While Marnie, who is classically trained on the piano, comes from Glasgow, Scotland, her vocal counterpart, Aroyo was born in Sofia, Bulgaria but moved to Israel with her family when she was ten. Marnie met DJ buddies, Wu and Hunt, while she pursued her BA in Pop Music in their hometown of Liverpool, and thus the band was born.

Ladytron, who epitonic.com says, derived their name from Roxy Music’s song of the same name, are a synth-based electronic rock band that take influence from such bands as Kraftwerk, New Order and Human League. Take these 80′s influences above, paint them black, throw in a rock edge with dual female vocalists, and you have Ladytron. Formed in 1999 and active since, the band has four full-length studio albums and a host of other singles, E.P.’ s, compilations and remixes. Their sound is mechanical yet organic and emotional and always evolving with every album. Listen to “True Mathematics” from Light and Magic and then “All the Way” from Witching Hour and you’ll know what I mean.

Their official bio explains their early style: “Hits like “Playgirl” and “Seventeen” (from their 2002 follow-up, Light & Magic) quietly rebelled against the bratty, disingenuous motifs of the time, instead invoking the sonic storytelling of groups like Air, Stereolab, and My Bloody Valentine.”

June 15th marks a milestone for both Ladytron and Bonnaroo, as this is typically out of character for both the band and the fest. I am kind of bummed that they got stuck as a day set on Sunday, as this group would be a far better overall experience playing out on Friday or Saturday under a night sky with some lights and screens. I saw them in Chicago in 2007, when they opened for the Chemical Brothers at a small, dark venue (The Riviera) and it was awesome. Either way, if you stick around on Sunday (which you should), do not miss this group!

Check Out:

After my short obsession with that song, Superdrag was dead to me. I shelved the album and moved onto listening to other more legitimate artists like, Bone Thugs and the… cough, cough… Primitive Radio Gods. Little did I know, the band, made up of guitarist and lead vocalist John Davis, Tom Pappas on bass, Brandon Fisher on lead guitar and Don Coffey Jr. on drums, continued to make music through the remainder of the 90′s, and beyond. Under the guidance of producer and Hardcore Hitmaker Jerry Finn, most widely known for his work with Blink-182, their second album, Head Trip in Every Key, was released to favorable reviews but didn’t turn out any major hits.

Following Head Trip, the band continually tried to reinvent themselves with each record (drawing comparisons ranging from Elliot Smith to the Foo Fighters), doing anything to shed the “one-hit wonder” status that plagued them. Some sympathized with the band, Artists-zone.com referred to them as “being a band’s band that has often gone misunderstood.” Unfortunately it wasn’t enough and in 2002, they completed what would be their last album, appropriately titled Last Call for Vitriol. Following the release, Superdrag took an indefinite hiatus. Much of this stemmed from Davis, who decided to call it quits as he battled with alcoholism.

Fast-forward 5 years.

Last year, Superdrag announced their reunion in July of 2007 and played a host of shows with the original lineup of members. Since then, they have recorded a few new tracks and co-headlined a show with Nada Surf at Terminal 5 in NYC in early 2008. Now making their appearance at Bonnaroo, the big question remains, “Can they draw an audience on the success of one hit from way back in 1996? What about the host of albums gone under the radar?”

My gut tells me that, despite the many obstacles, they should do okay. They may have a few hardcore fans, but most people who show up will probably do it out of nostalgia. Either way, it should be a fun early-evening set, appropriately placed on Thursday, with not too much competition. If neither of the other bands up against them strikes you, then stop by and check them out. Or you can do what I am doing and drop in for a few songs before you move on to the competing acts, which both start a bit later than them.

Check Out:

Superdrag – “Sucked Out”

The duo, hailing from Austin, TX, is made up of Aaron Behrens (vocals and guitar) and Thomas Ross Turner (drums, synths and backup vocals). They take influence from such artists as Daft Punk, The Animals, David Bowie, and The Clash and describe their sound as “A robot making love to a tree!” They’re not interested in major labels or getting their music on shows like “The OC“.

Gothamist describes Ghostland as “electro-dance soul rock” and I think it is pretty fitting. They thrive on their more beat-driven tunes like “Piano Man” or “Midnight Voyage” but without the vocal strength that Behrens dishes out they would be nothing more than just good beats. I have yet to see them live, but having heard the bulk of their material (and loving it) combined with Behrens’s comparisons to legendary frontmen like Freddie Mercury and Prince, I am definitely intrigued to see what they have in store for us.

To me, beginning their set at 2:30am on Sunday morning feels more like an extension of what will be a spectacular music-filled, Saturday night. The downside in getting a timeslot this far along is that many potential viewers are already chasing two nights sleep and beaten down from the blazing sun, and they decide they just can’t hang.

On the contrary, the upside is that the weak ones are then weeded out, and we’re left with a hardcore base of fans, along with people who just want to keep the party going as long as humanly possible. I’m not skeptical at all that the Austin-based duo will deliver and fulfill their Bonnaroo responsibilities of giving the crowd what they want and turning “this tent” into an all-out, sweaty dance-pit of friendly people ready to party. Definitely check them out!

Check Out:
Dancin’ On My Grave

For those unfamiliar, The Coup is a politically motivated hip-hop group, founded by the edgy and uncompromising, Raymond “Boots” Riley in 1992. While originally a trio, consisting of Boots, E-Roc and DJ Pam the Funkstress, The Coup slimmed down to a duo, after E-Roc left voluntarily, following the group’s second album release. In addition, DJ Pam does not tour with the group, leaving it up to Boots and his usually handpicked three-man band to deliver the live show. The good thing is, from my own experiences, they can pull it off with expertise.

Boots, who has a history of writing politically charged songs, such as “5 Million Ways to Kill a C.E.O.” or “Head (Of State)” has been adamant in delivering his message since day one, when The Coup released their debut album Kill My Landlord. They aren’t as serious as they sound though, as Boots lends a certain amount of sarcasm to many of the duo’s tunes (“I Love Boosters!”). They are a definite mix of funk, hip-hop and drop rhymes, backed up by heavy bass driven beats, scratches, electronic sounds, keys and horns. Boots follows this up with a lyrical delivery that ranges from menacing and intense to cool and calm.

I recommend checking out The Coup, as they are sure to put on a great hip-hop show. Also, my gut is telling me that there is a good chance we could see a guest appearance from Talib Kweli, since he and Black Thought did collaborate on “My Favorite Mutiny” and he just happens to be doing his set a couple hours later on the same stage. Is it too much to hope for Black Thought to show up too? One can hope! See ya there!

Check Out:
“Funk”
“Not Yet Free”

While front man Davy Knowles, who also jams the mandolin and the steel lap guitar, is clearly who people will be watching when on stage, don’t be fooled into thinking Jones and Doyle can’t hold their own. According to the band’s own website, they all have been “Brought up on a potentially overindulgent appetite of Everything Blues”. To be blunt…they know their shit…and the proof is in their debut album, “Roll Away”. While Knowles’ voice is comparable to that of Jonny Lang, he manages to leave behind that fatal pop aspect that Lang and most other contemporary blues musicians bring to the table. Instead Knowles focuses on the heavy blues characteristic of the band’s sound, lending it more credibility and the potential for going the distance.

Now taking on Bonnaroo, BDS has yet another opportunity to blow a whole new audiences collective minds, with their Clapton’esque, Hendrix influenced, BB King sounding Blues tunes. I have total faith in these guys and can’t wait to see this show. My recommendation is to at least stop by and give a listen, but don’t be surprised if you catch yourself staying for the entire show, as their performance is likely to beguile you.

Check Out:

Back Door Slam – “Ain’t No City”

The Hawks said farewell to the demanding Hawkins and moved onward with minor success, until Bob Dylan came knocking on their door, searching for a backup band to complete his plugged-in vision, and they obliged. The negative response and constant disapproval from fans wanting the “Old Dylan” back, forced Helm to take a temporary leave of absence. He soon returned to The Band (which they were then calling themselves) and they recorded “Music From Big Pink” while living in a big pink house near Woodstock, New York. The Band, from which Helm is probably most well known, turned out such hits as “The Weight” and “The Night They Drove Old Dixie Down”, clearly adopting from Helm’s heartfelt past with the south. The Band broke up in ’76 after “The Last Waltz” and Helm began his solo career.

By 1982, Helm had successfully completed four solo albums and even dabbled in some acting, garnering positive reviews from critics for his performance in the Coal Miner’s Daughter. Years later, in 1996, Helm was diagnosed with cancer of the vocal chords, leaving him with no more than the ability to whisper. Helm discusses his three-pack-a-day smoking habit in a video on www.levonhelm.com, as well as his long bout with the disease, his surgery, his road to recovery and finally his comeback as a musician. Under the most extreme circumstances, he has managed to reinvent himself in a way most others can only dream of doing. There is only one other person I know that’s done a better job of reinventing themselves and that, my friends, is Neil Patrick Harris. Yes, Doogie Howser M.D. Think about it.

Anyways, in describing Levon Helm, I would say his style is made up of country, soul, folk, blues and rock. His voice, now hoarse and raspy, is technically only a portion of what it used to be, but emotionally it sounds stronger than ever. Hopefully, since Helm is very instrumentally talented, he will grace us with, not only drums, but also some harmonica, guitar, bass or mandolin, all of which he is affluent. I am also looking forward to hearing hits from The Band, as well as Levon’s new “throwback to his roots” style music from the Dirt Farmer.

To date, I haven’t had the opportunity to see Levon Helm, which means it will take a MAJOR scheduling conflict to prevent me from doing so at Bonnaroo. If you are interested in maybe seeing Levon Helm and you need to study up: Without piling it on, my suggestion would be to rent The Last Waltz or listen to Music From Big Pink, and check out both Levon Helm and the RCO All Stars and Dirt Farmer. This will give you a 360 degree viewing of the artist and prep you up for what is going to be a soulful, genuinely memorable, Bonnaroo experience!

Check Out:

Levon Helm – Live @ Merlfest 2008

Mason Jennings, born in 1975 in Honolulu, Hawaii, is part of a rare breed of musicians who, in my book, truly earns the title of, Self Made. He spent most of his early musical career in the trenches, playing the local clubs of Minneapolis, recording his albums in the living room of his apartment and selling them directly out of the back of his van. This benefited Jennings greatly, allowing him to maintain complete creative control and freedom over his music. He has come a long way since those days though, having released his last two albums with “Glacial Pace”, the subsidiary of Epic Records, headed by Modest Mouse’s frontman, Isaac Brock. His latest album, In the Ever, due out May 20^th, will be released on Jack Johnson’s label, Brushfire Records.

Jennings singer/songwriter style is a combination of pop, easy listening, country, folk with slight hand of blues. He has a talent for writing smart lyrics and catchy melodies that stick with you long after you’ve heard them. His lyrics are sometimes cheesy and lighthearted but always in a style that is fully self-aware. He also taps into more serious topics of love, sadness, death, and politics with complete clarity of voice and emotional honesty.

I definitely plan on seeing Mason Jennings if my schedule permits and I would recommend the same for you. This is not a mandatory assignment, but I would consider checking him out if you fit any of the following scenarios…

1. You’ve heard and liked any of his albums and are looking for a mellow act to just chill out to.
2. He’s playing a daytime set under a tent and you want a break from the sun or maybe even to catch a nap.
3. The only other options are Vampire Weekend, O.A.R or Against Me!
4. You have no agenda and don’t know or don’t like any other bands playing the current timeslot.
5. All of the above.

Check Out: 

Mason Jennings – “Crown”

The Slip, although not their best, is definitely another triumph for Reznor. It’s full of the usual wicked, banging guitar riffs, synths, and upbeat drumming. “Discipline” and “Echoplex”, which were both released prior to the album, are subsequently two of the more uplifting songs on the album, as well as two of my favorites. One must have track is “Lights in the Sky”, which is a dark and depressing, stripped down track, consisting only of Reznor’s vocals, a piano and little else. It is haunting and demands immediate, multiple listens. Anyone’s obsession with instrumental NIN will also be satisfied here with three out of the ten tracks being just that.

I confess that I was prepared to pay the 10 bucks, had NIN not been generous enough to play Santa Claus with this album. Bestowing it upon us, at no cost, once again reinforces their complete and absolute respect for their fans. When the next album is set to release, I will be in the front lines, waiting to pay whatever price (within reason) is asked, and return the favor.

Although, I could get used to this free thing.

For those unfamiliar, The Nightwatchman is the alter ego of Tom Morello, most widely known as the guitarist of the political rock band Rage Against The Machine. The Nightwatchman is usually just Morello, an acoustic guitar and a harmonica doing his Dylan’esque, Springsteen influenced folk/protest songs, mostly from his debut album, One Man Revolution. On this tour, we were treated to a bit of the former, along with the Freedom Fighter Orchestra, and several other special guests, all tearing shit up in the name of social justice!

The special guests consisted of an assortment of artists, including Ben Harper, Shooter Jennings and his mother, Jessi Colter, fellow Libertyville buddy Ike Reilly, Wayne Kramer of MC5, The Coup’s Boots Riley, Perry Farrell and Sen Dog from Cypress Hill. Oh yeah…and Breckin Meyer. You know? That dude from Love Burger? The band from the movie Can’t Hardly Wait? Still no? Okay, go rent Road Trip. Talk about a bunch of people you would never, in your right mind, expect to see on a stage together. I know it sounds a bit ridiculous, but let me tell you, it was everything you would want it to be, and much more!

The Nightwatchman began his set with “Union Song” and also did “The Garden of Gethsemane”, the RATM favorite “Guerrilla Radio” and a new song he wrote just for May Day, entitled “Wall Against the Wind”. Boots Riley followed with the Coup’s “Underdogs” and joined by Morello on the acoustic guitar, performed a menacing version of “5 Million Ways to Kill a C.E.O.” Following Boots, the stage was taken by Jessi Colter who did a couple of her own tunes before being joined onstage by her son, Shooter Jennings to do the duet “Please Carry Me Home” written for the film, The Passion of the Christ. Then Morello and Shooter nailed a cover of AudioSlave’s “I am the Highway”. Following this, Wayne Kramer, joined by his bro Mars Williams on Sax, did a couple of wierd tunes, before handing the stage over to Ike Reilly for his lonely acoustic gig.

The real magic kicked off for me, when the legendary Perry Farrell took the stage with his lovely wife and fellow “Satellite Partier”, Etty Lau Farrell, treating us to a rare duet, followed by acoustic versions of Porno for Pyros’ “Tahitian Moon” and “Jane Says” by Jane’s Addiction. It was at this moment that I had a reality check and a reminder that I only paid $10 for this! After Farrell, Ben Harper strolled on out, playing a number of songs that peaked at “Ground On Down”, reminding me once again, that this was the bargain concert of a lifetime!

Soon after, the night raged out of control, no pun intended, as the multitude of artists randomly joined the stage for unique collaborations. This included surprise guest, Sen Dog who performed “Rock Superstar” and House Of Pain’s “Jump Around”, while repeatedly stage diving into the moshing crowd. The funniest moment of the night was when Morello prepped us for The Nightwatchman’s first party jam, entitled” I Just Want to Shake My Shit”. As funny as that was, The Nightwatchman never joked around too much, aside from his semi-sarcastic tone, like, “Alright, back to the serious shit!” We were treated to covers of “Keep On Rockin’ in the Free World” and “Rainy Day Women #12 & 35″ before Morello’s classic closer, “This Land is Your Land”, which at past Nightwatchman shows, comes off a bit awkward, but tonight, with a stage full of superstars, translated magnificently.

One event worth mentioning is the “Coachella Express”, a combined effort of both Coachella and Amtrak, providing campers a straight shot from L.A.’s Union Station to Indio and back. The FREE train ride has already become a popular hit, providing riders with a drink cart, a Coachella Tee shirt, surprise VIP passes, free ice cream and what I envy most…sets by four different DJ’s including none other than, Junkie XL, who also performed a powerful set on Saturday night prior to M.I.A., in the Sahara Tent.

Some of the artists that shouldn’t go without mention are: The Raconteurs, who we heard from several fans, were the highlight of their Coachella experience. Although I would like to have seen them, we weren’t about leave our front row spot for Aphex Twin… I’m sure you understand. We heard mixed reviews about The Verve. A few people told us they were solid, others said that the vocals were dodgy and that Richard Ashcroft was a little too good at making bad jokes on stage. Word of mouth was pretty good for Kraftwerk, for those who like their style and were familiar with their sound. I feel like I should mention Death Cab for Cutie and Jack Johnson because they are both pretty big acts, although, I didn’t hear a single comment, good or bad, from anybody. Hmmm? Flogging Molly’s show, I’m told was awesome. While waiting in line to get on our flight back to Chicago, we met a fellow Coachella-goer who raved Danny Tenaglia’s set as her personal favorite. Finally, The Breeders, whom I didn’t hear a single word about from anybody…and to be honest I forgot they were even there, until on our plane ride home. Yes…I felt bad about that.

I also wanted to touch on the display of some of the Coachella Artwork and sculptures. I am not going to try to explain what the artist is saying through their work, rather, I will just give you a brief description. This years Art Display consisted of the “Big Rig Jig” which was made up of two 18-wheelers stacked upon one another, which served the dual purpose of art and shade from the desert sun. “The Do Lab” (see above) made its fourth appearance at Coachella this year, and once again was a fan fav, as it provides atmosphere, shade, and signature performances. Adam Freeland and Jesse (Brazilian Girls) were among the many artists performing sets throughout the fest. “The Steampunk Treehouse” was a sight to be seen. It reminded me of something out of “Castlevania” or “Monster House”. It was an industrial looking jagged edged tree house (featured below) that provided shade and allowed you to climb within it and view the grounds from a different perspective. Finally, the “Cauac Twins” made their seventh appearance as the world’s most powerful twin tesla coils. I love their ability to know the perfect time to zap…like on my walk from Roger Waters to the Justice tent…brilliant!

In closing, I wanted to touch on the difference in the vibe from this year vs. last year. I am convinced that word of mouth guided the decisions for this year’s headliners, Jack Johnson, Prince, and Roger Waters. This combined vibe of mellow and party was quite different from last year’s headliners, Bjork, Red Hot Chili Peppers, and Rage Against the Machine, which brought in a high energy, loud and (some would argue) angry vibe. I loved both this year and last year’s shows (this year had a slight edge) and think no matter what you thought of both years lineups (or any other year) that it is inarguable that the creative minds behind Coachella really try their best to give the fans what they want…and usually succeed admirably.

A great fest, as all of us festival junkies know, is chockfull of memories that provide a personal highlight reel that stretches miles long. For me, if I had to pick one moment that stole the show in Coachella 2008, it would be the unleashing of the giant inflatable pig from Roger Waters’ set. That moment definitely blew my mind and I feel confident saying it did the same for tens of thousands of other viewers. Hopefully you didn’t miss it but if you did, I’m sure you have your own unforgettable moments from another fantastic year at Coachella. See you next year!