This year was no different. With a decorated and diverse lineup that included performances by Robert Plant and the Band of Joy, Bright Eyes, Broken Social Scene, and DeVotchka, this three-day assemblage was a welcoming ode to autumn. With sun-kissed weather accented by a brisk wind, all types of festivalgoers flocked to Golden Gate Park to make their pilgrimage. This is truly a festival for the intermingling of the old and the new: a time to appreciate seasoned veterans like Steve Earle & the Dukes (& Duchesses), John Prine, and Irma Thomas, while exploring new tastes with acts like Gomez, Fitz and the Tantrums, and Elbow. The crowd was a mix of the toothless and the homeless, the hipsters and the hippies, the yuppies and the socialites. To even begin to describe the range of cacophonous sounds, the ambiguous and perpetual haze that clouds one’s vision, the plethora of smells… all of these color every vein of San Franciscan life, and have come to be represented in this review through picture and word.

And rest assured, there were many priceless moments, the kind that only rock and roll — and San Francisco — can deliver. There was Devotchka’s Nick Urata chugging a bottle of red wine and then dousing the screaming crowd with it; thousands of people dropping to the ground and then jumping up simultaneously to the jarring sound of Fitz and the Tantrums; and time traveling backward into the ’60s during performances by Robert Plant & the Band of Joy and Dark Star Orchestra. The sort of feeling that comes with these experiences, that feeling that music is perhaps the only thing that can unite us and save us as human beings, is a memorable one. All idealism aside, each artist on the lineup delivered their best, and as CoS can duly attest to, the infamous adage rings true for Hardly Strictly Bluegrass: “The best things in life are free.”

- Summer Dunsmore
Writer/Photographer

Friday, September 30th

Southern Culture on the Skids – Arrow Stage

Scrupulous in their live performance, Southern Culture on the Skids has labored long over streamlining every aspect of their set. It’s what rock and roll should be — calculated yet improvisational, evidencing clear skill and creativity, while also being rigorous and animated. Band members Rick Miller, Dave Hartman, and Mary Huff resonated and glowed with effortless style during the entirety of their performance. All husky seduction, Miller wailed and moaned into the microphone, picking fiercely at his electric guitar. His counterpart, Huff, is a red-haired raven who knows how to keep up with the boys; she seduced eardrums during her performance of “You’re a Star”. The band’s music live embodies southern soul mixed with touches of naughty fun; their rendition of “The Wet Spot” — which sounded like Middle Eastern music accentuated with a touch of The Beach Boys’ surfer sound — featured a barely clothed belly dancer. With calls to clap, sing, and dance, their live performance at HSB turned out to be one of the most rallying shows of Friday afternoon.

The Felice Brothers – Rooster Stage

The Felice Brothers — Farley, James, Christmas, and Ian — have the sort of chemistry you can only find with family. James Felice’s performance of “Got What I Need” was a soulful soliloquy set organically in the midst of Golden Gate Park’s towering trees. His voice vibrant and resonant, James truly connected with the audience during this song, even interjecting an ever appropriate accordion solo. The Felice Brothers exhibited an interesting assortment of instruments during their set, and they used the accordion and the fiddle indiscriminately to construct their modern bluegrass sound.

As the main singer of the band, James emerged as the band’s truly talented jewel; his performance had all of the sincere, aching loneliness that attracts listeners to this genre. One can tell that the Felice Brothers write and play their music as a means to relate, a way for the listener to finally come to terms with the sort of feelings that they cannot put into words. Likewise, during “Saint Stephen’s End”, the mood was slow, emotive, and charismatic; it resonated within its surroundings. It was romantic and piercing, like a lullaby to a loved one, a last glance as a train leaves the station, the sun in your eyelashes. The last song of the set was “Whiskey in My Whiskey”, an ode recounting love, loss, and, of course, whiskey. As James wails the line, “I put some whiskey in my whiskey,” all one can think is — we’ve all done this, right? And that’s the Felice Brothers for you — soothing, poignant, and as good as the comforts of your favorite liquor.

John Prine – Banjo Stage

Active as a folk singer since 1971, John Prine’s style is reminiscent of another time. The power of his performance on Friday was in its subtlety. Dressed like Johnny Cash, his voice husky with wisdom and cigarettes, he sang to the old sentiments of America. While listening to tracks like “Grandpa Was a Carpenter”, one envisioned rocking chairs and summers by the lake; through his knack for songwriting and gentle acoustic guitar strumming, Prine created truly vivid imagery onstage. Folk artists today should take their notes from Prine; his formula is composed of simplicity and talent. The audience came to see Prine’s performance for his old soul, the way his voice carried on the early autumn wind during tracks like “Fish and Whistle”. He left the crowd with the whims of nostalgia, of a time when all you needed to create great music was an acoustic guitar and a vision.

Chris Isaak – Star Stage

The essence of Chris Isaak lies in the art of seduction. His voice drips like caramel when he performs live and is even sweeter than the croon that classifies his recorded work. The highlight of his performance, however predictable, was “Wicked Game”. With its infamous guitar succession from the Bm to A to E chords, its performance live delivers all of the dark romanticism one would envision. His artful yodel reverberating through the crowd, he sang, “Oh, I don’t want to fall in love with you,” and yet every woman instantly and effortlessly fell in love with him. At the song’s end, he held an infinite last sigh, and the crowd went wild for this man who mesmerizes.

M. Ward – Rooster Stage

Matthew Steven Ward, or simply “M. Ward”, conducts a rambunctious live show. Originally arising out of the Portland music scene, he’s been making music since 1999, and his sound has evolved to integrate the grind of rock and roll with tender, folkish finger picking. His performance at HSB seemed to be emulating Elvis, and just like with the King of Rock and Roll, the crowd adored M. Ward. His rendition of “Chinese Translation” was thunderous, with kick-drum beats that were so loud they threatened to break the speakers and a thrilling ensemble of electric and acoustic guitars. The crowd loved him so much they demanded an encore, and he was the perfect precursor to Bright Eyes, the next act on the Rooster Stage.

Robert Plant and the Band of Joy- Banjo Stage

Friday night at the Banjo Stage, Robert Plant and the Band of Joy were like the release of a long-held breath; there, before a crowd of thousands, was one of the greatest figures in rock and roll history. Plant formed his Band of Joy in 2010 in the pursuit of “something trippy, something far out” in which to sink his teeth into. Following a series of successful collaborations with Jimmy Page and Allison Krauss, Plant’s latest endeavor with the Band of Joy has led him around the United States in the past year to promote the band’s eponymous debut. Given his legacy as the lead singer for Led Zeppelin, one can tell from original tracks like “I Can’t Quit You Baby”, “Gallows Pole”, and “Babe I’m Gonna Leave You” that a blues influence has always existed in Plant’s creative musings, and has since framed the bluegrass sound for his modern Band of Joy.

Covering Zeppelin songs like “Black Dog” during their performance, the Band of Joy put their distinct twist on the classics. And though Plant is 63 years old, with a long history of infamous nights raging and ravaging the music world, his live performance at HSB proved that true talent never dies. He visibly felt every note, every wail of the guitar. He is music; he was effeminate and exaggerated, moving like a sphinx, twisting and twirling and clapping along with the beats. The Band of Joy’s performance of “House of Cards” was a jewel, with long, trailing guitar wails matched perfectly to the resonance of Plant’s high-pitched exultations.

Bright Eyes – Rooster Stage

Clamorous and willing, the crowd collected in a small corner of Golden Gate Park’s Speedway Meadow to see Bright Eyes. The California sun setting behind them, the crowd instead faced east, allured by the promise of seeing Conor Oberst live. As one of the headlining acts of Friday evening, the band delivered all of its hooks masterfully, with Oberst’s voice exhibiting its uniquely raw and reverberating sound. The two best songs of the set were some of Bright Eyes’ classics, “First Day of My Life” and “Lover I Don’t Have to Love”. “First” was played with Oberst set on center stage in a vulnerable and poignant position; a pipe organ traced the song’s beat behind him. “Lover” followed directly after and is often considered a stark contrast in sound and style to many of Bright Eyes’ songs. Extremely stylistic when performed live, it was flavored with a sweeping electric guitar, as well as the keyboard and drum succession that make it such a strong piece. It was a dramatic example of Oberst’s talent and vision, and on Friday night he proved that he truly deserves to be called one of the most influential artists of the indie music scene.

Saturday, October 1st

Broken Social Scene – Towers of Gold Stage

Photo by Marcus Gedai

On this hazy Saturday afternoon, with the intermingling of dust and pot smoke, the ambiance for the evening was set when Broken Social Scene came onstage. Their performance of “Sweetest Kill” radiated outward from all directions, a mellow ode, a welcomed difference given the other “strictly bluegrass” bands on this day’s lineup. This stage was where the hipsters languished and descended for the day to listen to the orchestral music that Broken Social Scene so effortlessly produced. There was a desire to close your eyes, vibe, and listen; their performance packed punch, as if it were meant for an amphitheater, and they seemed to take notes from purely instrumentalist bands like Explosions in the Sky.

Irma Thomas – Star Stage

Irma Thomas is a goddess. With a voice that communicates every emotion, every tribulation, her performance was one of the weekend’s best. Performing such hits as “Time Is on My Side” and a cover of Stevie Wonder’s “Superstition”, her voice ripped and roared through the evening. She was a robust, animated performer, an obvious queen of her trade. More than that, she knew how to catapult the audience into a frenzy; people sang and swayed, their souls filled with the sweet sounds of the 60s. The performance was practiced, clean, concise — truly the depiction of talent at its best.

Robert Earl Keen – Rooster Stage

Robert Earl Keen is a country songwriter from Texas. His music, likewise, comes from the American South; it’s all about the acoustic guitar solos, the subtle bass, and the simple drum line. His performance was a fun one, filled with hits like “Feelin’ Good Again” and “Gringo Honeymoon”. His best track was “I Gotta Go”, where he integrated his uniquely stylized and meticulous finger picking. He lent the essence of bluegrass back to the festival, with a performance as charming as his silk, three-piece suit.

The Flatlanders feat. Joe Ely, Jimmie Dale Gilmore & Butch Hancock – Arrow Stage

Photo by Marcus Gedai

The Flatlanders’ performance was like the golden rays of the California sun; the lyrics and sound of singers Joe Ely, Jimmie Dale Gilmore, and Butch Hancock are warm and nostalgic. The Flatlanders originally formed in 1972, but after a year decided to disband; they then resumed performing in 1998 to much critic acclaim. These Texan mavericks made the Lone Star State proud on Saturday, channeling the soul and vivacity that makes Texas such a pivotal influence on the American music scene. Performing such songs as “Homeland Refugee”, the three sang about “leaving California for the Dust Bowl”, and the trio’s combination of voices came out sounding like a lullaby. There was an obvious camaraderie between the members onstage, making their performance an enjoyable one to watch.

Steve Earle & the Dukes (& Duchesses) featuring Allison Moorer – Banjo Stage

Steve Earle, his team of Dukes and Duchesses, and Allison Moorer performed the best set of Saturday. The relationship between Steve Earle and Allison Moorer on stage is reminiscent of Robert Plant and Allison Krauss; it’s a duet written in the stars. During Earle’s solo performance of “Meet Me in the Alleyway”, voice synthesizer and harmonica in hand, he played blues as blues is meant to played — vivid, husky, dark. It was all about him in this moment, about his talent, his knack for improvisation. He connected well with the audience; they were receptive to every slide of the harmonica, and there was a clear leeway, a union, as he and the audience tossed vibes back and forth. It was clear in this moment how music is felt so integrally, so innately.

At the end of a brilliant set, Earle and the Gang performed a cover of The Animals’ “San Francisco Nights”. With Allison Moorer’s first lyric sung, her voice lingering on the edges of San Francisco’s misty sunset, the crowd was united in the tone of the song. Could a moment ever be as perfectly picturesque as this: San Francisco, the crescent moon lingering in the sky, a place the hippies never left. It was metaphysical, transcendent, and it was clear that what defines San Francisco in the past and the present is its people. The music and the crowd were one, and this “warm San Francisco night” ended with one of the best performances of the weekend.

Sunday, October 2nd

DeVotchKa – Star Stage

DeVotchKa embodies the art of performance and rock & roll. Not only is Nick Urata an incredible singer, one who sings with all levels of emotion and can carry his note for more than 30 seconds, but he can play the banjo like the Devil’s right hand. The wallowing cry of his voice on Sunday could be heard for miles, as Urata and band rocked “How It Ends” and “You Love Me”. Jeanie Schroder played in incredible form, balancing the likes of a cello, and then a trombone, on her feminine frame. At the end of the set, Urata let out a last tribal cry, erupting eardrums all around, and then beat fervently at his banjo. He then grabbed a bottle of red wine set nearby, chugged it, and then swung the contents viciously at the crowd. I was doused completely, and I couldn’t have been happier about it. Urata is a master onstage, all art, style, and soul, and him and the rest of DeVotchKa delivered one of the best performances I have ever seen.

Fitz and the Tantrums – Towers of Gold Stage

Fitz and the Tantrums followed DeVotchKa and also played one of the most energetic shows of the weekend. The coursing heart of the group lies in Noelle Scaggs, who pranced around the stage during the band’s performance of “Pickin’ Up the Pieces”, beating her tambourine. She screamed, jumped, threw up the middle finger; never before have I seen a performer with so much sincerely energetic vigor. Her and Michael Fitzpatrick strike a charming dualism and effectively bring back the 1950s duet. Their voices were sweet together, rejoicing, nostalgic. Because of their animated way of performing, you can tell that the band operates under an element of perfectionism; they wanted that performance, that day, to be the best they had ever done. And they were certainly successful; every ounce of energy, talent, and improvisation visibly went into this effort.

Fitz and band followed with a cover of The Raconteurs’ “Steady, As She Goes”, which didn’t have the same resonance of Jack White, but it definitely had its own twist. Nonetheless, the crowd loved it, and they also went crazy for a cover of Eurythmics’ “Sweet Dreams”. Next was “L.O.V.”, which featured a rampant pipe organ (including a solo), drums, and keyboard. The crowd continued dancing wildly, and it was clear that this soulful style of music resonates with our generation as well. Their last song, “Moneygrabber”, was a more modern piece compared to the other cuts. Fitzpatrick and Scaggs yelled into the microphone, “Everyone, drop it like it’s hot!”; in sync, everyone shimmied down to the ground, then at the climax of the song and on Scaggs’ cue, the thousands of people in the crowd jumped up simultaneously and began a crazy dance party under the gaze of the Sunday sun.

Elbow – Star Stage

Elbow is a band that typifies modern alternative music. Led by the charismatic Guy Garvey, the band utilizes clear, acoustic strokes and strong kick-drum accents in their songs, creating an almost Middle Eastern, arabic tone. This was evident in their performance of “The Bones of You”; during the entirety of the song, Garvey reached out to the crowd, needing their participation, their approval, their love. The mood continued with “Mirrorball”, which featured an interesting mix of electric guitar and delicate vocalization. The performance was tender and sentimental; there was a moment where Garvey looked backward at the band members and smiled, and they each smiled back. You can tell there’s love amongst them, infused in every vein of their music, and that Garvey is the creative drive that keeps the band together. For him, synchronization, dutifulness, and practice are key, and what enveloped on Sunday was an ambiatic, well-performed set.

Dark Star Orchestra – Arrow Stage

Making my way to see Dark Star Orchestra’s performance, a concoction of smells enveloped me. Had I suddenly landed in the 60′s? Hippies of every size and shape wriggled and warped time with their free love and free drugs.

As one of the most acclaimed tribute bands to the Grateful Dead, Dark Star Orchestra has been performing since 1997 and has performed more than 2,000 shows. In the style of Jerry Garcia and his companions, they specialize in improvisational rock. Befitted in tie-dye tees, hair long and flowing, they entranced festivalgoers on Sunday with a dominant mix of electric guitar, bass guitar, and keyboard. The highlight of their performance was “The Music Never Stopped”, and I know that many people hoped it never would.

The Jayhawks – Rooster Stage

Unfortunately, The Jayhawks’ performance was the weakest of any I witnessed over the weekend. Coming off their recently released album, Mockingbird Time, the performance felt listless, as if playing live was a laborous task. Band members Gary Louris and Mark Olson did not express much enthusiasm while onstage, pausing at times to elicit a laugh from the crowd, but then resuming their rather stagnant performances. This is when I realized that not every set is golden and does not always proceed on the best note; these men are required to play, whether they are in the mood or not, and at the end of the day, they are simply human. The audience was receptive to this sentiment and likewise stood there barely moving, nodding their heads slightly. They played a track off their new album, “High Water Blues”, but altogether the performance was boring.

Gomez – Towers of Gold Stage

At the start of the set, lead singer Ian Ball yelled, “The sun’s going down, and we’re coming up!” And that’s exactly what happened. Gomez is a band that produces solid indie, exalting in their shows a youthful, enthusiastic energy. Their performance was providential, a truly human experience; it is with music, more than any other medium, that we learn the most about ourselves. And this was Gomez — raw, with Ball demanding that the audience dance like “crazy natives”, like they’re “lost in the middle of the woods and don’t know what the hell is going on.” And with the crescent moon arched visibly in the sky, these Sunday headliners said good-bye to Hardly Strictly Bluegrass.

The Culture of Hardly Strictly Bluegrass

Gallery by Summer Dunsmore

Looking to ride the wave of momentum built up over this past summer, indie-rock mainstays Gomez have made a video for the title track from their most recent, and seventh, studio release, Whatever’s On Your Mind. In the video, we catch up with the band as they sway about on a boat in the ocean on a rainy, windy day while a mysterious red-haired woman gazes off into the distance, back always towards the camera. The video employs an almost cinéma vérité style that is, at once, both simplistic and layered. It’s appropriate, given the song’s similar machinations.

In addition to the video, the English quintet are set to conquer the western half of North America this fall, after already having shown love to the U.K., Australia, and even a select few U.S. markets the past few months. The upcoming leg of their tour kicks off this weekend at Austin City Limits and runs until October 5th in Los Angeles. The band will also be making a pair of stops in British Columbia along the way. Check out the full list of dates below.

Gomez 2011 Tour Dates
09/18 – Austin, TX @ Austin City Limits
09/20 – Columbia, MO @ The Blue Note
09/21 – Omaha, NE @ The Waiting Room
09/22 – Denver, CO @ Ogden Theatre
09/23 – Salt Lake City, UT @ Club Sound
09/25 – Victoria, BC @ Rifflandia Festival
09/26 – Vancouver, BC @ Commodore Ballroom
09/27 – Seattle, WA @ Showbox
09/28 – Portland, OR @ Wonder Ballroom
09/30 – Saratoga, CA @ Mountain Winery #
10/01 – San Diego, CA @ KPRI’s StreetBeat San Diego
10/02 – San Francisco, CA @ Hardly Strictly Bluegrass Festival
10/04 – Anaheim, CA @ House of Blues
10/05 – Los Angeles, CA @ House of Blues

# = w/ Devotchka

Other notable acts include John Prine, Bill Kirchen, Kris Kristofferson & Merle Haggard, Gomez, DeVotchKa, Gillian Welch, Dr. John & the Lower 911, Earl Scruggs, Patty Griffin, Robert Earl Keen, Steve Earle and the Dukes (and Duchesses) featuring Allison Moorer, The Blind Boys of Alabama, Justin Townes Earle, The Jayhawks, Abigail Washburn, and Ryan Bingham & the Dead Horses.

There are a bunch of indie favorites, too, including Thurston Moore, Robyn Hitchcock, M. Ward, Fitz & the Tantrums, The Low Anthem, Elbow, Kurt Vile & the Violators, Woods, Cass McCombs, A.A. Bondy, and The Band of Heathens.

Rounding out the bill are names like Buddy Miller, The Del McCoury Band & The Preservation Hall Jazz Band, Charlie Musselwhite, Bela Fleck, Zakir Hussain & Edgar Meyer, The Felice Brothers, Jason Isbell & the 400 Unit, The Belle Brigade, Jessica Lea Mayfield, The Civil Wars, Dark Star Orchestra, and, yes, MC Hammer.

Once again, the festival is free to attend. So, you really have no excuse.

Unfortunately, it doesn’t: the working practices might have had some novelty but there isn’t much novelty to Whatever’s On Your Mind. In fact, given that Gomez have been going for 15 years now, it’s a surprise that, as with their other albums, it all sounds much alike.

But is it a bad album? Certainly not. Like the rest of the band’s albums released in that time – there’s been seven studio releases, plus two compilations and a live album – it’s fair to say that Whatever’s On Your Mind is strong, listenable, often emotional as well as catchy, and holds up to scrutiny.

The album’s opener “Options” is as good of a track as any Gomez have produced, and with nicely unassuming lyrics (“I could settle down, be responsible, be a good man, and learn how to fix things baby, and that’s ok: at least I’ve got options”) and mildly aggressive acoustic guitar work, it succeeds. It may just be the album’s takeaway track.

Of course, a Gomez album wouldn’t be complete without the famously raspy vocals of Ben Ottewell, and “Equalize”, a semi-eccentric rocker, more than delivers; so too does the more sentimental, play-a-piano led title track. For sure, as with the band’s albums of yesteryear, Whatever’s on Your Mind has plenty of enjoyable tracks, and none to complain about: “That Wolf” is one of the stronger instances, with “Place and the People” not too far behind.

Nothing stands out too much, though, and that’s a trait it shares with the rest of the band’s ouvre. Nonetheless, this is another good effort from a great band who are coming close to veteran status.

Sure, we’ve got Coachella and Bonnaroo and all those great American festivals over here. England’s got Glastonbury and Bestival, etc. Australia’s got its share of great fests, as well, and Splendour in the Grass is one of the best. Last year saw the Pixies, The Strokes, and Mumford and Sons atop a massive lineup, and this year looks to be equally epic.

Coldplay, Kanye West and Jane’s Addiction will headline the 11th incarnation of the three day festivities at Woodfordia in Queensland. Seventy-nine other acts are under them, and the names are just as exciting. The Hives, the reunited Pulp, The Living End, The Mars Volta, The Kills, Pnau, and Regina Spektor are all on the bill.

Glasvegas, Modest Mouse, The Middle East, Mogwai, DJ Shadow, and Kaiser Chiefs will also be in attendance, as will James Blake, The Vines, Noah and the Whale, and Thievery Corporation. Further acts include Cut Copy, Black Joe Lewis & The Honeybears (featuring The Relatives), Foster The People, Friendly Fires, Gomez, and Does It Offend You, Yeah?.

Want more? Warpaint, Fitz and the Tantrums, Young The Giant, Bliss N Eso, The Grates, Kele, Elbow and Eskimo Joe add to the mix. There’s also Devendra Banhart and The Grogs, Children Collide, Isobel Campbell and Mark Lanega, Blue Juice and Marques Toliver. The impressive list is just too long to jam in here, so check out our Festival Outlook page for the complete lineup.

Tickets for the July 29th-31st event range from AUD$401.50 to AUD$525.60 (that’s about $421.55 to $551.83 USD. Plus, ya know, travel expenses), depending on your method of purchase and if you choose their carbon offset option. For more information, check the festival’s website.

Dave Matthews Band has announced the second of their four summer music festivals and it looks pretty similar to the first. Set to take place July 8-10 at Chicago’s Lakeside, the festival will feature three sets by DMB, as well as David Gray, Ray LaMontagne, O.A.R., Kid Cudi, The Flaming Lips performing Dark Side of the Moon, Edward Sharpe & the Magnetic Zeros, Amos Lee, Emmylou Harris, and Ben Folds.

Other confirmed acts include G. Love & Special Sauce, Sharon Jones & The Dap-Kings, Gomez, Drive-By Truckers, Michael Franti & Spearhead, Daniel Lanois’ Black Dub, The Jayhawks, SOJA, Soulive, The Wailers, Blind Pilot, Dirty Dozen Brass Band, TR3, Vieux Farka Toure, Alberta Cross, Mariachi El Bronx, Bobby Long, Ivan Neville’s Dumpstaphunk, Jeff Coffin’s Mu’tet, Gary Clark Jr., and special performances by Dave Matthews Band members Carter Beauford and Stefan Lessard plus a Dave Matthews & Tim Reynolds acoustic set.

Tickets, which will be available as three-day passes only ($195), go on sale to general public on Friday, April 15th at 10:00AM CST via DMBCaravan.com. Also, an online ticket request period for the festival begins today and concludes Friday, April 15th, at 8:00 AM CST  at warehouse.davematthewsband.com.

In addition to Atlantic City and Chicago, the band plans to hold two other music festivals this summer. Stay tuned for more details.

In the decade since releasing their Mercury Prize-winning debut Bring It On, they’ve released five more critically acclaimed albums. With multiple lead singers and songwriters, Gomez has crafted a sound that’s eclectic, frequently moving between pop, rock, and bluesy lo-fi.

Extensive touring Gomez has molded the five-man band into one of rock music’s most potent live acts. In this performance from 2009’s SXSW Festival, the quintet transforms their melodic, yet hard-charging 2006 single “How We Operate” into an epic seven-and-a-half minute jam, complete with a mammoth guitar freak out at the end.

In 2006, they released their fourth studio album, and their first on Dave Matthews’ ATO label. At the time of its release, critics hailed the album How We Operate for its focus and explosive sound. The title track – which may be familiar to US audiences from its appearance in an episode of the television show Grey’s Anatomy – serves as a something of a microcosm of that album’s energetic, yet intimate feel.

The song is also a fan favorite on the road. This rendition begins with handclaps, raucous audience accompaniment and singer Ben Ottwell’s a cappella vocal. Soon, the band launches into a crush of guitar, drum, and bass. “Please come here/come right on over/and when we collide/we’ll see what gets left over,” Ottwell sings in his raspy croon. He’s joined in harmony by one of the band’s other lead singers, Ian Ball.

The song moves into its second verse, and Ball makes his guitar playing grittier and more forceful. The band cranks a stop-start call and response rhythm midway through the second verse. Things go (somewhat) quiet during the bridge, before kinetic guitars come in again.

As the song winds down, the band rides a two-minute guitar freakout to a killer climax. The audience’s chagrin as the band leaves the stage testifies to the band’s power as a live act.

‘We’ve broadened our horizons sonically and it feels like a natural move forward,” explains lead singer Scott Hutchison. “Most importantly, it’s better than the last one. That’s all I wanted, really.” Again, as if that was even possible!

The Winter of Mixed Drinks was produced by Peter Katis, at Tarquin Studios in Connecticut, and engineered by Stuart Hamilton at Castlesound Studios in Scotland. It also features a guest appearance from labelmates Hauschka, who provided the album’s string arrangements.

The album is scheduled for release on March 1st in the U.K. (via FatCat Records). A U.S. release date is still forthcoming. It will be headed by its first single, “Swim Until You Can’t See Land”, which will be officially released next Monday, November 16th, but can be previewed, compliments of YouTube, below:

Frightened Rabbit 2009 Tour Dates:
11/14 – Coventry, UK @ Kasbah *
11/15 – Northampton, UK @ Roadmenders *
11/16 – Brighton, UK @ Corn Exchange *
11/17 – Southampton, UK @ University *
11/19 – Exeter, UK @ Lemon Grove *
11/20 – London, UK @ Troxy *
11/21 – Tunbridge Wells, UK @ Forum
11/22 – Cambridge, UK @ Soul Tree *
11/24 – Sheffield, UK @ Plug *
11/25 – Whitehaven, UK @ Civic Hall *
11/27 – Fort William, UK @ BA Club
11/28 – Stirling, UK @ Toolbooth
11/29 – Inverness, UK @ Ironworks
12/01 – Aberdeen, UK @ Moshulu
12/02 – Dundee, UK @ Fat Slams
12/05 – Galway, IE @ Black Box ^
12/07 – Dublin, IE @ Academy ^
12/08 – Dublin, IE @ Academy ^
12/09 – Belfast, UK @ Mandella Hall ^
12/13 – Manchester, UK @ Ritz ^
12/14 – London, UK @ Shepherd’s Bush Empire ^
12/22 – Glasgow, UK @ ABC ^
12/31 – Ediburgh, UK @ Princes Street

* = w/ Gomez
^ = w/ Modest Mouse

Saturday, June 6th

Day three started with a deceptively mild morning that became the hottest day of the weekend. Much like the desert, Mulberry Mountain gets cold once the sun goes down. That didn’t seem to matter, however, as Saturday night lasted forever, with music cranking into the following morning. It was a good harbinger of things to come, as the day proved to be the climax of the festival, especially considering the last of the headliners were set to perform, in addition to some highly anticipated, late night sets. No surprise that the festival felt at capacity with people filling out every performance area for what would be their last chance to party all night in Ozark.

Early sets by proggy-blues jammers Blue Martian Tribe and Newgrass favorites New Monsoon (their second set for the weekend) woke people up from the previous night and welcomed those coming in for the days’ big shows. Many people chose to take in what the site had to offer, be it a round of Frisbee golf, or taking in some of the natural air conditioning that was around one of the several large ponds. Unfortunately, the waterfall and swimming hole had to be blocked off, due to large crowds and the inevitable, few people who got hurt. Nevertheless, the day marched on and more people streamed in to grab a spot at the Main Stage.

Festival veterans J.J. Grey and MOFRO brought some Florida flavor with Grey’s smoky vocals and steamy blues jams. Another veteran, and festival favorite, Galactic would stop by again for their second set of the weekend, keeping with the southern tradition, only this time with a little more New Orleans funk. Galactic always manages to impress, and an appearance from G-Love that left everyone pumped for the next set by the man and his Special Sauce.

While the Main Stage was at full steam, over at the Outpost tent The Hood Internet offered their brand of mix and match DJing. The duo pieced together samples from classic rock to the latest indie “it” band, switching between homemade house beats and samples, all of which managed to create some surprisingly catchy combinations, such as the Grateful Dead/Usher finale.

Now even though it is still early June, the days are getting longer, and it wasn’t until half way through G-Love’s 8 p.m. set that the sun began to settle with the moon shortly behind. Mr. Love brought his special sauce this year for a set that saw reworked old favorites, a Freddy King cover, and a collaboration with Jeff Raines from Galactic. Luther Dickenson from the North Mississippi All Stars would also stop by to help out with a guitar for a deep bluesy number. Like him or not, G-Love is a lively entertainer that always delivers, whether it be on new material or the always dirty “Booty Call” into The Beatles “Why Don’t We Do It In The Road”.

By this point, everyone had staked out a spot for the main event, and when The Black Crowes took the stage, frontman Chris Robinson and co. shot their psychedelic blues rock to the full moon that hung over head. There were clear skies and crisp cool air for the big event with Robinson doing more improvised dancing than singing for the bulk of the set. As always, they would save the hits for last, but by that point, the best of the Crowes had been heard. One gets the feeling that they’re tired of the same few songs that got them famous back in the ’90s as an emphasis on newer material and bigger psychedelic blues jams stretched into the night.

Once the midnight mark passed by, the Interstellar Meltdown kicked off again, this time with a second set by Sound Tribe Sector 9 in the Revival Tent. All spaces that could be filled were, with people piling in and spilling out in all directions. The glow sticks and fluorescents were back in full force as the bass pounded and guitar riffs heated up the cooling night. Fan created laser shows also added to the Technicolor dream that reflected off the white tent ceiling. Back over at the Outpost Tent, the Meltdown marched on with the rising DJ Shpongle. His brand of tribal-infused house music has been stirring up a bit of noise around the electronic community, and the resulting buzz quickly filled up the tent. Feather-haired dancers took to the front of the stage with everyone bathed in deep radioactive colors. The music itself worked through southern Asia with thick beats to back it. Loaded build-ups and breakdowns kept the two-hour set on its toes, never letting the energy fade.

Day three saw the biggest crowd of all weekend. It was also day two of the endless party that never actually let up since the first time STS9 took the stage. This time around, the nightly festivities would go earlier into the morning, and a bit past sunrise, when the rest of us were just getting up. There’s a point one reaches, that wall of exhaustion, where everything stops and sleep is comfortable no matter the noise or the conditions. It’s a beautiful and assaulting feeling, really.

Sunday, June 7th

The last day of Wakarusa was a little bittersweet for those that stuck around. Saturday was the obvious clincher for the weekend, leaving Sunday with only a handful of acts left. As surreal as it sounds, the Main Stage had already been closed up, with the staff breaking down lighting fixtures and what not. Even the vendors in that part of the site had left, leaving an eerie scene as most people chose to pack up the weekend and head home, too. This left only the Outpost and Backwoods stages, where the last remaining day would take place. It’s bizarre why organizers planned a greatly scaled down fourth day, perhaps they hoped it would thin out traffic some. While a poor excuse more or less, the powers at be had their reasons. Whatever the case, it didn’t seem to phase the odd assembly of old and new hippies straggling behind.

Now just because it was a smaller line up does not mean that the music was lacking by any means. Dusty Rhodes was another one of those indie rock secrets fusing European influences with country punk and old school rock. An early cover of The Band’s “The Weight” grabbed the wondering left over masses, with the rest of the tunes showing off the bands talents and energy. Hair flew and sonic riffs worked hard with violins, mandolins, accordions, and keys all adding an exclamation point to the unknown band. Vocal duties were traded around from song to song, and even though the audience was sparse, they still managed to have fun with the people there.

Afterward, people chose to stick around the tent as the clouds rolled in, keeping the day relatively cool. The Heavy Pets came back for another round, only to an audience that was showing its fatigue. Gomez would be the final headliner, although it was strange they weren’t on a bigger stage. Keeping them to the smaller tent, however, created a very intimate atmosphere. All those that stuck around did so for Gomez amping up the energy one more time. The band talked back with the crowd for a set that was sonically spot on, yet casual and fun. The music went by all too quickly as fans called out for one more song, but just as soon as it began, it was all over.

Even though D.J. Rekha was slated to close out the evening, with her Indian-house blend, most returned to their tents to take in one more night under the stars. For the first time all weekend, silence accompanied sleep — though there was something downright sad about that.

Wakarusa had been through more than a festival should over the past few years. From paid off cops sent to harass the peaceful hippies, to last years tornadoes that canceled much of the weekend’s music, Waka has pulled through finding a gorgeous, new home. Mulberry Mountain allowed the people to be closer to the festival, returning it to the basics. The atmosphere was fresh and rejuvenated; the people were more positive and free. It is safe to say that Wakarusa is now the festival it was always trying to be, and from here on out, it can only get better.

——

Of course, if you’re one to stay away from the generic and often overhyping press releases, then perhaps you’d like to hear Gomez’s own comments on the album:

Where the hell have we been? Answer: making the God dam best freakin’ record you ever did hear….will hear. Jeeez! Leave it owt wud cha! Yours truly along with the other cats have been beavering away writing hit singles, epic anthems, toons to make you ass wiggle, it’s all in there, on the hotly anticipated new album. The release date is yet to be confirmed but the first quarter of next year is looking good. The record is expected to pick up innumerable awards from around the Globe, an effortless standard the Five Englishmen have attained.

Talk about down playing expectations…

In support of the release, the quintet will embark on a spring tour beginning mid-March at South by Southwest. An east coast swing follows, which will see Gomez team up with Josh Ritter for a series of co-headlining shows. And as we also know no, the band will be stopping by Bonnaroo later this summer as well.

Gomez 2009 Tour Dates:
03/18 – Austin, TX @ SXSW
03/19 – Austin, TX @ SXSW
03/21 – Birmingham, AL @ Workplay Theatre
03/22 – Charlotte, NC @ Visulite Theatre *
03/23 – Asheville, NC @ The Orange Peel *
03/24 – Atlanta, GA @ Center Stage *
03/26 – Baltimore, MD @ Rams Head Live *
03/27 – Lancaster, PA @ Chameleon Club
03/28 – Philadelphia, PA @ Theatre of the Living Arts
03/29 – Washington, DC @ 9:30 Club
03/31 – New York, NY @ Bowery Ballroom
04/01 – Ithaca, NY @ State Theatre *
04/02 – Northampton, MA @ Pearl Street
04/03 – Brooklyn, NY @ Music Hall of Williamsburg
06/11-14 – Manchester, TN @ Bonnaroo Music Festival

* = w/ Josh Ritter

Under the band title Operation Aloha, some of the music industry’s hottest acts are coming together for what is essentially the biggest supergroup in music history, outside USA for Africa, of course. So, what’s the story? Who’s in it? Of the fourteen members (list after the jump) that contributed musically, there are some certain names that stand out. There’s Dajon Everett, Olly Peacock and Ian Ball of Gomez, James Valentine and Jesse Carmichael of Maroon 5, and Sam Farrar of Phantom Planet.

Why they all came together has a lot to do with the islands itself. As if the band name didn’t hint at that already, the project came to fruition when each respected member found time between touring to escape and live in the islands, where together they spent a month focusing their thoughts musically. Whoa, must be pretty good to be a successful musician, huh? Oh, but we’re not jealous! For the specifics, let’s refer to the press release:

Allowing themselves to step away from their usual roles and be inspired by bohemian living and a no-constraints approach to songwriting and recording, OPERATION ALOHA experiments with a love of blues inspired rock and Hawaiian folk music, to create a clever collection of songs that draws from the fantasy of escape.

While early press has already pegged the new sound as “naturalistic pop”, it’s still a bit too early to gauge what the end result may be. However, based on that curt description, one can assume the sound will be natural, organic, and altogether a beautiful blend of harmonies, intricate guitar work, and poppy sensibilities. But hey, that’s one man’s estimation. For all we know, it could be a sappy Beach Boys-rip off or a slow, depressing burner.

One thing’s for sure, fans of either acts will make a decision come May 12th, when the band’s self-titled debut is released. For now, head on over to Christopher Wray-McCann’s website for some photos, a short bio, and some more information. McCann, a collaborator of the project, documented the band’s work and there are a few photos already up (many of which we used).

Oh well. You know the drill…we’ll keep you updated….yadda, yadda, yadda.

Operation Aloha Musicians:
Dajon Everett (Gomez)
Ian Ball (Gomez)
James Valentine (Maroon 5)
Jesse Carmichael (Maroon 5)
Olly Peacock (Gomez)
Sam Farrar (Phantom Planet)
Christopher Wray-McCann (Photographer)
Charles Danek
Fil Krohnengold (All Spots To Black)
Mathew Chaney
Maureen Wray-McCann
Nadav Kahn (Kahn Brothers)
Saam Gabbay
Will Nash