The Week in Music

Dylan in Prospect Park, Wilco at McCarren Pool, Trey Anastasio‘s triumphant return to full-on electric shredding with Classic TAB at All Points West and the Music Hall of Williamsburg — and that’s just the stuff I missed.

The shows I managed to catch weren’t too shabby either: Animal Collective driving a sun-blitzed afternoon crowd wild, Kings of Leon, a heavy Roots throwdown with Immigrant Song tease just across from Ellis Island, Radiohead’s stunning second night at APW, Bob Weir‘s Masters of War, a blissful seaside evening with the Allman Brothers, and perhaps best of all, the U.S. premiere of Manuel Göttsching‘s seminal electronic piece E2-E4, accompanied by the mesmerizing Joshua Light Show at Lincoln Center’s Out of Doors Wordless Music event. Rhys Chatham‘s A Crimson Grail — a piece for 200 electric guitars — had to be canceled due to the rain, but Beata Viscera‘s performance of the music of Pérotin was gorgeous.

A few clips of varying quality:

Animal Collective: Fireworks

The Roots: Next Movement

Trey Anastasio Band: Gotta Jibboo (part II)

Ratdog: Masters of War

Radiohead: 15 Step

Radiohead: Ideoteque

Radiohead: Reckoner

E2-E4 with the Joshua Lights

Bonnaroo 2007


Dancing in the Sunshine is Serious Business

Bonnaroo is exhausting. Sixty hours after the last notes wafted into the Tennessee air, my feet, back, legs, skin, and head have barely recovered. In 2004, a tremendous storm left me drenched, tentless, and barefoot in ankle-deep mud. But it doesn’t take a major meteorological event: if the thunder don’t get you, then the punishing heat, sleep deprivation from late night superjams and endless forced marches between Centeroo and your camp site might.

In Star Wars terms, Bonnaroo 2004 was Yoda’s swamp hideout Dagobah. This year resembled Tatooine: a parched, scorched desert where a parade of alien creatures shuffles through blinding sandstorms. Under these conditions, living out of the trunk of your overheating car for four days without electricity, easily available showers, or bathrooms that feature actual running water can be enough to break the toughest Tool fan. (I’ve seen it happen.) Ornette Coleman, who was no doubt helicoptered in and had air conditioning at his disposal, nonetheless collapsed on stage from heat exhaustion. Why on earth would anybody do this thing?


It’s All About the Music, Man
Let’s get one thing out of the way: none of the headliners did much for me this year. John and I used the Tool show on Friday to recharge for the late night sets, but there was no way to escape their brutal sonic onslaught and flashy light show that must have been visible from Mars. Likewise, we only heard The Police run through their hits from afar, and I’m okay with that. Southern jam band Widespread Panic closed out the festival on Sunday. New guitarist Jimmy “Catfish” Herring had some great moments, but the hecklers behind us nailed it: “We don’t really like you! We just stand here because there’s nowhere else to go.” If I’d been consulted, The Roots, Wilco, and Ratdog would have headlined–but I did appreciate the rest Sting afforded us.



Now for the good stuff. Wilco, obviously in grand spirits, played a wonderful afternoon set–I’m especially partial to “Impossible Germany.” The Roots, confined to the same time slot on Friday, threw down hard, but my favorite ?uestlove moment came later that night, during The Philadelphia Experiment in the nifty new jazz tent: somewhere around 3am, after Gina Gershon sat in on the Jew’s Harp, Ahmir Thompson got up from behind his kit to drum on random objects in the audience, including the table I was sitting at. It loses somewhat in the telling, but to have that man banging the living shit out of the spot where you were just about to put your drink was a real kick.



On Thursday, we caught the blazing tail end of Tea Leaf Green and witnessed Rodrigo y Gabriela rock “Stairway” into “Tamacun.” London synth band Hot Chip seemed like they were about to bust out “Being Boring” any minute but never did. Gypsy punk Gogol Bordello was almost as crazy as Manu Chao, Lily Allen covered The Specials and “Heart of Glass,” and in the comedy tent, David Cross and Aziz Ansari made easy hippie jokes. Late Friday night, Bob Weir sat in with Gov’t Mule for “Sugaree” and “Loser,” and I saw Keller Williams doing “Stayin’ Alive” with the String Cheese Incident. Led Zeppelin’s John Paul Jones came on stage with Gillian Welch, and he later played “Dazed and Confused” and other Zep tunes at the superjam with ?uestlove and Ben Harper. Rumor had it that JPJ’s run of sit-ins came to an abrupt end when his bass was stolen.



Because of the heat, we sacrificed Ratdog for air-conditioned David Murray. Damien Rice sounded oh so sweet but a tad maudlin for my mood. Ween made a lot of crazy noise, Martha Wainwright insulted her father in time for father’s day, Michael Franti told us to end the fucking war. On the Sonic Stage, Jorma Kaukonen played an intimate acoustic set. The Hold Steady surprised me with an enthusiasm not seen at That Tent since The Polyphonic Spree, and the Troo lounge had great smaller acts like John Paul White, Jennifer Niceley, and Salvador Santana. The mutating beats of Sasha & John Digweed kept a rave going until after 4am. From afar, we heard Wolfmother, the Decemberists, Franz Ferdinand, The Flaming Lips, Galactic, the North Mississippi All-Stars, and the White Stripes, and they all sounded good.

All the Freaky People Make the Beauty of the World
And that’s the real secret of Bonnaroo: it’s all good, and not just in that heady bumpersticker way–I mean it literally. There wasn’t a single act that didn’t have something interesting going on, and most I saw were great. Given the music and the conditions, the crowd self-selects, too, and every one of the 90,000 Bonnaroonians I talked to this weekend was joyful, friendly, interesting, and kind: the Iraq vet who helped with our car problem, Sneaky Mike, the coolest cat in Pittsburgh, Matt and Vanessa from Dayton, the woman who described her job as “making sure the passed out people aren’t actually dead,” the naked guys, the hula hoop girls, everyone I photographed, the neighbors who hooked me up with milk for coffee three times like in a fairytale, the people who appeared out of the dust like a fata morgana to share a warm beer.

Bonnaroo is a Temporary Autonomous Zone, a Hippie Utopia where everybody’s cheerful, anything goes, and four or five great concerts are always chugging along at the same time. Permagrins abound. Between the DJ arcade, the ferris wheel, the movie tent featuring appearances by DA Pennebaker and Jim Jarmusch, the silent disco, and a million unscheduled impromptu happenings on every block of Shakedown Street, there are infinite choices at Bonnaroo, and they’re all fun. It’s not a “scheduling conflict“, it’s a blessed moment when, like Miles Davis said, there are no mistakes. Having to pick between Ravi Coltrane and STS9, the Flaming Lips and Galactic, Gov’t Mule and the Philadelphia Experiment is not a problem — it’s an education in abundance.

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Dave Chappelle's Block Party

Does anybody still remember what Dr. Leary said about “set” and “setting”? Seeing movies at critics’ screenings isn’t always the best way to do them justice, and I distinctly remember sitting at the MGM screening room on Park Avenue sometime after lunch and feeling underwhelmed by Dave Chappelle’s concert movie. The sound wasn’t turned up enough, people were scribbling notes instead of at least bopping their heads to the beats, and I wasn’t exactly in a party mood, either. Both the music and the comedy left me dissatisfied at the time.

Cut to: Friday night, a few drinks, and the volume cranked good & proper. Suddenly, the jokes crack me up and the tunes hit me right in that sweet spot. The Roots, Erykah Badu, Mos Def, the Fugees–are you kidding? I’m not much of a fan of Michel Gondry’s fiction films, but there’s no doubt the man knows how to direct music, and Chappelle effortlessly combines silly hijinx with slyly concealed sentiment. He clearly threw this party as a present to himself, to the hometown Ohio folks he invited to Brooklyn, and whoever else happened to luck into the free show–a generous, inspiring celebration that went right over my head the first time around.

Block Party. Michel Gondry, 2005. ****

The trailer:

The Fugees, “Killing Me Softly”: