BonnaRECAP!  |  Best Acts of 2012


For a third time my time at the farm has come to an end.  This year was especially nice for many reasons but I think most Bonnaroovians will agree that the temperate weather was definitely an important factor.  It was actually bearable this year!  It was also the one year that I didn't come home sporting splotches of heat rash and dirty nails.


In addition to the weather, the crowds seemed more tame this year.  Lines moved quickly and there was absolutely NO TRAFFIC!  Whatever the staff did this year, keep doing it because it's working!


This year's lineup also boasted some of the most impressive and diverse lineups in years.  It was such a pleasure to watch these magnificent musicians in person.  Every act I caught was memorable in its own way but it was these 5 that topped the festival for me:

5. KURT VILE & THE VIOLATORS

Kurt Vile was one of the last acts on at the festival, and one of my most anticipated.  I've been playing Smoke Ring for My Halo on heavy rotation for months so to hear it live was thrilling.  What surprised , and delighted me was how much Vile deviated from this release and pounded out some heavier and headier electric jams.  But every now and then, that acoustic guitar was brought out to him and  those familiar plucky hymns came out and completely smoldered during the final hours of the festival.

HIGHLIGHTS:    BABY'S ARMS  |  PEEPING TOMBOY  |    JESUS FEVER

4. THE BEACH BOYS

Oh my goodness these guys blew me away!  I came in the main stage area on Sunday a bit cynical after hearing about their shaky Grammy's performance.  I was so very wrong!  Their voices have not changed one bit!  And after laying hit after hit onto the crowd, it was hard not to throw your hands up into the air and do those iconic 60's dance moves.  I may have been covered in dust, but for one hour and thirty minutes, I was at the beach.    

HIGHLIGHTS:  WOULDN'T IT BE NICE  |  GOD ONLY KNOWS  |  FUN, FUN, FUN

3.  RADIOHEAD

I've said it before and I'll write it here too:  I've never quite understood the enigma of Radiohead.  I've always understood that their music has a distinct presence and respect them for it.  However, seeing them live was such an incredible experience.  Their music truly cocoons you in sound  and their light show....their light show.    I don't have adequate words to describe it, much like Radiohead, it must be seen to be believed.  Still skeptical?  Watch the set here.  

HIGHLIGHTS:  WEIRD FISHES  |  PARANOID ANDROID  |  BODYSNATCHERS  |  NUDE

2.  FEIST

What an absolute delight to see Leslie Feist play in person!  She has had so many things going in her favor this year and even scored the sunset slot on the Which Stage.  Feist was bubbly and so much fun to watch.  She also incorporated tons of audience participation and genuinely seemed to be enjoying herself.  But perhaps the greatest part of her performance, and a true testament to her as an artist, were the two FANTASTIC reinterpretations of her hits Mushaboom and Limit to Your Love.  Completely unexpected and wholeheartedly enjoyed. 

HIGHLIGHTS:  THE BAD IN EACH OTHER | MY MOON MY MAN | LIMIT TO YOUR LOVE | SEA LION    

1.  SANTIGOLD

If there's anyone who goes hard in the music world, Santigold knows how to bring her A-game.  She's the total package: crazy costumes, ridiculous dance moves, and one of the years best albums to back it up.  Santigold's Saturday set was everything I wanted.  She indulged the crowd with old favorites like L.E.S. Artists, Shove It, and  (a personal favorite of mine) Anne, but still cranked out mega hits like  GO! , Disparate Youth, and Freak Like Me.    But for me, and all those with me, the hands down winning track of the day was Creator.   The moment Creator's dub step-like base rumbled in, Santigold invited anyone willing to dance to get up on stage with her.  And so I did.  I don't think any of my experiences at Bonnaroo top getting on the main stage with one of my favorite artists during one of my favorite tracks.  I mean, need I say more?  Whatever the case, Santigold knows how to throw it down.  I can only hope I brought it just as hard.

HIGHLIGHTS:  LOOK AT THESE HOES  |  CREATOR  |  ANNE  |  GO!  |  SHOVE IT  |  DISPARATE YOUTH

Non musical highlights include (but are not limited to):  

1.  Ghetto Raita at the Indian Cuisine Tent (FYI it's Ranch Dressing)

2.  The Love's Vegan Food Truck.

3.  Seeing cocaine in That Tent. ( I guess the 80's are back?)

4.  Meeting Unicorn Jesus.

5.  Hula hooping my guts out to Radiohead & Mimosa.

6.  Ridiculous amounts of instructions at the Major Lazer.

7.  Teletubbies!

8.  Meeting Kurt Vile's brother.

9.  Full length fur coat at Flying Lotus

10.  Blowing bubbles at the Beach Boys show!  Who could ask for anything more perfect?

So that's all for now, Bonnaroo!  Until next year!!
*ALL PHOTOS COURTESY OF BONNAROO MUSIC & ART FESTIVAL*

ARTIST:
FEIST


ALBUM:
METALS


KEY TRACKS:
THE BAD IN EACH OTHER
ANTI-PIONEER
CAUGHT A LONG WIND
THE CIRCLE MARRIED THE LINE


"speak plain"




This has been a long anticipated release for me.  Ever since Monarch I've always kept Leslie Feist on my musical radar.  She's one of those artists who's musical career I've loosely followed but enjoyed nonetheless.  At first listen Metals doesn't have those standout whimsical singles that made The Reminder such a hit.  You know, the 1 2 3 4's and the Sea Lion's.  Instead Metals is more of a slow burn, reminiscent of some of those subtle gems from The Reminder like Brandy Alexander and (my personal favorite Honey Honey).  As a result of this combination,  Metals really smolders.  

On the first listen you get all the new textures Feist is experimenting with.  Most noticeably are the saxophones and other string/horn arrangements.  However, Feist still maintains her folk roots by honoring those subjects that the genre holds dearest:  nature and love.  And although an already well seasoned musician and songwriter, I couldn't  help but feel there is a real sense of maturity to this album.  The songs are really fluid, layered richly, and are so much more dimensional than previous releases. 


I also feel that I listened to this album in the right place and the right time.  I was road tripping in rural America when this album came on my iPod.  Let me tell you that this record is meant to be heard outside, in the sunlight, with the wind in your hair.  


The album's opener, The Bad in Each Other is most definitely the finest example of this.  Feist's wispy voice, backed by an entire symphony of clattering tambourines, strings, saxophones, guitars, and a laundry list of other noises is a most satisfying combination.  Feist really showcases those guitar skills on this one putting this riff up there amongst 2011's best.    


Metals is certainly more demanding vocally and it's lovely to hear Feist loud and clear over her music as exemplified best in The Circle Married the Line and Anti-Pioneer.  There's also a noticeable staccato to her voice here which was delightful to hear. 


 Anti-Pioneer is a little jewel box of a track and it embodies all the traditional Feist qualities: guitar, subtle backing vocals, and that comfortable slow paced melody.  What's most remarkable about this track is that it has been 10 years in the making.  10 years to make something so subtle?  For Feist, on this track and the album as a whole, capturing that sort of understated elegance is worth taking the time.   

LISTEN:  THE BAD IN EACH OTHER  |  ANTI PIONEER  |  CAUGHT A LONG WIND  |  THE CIRCLE MARRIED THE LINE

NEXT WEEK:  JAMES BLAKE  |  JAMES BLAKE

ARTIST:

Broken Social Scene

ALBUM:

Forgiveness Rock Record

KEY TRACKS:

Meet Me in the Basement

Forced to Love

World Sick

"Well if you think about it, you're a fool, yeah."  

Broken Social Scene Circa 2006

The above mentioned lyric could not be more true about this dynamic (and enormous) ensemble from Canada.  Kevin Drew and Brendan Canning's Broken Social Scene have been around for quite a while, paving the way for other major acts like Stars and Feist.  What’s interesting to me about them is that despite the years and the constant flux of band members, BSS has managed still to maintain at its core a cohesive musical identity.  

All the sounds that originally drew fans in, are present in this most recent album: the understated lyrics (Ungrateful Little Father), fluttering strings, the distant guitar twangs (Highway Slipper Jam; Art House Director), and the ever present white noise of electronics buzzing in the background (All to All).  Although the lyrics are wonderful, for me the true beauty is in the lovely and understated instrumentals peppering the tracks.  

Kevin Drew and Brendan Canning

What I love most about BSS is that they’re not a cerebral band, It’s not a band that wants you to pick apart it’s lyrics.  It’s melodic, mysterious, and cryptic, without pushing it which adds more to the music.  It’s a mindset, a sense that everything is cool, everything is good.  Tying in with the above featured lyric, you’re a fool to spend your time listening simply for the lyric meaning when really the true beauty is in the lush melodies and vocals.  That being said, the true triumph of the album is the instrumental gem Meet Me in the Basement.  My god the drums in this track!  This album’s been out awhile now.  If you haven’t given yourself the pleasure of listening to it. DO.   

                                   LISTEN NOW:  Meet Me in the Basement  |  Forced to Love  |  Water in Hell

NEXT WEEK |  Massive Attack  |  Heligoland