is also playing several day parties, as many younger bands do.
Liz Phair – IFC House – Friday, March 18 – 8 PM
The indie alt-rock princess of the ’90s has gone through various phases of experimentation and flirted with commercialism, but it seems like she just wants to rock now. She’s in her 40s, but she’s still a total hottie and her 2008 tour featured her classic Exile in Guyville album in its entirety. Now she has a new album where she says she’s letting it all hang out.
Buzz Bands
Most of these bands are playing multiple showcases and day parties, a common trend for younger bands looking to max out potential exposure…
Ume
This local Austin (by way of Houston) power trio features dynamic frontwoman Lauren Larson on guitar and her husband on bass. They were recently named one of the best unsigned bands in America by Rolling Stone. Larson’s petite size is a red herring for what a force to be reckoned with she is onstage.
The Joy Formidable
Another female-fronted power trio, of which there are still too few. This trio is from the UK and was also recently cited by Rolling Stone as a “Band to Watch”, with angelic vocals from Ritzy Bryan that bring Metric to mind, but with maybe a bigger guitar sound.
Jessica Lea Mayfield
This young singer/songwriter from Kent, Ohio was sort of discovered by the Black Keys. Her earliest stuff was way mellow and kind of depressing, but the single from her new album, “Our Hearts Are Wrong,” is so good that Dave Letterman had her on to play it for the national TV audience last month.
Nico’s Gun
A funky and psychedelic quartet of rockers out of Philadelphia. They have a diverse sound from groovy dance numbers like “Dirty Girl” to sparkling pop gems such as “We Are Fluorescent.” They apparently fancy themselves as a “punk rock Michael Jackson,” but they sure rock more than the Gloved One did.
Stephanie Hatfield & Hot Mess
Bluesy rock out of Santa Fe, New Mexico from another husband and wife team. Singer Stephanie Hatfield has a captivating voice that can really rock or go sultry, and guitarist/husband Bill Palmer is an ace bandleader who sets her up to win every time. The band burned it down at the Continental Club on their visit to Austin last year and will be showcasing tunes from their forthcoming second album.
A few weeks ago, there was a leak that Muse, the Foo Fighters and Eminem would headline Lollapalooza this year. In previous years, when band names have been leaked well before the official announcement, they’ve been accurate, so let’s assume that those are your headliners. Pretty cool and eclectic group, if you ask us. We’ve seen some dyed-in-the-wool alt rockers scoff at the idea of Marshall Mathers playing Lolla, but why the hell not? Snoop Dogg did it two years ago, and no one complained about that.
The festival’s organizers are a good month away from unveiling their lineup, so while we’re in the lull between the leak and the formal announcement, we decided to have a little fun. Here are some bands that we’d love to see take the stage in Grant Park this summer.
Motorhead
Don’t laugh – this makes more sense than the decision to invite Metallica in 1996. They rock harder and faster than anyone alive today, and courtesy of their appearance on “The Young Ones,” they were instantly grandfathered as alt rock forefathers (Ministry’s Psalm 69, anyone?). Still think it’s a long shot? Consider this: Head Foo Fighter Dave Grohl loves Lemmy and has recorded with him, plus the band just released a new record (The World Is Yours), which means a tour is sure to follow. Come on, Perry. You know this would be awesome. Lemmy shows up, drinks all the other bands under the table, and wipes the floor with them onstage. That’s the way we like it, baby.
Franz Ferdinand
Of the big UK bands of the last five years, only Franz Ferdinand and Coldplay have yet to play Lolla, and we’re not sure why. It looked as though the stars were aligned for them to play when the band released Tonight, Franz Ferdinand in 2009, but for whatever reason, it never happened. Considering the heavy nature of the three headliners, both musically and lyrically, the festival could use a party band. The only catch is that the band is not working on a new record, and therefore will not likely be on tour this year. Pity.
Midnight Juggernauts
Odds are these guys aren’t even on Perry’s radar, but they would be a welcome addition to the DJ stage (playing live, of course). This Melbourne trio brings the rock, the beats and the trippy, and wraps it all in tasty pop hooks. And from the shaky camera phone clips we’ve seen, they can bring it live, too.
Biffy Clyro
NME just crowned them the best live band, and their 2010 album Only Revolutions is finally making waves in the US nearly a year after its release (and after the band sent a whopping six songs from the album into the UK Top 40). They’ve already toured with rumored headliner Muse once this year, and would make for one hell of a setup band for them. Plus, the band plans on returning to the States after they conclude their spring tour. This makes sense on so many levels.
Duran Duran
They were a gateway band to the world of modern rock for millions of kids. Scores of current modern rock bands cite them as an influence. And they’ve just released their best album since Rio (All You Need Is Now), an expanded version of which comes out in a couple weeks with songs written especially for the band by none other than Owen Pallett, lead singer of Lolla 2010 headliners Arcade Fire. They’re playing Coachella, Ultra Music Festival, and South by Southwest. The only problem is that they’re also playing V Fest, in the UK, August 20, so they may already be finished playing the States by the time Lolla comes around. Then again, Enimem is playing the V Festival too, and he’s playing Lolla. We’ll keep our fingers crossed.
N.E.R.D.
If only to dance along with 30,000 other people to “She Likes to Move” and “Hot-n-Fun.”
Scissor Sisters
They’re currently opening for Lady Gaga, another Lolla 2010 headliner. The press loves them. Their songs are ridiculously catchy, fun, and smart. There’s just one teensy weensy problem: they’re gay. Well, the guys in the band are, anyway.
This isn’t a problem for us, mind you. Good music is good music, and we couldn’t care less what the musicians do in their personal lives. But with the explosion of grunge in the early ’90s, all of the dancier artists – you know, the ones that helped get the alternative movement off the ground and served as a musical haven for the strange and confused – were kicked to the curb in favor of the new macho world order, and sadly, the recent Lolla lineups have reflected this. That is not to say that they haven’t had gay artists perform; it just means they haven’t had a lot of openly gay artists who put on *fabulous* live shows perform. Adding the Scissor Sisters would go a long way toward rectifying this, because they’re not afraid of large crowds (they’re huge everywhere in the world except here), and they put on a hell of a show. Given the liquidity of Perry’s sexuality in the past, you’d think he’d be more sensitive to this.
Aimee Mann and Matthew Sweet
There is a certain circle of artists who have indie cred galore, yet never get invited to the big parties. We’re not sure why that is. If you go to the nearest coffee shop that has an open mic, ten bucks says every other girl with a guitar has at least two Aimee Mann albums on her iPod, while Sweet made one of the biggest alt-rock albums of all time in Girlfriend. Neko Case played to roughly 20,000 people at Lolla two years ago, so there is clearly an audience for this kind of music. Mann is known to be a bit of a prickly pear in person, but she’s a dynamite live performer and has one of the most casual relationships with her fans that you’re likely to see. And just imagine if Sweet decided to play Girlfriend in its entirety for a festival crowd. You’d have other Lolla bands lining up to take the stage with him.
So those are our picks for bands we’d like to see play Lolla this year. What are yours? Please leave your polite and well considered suggestions in the comment section below.
