Gig Review: Richard Ashcroft, Bowery Ballroom, NYC 3/23/2011

Ah, The Verve. Just the band name alone conjures up memories of my times in university out in Seattle. I still remember discovering them, just as many of us Americans did with the simplistic genius of the now timeless video for Bittersweet Symphony. At that time, the band had already developed a massive following in the UK, and had a small foothold in the US, but that one made them a name. A Buzz Clip. I had the good fortune of seeing them play the wonderful ShowBox in Seattle that year, and it’s still a gig that’s etched into my memory and The Verve are a favorite of mine.

Needless to say, the moment I heard that former frontman for The Verve, Richard Ashcroft, was doing a solo gig at the wonderful Bowery Ballroom in NYC, I jumped on tickets the moment they went onsale. While I am not familiar with his solo work, a few of my friends who also came to the show were, and told me that his solo output was strong and very worthwhile. I can concur 100% on that after tonight.

The Postelles

The opening act for this evening’s festivities was NYC-based garage rock act, The Postelles. The best way to describe The Postelles ‘ music is very retro indie rock. They were reminiscent of acts like early Kings of Leon with Strokes-y guitars, which shouldn’t be a surprise as The Strokes’ own, Albert Hammond Jr., served as a producer on their upcoming Astralwerks debut. There were also elements of 60s American rock like Creedence Clearwater Revival. I was very impressed with frontman Daniel Balk, who possesses a growly, melodic vocal that is quite powerful and engaging.  One thing I was not keen on was when lead guitarist David Dargahi would add his vocals into the fray. While I cannot say Dargahi has a bad singing voice, he mostly sings in his upper register and while not quite falsetto, has a bit of an odd timbre. The Postelles played a very decent set that went by very fast and were a fitting opening act. I can’t say that I would go out of my way for them again, but I will definitely be giving their debut a listen and hope to see them improve. They were in jovial spirits and that attitude is always appreciated.

After about a 45 minute wait for the headliner, one of the best known names in the NYC rock scene and former MTV luminary, Matt Pinfield, came out to inform us that Ashcroft had an amazing set planned for us tonight and conveyed to us how much Ashcroft loved New York.  I have to admit it was pretty cool seeing Pinfield out there as I’ve always liked the guy, relatively speaking. This was clearly a time buying measure as the wait between opener and headliner was definitely longer than normal.

At long last, Richard Ashcroft took the stage wearing a parka, jeans, and a pair of brand new white sneakers. The band accompanying Ashcroft on this night was the same band that is backing him on his latest solo album “RPA & The United Nations of Sound“. This album is a definite departure for Ashcroft as sonically it blends various genres from R&B,  rock, funk, and even elements of hip-hop. I gave the record a cursory listen prior to the show and I cannot say it moved me in any particular way. However, it was a lot of fun in a live setting.

Richard Ashcroft

One of the most impressive thing about tonight’s set was this group of musicians backing the frontman. The United Nations of Sound can best be described as a multi-ethnic, very well versed, group of professional musicians. Most notably, guitarist Steve Wyreman, who’s wild upswept dreadlocks and Sid Vicious t-shirt screamed rock star, and whose playing skill was among some of the best live guitar work I’ve seen this year. Wyreman was absolutely killing it on most of the new album’s material and even older classic material like “Lucky Man” and “Lonely Soul” off of UNKLE’s Psycence Fiction, which was dedicated to DJ Shadow. Rounding out the band was bassist, Dwayne “DW” Wright, whose six string bass was thumping all night, along with an excellent hard-hitting drummer, Qyu Jackson, and keyboards/synths player, Rico Petrillo.  As previously mentioned, I wasn’t too enthusiastic with the studio recording, but these guys definitely knew how to play to audience and were rock solid through the entire set.

Richard Ashcroft

I had read some setlists of some shows that Ashcroft had played last year in the UK prior to tonight’s gig in an effort to get an idea of what to expect. One of the expectations was an acoustic set which I am happy to mention was performed during this gig. To hear Richard Ashcroft perform my favorite song of his and his old band, “Sonnet“, solo and acoustic, was easily my favorite point of the night. I am admittedly a complete sucker for acoustic shows and to hear this song especially and this fantastic vocalist on this night was definitely a treat.

The set was over in a flash and while it being heavy on the album he’s here to promote, I can’t say that I am disappointed. Sure, I would’ve liked to have gotten some more songs from his years in The Verve and definitely some more acoustic songs, but the show was well presented and most importantly, extremely well performed. Any musician in the audience can learn something about showmanship from Richard Ashcroft and any fan of rock music would’ve appreciated the performance on this night.

The Postelles 6/10

Richard Ashcroft 9/10

Matt Pinfield mentioned to check out an acoustic set Richard recently performed for WRXP in New York. Click here to watch. Its a wonderful little set. There are also more photos via my Flickr.

Gig Review: British Sea Power, A Classic Education, & Eamon Hamilton – Maxwell’s, Hoboken NJ, 3/21/2011

Monday night gigs are typically a drag for most people. There is something about that day and a gig that doesn’t always go together. However, there are occasions where “Monday, be damned” becomes a mantra and the show outshines any feeling of dread or conformity. This Monday night performance by the incredible Brighton, UK based British Sea Power was one of those gigs.

Maxwell’s is a name synonymous with indie rock. The Hoboken venue has long been a staple of many bands’ touring diets. It helps that its a rather classy joint as well. Doubling as a bar/restaurant, the place serves up some mean burgers and has Stella on tap, which is a marked difference from most of the NYC venues. I have been fortunate to have caught a few gigs here in my life, but it goes without saying that when a band I truly enjoy is playing Maxwell’s, I’ll go to that show before just about any other venue in this area.

Eamon Hamilton

Opening on this night was Eamon Hamilton, a former member of British Sea Power, and currently a member of UK’s Brakes. I had the chance to speak with Eamon before the gig and he was an absolute gent, plus he put up with my gushing over Rose Elinor Dougall, who sung with Brakes on a track on their debut LP. Eamon’s set was short and sweet.  He was generally light hearted and an able guitar player with the highlight of his set being a cover of Johnny and June Carter-Cash‘s ubiquitous duet, Jackson. Eamon called for a member of the audience to join in, and older BSP fan, Mike, joined in. It was a very fun(ny) moment and the mood was cheerful. Eamon will also be opening up for the band at their show at the Music Hall in Williamsburg tonight.

A Classic Education

Following Eamon, came Bologna, Italy’s “A Classic Education” fresh off of SXSW. I was wholly unfamiliar with this band prior to this evening, and they played a very strong set of indie-pop. Frontman Jonathan Clancy was in a good mood and the band deftly went through a selection of up-tempo numbers. Most surprising about this band was how tight they were with very good musical communication. They have a strong mix of guitars and keyboards that was not unwelcome at all. Clancy also “shouted out” members of New Jersey-based indie band Real Estate who were amongst the audience.

At last it was time for the unheralded British Sea Power.  This is a band with a rather immense catalog at this point in their career, and it was the first time I had ever gotten to see them in a headliner setting rather than as another act at a festival. They’ve now been together 11 years and have garnered a very healthy following both in and outside of their native Brighton, UK.  Earlier in the day, the band taped a performance on David Letterman’s show and they all seemed to be in bright spirits both in speaking with a few of them prior to the gig and in stage presence. They were loose and carried a swagger with them as they came onto the small stage at Maxwell’s and proceeded to play some of their uniquely sweeping anthems for the crowd that had gathered

British Sea Power

Similarly with the band prior to the them, I was most impressed with BSP’s innate ability to communicate with each other musically. I especially loved when guitarist/vocalist Yan would switch off with bassist/guitarist/second vocalist Hamilton and the band wouldn’t miss a beat at all. The addition of other instrumentation like a cornet, keyboards, multiple guitars,  and the ever-present Abi Fry on electric violin really provides a full and engaging sound on many of their tracks. The new Valhalla Dancehall material , notably “We Are Sound” and set opener “Who’s In Control?” were absolutely fantastic in their style and showmanship.

My personal highs of tonight’s set were the tracks played off of my favorite BSP album, 2008’s “Do You Like Rock Music”. Wicked performances of “No Lucifer” and “Waving Flags” were greatly appreciated by myself and audience members alike, who waved their hands in the air as flags during that particular growler. Prior to the gig,  I mentioned to Hamilton my favorite track, “No Need To Cry” which he remarked had never been played live. I really hope the next time I see them that this may be a part of the set sometime down the line, but I am not one to complain. Click here for the full setlist.

British Sea Power are one of those bands that do not get enough recognition in the crowded confines of  indie rock in

British Sea Power

general. It would serve us all better if they did. Their anthems are perfectly suited to a Monday night gig and I would eagerly go see them again on any night given the opportunity.

The band play the Music Hall of Williamsburg tonight (3/22) and again at the Bowery Ballroom on 4/21. Tickets are still available for both shows, so be sure to check them out if you have the chance.

Ratings:

Eamon Hamilton 7/10

A Classic Education 7/10

British Sea Power 10/10

Be sure to check out my Flickr if interested as I will be adding more pictures from this show shortly.

Gig review: James Blake 3/14/2011, Music Hall of Williamsburg, Brooklyn, NY

Last night I said I wasn’t going to review this gig, but I guess I lied. I woke up this morning and changed my mind. Über-hyped James Blake (previously hyped on this blog) played his US debut to a sold out Music Hall of Williamsburg on Monday night. I went into this gig with very high expectations and while I was left a little underwhelmed, I am still very glad that I went.

For those uninitiated, Music Hall of Williamsburg is a literal carbon copy of the Bowery Ballroom in Manhattan, which is a wonderful venue in its own right, so I find this venue to be on the same level. Bigger than a dive and at a capacity of around 550, its pretty much your perfect mid-sized venue. It seemed to me that it was running late tonight as the show did not kick off at the scheduled time, which is pretty much par for the course at the Bowery Ballroom, so not a surprise the same happened here. This is fine, but Monday shows are typically really annoying for a lot of people and I am of the opinion that Monday shows should be more militaristic in keeping to a time schedule.

Opening on this evening was Ford & Lopatin (Joel Ford & Daniel Lopatin) along with Prefuse 73. The music they made can best be described as down-tempo, melody driven electronica with the nearest comparison I can find to be Röyksopp and Ratatat (both of whom I enjoy). However, it takes a lot to make electronic music like this work live outside of a dance club type of setting and this was really the case with this opener. While the music is perfectly listenable, I felt that we were just watching these guys bob their heads and play their records. A wholly uninspiring and lackluster performance commenced and we were all waiting with baited breath for the headliner. I really don’t like writing reviews of a negative nature and I did enjoy the music, but live performance such as this genre really needs a lot to come off with style and showmanship (i.e. DJ Shadow is terrific live), sadly I felt that this performance really lacked any of that and was merely time filler.

A pretty crappy shot of James Blake (hes on the right).

After a quick striking of the stage and refills on our drinks, it was time for James Blake to take the stage. I absolutely adore his record and from footage from live sessions that I’ve seen, I knew what to expect once he finally did. As this was his US debut, immediately his nervousness was apparent, but he was able to open the show deftly and without missing a beat backed by a live drummer and guitarist. “Wilhelm’s Scream”, which appeared far too early in the setlist as the 2nd song was extremely well done, but considering how that was the song most people got the most hyped for (along with Feist cover “Limit To Your Love”), it was played far too early.

As the show went on, it became apparent to me that I was underwhelmed. I loved Blake’s voice on this night and I found that his album-to-live replication was almost perfect. This is both a good and bad thing. While its nice to hear what you hear on record live, this matter of performance leaves very little room for showmanship and this lack can hurt the perception of the concertgoer. I felt that this was the case with the opener, and to a lesser extent, James Blake.

The show featured the majority of James’ debut self-titled LP, as well as a couple of b-sides and a cover of Joni Mitchell’s “A Case of You”, which was exquisitely performed. His classical training was also on display which I was impressed by. The dude had the girls swooning needless to say.  The highlight of the show was the 2nd song he performed (Wilhelms Scream), and after that it was a case of waiting for the gig to be over for a lot of us that were in the same vicinity. I will say that once Blake gets his live chops up and some showmanship, he’s going to be one of the best performers around. He’s only 22.  For now, he’s presenting himself and his record and that’s pretty much it.

A deft performance by Blake, but a very lackluster evening on whole.

James Blake plays two more NYC area shows at the Bowery Ballroom and Le Poisson Rouge in early May. Both are currently sold out, but keep an eye out for more tickets being released if you are interested.

Prefuse 73/Ford & Lopatin – 4/10

James Blake – 6/10

On a completely unrelated note, SEA Thai Bistro, right up the street from the venue (114 N 6th St) was an excellent pre-gig meal and is recommended with no hesitation.

Alex Turner and the Submarine EP.

Arctic Monkeys’ frontman Alex Turner recently recorded a solo EP of songs comprising a soundtrack for the upcoming film, Submarine.  The EP recently hit the web, and I…I’m just blown away by Alex’s songs again.

The songs are much more subdued compared to the Monkeys and even moreso than his side project with Miles Kane, The Last Shadow Puppets.  The songs are much closer to fellow Sheffield native, Richard Hawley, than probably anything he has released before.

This is unquestionably my favorite tune off of the EP (just look at my damn Last.FM!), entitled “Hiding Tonight”.

 

Beautifully written and performed. This is the type of music that I inhale and keep coming back for another hit.

Gig review: The Love Language 3/9/2011 – Mercury Lounge, NYC

Firstly, apologies to Telekinesis, whose set I missed due to enjoying the post-LL set bar setting a bit much!

Stuart McLamb of The Love Language

This was my 3rd time seeing North Carolina’s The Love Language who hold my top spot for 2010’s best record, as well as playing a wonderful show opening for Camera Obscura which I reviewed early on in this blog’s infancy.

The difference between the first time I saw this band and tonight cannot be understated. They were fantastic the first time I saw them, but the deft and showmanship they’ve attained in the 9 months since that show is something to behold. This is a band that is road tested and give their all each and every time.

The band tore through a setlist of 12 songs spanning their two LPs. I loved the fact that the majority of the audience knew who the band was and happily sung along and danced along to the music creating a great atmosphere and a highly enjoyable setting in the small, but completely awesome, Mercury Lounge.

Highlights of the show included set opener, Blue Angel off of Libraries, which was a bit of a surprise to hear as an opening song, but set the stage nicely for the rest of the set. As I mentioned in my prior review of this band live, they take their harmony seriously and that was no different on this evening. Manteo, off of their 2009 self-titled debut, was opened acapella with all the bandmembers singing along and the audience members who knew the lyrics joining in. Guitarist BJ Burton’s licks were red hot all night and its always a treat to see the beautiful Missy Thangs step out from behind her keyboards and shake her tambourine.

The other major standout track of the evening was the set closer, also off of Libraries, Brittany’s Back. This is arguably my favorite track off of the record and the lead into the opening verse was a very loud, almost thrash style intro complete with McLamb kneeling in front of his amp ala Noel Gallagher closing an Oasis show to set a sonic fire and lead into this wonderful tune in a really spectacular way.

The Love Language are a band that certainly deserve much more notice and they are one band who I am eager to hear what they do next. Check out their records, or even better, check out a show if they’re coming to your town anytime soon. You won’t be disappointed.

I actually remembered the setlist which I find shocking:

Blue Angel – Lalita – Providence – Heart To Tell – Nocturne – Manteo – Anthophobia – Horophones – This Blood Is Our Own – Sparxxx – Two Rabbits – Brittany’s Back

I hope next time to hear a rendition of Pedals, which is one of the best opening album tracks I’ve heard in recent memory. I have no complaints as each song they played I enjoy highly.

The Love Language 8/10

The band and Telekinesis play another NYC area show tomorrow (3/10) at The Rock Shop in Brooklyn. Go check them out and jump onboard.

The March 2011 Mixtape

March 2011 Mixtape

It’s been a while, but today I got the itch and decided to bring back the mixtape feature I once took pride in doing. I recently have gotten into Soundcloud, so I’m going to be using that whenever I publish a mix. My mixtapes are basically things that are inspiring me over the last bit of time and this one is no different. A full tracklisting is available by going to the link below.

I’m eventually going to expand the mix to a podcast and would like to get my ducks in a row before doing that and will hopefully bring on co-hosts and that sort of thing. This is strictly a music mix.

Without further ado, the March 2011 mixtape.

You can also download the mix for on the go by clicking the little arrow icon in the stream bar.

Festival season is nearing – My dream lineup.

With winter waning, it’s the time of the year when most major summer festivals start announcing their respective lineups. It’s a very exciting time if you plan on attending any of these major events in the United States or in Great Britain where the majority of these musical monoliths are held (Benicassim in Spain an exception). There’s the ubiquitous Glastonbury in the UK. There’s the now world-renowned Coachella that takes place in the desert of California. There are also up and coming festivals like Sasquatch in Washington state, and the Pitchfork sponsored festival in Chicago. We cannot forget the smaller festivals all over the world that each add a little bit of flavor to the summer melting pot, but they are too numerous to list entirely.

George Clinton - 1995 Alachua Music Harvest

My festival history is fairly sparse, at least in regards to just being a patron.  My first rock festival actually took place in the fall. It was the Alachua Music Harvest in Gainesville, FL back in 1995. The star attraction of that festival was a performance by George Clinton and The P-Funk All Stars, which I have great memories of, if only because it was the first time I ever smoked marijuana publicly. I was 17 and that was really the age when popular music galvanized me and going to concerts became a high (no pun intended) priority. The majority of that bill was fleshed out with local bands from a time when the Gainesville local scene was thriving. Acts today that are well known throughout the world that were considered “local” to this particular timeframe were groups like Less Than Jake, Hot Water Music, and (I hate them) Sister Hazel. I consider this particular festival a turning point in my adolescence in many respects. The A.M.H is sadly now defunct and it reached a high water mark when it lured James Brown, Lenny Kravitz and a few other nationally known acts in the years to follow. I was unable to attend any other of the Harvests and I believe the one I attended was only the second out of about 5 or 6 total, maybe even less.

As an adult, I’ve been fortunate enough to attend a few of the more well known festivals in the world simply as a fan. First, was T In The Park which takes place in Scotland in the beginning of July. I attended the 2004 festival at the invite of Franz Ferdinand. This is and remains a very special festival to me if only because of the extraneous things that occurred outside of the spectrum of just musical performance. I was VIP and had all access due to my friendship with some of the performers and to this day it is something I will never forget. The lineup was fantastic, especially on the Sunday, which had the likes of PJ Harvey, The Strokes, and it was the first time I witnessed the greatness of the Pixies live and in person. I also had a fantastic  discussion with Fergie of all people, who at the time I found pretty cool. I can’t say I like her public persona these days, but I know for sure she has musical taste despite her current group’s crap. This is also proven by her attendance at the recent Asobi Seksu show at the Mercury Lounge which I attended and recently reviewed. An interesting note is that this was the time when Kings of Leon were at their best creatively and before they went down the tubes to become one of the worst bands on the planet. I vividly remember sitting amongst the artist caravans and seeing the dirty Followills lounged out in ratty clothes, smoking something, and looking like rock stars.

Coachella 2007

My second major festival was Coachella in 2007.  This had arguably the best lineup I’ve ever seen offered by a festival, bar the headliner on the Saturday. On Friday of the festival’s opening:  Bjork, a reunited Jesus & Mary Chain, me standing within arms length of Scarlett Johannson, Arctic Monkeys, DJ Shadow and more. The Saturday was a bit weaker as the headliner was Red Hot Chili Peppers who I am not a fan of , but still had Arcade Fire, LCD Soundsystem, and  The Black Keys.  The closer on Sunday was Rage Against the Machine who reunited specifically for that festival and put on one of the most ferocious sets I’ve ever witnessed. The Sunday was also my intro to Explosions in the Sky, who are one of my favorites today and having not heard a note of until their amazing set at Coachella was a perfect introduction.

For me, the most important aspect of festivals is not the lineup, but the setting. The fact is, virtually anyone can find something they like at every festival on the planet, but comfort is not a guarantee. T In the Park remains my favorite because of how picturesque it is.  It takes place in Kinross in Scotland, which by my estimation (not consulting a map) is probably halfway in between Edinburgh and Glasgow. It’s an absolutely beautiful scene and weather was also perfectly comfortable. If you can find a place that boasts 50-60 degree temperatures in July within the United States, I’m moving there provided they get good gigs. This isn’t a knock on Coachella as the desert scenery is very picturesque especially at sunset, but the heat and hassle of getting into the area where its held is definitely not a good time. The hassle of Coachella traffic is a force to be reckoned with. In contrast, T In the Park has public transportation to and from the site from Glasgow (unsure of Edinburgh, but Id bet that it also has).

Another comparison aspect is just sheer scope. Coachella is an absolutely massive site. T In the Park is large as well, but to me, it seemed a lot more accessible. No doubt that weather also played a huge factor as it was a marked difference in comparing the two and there’s points during Coachella where you find a spot near a stage and just don’t want to move because of the heat.

For my dream festival, setting is just as important as lineup, so I am using that as my jumping off point.

With that out of the way:

Name of my festival: BenStock – Yes, it’s pretty derivative, but it is mine after all.

Location:  Just outside of San Francisco, CA. I choose this location because it’d be easy to get to from a major city, the weather is sublime around the time of year I’d hold my festival, and I believe that a traditional festival is something that Northern California, especially the Bay Area, is lacking. My second choice would be another attempt in the NYC area as that is where I live now, but logistically it’s a very hard place to pull off something proper because of lack of camping space, not to mention its been tried before and not without hitches (see All Points West).

Pre-requisites to selection and extra crap: My festival would be a standard three days over a weekend, preferably in June or early July. There would be only two stages and the performances would have staggered starts in order for people to get to and from each stage to catch an entire set if they so desired. I’d also limit ticket sales to avoid any major problems.  Of course, there’d be the requisite tented areas with merchants and other activities, but I’m not going to get that detailed. I will only be doing my lineup for the Headliner Stage. My choices have to be active as of today, so outside of a few deviations, no “dream” reunions or dead acts are named.  Each act would have a 60 minute set until the 3rd to last acts which would get 90 minutes, 2 hours, and then 2.5 hours if they chose to fill it.  Lineup is in order of appearance. All music starts at noon on each day. Saturday would be a late night event.

Friday Lineup:

Sarah Chang versus Hilary Hahn in a violin throwdown to open my festival on the headliner stage. I have never witnessed classical music in a festival setting and being a huge admirer of both of these virtuosos, and it’d be a fun thing to have them do a bit where they try to outdo each other, perhaps backed by a rock orchestra. This idea was completely inspired by that episode of the Cosby Show where Cliff is tapdancing.

Camera Obscura – One of my favorite bands out of Scotland, Camera Obscura would be a perfect fit following a classical set. It’d be sunny hopefully, and the orchestra could stay out and provide backing for some of their songs that sound incredible with that instrumentation behind them.

School of Seven Bells – Switching it up a bit with an shoegaze/rock/electronic outfit out of New York City. They would be the first rock out set to grace the headliner stage.

The Coral – Out of that place called Liverpool, are the unheralded and remarkable The Coral, who in the heat of the afternoon would bring their pitch perfect pop sound to my stage.

The Brian Jonestown Massacre – Straight out of LA is one of the best psychedelic bands in the world. Id actually give them a two hour set so we could all witness their greatness as the sun went down.

The Roots – I think it’d be rather interesting to follow up a psychedelic rock band with arguably the greatest live hip hop band ever. They would be the first act of the “nighttime” festivities on the first day. I think they could get the crowd hyped up and ready for…

PJ Harvey – The best female rocker on the planet who absolutely kills a festival stage.

Was there! 🙂

Arctic Monkeys – Easily my favorite rock band going today, Alex Turner and company can rip it up live with their high energy and fantastic songs.

END FRIDAY.

Saturday Lineup

Doves – Opening the Saturday would be UK’s Doves. A great alternative rock band that sort of remind of a perfect mix of Oasis and Radiohead.

The Duke Spirit – Led by the goddess, Leila Moss, this stomping rock-blues-punk hybrid would definitely get the masses going.

MEW – Danish alternative act MEW would be the perfect act at this point in the day.

The Walkmen – NYC/DC’s The Walkmen would be a perfect fit at this point during the day, where they have the ability to rock out and lower the energy level in the heat.

Explosions in the Sky – A perfect bridge from the heat of the afternoon to end of the day and the true beginning of the evening.  Explosions’ instrumental rock prowess would bring us to the first act of the evening hours.

Kasabian – UK rock act Kasabian would lead the charge into the evening hours.

The Black Angels – An incredible psychedelic rock band out of Austin, TX, I would give them a high billing simply because I feel they are arguably the most underrated band on the planet.

Radiohead – Quite simply, the best band on the planet and an excellent act in a festival situation.

DJ Shadow – Would spin the night away following Radiohead’s set.

Sunday lineup

The Love Language – North Carolina’s The Love Language would open the Sunday proceedings with their strong heartfelt pop nuggets.

Asobi Seksu – Another personal favorite, Brooklyn’s Asobi Seksu would bring their dream pop/shoegaze hybrid to the stage as we get ready for our final sundown of the festival.

Rose Elinor Dougall – One of my personal favorites of the last year, Rose’s English girl pop would be a great way to spend an hour on the final day of the festival.

Mogwai – Switching it up big time would be UK’s answer to Explosions in the Sky, Scotland’s Mogwai. Quite a bit different than Explosions as they employ vocals and more beat-centric music, Mogwai would be a great last day set.

Richard Hawley – One of the UK’s pre-eminent singer/songwriters, Richard Hawley would bring his old troubadour soul to my stage.

The National – One of the best bands in the world would be the choice for the sundowner on Sunday with their melancholy poetic rock and roll.

Noel Gallagher – Nearing the end of the festival and the first act of the final night would be Oasis’ former guitarist and lead lyricist, the ubiquitous Noel Gallagher.

Fleet Foxes – Closing my festival would be arguably my favorite band of the last two years, whose upcoming 2nd album is easily my most anticipated this year.

And that, is pretty much it, aside from the 2nd stage, which I decided not to do.

%d bloggers like this: