Category: Jam Band (Page 1 of 6)

South by Southwest 2011 Music recap, Part III: The day showcases and panels

March 31, 2011 / David Medsker

Welcome to the final installment in our coverage of the South by Southwest Music Festival, where we decided to listen to some people talk along with continuing to listen to people sing. The free food and drinks weren’t bad, either.

South by Southwest offers more live music than any other music event on Earth when you add in all the free day parties. Many of the the bands playing official evening showcases also schedule day party sets to maximize exposure and opportunity. But then you also have the panels at the Austin Convention Center, where industry veterans discuss a wide variety of music industry topics and concerns. It’s great to be able to take a rest from the parties and soak up some knowledge in whichever areas are of interest.

The daytime showcases and panels

Ume, Lustre Pearl

Lustre Pearl was the place to be at 1 pm on Wednesday as Ume played a rocking set to get the beautiful sunny day going in the club’s back yard. Ume was recently named by Rolling Stone as one of the 16 best unsigned bands in America, and it’s not hard to see why. Singer/guitarist Lauren Larson is a dynamic force of nature, riffing and rocking out in high-energy fashion, while her husband holds down the alt-punk-grunge low end on bass. Tunes like “The Conductor” find the band putting it all together with great riffage, a catchy melodic chorus and then a big rock finish. The band sounds like they could fit right into the ’90s Seattle scene. Could they be even better if they added a lead guitarist? Perhaps.

Leslie & the Badgers were due up at Lustre Pearl after Ume, but the Badgers were MIA as Leslie Stevens played solo acoustic. But with the day still young, it was nice for the ears to follow Ume’s powerful alt-rock set with some acoustic Americana stylings and the sweet soprano voice of Stevens.

Steve Poltz, West Sixth

Steve Poltz and the Rugburns played the Dogwood on West Sixth at 2:30 pm and it was a great ’90s flashback since Poltz usually tours solo these days. The Rugburns were a band that should have been big in the ’90s, but they never quite got over the hump. But Poltz has carved out a career as an endearing singer/songwriter of catchy tunes with a great sense of humor. “Me and Eddie Vedder” was a highlight as always with Poltz, where he pays amusing tribute to Led Zeppelin, marijuana, LSD, the Brady Bunch and alt-rock dreams. Poltz also told an amusing story about riding his bike when he was a kid, running into a truck and needing 56 stitches in his head. He also then needed a retainer that he said became like a radio, which is what led him to start writing songs, including one about visiting Graceland and being willing to pimp out his sister to Elvis. Poltz remains one of the most unique and charming singer/songwriters in the business.

The Cloud Nothings, Mohawk Patio / Jessica Lea Mayfield, Radio Day Stage

Ohio musicians were down on the scene in the mid-afternoon as Cleveland natives the Cloud Nothings rocked the Mohawk Patio at 3:15 pm. The band has a high-energy
pop-punk sound, if that’s your thing, though they could perhaps benefit from some more dynamics in their songwriting. It was Kent, Ohio’s Jessica Lea Mayfield (below) who stole the afternoon at the convention center’s Radio Day Stage in a 4 pm set. The 22-year-old singer/songwriter is clearly an old soul, emoting in a style that seems beyond her years. Her overall vibe is sort of Midwest Americana mellow, but her songwriting keeps growing and she’s starting to incorporate a little more rock flavor into some of her tunes. She highlighted songs from her new album Tell Me, such as “Trouble,” which starts off slow but then picks up with a solid beat and some shimmery electric guitar elements. Lead single “Our Hearts Are Wrong” is a big winner, with Mayfield at her best on the up-beat yet still laid back groove. This is the kind of tune that could guide Mayfield toward stardom.

Music panel: Juggalos to Phish-heads

The 5 pm hour featured an intriguing panel titled “Juggalos to Phish-heads: Managing Fanatical Music Consumers.” The panel featured discussion about super fans and how they can at times be a double-edged sword. Amy Miller from Ticketfly moderated and related the tale of how Juggalos – fans of the Insane Clown Posse – had basically assaulted the notorious Tila Tequila when she tried to perform an opening set for the band. Fans had apparently vowed to abuse her and the Insane Clown Posse had even offered to pay her not to perform, yet she chose to risk life and limb. Andy Gadiel from JamBase, famous in the Phish community for his Phish site, was quick to point out how that would never happen at a Phish show. Stories were also related by panelists about fans of Jane’s Addiction and R.E.M. In the end, it seemed apparent that Phish has the most active and benevolent super fans of all.

Eisley, The Stage

If you knew you couldn’t catch Eisley in their at the Barbarella Patio, there was another chance to see them at Paste Magazine’s party at the Stage on Sixth at 7 pm. The melodic indie-pop band from Tyler, Texas played a great set, mixing older tunes with material from their forthcoming new album The Valley. With girls on guitars and keyboards and guys on drums and bass, the band delivers a majestic sound. The harmonies on “Invasion” were a treat, with guitarist Sheri Dupree-Bemis and keyboardist/sister Stacy Dupree soaring on the haunting yet catchy song. “Ambulance” was another highlight, with Stacy shining in a Tori Amos type of way. The band has been signed since 2003 and are still fairly young, maintaining what still looks like a very high ceiling.

“Treme” party, The Ghost Room

Thursday afternoon offered a “Treme” party at the Ghost Room, featuring New Orleans jazz and funk and headlined by the Dirty Dozen Brass Band. Ace piano man Henry Butler also entertained the packed club, while fans enjoyed a New Orleans buffet on the patio out back featuring dirty rice and beans, jambalaya and Crawfish Monica (a spicy macaroni and cheese with crawfish tails, mmmm.) But attending the party required missing Guns ‘n’ Roses bassist Duff McKagan delivering a solo panel back at the convention center on financial advice for musicians. This was a really tough call if you’re a fan of both G’n’R and New Orleans music.

The Joy Formidable, The Parish

English buzz band The Joy Formidable played the NPR day party at The Parish at 3:15, but the free party had a line down the street making late arrival impossible. You could still catch the band in the 5 pm hour in a party from Seattle’s KEXP at Mellow Johnny’s Bikeshop though. But for some reason, the shop had bands playing inside the shop with horrible acoustics and bad sightlines when they had an outdoor stage set up that they were only using for evening sets. The power trio did their best in a bad situation, and it was still apparent that singer/guitarist Ritzy Bryan is a star on the rise. The band’s guitar-driven sound recalls Tanya Donnelly’s ’90s band Belly, with a big sound and airy yet strong vocals from the diminutive but forceful Bryan.

Nicole Atkins, The Stage

Nicole Atkins entertained fans at the ongoing Paste party at the Stage on Sixth in a 4 pm set, with a bluesy melodic vibe highlighting songs from her new album Mondo Amore. “The Tower” closed the set in stylish fashion. Atkins started off the song singing in a torchy sort of style, before the tune evolved in a more powerful direction that saw her belting it out on the choruses and the ending jam.

Music panel: Writing about music in the 2010s

Friday had a 12:30 pm panel for the music critics titled “Writing About Music in the Twenty Tens,” where attendees could glean the wisdom of writers who have managed to make a living at the game. One tip was to save all your recorded interviews, because you never know when there could be a book deal down the line where the material could come in handy. Two o’clock featured a related topic with “Critics vs. Publicists: Why Must Things Be Contentious?” Moderator Heather West, President of Western Publicity out of Chicago, led a lively discussion on the relationship. The bottom line was that music critics and publicists need each other, so cordial and respectful behavior should be a two-way street.

The Radio Day Stage area continued to serve a key dual purpose. Bands had a chance to play afternoon sets at the convention center for badge holders who might not be able to catch them later. There were chairs up front for close-in viewing, but there was also a lounge area in the back with lots of big cushy pillows where attendees could relax and take a load off. The Felice Brothers played in the 3 pm slot and mixed a bluesy folk rock sound with a Dylan-ish vibe that was perfect for a lazy break time.

Rolling Stone party: Tennis, Surfer Blood, Stephanie Hatfield & Hot Mess

Saturday afternoon featured a Rolling Stone day party at La Zona Rosa, with barbecue, Stella Artois and tequila drinks. Tennis, Surfer Blood and the Joy Formidable all performed. Tennis had a melodic pop sound featuring waifish vocalist/keyboardist Alaina Moore. Surfer Blood out of West Palm Beach featured an anthemic guitar rock sound that recalled the Strokes to some degree, but not as hooky. It would have been great to see the Joy Formidable in a proper venue, but the 2:45 pm slot called for a trip over to Fuel on Trinity Street, where Stephanie Hatfield & Hot Mess were due. The Santa Fe band has a guitar-driven blues rock sound that serves as a canvas for the sensational vocal stylings of Ms. Hatfield, a rock goddess who can belt it out with the best of them. She went sultry, playful, mournful, anthemic; there seems to be no limit to her range. Guitarist Bill Palmer, meanwhile, was a master of six-string dynamics, always playing for the song. The band will soon release their second album and could be on the verge.

Madison House Breakfast Beats & Afternoon Treats party: Eliot Lipp, Toubab Krewe, Van Ghost, Lynx, Rival Sons

This was a treat indeed, held in the parking lot of Frontgate Ticketing’s office on South Congress and featuring free vodka drinks and Sierra Nevada Pale Ale. You don’t get a lot of jam bands at SXSW, which are Madison House Publicity’s specialty, as they tend to focus on relentless touring rather than aiming for industry connections. But Madison House put together a great little lineup for the jam crowd here. DJ Eliot Lipp threw down some tricked out funky breakbeats in the 4 pm hour to entertain the assembled. He featured analog synths and futuristic vibes that had the boys dancing and the girls hula hooping. Toubab Krewe appeared again and delivered another stellar set of groovy jams that were very well received.

Van Ghost out of Chicago mixed it up with an acoustic duo version of their bluesy Americana band, featuring singer/guitarist Michael Berg and powerful vocalist Jenn Hartswick (of Trey Anastasio Band fame.) The pair delivered some of the best harmonies of the weekend, leaving fans eager to hear the whole band. Lynx followed with her one-woman act that featured an amazing vocal jam where she beat-boxed in an impressive manner that recalled the skills of actor Michael Winslow in Police Academy. The Oakland-based artist said she developed the skill from too much time being grounded and bored. She also played some great tunes featuring call-to-arms lyrics like “Time to give the power back to the people.” She’s got a great message- someone get this girl a backing band.

It was only too bad that the crowd had diminished by 7 pm because the best was yet to come in the party’s final slot. Those who stayed were richly rewarded with an electrifying set by Rival Sons out of Los Angeles. The rocking quartet seems heavily influenced by Led Zeppelin and the Black Crowes, with an authentic blues rock sound that’s hard to come by these days. Guitarist Scott Holiday oozes coolness and is a riff master who’s obviously worshiped long and deep at the altar of Jimmy Page. Vocalist Jay Buchanan has clearly got the rare “it” factor that makes great singers so hard to find, bringing a vocal prowess and charismatic stage presence that stand out in a crowd of 2,000 bands.

Alternative, Americana, Artists, Blues, Cajun, CD Reviews, Concerts, Hip Hop, Jam Band, Pop, Rock, Soul, South by Southwest

2011 Southwest by Southwest recap 2011 SXSW Recap Austin Eisley Eliot Lipp Jessica Lea Mayfield Leslie and the Badgers Leslie Stevens Lynx Nicole Atkins Rival Sons Southwest by Southwest Stephanie Hatfield & Hot Mess Steve Poltz The Joy Formidable Toubab Krewe Ume Van Ghost

South by Southwest 2011 Music recap, Part I: The Headliners

March 30, 2011 / Greg M. Schwartz

“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.

Coming up next: evening showcases

Alternative, Americana, Artists, Blues, CD Reviews, Concerts, Emo, Folk, Hipster, Indie, Jam Band, Pop, Rock, South by Southwest

2011 Southwest by Southwest recap 2011 SXSW Recap Airborne Toxic Event Austin Bright Eyes Conor Oberst Deer Tick Foo Fighters Men Without Hats Queens of the Stone Age Southwest by Southwest the Strokes Widespread Panic

ESDMusic’s South by Southwest 2011 Music Preview

March 14, 2011 / Greg M. Schwartz

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.

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Bullz-Eye’s Favorite Albums of 2010: Staff Writer Greg Schwartz’s picks

December 7, 2010 / Greg M. Schwartz

It’s been another bad year for the recording industry, but another great year for music fans. Rock ‘n’ roll is alive and well, as is the opportunity to see it performed live. Musicians can still make a living, but they have to hit the road and seize modern marketing opportunities. One thing that will never change is the public’s desire to hear great music. Bands that can deliver still have a chance to write their own ticket.

Top 10 lists are of course inherently subjective, and this observer’s faves will always lean toward the guitar-driven rock side of the music spectrum. I was certain that the debut album from the long-awaited Derek Trucks & Susan Tedeschi Band would be topping my list this year, especially after the slew of terrific new tunes they delivered in two stellar shows at the New Orleans Jazzfest back in April. But the album isn’t coming out until 2011. Here’s my take on the best albums and songs that were released in 2010.

10. The Henry Clay People: Somewhere on the Golden Coast
This is just an old-fashioned, ’90s-style indie-alternative rock ‘n’ roll album that stands out with its energetic yet down-to-earth sound. No Pro Tools trickery going on here, just a band plugging into their amps and turning up the volume. It’s got loud guitars with melodic hooks, rocking piano and zeitgeist lyrics from singer/guitarist Joey Siara that tap into this modern era of Depression and discontent. “Working Part Time” is one of the great anthems of the year, while “End of an Empire” sounds like an alt-rock prophecy.

9. The Sword: Warp Riders
The Austin, Texas hard rockers deliver a blast from the past that is easily the best metal album to come along in some time. It’s like a cross between Metallica, Black Sabbath, Iron Maiden and Thin Lizzy, which equals metal heaven. It’s chock full of great riffs, furious rhythms and tight metal mayhem with a twist of classic rock flavor.

8. Stone Temple Pilots: Stone Temple Pilots
Back together with their first new album in years, STP deliver a rocking platter that recalls their ’90s heyday as alt-rock icons. Guitarist Dean DeLeo is at his best throughout, putting on a clinic of plucking guitar strings and alternative guitar strumming. Scott Weiland conquered his demons (temporarily at least), and sounds great here. The band doesn’t play it safe, either. There’s big rockers like the Zepp-ish “Take a Load Off,” the swaggering “Huckleberry Crumble” and the hard-charging “Hazy Daze.” But the band also stretches out with pop rock gems like “Dare if You Dare,” the uplifting “Cinnamon” and the Bowie-esque “First Kiss on Mars.”

7. Juliana Hatfield: Peace + Love
In a year where peace and love were in short supply, the Gen-X songstress delivered a stripped-down acoustic album that comforts the weary soul. It’s low-fi, but it’s some of Hatfield’s best work, demonstrating what a deep vibe can be conjured from just a girl and her guitar (and a little bit of piano and percussion here and there.) Songs like the title track, “The End of War”, “Why Can’t We Love Each Other” and “Faith in Our Friends” offer a melodic sense of hope for the future that I found myself returning to time and again.

6. The Macrodots: The Other Side
Rock goddess Cathy Richardson has been wowing audiences since 2008 in Jefferson Starship, where she fills in for the legendary Grace Slick in stunning fashion. Now she’s taken that classic rock aura and teamed up with former Scandal guitarist Zack Smith to create a great new band. Richardson has a dynamic range that few can match, evidenced from the powerful opening title track. “Beautiful Girl” shows a softer side, yet in compelling fashion. The metaphysical “I Am” soars, while “Not Too Late” and “Every Time” just flat out rock with great hooks and arrangements. This is a band ready to break out to a large audience if they could just get the exposure.

5. Grace Potter & the Nocturnals: Grace Potter & the Nocturnals
Vermont blues babe Grace Potter has got her band clicking at a higher level here with the addition of bassist Catherine Popper (formerly of Ryan Adams & the Cardinals). There’s a variety of classic rock influences at work, yet the band’s sound ripples with fresh energy. There’s lots of big hooks, hot riffs and a variety of vocal styles from Potter. The songs range from hard rock to pop, blues and even a bit of reggae. The dynamic bass playing from Popper boosts the sound throughout, and especially in the live setting, making her the rock ‘n’ roll acquisition of the year.

4. The Dead Weather: Sea of Cowards
With the nation plunged into the worse economic depression since the 1930s, there were plenty of blues to mine. Few albums provided as cathartic an antidote for venting out those blues than this barnburner from Jack White, Alison Mosshart and company. White sets up Mosshart to be the star, giving the dark angel a perfect setting to belt out those intense blues in compelling fashion. “Hustle and Cuss” has one of the year’s best grooves, while “The Difference Between Us” and “I’m Mad” find Mosshart really cutting loose over the deep, dark riffage. The album’s urgent energy and masterful old-school production value really stand out.

3. Ryan Bingham & the Dead Horses: Junky Star
This album finds Bingham moving in bit more of a country-ish direction, following his Oscar win with “The Weary Kind.” But he still delivers some of his best rock ‘n’ roll tunes – he’s just interpersing them with some more atmospheric tunes. It’s hard to think of anyone else who is blending rock, country and blues as seamlessly as Bingham does. He’s got one of the most soulful, comforting voices in rock and everything sounds great here thanks to production from T Bone Burnett. The album has a cinematic sort of flow, and some of the year’s best lyrics with zeitgeist rockers like “Depression” and “Direction of the Wind”, both of which tap deep into the hard times of the foul economy and shameful political climate.

2. Galactic: Ya-Ka-May
The New Orleans funk masters score their best studio album yet by bringing in a wide variety of friends to help them explore their diverse influences. There’s memorable vocal tunes like “Heart of Steel,” “Dark Water” and “You Don’t Know.” There’s deep party grooves like “Boe Money” and “Cineramascope,” where the band emphasizes the horns. There’s raucous bounce rap, atmospheric blues, a little bit of everything. It’s all an intentional mix to emphasize the Crescent City’s many diverse sonic flavors. The common denominator is drummer Stanton Moore, who puts on a groove clinic throughout.

1. School of Seven Bells: Disconnect from Desire
It’s always hard to decide which album is the best of the year, but this one gets the nod due to the utterly unique sonic landscape it explores. There’s no other album that made me feel like I was hearing a new sound. Guitarist/producer Ben Curtis conjures a mystical vibe by blending his creative guitar work with trippy electronic flavors and big beats for a soaring dream pop sound. Twin sisters Ally and Claudia Deheza then add their siren-like vocals for mystical harmonies that often seem to conjure another reality. It’s too bad that Claudia dropped out of the band this fall, but it doesn’t diminish what an achievement this album is.

Honorable mentions

Herbie Hancock: The Imagine Project
Beats Antique: Blind Threshold
Big Gigantic: A Place Behind the Moon
Earl Greyhound: Suspicious Package
Sheryl Crow: 100 Miles From Memphis
Los Lobos: Tin Can Trust
The New Pornographers: Together
Robert Randolph & the Family Band: We Walk This Road
Tom Petty & the Heartbreakers: Mojo
7 Walkers: 7 Walkers
Hole: Nobody’s Daughter
Nas & Damian Marley: Distant Relatives
Sharon Jones & the Dap Kings: I Learned the Hard Way
Here We Go Magic: Pigeons
She and Him: Vol.2
Arcade Fire: The Suburbs
LCD Soundsystem: This Is Happening
Sleepy Sun: Fever
Jenny & Johnny: I’m Having Fun Now
Railroad Earth: Railroad Earth
Devo: Something for Everybody
Melissa Auf Der Mauer: Out of Our Minds
Michael Franti & Spearhead: The Sound of Sunshine
Slash: Slash

Songs

10. “The New Fuck You,” Street Sweeper Social Club
This killer tune blends Boots Riley’s hip-hop rebel style with some of Tom Morello’s classic Rage-style riffage for one of the year’s best anthems. In a world that is rapidly sliding down the tubes while most stand around feeling helpless, Street Sweeper Social Club lays it on the line in this instant classic chorus – “Revolution is the new fuck you.” You wanna stick it to the Man? Stop spending your money at McDonalds and Wal-Mart.

9. “Summer Day, Sheryl Crow
This combo of deep soul and a catchy hooks is what great pop songs are all about. Sheryl is at her best here and it’s great to hear her tapping back into her roots.

8. “Collector,” Here We Go Magic
This is a next-level song that has the kind of unique sonic energy that suggests this band is just scratching the surface of what seems to be an immense potential. The blend of minimalist style with surging sonic hooks is one of the year’s most unique tunes.

7. “The Game Gets Old,” Sharon Jones & the Dap Kings
This majestic soul tune about dealing with another broken heart offers instant catharsis to the lovelorn. That makes it an instant classic, especially with way Jones and crew bring the old soul vibe into the modern era with such feeling and craft.

6. “Laredo,” Band of Horses
If the whole album rocked like this infectious melodic gem, Band of Horses would be my favorite new band. Alas, this is far and away the best tune on the album.

5. “Black Elk Speaks,” Railroad Earth
This bluesy ode to the legendary Sioux medicine man is probably the hardest rocking song the band has ever put out, and it’s got an appropriately mystical flavor that makes it one of the year’s best. Deep stuff.

4. “Tiny Light,” Grace Potter & the Nocturnals
The band’s lead single has it all, a classic rock vibe with a mystical twist, some of Grace’s best lyrics and most urgent vocals, plus a smoking jam at the end that proves you can stick a jam into a pop rock song and get away with it.

3. “Babelonia,” School of Seven Bells
This tune is a magical blend of rock, pop and psychedelia. The tight rocking beat and angelic vocals make for a compelling dichotomy.

2. “Shotgun,” Earl Greyhound
Power trio rock at it’s best, this hard-hitting tune has a mesmerizing quality that can transform an audience of casual onlookers into instant converts.

1. “Depression,” Ryan Bingham & the Dead Horses
The government is clearly lying about the unemployment rate, but leave it to the rockers to tell the truth about how this so-called Recession is really a Depression. This cathartic, up-beat rocker about transcending that economic Depression taps the current zeitgeist like no other tune did this year.

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Austin City Limits Music Festival – October 8-10, 2010, Austin, TX

October 21, 2010 / Greg M. Schwartz

The 2010 Austin City Limits Music Festival continued to make the three-day event’s case as one of the best festivals on the planet. It went off with nary a hitch, and in fact, this year’s edition may have had the festival’s best weather yet. There was no dust, no rain to turn Zilker Park into a giant mud pit (like last year) and the high temperature never reached 90. The sunny afternoons were still plenty hot, but the evenings were downright balmy. Some local fans bitched about the overall lineup when it was first announced, but there truly was something for everyone in the festival’s ever-eclectic lineup. The festival once again sold out well in advance, and again proved to be one of the best weekends of the year for any serious music fan.

The tasty local cuisine available at ACL is topped only by New Orleans’ Jazzfest (although unfortunately neither fest seems willing to bring in local beer), and the football tent returned to enable sports fans to get a fix in between music sets. There were only a handful of occasions where the crowd scene proved overly massive and hard to navigate. Overall, it was three days of near-utopian rock ‘n’ roll bliss. If the word “groovy” is overused in this review, it’s only because there were indeed so many such moments. The biggest problem was choosing between competing bands in a series of mind-bending conflicts: Silversun Pickups vs Broken Bells, Monsters of Folk vs LCD Soundsystem, Phish vs The Strokes, The Flaming Lips vs Band of Horses, and the terrible three-way Friday night dilemma of Sonic Youth vs Robert Randolph & the Family Band vs Ryan Bingham & the Dead Horses. Cloning technology can’t arrive soon enough.

Friday, October 8

Charlie Mars, Austin Ventures Stage
Mississippi native and Austinite Charlie Mars was a perfectly scheduled troubadour to get things going in the noon hour. His 2009 Like a Bird, Like a Plane album hones in on a sensual groove type of sound, which proved popular with a decent size crowd turning out for so early in the day. Mars spent the set strumming an acoustic guitar over a tight rhythm section, while his keyboardist took leads in place of a lead guitar. “No Place Like Home” and “What Are You Looking For” both featured Mars delivering heartfelt vocals that drew the crowd in. A peak moment of the set was the album’s catchy single, “Listen to the Darkside.” The song features one of the year’s best lyric hooks by paying homage to Pink Floyd with the chorus, “If you wanna come over and get high, we can listen to the Dark Side of the Moon.” Another strong tune was “Meet Me by the Back Door,” featuring a syncopated groove that had the crowd dancing and some great B3 jamming from the keys. Mars and company definitely deliver a more rocking immediacy in the live setting then comes across on the album.

Ponderosa, BMI Stage
The smallest stage of the festival was also one of the most enjoyable. It offered a club-size intimacy, shaded refuge from the afternoon sun, and was never overcrowded due to the relatively unknown bands that were scheduled for it. But it’s here that one can discover some great rising talents. This Georgia-based quartet featured a bluesy, guitar-driven sound recalling classic rock influences like Humble Pie, Artful Dodger and the Black Crowes. The band’s last tune featured a “Smokestack Lightning” type of riff, but was pumped up into a harder rocking jam.

Those Darlins, Austin Ventures Stage
This upbeat Tennessee quartet featured a relatively unique mix of country punk and garage rock to create a fun vibe. Singer/guitarist Jessi Darlin’s gritty voice recalled Courtney Love at times in its ragged splendor, but with more of a country flavor. “Red Light Love” saw the band at its best on a fuzzy, melodic rocker about the combination of good love and good music.

Blues Traveler, AMD Stage
It seemed like a flashback to the mid-’90s when Blues Traveler drew a huge crowd to the festival’s second largest stage to really get ACL going. It’s been great to see the band able to persevere through the tragic death of original bassist Bobby Sheehan and the health problems of singer/harmonica ace John Popper, who is now fit and sounding great as ever. Underrated guitarist Chan Kinchla always keeps things groovy on his PRS guitar and his brother Tad fits right in on bass. A cover of Radiohead’s “Creep” was a surprise crowd pleaser, followed shortly thereafter with the band’s 1994 hit “Run-Around.” But the clear peak of the set – and one of the top highlights of the entire weekend – occurred when the band welcomed 15-year-old violinist Ruby Jane to sit in on “Mulling It Over.” Jane, who would play her own set on Sunday morning, proved to be a dynamic prodigy. She immediately accented the hard rocking tune in tasteful fashion, before teaming with Popper for a superb violin-harmonica duel that won the weekend’s first huge cheer.

The Kicks, BMI Stage
New arrivals to Zilker Park were still pouring through the main gates as these Nashville rockers hit the stage. “Celia” placed bluesy riffs over a mellower groove, with some melodic southern flavor that recalled Creedence Clearwater Revival. Lead guitarist Adam Stark ripped off hot licks throughout the set and singer/guitarist Jordan Phillips showed a wide range, singing everything from sensitive ballads to catchy pop tunes and crunchy rock rave-ups like “Hawk Eyes.”

Kings Go Forth, Clear 4G Stage
This Wisconsin-based funk and soul outfit was kicking down a high-energy sound that recalled Sharon Jones & the Dap Kings, but perhaps with a more rocking edge. The band has a similar R&B foundation, but throws in a variety of ’70s funk, rock and disco flavors. The tent was packed with people getting down to the highly danceable sounds of the 10-piece lineup. Singers Black Wolf and Danny Fernandez exuded a strong charisma, while congas and horns accented the music’s ever-funky flavor.

Angus & Julia Stone, Austin Ventures Stage
I was on my way to check out the Black Keys when my ear was drawn back to this stage by a deep groove that sounded reminiscent of “All Along the Watchtower.” Angus Stone was on acoustic guitar, Julia was on electric and there was some clear chemistry in the air from the Australian siblings. The crowd kept growing as other passersby were drawn in as well. The band’s online material has a decidedly mellow acoustic vibe, but here in the live setting it became apparent that this was a rock ‘n’ roll band.

A powerful instrumental jam on Neil Young’s “Down by the River” hit all the right notes, with Julia laying down some strong harmonica work. The band also had a female violinist, which led to the second great harmonica/violin jam of the day. Julia then made a big impression on the rocking last tune by knocking out a dynamic lead vocal that recalled the pitch and power of Tori Amos. Check out her chilling version of Olivia Newton John’s “You’re the One That I Want” on the band’s MySpace page.

The Black Keys, AMD Stage
The Akron, Ohio-based blues rock duo hit the stage at 4 pm in front of a massive crowd that made it tough for anyone arriving late to get close enough to enjoy. There were so many people camped out in their lawn chairs that the entire area became quite difficult to navigate. The Black Keys are clearly surging in popularity – they played to about 10,000 fans at the 2008 Outside Lands Festival in San Francisco, but this crowd was at least three times as large. I finally gave up and decided I’d rather check out the next band on the intimate BMI stage.

The Ettes, BMI Stage
Another band out of Nashville, the Ettes had a big fuzzy sound mixing blues, big beat and punk with dynamic vocals from singer Coco Motion. The band clearly shares some influences with the Black Keys, but was also mixing in a ’60s British Invasion flavor and a garage rock/punk edge. Coco’s vocals were diverse. One song recalled the riot-grrl grunge vibe of L7’s Donita Sparks, another brought to mind the Ramones, while others had more of a ’60s pop flavor. Watching the Ettes up close with just two or three-hundred people was far more enjoyable than trying to hear the Black Keys from afar.

The Sword, ZYNC Card Stage
Austin’s own metal masters owned the 5 pm hour with a blistering set that delivered one tight, powerful tune after another. The band blends Black Sabbath with Metallica in impressive fashion, while also throwing in some other ’70s classic rock influences to cook up their own metal stew. The band has opened for Metallica and are indeed most worthy. “Tres Brujas” from their stellar new album Warp Riders was a great example of the band’s ability to mix a metal edge with a classic rock flavor. Lead guitarist Kyle Shutt and singer/guitarist J.D. Cronise ripped smoking hot riffs over the heavy rhythm from bassist Bryan Richie and drummer Trivett Wingo.

The new “Night City” was another highlight, starting off with Iron Maiden-style twin guitar licks before moving into a Thin Lizzy-style groove where Cronise sounded uncannily like late, great Lizzy frontman Phil Lynot. The Sword drew a good sized crowd overall, but the gathering was lacking in the true headbangers that had come out for the band’s recent free show in the parking lot of Austin’s Waterloo Records. One fan did achieve a bit of crowd surfing at the end, though. One gal who seemed partied out already was actually attempting to take a nap during this set, which was truly mind-boggling. Another stunning development occurred a few days after the festival when drummer Wingo announced he was quitting the band. Look for the Sword to carry on soon though, because this metal train has got too much momentum to stop now.

Nortech Colletive Presents: Bostich + Fussible, Clear 4G Stage
The 6 pm hour was a popular time to visit the Austin Eats Food Court, where all manner of tacos were amongst the diverse fare. Torchy’s Tacos took the prize for the second straight year in providing the best value and quickest service. Another bonus was being able to eat at picnic tables in easy earshot of the dance party being delivered by Bostich + Fussible, a duo from the Tijuana electronic music scene. The duo threw down a high-energy set that featured a unique blend of Norteno music with techno. The mix of hard dance beats with traditional sounds from Mexico made for a groovy vibe. The music flowed from funky jams with horns to jazzier sounds that also incorporated some of the classic Norteno accordian sound.

Sonic Youth, Honda Stage
The 7 pm hour featured the terrible dilemma of alt-rock pioneers Sonic Youth versus pedal steel guitar sensation Robert Randolph versus rising Texas buzz band Ryan Bingham & the Dead Horses (not to mention Vampire Weekend.) Unable to clone myself yet in 2010, I determined to catch the beginning of Sonic Youth’s set since they started 15 minutes earlier. Kim Gordon started out on just vocals for the opening tune, bringing a hard-edged punk vibe to the proceedings before picking up her bass. Thurston Moore sang the second tune, leading the band through a tighter rock number. A gloriously distorted jam had a great grunge flavor before devolving into an overly dissonant sound, although the big groove remained. Gordon rocked the mic again on a song where the guitar riffs were reminiscent of the verses from Metallica’s “Seek and Destroy,” which sounded awesome.

Ryan Bingham & the Dead Horses, Austin Ventures Stage
Bingham and his band drew a big crowd and rightfully so. His grittily soulful voice makes me think of a comment I once heard about Susan Tedeschi, which was that her voice was like butter on the biscuit of the listener’s soul. Bingham’s blend of rock, Americana, country and folk has been the freshest sound to come out of the Texas blues scene in recent years, making this a great homecoming for the band. “Wandering” was a perfect opener, with Bingham’s amiable voice setting the tone over a mid-tempo groove. The bluesy “Strange Feelin’ in the Air” featured some nice slide guitar, but was a bit subdued for such a big crowd at this point in the evening.

The band bounced back with “Depression,” an uplifting rocker about transcending the terrible economy that plagues this foul era in America. Leave it to a rocker to be the one who tells the truth about the real conditions in this country. Austinites looking for work know that calling the current downturn a mere “recession” is a big red herring. When you’ve got over 100 people applying for a part-time administrative job with the Texas Civil Rights Project and over 200 applying for a web content coordinator job with Austin’s Ticketcity.com, those are signs of a depression with a capital D. Bingham’s “Depression” is one of the best songs of the year and was a major highlight here. “Bluebird,” the most psychedelic song in the band’s repertoire, was another treat. The trippy chord progression brings to mind both the Beatles’ “Dear Prudence” and Ace Frehley’s “Fractured Mirror.” It was another transcendent tune with a big bluesy jam that sounded great in the evening twilight.

Phish, Budweiser Stage
The jam kings from Vermont hadn’t played a full show in Texas since 1999, so this was a long overdue visit to the live music capital of the world. Every Phish fan in Texas was psyched for this festival headlining performance. The band opened with their anthemic rocker “Down With Disease” – the same tune that kicked off their seven-and-a-half hour new millennium set at the Big Cypress Indian Reservation in th Everglades on December 31, 1999 – and proceeded to throw down a two-hour set of fan favorites that never waned in energy. There were no extended monster jams, although the band’s seminal “You Enjoy Myself” clocked in at 19:39 to close the set, while a soaring cover of the Velvet Underground’s “Rock ‘n’ Roll” received 10 minutes of superb rocking.

This set was the band’s fall tour opener, as well as taking place in front of a crowd where many were seeing the band for the first time. It therefore was not surprising to see the quartet play a more streamlined set, rather than pushing the exploratory boundaries. But the song selection was superb and the playing was tight and crisp. Guitarist Trey Anastasio ripped melty hot leads all night and never flubbed a note, bassist Mike Gordon and drummer Jon Fishman were totally locked in and “chairman of the boards” Page McConnell elevated every tune higher. Gordon’s funky low end had everyone grooving out during the the Talking Heads’ “Cities” and Phish’s own space funk classic “Wolfman’s Brother.” The band’s uniquely groovy cover of Deodato’s 1974 version of “Also Sprach Zarathustra” (better known by fans as “2001”) was a truly cosmic dance party. New material also shined, with Anastasio’s nimble melodic riffs driving “Backwards Down the Number Line” and “Light” from the band’s 2009 album Joy. The second encore of the instrumental “First Tube” pumped the energy off the charts with a galactic cowboys riding off into the sunset vibe that left the masses elated. I spoke with numerous people over next two days who said they’d never seen Phish before and were blown away by how great their set was. Now if only they’ll come back to Austin sooner than 2021.

Saturday, October 9

Grace Potter & the Nocturnals, AMD Stage
The time of day that a band plays at ACL doesn’t necessarily correlate with quality. One of the best sets of the day occurred here in the 12:30-1:30 pm slot as Vermont rock goddess Grace Potter and her killer band got things off to a hot start on this steamy and sunny afternoon. The band focused on their strong new album, which veers from blues rock to reggae to pop to full-on jamming. “Only Love” was an early highlight, with a rocking staccato riff from guitarist Scott Tournet that Potter rocked out over. Potter was a whirlwind of energy, moving back and forth between keyboards and guitar and dancing up a storm in a sexy gold-sequined minidress. “Goodbye Kiss” cooled things off a bit with a easy-going reggae-tinged groove and sweet slide guitar from Tournet. The melodic pop rock of “One Short Night” was another highlight, as the band layered three guitars over the catchy groove.

The highlight of the set was lead single “Tiny Light,” which features some of Potter’s best lyrics and most emotive vocals over a bluesy groove that grows into a monster jam thanks to bassist Catherine Popper and drummer Matt Burr. The first big cheer of the day occurred after the crescendo of Tournet’s smoking guitar solo over this powerful groove. The band’s now seemingly obligatory yet still electrifying cover of Jefferson Airplane’s “White Rabbit” won more cheers. The band kept the energy surging with the fiery “Paris (Ooh La La),” which had the crowd dancing along with Potter and singing out the refrain. It’s not hard to imagine Potter & the Nocturnals playing the same stage much later in the day at a future ACL.

Rock Island Hideway
This was where the football tent was, not to mention the only draft beer in the park. Big Ten fans hit the jackpot with the early games, as Ohio State-Indiana and Wisconsin-Minnesota were the two games on. But Wolverine and Spartan fans hoping to see the battle of Michigan in the afternoon were out of luck as more regional action took precedence with the Alabama-South Carolina and Texas A&M-Arkansas games. There were either a lot of Gamecocks fans on hand, or a lot of anti-Alabama fans (probably a combination of both.) The crowd was way into the Gamecocks’ upset victory over the Crimson Tide.

The Dough Rollers, Clear 4G Stage
This alleged trio sounded intriguing since it was to feature vocalist/mandolin player Malcom Ford (son of actor Harrison Ford), guitarist/vocalist Jack Byrne (son of actors Gabriel Byrne and Ellen Barkin) and a female fiddler/vocalist in Julia Tepper. But Tepper was nowhere to be seen when the set started, and the gravelly ragtimey vocals from the male duo sounded utterly awful. This was the only time during the weekend when a band was just so bad that I was immediately inspired to seek greener pastures. Thankfully, this was not hard to do.

The Jane Shermans, BMI Stage
It was a short jaunt over to the continually fulfilling BMI stage where a very pleasant surprise awaited with this indie-rock power trio. Singer/bassist Eulene Sherman out of New York City had a captivating presence with vocals that alternated between tough and tender. Her bass playing is relatively simplistic, but the grooves were catchy and rocking. Guitarist Angelo Petraglia clearly has an eye for talent, having previously co-written and produced the debut album from Kings of Leon. He seemed to revel in the role of backing the dynamic Sherman. Drummer Joshua Moore was also rock solid. “I Walk Alone” featured lots of sonic space around Sherman’s bluesy bass line, which gave her vocals room to stand out. “Young Hungry” was one of the highlights of the day, an up-beat power-pop gem with the band displaying influences like Blondie, the Pretenders and perhaps Missing Persons. But Sherman was clearly staking out a bright future as a star of her own.

Beats Antique, Clear 4G Stage
This Oakland-based electronica/down-tempo/glitch groove trio brought one of the freshest sounds of the year and the buzz has clearly been getting out, because the Clear 4G area was totally jammed. The band should definitely have been playing on a larger stage. They rocked San Francisco’s Outside Lands Festival in August and did the same here, throwing down a boisterous dance party with polyrhythmic beats and Eastern melodic flavors that had the amped-up crowd getting down (even though there wasn’t much in the way of elbow room.) One fan near the front of stage waved a huge state of California flag throughout the set to bring some extra West Coast flavor. The band’s official ACL aftershow party at Momo’s was also reported to be a barnburner, with both John Popper and Karl Denson sitting in. There was another tough choice here, as the second half of Beats Antique’s set overlapped with the first half of the set from the Silversun Pickups. But it was so crowded here that it wasn’t hard to decide to move on.

Silversun Pickups, Budweiser Stage
The Southern California neo-grunge rockers drew a sizable crowd to the main stage, but it wasn’t a clusterfuck like the Black Keys set in the similar time slot the previous day. “There’s No Secrets This Year” was an early highlight with its big Smashing Pumpkins-type vibe. Guitarist Brian Aubert was bringing a great fuzzy guitar sound, while drummer Christopher Guanlo was just killing it for the entire set. The end of the tune brought a huge cheer from a crowd that was ready to rock. Aubert commented on how the band had played ACL two years ago in a dust bowl situation that conjured visions of an apocalyptic sci-fi flick, and then praised the beautiful weather that had graced this year’s fest. “Future Foe Scenarios” displayed more of the band’s dynamic abilities, starting off quiet before slowly building into a strong groove. “Kissing Families” was a major highlight, with bassist Nikki Monninger contributing some vocals to the dark but beautifully layered psychedelic sound that had the hipster girls in the crowd grooving out.

Aubert announced that this was the final show of the band’s tour and that they really didn’t know what they were going to do with themselves when they got back home. He said he would be going to see the XX (who were playing next on the Zync stage) and then dancing to LCD Soundsystem (who would follow on the Budweiser stage.) The band then closed out their set in high-energy fashion with the sonic barrage of “Panic Switch” and their breakthrough hit “Lazy Eye.” The latter had the crowd clapping in unison at the beginning and and then dancing up a storm over the gloriously triumphant alt-rock gem.

A brief trip to media tent happy hour was in order next, as beer and wine were the only alcoholic beverages available inside the festival. But the world needs to know about the heavenly combination of Tito’s Handmade Vodka (in Austin) with Sweet Leaf’s original sweet tea (also made in Austin.) Definitely hits the spot on a warm, sunny day…

Monsters of Folk, Austin Ventures Stage
The folk supergroup featuring Conor Oberst, Jim James, M. Ward and Mike Mogis drew a huge crowd here that was another tough situation to navigate due to all the lawn chairs. There was also some sonic trouble with bleed coming from Kinky’s lively set at the nearby Clear 4G stage. But catching some of this set was a must. Oberst delivered one of the weekend’s best songs with “Man Named Truth,” a bluesy acoustic tune with a haunting but still up-tempo rocking quality. The band shifted gears 180 degrees as James starred on My Morning Jacket’s mellow but beautiful “Golden.” But it was on softer numbers like this that the bleed problem with Kinky became occasionally distracting. Oberst starred again on “Ahead of the Curve,” another great acoustic-oriented tune with a cathartically bluesy quality and some gorgeous pedal steel guitar. I wanted to see more, but the conditions were far from ideal and friends were texting me to join them at the main stage.

LCD Soundsystem, Budweiser Stage
There was a massive crowd forming now, probably partly due to fans camping out to get a good spot for Muse’s headlining set, but also because LCD Soundsystem has been building a large buzz. It would be very tough to find your friends in a crowd this size if they weren’t near a recognizable landmark. But my compadres had fortunately camped out near two inflatable green aliens on a flag pole that were easy to track down. It didn’t take long to see why the Austin hipster crowd was out in force for this set, as ringleader James Murphy was conducting a big-time dance party. The mix of electronic flavor with a full band made for some intoxicating grooves. “You Wanted a Hit” built in slow but steady fashion, with guitars and trippy electronic effects accenting the basic groove in skillful fashion. “Yeah” saw Murphy delivering some boisterous vocals on a super funky groove that sounded kind of like the Talking Heads in a ’70s disco. “Home,” from the band’s newest album, was another of the weekend’s top highlights. The band conjured an ecstatic psyche-groove with lots of bells and whistles that had the entire crowd getting down while a large disco ball spun some more magical ambience into the evening air.

Deadmau5, Zync Card Stage
This was the dinner hour for many, but the Zync stage was right in between the Budweiser stage and the food court so you couldn’t get there without going by and hearing some of the sounds that were going on here. It was good placement, because the electro-house dance sound from DJ Deadmau5 (aka Joel Zimmerman) was a perfect follow-up to LCD Soundsystem. There was a sizeable crowd near the stage, but even just hearing from a distance while walking from point A to point B made an impression. Some of the beats were a bit repetitive, but there were so many trippy/groovy sounds swirling around that you felt like the whole park was just one big dance club.

Muse, Budweiser Stage
The main event was simply epic as the British alt-prog power trio continued their triumphant 2010 tour with a return to Austin for this headlining appearance (the band had wowed about 2,000 lucky fans at Stubbs BBQ during SXSW as the semi-secret Friday night headliner in March.) This set was very similar, but had perhaps even more grandeur with at least 40,000 in the crowd. The “Uprising” opener set a dramatic and powerful tone for the evening. Singer/guitarist Matthew Bellamy was in fine rock star form, wearing a silver sparkle mirror suit and electric blue shades. But there’s few rock stars these days who sing about fighting the power like Muse does in tunes like “Uprising.” The big electro groove of “Supermassive Black Hole” featured some of Bellamy’s Freddie Mercury-style vocals and kept the energy building in a big way. And then the band kicked their awesome laser show into action on “New Born” to create a true arena rock-style spectacle.

Bellamy dazzled throughout the night, displaying some of the widest skills of any frontman in rock. One ballad featured him on piano with a John Lennon “Imagine” type of vibe, appropo since this day would have been Lennon’s 70th birthday. Bellamy also played an awesome-looking neon keytar on several tunes, including the electrifying “Resistance.” Bassist Chris Wolstenholme and drummer Dominic Howard starred here as well, and probably the most powerful rhythm section of the festival. “Hysteria” was another stellar moment where Bellamy’s guitar prowess was on display with a big rocking jam that featured a tight change into a furiously crowd-pleasing jam on the outro section of Aerosmith’s “Sweet Emotion,” followed by a brief jam on “The House of the Rising Sun.” The band wrapped it up in grand style with their epic prog-rocker “Knights of Cydonia” to send the crowd off into the Austin night totally sated.

Unofficial ACL aftershow – School of Seven Bells @ The Mohawk
This show at the Mohawk was not one of the official ACL aftershow parties. But Brooklyn’s School of Seven Bells were one of the top pleasant surprise discoveries of the 2009 ACL Festival, when they rocked a glorious early Friday afternoon set on the main stage. They hadn’t returned to Austin since, so it seemed appropriate to have them back now, especially considering how their sophomore release Disconnect from Desire is easily one of the best albums of 2010. And since it was an under the radar show, the club was not packed. This made for a very enjoyable set at Mohawk’s balmy outdoor stage.

Something was amiss, though. When the band took the stage at 11 pm, guitarist Benjamin Curtis and drummer Shigeto (aka Zach Saginaw) were accompanied by only one Deheza sister. No one knew why, but Claudia was MIA. This meant no siren harmonies, a key element of the band’s sound. But Ally Deheza and the boys rose to the occasion and showed how strong they can still be as a trio. The band’s intoxicating blend of dream pop and electronic rock still sounded great, especially with Shigeto’s drumming. Shigeto is apparently a Japanese word that means to grow bigger, and the tight and powerful drumming here helped give the songs an extra kick. The majestic “Babelonia” was one of the beneficiaries, with the song taking on an extra rock power thanks to the hard-hitting drumming. “Dust Devil” was also a gem, with a big electro-synth groove and crisp rocking beat setting up Deheza to shine with her heavenly vocals. “Bye Bye Bye” was another tune from the new album that took on a heavier quality with Shigeto rocking the skins. The album’s infectious lead single, “Windstorm,” was yet another peak that had the crowd dancing in bliss. The set was only an hour long unfortunately, probably reduced out of necessity by Claudia’s absence.

A few days after the festival, it was announced that Claudia Deheza had left the band for personal reasons. But Ally Deheza demonstrated without doubt that she is more than capable of fronting the band on her own, so hopefully she keeps it moving full-speed ahead. They should definitely try to sign Shigeto on as a permanent member though, as the guy’s drumming is flat out sensational and fits the band’s sound so well.

Sunday, October 10

Dawes, Austin Ventures Stage
Sunday is always the hardest day to get out of bed at a decent hour for a three-day festival, and ACL’s Sunday lineup was easily the weakest of the weekend. But there were still plenty more good times to be had. Dawes was another band that had played Outside Lands two months earlier, and their rootsy laid-back vibe was a good fit for a Sunday afternoon. The yearning “When My Time Comes” featured a bouncy bass line and nice piano work on a tune that sounded sort of like a blend between Tom Petty, Jackson Browne, the Avett Brothers and the Hold Steady. The band’s raw sound and strong harmonies were a hit with the early Sunday crowd.

The Constellations, Austin Ventures Stage
This eight-person group out of Atlanta got the party started with their rocking blend of indie-pop, “ghettotech” and psychedelia. “Alright, let’s get this thing going man,” said front man Elijah Jones at the beginning. The energetic ringleader was clearly ready to throw down. Bassist Wes Hoffman looked sort of like Disco Stu from “The Simpsons,” while Alaina Terry and Shab Bashiri provided dynamic backing vocals while also serving as sort of rock ‘n’ roll cheerleaders. “Setback” shined with a big psychedelic groove that brought the Beatles’ “Tomorrow Never Knows” to mind, before the band shifted into ghettotech mode to twist the groove in a new direction. Another tune had a funky sound that brought Cake to mind, but the Constellations were very good at mixing in a variety of sounds to create their own vibe. A super funky cover of David Bowie’s “Let’s Dance” lit up the afternoon and had the whole crowd getting down (although it wasn’t quite as good as Ween’s rendition of the song at Stubbs BBQ in August.)

Trombone Shorty & Orleans Avenue, Clear 4G Stage
The Clear 4G area was once again totally jammed in the 4 pm hour for the festive and funky sounds of one of New Orleans’ finest musicians. This stage area really needs to be expanded, as it was a major crowd scene for much of the weekend. Troy “Trombone Shorty” Andrews and company brought a high-energy dance party that veered back and forth from funk to soul, rock, hip-hop, jazz and back. The band’s rocking acid jazz sound made it feel like Galactic or Karl Denson’s Tiny Universe was onstage at times, with hot lead guitar and slamming beats. A cover of the Allen Toussaint classic “On Your Way Down” was a big highlight, with Andrews and his mates building up the bluesy groove and jamming it out big time.

The Henry Clay People, BMI Stage
LA’s Henry Clay People rode in on a buzz from their great new album, Somewhere on the Golden Coast. The band’s indie-alternative vibe may recall artists like Pavement, Neil Young or the Hold Steady for some, but it’s a fresh flavor with its ragged but bright guitar sound and the endearing vocals of singer/guitarist Joey Siara. “End of an Empire” was a vibrant rocker, with brother Andy Siara providing sweet bluesy slide licks on lead guitar and some jamming piano from Jordan Hudock. The raucously catchy “Switch Kids” was one of the best songs of the day, with fans of all ages rocking out, including an adorable young girl with pink-streaked hair who couldn’t have been older than six. Joey Siara then told of how drummer Eric Scott had reluctantly quit the band two years ago to hold down a good-paying job, but had recently been laid off which enabled him to return to the band. “So here’s to getting laid off,” said Siara, who then raised his beer for “a toast to Austin for being one of the greatest rock ‘n’ roll cities in the USA.” The band kept it rocking with “Working Part Time,” one of the great zeitgeist rockers of 2010, before closing their set with a raucously triumphant cover of Bruce Springsteen’s “Born to Run.”

A quick stop back at media tent happy hour conjured another great new cocktail, which was Red Stag black cherry bourbon whiskey from Jim Beam mixed with Sweet Leaf’s original sweet tea. It was oh so tasty, leading this reporter to go out and purchase a bottle later in the week to bring back the ACL vibe.

Edward Sharpe and the Magnetic Zeroes, Zync Card Stage
The buzz is definitely out on this band as there was a massive crowd gathered here in the 5 pm hour. The band’s eclectic sound recalls Arcade Fire to a certain extent, but there’s also some early ’70s folk rock vibes and some jazzy flavor from the horns. The band’s big hit “Home” had the festival getting quite festive indeed, with a celebratory vibe that was clearly contagious. Everyone was clapping and/or dancing, which led singer Alex Ebert to dive into the audience for some crowd surfing. The song also featured a triumphant trumpet solo. The band followed up with one more song, during which time the back part of the crowd started to part like the Red Sea, as thousands decided to start making their way to either the Flaming Lips or Band of Horses.

The Flaming Lips, AMD Stage
I’d caught Band of Horses at Jazzfest, but hadn’t seen the Flaming Lips in a while so this had to be the call. I also would have liked to seen some of Switchfoot, but there was no doubt that this was where the party was going to be. There was another massive crowd here, but it was possible to navigate by moving up the far left side by the merchandise stand. It’s hard to believe that this kind of deliciously freaky, experimental psychedelia comes from Oklahoma, but it just goes to show that people shouldn’t necessarily be judged by where they’re from. Singer and ringmaster Wayne Coyne started the set off in his gerbil ball as usual, getting the crowd involved from the start. The band also kept tradition going by having fans onstage as a hype team for the entire set, this time dressed in bright orange costumes/uniforms. One early highlight song had a heavy psychedelic vibe that recalled Led Zeppelin’s “No Quarter.” It was soon thereafter that Coyne was riding the shoulders of someone in a gorilla suit during “Silver Trembling Hand,” which rocked with a fantastically fuzzy psyche-groove. “She Don’t Use Jelly” led to a big crowd singalong, with a large Gumby also being waved in the air (probably the same Gumby that was rocking out during Phish’s set on Friday night.)

“This is the most beautiful night Austin has had all year,” proclaimed Coyne to a huge cheer. It was probably true, what with Austin’s brutal summer heat finally having faded. Coyne went on to encourage the crowd to realize that ACL is such a great festival that you’ll live your life better for the entire next year, and not to forget this. He then led the crowd in some animated call and response based on animal sounds. “I know a lot of you are tired, you took drugs all night, maybe you’re stoned, you’re saying, ‘What the fuck, Wayne,’” said Coyne in understanding of the sublime nature of the situation. His wolf howl received the biggest response, along with some good monkey hoots on the second try. “The Ego’s Last Stand” was a peak moment with its hard rocking groove and majestic Pink Floyd-style psychedelic jam, followed by a big finish with the band’s ubiquitous classic “Do You Realize.”

T Bird and the Breaks, BMI Stage
ACL was in the homestretch now, and the BMI stage rocked one more time with the most soulful and funky local band in Austin. The band’s funk power is so strong that they’ve opened some shows for Galactic, and they had a great little party going on here for another 20 minutes after the Flaming Lips’ set. It was another set of family fun at the freewheeling BMI stage – two parents and their three young kids were totally getting down as dynamic frontman T Bird (aka Tim Crane) riled up the audience with some James Brown-style vocals and showmanship. The band’s horn section and female backing vocalists/dancers always keep it festive, and so it was here.

The Eagles, Budweiser Stage
There was a certain contingent in the rock ‘n’ roll crowd that was not pleased with the Eagles being the festival’s closing night headliner, and some of these folks even left the festival beforehand. It certainly could have been viewed as a bit anti-climactic if compared to last year when Pearl Jam closed out the festival. But after epic headlining sets from Phish and Muse, it was hard to complain here. Those in the know (anyone who’s seen the Eagles since their 1994 tour) knew that at least the Joe Walsh tunes would be worth sticking around for. There weren’t many who left though, as there was still quite a throng gathered.

“Hotel California” was an early highlight, boosted by a cool trumpet intro. Joe Walsh then won the first big cheer of the set with his classic guitar solo. Walsh would prove to be the Eagles’ MVP, for there is quite simply no way the band could be a festival headliner without the rock power that he delivers in both his guitar playing and his classic tunes like “Walk Away,” “In the City,” “Life’s Been Good” and “Funk #49,” which were the top highlights of the set from the rock ‘n’ roll perspective. When Don Henley introduced the band, it was Walsh who was named last, with Henley saying Walsh was a man “who needs no introduction. He never met a man he didn’t like, or a hotel room he couldn’t wreck.” The band then proceed to rock “Life’s Been Good,” much to the delight of all.

Henley’s “Boys of Summer” also sounded great on such a warm balmy evening, as did his “Dirty Laundry,” which was nicely placed after “Life’s Been Good” to keep the energy high. The video screens featured tabloid magazine covers to match the cutting lyrics, with a great guitar solo from Glenn Frey framed in a People magazine cover and another tabloid headline that read “Monkey Sues Joe Walsh.” “Funk 49” was the jam of the set, amplified further by the killer horn section, which Walsh conducted during the song at one point. “Life in the Fast Lane” closed the set in triumphant classic rock style, before a “Take It Easy”/”Desperado” encore closed out ACL 2010.

The Eagles – 10/10/10 Set list:
Seven Bridges Road
How Long
Take It To The Limit
Hotel California
Peaceful Easy Feeling
I Can’t Tell You Why
Witchy Woman
Lyin’ Eyes
Long Road Out Of Eden
Walk Away
Boys of Summer
In The City
The Long Run
Life’s Been Good
Dirty Laundry
Funk #49
Heartache Tonight
Life In The Fast Lane

Encore
Take It Easy
Desperado

'60s, Alternative, Americana, Blues, Dance, Electronica, Folk, Funk, Hipster, Jam Band, Jazz, Metal, Pop, Progressive, Psychedelic, Punk, R&B, Rock

ACL ACL 2010 Angus & Julia Stone Austin City Limits Austin City Limits 2010 Beats Antique Blues Traveler Charlie Mars Dawes Deadmau5 Edward Sharpe & the Magnetic Zeroes Flaming Lips Grace Potter & the Nocturnals Headlines Henry Clay People Kings Go Forth LCD Soundsystem Monsters of Folk Muse Phish Ponderosa Ryan Bingham and the Dead Horses School of Seven Bells silversun pickups Sonic Youth T Bird and the Breaks The Black Keys The Constellations The Dough Rollers The Eagles The Ettes The Jane Shermans The Kicks The Sword Those Darlins Trombone Shorty