The iconic Newport Folk Festival returns July 28-29th at Fort Adams State Park in Newport, Rhode Island. This year’s bill is topped by My Morning Jacket and Jackson Browne, and they’ll be joined by Conor Oberst, Iron & Wine, Arlo Guthrie, The Tallest Man on Earth, tUnE-yArDs, The Head and the Heart, Tom Morello, Deer Tick, Dawes, Sharon Van Etten, and New Multitudes, which features My Morning Jacket’s Yim Yames, Son Volt’s Jay Farrar, Centro-matic’s Will Johnson, and Varnaline’s Anders Parker.

Also playing are Alabama Shakes, First Aid Kit, Gary Clark, Jr., Trampled By Turtles, City & Colour, Punch Brothers, Preservation Hall Jazz Band, Patty Griffin, Robert Ellis, Charles Bradley & His Extraordinaires, Of Monsters and Men, Sara Watkins, Deep Dark Woods, Carl Broemel, and Brown Bird.

Two-day passes are now available via the festival’s website.

What: In the video for Iron & Wine‘s “Godless Brother in Love”, a track off last year’s Kiss Each Other Clean, a group of kids show us the true meaning of a hang out.

Directed by: Claire Marie Vogel

Whether you’re a social butterfly or a total misanthrope, Iron & Wine‘s music video for “Godless Brother In Love” truly romanticizes the idea of friendship. In said clip, a group of friends walk through fields and brooks, throw an epic food fight, make time for semi-nude swimming in a quarry, and engage in a lot of awkward-looking embraces and overly dramatic pouting. Truly, those are the core values to any long-lasting friendship. Feel the guilty tinge to call your own friends after watching the video below. Also catch it at Cluster 1.

Iron & Wine’s latest album, Kiss Each Other Clean, is out now.

Back in May, folk rock heroes Iron & Wine visited The Tonight Show with Jay Leno to perform the passionate and heartfelt “Tree by the River”. On Wednesday night, Sam Beam and company returned to program, this time to showcase the recently revealed ‘Wedding Version’ of their song “Flightless Bird, American Mouth”.

The track, featured on the soundtrack to The Twilight Saga: Breaking Dawn Pt. 1, is built for the live setting, with its multiple parts and intricate rhythms and harmonies. In front of Leno and undoubtedly a Twihard or two, the group offered a truly spellbinding musical moment that was either romantic or haunting, depending upon the status of your love life, but always earnest and true. We’ll call this one another clean sweep; check out the video replay for yourself below (via The Audio Perv).

Both Iron & Wine’s new LP Kiss Each Other Clean and the soundtrack to The Twilight Saga: Breaking Dawn Pt. 1 are out now.

That’s the position Festival Republic was in with Orlando Calling: trying to be all things to all people. In a place like Orlando, FL, you can hardly blame the folks behind Reading, Leeds and Glastonbury in the U.K. for going big and going hard with that – it’s the only way they know. And God bless ‘em for booking stylistically diverse (you could argue nonsensically disparate) acts like The Raconteurs, The Roots and Drive-By Truckers, all performing simultaneously Saturday night.

But on the ground, it all seemed to gel nicely (well, maybe not during parking). The only obvious disconnect, obvious from the day Orlando Calling’s lineup was announced, was in terms of generational tastes. It’s unlikely the festival’s two days would have a ton of demographic overlap. And, not to state the obvious here, but the reason Consequence of Sound only covered the first day of Orlando Calling was, while many of our readers adore classic rock, our timely coverage doesn’t normally encompass Dwight Yoakam, you know? Plus, you guys, it’s the end of the festival season until SXSW 2012 and we’re all fucking exhausted. Oh wait, people are gearing up for that already? Shit.

Anyway, here’s our 10 favorite sets from Orlando Calling’s first day of its first-ever fest. Don’t say we never did anything for you.

Paul de Revere
Staff Writer

The Ettes

Photo by Cap Blackard

Main Stage – 12:30 p.m.

It’s taken The Ettes a minute to find its place. For now, at least, it’s Nashville, where the trio is peddling its brand of lean, distorted garage rock. On Saturday, the band’s fuzzed-out sounds laid in the Citrus Bowl, the same arena where lead singer/guitarist Lindsay “Coco” Hames once chickened out on singing “The Star-Spangled Banner” as a teenager. Too “punk-rock” to do it, she joked. You go, Coco. -Paul de Revere

Kids These Days

Photo by Cap Blackard

Authentic Stage – 1:35 p.m.

Spoiler alert: The Pixies did not play “Where Is My Mind?” Saturday night. However, Kids These Days played a fantastic cover that nearly surpassed its original source with its brass-centric on the song’s spine-tingling melody. Whether the cover was done because it shared a bill with the indie legends remains a mystery, but it was certainly a nod to the shoulders of the giants Kids These Days stand on. What isn’t a mystery is why the fantastic Kids These Days sounds so refreshing in a festival like Orlando Calling. It’s always great to see a multi-cultural, genre-twisting band at a rock-dominated festival with, well, a homogeneous crowd of white people. All the better if those multi-cultural bands are playful, mellow combinations of funk, ska, and jazz-rap like Kids These Days. Definitely one of the day’s best surprises. -Paul de Revere

Gogol Bordello

Photo by Cap Blackard

Main Stage – 1:50 p.m.

“Orlando Calling! Here we come!” Fun fact: Eugene Hutz can scream. But, he does it with such a clumsy finesse; in other words, whilst holding an open bottle of wine, splashing it all over the stage and his own body, amidst exaggerated exclamations. These days, a festival wouldn’t be a festival without Manhattan’s gypsy punk collective, Gogol Bordello. Given its inaugural status, Orlando Calling needed this band. They’re an act that changes audiences and opens up the champagne while doing it. During their set, the audience experienced the most energy seen from any act on the Main Stage, especially during a vivid cut of “Break the Spell”, which had violinist Sergey Ryabtsev and Hutz instructing their newfound fans to scream the song’s anthemic chorus. And while you can have 60 different revolutions going on within an audience, sadly enough the song was not played. Instead, “Start Wearing Purple” surfaced, offering an intimate moment for Hutz and his loving Orlando audience. -Phillip Roffman

Andy Matchett and the Minks

 Photo by Paul de Revere

Festival Republic Stage – 1:55 p.m.

An admirable part of Festival Republic’s titular stage at Orlando Calling was its dedication to showcasing area talent, much of it from Orlando. Andy Matchett and the Minks distinguished itself from the other Florida bands that day with its signature fun house setting of kick balls, a giant rainbow beach ball (which Matchett encouraged the crowd to bean him with), cascades of balloons, people dressed as robots and, for the finale of “Too Much Happiness”, a military-grade parachute suspended with leaf blowers above the audience’s head. Indeed, it was too much happiness. -Paul de Revere

Kid Cudi

Photo by Cap Blackard

Main Stage – 3:10 p.m.

In a sea of rock ‘n’ roll, Kid Cudi’s performance offered a different dynamic to Orlando Calling’s line up. Working off his eclectic yet psychedelic sound, Cudi kept things fresh and authentic. A track like “Mr. Rager” was a certifiable risky inclusion, what with its slow paced beat and trip-induced tones, but it also called out to his original fans. That’s the crowd Cudi searched for, as he switched back the clock, and shuffled out a track like “The Prayer”. He introduced his breakthrough number by screaming out, “This is 2008 Kid Cudi shit!” Then came hits like “REVOFEV”, with its welcoming guitar licks and sticky piano fills, that recalled the R&B scene of yesteryear. Later on, the psychedelia trickled in just as the sun set on the legion of fans, drawing out some bold stage lights and heavy fog. At this time, Cudi ran through wild-eyed trip “Cudi Zone” and a cover of Jimi Hendrix’s “Hey Joe”. All in all, a success for its unconventional nature and Cudi’s ability to connect with new eyes. -Phillip Roffman

Iron & Wine

 Photo by Cap Blackard

Authentic Stage – 3:45 p.m.

For a guy that started his music career recording achingly quiet, whispering demos, Sam Beam’s Iron & Wine has become a force of nature live, careening into the psychedelic explorations of The Grateful Dead, the African funk of Fela Kuti, and, finally for Iron and Wine, pronounced loud-soft dynamics that support it all. New live arrangements on songs like “Rabbit Will Run”, “Wolves (Song of the Shepherd’s Dog)”, and “Boy with a Coin” make them almost unrecognizable compared to their studio versions. Most importantly, the love and devotion that Beam radiates on his quiet, early work is maintained live, his voice finally lilted above a whisper when singing about God and loving one another. I swear, if church were like an Iron & Wine concert, I’d go every week. “It came like a call from the Lord,” indeed. -Paul de Revere

Pixies

Photo by Cap Blackard

Main Stage – 6:10 p.m.

“We’re going to play every song off of Doolittle,” Kim Deal mildly stated to a half-filled arena. The Pixies weren’t bluffing. Black Francis, Joey Santiago, David Lovering, and Deal delivered each of the album’s cuts in fine precision. While plenty of adoring fans begged for non-Doolittle favorites (“Bone Machine”, “Oh My Golly!”, and, of course, “Where Is My Mind?”), the group stuck to the LP through and through. “Debaser” cracked the veiled tension on-stage, “Wave of Mutilation” pummeled the antsy fanatics, and “Here Comes Your Man” brought about a drunken sing-a-long. Later on, Lovering dedicated “La La Love You”, his one track to sing, to all the lovely ladies in Orlando, while an encore performance of “Gigantic” melted many a mind. In hindsight, it didn’t feel like one was watching a band; no, it felt more like a play, one revolving around the band’s history, complete with sarcasm, feigned dialogue, and even a stage bow. A great, grand experience, but only to be had once. -Phillip Roffman

The Raconteurs

Photo by Cap Blackard

Main Stage – 7:50 p.m.

There was a slight panic attack felt by the audience during set opener “Consoler of the Lonely”. After anxiously awaiting The Raconteurs to arrive – the set times were pushed back later in the evening – the band’s sudden surge hit hard. But, what a sight to see. Within seconds, Jack White and Brendan Benson were at it, conjuring up chemistry as they traded vocal duties and guitar lines. It’s not all White or Benson, though. Take a song like “Level”, for instance. This is a song when taken apart that reveals the true validity in each member; on stage, it’s easy to break down: Patrick Keeler’s signature pauses (and highly addictive fills), Jack Lawrence’s swamp-ridden bass lines, and the aforementioned blend of Benson and White. Hell, they’re stronger now than they’ve ever been.

Some other highlights included the new chord progressions in “Blue Veins” and a sloppy yet lovable cut of “Salute Your Solution”, the latter of which had White crooning effortlessly into a dangling microphone that nearly crashed to the floor. Sure, “Store Bought Bones” or “Five on the Five” would have been far more intriguing inclusions in the encore, but “Steady As She Goes” worked fine, too. With performances like this, it’s almost easy to forget about The White Stripes. Maybe. -Phillip Roffman

Drive-By Truckers

Photo by Cap Blackard

freecreditscore.com Stage – 8:00 p.m.

“We don’t need no Disney shit!” Drive-By Truckers front man Patterson Hood croaked defiantly Saturday night to the cheering Orlando crowd under the festival’s small freecreditscore.com stage tent. Even while skewering sacred cows, Hood didn’t exempt himself from criticism in a riff off the band’s “Let There Be Rock”. “I never saw Lynyrd Skynyrd, never saw The Clash,” he said, “but I did see Bruce Springsteen and the E Street Band.” Not too far off, as Hood is the South’s Springsteen, weaving tales one song at a time with zero posing. Guitarist Mike Cooley got his say in, with a wicked extended guitar solo in a song about threesomes (“3 Dimes Down”). That says about all you need to know about the Truckers. -Paul de Revere

The Killers

Main Stage – 9:45 p.m.

For a band with only three studio albums over seven years, The Killers have amassed a lot of instantly recognizable hits: “Mr. Brightside”, “Somebody Told Me”, “Smile Like You Mean It”, and  set-ender “When You Were Young”, among them. They all hit, even in a space as over-sized for them as the Citrus Bowl. Pictures might do it justice if the band had allowed them at its set, Saturday night’s festival-closing act. But with the kind of stylistic reveal the band does, it not only deserved the headlining spot but the secrecy, too.

The band’s shows rival Coldplay and U2 in sheer size and ambition, matching U2 in the use of Warholian pop art and sheer theatrical aplomb. When they released more confetti than ever seen by the human eye into the air for its pre-encore rendition of “All These Things That I’ve Done” combined with bright flurries of light and fireworks shooting up into the Orlando skyline, somewhere Bono went, “Shit, why didn’t I think of that?” -Paul de Revere

The Culture of Orlando Calling

Gallery by Cap Blackard

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Iron and Wine’s somber yet romantic “Flightless Bird, American Mouth” first appeared on Sam Beam and company’s 2007 album The Shepherd’s Dog. The perfect song for love so intense it hurts, the track then made its way onto the soundtrack for the first Twilight film (and the cheesy prom scene).

Now, with the world’s most famous shiny vampire series beginning its swan song, the ode gets turned with a reimagined version. Set to appear on the soundtrack for the series’ second to last film, The Twilight Saga: Breaking Dawn – Part 1, “Flightless Bird, American Mouth (Wedding Version)” is less about the pain of longing and more about the celebration of love itself. The track’s still got a decidedly lonesome sound to it, but there’s also something quaint and folksy to it. Even if you like your vampires less brooding, the song should stir up emotions in even the least romantic of hearts. Check out a music video for the song below (via VH1).

Beginning at 7:30 a.m. PDT on Saturday, October 29th, The Twilight Saga: Breaking Dawn – Part 1 Soundtrack will stream on the film’s Facebook page for 24 hours. The soundtrack then hits stores November 8th via Atlantic Records. Other artists on the release include Bruno Mars, Noisettes, Theophilus London, and more; peep the entire tracklist below.

The Twilight Saga: Breaking Dawn – Part 1 Soundtrack Tracklist:
01. The Joy Formidable – Endtapes
02. Angus & Julia Stone – Love Will Take Youu
03. Bruno Mars – It Will Rain
04. Sleeping At Last – Turning Page
05. The Features – From Now On
06. Christina Perri – A Thousand Years
07. Theophilus London – Neighbors
08. The Belle Brigade – I Didn’t Mean It
09. Noisettes – Sister Rosetta (2011 Version)
10. Cider Sky – Northern Lights
11. Iron & Wine – Flightless Bird, American Mouth (Wedding Version)
12. Imperial Mammoth – Requiem on Water
13. Aqualung & Lucy Schwartz – Cold
14. Mia Maestro – Llovera
15. Carter Burwell – Love Death Birth

And what better way than to conclude than in the music mecca that is Austin, Texas.

As any Austinite will attest, keeping Austin “weird” is very important to the city. And that sort of goes for multiple definitions of the word. Austin stays “weird” as in estranged from the average and the everyday (not gonna find a Wal-Mart too easily in downtown Austin). They like to keep big business out; keep it local. But it’s also weird as in just plain odd. At any given time, you might be run over by one of the hundreds of bicycle rickshaws zooming around town. Or you might find yourself talking to the owner of a street-vending head shop about how great that crazy dude busking in a Peter Pan costume is.

Regardless of which interpretation you lean toward, one can’t help but look at Austin City Limits as an exception to the rule. Radio darlings Coldplay and Kanye West are anything but estranged concepts. They’re comparable to the “Wal-Marts” of the music world. But put those names directly next to Alison Krauss, or The Antlers, and then I guess the combination of all those acts in the same place equals “weird”. Who knows? And who cares, really? ACL is the final of the “Big Four”, and this year marking its 10th anniversary, was a sight to behold.

-Winston Robbins
Senior Staff Writer

Friday, September 16th

Theophilus London – Bud Light Stage – 12:30 p.m.

Photo by Debi Del Grande

I had high hopes for Kid Cudi when the Cleveland MC debuted a few years back. He was meant to be a breath of fresh air in the rap game, someone with globs of swagger AND heaps of substance. As that’s all but gone a bust thanks to diluted dreams of rock and roll fame, Brooklyn’s Theophilus London has stepped in to reinvigorate the genre. He can sing, he can rap, he can move a crowd, and, though he’s still in the early phases of his career, he’s proven to be anything but hype. Don’t believe me? Whilst some artists might fear a little festival rain, London embraced it to create a truly organic and fun way to kick off a giant event. -Chris Coplan

Wild Beasts – Honda Stage – 1:10 p.m.

Photo by Debi Del Grande

After coming off one of 2011’s better releases, and being one of the first performers at ACL’s 10th anniversary, I was expecting Wild Beasts to go huge. Alas, they did not. That’s not to say they didn’t play an enjoyable set, they did, including tracks “Albatross”, “All The King’s Men”, and the obvious crowd favorite, “Hooting and Howling”. But in the end, it was status quo for Wild Beasts – some great musicianship mixed with some great energy. -Winston Robbins

Reptar – Austin Ventures Stage – 1:20 p.m.

Photo by Nate Slevin

Somehow, mud isn’t an enticing organic dance-floor. But that’s why complex, prog-like acts and jam bands alike are a true staple of most outdoor festivals. Six-minute musical explorations done by dudes with bushy beards who may also be barefoot just beg for some mud-mashing. Atlanta, GA’s Reptar is every bit the typical rock act you’d expect from ACL, and so much more. Their sound is grand and complicated, yet wholly approachable, thanks to a decidedly punk aesthetic. They’re weird, odd, and disarmingly strange with the noises and screams they employ, but their music, especially in a live setting, has a great pop sensibility. The point being, if you’re going to spend your days in the pit listening to rock, it doesn’t always have to be the Phish or Widespread Panics of the world that get transcendental. -Chris Coplan

Fool’s Gold – Austin Ventures Stage – 2:30 p.m.

Photo by Nate Slevin

This sextet from Los Angeles always knows how to get the room, or in this case, giant grass field, jumping. Introducing themselves as Coldplay, Fool’s Gold kicked off their 45 minute set like an IV of coffee straight to the audiences’ veins. The crowd was enthusiastic and dancing along to favorites such as the effervescent “Surprise Hotel”, off of their freshman album Fool’s Gold, and the animated “Wild Window”, from their latest release Leave No Trace. With bongos, tenor saxophone, and rhythm guitar driving this fun band, it’s hard not to think of the African-beat inspired days of Talking Heads. The band’s energy was infectious and a great way to kick off ACL. -Lauren Modery

Delta Spirit – Bud Light Stage – 2:30 p.m.

Photo by Debi Del Grande

In the middle of his band’s set, Delta Spirit frontman Matthew Vasquez made an interesting observation. Dripping with sweat, the rocker informed the rather packed crowd that his band was the only rock act set to grace the Bud Light stage that day. After confirming this with a check of the schedule, one more observation formed: There may have been no better rock act to be given this privilege. With a stage that would later feature everyone from Kanye West to Big Boi, Delta Spirit, though a seemingly odd choice, demonstrated a powerful and stirring performance that could take a solid, if un-praised rock band, and make them into something that might actually be a no-brainer for a show on a huge festival stage. They may not be the Kings of Leon, or even some other buzz-worthy rock act, but Delta Spirit have the mesmerizing skill set to cement themselves as a giant rock act. This, this was simply step one. -Chris Coplan

James Blake – Honda Stage – 3:10 p.m.

Photo by Debi Del Grande

One of the most hyped artists at the festival this year, James Blake drew one of the largest crowds the festival saw at the Honda Stage. The London post-dub prince had no problem living up to said hype as he ran through a breezy, brilliant  setlist that included early deep cuts (“CMYK”), self-titled debut big hits (“Limit To Your Love”, and a very moving, intricate version of “I Never Learned To Share”), and the title track from his forthcoming EP (“Enough Thunder”). Perhaps the most notable aspect of this show was just how organic every sound was. It’s not a YouTube/word of mouth success story. Blake can truly play these songs in a live setting, and can do so with unerring precision. Multiply the fine musicianship by a lovely sounding voice and some hype, and I think we have ourselves a legitimate indie tour-de-force. -Winston Robbins

Smith Westerns – Google+ Stage – 3:30 p.m.

Photo by Debi Del Grande

Chicago’s own Smith Westerns are an interesting little nut. They took the lo-fi rock of their self-titled debut and made it into a ’60s pop-infused masterpiece with Dye It Blonde. But, all the makeovers in the world couldn’t hide one simple truth: Smith Westerns may not be the best band for an outdoor festival. Sure, the kids love them, and they have a great sound, and maybe this was just a bad show amongst a whole slew of great ones, but the simple truth is that the band has neither the power, nor the enthusiasm to adequately fill the space given to them in Zilker Park. That lackluster performance really highlights some previously ignored or unseen truths about the band. For instance: Are they as great as once thought, despite the lack of passion? Are they geniuses, or just a bunch of burn-outs? It also suggests that, even though bands are popular enough, certain sounds are better left for the dark dives of after-show parties. -Chris Coplan

Ray LaMontagne – AMD Stage – 4:10 p.m.

Not only is the nostalgic sound of Ray LaMontagne easy to listen to, he’s not too rough on the eyes either. With his mountain man beard, battered top hat, eggplant suit, harmonica, and raspy voice, this Americana relic definitely knows how to ooze the charm. LaMontagne isn’t a very animated or chatty performer, but luckily his music and strong backup band, The Pariah Dogs, do all the convincing. Highlights of his performance include a collaboration with country duo The Secret Sisters (who played ACL earlier that day) on a cover of Merle Haggard’s “Mama Tried”. LaMontagne’s laidback set had to combat with the hot afternoon sun, but his dedicated fans hung in there as he plowed through hits “You Are the Best Thing”, “Trouble”, and “Beg, Steal or Borrow”. -Lauren Modery

Big Boi – Budweiser Stage – 4:30 p.m.

Photo by Debi Del Grande

“Throw yo’ deuces in the sky for the shutterbug”, Big Boi commanded on the hook of his album mega-hit “Shutterbug”, to which everyone obeyed, creating a massive portrait of peace signs floating just above the crowd. Antwan Andre Patton thoroughly surprised many with his set. Several fans (myself included) were fully expecting it to be a push for his superb solo venture, Sir Luscious Leftfoot: The Legend of Chico Dusty, but it was more an Outkast sing-along with Luscious snippets every now and again. Boi got the party started with old time favorite “ATLiens”, followed promptly by another classic, “Rosa Parks”. Who cares that it was probably a hundred degrees outside with the sun beating directly down on us? Big Boi was throwing the best dance party of the day thus far! It all peaked when the bassline for the immensely popular “The Way You Move” dropped, and Big Boi began to spit the radio hit with 12,000 fans rapping along word for word. -Winston Robbins

Cold War Kids – Honda Stage – 5:10 p.m.

Photo by Debi Del Grande

There was something missing at the Cold War Kids’ set on Friday evening. The band even sensed it too. As people began leaving in droves after the fourth song, front man Nathan Willett asked the crowd if they were still alive. Based off of their performance, one would assume Cold War Kids is a better studio act than live band. Willett’s aggressive singing and movements do little to warm the crowd. Even their hit “Hang Me out to Dry” just didn’t sound right. The singer’s voice was strained and the music rushed. Willett couldn’t hit the notes we were used to hearing. All in all the band’s performance lacked character. The audience never really became engaged, and the boys tried to convince them that they were watching the best band in that time slot. Guess they felt a little threatened by the large crowd over at Foster the People. -Lauren Modery

Charles Bradley – Vista Equity Stage – 6:00 p.m.

I love this man’s life story almost as I love his music. So, with all that under his belt, Charles Bradley took the stage in Austin and played to a noticeably older crowd (graying heads galore). One couldn’t help but think of Otis Redding and James Brown as Bradley belted every high note with precision and incomprehensible amounts of emotion. Sporting a flamboyant purple blazer and a sleek glittering vest, Bradley ran through most of his debut album, stopping off at high points “No Time For Dreamin’”, “Lovin’ You Baby“, and “The World (Is Going Up In Flames)”, which got uproarious praise. Through his emphatic, emotional performance, Bradley truly reminded everyone in attendance just why they call it “Soul”. -Winston Robbins

North Mississippi Allstars – Austin Ventures Stage – 6:15 p.m.

One of the lesser known acts of the festival (at least compared to the other big-name acts), the North Mississippi Allstars aren’t, at their very core, anything special. There is no flash, no pop, no shiny colors, no blended genres, no meat suits, and no iconic stage show. Heck, the trio doesn’t even have a Twitter! But what they do have is a sound that is raw and pure, the very dark, painful core of jazz and blues presented in its most damaging and simplified form. Amidst a slew of other bands, set in a weekend where everyone would be focused on sounds of a more alluring (albeit it superficially) quality, North Mississippi Allstars show that skill and dedication make for a great show, even if  not everyone’s paying attention. -Chris Coplan

Photo by Nate Slevin

Nas & Damian Marley – Budweiser Stage – 6:30 p.m.

I can envision exactly how the concept for Nas & Damian Marley’s album Distant Relatives came about. Longtime friends and frequent collaborators Nas and Damian Marley were sitting in some VIP room of some afterparty years ago, smoking a little herb. And one said to the other in that contemplative stoned tone, “Man, if you really think about it, we’re still brothers, even though you’re from Jamaica and I’m from New York (or vice versa). We come from the same roots, man!” To which the other replied, “Man, that’s some heavy shit.” And a year or two later, we have their exhilarating project to showcase that simple, yet profound aesthetic. Opening with the rap-laden “As We Enter”, their ten man band danced and played their way through a superb set that finished up with a three punch K.O. – “Road To Zion” their collaboration on Marley’s solo album, “Welcome to Jam Rock”, Marley’s massive radio hit, and “Could You Be Loved”, a dedication to Marley’s father, who I’m sure you’re familiar with. -Winston Robbins

Santigold – Honda Stage – 7:10 p.m.

Photo by Debi Del Grande

Here’s a question for the entire known world: Why the H-E Double Hockey Sticks isn’t Santigold more famous?! She’s smart, charming, and attractive, but, more than that, she’s like a decidedly less crazy and annoying version of her mentor, M.I.A. She blurs the lines between pop, rap, dance, and electronica better than so many other female singers and foreign bands that do the same. Plus, her stage show is an actual show, complete with back-up dancers, costume changes, and a backing band dressed similar to Devo. So, the question begs: Why does she not have a huge following? Her set was just as packed as any actual headliner, and men, women, old folks, and young kids alike were grooving something fierce. But why has she not exploded in popularity like her idol and her contemporaries? By all accounts of her smash set, she should be the biggest thing in the world. Alas, she’s not, largely thanks to album delays and other non-important factors. But, after a spell-binding set of favorites and a slew of new cuts, here’s hoping the fantasy someday informs reality. -Chris Coplan

Coldplay – AMD Stage – 8:10 p.m.

Thanks to big brothers everywhere, and not to mention The 40 Year Old Virgin, it’s a crime to love Coldplay. And, in all fairness, there is something about the band that merits such intense apathy and/or hatred. Chris Martin and company are a little soft, prone to grandiose displays of overwrought emotional sentiments, and they’re also responsible for a track like “Yellow”, which may the be the most weepy, unintelligible pop song ever created. All that, coupled with their holier-than-thou-but-still-pious rock god routine and political leanings, and you’ve got the very definition of wuss rock.

And then you see them live, and the whole world changes.

Finally, in the middle of a field surrounded by all those strangers, the group exceeds the critiques and comments of the world, and displays themselves as being a massively important rock band. All the flash and neon lights make you feel dizzy, swept up in something bigger than anyone in that venue. What was over-the-top, overly emotional parent rock is something akin to a religious experience as shared by several thousand other people. Every cut sounds immense and booming, and it’s a reminder of why people love music and go to such sweaty lengths to see and hear it. But, when it’s all over, it’s hard to recall that feeling, like a faint memory from a lifetime ago, or something that happened while drunk. But, for a few moments, Coldplay is the best band in the world. -Chris Coplan

Kanye West – Budweiser Stage – 8:30 p.m.

Photo by Debi Del Grande

Kanye West was worth every dime they paid (probably a lot of dimes) to have him perform at this year’s installment of ACL. One might contest that it wasn’t that great because it was sort of just what he did at Coachella. But that argument would be moot, because what he did at Coachella was a sight to behold, and tremendously worthy of a second look. Furthermore, these shows may have had the same overall structure, but everyone should know by now, Kanye’s a loose canon, and you have to learn to expect the unexpected when dealing with the Chi-town hero. This time, he took the grandiose route. And while he may have fallen short at times in achieving the exact perfection he was going for (a mic-cutting plague, a few twinges of prima donna, and a healthy dose of awkward stage banter were largely to blame), one can’t help but admire the sheer balls it took to try and convert this colossal vision and make it a tangible reality.

Photo by Nate Slevin

Separated into three acts, Kanye’s headlining set played a bit like a greatest hits record, and it wasn’t without help from the fans. Ye had the masses chanting along with him like one big sing-along chorus for the entirety of his all-too-short hour and a half. To decide which song was the most powerful is almost unfair, since they all packed such a different punch, but his nearly 13-minute long rendition of “Runaway” was awe-inspiring. The tens of thousands of people spitting line for line along to “Jesus Walks” was utterly chilling. And to see him raised high above the crowd on a boom lift during the set opener “Dark Fantasy” to rap to the masses? Nothing short of entrancing.

Photo by Nate Slevin

Truly, you would be hard-pressed to find a dull moment in this show (except for his extended “thank you’s” that lasted for what seemed an eternity). He officially hung up the hat of this version of his live show, declaring that this would be the last time this extravagant, ballet-dancing, pyrotechnic show would be performed, effectively making the already stunning show that much more meaningful. But he’s on to bigger (and debatably better) things. If this show is anything like what he’s got scheduled next, you may want to start selling your belongings to get into the mostly sold out Watch The Throne tour. -Winston Robbins

Saturday, September 17th

The Antlers  - AMD Stage – 12:30 p.m.

Photo by Debi Del Grande

I can’t decide which is more tragic: the fact that The Antlers were scheduled to play this early in the day, or that nobody really showed up to watch them. The second fact is probably the direct result of the first fact, but it’s a shame nonetheless. They stuck to mostly songs from their fantastic latest LP Burst Apart; in fact, every song but one was from the new album. And even that earlier track (“Kettering”), sounded very much like their new era sound, which is in no way a complaint. They’ve really honed in on a sound that is very fitting and very palatable. Before they closed with “Putting The Dog To Sleep”, lead singer Peter Silberman said ineloquently, yet somehow still quite effectively, “We love Austin…. Fuck.” Well, despite the fact that you got shafted on a set time and not a whole lot of ears were there to hear, I’m pretty sure Austin loves you, too. -Winston Robbins

Aloe Blacc & the Grand Scheme – Bud Light Stage – 12:30 p.m.

Photo by Nate Slevin

Say what you will about a corporate festival like ACL, but it truly has soul. Though he’s a lesser name, Los Angeles’ Aloe Blacc proved to be anything but an underdog with his Saturday kick-off set. There was a moment in his show where he referenced a lot of soul greats that came before him, like Marvin Gaye, Al Green, and James Brown. Blacc truly is a synthesis of all these acts: He’s got a heapin’ help of sex appeal and strutting dance moves like Gaye, there’s a sort of classy, intangible showmanship that would definitely make Green proud, and when it comes right down to it, he can whip the crowd up like the Godfather. All that, and he still managed to start an almost unheard of bit of audience participation: a Soul Train line. Hallelujah! -Chris Coplan

Cowboy and Indian – Austin Ventures Stage – 1:00 p.m.

Photo by Debi Del Grande

Unfortunately this Austin-based folk rock group featuring actor Jesse Plemons from Friday Night Lights and Jazz Mills of T Bird and the Breaks suffered from wrong stage at the wrong time. It was impossible for this mellow flower child band to audibly compete with the other stages. What the crowd could hear and see was a sweet one- violins, beautiful harmony, a beaming pregnant woman in a 60’s Day-Glo dress. Cowboy and Indian is still relatively new and have yet to release an album. Let’s hope they find venue more fitting for their sound. -Lauren Modery

Twin Shadow – Google+ Stage – 1:15 p.m.

Photo by Debi Del Grande

As sweet and sunny as Zilker Park is, the weekend was plagued by intermittent bits of rain and cloud cover. It was especially fitting, though, when most of the clouds seemed to amass over Twin Shadow’s set. It was probably because the dark and stormy setting found the perfect soundtrack in the group’s moody, ’80s inspired synth-rock. The set was also a clear reminder that, unlike Smith Westerns, you can have a killer show even if you’re an emotionally sensitive buzz-band. All it takes is making the most of what you have, creating an intimate setting, and honing in on a certain vibe while still blasting it out of the park. Twin Shadow know how to change it up and shift their sound to accommodate any setting, like they’re masters of the universe. How else would one explain the clouds leaving as the band finished their set? -Chris Coplan

Phosphorescent – Austin Ventures Stage – 2:00 p.m.

Photo by Nate Slevin

A six-man band took the stage, only to get rained out before they could start on time. Two-thirds of the band left to waterproof their equipment, but frontman Matthew Houck and his drummer remained behind, and he nimbly played with his looping pedals to entertain the audience as the band prepared for a rainy show. Once they finally started (about 10 minutes after scheduled), it was a good blend of a harder folk-rock, and a very vocal driven soft folk. The juxtaposition of a very hard version of “A Death, A Proclamation” and the softer “Heaven Sittin’ Down” was an obvious crowd pleaser. -Winston Robbins

Young The Giant – AMD Stage – 2:00 p.m.

Photo by Debi Del Grande

How many times has a band come to a festival on the verge of something big, delivered a stellar performance that gets the whole world talking, and then gone on to true rock and roll stardom? No one has enough fingers or toes to properly count that high. And, for all intents and purposes, Young The Giant will be another pinky or big toe on that list, with a showing that wowed a packed crowd (one of the bigger for an early show). But do they actually deserve such acclaim and adulation? Are they worthy of being the next act to strike it big? They may have entertained a crowd (which is all that matters in the end), but they did nothing to genuinely show they were fighting to get their time in the spotlight. With a forced, paint-by-numbers set, YTG were neither phenomenal nor ground-breaking, settling instead for mediocrity. Enjoy the success, boys. Somehow, you’ve earned it. -Chris Coplan

Alexander – Google + Stage – 3:00 p.m.

Photo by Nate Slevin

Alex Ebert from Edward Sharpe is running solo this time, promoting his new album, Alexander, but he still brought an element of the Magnetic Zeros to his Saturday performance. Ebert likes to interact with the crowd, dress like a dirty hippie, and talk about love. He wore a rainbow guitar strap and welcomed his fans to sing into his mic. His show was like a giant camp fire and the crowd ate it up. Though there is a certain amount of cheesiness to his shtick, his passion for music is nonetheless endearing. -Lauren Modery

Alison Krauss & Union Station – Budweiser Stage – 4:00 p.m.

Photo by Debi Del Grande

While others were across the park getting a whole different folk experience at Iron & Wine, the more (to put it politely) “mature” crowd was listening to the beautiful sounds of Bluegrass queen Alison Krauss. She herself has the voice of an angel, there’s no doubting that, and her music fit right in with the Texas crowd. Despite the rain picking up during her set, her fans were many in number, and very loud. She and her band ran through a solid setlist that varied from smooth and harmonious (“Every Time You Say Goodbye”), to straight toe-tapping, hooting and hollering barn dance music. The show peaked when they closed with “Man of Constant Sorrow” with the original vocalist from the O, Brother, Where Art Thou? Soundtrack, Dan Tyminski (sorry to be the bubble burster, but no, that wasn’t really George Clooney singing.). -Winston Robbins

The Moondoggies – Austin Ventures Stage – 4:30 p.m.

Photo by Debi Del Grande

Yet another seemingly unknown rock and roll band inspired by the blues, jammin’, and Crosby, Stills, and Nash, Seattle’s Moondoggies are in a whole different frame of mind from their fellow young, up and coming rockers. They’re fairly standard musically, with most of the group’s sonic creations being fairly straight-forward. However, there’s something uniquely organic in their throwback routine. With a whole generation of bands trying to make Neil Young proud, the Moondoggies do a great job of praying at his altar without being total fanboys, freeing up time and space for them to explore tight, yet impactful musical explosions. Maybe Mr. Young really would be proud after all? -Chris Coplan

Skrillex – Google+ Stage – 5:00 p.m.

I personally view Skrillex as that friend everyone has who you genuinely care for, but is just so easy to make fun of. He’s obviously not as legitimate a dubstep artist as Rusko, Caspa, or any of his other contemporaries, and sure, he’s fine with the fact that his fans are the “peole who still use myspace” constituency, but the man can throw a party. He’s also responsible for some of the best dubstep released this year, and he’s gaining popularity (and also knowhow) like crazy. His live mixing onstage has evolved so much just in the last six months. His set at ACL had some mixing issues, and some minor sound errors, but nobody complained when they were bouncing up and down to his gnarly dubstep remix of Damian Marley’s “Welcome To Jamrock”. His own songs were quite well received, also. “I Want To Kill Everybody In The World” and “My Name Is Skrillex” got the packed Google+ stage rocking. So, he blew it by being the frontman for From First To Last, but everyone deserves a second chance, right? -Winston Robbins

Fitz and The Tantrums – Honda Stage – 5:00 p.m.

Photo by Debi Del Grande

Once again, the power of soul-funk reared its head, this time in the form of the decidedly alternative Fitz and The Tantrums. Even though they’re a great band on record, other soul acts during the festival definitely outshone this group. Even still, Fitz and The Tantrums are a great live act for a number of reasons. Their stage show is sleek and minimalist, like the whole audience was transported to some dirty club in the ’60s. As well, the dynamic between Michael Fitzpatrick and Noelle Scaggs is even better in-person, filled with a lot of sexual tension that isn’t overpowering, some truly wonderful boy-girl harmonies, and call backs one would be hard-pressed to find elsewhere. They may not have been the best, but in the dusk of the coming musical onslaught, their quirky light still shone bright. -Chris Coplan

Gillian Welch – Vista Equity Stage – 5:30 p.m.

Gillian Welch’s set was plagued with problems – a 30 minute pushback and overpowering dub beats from Skrillex at the Google+ stage – but that didn’t stop the petite singer songwriter from knocking it out of the park. If you were directly in front of the stage you got a good taste of what the buzz is all about. Welch suggests a time and place long ago. On stage was just her, her guitar, banjo, harmonica, and musical partner Dave Rawlings. They were in perfect sync and perfect harmony. Devoted fans ate up Welch’s songs like candy, but some tweeters commented later that they were unhappy with her quips about technical issues they were experiencing. -Lauren Modery

Cee-Lo Green – Bud Light Stage – 6:00 p.m.

In a super gigantic humongous festival with so many huge and important names, none looked more undeniably appealing on paper than the Lady Killer himself. But, like a lot of things in life, the actual event or occurrence was way less impressive than all the hype and dreams. In the last year or so, on the back of a his massive hit “Fuck You”, Green has shown himself to be a truly skilled showman. What the crowd got in Austin, TX, though, was rather lackluster. From the lack of costumes and extravagant stage show to Green insisting the audience knew how horny he was (we can only care so much, yo), the performance sounded flat, and felt unbecoming of a guy who has a plethora of skills and talents available in his toolkit. Even “Fuck You”, which actually got the crowd moving and singing, felt passion-less, with the enthusiasm of a recently dead body. “Fuck him and fuck her too,” Cee-Lo? Fuck anyone for watching you and not Cut Copy. -Chris Coplan

Cut Copy – AMD Stage – 6:00 p.m.

Photo by Debi Del Grande

If I were to slap a headline on the entire Saturday installment, it would read: “Cut Copy Saves the Day”. What was a pretty sleepy afternoon immediately transformed into a sprawling music extravaganza, and Cut Copy was the catalyst. Emerging onto a stage fraught with jungle scenery and plant life, the four (sometimes five) piece outfit synth-popped the hell everyone in attendance (a huge amount of people considering how early in the day it was and that Cee-Lo was playing at the same time across the field). The Aussies played hits that spanned the entirety of their career. In Ghost Colours tunes “Hearts on Fire” and “Lights & Music” were received with particular adoration (and by adoration I mean all-out frenzy), as were many of their newer songs, such as “Blink And You’ll Miss A Revolution” and “Need You Now”. Perhaps the most notable thing about this show, however, is just what a stunning frontman Dan Whitford is. When that man was behind the mic, it was all eyes on him, no holds barred. Some people were born to front a band, and Whitford is quite obviously one of those people. -Winston Robbins

TV on the Radio – Google+ Stage – 7:00 p.m.

Photo by Debi Del Grande

What could have (and should have) been one of the outright highlights of the festival, ended up being nowhere close to expected. It had nothing to do with the Brooklyn indie gods themselves, they played an incredible set that spanned their voluptuous back catalogue. But the festival’s arrangement for the band was horrendous. The Google + stage was mainly for mid-size acts (e.g. Foster The People, Skrillex, Empire of the Sun, for example), so to put such a popular band on such a small stage is just bad planning. The crowd for TV on the Radio was, of course, massive, and it the Google+ stage simply could not accommodate. It didn’t help that the crowd was so large that it was pushed back into port-a-john territory, literally creating small crowds in between the lines of people in queue to do their business. It was a cluster cuss if I’ve ever seen one. The band, however, was at its finest. The setlist was largely a combination of Dear Science tracks with Nine Types of Light folded in here and there. “Will Do”, “Red Dress”, and “Wolf Like Me” were absolute fire-starters, and the band played a great set on the whole. They were just the unfortunate victims of circumstance. -Winston Robbins

Chromeo – Honda Stage – 7:00 p.m.

Photo by Nate Slevin

A festival, to some extent, is a chance for a band to hit the stage, wow the crowd, and really define who they are. Some acts might even do something new or different, change up the script on their career. For its sub-headlining gig, Chromeo weren’t doing any innovating, but they still put on an amazing show. The thing about Chromeo is that, unless they deliver the curveball of all curveballs with any future releases, they’re always going to be the electro-funk duo obsessed with girls and sex. No one is more dedicated to that obsession than Dave 1 and P-Thugg. With the audience comprised primarily of girls looking to drink off their eight dollar beer buzz, Chromeo knew all the right moves to get them swaying and grinding like nobody’s business. And since every man wants to be at that kind of show, the audience filled out nicely, building to an epic dance party that the pair orchestrated with brilliance and ease. They may not be reinventing the wheel, but who says ya gotta? -Chris Coplan

My Morning Jacket – AMD Stage – 8:00 p.m.

Photo by Nate Slevin

My only complaint for this particular set, and for My Morning Jacket shows in general, is the lack of deviation from the norm. Even with a new album under their belt to bolster their show, they still play a very similar live show to what they did four years ago. It’s a little brighter now, and on a bigger stage, but the antics remain a little too similar. Don’t read too much into that cynicism, it was a fantastic show musically. My Morning Jacket has a catalogue so strong that there typically isn’t a dull moment in their live sets. But it would be nice to see them delve a little deeper into that catalogue for some variation in setlists.

Photo by Nate Slevin

And even despite the Stevie Wonder playing at the same time across the park, MMJ managed to garner a massive audience. Jim James was his tight-lipped self, only speaking to the audience two or three times, each time to outline how the crowds at Austin City Limits made him feel like he was “flying”. But other than those quick little rants, it was straight to business, and they packed as many jams as they could into their hour-and-a-half set. From the simplicity of “Victory Dance” to the grandeur of “I’m Amazed” and “Wordless Chorus”, he, his cronies, and their knack for beautiful eclecticism kept the audience completely enthused for the entirety of the show. To conclude, they brought on the entirety of New Orleans outfit Preservation Jazz Band and played “Holdin’ On To Black Metal” and “One Big Holiday”. -Winston Robbins

Stevie Wonder – Bud Light Stage – 8:00 p.m.

Photo by Debi Del Grande

There are certain acts in pop music that everyone knows. Not just people who like music or pay attention to music, but literally everyone in the whole world that has ever existed from the moment said artist hit the stage for the first time. Stevie Wonder is one of those acts. He’s spent the last 40-odd years making some of the most influential and powerful soul music the planet has ever heard. Tons of bands and singers, a lot of which were scheduled to play ACL, owe their very existence to Wonder. So, suffice to say, even with My Morning Jacket drawing a chunk of the crowd on the other end of the park, the crowd for Wonder was still a sea of eager, expectant fans hoping for just a few moments of pop magic in its purest form.

Photo by Debi Del Grande

For the most part, Wonder delivered. However, it was not the pristine lightning storm of love and joy some had probably dreamed of since Wonder’s appearance was announced. First, volume issues led some of the crowd in the back to chants of “Turn it up,” which, after going unaddressed, turned into disinterest. But, even without that, Wonder still enthralled the majority of the people. He delivered a slew of classics, and even a couple of covers, like the opener “How Sweet It Is (To Be Loved by You)” and a Bob Marley homage. But, with the elation of hearing Wonder live and in person also came his absurd, bizarre rants on the state of the world and U.S. politics. Opinions are fine and all, but probably not the best choice in entertaining an exhausted crowd looking to escape the world. Though seeing Wonder wasn’t the total fantasy many had hoped, no one left the venue without feeling a little grateful. -Chris Coplan

Sunday, September 18th

The Head and the Heart – Google+ Stage – 1:30 p.m.

Photo by Nate Slevin

The sun was at its absolute hottest during The Head and the Heart’s set, but it didn’t seem to deter many. Drawing a huge crowd for such an early slot, they played their lovely melodies to a vast number of Austin faces, and their music was right at home in the folk-heavy city. From the quiet vocals of “Lost In My Mind” to the huge crescendo of “Rivers And Roads”, this set was a triumph on all fronts. -Winston Robbins

Dale Earnhardt Jr. Jr. – Honda Stage – 1:30 p.m.

Photo by Nate Slevin

As a young band steadily rising to the top of a lot of people’s arbitrary personal charts and playlists, it’s important to keep track of Dale Earnhardt Jr. Jr. from time to time. While the last big show for the duo was at SXSW earlier this year, the last six months had made all the difference. Fresh off the release of their debut album, the band have lost the costumes and some of the gimmicks, finding in their place more great pop appeal. They were tighter and more focused than ever before, whipping through their standard setlist with a newfound sense of purpose and dedication. The audience responded accordingly, dancing and swaying with loads of appreciation (the free popsicles also probably helped). In Texas, DEJJ made their stance and established themselves as not a fad, but a genuine pop-rock band to be reckoned with. -Chris Coplan

The Airborne Toxic Event – Budweiser Stage – 2:30 p.m.

I’ve never been a huge fan of the band, but I was a bit stunned initially by the whopping-ly low 1.6/10 rating given by Pitchfork to The Airborne Toxic Event’s debut album. But now I totally get it. The best song of the tired set was a song they didn’t write (a highly mediocre cover of Bruce Springsteen’s “I’m On Fire”), and their big hit “Sometime Around Midnight” was more lackluster live than it is on the studio album, which is already pretty meh already. A decent portion of the crowd population was into it, but let’s be perfectly honest with each other: in general, a decent portion of the overall human population are idiots. Airborne played themselves off with a cover of “I Fought The Law” (just blew your mind with originality, right?). Overall, so not rock and roll. Or maybe too rock and roll. I can’t decide. -Winston Robbins

The Walkmen – AMD Stage – 2:30 p.m.

Photo by Debi Del Grande

Once more, praise be to the gods of the live show. When The Walkmen released Lisbon last year, the five-piece unfurled one of their most impactful and minimalist efforts to date. Even as sonically pleasing as it was, the last bits of connection with that album can’t be cemented until the material is delivered live (and preferably on a beautiful, sunny day). The tracks echoed and cut through the huge, open air, with all of the LP’s tiny nuances out there to be heard in a truly expansive fashion. Not only did that album get a chance to shine, but the band doled out “The Rat”, and a ton of new material from its upcoming seventh release. Altogether, this material made for a headline-worthy show at a time when a lot of people were still arriving. -Chris Coplan

Suzanna Choffel – Austin Ventures Stage – 2:30 p.m.

This Austin-based singer and songwriter is quickly making a name for herself with her sultry vocals and soulful tunes. Regardless of the size of the stage, Choffel’s presence carried all the way through Zilker Park and across Austin. Her voice is precise and heartbreaking; one can hear every bit of emotion squeezed out of her vocal chords. She has the rare gift of instantly drawing the audience in and holding them there until the very end. Her songs are playful and funky – a xylophone here, a moog there – a mix of indie, jazz, funk, and blues. The crowd was a small but dedicated one. With her talents it seems unlikely you won’t be hearing her name in the big lights soon. -Lauren Modery

Photo by Nate Slevin

Chiddy Bang – Google+ Stage – 3:30 p.m.

Like Chromeo before them, Chiddy Bang didn’t do much in the way of something mind-blowingly complicated or unique. Yes, their blend of mainstream-friendly, commercially-viable rap is sweet and catchy, but they’re not musical masterminds or supreme geniuses by any stretch of the imagination. But, when the crowd is tanked and looking for a good time, Chiddy Bang excel at delivering a buttload of bass and super duper hooks made to scream to your neighbor. And there’s nothing wrong with understanding your crowd, and giving them just what they want, exactly when they want it. In fact, there may not be enough of that simple formula achieved at festivals the world over. With lots of bands teasing their big hits or straying away from material they’re known for, Chiddy Bang deliver all the sonic sugar the crowd can handle and more. -Chris Coplan

Broken Social Scene – Budweiser Stage – 4:30 p.m.

Photo by Debi Del Grande

Here’s my favorite thing about Broken Social Scene: they will never put on a boring show. Even the best performers (My Morning Jacket, Fleet Foxes) tend to do the same show over and over again with very little room for variation, whereas BSS sort of flies by the seats of their pants. Whether its unannounced personnel changes, deciding to play songs out of the blue, or simply just having enormously good rapport with the audience, Broken Social Scene puts on one of the best live shows in music. This set was a little unusual, on the whole, however. They ran through the obligatory songs like “7/4 Shoreline” and “Meet Me In the Basement”, and they even did that Modest Mouse cover they’ve been so fond of lately (“The World At Large”). But they threw in some lesser heard songs like “Major Label Debut” and “It’s All Gonna Break”. Near the end of the performance, Kevin Drew said that Broken Social Scene had been “friends hanging out for the past ten years”, and there was no doubt that what he was saying was the truth. They looked like they were as genuinely delighted to be playing music to ACL as ACL was to hearing said music. -Winston Robbins

Ryan Bingham and the Dead Horses – AMD Stage – 4:30 p.m.

Photo by Nate Slevin

Much like Cowboy and Indian and Gillian Welch, Ryan Bingham and the Dead Horses suffered from what a lot of singer songwriters did this year: bad timing and bad placement. The AMD stage was way too big for the laidback country tones of Bingham and his band. In fact, one may argue that Bingham would best be seen in an intimate setting, not wafting through the Zilker Park aifr. Nonetheless, Bingham put on a solid show, knocking crowd favorite “Hallelujah” out of the ball park. Word on the street is that Terrance Malick and Christian Bale were also at Bingham’s show. -Lauren Modery

Joseph Arthur – Austin Ventures Stage – 5:00 p.m.

Photo by Nate Slevin

Joseph Arthur is one man, a guitar, and a lot of looping and reverb. At first what seemed like an ill fit for an outdoor festival line-up turned into a mesmerizing performance by a talent like no other. As Arthur took the stage and began playing guitar, he also painted a number of large abstract paintings, art that he would come back to later in the set and add to, all the while still singing and playing guitar. No wonder that Peter Gabriel signed him to his label in the mid 1990’s. Arthur definitely takes the cake for most interesting artist at ACL this year. -Lauren Modery

DFA 1979 – Honda Stage – 5:30 p.m.

Photo by Nate Slevin

In a word: fitting. What started as a riotous (literally) return to music in the city of Austin last March at SXSW, ended as a raucous show at Austin City Limits. Well, for America, that is. This was the last scheduled date on the duo’s reunion tour. While no fire marshals were summoned or people booted from the premises this time around, DFA 1979 did their best to cause chaos in Austin. Sporting a much more lax and cohesive set than they did a few months ago, they ran through favorites like “Romantic Rights”, “Dead Womb”, and “Go Home, Get Down”, and did so quite fluidly. Drummer/singer Sebastien Grainger even took time to joke with the crowd, inquiring about the difference between masochism and sadism. He decided that everybody in the crowd was a masochist for braving the sweltering Austin heat for three consecutive days and deciding to spend this portion of the afternoon with them. Masochists or not, the moderately sized crowd was hanging on their every riff and backbeat. (Writer’s note: Jesse Keeler might be the coolest dude alive.) -Winston Robbins

Elbow – Google+ Stage – 5:30 p.m.

Photo by Debi Del Grande

Elbow didn’t bring a big crowd, but it definitely brought a feverish one. The audience reached their hands out toward singer Guy Garvey and gang the minute they took the stage. Garvey’s friendly nature and interaction with the audience made up for the fact that his vocals were often too low to hear. As it began raining, Garvey made the crowd promise they wouldn’t abandon the band and they didn’t. Hundreds stood in the rain during magic hour to listen to what was obviously their favorite British pop band. -Lauren Modery

Fleet Foxes – Budweiser Stage – 6:30 p.m.

Photo by Debi Del Grande

I have seen Fleet Foxes a total of seven times including this set, and this one was vastly different from the others – which is in no way a compliment. Fleet Foxes have risen to sub-headliner status, and they deserve every bit of it. Their tight harmonizing, their boyish demeanor, and their unreal musicianship warrant their place on the food chain. But this show lacked any semblance of energy. Singer Robin Pecknold is always so invested in his live shows, screaming his lungs out and always inserting humorous quips. But this show lacked anything of the sort. The music was great; spot on, note for note. But they were dragging in terms of stage presence. Not one of them made any real attempt to engage their massive audience. Musical highlights included “The Shrine/An Argument”, “Helplessness Blues”, and “White Winter Hymnal”, and the quality of the music didn’t droop for a single second. But the Seattle boys just seemed tired. -Winston Robbins

Randy Newman – Vista Equity Stage – 7:30 p.m.

Photo by Nate Slevin

The beauty of the Vista Equity tent is that it has a roof, therefore the cheers and claps seem all the more meaningful since they don’t get lost in the air hanging over Zilker Park. With that being said, it appeared that the crowd waiting for Randy Newman had to be one of the most bloodthirsty bunch at ACL. Albeit a 55 and over bloodthirsty bunch. Newman’s show was plain and simple- Newman and a black Steinway piano. He wasted no time getting to the stage and jumping into the first song “It’s Money That I Love”. By “Short People” he had all the chair sitters up on their feet. The man is ageless. His look, voice, and key tinkling have not changed since 1975 and that’s what makes Randy Newman so gosh darn loveable. -Lauren Modery

Photo by Nate Slevin

Empire of the Sun – Google+ Stage – 7:30 p.m.

Empire of the Sun did their regular dog and pony show, beginning with “Standing On A Shore”, choreographed dances and costume changes throughout, slowly building to “We Are The People”, only to slump down to the faux-encore that leads to their smash hit “Walking on A Dream”. For those in attendance who had not seen the show, I’m sure it was fantastic. And in all seriousness, it is an unbelievably good show the first time around. But it was literally the exact same show they’ve been putting on for over a year. If I had any say in how things are run in the Luke Steele and co. organization, I’d say this: North American has had ample time to see the live act you’ve created for Walking On A Dream, get back in the studio and give it another go. -Winston Robbins

Arcade Fire – Bud Light Stage – 8:30 p.m.

Photo by Debi Del Grande

It seems impossible for one not to have an epiphanic experience at an Arcade Fire show and this show was no exception. As the lights dimmed and a montage of Spike Jonze’ Scenes From the Suburbs and 1970’s coming attraction cards, a hush came over the gazillion person crowd. Everyone waited to be suspended in a dream-like state for the next two hours. The band kicked off the evening with “Ready to Start” from last year’s The Suburbs and then took everyone on an emotional roller coaster through their short, but meaningful body of work.

Photo by Debi Del Grande

Highlights of the evening included The Suburbs extra “Speaking in Tongues”, a spastic “Month of May”, and the epic “We Used to Wait”. The band has continued to maintain the same energy level since the beginning – running around on stage, beating drums in the air, etc. – and the only time it faltered is when Win Butler’s voice became a little winded during “Neighborhood #1 (Tunnels)”. That didn’t last for long, though. The band ended with a roundhouse performance of “Neighborhoods #3 (Power Out), “Rebellions (Lies)”, and “Sprawl” that left the crowd in a state of awe. Everyone shuffled out of the park satisfied that this was the ending to another wonderful ACL. -Lauren Modery

Yim Yames/Iron & Wine – Stubbs’ BBQ Aftershow – 8:00 p.m.

Photo by Winston Robbins

My Morning Jacket has reached the stage in their career that seeing Jim James (or Yim Yames, if you prefer) in such an intimate setting is a rare occasion. That fact wasn’t lost on the audience when he came onstage to open the weekend-closing aftershow. Using only a bass guitar and an omnichord (not at the same time), he ran through some deeper MMJ cuts arranged in the strangest, most intriguing ways. Hearing “Smokin’ From Shootin’”, “It Beats 4 U”, and “What A Wonderful Man” altered to fit completely different moods was a treat that will probably not come around again anytime soon.

So, when Iron & Wine took the stage, the bar was set extremely high. But Sam Beam and his nine-piece ensemble (including Margaret Irglová of Once fame) were up to the challenge. With the amount of players in his band and the instruments they possessed, much of the setlist was devoted to material from The Shepherd’s Dog, but there were a few rarities that he threw in as well including “Jesus The Mexican Boy”, “The Sea And The Rhythm”, and a powerful rendition of Our Endless Numbered Days track “Fever Dream”. And as the absolute icing on the cake, Jim James joined Sam Beam and co. onstage during the encore to perform a medley cover of Eric Clapton’s “Wonderful Tonight” and Lionel Richie’s “Stuck On You”. -Winston Robbins

The Culture of Austin City Limits

Gallery by Debi Del Grande

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Gallery by Nate Slevin

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The mystery is over; the lineup for the inaugural Orlando Calling music festival is here. Set to take place November 12-13 at Orlando’s Citrus Bowl Park, the festival will feature an eclectic mix of modern and classic rock, R&B, and country, with acts like The Killers, The Raconteurs, Pixies, The Roots, Kid Rock, and Bob Seger & the Silver Bullet Band topping the bill.

The festival’s first day will feature mostly modern rock and indie acts. Joining The Killers, The Raconteurs, Pixies, and The Roots will be The Avett Brothers, Iron & Wine, Pete Yorn, Local Natives, Dr. Dog, Gogol Bordello, Jenny & Jonny, Drive-By Truckers, and The Felice Brothers.

Day two will offer a classic rock and country school slant, with Kid Rock and Bob Seeger performing alongside the likes of The Doobie Brothers, Buddy Guy, Warren Haynes, Robert Randolph & the Family Band, Blake Shelton, Blues Traveler, Justin Townes Earle, Michelle Branch, Chris Isaak, and Brandi Carlile.

Check out the entire confirmed bill at our Festival Outlook.

General admission field and reserved seat tickets go Saturday, July 23rd at 10 AM EDT via the festival’s website. Prices are $85 for single day tickets and $150 for both days, and $165/$265 for VIP seats and amenities.

This may be weird, but I always think of concerts as a kind of consummation — like finally getting the chance to be alone with that special squeeze you’ve been sweatin’ for a while. The relationship between you, a band, and a song are finally at the most intimate, whether you’re in the corner of a bar or on the muddy fields of Glastonbury. And for all the time you’ve spent peeling away the layers of a track, analyzing every note, every word, every minute detail about down to the the last wavelength, in concert the pressure is now on the band. Do they really look like their profile pic?

It’s nerve-racking when the moment comes. Some bands have performance anxiety, or were just plain lying about what they were actually packing. Most bands are satisfyingly WYSIWYG, and remain true to their promises. These bands and these songs below, however, represent the most powerful moments in a connection between audience and performer — moments of dynamic expansion that open up whole new parts of the song that you never even knew existed. At the time it’s a revelation, and in retrospect it can be a rediscovery, but it’s always something unique.

We tried to compile a list of songs that resonated on several levels. There are cultural turning points, fan favorites, canonical benchmarks, and most importantly, personal experiences. Name another art form where you’re allowed to feel something so personal, so moving, so hair-raisingly beautiful in the company of hundreds or thousands of other people possibly feeling and relating to the exact same thing you are (MDMA levels notwithstanding). The subjectivity of a live performance is almost more apt than a studio recording, but these here are songs we felt transcended personal preference and reached out to even those who weren’t there (Or: you’ll probably get chills from watching these videos).

But there are more memories than there are YouTube videos™. There will be concerts from an unknown band in the middle of nowhere that will leave a stronger impression than being front row at Radiohead or backstage at The Boss, and that’s a fact. These songs give your personal experiences a run for their money, and while you may not believe that anything will ever top the time the lead singer of Ulterior Motifs set his guitar on fire and suplexed the bass player into the floor tom, we hope you spend some time co-opting the magic that was created with these performances– live performances that deepen, expound, and straight-up own the studio versions.

-Jeremy D. Larson
Content Director

Joy Division – “Transmission”

On record, they were clean. On stage, they were clean. So, what’s the difference? With “Transmission”, Curtis doesn’t spit out the lyrics so much as he threads together a fragile yet magnificent rope, from which he swings around and around. No one will ever dismiss Martin Hannett’s timeless and unorthodox mixing on Unknown Pleasures, it’s an indefectible example of diamond production work. But in hindsight, the radical producer simply trapped the group’s carnal tendencies. Inside the album existed what only a few knew at the time: This Manchester quartet was working with something otherworldly, and watching “Transmission” live proves this. It’s just a tad spooky, that’s all.  -Michael Roffman

The Flaming Lips – “Race For the Prize”

Balloons, smoke machines, confetti, 40-foot projection screens, colored lights, and background dancers wearing plush animal costumes – “Race for the Prize” not only marked a turning point in the band’s recording career, but the transformation of their live performances into the sensory-overloading grand spectacle they’re known for being today. After The Soft Bulletin, it no longer seemed as if we were just watching a band perform on acid, but as if the entire audience were tripping along with them. Now a staple on their setlists, there isn’t a song in The Flaming Lips’ catalog better-suited for setting the tone for their loony live shows than the soaring acid-pop of “Race for the Prize”.  -Austin Trunick

Tool – “Third Eye”

“Think for yourself…question authority,” the opening monologue begs of its listeners, just before one of Tool’s most prestigious and haunting musical numbers hushes a live audience. “Third Eye” is the closing track from 1996′s Ænima, and from this 1998 concert recording, fans can reminisce on days when Maynard James Keenan could dole out a scream that made people question their own identity. The version present here can be found on Tool’s Salival compilation per secondhand purchase, as it’s now out of print. -David Buchanan

John Coltrane – “My Favorite Things”

John Coltrane took Rodgers and Hammerstein’s Broadway classic “My Favorite Things” for a spin just two years after it hit the stage in the Sound of Music by stretching the showtune into a madcap 13-and-a-half minute jam that’s considered one of the most essential jazz records of all time. Leave it to John Coltrane, though, to turn his own hit on its head whenever he and his band played it live, most notably at the 1963 Newport Jazz Festival. In perhaps the finest performance of his career, Coltrane and his sidemen take the tune on an extended, 17-minute jaunt so hypnotic and memorable, you’ll never whistle that chipper little melody the same way again.  -Möhammad Choudhery

Massive Attack- “Angel”

On tour, “Angel” takes on a whole new life with the help of the band’s signature moody light show and a stellar live band that includes two live drummers. Ominous hi-hats and a pitch-black guitar line give way to an apocalyptic burst of bass/guitar/drums just as Horace Andy gets done muttering the line, “love you, love you, love you.”  Here, Massive Attack tackle their signature song before a crowd of thousands at Glastonbury 2008. The best part? That split-second of awed silence right as the band kicks in and the crowd explodes. -Möhammad Choudhery

Okkervil River – “Westfall”

Okkervil River frontman Will Sheff was inspired to pen this eerie tune after hearing the gory details of the Yogurt Shop Murders in Austin, Texas. While the album version successfully explores the confounding nature of true evil, only the raucous live rendition is able to capture the savage spirit of the murders themselves. The song begins minimally, conjuring a stark atmosphere with guitar, mandolin, and bass drum before an ominous string chord kicks off the pounding coda “evil don’t look like anything,” as Sheff howls and the rest of the band falls apart around him. The same crescendo occurs on record, but it feels tight rather than chaotic. -Dan Caffrey

Talking Heads – “Psycho Killer”

Director Jonathan Demme and Talking Heads’ 1984 masterwork, Stop Making Sense, is the concert film. While many reasons exist for backing such an argument, only one truly matters — David Byrne’s jaunty opening rendition of “Psycho Killer”. Sharp outfit, syncopated beats, cassette tape, acoustic guitar, and a man whose gait could be translated to mental imbalance or physical comedy…forget Andrew WK and the Beastie Boys; Byrne’s boombox beats you to the punch. -David Buchanan

LCD Soundsystem – “Yeah”

James Murphy says “Yeah” a total of 577 times in this video (you don’t have to count it — it’s all there). That’s more times than I’ve ever said anything in my entire life, and still you never get sick of it. Against that disco drum and bass, the band stretches the song’s poles to the max, and if you happen to be in the crowd during “Yeah”, you will find yourself screaming all 577 “Yeah”s right along with him. Trance-punk was given a live birth. -Jeremy D. Larson

Bruce Springsteen – “Thunder Road”

Aside from being a fantastic live version of the side-one, track-one to his untouchable Born To Run, this six-minute clip, recorded in his native New Jersey in 1978, is a tiny encapsulation of exactly what The Boss’ live show is all about. From the energy and charisma emitted by Springsteen, the signature Fender Telecaster, his supporting cast (Max Weinberg on drums, old friend Steve Van Zandt on guitar/shaky backup vocals, and the late Clarence Clemons – whose chilling sax solo means more this week than it did a month ago), to his faithful, adoring fans cheering “Bruuuuuuuuuce!” as the video comes to a close, this is what Springsteen is (and has always been) about. -Winston Robbins

Sufjan Stevens – “Impossible Soul”

On “Impossible Soul”, Age of Adz’s cathartic 25-minute closer, Sufjan Stevens redefines melodrama and virtuosic, genre-leaping scope. Stevens, in his typically ostentatious fashion, opted to close out every show on the Age of Adz tour with the whole damn thing. “Impossible Soul” is a roller-coaster ride through Stevens’ right brain: from the crestfallen call and response intro, through an atypical vocoder segment, into the stirring metaphysical rally song mid-section that finally leads into a heartrending, finger-picked outro. Woah. -Möhammad Choudhery

Bob Marley – “No Woman, No Cry”

This version is so deep in the groove I’m not sure how anyone gets out of it when it ends. Before Ska sped things up, Bob Marley slowed things down when he took “No Woman, No Cry” to the stage, which is the version that most people are familiar with. The studio version has its merits, but this is the only option for a campfire mixtape or memorial tribute. Plus, when you tell someone that “everything’s gonna be alright”, you never want to rush it. -Jeremy D. Larson

Phish – “Fluffhead”

There was no greater news to New England in the winter of 2009 than the word that Phish was getting back together for a three-night run at the Hampton Coliseum. What started out as three (very thorough) reunion shows turned into the next leg of the Vermont quartet’s career, and they kicked everything off with “Fluffhead”. Out of their entire catalog, “Fluffhead” has always been a big fan favorite that made occasional appearances within their setlists, but this time, it was the charge to start everything off. While the studio version off 1986′s Phish (or, The White Tape) sounds like a playful demo, the Hampton ’09 version is like a musical call to arms (or to jamming). As that wonderful C-D-G-F progression rang out into the spring Virginia night, it was clear that the only people more excited about this reunion than Anastasio, Gordon, Fishman, and McConnell…were the phans. -Ted Maider

Led Zeppelin – “Dazed and Confused”

By the time the Royal Albert Hall gig rolled around in January 1970, Led Zeppelin had already begun to take over the world. But this show in particular would showcase their improvisational prowess on “Dazed and Confused”, turning the original six-and-a-half minute recording into a majestic 16-minute opus. Already a mainstay in their live repertoire, there was just something about the track this time around that really stuck. To date, it still makes the hairs on the back of your neck stand up. This is how it’s done.  -Megan Caffery

My Morning Jacket – “Dondante”

The slow, intimate start leads to an emotional blast of soaring vocals followed by some of the most powerful saxophone playing this side of John Coltrane. When done the right way – and My Morning Jacket usually do it the right way – it can truly be a transcendental experience. For a well respected live band with countless good “live versions”, the fact that “Dondante” usually comes away as the highlight to their shows says it all. -Carson O’Shoney

Radiohead – “Everything In Its Right Place”

How do you play any of Kid A live? How do you even write an album like Kid A? And how on earth does a distorted, confused and recycled Thom Yorke sing along with a real Thom Yorke, playing a keyboard that gets recycled and cut up too, until the band can leave the stage while their music goes on, slowly eating itself? Ask any Parisian that watched them in 2001 above. –Chris Woolfrey

Arcade Fire – “Power Out/Rebellion”

Not many songs can slow the tempo down while doubling the audience energy at the same time. Yet that’s what Arcade Fire does for every concert. Whether it segues out of an explosive “Neighborhood #3 (Power Out)” or more recently “Month of May”, “Rebellion (Lies)” is the pinnacle of a live performance. There’s the subtle moment where the bass and keys start to peek through the thrashing guitar noise of the previous song, sending those shivers down your spine. Then there’s the singalong. When the band scream out “Lies!” so does the everyone in the crowd. Like, everyone. –Joe Marvilli

The Beatles – “Get Back”

“Four people playing as they never would again” is how The Beatles’ rooftop concert has been described, and it’s easy to see why. This is a band with tensions rife from about a decade in the public eye among other things, rallying round for a knock-out final performance. “Get Back”, set against the police bearing down on the group as the quartet brought the music to a kind of anti-climactic diminuendo, closed their impromptu set on top of the Apple office on Savile Row. Nobody knew it then, maybe not even The Beatles, but this song was the last song they would ever play together, and it’s beautiful precisely because that future was so uncertain. In the words of John Lennon: “I’d like to say ‘thank you’ on behalf of the group and ourselves, and I hope we passed the audition.” -Chris Woolfrey

U2 – “Where The Streets Have No Name”

This is the song that every U2 fan waits for at every show. No matter what else is played or whether the band is on or not, “Where the Streets Have No Name” is guaranteed to be spectacular. First, there’s the red screen that brightens up as the opening organ comes in. Edge arrives with that icy arpeggio that blooms into every corner of the venue. The drums kick in, all the lights shine on, and Bono and the boys are off. Everyone sings and dances along, being together in this moving experience that can’t be just described. You have to see and hear it to believe it. -Joe Marvilli

My Bloody Valentine – “You Made Me Realise”

“You Made Me Realise”, besides being My Bloody Valentine (MBV)’s go-to rocker, is noted for closing the band’s reunion shows in an extended “holocaust” of white noise. Lasting between 10 minutes and 30 (compared to less than a minute on the studio version), MBV holds the final chord before the final verse, strikes it at a deafening level, and by the time the band explodes back into the main riff — if it even bothers — most of the crowd has forgotten what song was playing. Anyone who saw MBV in 2008/2009 is well aware every venue was stocked to the roof in free earplugs, and “Realise” is the reason why. -Harry Painter

Animal Collective – “Fireworks”

There was plenty to fall in love with during this epic, show-closing rendition of Strawberry Jam‘s adrenaline-pumping “Fireworks”. At around 13-minutes long, the band begins by teasing fans with the signature helicopter pulse-rhythms of “Fireworks”, while beginning Hollinndagain‘s “Lablakey Dress”, ultimately morphing that deep-cut into a 10-minute exploration of “Fireworks” pushing the thing to its absolute limits–including a mid-song layover in Danse Manatee‘s “Essplode”. But while Geologist’s headlamp bops around, clashing with the epileptic lightshow, and while Avey Tare chants the song’s infectious melody over his washed-out strums, just watching Noah Lennox feverishly attack his minimal, high laying drumset in syncopated thrusts is one of live music’s most breathtaking experiences. As is usually the case with these Animals, it’s hard to tell what’s really going on, but with a result so utterly awe-inspiring, it really couldn’t matter any less. -Drew Litowitz

Rage Against The Machine – “Freedom”

Back in the ’90s, Rage Against the Machine was one of the finest live acts to grace the mainstream, and it brought a lot of sadness in 2001 when they announced their breakup. To finish off their (first) run, the band booked two nights at Los Angeles’s Grand Olympic Auditorium. Their finale, “Freedom”, remains a staple of their live show, primarily due to Zack de la Rocha’s improvisational lyrics he would throw into the mix (“Forget about your history and just buy…and just buy”). The live version (particularly this one) was the sonic equivalent of a Washington D.C. riot, as de la Rocha screamed “Freedom! For Mumia! Freedom! Yeah!” for what appeared to be the last time. Luckily though, it wasn’t. -Ted Maider

The Grateful Dead – “Dark Star”

(Part 1)

(Part 2)

(Part 3, Part 4)

“Dark Star” is the quintessential Dead song. Consisting of no more than a couple of riffs and two short verses, the real meat is the improvisation between those elements, often stretching to over 20 minutes of mind-blowing psychedelia. There’s a studio version, a paltry 2:40 long, that should never have existed in the first place. So of all the stellar live versions, why 8/27/72? Although the legendary Live/Dead version represents the primal 1969 sound, the 1972 Veneta performance fuses the Dead’s early ’70s modal jazz style with the searing controlled chaos of the ’60s, propelling this show into “best ever” contention. -Jake Cohen

Duke Ellington Orchestra – “Diminuendo and Crescendo In Blue”

As you will be able to tell in the scrolling story of the clip, this song is the stuff of jazz legends. Maybe not quite on par with Max Roach throwing a crash cymbal at Charlie Parker, or Buddy Rich cussing out the tour bus every night, or Charles Mingus shooting his bass with a gun (yes), but definitely a solid #4. Paul Gonsalves’ 28 choruses of blues solo instigated what passed for a “riot” at the Newport Jazz Festival in 1956. If only for 10 minutes, the spirit of Big Band was reanimated due to a tenor sax player’s passion and groove. -Jeremy D. Larson

Radiohead – “The Gloaming”

On Hail to the Thief, “The Gloaming. (Softly Open Our Mouths in the Cold.)” is unassuming, the only sign of life being the coronary pulse of the repeated bass note. Either out of a need to keep concert-goers awake, or out of Thom Yorke’s love for uninhibited dorky dancing, Radiohead turns it into just that, a high-energy dance number. It’s a win-win, because not only does the rhythm section of Colin Greenwood and Phil Selway find themselves with something to do, but thanks to Yorke’s scattered and looped vocals, “The Gloaming” retains the album version’s sense of distorted obtuseness. -Harry Painter

Iron & Wine – “Upward Over the Mountain”

If you had told me back in 2002 (damn, I’m getting old) that one day I’d be getting the fuck down–I mean literally losing my shit –to The Creek Drank the Cradle‘s “Upward Over The Mountain” at 2008′s Bonnaroo Music and Arts Festival, I’d probably have told you to pull yourself together, lay off the acid, and to stop listening to your bootleg of The Grateful Dead’s 1976 Show at the Beacon Theater. When the time came, Sam Beam jumped onstage as pilot to a well-oiled and irresistible jam machine. And on the set’s highlight, “Upward Over the Mountain”, the bearded folkie stretched out one of his sparse, slow-rolling lo-fi gloomers into a full-fledged rock epic, fit with percussion, pedal steel, and a penetrating slide guitar melody parsed from the dust-speckled, minimal offerings of one of Beam’s mellowest recordings. -Drew Litowitz

Daft Punk – “Around The World/Harder, Better, Faster, Stronger”

I once described Daft Punk’s live album Alive 2007 as sounding “a lot more like a seamless greatest hits collection than a live effort.” That declaration goes the same for this video clip as it did for the album. Daft Punk’s unforgettable Alive Tour was not only visually spectacular production, but one of the most musically cohesive. This particular cut is a combination of their biggest hit from the ’90s, “Around the World”, and their biggest hit from the ’00s, “Harder, Better, Faster, Stronger”. As the two tracks seamlessly bleed in and out of one another with lights, pyramids, and robot suits to boot, it’s not hard to see the allure behind the French duo and why they’re arguably the most popular dance/electronic DJs of this generation. -Winston Robbins

Atoms For Peace – “Harrowdown Hill”

Among all the computer loops and slanted rhythms found on The Eraser, “Harrowdown Hill” is certainly the grooviest. When you have a bassline that infectious, you need the funkiest bassist around to give it some extra slap and pop. Enter Flea, whose body-shaking performance compliments Thom Yorke’s sporadic dancing perfectly. Add in a hard-hitting, organic performance from the rest of the band and you have the highlight of any Atoms for Peace concert. -Joe Marvilli

Peter Frampton – “Do You Feel Like We Do?”

For over 20 years, Frampton Comes Alive! was the best selling live album of all time, and “Do You Feel Like We Do?” is its most iconic track. Free of the pop fluff of “Baby, I Love Your Way” or “Show Me The Way”, the nearly 15 minute “Do You Feel Like We Do?” features Frampton’s most virtuosic and exciting use of his trademark talk box. The studio version (did you even know one existed?), with its lethargic tempo and no talk box, shrinks the three-chord jam from 10 to barely more than one minute. It seems a mere technicality compared to the live beast. -Jake Cohen

The National – “Mr. November”

Fans of The National will know this as their famous closer (though “Terrible Love” has rightfully overtaken that spot of late) and it’s the part in the show where Matt Berninger stumbles through the audience with glazed eyes and screams “I won’t fuck us over, I’m Mr. November” with one and all. However, at 2010′s Lollapalooza, Berninger scaled a wall and crouched down to a toddler and gave the crowd the most endearing radio edit you’ve ever heard. I mean, if that doesn’t make your heart melt a bit, you better pray for a girl from Kansas to show up and oil your joints. -Jeremy D. Larson

Blur – “Tender”

Sometimes what makes the live performance of a song a truly special event is the crowd itself. At Blur’s big Glastonbury comeback, the unique rapport between the band and the crowd can be summed up in one word: “Tender.” Not only was Blur back, but Graham Coxon was along for the ride, and a hundred thousand fans expressed their gratitude by shouting along Coxon’s lines at the top of their lungs and enabling the transformation of “Tender” into a nearly-10 minute singalong. This Glastonbury moment elevated the emotions so high for the rest of the evening that Damon Albarn later broke down and cried on-stage, and fans went on to sing en masse “Oh my baby, oh my baby, oh why, oh my” during the encore breaks and on the way back to their tents.  -Frank Mojica

Each year, a mix of newcomers and festival veterans come to the farm to feel the magic – and it’s that same feeling that keeps people coming back. Yes, it was hot as hell. And yes, the dust was worse than it’s ever been. But none of that mattered once you entered Centeroo – you were in a musical utopia. The music of the theme song lends itself to the musical diversity you can find on the farm – its mix of bluegrass and jazz blends right in on the farm, where at any given time you might be able to catch a country show or a metal band, perhaps some hip-hop or a little jam band action. There’s something for everyone at Bonnaroo if you look for it.

This year certainly felt like a birthday celebration; from the fireworks show on Saturday night to the parachuters lighting up the night sky on Friday. The watchtower received a makeover – we now had our own bizarro cuckoo clock that played Dr. John’s “Desitively Bonnaroo” whenever it rang. And speaking of Desitively Bonnaroo -  the album where the festival got its name finally made its way to the farm in the form of Dr. John and the original Meters performing it on Saturday night. It was a pitch-perfect way to celebrate the festival’s past and look forward to the future.

Photo by Max Blau

The birthday party was obvious by the inclusion of some of the festival’s unofficial ambassadors – My Morning Jacket were there, making their sixth appearance on the farm. Widespread Panic also played for their sixth time, while Béla Fleck and Les Claypool were both there with their original bands, after having played the festival many times in many different iterations. It felt like a reunion of old friends coming together to celebrate a birthday, and we can’t wait to be celebrating year 20 in 2021. Who knows what the festival will look like then? But for this year – yes, it was hot. It was dusty. But throughout the whole weekend, no matter where you were, you could easily reach out your hand and feel the magic.

-Carson O’Shoney
Senior Staff Writer

Thursday, June 9th

River City Extension – This Tent – 4:00 p.m.

Photo by Michael Hurcomb

It was only fitting that after an 18+ hour drive from Boston, the first song I heard approaching my first set of the festival was “Too Tired To Drink”. It must be daunting to be the first act to open the tents, but River City Extension did a more than admirable job. Frontman Joe Michelini’s energy was matched only by backup vocalist Sam Tacon – the pair stomped the stage and beckoned the crowd to join them at every opportunity, including clapping along to album standout “New Intelligence”. Dan Melius clearly loved every moment of the gig, blowing his trumpet to bits when he wasn’t thumping his chest and belting out vocal parts that weren’t even his. It took some effort at times to get the audience totally hooked, like the lackluster sing-along during “Something Salty, Something Sweet”, but the band never stopped giving it their all. To their great credit, they certainly had some new fans by the end. -Ben Kaye

Greensky Bluegrass – On Tap Lounge – 4:00 p.m.

After pulling an all-nighter waiting in line to get onto the campgrounds, Michigan’s bluegrass quintet Greensky Bluegrass‘ soaring harmonies, rapidly-picked banjo and sweet melodies were the perfect start to Bonnaroo 2011. As the set progressed through highlights such as “Into the Rafters”, typical bluegrass fare extended jam sessions, and an appearance from a Pee-wee Herman doll on a stick, the modest crowd swelled into a sweaty mess of dancing that far exceeded the small set-up for the On Tap Lounge and surely guaranteed them an audience at their sets later in the weekend. -Caitlin Meyer

Hayes Carll – The Other Tent, 4:15 p.m.

Photo by Michael Hurcomb

Opening a tent on Thursday is not an easy task. Most years the crowds are small because the people just aren’t there – Thursday is a travel and setup day for many. But since Bonnaroo opened the gates early this year – Wednesday afternoon instead of early Thursday morning – the farm was already hopping by the time the tents were open for business. Playing to a decent sized audience, Hayes Carll and his five-piece band played a strong set of the good kind of country – no gloss, no fake pop – just a down to earth set of old style country songs. The crowd was really into it – Carll had them howling and cheering over the hilarious “Another Like You”. He played mostly songs from latest effort KMAG YOYO, with a few from earlier albums, including a personal favorite – his cover of Tom Waits’ “I Don’t Wanna Grow Up”. -Carson O’Shoney

Band of Skulls – That Tent – 8:30 p.m.

If there’s one thing this band proved during their early evening set, it’s that rock and roll is alive and well, and it breathes in England. Everything Band of Skulls did, every crashing crescendo, every tasty lick, every “How you doin’, Bonnaroo?!”, was met with raucous approval from the front rails to beyond the edges of the lawns outside the tent. Whether it was hits like “Light of the Morning” or “Death by Diamonds and Pearls” or new tracks they didn’t even know yet, the crowd devoured every moment, including the pick tossed by Russell Marsden into their hungry hands as the band slammed into “I Know What I Am”. The track “Impossible” was transformed into an impressive closer with a monstrously extended breakdown, making it a standout in a Thursday night highlight. -Ben Kaye

Wavves – This Tent - 5:30 p.m.

Photo by Michael Hurcomb

Wavves‘ packed set at This Tent didn’t truly start until it was almost over. Although Nathan Williams’ sloppy, loud sound matched the energy of the records, it just wasn’t suited for an outdoor, sandy festival setting. The show began with a run of newer and really old tracks, both of which were lost upon the casual listener expecting solely “Post Acid” and “King of the Beach”. A reprimanded crowd surfer resulted in Williams (in typical anti-establishment fashion) demanding that the crowd do whatever they want to have fun and completely ignore security. Following this spiel, Williams launched into a run of songs off last year’s King of the Beach – finally engaging the crowd. “Linus Spacehead” was especially well-received, with Williams’ screams of “I’m stuck in the sky/I’m never coming down” resonating particularly well in the suspended smoke above the crowd. -Caitlin Meyer

Freelance Whales – That Tent – 5:30 p.m.

The strange appeal of Freelance Whales baffled me, for the most part — here is an act with enough of a pop lean to tweak some lyrical structure for easy radio airplay, whose vocalist isn’t even a stone’s throw away, and this band has chosen an ethereal indie route that you can take or leave. Bonnaroo heated up brutally fast, and following the more country-centric vibe of Futurebirds with cheerful positivity was a sorely-needed departure in helping the crowd forget the sun temporarily. Sure, it was a tent with shade, but let’s get real…humidity knows no bounds, so we take what we can get. This includes happy indie pop like the phenomenal Freelance Whales. Now, excuse me while the hippie who spilled his beer on my shoe buys me a brew. Cheers! -David Buchanan

Karen Elson – The Other Tent – 5:45 p.m.

Photo by Michael Hurcomb

A night before her divorce party, Karen Elson put on her own kind of fiesta on the farm. Bringing along 3/4ths of the Greenhornes (or 1/2 of the Raconteurs, if you prefer) – Elson and her band tore through selections from The Ghost Who Walks along with a couple of covers – including a fantastic take on Donovan’s “Season of the Witch” and her Lou Reed cover and Record Store Day single “Vicious”. The band sounded better than ever – they’ve come a long way since she first started playing shows last year. Elson was in total control of the crowd. They were simply enthralled by her and it showed, in both their reactions and her performance. -Carson O’Shoney

Best Coast – The Other Tent – 7:15 p.m.

Photo by Mark C. Austin

Besides Sleigh Bells, Best Coast had the biggest crowd of any Thursday act. Inexplicably, they were both in the smallest main tent at the festival. Bethany & co. took the stage to huge applause, then proceeded to play mostly selections from their latest effort, Crazy for You. Unfortunately, the band didn’t impress on stage. Most of the songs just bled together and it led to a pretty boring set. The crowd still went crazy for “Boyfriend”, and many didn’t seem to care that everything sounded the same – but for those of us hoping for more from a band that has written some solid songs, this was a big disappointment. -Carson O’Shoney

J. Cole – This Tent – 8:30 p.m.

Photo by Max Blau

Bonnaroo’s Thursday night lineup is notorious for nabbing acts on their way up. Acts like MGMT, Vampire Weekend and the xx have graced the farm on past Thursdays. This year, J. Cole was the obvious choice for Thursday’s about-to-blow-up act. He was the first act signed on Jay-Z’s Roc Nation label, and he’s poised to release his debut album later this year. For fans who caught his show, it was a great chance to see him before he starts playing main stages – and he proved his worth with a high energy set. He got the crowd jumping, and they followed his every move, from throwing diamonds in the sky to a legit lighter salute – something rare in today’s concert scene. Look out for J. Cole – he’ll be all over the radio in due time. -Carson O’Shoney

The Drums – The Other Tent – 8:45 p.m.

Since it was mid-June in Tennessee, The Drums‘ vibe couldn’t be more suited to the temperatures, even excluding chilly coastlines elsewhere. There truly is little to be said for an act whose first big LP release has been repeatedly hailed by independent blogs, so we’ll stick to the current events.

You really had to be there to sink your teeth into a bite of something so surfer-oriented that you could imagine water coming down. It wasn’t a Centeroo fountain, but nobody complained — the sun had already been down for quite a bit. Songs like “Let’s Go Surfing” or “Best Friend” created a bubbly dance party that even frontman Jonathan Pierce took part of – without sweating too much, either.

With Thursday being the second worst afternoon to be billed on this week, we accept that The Drums could have half-assed their way through a whole short set. We’re happy they did not. -David Buchanan

Twin Shadow – This Tent - 10:00 p.m.

With the pain of having to choose between The Walkmen, Sleigh Bells, and Twin Shadow still fresh, George Lewis did his best to swoon the crowd in his favor. Although he may have lost in numbers, he won in performance – the dazzling blue and yellow lights, lush synthesizers, and low, tender voice in top-notch shape as he rolled through Forget‘s finest. Limited crowd interaction usually seems standoffish, but Lewis’ almost non-presence lent itself to an entrancing, rich set that matched the vibe and depth of the recordings perfectly. “I Can’t Wait” and “When We’re Dancing” proved to be show highlights, as the crowd swayed back and forth in pure ecstasy. - Caitlin Meyer

Sleigh Bells – The Other Tent – 10:15 p.m.

The full effect of the new Wednesday gate openings could be seen and felt by anyone who attended the Sleigh Bells set. In my four ‘Roos, I have never seen a crowd like this one on a Thursday, nor ever at the Other Tent in general. As the Brooklyn duo burst into “Crown On The Ground” and the crowd surged forward, the first thought was “this should’ve been at a bigger tent.” When Alexis Krauss called out, “This one goes out to the back” before fan-favorite “Rill Rill”, she was talking to the people pressed against the fences to the right, up towards the water slide on the left, and beyond the trees in back. It was rowdy, almost scary, but behind a battering ram of bass and a wall of light and color turned solid by dust kicked into the air by dancing hordes, it was proof that these are two people totally at home throwing a party for upwards of 20,000 people, and rocking each and every one of them breathless. -Ben Kaye

Childish Gambino – This Tent – 11:30 p.m.

Photo by Mark C. Austin

Donald Glover’s rapper side-persona is starting to become a more recognizable name than his real one. While in ways that’s always been part of the Childish Gambino experiment, this was his first real test in front of a festival-sized crowd. He entered hard with the Youngbloodz sampling “Let Me Dope You”, but recent smash “Freaks and Geeks” had a strange mix and caught Gambino out of breath, slow on just his second song. Though he mumbled through most of his crowd interactions, his confidence grew with his energy as he bounded about stage, climbing atop a speaker to begin “Yes”. The crowd was with him the whole way, chanting his name during no fewer than five interims, and rushing the stage as he mounted the rails for “I Be On That”. In short-shorts and a Garth Brooks “The Cat in the Hat” t-shirt, he certainly didn’t cut the typical rapper image, but the speed showcased on the Kanye sampling “Break (All of the Lights)”, the vocal versatility of “My Shine” (he can sing!), and the gruffness closing out “Lights Turned On” show he’s actually got the chops to be a recognizable force in hip-hop. -Ben Kaye

Beats Antique – The Other Tent - 11:45 p.m.

Classifying Beats Antique‘s unique blend of every genre imaginable is immensely difficult – and the same applies to their live show. The bass was heavy, but not enough to warrant dub step dancing; the percussion reeked afro-beat, but the grooves weren’t long enough to really get into. For a stoner-friendly world fusion jamming show, the set was plagued by prematurely ending songs and an abnormal amount of talking. That being said, though, the audience packed into the tent without complaint and spilled onto the surrounding grass, enjoying the musicianship as the band frequently switched around instruments and laughing at the attempt to organize the ‘world’s largest simultaneous clap’. -Caitlin Meyer

Friday, June 10th

Sharon Van Etten – Which Stage – 12:15 p.m.

Photo by Michael Hurcomb

Sharon Van Etten is no stranger to middle Tennessee. As she proclaimed during her Friday morning set, she lived in Murfreesboro (a much maligned college town) for a few years and, as she put it, “I’m not ashamed!”. This year marked her first performance at Bonnaroo, bringing her back to the region where she went to college. She seemed humbled by the experience – saying she was “a little overwhelmed” – as well as visibly flustered by the heat. But she pressed on and put on a pleasant early afternoon show. The sun was punishing, but the crowd didn’t let it distract them from Van Etten’s nuanced melodies. With a two piece band backing her up, she worked her way through songs from both of her albums, eliciting some strong reactions from the sparse but constantly growing crowd. A woman near me wiped tears away, while others near me attempted to dance – a difficult task for an introspective songwriter. Whatever the reaction, the crowd sure seemed appreciative. -Carson O’Shoney

Kylesa – That Tent – 1:45 p.m.

Two drummers going at it behind a keyboardist who adds ambience with a theremin? Can you say sci-fi horror with a twist of lime? Kylesa, while pounding through a heavy helping of Static Tensions and Spiral Shadow in pure rock fervor, tore down barriers of sound live, and there was not a single still body by the end of it all. If you needed evidence, all you had to do was look down towards the ground, where packs of crushed American Spirits and shattered Ray-Bans lost in a sand-locked mosh pit during “Running Red” and “Scapegoat”. Sincerely…Kylesa is not your usual metal band, and far from the quieter end of progressive, but throw in some Mastodon and you might as well call the infirmary ahead of schedule. You’ll need it. -David Buchanan

Béla Fleck & The Flecktones – Which Stage – 2:00 p.m.

Béla Fleck got the band back together last year – well really, the Flecktones never actually broke up, but for the first time since 1992 they’re back with original member Howard Levy. As the first major festival on their schedule since then, Bonnaroo was a perfect fit for their instrumental brand of bluegrass fusion, especially since Béla Fleck is one of the unofficial ambassadors of the festival – he’s been at the festival in some capacity more years than not. The four-piece wowed the substantial crowd with their incredible musicianship – the Wooten brothers seemed to be having the time of their lives, and Béla was masterful on the banjo. They mostly drew from their latest album, their first with the original lineup since 1992, Rocket Science, but they still found room for older classics like “Big Country”. Béla will be back, but this particular set will last as one of his most special at Bonnaroo. -Carson O’Shoney

Justin Townes Earle – The Other Tent – 2:30 p.m.

The first full Bonnaroovian day found Americana sounds taking over the smallest tent, and Justin Townes Earle lent his honest voice and songs to the scene. Joined on cello for the first third of his set by the man who played just beforehand, Ben Sollee, Earle put on an impressive display of guitar plucking and folk/country stylings. The set was made almost quaint by his constant reference to the crowd as “ladies and gentlemen,” though that illusion was dashed when he introed “Slippin’ and Slidin’” by saying, “Now ladies and gentlemen, as most people know I like to do a lot of drugs. So this song is about my sort of unwillingness to compete in the game of life sometimes.” Like I said, the man’s honest. A high-stepping, intense cover of Lightnin’ Hopkins’ “My Starter Won’t Start” was a highlight of a simple yet glowing mid-day performance. -Ben Kaye

The Sword – That Tent – 3:30 p.m.

If the album art from Warp Riders wasn’t a big fat indicator of the direction The Sword comes from, you have a lot to learn about classic rock. From covering ZZ Top to dancing in and out of their three-disc catalog during the hottest part of the day, The Sword re-injects absolute metal into the current mainstream, on tools of the trade every band should acquire — not the least of which being sheer stage presence. Unfortunately, while all of the general pieces fell into place, Kyle Shutt appeared to be in some other place entirely for the majority of the set, particularly on opener “Unearthing The Orb”. What could have made for a fine throwback to Heavy Metal wound up a sub-par rendition of anything The Sword stands for, but the crowd didn’t seem to care at all. -David Buchanan

Abigail Washburn – The Other Tent - 4:00 p.m.

Photo by Max Blau

Despite starting 15 minutes late and having early sound issues, Abigail Washburn‘s set was undoubtedly one of the weekend’s best. Starting with City of Refuge‘s title track, dabbling in old material, and playing an extended version of traditional gospel song “Keys to the Kingdom”, her vocal prowess and impressive clawhammer banjo playing were the epitome of musicianship. It wasn’t all show though, as she danced around the stage as her bandmates each took a solo and eagerly interacted with the audience throughout. Round out the set with an incredibly talented pair of violinists, horns and a guest appearance from hubby Béla Fleck and Washburn just couldn’t lose. -Caitlin Meyer

Walk the Moon – Cafe Where? – 4:30 p.m.

The cool-down factor of the shaded Cafe Where was totally negated as it became a party packed with Walk the Moon fans mostly hailing from the band’s home of Cincinnati. With a sincere yelp of “So pumped!”, the band got right to work with “The Liftaway”, jumping about and smiling joyfully. The track “Lisa Baby” was given a ridiculously fun vibe setting the whole tent bumping, and it was simply superfluous to preface “Anna Sun” by saying, “Let’s get a little crazy, we’re at Bonnaroo!”. To introduce what would be the first encore I witnessed at the festival, they said, “This song is appropriately titled ‘Me and All My Friends.’” It was indeed apt, as a group of friends is exactly what this band feels like on stage. At one point, the woman next to me leaned in: “I don’t think they’re signed, dude, which is insane. I’m gonna get them signed.” Good luck with that, lady, because after that crisp, electrifying set, they fully deserve it. -Ben Kaye

Opeth – That Tent – 5:15 p.m.

Opeth is on the cusp of dropping its 10th album release, so for tattooed and well-worn traveling fans of this Swedish prog-metal powerhouse, expectations wavered sporadically between “We want new shit” and “We want classics.” The difficulty lay in deciding what constitutes “classic”, and with zero unheard tunes making the set, we settled for a sufficient  seven or eight song doling out of the past. Ghost Reveries’ “The Grand Conjuration”, alongside Watershed‘s “Hex Omega” and “The Lotus Eater”, bookended a seven-strong setlist, all centering on a quaint Deliverance slow-burn, “In My Time Of Need” — this is not at all the ideal series, but with nods to both Blackwater Park and one half of my favorite de facto metal double-album, it was convenient. It’s a mild appetizer to sate taste buds, pending their 2011 Heritage tour. -David Buchanan

Givers – On Tap Lounge – 5:20 p.m.

Photo by Max Blau

Yet again proving the On Tap Lounge stage to be the weekend’s hidden gem, Lafayette, Louisiana’s Givers‘ energetic and fun set added some life to a long Friday afternoon. Sugary sweet male-female vocal harmonies alongside whimsical melodies resulted in a thoroughly danceable and enjoyable set. Singer Tiffany Lamson made sure to graciously thank the crowd after almost every song, and the genuine excitement was really refreshing. Highlights included EP favorite “Meantime” as well as tracks from their upcoming debut LP, and an extended version of poppy, psychedelic “Up Up Up” to close the show. -Caitlin Meyer

The Decemberists – What Stage – 5:30 p.m.

Photo by Max Blau

“We’re The Decemberists. We’re pleased to be here. We’re gonna play some songs for you. This first one starts like this.” So quoth Colin Meloy as the midday heat began to fade and his band started their show with “July, July!”. That little speech set the stage perfectly, as the performance was simple, straightforward, and full of witty banter. This was the band’s first festival gig without Jenny Conlee, and Meloy sent her regards. “She says hello,” he said, “and she’s doing well. Now here’s a song about the end of the world.” He then chugged straight into “Calamity Song”. Conlee’s replacement was serviceable, though she wasn’t nearly as charming or vocally strong next to Meloy. Still, the band played a pleasant set heavy on cuts from The King is Dead, though in the end the commentary was perhaps more memorable than the music. -Ben Kaye

Wanda Jackson - The Other Tent – 5:45 p.m.

Photo by Mark C. Austin

The First Lady of Rockabilly made her triumphant debut at Bonnaroo this year by transporting her audience to a different time. When she took the stage, suddenly we weren’t on a farm in Manchester. We were in Memphis in the late ’50s, sitting in on Wanda Jackson taking us on a tour of the music of the time. She covered a wide range – from country to rockabilly to gospel, with even a little yodeling in there. During her set she often spoke about her experiences with Elvis, proving to the younger generation her importance and experience. She also talked a lot about Jack White – prompting the crowd to freak out, hoping for an appearance by Mr. White himself. Alas, he did not show up, but she played some great renditions from the album that he produced, The Party Ain’t Over. Her backing band, The High Dollars, were extremely tight and made everything sound even better. She summed up her set quite nicely while introducing her biggest hit – “We’re gonna do “Let’s Have A Party” – why not? It’s Bonnaroo!” -Carson O’Shoney

Florence + The Machine – This Tent – 6:45 p.m.

Photo by Max Blau

The crowd for London’s Florence + The Machine at the This Tent (or, as the result of one of numerous sign failures, the ‘S Tent’) stretched back to the famed Mushroom Fountain. That many feet kicked a lot of dust into the air that when mixed with the early setting sun’s glare made for a difficult view of the stage if you weren’t under the tent. Even if they couldn’t quite see her, they spiritedly sang with her for the “Drumming Song” refrain and the gorgeous chorus of “Cosmic Love”. The otherworldly voice she’s become famed for matched her stage nature, as she swirled about theatrically in a flowing black robe, jumping and writhing to the beats, at one point bowing low as if performing for royalty. She didn’t speak much, but that seemed fine with a crowd who wanted nothing more than to hear that wondrous voice or just bask in her presence, as sometimes still silence from the stage received the loudest ovations. -Ben Kaye

NOFX – That Tent – 7:00 p.m.

For a group who has habitually exhibited a “Don’t Give A Fuck” mentality over the years, NOFX‘s seemingly random inclusion at Bonnaroo was given to plenty of aggro-laced anarchy. Sadly, the display felt more like a cross between lackluster track pickings and a bad comedy routine. With an entire arsenal of aggression to draw from, with a means to literally destroy a crowd that was most likely high on something, “Stickin’ In My Eye” and “Linoleum” were thrown into the mix lazily, while NOFX itself spent the majority of time acting 20 years younger than they actually are. I expected immature antics, I expected crazy and stupid. I did not expect vicarious adolescence to be so god-damned boring. Thankfully, the circle pit managed to rock its own show out. -David Buchanan

My Morning Jacket – What Stage – 8:00 p.m.

Photo by Max Blau

This year, their sixth at Bonnaroo, My Morning Jacket finally made their What stage debut. It wasn’t in the spot that some were hoping – confining them to a two hour set doesn’t give them justice, especially after their four hour late night marathon in 2008, but the Kentucky boys made the best of it. A trumpeter opened the set with the opening notes of “Victory Dance”, then Jim James & co. appeared and sent the audience into a frenzy. James, sporting amazing boots as usual, was turned way down for the first part of the opening song, which led to some confusion among the crowd. The problem was fixed quickly and then MMJ were off and running. Donning a new stage setup, the band powered through mostly songs from new album Circuital – all of which sounded great live, but reached into their expansive discography for some old crowd favorites like “Off the Record”, “Steam Engine”, and “Mahgeetah”. The Nashville Horn Association helped them out throughout their set, then they got an extra boost from the Preservation Hall Jazz Band for a rowdy rendition of “Highly Suspicious” (that it was right after “Holdin’ On To Black Metal” made for a great one-two punch of fun)  and “Dancefloors”. After ending with their classic “One Big Holiday”, there was no doubt that My Morning Jacket are still the unquestioned Kings of Bonnaroo. -Carson O’Shoney

Primus – Which Stage – 9:15 p.m.

Photo by Michael Hurcomb

Hot off the heels of a stellar performance in Raleigh, NC, the three men of Primus fame decided to pay a visit at Bonnaroo’s esteemed Which Stage, complete with paratroopers and falling blue lights (anyone who caught a little black ribbon with an iPhone scanning square, please tell me what the fuck that was). The challenge in catching an act twice in a row is running through the redundancy of a repeat setlist, so Primus was tasked with changing things up. Les Claypool led the way, and though alterations were minor, the mood was most definitely a far cry from some dinky auditorium in North Carolina’s capitol city.

Photo by Michael Hurcomb

A sea of stoned faces jumped to “Harold On The Rocks” and my personal favorite, “American Life”; those who weren’t moving were mesmerized by the blue lights overhead, the random green lasers others packed for just such an occasion, and the disturbing realism of Claypool’s pig mask (and yet again, no “Mr. Krinkle”). Primus could have feasibly pulled all the stops at ‘Roo, but decided to stick relatively close to their touring set. Insider information aside, we do know that Primus did not give it 100%, and for reasons known only to fans of Primus, the atmosphere had not been dampened a bit — save by the humidity. -David Buchanan

Big Boi – The Other Tent – 12:45 a.m.

Photo by Max Blau

Ever since the release of Sir Lucious Left Foot, Big Boi has gone on the road and become one of the most dependable live hip-hop acts around. It doesn’t hurt when you have an extensive back catalogue from one of the greatest hip-hop acts of all time to cull music from. He did play through plenty of OutKast’s greatest hits – all of which hyped up the crowd to extreme levels. The “new shit” also went over really well – he played the best cuts from his solo album like “Shutterbug”, “Daddy Fat Sax” and “General Patton”. He also had plenty of people dancing – both on stage and in the audience. His crew of jumpsuit-wearing backup dancers were great, but they had nothing on the little kid that was just going crazy front and center for a good chunk of the set. Ultimately, many left the set early to go see Lil’ Wayne (seriously Bonnaroo, that conflict is brutal), but it was Big Boi who ended up stealing the show and put on the best hip-hop set of the night. -Carson O’Shoney

Arcade Fire – What Stage – 11:00 p.m.

Photo by Max Blau

If Coachella was their coming out party as one of America’s most important modern bands, then this was their confirmation. The display was almost identical to that other festival’s, with the Grindhouse trailers and theater marquee, but there was a triumphant quality that could not have been present in California. For years, fans have clamored to get Arcade Fire to the Tennessee farm, and it was immensely gratifying to hear Win Butler step to the mic to say “We are very fuckin’ happy to finally be here. We’re so happy. Ok, here we go,” before diving into “Keep The Car Running.” It was a homecoming for a band that never lived here, and it was perfection.

Apposite opener “Ready To Start” had every band member and every audience member wilding out. The sheer power of watching six musicians simultaneously step to their mics to scream “Hey!” during “No Cars Go” has chills crawling up my arms even as I write about it. Pianos pounded, guitars wailed, accordions hummed, and everyone danced.

Butler spoke of his appreciation for the heat, saying that “being from Texas, summer should be hot and humid. It’s nice to feel proper humidity again,” before changing a lyric in “The Suburbs” to “and drive to a field in the middle of Tennessee with my friends” to cacophonous cheering. They exploded from that track into highlight “Month of May,” turning suddenly into an honest-to-goodness rock-and-roll band. This persona continued through “Neighborhood #3 (Power Out)” and the ferocious transition into “Rebellion (Lies),” ending in a drum being thrown across stage for the final shattering note.

As the lights came up for the encore and the crowd pushed forward to fill the gaps left by those thinking a late-night set would be better than this, Butler said, “We wrote this song to play in front of 20 people. It took some getting use to to play it for a field full of people.” With tens of thousands singing along, “Wake Up” felt built for this venue size. If it hadn’t been proven already, giving the final song to Régine Chassagne for “Sprawl II (Mountains Beyond Mountains)” solidified that this isn’t just Win Butler’s crew, but a formidable band in it’s prime. You just have the honor of living at the same time. -Ben Kaye

Lil Wayne – Which Stage – 1:30 a.m.

Photo by Mark C. Austin

There has been a grand amount of hooplah regarding MCs at Bonnaroo, this year. Ever since Kanye West’s late arrival back in 2008, plus a severe lack of urban vibes at a festival known for its recycling benefits, this was an unexpected docket member to spot. Nonetheless, alongside Big Boi, Wiz Khalifa, Atmosphere, and Eminem…here lies Lil Wayne‘s set.

Despite some new Carter IV material, a rump-shakin’ audience of females, the bombastic introduction (which would no doubt be topped later), and persistent hype amongst fans and detractors alike, this performance was easily the least engrossing or original rap output all weekend long, and this is a real shame.

I’ve been told that Lil Wayne’s bass-heavy beatdown came overlapping Mumford & Sons, that the general audiences were split into semi-factions of rap versus folk rock. Typically,  one vies for a cleaner cut-off point, such as what was present when Buffalo Springfield faded on “Rockin’ In The Free World” to launch Eminem’s blasts shortly thereafter, instead of wishing one was in the Silent Disco. A rap show, drum-and-bass do not make. Let’s hear the damn lyrics, already! -David Buchanan

Pretty Lights – That Tent – 2:15 a.m.

Derek Vincent Smith aka Pretty Lights used his coveted latenight spot to introduce a new stage show. Though it was almost a half-hour late, it was a pretty cool set to behold. Through the dust and haze, he cut a shadowy figure amongst towering light structures that lit up like a cityscape. Various waves and swarms of colors and shapes varied from song to song, swirling out across a constantly pulsating crowd. Though samples of Pink Floyd’s “Time”, Kanye’s “All of the Lights”, and the Steve Miller Band/Seal’s “Fly Like An Eagle” made appearances, it was a slow start, as at one point he cut the music to bellow, “How many of ya’ll in here are real Pretty Lights motherfuckers?! Come on!”, apparently unsatisfied with one track’s response. The tempo picked up, though, and if it didn’t before, at least his stage show lives up to his name. -Ben Kaye

Shpongle – This Tent - 2:30 a.m.

Photo by Max Blau

Wow is the only word that comes to mind when trying to verbalize “The Shpongletron Experience”. Opening with “Divine Moments of Truth” and launching into a nonstop onslaught of lasers, blinking eyes, warped faces, hooping girls on-stage, psychedelic imagery, glow sticks, and, oh, music – the show was almost too much. But it wasn’t. Simon Posford, hidden in the top shelf of his contraption wearing a feathered hat, kept the hallucinogenic dream/nightmare, depending on your state, going strong for close to three hours, pushing ravers and curious passersby to the limit after a long day in the sun. -Caitlin Meyer

Saturday, June 11th

Alberta Cross – That Tent – 12:15 p.m.

The beauty or curse of early sets on Saturday is that most people are too wiped from the overexcitement of the previous night’s late-night sets. Thus, the crowd at the first show of the day, U.K. blues rockers Alberta Cross, was pretty sparse, though a handful of devotees were right up from. These fans got the pleasure of lead-singer Petter Ericson Stakee right in their face for “Rise from the Shadows”, getting a chance to belt into the mic along with him, and one lucky fan even got to keep Stakee’s tambourine. The set was full of newer tunes, some never before played live, though older tracks like “Old Man Chicago” and closer “ATX” were standouts. The mix was a little heavy on the lows, often masking the piano and vocals, but altogether it was a rocking way to start the day. -Ben Kaye

Black Joe Lewis & the Honeybears - This Tent – 12:30 p.m.

Black Joe Lewis is a near-perfect early afternoon festival band. High energy bands are a valuable resource in that time slot. Luckily, they were put right where they belong and they kicked off Saturday afternoon with a bang. With the band decked out in classy black & white, they kicked it into high gear early and often with their mix of blues and funk. Plenty of other acts got their audience up and dancing, but few did it with the swagger and soul of Black Joe Lewis. -Carson O’Shoney

Hanggai – The Other Tent - 12:45 p.m.

Making their American debut and kicking off the day of gypsy punk music curated by Gogol Bordello’s Eugene Hutz, Chinese folk band Hanggai set the bar for the rest of Saturday’s artists incredibly high. Seamlessly blending throat singing, a wide variety of traditional stringed instruments, and phenomenal harmonies, songs such as “Xiger Xiger” were breathtaking, to say the least. Unable to express his excitement and gratitude for the day in English, the lead singer just smiled and danced. The energy was contagious, and standout tracks such as “Drinking Song” eased a skeptical crowd into shamelessly indulging in the exotic beauty of Hanggai. -Caitlin Meyer

You Choose The Cover: Lelia Broussard .vs. The Sheepdogs – This Tent – 2:00 p.m.

This was a unique show featuring two acts competing for a deal with Atlantic Records and the Holy Grail of music publicity, the cover of Rolling Stone magazine. L.A.’s Lelia Broussard and Canada’s The Sheepdogs had made it through various rounds of voting to get down to Tennessee. SNL’s Jay Pharoh was on hand to MC and ask audience members to text their choice after the performances, but it was clear who the winners would be before things even got started. Canada’s presence was in full force, with flags and beach-balls bearing the maple leaf bouncing and waving around. Little Lelia Broussard came on stage dressed in a day-glow yellow top and red face paint, her band dressed all in black. She cheerily busted out poppy songs about “fucking like a teenager” and “hipsters when they’re bitches,” and a good portion of the crowd was really into it.

The vibe was totally different when The Sheepdogs ascended the stairs. The considerably increased crowd sent up woots and hollers as the foursome personifying 70’s Southern rockers plugged in their instruments. One of the greatest rock moments of the whole festival came as lead-singer Ewan Currie looked for a bottle-opener for his beer. “Someone get this man a bottle opener,” bellowed Pharoh to the stage crew. As a fan tossed a lighter to Currie, applause and cheers rang out. They reached their apex as Currie popped open his beer, tossed the lighter back, and took a swing. “Never mind!” cried Pharoh over the din. “Give it up for The Sheepdogs!” Then the first bluesy chords of “Who?” struck, and for me, the contest was over. If not then, then surely after the cheering and singalong for “I Don’t Know,” the winner was clear. Maybe they just fit better at Roo, though, as the contest website shows Broussard with far more Facebook likes and Tweets. You know where my vote went, though. The Sheepdogs rocked. -Ben Kaye

Old Crow Medicine Show – Which Stage – 2:00 p.m.

Photo by C. Taylor Crothers

So enamored was I by The Sheepdogs, that I only managed to get in two and a half songs of Old Crow Medicine Show. Thankfully, the first one and a half were “Wagon Wheel” and “Tell It To Me”, both featuring the horns section from Mumford & Sons. “Feel that cool breeze when we played that “Wagon Wheel?” asked Ketch Secor. “It was like a gust of air conditioning blown off the highway.” I didn’t feel that, but I heard a jamming hoedown and an encore of “Tear It Down”. Before they played that, Secor screamed out, “You can’t come down to Manchester, Tennessee and not sing a song about a mule!” Well, glad I got to hear it then. -Ben Kaye

Forro in the Dark – The Other Tent - 2:15 p.m.

Directly following Hanggai was no easy task, but Brazilian world dance band was definitely up to the task. Dressed in coordinating button ups and ties, the five-piece continued to dole out extended jamming doses of percussion-heavy, danceable rhythms with an undeniable South American flavor. The Other Stage curator Eugene Hutz made a guest appearance, to an explosive positive response from the audience. Between the on-stage banter, long-winded but hilarious band member introductions and phenomenally performed music, the set was yet another testament to Hutz’s ability to book bands, and on the last soulful trumpet solo, it was tough to watch them leave the stage. -Caitlin Meyer

Alison Krauss & Union Station, featuring Jerry Douglas – Which Stage – 4:00 p.m.

There is always more than a fair share bluegrass and grassroots music at Bonnaroo, and while this was no Dr. John or Greensky Bluegrass, Alison Krauss and her band of country pluckers never ceased to dole out the spirited vibrations at their Which Stage performance. Inevitably, passers by stopped to take a gander, and those arriving a shy late still soaked in Ms. Krauss’ angelic voice and killer southern charms.

Alison Krauss & Union Station are a staple in the world of folk and country, while their leading fiddle-strokin’ lady has made her mark beside the likes of Robert Plant (who totally should have made an appearance here) and Brad Paisley. Nonetheless, seeing this set was a lot like visiting family in the mountains for a bonfire and a jug of homemade wine. Comfortable. -David Buchanan

Portugal. The Man – That Tent - 5:00 p.m.

About halfway through Deer Tick, rabid Portugal. The Man fans began to infiltrate That Tent, pushing to the front. That eagerness was mirrored in the band’s performance too, as John Gourney excitedly recounted the band’s last time at Bonnaroo when the band finally took the stage. Blasting through The Satanic Satanist‘s staples “Do You” and “People Say” alongside two new tracks from the upcoming, In The Mountain, In The Cloud, and a sampling of older material, the band could do no wrong as the swirling mix of Gourney’s vocals, psychedelics and impressive guitar riffs exuded energy and passion. With any luck, next time they swing through the farm, they’ll have a night time set to finally do their entrancing light show justice. -Caitlin Meyer

DeVotchKa – The Other Tent – 5:15 p.m.

Around 5:30 p.m., the gathered audience at the Other Tent began to get impatient – 15 minutes had gone by since their scheduled set time with no sight of DeVotchKa. However, a couple minutes later, Gogol Bordello walked on stage and gave a surprise three song acoustic set. This pleased the crowd at Eugene Hütz’s Gypsy Punk Revue stage, but they were even more taken when DeVotchKa finally walked on at 6 p.m. – then got really crazy when Gogol came back on stage to help them play their second song. Playing a good selection from their albums while focusing on the new one, the band sounded solid as usual as frontman Nick Urata crooned his way into the audience’s heart. The icing on the top was the aerial burlesque dancer, who ascended two strands of thick ribbon to the top of the tent and performed a stunning dance routine while the band played. It’s become standard for their shows, but it doesn’t make it any less magical when you do get to experience it. -Carson O’Shoney

Mumford & Sons – Which Stage – 6:15 p.m.

Photo by Mark C. Austin

The problem with repeating acts from year to year is that they now have to play up to the expectations set by the previous appearance. Mumford & Sons set last summer was phenomenal, and while this one was good, it just didn’t have the umph as their tent show did. Still, it was the biggest Which Stage crowd of the day, with fans hanging off walls and trees, and there were improvements: the harmonies on “Timshel” were tighter than ever, and their banter was better. David Mayfield and dobro master/produce/Union Station member Jerry Douglas joined the band for “Awake My Soul”, and future album standout “Lover of the Light” continues to be an impressive live rocker. The absolute highlight had to be when members of Old Crow Medicine Show, The Apache Relay, Douglas, and Cadillac Sky joined in for an encore of “Amazing Grace”. A total of 19 people were onstage, and that makes it two years running that Mumford has brought a band not on the schedule to the festival. -Ben Kaye

Loretta Lynn – That Tent – 6:45 p.m.

Photo by Michael Hurcomb

“Y’all ready for a real country show?” – that’s what Loretta Lynn‘s bandleader exclaimed at the beginning of her first Bonnarooo set. It was the perfect place for her old school country – she now lives in Tennessee so it was something of a hometown show for her. The band played a song without her first, then her twin daughters came on stage for one song before she finally greeted the crowd to huge applause. You never know what you’re gonna get vocal-wise when a singer is pushing 80 years old – but Lynn put any questions aside and sounded absolutely fantastic. She did put on a real country show – her own catalogue acts like a tour through country music history on it’s own – but she also covered some standards by Conway Twitty, Patsy Cline, The Oak Ridge Boys and more. When she transitioned into her gospel section towards the end, it sounded just as fantastic as everything else. This was yet another set where Jack White was mentioned and sent the crowd into a frenzy – but she claimed that he had “left her out to dry” after she asked him to join her on stage. “Just wait till I see him next…” she said jokingly. This was disappointing for some – but she more than made up with it throughout her set, which ended with what everyone was hoping for – “Coal Miner’s Daughter”. -Carson O’Shoney

The Black Keys – What Stage – 8:00 p.m.

Photo by Max Blau

The Black Keys have become a well oiled machine live. Sometimes, this can be a good thing. For example, the band – weather it was just Patrick and Dan, or their expanded band they brought on for the middle portion of the set – sounded extremely tight. And they were playing the songs that the extremely and ridiculously large crowd wanted to hear. But the problem with a machine is that it leaves no room for improvisation. When a band consists of two people and touts a fantastic and substantial back catalogue, you expect them to be able to cull from a large number of songs and play a different show each night. The White Stripes used to do it all the time – they knew their material like the back of their hand and could play pretty much anything on a whim on any given night. Unfortunately, the Black Keys forgo this and more or less play the exact same hour and 10 minutes every show, regardless of time or place. Most bands realize that Bonnaroo is not just another stop on the itinerary. Some bands play multiple shows, others promise special sets with special guests, others take advantage of their time and play perhaps one of their longest shows ever (Radiohead comes to mind). Instead, the Black Keys ended their set 20 minutes short and didn’t come back on for an encore – even though they probably had the biggest crowd for a non-headliner. It’s always nice to see bands really appreciate the farm and the fans that brave all the elements to see them there. And it makes it that much more disappointing when a band doesn’t live up to the challenge. -Carson O’Shoney

Buffalo Springfield -Which Stage – 9:30 p.m.

Photo by Max Blau

Buffalo Springfield was unquestionably the most unique “get” for Bonnaroo this year. Neil Young’s first band, with Stephen Stills and Richie Furay, reunited last year for the first time since 1968. This was their lone festival date of the year, after a short run of headlining dates leading up to the fest. They unceremoniously walked on stage and went right into “On My Way Home”. The sound was very quiet – a recurring theme at the Which stage, prompting the crowd to chant “turn it up!” or “loud-er! loud-er!” between songs. They eventually balanced the sound out – but it was never as loud as it should have been. It was no bother though, as the band seemed to be having a good time on stage and their energy was contagious. The crowd, a good mix of young and old, showed great appreciation for being able to see this legendary band in such a setting. That setting was not lost on the band, either – towards the end of their set, Neil Young proclaimed “This is the biggest gig we’ve ever done. This is about 10 times as many people as we’ve ever seen as a group before.”

Photo by Max Blau

While Stills and Furay together have more songs in their catalogue than Young, it was Young who stole the show – he had more energy than the rest of them combined, and his rendition of “Broken Arrow” may have been the best single song performance. Well, that or their rocking set closing version of Young’s “Rockin’ in the Free World”. Young was by far the crowd favorite – they cheered every time he showed up on stage or began to sing. He led the crowd in some arm waving – he made his arms into an “O” while shouting “Bonnarooooooooooo” and the crowd ate up every bit of it. A lightning storm threatened to cut the set short, but it ended up just being about 15 minutes of medium rain and actually added to the set – the strong winds made for some great natural hair-blowing-in-the-wind effects. Even those who weren’t familiar with the bands work were surely impressed – seeing Neil Young wail on guitar is simply one of the better things in all of music. But the final three knockout punches of “Broken Arrow”, “For What It’s Worth” and “Rockin’ in the Free World” were what really solidified it as one of the best sets of the weekend. -Carson O’Shoney

Matthew and the Atlas – On Tap Lounge – 10:40 p.m.

Watching a folk group who build their music upon sweet vocal harmonies while Buffalo Springfield was moderately audible certainly made for an interesting juxtaposition. Matthew and the Atlas‘ brand of orchestral folk, though, and their immaculate, passionate performance demanded the audience’s full attention. Pushing through songs from their assorted EP’s, notably “Within the Rose”, their performance was heartfelt and honest, as was the band, as they were profoundly surprised and humbled near the end by how many people had trickled into their show. Riveting narrative lyrics, chilling harmonies – the next time these guys are on the farm, they definitely won’t be playing such a small stage. - Caitlin Meyer

Eminem – What Stage – 11:00 p.m.

Have you ever been to a concert where everything went so inexplicably smooth, you’d swear the crowd reactions were scripted under duress? So impeccably spot-on, the rehearsals alone would make sweatshops look like air-conditioned cubicle office spaces?

Eminem is back in the rural south…and we were there.

Everyone — the thoroughly baked, the recklessly drugged, those mercilessly aching for a direct-to-camp teleportation device — stood before the What Stage to witness Eminem’s Recovery (and then some), wondering what the selection had in store.

Marshall Mathers & The Recovery Band whipped the once-fatigued audience into a frenzy, offering a reliable Em medley — “Won’t Back Down”, “3AM”, “Square Dance”, “W.T.P.”, “So Bad”, the works — followed closely by our first real surprise all evening, the entrance of Royce Da 5’9, forming rap duo Bad Meets Evil as though it were Voltron (thus prompting a harmonious expanse of handheld fire during “Lighters”).

The rest of Em’s performance was wrapped around expected fare, notably some naughty call-and-response, and hit songs “Love The Way You Lie” and encore track “Lose Yourself”. Was it all default settings? Undoubtedly, but the key factors at play were Eminem’s overall energy — consistently explosive, to put it lightly — and the swaying arms that wafted left and right all into the late, late hour.

Eminem did a very by-the-book show, and he came at it 110%, never once dropping the ball. He entered with swagger, he exited with class; he gave respect where it was due, he sent appropriate shout-outs to past collaborators and longtime friends, the late Nate Dogg and Proof. By Saturday night, most of us were ready to call it quits (AM DJ sets, notwithstanding), but the What Stage lawn saw very little inactivity come the arrival of Detroit’s prodigal son.

Photo by Max Blau

The sing-along set ended with a bang come fireworks, and a pilgrimage to the Tennessee farmland was wasted none, even when most of us wondered why Lil Wayne, being in the vicinity prior, had not joined in for a “No Love” reprisal. Either way, welcome back to the south, Em. -David Buchanan

Dr. John – That Tent – 12:30 p.m.

Photo by Max Blau

One of the biggest attractions of the weekend was undoubtedly Dr. John‘s late night set. What better way to celebrate a birthday than by inviting the man who inspired the name of the festival? Bonnaroo did just that – and Dr. John brought a few friends along to perform his album, Desitively Bonnaroo, in its entirety (the album that, of course, gave Bonnaroo it’s name). The legendary Meters – with their original lineup – served as the backing band while also opening the show with a set of their own classics. Once their 45 minute career-spanning set was over, there was a short break before they came back on stage and were joined by Alan Toussaint and, finally, Dr. John – who received a hero’s welcome. With a who’s-who of classic New Orleans music on-stage, including the original backup singers from the album – they ripped right into album opener “Quitters Never Win”. From the opening all the way to closer “Desitively Bonnaroo”, That Tent was overtaken by the New Orleans sound – there was surely not a more funky party this year at Bonnaroo. -Carson O’Shoney

Omar Souleyman -The Other Tent – 12:30 a.m.

Omar Souleyman is a Syrian artist, specializing in his own unique brand of genre-bending traditional Middle Eastern and dance music, whose set rounded out the eclectic group of artists hand-picked by Eugene Hutz for the gypsy punk celebration. Despite the live show only including keyboards and Souleyman’s trademark stoic delivery, the outrageous beats were still delivered cleanly to the increasingly impatient Gogol Bordello crowd. While standouts such as “Hafer Gabrak Bidi” and their infectious melodies worked, the set, on the whole, lent itself to monotony, as an hour and a half was too long. -Caitlin Meyer

Scissor Sisters – This Tent – 12:45 a.m.

I had only cursory knowledge of Scissor Sisters before this show, so I wasn’t expecting much, but in the end I was pleasantly surprised. It was by far the most positive vibe I felt all festival, lewd as it was. How lewd? “To all the girls who are scantly clad today,” proclaimed Ana Matronic, “You look like whores. Good job.” But that idea of loving who you are, whatever that is, was pervasive, and it made for a damn good time. Pillars of flames shot up for “Fire With Fire”, and their cover of “Comfortably Numb” transformed the song into a totally new, spectacular beast. Tongue firmly in cheek, they showed they knew exactly who they were when they introduced “I Don’t Feel Like Dancing” as “your mom’s favorite Scissor Sisters song. And your grandma’s, too.” That sort of self-awareness and confidence is what kept having to walk away from Dr. John from being utterly depressing. -Ben Kaye

Late Night Parade with the Preservation Hall Jazz Band and Portugal. The Man – Centeroo – 2:15 a.m.

As soon as Dr. John’s set ended – people started seeing flashes and hearing cheers coming from side stage. What emerged from the backstage area was the Preservation Hall Jazz Band, complete with My Morning Jacket’s Patrick Hallahan, leading the crowd in Bonnaroo’s late night parade. Bonnaroo had tweeted about this earlier that day, alluding that the parade would lead to “something crazy you don’t even know about…”, so people followed. The end result didn’t matter to most – everyone was having a ball walking beside and behind the PHJB, marching in step and clapping along. A few were quick to ask “Where’s Jack White?” between songs, but most just let loose and had a good time following them from the That Tent through Centeroo, past Girl Talk at This Tent. The destination ended up being somewhere between Which Stage and the Cinema Tent, along the outside fence of Centeroo, where a band was waiting on a float like you’d see in a parade with Mr. T’s head. Smoke obscured the band as we walked up, then the PHJB gave their final notes and Portugal. The Man took the spotlight. By the time they started playing, it was 2:45 a.m., and it happened to be their lead singer’s birthday. They celebrated by popping bottles of champagne all over the crowd and handing it to them to drink. They played three songs before the power went out – they seemed disappointed but walked off stage, but no sooner did they get off the float that the power came back on, so they went back up and finished a solid 45 minute set. It’s truly moments like these that makes Bonnaroo so special. -Carson O’Shoney

Sunday, June 13th

The Head and The Heart – The Other Tent – 12:00 p.m.

Photo by Mark C. Austin

Nothing against the city, but Seattle wasn’t impressing me on Sunday. First off was The Head and The Heart, whose indie folk tunes brought out quite an impressive crowd for the time slot, but had little heart and too much head. The majority of the band focused so intensely on playing as tightly as possible, that it lacked the joy of a live show. This wasn’t always true: Tyler Williams constantly looked like a happy puppy behind the drums, while Charity Rose Thielen shined on “Lost In My Mind”, enjoying it so much she applauded along with the audience at the end. “Ghosts” showed Josiah Johnson as the stronger of the two frontmen (Jonathan Russell needs to loosen the hell up), and the Iron & Wine horns section provided such impressive backups that even the band watched in awe as they closed out the song. There’s definitely potential in this young band, they just need to stretch their legs some more. -Ben Kaye

Smith Westerns – This Tent – 12:30 p.m.

It’s exciting to see notable transformation in a band’s live show, and Smith Westerns have come so far since their small club shows last year. The Omori brothers were no longer hesitant to interact with the crowd, the performance was tighter – they earned that spot and This Tent. With the setlist featuring a healthy mix of both Dye It Blonde and Smith Westerns, songs such as “End of the Night” and “Dreams” were executed fast and clean, epitomizing the fine line between glam and garage rock that the Smith Westerns tend to walk. Although the crowd refrained from getting too into the danceable tracks, the responses to Omori calling a portion of the set ‘smoke time’ and lines such as “If you didn’t like this set, fuck you” were more than enthusiastic. -Caitlin Meyer

Mavis Staples – What Stage – 1:15 p.m.

Photo by Max Blau

It was a stroke of genius to schedule Mavis Staples for an early Sunday morning set. Those who showed up early at the What stage ended up not missing church – because Mavis took everyone there for just over an hour. She’s become one of the most dependable fixtures in the festival scene – she’s just so masterful at what she does that it’s infectious. Not everyone, especially at a music festival, will be into the message of her set – but no one out there shouldn’t be able to appreciate her talent. She covered everything from her father’s “Freedom Highway” to a classic in her set, “The Weight” and even “For What It’s Worth” – an appropriate choice after Buffalo Springfield played the night before. She also played selections from her illustrious career, including crowd-pleaser “You Are Not Alone”. -Carson O’Shoney

Fences – Sonic Stage – 1:15 p.m.

Photo by Ben Kaye

Fences was another Seattle letdown. I’d heard nothing but greatness about Christopher Mansfield’s indie band, but only saw sparks of it here. The man himself seemed fairly disinterested in the small-stage set, despite apparently having jumped at the chance to play it. He barely looked at the audience, and seemed to turn his back on them at every solo. He seemed bored, so I was bored too. It’s worth noting that some of the highlights, “Sadie” and “The Same Tattoos”, had keyboardist Jonathan Warman focusing on his guitar. Not that he’s a bad keyboardist, just an observation. -Ben Kaye

John Waters – The Comedy Theatre – 3:00 p.m.

Where do I begin? Well, I guess I should start with the openers. The Gregory Brothers, better known as the Auto-tune the News guys, opened the set and they were…interesting. They basically showed their clips on screens and then performed live versions of the songs they made out of them. The audience wasn’t really sure how to react, and it didn’t help that the screens shut down after a couple songs, making everything make much less sense. They did cheer for “Bed Intruder Song” and “Double Rainbow” – but I think any Bonnaroo crowd would go crazy over someone just saying the words ‘double rainbow’. Tig Notaro was up next – perhaps best known as Tig the lesbian cop in the Sarah Silverman Program. Her short set was very subdued, and she could tell the crowd wasn’t totally into it, but she was pleasantly funny regardless.

Then the fabulous John Waters finally came on stage and immediately proved that his depravity knows no bounds. His entire set was basically a non-stop stream of consciousness rant about anything and everything – things he loves, things he hates, his (sexual) fascination with Alvin the Chipmunk, turd terrorism, bears, adult babies, blossoms, ultimate nudity and more (google those last few at your own risk). I think he summed it up nice when he said, “I’ve had murderers call me fucked up!” He kept going further down the rabbit hole, daring his audience to keep listening as he introduced them to new sexual things that we’ve never heard of. “John my ears are not garbage cans!” he said, imitating his audience as they listen to him – “Well, they are today!” In reality, he was everything we were hoping for and more. Way more. -Carson O’Shoney

Daniel Lanois’s Black Dub – This Tent – 3:30 p.m.

Photo by Max Blau

This set surprised me, as it quickly crept into my top five of the festival. The crowd was sparse, as many probably don’t know Daniel Lanois, despite having produced seminal albums for U2, Bob Dylan, and Neil Young. Those who weren’t in attendance missed what had to have been one of if not the best female vocalist on the farm in Trixie Whitley. That deep, soulful voice coming out of this thin, hipster-looking knockout on songs like “Nomad” and “Silverado” was simply jaw-dropping, and “Surely” still tickles me in ways I didn’t think music could. When she sat down next to the skankiest drummer at the festival, Brian Blade, and grooved along, it was pure magic. Blade plays his kit like a child discovering all the wonderful things a new toy can do, slinking and flowing over it with Sammy Davis Jr. suavity. The band had one of the sexiest sounds and the sexiest singer on the farm, hands down. -Ben Kaye

Galactic – What Stage – 3:30 p.m.

Galactic proved to be the perfect soundtrack for the final afternoon of Bonnaroo. Patrons played frisbee, hid in the limited shade and lazily lounged, enjoying some down time and calm tunes. That’s not to say that the band itself was calm, though, as Galactic’s set proved as funky as ever, in true New Orleans fashion with blasting horns and stellar bass grooves. With Ben Ellman fresh off of a fun, danceable set on the Sonic Stage with his side project Gypsyphonic Disko, the gang was in top notch performing shape, delivering solid versions of “All Behind You Now” and “How Many More Times”. -Caitlin Meyer

Iron & Wine – Which Stage – 4:30 p.m.

Photo by Max Blau

Acoustic, lethargic songs sung to thousands of people in 90 degree sun is the recipe for an afternoon nap. Luckily, that’s not what Sam Beam did, taking the stage with horns, female vocals and an assortment of random instruments. Watching songs such as “Boy With A Coin” come to life, with dimensions added previously unimaginable, was moving. Beam was personable throughout, donning a snazzy suit and chatting casually with the huge audience. While the song transformations didn’t always work and purist fans may consider the set to be one of the weekend’s most divisive, the strung out versions of tracks, a clean rendition of “Tree By The River” and obligatory performance of “Flightless Bird” were immensely enjoyable. -Caitlin Meyer

Beirut – The Other Tent – 6:15 p.m.

Robyn’s encore was the worst possible thing that could happen to a Beirut fan, as it only lengthened the already intolerable amount of wait time for elusive Zach Condon and company to finally take the stage. When they did, though, it was all worth it – skipping the Strokes, missing Superjam, wading through the glitter-adorned masses of Robyn fans. With the signature opening accordion of “The Concubine”, the crowd exploded into a massive collective of swaying and swooning, Condon’s impeccable voice atop the pattering percussion and timid trumpet.

Progressing through a healthy portion of The Flying Cup Club, sporadic Gulag Orkestar and throwing in two songs from the upcoming LP, their momentum was interminable. Condon charmed the audience with his surprise at the endless applause, and continued pouring everything he had into each word he sang. As the end drew near, the sun set and the band closed with a one-two punch of “Mount Wroclai (Idle Days)” and “The Gulag Orkestar”, both done with chilling power and raw emotion. Deafening ‘one more song’ and encore chants brought a bewildered Condon back to the stage, insisting that they only had one song left they could play. A hearty chorus of “ohs” got the whole crowd dancing and singing – a perfect end to both the set and a phenomenal weekend. -Caitlin Meyer

The Strokes – Which Stage – 6:45 p.m.

Like the Black Keys, The Strokes are another seen-em-once-seen-em-1000-times band, at least in their most recent shows since Angles was released. They didn’t take advantage of their longer set time – they came out late and ended early – they didn’t change up the setlist, and they didn’t even have their simple-but-effective light show in tow. This was likely due to the fact that they had to take the stage in the sunlight – which was quite humorous, as Julian still had to look his coolest and wore a leather jacket in the unbearable heat. The Strokes have never been a very active band on stage, but at other shows they had their light show to make up for it. Without it, they just looked bored on stage and did not seem to be giving their all. At the same time, I heard raves about the show – perhaps if I hadn’t already seen them twice in the past year, I would have enjoyed it more. I’m sure for first timers it was a blast hearing those songs. But for me, it wasn’t up to par with even the other two shows I saw in the past year, including last year’s headlining show at Lollapalooza. The Strokes don’t have the most expansive catalogue, but they’ve gotta learn to change it up a little and stop being lazy if they want repeat customers. -Carson O’Shoney

Superjam ft. Dan Auerbach and Dr. John – That Tent – 7:00 p.m.

Photo by Max Blau

For many, the return of this fabled event was a festival highlight before it even happened. During the 30 minute, highly directed soundcheck, the anticipation was palpable. What was actually going to happen? What would they play? If you’d noticed that the hat atop the Bonnaroo arch was Dr. John’s from the cover of Desitively Bonnaroo, you could’ve guessed that this special jam would focus on his music and the funky jazz sounds of New Orleans. The man cut a stoic figure up on stage, his face barely moving despite his powerful vocals – a bizzaro parallel to Auerbach’s visible child-like thrill. Joined by My Morning Jacket drummer Patrick Hallahan (whose main job was to bang a bongo or tambourine and take swigs from his beer) and the Preservation Hall Jazz Band, the set featured Dr. John standards like “Jump Sturdy”, a wonderful rendition of Betty Harris’s “There’s a Break in the Road”, and the one song everyone in attendance could name, “Iko Iko”. Standouts were the bombastic “Little Sister” and the packed “St. James Infirmary”.

Photo by Max Blau

It was spotty at times, but it was pieced together in just a week’s time, and the pure joy of it all made any slip-up forgiveable. After all, you were watching Auerbach shred his guitar and Dr. John pound his piano (as one crowd member put it, “how many fingers does he have?”) together, a once-in-a-lifetime combination. The most lasting image of all came after Dr. John was left onstage for a solo performance of “Such A Night”. A white towel draped across his neck, Auerbach returned to thank the crowd and, along with the Dr., receive his much deserved applause. As he led the man of the hour slowly from the stage in the pale blue lights, turning for one last wave, the crowd showered their appreciation on the pair. For me, that image of two great musicians leaving behind a unique, hour-long masterpiece of a performance was the perfect embodiment of the end of another successful Bonnaroo. -Ben Kaye

The Culture of Bonnaroo

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Other confirmed notables include Neurosis, Blitzen Trapper, Sebadoh, Handsome Furs, Little Dragon, The Antlers, YACHT, The Horrors, The Thermals, Kylesa, Ted Leo, Crooked Fingers, Twin Sister, Sharon Van Etten, The Joy Formidable, The Vaccines, and Blind Pilot.

If that weren’t enough, this year’s bill also includes Macklemore & Ryan Lewis, Charles Bradley, Thee Oh Sees, Avi Buffalo, Cass McCombs, Phantogram, Rhett Miller, Big Freedia, Givers, Ty Segall, EMA, Dam-Funk and Master Blaster, Shabazz Palaces, Tennis, Centro-matic, The Moondoggies, PS I Love You, The Gaslamp Killer, Dirty Beaches, Unknown Mortal Orchestra, and The Soft Moon. Click here to view the complete lineup.

Festival wristbands and tickets for shows at Pioneer Courthouse Square, Crystal Ballroom, Roseland Theater, and Aladdin Theater go on sale on Friday, June 3rd. Festival wristbands are on sale at two price points: 1.) $115 for an all-inclusive wristband that gets you into all three outdoor shows and the rest of the five-day festival. 2.) $70 for a ticket to one of the three outdoors shows (Band of Horses, Explosions in the Sky, or TBD band) and admission to the rest of the festival. For further information, visit the festival’s website.

Prior to recording The Creek Drank the Cradle in 2002 under the Iron & Wine moniker, Sam Beam was both a visual artist and cinematography professor at the University of Miami. These talents combined, help explain Beam’s ability to craft vivid, emotional folk-rock tales. Wednesday night, Beam and co. displayed this talent with a performance of the nostalgic “Tree By The River”, off January’s Kiss Each Other Clean, for Leno.

Beam, equipped with an acoustic guitar, soothing half-spoken vocals, and backed by a clarinet, piano, female background singers, and mandolin, delivered the track with the passion and sentiment of another male singer-songwriter — James Taylor. Whether from the city or country, US or abroad, listeners have no trouble imagining the dark canyon, tree by the river, or other imagery that fill Beam’s story teller lyrics.

Check the video above, courtesy of The Audio Perv, and if you still don’t have your copy of Kiss Each Other Clean pick one up from Amazon.

For the past week, the festival has been issuing “scratch off” lotto tickets, leaving fans to nibble away at the colossal lineup. Finally, the secret is out. Mr. Butler, Mr. West, and Mr. Wonder will be joined by a bevy of artists, including Fleet Foxes, TV on the Radio, Alison Krauss & Union Station, Nas & Damian Marley, Bright Eyes, Social Distortion, Cee-Lo Green, Empire of the Sun, Skrillex, Chromeo, Cut Copy, Santigold, Big Boi, and Death From Above 1979.

On the indie front, the festival will feature Broken Social Scene, Iron & Wine, The Walkmen, Alexander (of Ed Sharpe & the Magnetic Zeroes), Elbow, Delta Spirit, The Antlers, Smith Westerns, Chiddy Bang, Theophilius London, James Blake, Fitz and the Tantrums, Young the Giant, Fool’s Gold, Dale Earnhardt Jr. Jr., The Head and the Heart, The Vaccines, The Secret Sisters, Wild Beasts, Foster the People, The Cave Singers, Phosphorescent, Futurebirds, Twin Shadow, and Ha Ha Tonka.

Other notables include Randy Newman, Ray LaMontagne, Old Crow Medicine Show, Ryan Bingham & the Dead Horses, The Airborne Toxic Event, Gillian Welch, Wanda Jackson, Jack Ingram, Gomez, Daniel Lanois’ Black Dub, AWOLNATION, Sara Bareilles, Mariachi El Bronx, The Belle Brigade, Brandi Calile, North Mississippi Allstars, Hayes Carll, and Beardyman.

Three-day passes are sold-out, but $90 one-day passes will be available this morning at 10:00AM CDT. A day-by-day breakdown of the lineup is available at the festival’s website. West and Coldplay will headline Friday, Wonder and My Morning Jacket will play opposite each other on Saturday, and Arcade Fire will close out Sunday.

Front page photo by Ashley Garmon

Limited to just 1,000 pressings, the record will primarily be available at “mom and pop” record shops. A select number will also be obtainable through Daytrotter’s website and the bands’ respective sites.

For the unaware, Daytrotter Sessions are one-of-a-kind recordings laid down at The Horseshack located in Rock Island, Illinois. The studio invites bands to stop by as they pass through on tour to spend two hours creating raw, live tracks. The results are exclusive, original versions of the songs “as they are on that particular day, on that particular tour – dirty and alive.”

The two bands met while touring together in the U.K., and the release is a joint venture between them and Daytrotter. As for the record’s contents, expect six songs from The Low Anthem’s recent Smart Flesh plus selections from Iron & Wine’s Kiss Each Other Clean, and fan favorite “Naked As We Came” from Our Endless Numbered Days. The Sessions are currently up at Daytrotter here and here, but only partially (only five The Low Anthem songs appear). Sure, listen to them at the site, but you know you’re still going to get that vinyl. Or at least try to. Peep the partial track listing below.

Iron & Wine/The Low Anthem Daytrotter Sessions Partial Tracklist:
Iron & Wine:
01. Tree By The River
02. Naked As We Came
03. Godless Brother
04. Glad Man Singing

The Low Anthem:
01. Apothecary Love
02. Dreams Can Chase You. . .
03. Ghost Woman Blues
04. I’ll Take Out Your Ashes
05. Maybe So

But for those who’d like to witness the bearded sounds of Sam Beam and personal, here’s your chance. Iron & Wine have just added another batch of U.S tour dates to take place between their forthcoming appearances at Sasquatch! and Bonnaroo. People out west are most lucky, with the leg set to launch in Missoula, Montana on May 29th and then run east through Omaha, Milwaukee, and Mineappolis, among other cities, before coming to a close at Bonnaroo on June 12th.

Up and coming Sub Pop act The Head and the Heart will open a majority of the newly added dates. A fan pre-sale will begin Friday, January 25th (with the exception of Indianapolis which starts at 10am on 2/24.). For more ticketing info, visit Iron & Wine’s website.

Iron & Wine 2011 Tour Dates:
03/04 – Chicago, IL @ Riviera Theater
03/08 – London, UK @ Roundhouse
03/09 – Brighton, UK @ Corn Exchange
03/10 – Birmingham, UK @ Town Hall
03/11 – Edinburgh, UK @ HMV Picturehouse
03/12 – Liverpool, UK @ Philharmonic Hall
03/14 – Dublin, UK @ Olympia
03/15 – Manchester, UK @ Academy 2
03/16 – Gateshead, UK @ Sage
03/17 – Leeds, UK @ Metropolitan University
04/14 – Detroit, MI @ Royal Oak Music Theatre #
04/15 – Buffalo, NY @ The Town Ballroom #
04/16 – North Adams, MA @ Mass MoCA #
04/17 – Burlington, VT @ Higher Ground #
04/18 – Portland, ME @ State Theatre
04/19 – Boston, MA @ House of Blues
04/20 – Baltimore, MD @ Rams Head Live #
04/21 – Philadelphia, PA @ Electric Factory
04/22 – Washington, DC @ 9:30 Club
04/23 – Savannah, GA @ Trustees Theater #
04/25 – Athens, GA @ 40 Watt Club #
04/26 – Charlotte, NC @ Amos’ Southend #
04/27 – Richmond, VA @ The National #
04/28 – Pittsburgh, PA @ Carnegie Music Hall
04/29 – Cleveland, OH @ House of Blues
05/28 – George, WA @ Sasquatch! Music Festival
05/29 – Missoula, MT @ Wilma Theatre *
05/30 – Boise, ID @ Knitting Factory *
05/31 – Portland, OR @ Crystal Ballroom *
06/01 – San Francisco, CA @ Warfield Theatre *
06/02 – Reno, NV @ Knitting Factory *
06/04 – Boulder, CO @ Boulder Theatre
06/05 – Omaha, NE @ Slowdown *
06/07 – Milwaukee, WI @ Turner Hall Ballroom *
06/08 – Minneapolis, MN @ First Avenue *
06/09 – Des Moines, IA @ People’s Court *
06/10 – Indianapolis, IN @ The Vogue *
06/11 – Cincinnati, OH @ Madison Theatre *
06/12 – Manchester, TN @ Bonnaroo Music Festival

# = w/ The Low Anthem
* = w/ The Head and the Heart

Bonnaroo celebrates 10 years in 2011, and the Manchester, TN-based extravaganza has tapped music’s biggest rapper, a reunited super group, and this year’s Album of the Year recipients to head the festivities.

Yes, Eminem, a reunited Buffalo Springfield featuring Neil Young, Richie Furay, and Stephen Stills, and Arcade Fire will head this year’s Bonnaroo. Set to take place from June 9-12, other heavyweights include Widespread Panic, The Strokes, My Morning Jacket, Lil Wayne, The Black Keys, String Cheese Incident, and Robert Plant & the Band of Joy.

The Decemberists, Primus, Girl Talk, Florence & the Machine, STS9, Bassnectar, Big Boi, Gregg Allman, Ray Lamontagne, Iron & Wine, and Gogol Bordello have also found their way onto the bill, as have Dr. John and The Original Meters, who will be performing Desitively Bonnaroo (aka the album where the festival got its name from). STS9, Pretty Lights, Alison Krauss & Union Station, Scissor Sisters, Opeth, Warren Haynes Band, Bootsy Collins & the Funk University, Old Crow Medicine Show, Mavis Stapes, Kylesa, and Atmopshere will all appear as well.

Jack White is not scheduled to make an appearance, but two recent collaborators, the legendary Wanda Jackson and wife Karen Elson, are on the bill. So here’s hoping the former White Stripe makes a few guest spots over the weekend (cough cough super jam).

Wait… super jam, you say? Yes, Bonnaroo’s iconic jam session will return in 2011, with The Black Keys’ Dan Auerbach and Dr. John as confirmed participants. Also, Gogol Bordello will curate his own stage, the Global Gypsy Punk Revue. Confirmed thus far are Italy’s singer/songwriter/rapper Jovanotti and Syrian folk artist Omar Souleyman. More information as that comes to fruition.

The lineup also features a slew of indie favorites, including Beirut, Ratatat, Explosions in the Sky, Robyn, Deerhunter, Matt & Kim, The Walkmen, Man Man, Sleigh Bells, Best Coast, The Drums, School of Seven Bells, Wavves, !!!, The Black Angels, Nicole Atkins & the Black Sea, Freelance Whales, Smith Westerns, Sharon Van Etten, Junip, The Head and the Heart, Twin Shadow, and Phosphorescent.

And if that weren’t enough, Bruce Hornsby, Loretta Lynn, Cold War Kids, up and coming MCs J. Cole and Wiz Khalifa, Devotchka, Portugal. the Man, Neon Trees, Chiddy Bang, Béla Fleck and the Flecktones, Grace Potter & The Nocturnals, The Del McCoury Band & the Preservation Hall Jazz Band, Justin Towns Earle, Ryan Bingham & The Dead Horses, Deer Tick, The Low Anthem, Alberta Cross, and Jessica Lee Mayfield are also confirmed.

Oh, what do we have here? Dãm-Funk & Master Blazter, Amos Lee, Abigail Washburn, Band of Skulls, Beats Antique, 22-20s, Clare Maguire, Hayres Carll, and Jovanotti will also join the aforementioned.

And that about covers it. (Breathe)

General and VIP go on sale Saturday, February 19th at 12:00pm EST. Find complete ticketing information, as well as all other necessary details via the festival’s website.

Sasquatch! Music Festival celebrates 10 years in 2011, and along with the previously confirmed Foo Fighters, the festivities will be headed by Death Cab for Cutie, Modest Mouse, Wilco, and The Flaming Lips, who will perform their 1999 classic, The Soft Bulletin, in its entirety.

Set to take place from May 27th-30th at the Gorge Amphitheatre in George, Washington, the 2011 bill also features The Decemberists, Bright Eyes, Iron & Wine, Robyn, Wolf Parade, Chromeo, Beach House, Yeasayer, and three recently reunited outfits: Death From Above 1979, Guided By Voices, and Archers of Loaf.

Other confirmed notables include Bassnectar, Flogging Molly, Ratatat, Against Me!, Matt & Kim, Flying Lotus, Local Natives, Cold War Kids, Best Coast, Sleigh Bells, MSTRKRFT, Deerhunter, Major Lazer, Pink Martini, Rodrigo Y Gabriela, Sharon Jones & the Dap Kings, Jenny & Johnny, Surfer Blood, !!!, The Thermals, CSS, GAYNGS, Tokyo Police Club, Black Mountain, Das Racist, Noah and the Whale, The Radio Dept., Old 97′s, Reggie Watts, Fitz & the Tantrums, Smith Westerns, and The Head & the Heart.

Rounding out the lineup are The Antlers, The Drums, Sharon Van Etten, K-os, Bonobo (DJ Set), City and Colour, Young the Giant, Moondoggies, Twin Shadow, Secret Sisters, Aloe Blacc, Villagers, Sam Roberts Band., Wye Oak, Rival Schools, Foster the People, Alberta Cross, S. Carey, White Denim, Cotton Jones, Basia Bulat, Other Lives, The Bronx, Gold Panda, Macklemore & Ryan Lewis, Tim Minchin, and Pepper Rabbit.

Update: You can find Sasquatch!’s day-by-day schedule here or below.

Four-days passes are now available through LiveNation. Stay tuned for an extraordinary giveaway very soon.

Instead, with Kiss Each Other Clean, the fourth studio LP from Iron & Wine, Beam follows up the production and rhythm infused The Shepherd’s Dog by further augmenting the sparse Iron & Wine foundation, making the days of whispered, lo-fi preciousness appear a long-lost dream. He’s singing to the whole world now, and he’s doing it with a lot of help: saxophones (They’re officially back! See: Girls’ Broken Dreams Club and Destroyer’s Kaputt), crunchy synths, tribal rhythms, marimba, digitized drums, chimes, glockenspiels, hell, it’s like a Decemberists record up in here. The density will surely have Iron & Wine fans pretty polarized, and for good reason. It’s just not really what we all fell in love with. But, fortunately for us, that beard isn’t going anywhere. And along with the face fur, some of Beam’s most beloved qualities are still in tact. Perhaps just not in enough abundance.

As far as Southern-gothic, Faulkner-esque narratives go, Beam still knows how to swing them. “Me and Lazarus” sees the narrator recounting days spent with a biblical friend shoveling ashes, riding in riverboats, and feeding feverish babies. “Tree By the River” is southern love story of teenage nostalgia. “Half Moon” feels like a church hymn. “Rabbit Will Run” recounts a criminal’s arrest, both metaphorically and literally. “Big Burned Hand” sings of white-hot pistols and gasoline toting deities.

It’s just that something feels slightly off when the instrumentation is glowing all over the place–digi-fuzzy, and flickering–while he sings about trees by the river and half-moons. These gloriously archaic images lose some of their power when continually engulfed by dense, modern production–especially dense production that does not seem aesthetically congruent. We hear Beam’s golden pipes howling, but they lose some of their power and mystique with half-assed funk and free-jazz sax swarming around them. It’s almost as if the stories become secondary to the instrumentation, which, though definitely interesting, is not powerful or compelling enough to warrant the amount of time we spend without words.  It lacks the human touch, that feeling of hominess that Beam captured so expertly in his early recordings. A lot of the time, we’re getting an immediate kick from these strange and unfamiliar sounds from Beam. To an extent, it’s instant gratification, but it feels to be too calculated, and disturbingly inorganic. This is not The Creek Drank the Cradle, which wouldn’t be a bad thing if the Iron & Wine aura weren’t lost under all these layers of slick, emotionally shallow instrumentation. All things aside though, a few tracks work with the production, and the outcome is pretty stunning.

Opener, “Walking Far From Home,” Beam’s first lyrical onslaught, sees the guy firing off rounds of vivid imagery and stirring metaphors over swashy distortion, wah-wahed funk swells, skittering drums, and piano, until the track gloriously crashes and burns under the crunch of low-res organ fuzz. As always, he has a stronghold over vocal melody, and it shows from the get-go.  But here, he ornaments the lead vocals with Mike Love style high-soaring harmonies, introducing yet another mainstay of the record. Backing vocals, mostly in a high register, consistently populate this record.

“Rabbit Will Run” is a tribal, jazz-flute toting, darkly downtempo funk rocker turned Floyd pysche exploration, but it fades out at its most interesting jam. “Godless Brother in Love” is a lush piano ballad, sprinkled with flamenco style staccato guitar, and soothing harmonies. It’s about the closest we get to the old sound, but it still lacks that human spontaneity, the unrefined feel Beam’s music should always possess. This stuff is refined, hi-fi, digital age work. It’s probably the first time anyone’s ever thought an Iron & Wine song was “Epic, bro!” but therein lies some of this record’s issues. The grandiosity feels a little cheap, and often doesn’t appear to have been seamlessly conjured.

When the grandiosity succeeds, it’s pleasing, perhaps even wonderful. But when it fails, which it does every so often (even at moments on the strongest tracks), it just kind of makes you wonder why things couldn’t just stay the way they were.  For the most part, there’s simply a hell of a lot going on instrumentally, and it’s almost too much to take in. It’s as if Beam and a bunch of session musicians had a thousand ideas for the album’s aesthetic and, instead of sticking with one, went with them all. Rather than slowly bringing each musical thought in with subtlety at various points throughout the album, they all arrive at the same time. There’s little control and few quiet moments. Sections of sheer beauty, of heartbreak, vivid storytelling, and lush instrumentation exist, but they only slightly outweigh some of the more awkward, less sincere-sounding segments. On the surface, this record sounds great, reveals some striking production, and works as a breezy, head-nodder. But it seems to lack emotional depth amidst its instrumental vastness. Beam is a spectacular singer, a fantastic songwriter, and a guitarist of the highest creed, but perhaps he is not cut out for arena-scale production. You’ll have a lot of catchy melodies to sing in the shower, but at the end of the day, Beam might be walking too far from home.

France may have La Blogotheque and the “Take Away Shows” to make musicians look mysterious and musician-y, but around these parts we’ve got something much, much better. You see America, we’ve got TBS and Team Coco. Sure, Sam Beam might seems all artsy-fartsy playing songs underneath creaky floorboards, but take a peek at this video of the bearded bard from last night’s episode and try not to be entertained.

The 36-year-old Beam – better known by the moniker Iron & Wine – took to Stage 15 casually dressed in a blazer/T-shirt combo and led his seven-piece band through “Tree By The River” from one of our most important albums of 2011, Kiss Each Other Clean, which actually comes out today. The nearly three-and-a-half performance might not have featured odd camera angles or that faux-antique look, but it did boast both flute and saxophone solos. Take that France.

Check it all out in it’s full-color, crystal-clear beauty above and cop tickets to one of his upcoming shows by clicking here.

Video via The Audio Perv.

Iron & Wine 2011 Tour Dates:
01/25 – Los Angeles, CA @ Wiltern Theater
01/26 – Los Angeles, CA @ Wiltern Theater
01/29 – New York, NY @ Radio City Music Hall
02/02 – Stockholm, SE @ Debaser Medis
02/03 – Oslo, NO  @ Rockefeller
02/04 – Gothenburg, SE  @ Tradgarn
02/05 – Aarhus, DK  @ Voxhall
02/06 – Copenhagen, DK  @ Vega
02/07 – Hamburg, DE @ Fabrik
02/08 – Berlin, DE @ Berghain
02/09 – Cologne, DE @ Gloria
02/10 – Vienna, AU @ WUK
02/11 – Munich, DE @ Freiheizhalle
02/12 – Bologna, IT @ Locomotiv
02/13 – Zurich, CH @ El Lokal
02/14 – Frankfurt, DE @ Mousonturm
02/15 – Amsterdam, NL @ Paradiso
02/16 – Brussels, BE @ Ancienne Belgique
02/17 – Paris, FR @ Alhambra
03/04 – Chicago, IL @ Riviera Theater
03/08 – London, UK @ Roundhouse
03/09 – Brighton, UK @ Corn Exchange
03/10 – Birmingham, UK @ Town Hall
03/11 – Edinburgh, UK @ HMV Picturehouse
03/12 – Liverpool, UK @ Philharmonic Hall
03/14 – Dublin, UK @ Olympia
03/15 – Manchester, UK @ Academy 2
03/16 – Gateshead, UK @ Sage
03/17 – Leeds, UK @ Metropolitan University
04/14 – Detroit, MI @ Royal Oak Music Theatre *
04/15 – Buffalo, NY @ The Town Ballroom *
04/16 – North Adams, MA @ Mass MoCA *
04/17 – Burlington, VT @ Higher Ground *
04/18 – Portland, ME @ State Theatre
04/19 – Boston, MA @ House of Blues
04/21 – Philadelphia, PA @ Electric Factory
04/22 – Washington, DC @ 9:30 Club
04/23 – Savannah, GA @ Trustees Theater *
04/25 – Athens, GA @ 40 Watt Club *
04/26 – Charlotte, NC @ Amos’ Southend *
04/27 – Richmond, VA @ The National *
04/28 – Pittsburgh, PA @ Carnegie Music Hall
04/29 – Cleveland, OH @ House of Blues

* = w/ The Low Anthem

One day before the release of their latest LP, Kiss Each Other Clean, Iron and Wine will embark on a gargantuan world tour. The oddly scheduled itinerary starts with dates in Los Angeles and New York later this week, then features back and forth trips between Europe, Chicago, and the UK during the months of February and March. Once mid-April rolls around, Iron & Wine will abandon plane for tour bus and partake in a good ol’ tour of America. Find all confirmed dates below.

Kiss Each Other Clean is due January 25th via Warner Bros. Right now you can stream it in full on Conan O’Brien’s official site. Of all places.

Image via Lauren Guagno

Iron and Wine 2011 Tour Dates:
01/24 – Los Angeles, CA @ Amoeba Music (in-store)
01/25 – Los Angeles, CA @ Wiltern Theater
01/26 – Los Angeles, CA @ Wiltern Theater
01/29 – New York, NY @ Radio City Music Hall
02/02 – Stockholm, SE @ Debaser Medis
02/03 – Oslo, NO  @ Rockefeller
02/04 – Gothenburg, SE  @ Tradgarn
02/05 – Aarhus, DK  @ Voxhall
02/06 – Copenhagen, DK  @ Vega
02/07 – Hamburg, DE @ Fabrik
02/08 – Berlin, DE @ Berghain
02/09 – Cologne, DE @ Gloria
02/10 – Vienna, AU @ WUK
02/11 – Munich, DE @ Freiheizhalle
02/12 – Bologna, IT @ Locomotiv
02/13 – Zurich, CH @ El Lokal
02/14 – Frankfurt, DE @ Mousonturm
02/15 – Amsterdam, NL @ Paradiso
02/16 – Brussels, BE @ Ancienne Belgique
02/17 – Paris, FR @ Alhambra
03/04 – Chicago, IL @ Riviera Theater
03/08 – London, UK @ Roundhouse
03/09 – Brighton, UK @ Corn Exchange
03/10 – Birmingham, UK @ Town Hall
03/11 – Edinburgh, UK @ HMV Picturehouse
03/12 – Liverpool, UK @ Philharmonic Hall
03/14 – Dublin, UK @ Olympia
03/15 – Manchester, UK @ Academy 2
03/16 – Gateshead, UK @ Sage
03/17 – Leeds, UK @ Metropolitan University
04/14 – Detroit, MI @ Royal Oak Music Theatre *
04/15 – Buffalo, NY @ The Town Ballroom *
04/16 – North Adams, MA @ Mass MoCA *
04/17 – Burlington, VT @ Higher Ground *
04/18 – Portland, ME @ State Theatre
04/19 – Boston, MA @ House of Blues
04/21 – Philadelphia, PA @ Electric Factory
04/22 – Washington, DC @ 9:30 Club
04/23 – Savannah, GA @ Trustees Theater *
04/25 – Athens, GA @ 40 Watt Club *
04/26 – Charlotte, NC @ Amos’ Southend *
04/27 – Richmond, VA @ The National *
04/28 – Pittsburgh, PA @ Carnegie Music Hall
04/29 – Cleveland, OH @ House of Blues

* = w/ The Low Anthem

I find that the best place to start is the beginning. Sam Beam, the central member of Iron & Wine, was discovered by Sub Pop and simultaneously climbed aboard during the mass signing of artists (The Shins, The Postal Service, Death Cab, Wolf Parade, Rogue Wave, etc.) that took place a few years after the turn of the millennium. This signing would eventually play a key role in increasing the popularity of the “indie” genre, but that’s neither here nor there. Beam was signed to record a debut album, and record he did. The product: 2002′s The Creek Drank The Cradle, a hauntingly beautiful, raw look at Beam’s talents, full to the brim with dreamy melodies and grainy acoustics. But this article’s not about words, so much as it’s about visual proof. So, without further ado, here’s Iron & Wine performing the forever gorgeous “Upward Over The Mountain” off The Creek Drank The Cradle.

After the success of his debut album (and a wildly popular cover of The Postal Service’s “Such Great Heights”), Beam had all the momentum he needed to lead him to his next full-length, 2004′s Our Endless Numbered Days. Days was similar to his previous effort, only he had ditched the DIY aesthetic and moved on to one a bit more expansive; one that better captured his sound. The dominating acoustics remained intact, as did the chilling beauty, but this time there was a certain confidence in his voice. However endearing the unrefined sound of Creek may have been, the consistency and clarity of Days was exponentially more accessible, and overall more listen-able. But once again, we’ll let the video tell the story. Iron & Wine performing their anthemic “Naked As We Came” on Carson Daly in 2005:

Next came the biggest stylistic jump of Iron & Wine’s career to date. With the annunciation of a new album critics and fans alike were expecting another acoustic singer-songwriter album. But Iron & Wine had other plans. Out with the sweet, simple guitar riffs and catchy melodies, in with powerful harmonizing backed by dense layers of percussion. And while it did leave one nostalgic for the old days of Beam and his guitar, The Shepherd’s Dog was a new and exciting direction for Iron & Wine that held endless possibilities. A new form of folk; one where experimenting with every instrument you own was not frowned upon. One where the chord-driven “verse, chorus, verse” was no longer king. The simplicity of the recordings were gone, replaced by vast experimentalism used for the better. Consequently, live performances were expanded hugely, going from just a handful of musicians to a full-fledged jam rock ten-piece outfit. Once again, see it to believe. Iron & Wine playing “The Devil Never Sleeps” on David Letterman with a full band behind him:

So, if there’s anything we’ve learned over the past decade of watching Sam Beam grow as a musician, it’s this: expansion is key. Stagnation is not an option. He isn’t the sort of musician who is going to keep releasing the same album until his listeners grow weary of hearing the same tired style. Movement, for better of worse, is what Sam Beam does best, and we’ll only know where Iron & Wine is headed next upon the release of his forthcoming album (or by watching this live sneak preview). But given the successes that his last three efforts ended up being, there’s no question that despite a possible stylistic change, this release will be one worth listening to.

We may have picked the Top 100 Albums of last year, but there were countless other efforts that were begging for the attention of your ever-so-precious ears. This year won’t be any different, and there are already loads of artists competing for a listen in the first quarter alone, so we here at CoS have already spent an inhuman amount of time on the interwebs researching and writing about some of the biggest releases of the year 2K+11.

We’ve picked 50 albums slated for release this year, and while some of them already have concrete release dates, others are merely rumored. Nevertheless, every single one of them bring questions and are worthy of your open ears. Will Kanye and Jay-Z score a huge commercial hit with their joint LP, Watch The Throne? Is there anything scarier than a Fame Monster? Did Lupe Fiasco’s Lasers get stale after sitting on a shelf for all these years? We examine those questions in our 2011 Album Preview, but there are a few things that we already know for sure.

PJ Harvey wants to “shake” things up, The Decemberists’ Colin Meloy has stripped it down, and the Get Up Kids aren’t kids anymore. The Cold War Kids, on the other hand, have grown up and might be having kids of their own soon. U2 hooked up with Danger Mouse and have up to four albums in the bank. Dave Grohl un-Vultured and is Foo Fighting again, and a slew of up-and-comers are putting out new music.

There’s also news on possible new ones from Rage Against the Machine, The White Stripes, The Shins, and a John Frusciante-less Red Hot Chili Peppers. Throw in the chances of Daft Punk releasing an album as The Third Twin, and what you’ve got below is required reading. We’ve included audio on more than a few of the albums, so grab a drink, plug in your headphones, and decide whether or not you’ll be tuning in.

-Ray Roa
Senior Staff Writer

Cake – Showroom of Compassion

Cake have already long established themselves as alternative rock giants. But in recent years, even guys who have been playing together since 1991 have found a way to keep things interesting. Showroom of Compassion, their first record since 2004′s Pressure Chief, will be released on the group’s very own Upbeat Records, which also happens to mark the band’s departure from Columbia Records. As if that weren’t momentous enough, lead singer John McCrea said this will also be the first Cake album to feature reverb and acoustic piano. What was that adage about old dogs and new tricks? -Chris Coplan
January 11th via Upbeat Records / Order via Amazon

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/01/Sick-Of-You.mp3" text="Cake - 'Sick of You'" dl="0"]

The Decemberists – The King Is Dead

What do you get when you combine an homage to The Smiths, recording sessions on a farm, and R.E.M. guitarist Peter Buck? The Decemberists’ latest record, The King Is Dead (or a really weird smoothie). While the title of the group’s sixth studio album plays off The Smiths’ 1986 The Queen Is Dead, lead singer Colin Meloy says the sound is much more influenced by early R.E.M. Three of the songs, “Don’t Carry It All”, “Calamity Song”, and “Down by the Water”, even feature Buck on guitar. On top of all of that, the album was recorded entirely on an eight-acre farm outside of Portland, which according to Meloy contributed to a more rustic sound. Maybe that smoothie isn’t so weird after all. -Jack McGrew
January 11th via Capitol Records / Order via Amazon

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/01/The-Decemberists-Down-By-The-Water.mp3" text="The Decemberists - 'Down by the Water" dl="0"]

Smith Westerns – Dye It Blonde

It appears as if the musical trend for 2011 will undoubtedly be reinvention. For their 2009 self-titled debut, Smith Westerns unleashed an effort of lo-fi garage pop that eats away at your defenses and leaves you smiling through feelings of forlorn. For their sophomore LP, Dye It Blonde, the Chicago outfit are taking that sound and adding a sheen of Brit-pop goodness. In an October 2010 interview with Pitchfork, lead singer Cullen Omori said the songs would be “more involved but are still poppy and still catchy,” with influences ranging from Oasis to T. Rex and Teenage Fanclub. Guess blondes really do have loads more fun than the rest of us. -Chris Coplan
January 18th via Fat Possum Records / Order via Amazon

“Weekend”

Cold War Kids – Mine Is Yours

2011 may be a make-or-break year for Cold War Kids; their sophomore album and subsequent tour were victims of what some industry insiders call a “slump.” The Long Beach natives’ Mine Is Yours seeks to shrug that off. To that end, singer Nathan Willett took a more personal approach to songwriting. “If I really wanted to connect to it,” he told Rolling Stone, “I knew it had to come from me.” Hence, there are tracks like “Sensitive Kid”, about Willett’s parents divorcing during his high school years, and “Louder Than Ever”, reflecting on failed relationships. Despite the subject matter, songs like “Royal Blue” reveal a rosier sound than much of what these Kids have previously released. Can CWK v.3.0’s brighter take on echoey guitar rock enliven a fan base largely dulled by v.2.0? -Ben Kaye
January 25th via Downtown Music / Order via Amazon

Cold War Kids – ‘Royal Blue’

Destroyer – Kaputt

We can finally solve the equation that Destroyer proposed to us with the 2009 EP Bay of Pigs. That x was in the form of a 14-minute “ambient disco” track bearing the same title of the LP, which now closes out Dan Bejar’s latest record, Kaputt. But Bejar’s hands are in many musical pies on Kaputt, as he expands on previous outings with ample new wave textures but the same byzantine Bejarisms. (Is Bejaresque minted yet?) All this excitement about this album recalls the Destroyer drinking game, my absolute love for Destroyer’s Rubies, and Bejar’s loveable soused antics when he played live with The New Pornographers this year. Look, this album is incredible and will end up on arguably everyone’s year-end list. Buy it. Don’t believe me? Read this. -Jeremy D. Larson
January 25th via Merge Records / Order via Amazon

Destroyer – ‘Kaputt’

Gang of Four – Content

UK’s politically charged Gang of Four are back in 2011 with Content, the band’s first new material in 16 years. Original members John King and Andy Gill opted to crowd-fund the release, offering helicopter rides, autographed limited releases, and even vials of their own blood to spur donations. And unlike with Public Enemy, the strategy succeeded, generating over 170% of the original goal. Content was co-written by King and Gill, with Gill serving as producer as the recording progressed in his home studio. With the current turmoil in the global political arena, Gang of Four’s socially aware punk rock is as relevant now as at any time during their 30-plus-year career. -Derek Staples
January 25th via Yep Roc Records / Order via Amazon

Gang of Four – ‘Never Pay For the Farm’

The Get Up Kids – There Are Rules

Mötley Crüe headlining the biggest emo-friendly festival around could be a sign that the genre has seen its heyday. So what happens when a historically pivotal emo band reunites for a new album amidst a wholly different musical climate? The Get Up Kids’ There Are Rules. The Kids spent seven years between records playing in various musical genres, and the maturing influences carpet their fifth full-length. Lead single “Automatic” sounds like an odd, absurdly catchy Devo cut. “Pararelevant” is more synth-heavy than anything else in their catalog. Diehards and purists may take issue with the new sound, but it’s worth an unprejudiced listen. While “Regent’s Court” sounds the most like their older work, it’s evident throughout that these guys haven’t forgotten who they were; they’ve just grown up. It’s what The Get Up Kids would sound like if they formed in 2009 instead of 1995, and it’s all rather intriguing. -Ben Kaye
January 25th via Quality Hill Records / Order via Amazon

The Get Up Kids – ‘Regent’s Court’

Iron & Wine – Kiss Each Other Clean

Iron & Wine, the folk project of musician/beard enthusiast Sam Beam, has made a career of touching the hearts of listeners with emotionally evocative and gentle acoustic numbers. Now, Beam becomes another member of 2011 musical revolution when he leaves his long-time home of Sub Pop Records for the major label sanctuary of Warner Bros. Records. Along with the change in label, Beam and company are reinventing their sound for the act’s fourth record. In an October 2010 interview with SPIN, Beam said the LP would be a pop record focused on the “early-to-mid-’70s FM, radio-friendly music” he grew up with. Awww, just as heartwarming. -Chris Coplan
January 25th via Warner Bros. Records / Order via Amazon

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/01/01-Walking-Far-From-Home.mp3" text="Iron & Wine - 'Walking Far From Home'" dl="0"]

Monotonix – Not Yet

Monotonix is one of those bands that come along once in a blue moon. They tour relentlessly, make fans a part of the show (literally), and always look like they’re having a ball. Amidst the tireless work ethic on the road, the Tel Aviv-born rockers find time to get in the studio and turn the amps up to eleven. The trio’s sophomore release, Not Yet, the follow-up to 2009′s Where Were You When It Happened?, is more of the balls out, punk-infused garage rock that defines what these guys are all about. The album’s lead single, “Give Me More”, harkens back to late ’60s Detroit and the unabashed raw power of a sound defined by bands like MC5 and The Stooges. If “Give Me More” is any indication of what Monotonix has in store for the new year, let’s hope they keep on giving it. -Megan Caffery
January 25th via Drag City / Order via Amazon

Monotonix – ‘Give Me More’

The Go! Team – Rolling Blackouts

It’s been a long minute since The Go! Team had new material to release. Their last album, Proof of Youth, was back in 2007. That shouldn’t be a surprise, though, given the detailed sampling process that Ian Parton goes through. In an interview with Spinner, the UK outfit’s mastermind mentioned that much time is spent “storing all my favorite bits then filtering it down. It’s not like it’s just picking up an acoustic and writing a song. It’s a drawn-out affair.” But just because they’ve been gone for a few years, don’t think the English sextet have lost their edge. The lead track off the upcoming Rolling Blackouts, “T.O.R.N.A.D.O.”, is an explosive mix of blaring trumpets and Ninja’s energetic, on-beat vocals. The band followed this freebie up with the album’s first single, “Buy Nothing Day” (featuring Bethany Cosentino), which is probably the poppiest melody in the band’s history. Given the quality of the first two songs made available, this may be the first time anyone is looking forward to a rolling blackout. -Joe Marvilli
February 1st via Sub Pop / Order via Amazon

The Go! Team – ‘T.O.R.N.A.D.O.’

The Streets – Computers and Blues/Cyberspace and Reds

Mike Skinner – aka The Streets – has made it very obvious that Computers and Blues has been done for a while. In fact, he’s gone as far as to say, “[The album] doesn’t feel a part of me. It’s a part of my past. It sits in the machine right now waiting to leak into the cloud.” In response to his feeling of disconnect, Skinner has apparently recorded another album – Cyberspace and Reds – that he’s described as “painfully repetitive…chord changes that have never changed in that way before…the lyrics will make no sense.” What does make sense is that we should have both of them before Valentine’s Day, and if that doesn’t make you love him more, then you’re just as coldhearted as he is. -Ray Roa
Computers and Blues due February 7th via 679 Recordings; Cyberspace and Reds TBA

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/01/The-Streets-Going-Through-Hell.mp3" text="The Streets - 'Going Through Hell'" dl="0"]

Cut Copy – Zonoscope

Rejecting tour offers from Lady Gaga, Nine Inch Nails, and Coldplay might sound asinine, but Cut Copy isn’t your average group. The band who hails from Melbourne, Australia, instead added a member, hit the studio, and is set to release Zonoscope next month. The follow-up to 2008′s excellent In Ghost Colours is only the electro-pop group’s third album, but it’s being anticipated as would a work from a band with three times their discography. Bassist Tim Hoey says that first single “Take Me Over” is one of the more “pop moments” on the record. “We certainly are using all sorts of electronic instruments, more synthesizers, computers, all of that, but contrasted with more organic sounds, more organic percussion,” says Hoey. Better still is the announcement  that the record’s final track, “Sun God”, is a 16-minute epic.  - Jack McGrew
February 8th via Modular / Order via Amazon

Cut Copy – ‘Take Me Over’

Bright Eyes – The People’s Key

It’s been four years since Conor Oberst released music under the Bright Eyes moniker, and while it seemed like the band’s July performance at a Nebraska immigration rally would be a one-off, it looks like the new year is bringing 10 new songs and a two-week tour. Fans of the angsty Oberst from Bright Eyes’ earlier days may have abandoned their hero after the band’s sonic evolution on 2007’s Cassadaga, but those who stayed on the train will be surprised and pleased to hear the synth-laden, new wave vibe on lead single “Shell Games”. -Ray Roa
February 15th via Saddle Creek / Order via Amazon

Bright Eyes – ‘Shell Games’

Mogwai – Hardcore Will Never Die, But You Will

We can already assure you that Mogwai’s Hardcore Will Never Die, But You Will is going to be an early highlight for 2011. The post-rock mainstays officially release their seventh full-length in February, and the day can’t come soon enough. Young Team producer Paul Savage returns for the LP, and if that means anything to you, you’re going to want to stay tuned. -Harry Painter
February 15th via Sub Pop / Order via Amazon

Mogwai – ‘Rano Pano’

PJ Harvey – Let England Shake

What better valentine could come this year than Let England Shake, the latest from one of England’s and music’s most influential women in rock. For the better part of two decades now, Polly Jean has continued to offer album after album of honest-to-everyone songs grounded in a wide array of sounds from post-feminist grunge to brit-folk. On her 8th proper LP, we may find Harvey putting the onus on us. “I think a lot of my work has often been about the interior, the emotional, what happens inside oneself. This time I’ve just been looking out, so it’s not only to do with taking a look at England, but taking a look at the world and what’s happening in the current day world affairs.” So rarely does Harvey lay a bad egg that the very thought of this album all but guaranteed it a spot on this list. To boot, the first sampling from the album sounds like a gorgeous and haunting collage of her recent works, and it’s one fantastic song. -Jeremy D. Larson
February 15th via Vagrant Records / Order via Amazon

PJ Harvey – ‘Written On The Forehead’

Adele – 21

Looks like British powerhouse Adele is trying to add another award to her shelf. Much like her 2008 debut, 19, the Grammy-winning singer-songwriter’s simply titled sophomore release, 21, showcases the big voice and big sound that turned her into a critical darling at the tender age of—you guessed it—19. The first single from 21, “Rolling in the Deep”, is an incredibly soulful number you can bop your head to, but you can’t mistake the hint of sadness in Adele’s raspy vocals. There’s no denying that the girl has talent beyond her years, and come 2011 Grammy season, we’ll see if the critics still think so, too. -Megan Caffery
February 22 via XL Recordings / Order via Amazon

Adele – ‘Rolling in the Deep’

Toro Y Moi – Underneath the Pine

Toro y Moi’s debut came out just last year, but the man born Chaz Bundick is staying ahead of the pack and releasing a follow-up very early this year. Underneath the Pine arrives next month and will reportedly feature live instrumentation and, if new track “Still Sound” is any indication, less chill, more funk. -Harry Painter
February 22nd via Carpark Records / Order via Amazon

[wpaudio url="http://www.spin.com/audio/download/81526/09_Still_Sound.mp3" text="Toro Y Moi - 'Still Sound'" dl="0"]

Lupe Fiasco – Lasers

Talk of Lupe Fiasco’s third album began back in June 2009; the following two-plus years saw the Chicago MC complete the album only to have its release delayed by Atlantic Records. The label claimed the LP lacked potential singles, but Fiasco’s refusal to sign a 360 deal probably didn’t help. The wait got so intense that fans even held protests outside of various Atlantic offices in order to get the album out. Atlantic finally heard their cries and, deciding that perhaps giving into the demand was a sound business move, announced the album’s March 2011 release. With tracks like “I’m Beamin’”, first single “The Show Goes On”, and “What U Want”, we’re just glad the album’s finally getting its time to shine. -Chris Coplan
March 8th via Atlantic

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2010/12/Show-Goes-On.mp3" text="Lupe Fiasco - 'The Show Goes On'" dl="0"]

R.E.M. – Collapse Into Now

For Collapse Into Now, R.E.M. took the rulebook they compiled for their last album, 2007′s Accelerate, and threw it out the window. Forget about speed or getting back to a core sound; according to Mike Mills’ interview with Rolling Stone, it’s all about creating the best songs they can. Produced by Jacknife Lee (U2, Snow Patrol, Weezer), the band’s 15th record will feature a bevy of special guests, including Eddie Vedder (on the first single,”It Happened Today“), Joel Gibb, Peaches, and Patti Smith. It was recorded in multiple cities, such as New Orleans and Berlin, with the trio taking breaks in between to edit the material. “The songs go from one type into another really easily, and it all seems to fit as a piece,” Mills says. “It makes sense as a whole the same way that Automatic For The People did.” All that’s left to see is if R.E.M. can back that statement up. -Joe Marvilli
March 8th via Warner Bros. / Order via Amazon

R.E.M. – ‘It Happened Today’ (feat. Eddie Vedder)

The Dodos – No Color

The Dodos have quite an ambitious goal for their fourth album, according to an interview Meric Long did with Pitchfork: “One of the things that we intended to do was to really just make a record that was exciting, almost to the point where it might be unlistenable.” If No Color is half as exciting to listeners as it is to him, that, um, excites us. The San Franciscans have yet to put out a bad album, so any time they do release something, it’s worth keeping an eye out. It helps that Neko Case is involved, too. -Harry Painter
March 15th via Frenchkiss Records

New York Dolls – Dancing Backward in High Heels

Punk pioneers, and some of America’s favorite cross-dressers, the New York Dolls are back in 2011 with the release of Dancing Backward in High Heels. For the band’s fifth studio release, and third since reforming back in 2004, surviving original members David Johansen and Sylvain Sylvain chose to move the recording process to the birthplace of androgynous glam-rock, the UK. The album’s 11 tracks were recorded in Newcastle, England, and produced by Louis XIV’s, and one time Dolls’ touring bassist, Jason Hill. It seems with the passage of time, the Dolls’ sound has grown more “bluesy”, most evident in the cover of the 1962 hit by Patti Labelle and the Bluebelles, “I Sold My Heart to the Junkman”. While the release is still a few months off, samples are available via 429 Records. -Derek Staples
March 15th via 429 Records / Order via Amazon

The Mountain Goats – All Eternals Deck

The Mountain Goats’ donnish and prolific career continues in 2011 with the release of their new death metal album, All Eternals Deck. Well, it’s not a death metal album — at all. To clarify, John Darnielle, the man behind the Goats, hired metal guru Erik Rutan to produce a handful of tracks on the album. Rutan, former guitarist for Morbid Angel who now fronts the three-piece death metal band Hate Eternal, is one of four producers on the album, which was recorded in as many locations across the US. Darnielle likens the album to, well, “…if you have ever watched, say, a 70s occult-scare movie where one of the scenes involves a couple of people visiting a storefront fortune teller, getting their cards read, and then trying to feel super-hopeful about what they hear when what they’re visibly actually feeling is dread” or “the feeling of exultation that comes with having recognized the oncoming train of fate.” Sounds pretty metal to me. -Jeremy D. Larson
March 29th via Merge Records

Kanye West & Jay-Z – Watch the Throne

Critically, Kanye West’s My Beautiful Dark Twisted Fantasy was among the best albums put out in 2010. Commercially, however, West’s fifth LP failed to capitalize on the massive publicity campaign embarked on by the Chicago MC in the months leading up to the album’s release. America might still be pissed at Mr. West, but nothing helps heal wounds like teaming up with a rapper that even Oprah champions. Originally set to be released as an EP last fall, West and Jay-Z’s collaborative LP, Watch the Throne, has evolved into a 10-track full-length and is now due out sometime in March. Hopefully. Details-wise, little is known about the album, but heavyweights like Pete Rock, Q-Tip, and Madlib have been mentioned as producers, and Kanye has declared that the LP hears Jay-Z flowing like he did back in the Reasonable Doubt days. It’s hard to imagine this album not living up to the hype. Let’s just hope we hear it before 2012. -Alex Young
March? via Def Jam

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/01/Thats-My-Bitch.mp3" text="Kanye West & Jay-Z - 'That's My Bitch'" dl="0"]

The Strokes – TBA

We all know the story, but here it is one more time: The followup to 2006′s First Impressions of Earth was originally scheduled for release in 2009, but inner band disagreements delayed those plans over… and over… again. Frontman Julian Casablancas further threw us for a loop with the release of his solo debut amidst these supposed recording sessions. But in early 2010, progress on the record moved forward as the band began working with award-winning producer Joe Chicarelli (My Morning Jacket, The Shins) and renowned engineer Gus Oberg. No new songs were offered during the band’s 2010 live performances, but as of November 16th, 2010, the album is finished. Expect 10 songs to be included, and a March 2011 release date is promised. Cross your fingers. -Joe Marvilli
March via RCA

Lady Gaga – Born This Way

With Lady Gaga’s The Fame Monster becoming the world’s biggest-selling record of 2010 (5.8 million units!), its follow-up, Born This Way, is an almost guaranteed success. But what about quality? The conspicuous star has been fanning the anticipatory flames, promising a Polish crowd “the greatest album of this decade” – lofty considering the decade just started. She told BBC the album’s sound blends her usual dance-pop anthems with “metal and rock ‘n’ roll,” a sonic conglomerate sampled in live performances of new track “You And I”. On New Year’s Eve, Gaga revealed that Born This Way drops May 23rd, with the first single/title track (which Elton John calls “the new gay anthem”) landing on Grammy night, February 13th. So while the workhorse pounds the road again with another North American tour starting in February, it’ll be six months before we see how Lady Gaga meets the hype she’s created for herself. -Ben Kaye
May 23rd via Interscope

Beastie Boys - Hot Sauce Committee Pt. 2

When founding member Adam Yauch (MCA) announced that he had cancer in 2009, the Beastie Boys’ upcoming double album was put on hold. A year and a half later, Hot Sauce Committee Pt. 1 is still delayed indefinitely, but the second part will be available in early Spring. The Beasties’ eighth studio album will feature 16 tracks and include collaborations with Nas on “Too Many Rappers” and Santigold on “Don’t Play No Game That I Can’t Win”. Comparing the tracks to previous work, Yauch stated, “It’s a combination of playing and sampling stuff as we’re playing, and also sampling pretty obscure records. There are a lot of songs on the record and there are a lot of short songs and they kind of all run into each other.” Sounds like a good way to end the fight with cancer. – Jack McGrew
Spring via Capitol Records

Beastie Boys – ‘Too Many Rappers’

Death Cab For Cutie – Codes and Keys

Death Cab For Cutie fans who thought that 2008’s Narrow Stairs was a bit of a downer apparently aren’t alone. “There’s a level of self-loathing that I’m embarrassed about, it’s a really dark record,” frontman Ben Gibbard told SPIN. “I didn’t want to make that record again.” He added that the creative process for Codes and Keys entailed the band building songs from singular riffs or vocal lines and that the “achingly gorgeous” title track is a sprawling, seven-minute mostly instrumental number, which includes DCFC’s first string arrangement in over a decade. Throw in songs that originated solely from guitarist/pianist Chris Walla’s demos, and it’s no wonder Gibbard feels “so proud of this album” that he doesn’t really care if people like it or not. -Ray Roa
Spring via Atlantic

Dr. Dre – Detox

It only took a little more than a decade, but hip-hop’s Chinese Democracy is finally coming out. Really, we’re not kidding. Sure, Detox doesn’t have an unofficial release date yet, but it’s hard to ignore the events of the past six months: October found us thinking that Dr. Dre was too busy working out with LeBron to release an album. Then a song leaked, and another one leaked, then we got a video. Three days after Christmas, Eminem and Fiddy finally made us really want to buy Detox. Throw Def Jam’s press release in with news that Dre will promote the album through a Facebook game and what we’ve essentially got here is a promise that can’t be broken. -Ray Roa
Spring via Aftermath/Interscope

Dr. Dre – ‘Kush’ (feat. Snoop Dogg, Akon)

Foo Fighters – TBA

What’s not to love about Dave Grohl? He sings, he plays guitar, he drums, and he smiles. He’s just a downright honest guy. That’s why when he insists that the next Foo Fighters record “sounds big”, we’re apt to believe him. After finishing up his gig in Them Crooked Vultures, Grohl set the ball in motion last September, when production on the Foo’s seventh album began. From what’s been said, fans can expect a celebratory record. Grohl told BBC recently that “there’s not one sleepy ballad” and that there are several familiar faces involved. In addition to having producer Butch Vig at the controls, the album also sports longtime collaborator and now full-time member Pat Smear (of The Germs, but also considered Nirvana’s “fourth” member) and, incidentally, former bandmate Krist Novoselic, who plays accordion and bass on a track titled “I Should Have Known”. Throw in the little fact that the whole thing wasn’t recorded with computers — all on analog tape, actually — and you might see the group carving out their finest record since their debut. But, we’ll see come Spring. -Michael Roffman
Spring via RCA

U2 – Songs of Ascent + three other albums?

U2 may have gotten slightly tangled in the web of utter disaster that has been the Spider-Man musical, but as long as it doesn’t delay their upcoming studio album, we’ll try to forgive ‘em. Though we’ve yet to get an actual track listing or release date, we do know a handful of details about the band’s 13th LP. Originally planned as a companion album for 2009′s No Line on the Horizon, Songs of Ascent will be produced by super producer Danger Mouse (Beck, The Black Keys, Gnarls Barkley). While we’re not entirely sure of what to expect, bassist Adam Clayton does warn us that it’s not “going to sound like familiar U2 territory at all.”

This album isn’t the only unfamiliar territory that the Irish band is going into lately. Songs of Ascent is only one of four albums that they’ve been working on recently, starting with the soundtrack to Spider-Man: Turn Off The Dark. Aside from that, U2 also plans on coming out with a dance/club-sounding album produced by will.i.am, David Guetta, and RedOne, as well as a Steve Lillywhite-produced album of unused tracks from their most recent LP, No Line on the Horizon. As of now, there are no official release dates for any of the records. -Dana Grossman
Songs of Ascent due in Spring via Interscope; Other albums TBA via Interscope

Coldplay – TBA

While it wasn’t out in time for Christmas, it’s safe to expect Coldplay’s fifth album at some point this year, though we hope it sounds nothing like the Christmas single the band put out. Coldplay supposedly recorded a load of songs and are weeding it down to album length, which has meant delays. Another reason for delays might be how seriously the group is taking this album. Chris Martin told BBC Radio 1′s Zane Lowe, “We’re going for it. We regard this as our last big shot.” In 2009, The Sun reported Coldplay was recording in a church. So, this could be super serial. Like, Arcade Fire serial. -Harry Painter
2011 via Capitol Records

Also stay tuned for…

– Aphex Twin – LP #6: Something is coming March 12th, 2011.

– Beyoncé – LP#4: — According to producer Sean Garrett, Mrs. Hova’s fourth full-length “[is] going to be her biggest album ever.”

– The Cars – Free: It took 23 years, but the new wave icons will soon return with their seventh LP.

– Daft Punk/The Third Twin – LP#4?: Maybe/hopefully not?

– Fleet Foxes – LP #2: In the works for nearly two years, Fleet Foxes completed their “less upbeat” sophomore LP last September. Most details are still forthcoming, but a Spring 2011 release date is expected.

– How to Destroy Angels – LP #1: Trent Reznor says he’s proud of the band’s debut EP, but it was merely “the results of a couple of months of experimentation and tinkering.” In other words, he’s now ready to kick your ass.

– Jane’s Addiction – LP #4: Featuring TV on the Radio’s Dave Sitek.

– Justin Bieber – LP #2: Featuring Kanye West.

– Lil Wayne – Tha Carter IV: “6’7″ is just the start of Weezy’s 2k11 takeover.

– Queens of the Stone Age – LP #6: Recording begins in January.

– Radiohead – LP #8: A batch of songs has been completed, but Thom Yorke and friends aren’t done quite yet. One way or another, though, we fully expect music’s most important outfit to return at some point in 2k11.

– Rage Against the Machine – LP#5: So says Google Translate.

– Red Hot Chili Peppers – LP #10: Flea plays piano and Josh Klinghoffer replaces John Frusciante on guitar for the Peppers’ long-awaited follow-up to 2006′s Stadium Arcadium. It’s supposedly due in the “beginning of Summer 2011.”

– Rick Ross – God Forgives, I Don’t: The Teflon Don is wasting no time in following up his 2010 masterpiece. The rapper’s fifth album is “60% done,” with the Drake-featuring first single, “Made Men”, already available for streaming.

– Ryan Adams – LP #13/Blackhole: The wifey finally let him skip weekend trips to Ikea.

– The Shins – LP #4: Four years is long enough.

– Tenacious D – The Rise of the Phoenix: The comedy duo’s “R-Rated” third album is due out in late 2011.

– The White Stripes – LP#7: Jack White seems pretty content with his current role as record label/producer extraordinaire, but sooner or later, he’s got to give the people what they want. How else is he going to make money (via eBay)?

– Wilco – LP#8: Work began last October.

Jimmy Fallon’s late night musical offering has evolved into an unbeatable force (minus the times when Jack decides to show up on CoCo), but two other after-hour talkers made pretty strong efforts last night. While J-Fal watched Iron & Wine debut their new track “Half Moon” (which was introduced by internet celebrity Ted Williams, David Letterman hosted The Walkmen and their dazzling Lisbon gem “Juveniles” and Jimmy Kimmell introduced the masses to California up and comers Young the Giant, who played two tracks, “My Body” and “Apartment”.

Courtesy of The Audio Perv, you can watch Iron and Wine’s performance above and clips of The Walkmen and Young the Giant below. Update: Iron & Wine also did a web exclusive performance of “Teeth in the Grass”, off 2004′s Our Endless Numbered Days. Check it out below as well.

Iron & Wine – “Teeth in the Grass”

The Walkmen – “Juveniles”

Young the Giant – “My Body”

Young the Giant – “Apartment”

Update: For those who missed it, you can re-watch the entire performance here.

Some digital stocking suffers for you: Beach House have released a free Christmas-themed track titled “I Do Not Care For The Winter Sun”, while Iron & Wine are offering another taste off their forthcoming album in the form of “Tree by the River”. You can grab both selections for free by clicking here and here. Just have your email address handy for the latter.

In an issued statement (via TwentyFourBit), frontman Ben Knox Miller described their choice of studio as “the main instrument for the whole record” before going on to describe the resonance in the space as chilling. The band experimented with various mic set ups, which Miller says “caught the sound barreling across the room.” The band brought in Mike Mogis (Bright Eyes, Monsters of Folk) to mix the record, handling the production themselves. Additional mixing was done by Jesse Lauter (Elvis Perkins) in New York City.

Ahead of the release, the four-piece of Knox Miller, Jeff Prystowsky, Jocie Adams, and Mat Davidson are set to hit the road with Carolina Chocolate Drops next month. They’re also playing a pair of January shows in New York and Los Angeles, with the latter also featuring Iron & Wine. Tickets can be purchased via the band’s official website.

The Low Anthem 2010/2011 Tour Dates:
12/04 – Atlanta, GA @ Variety Playhouse ^
12/05 – Birmingham, AL @ The Bottletree
12/07 – Nashville, TN @ Mercy Lounge ^
12/08 – Knoxville, TN @ Bijou Theater ^
12/09 – Asheville, NV @ The Orange Peel ^
12/10 – Charlotte, NC @ The Neighborhood Theater ^
12/11 – Raleigh, NC @ Lincoln Theater ^
01/13 – New York, NY @ Lincoln Center – American Songbook
01/26 – Los Angeles, CA @ The Wilern %

^ = w/ Carolina Chocolate Drops
% = w/ Iron & Wine

Well, this time I actually mean it this time. And if you’ve taken a look at our site recently, you’ll see what I mean. And even if you haven’t the sheer size of the following round-up of music-related events will surely give you the right impression.

We’ll see you at the same time, same place, next week, provided you haven’t slipped into a food-induced coma by then.

– Arcade Fire and Spike Jonze collaborated on a new music video.

– Foo Fighters will headline Sasquatch! 2011.

– Lollapalooza will launch a South American spin-off next spring. Now the good people of Santiago, Chile will have a chance to pay way too much for beer and stay out until (gasp!) 10pm.

– The White Stripes will reissue their first three albums.

– Earlier this week we posted a link to a six-minute sample of Daft Punk‘s  Tron: Legacy soundtrack. Why settle for that when you can sample the entire thing?

– Girl Talk gave away his new album for free. Get it now if you haven’t already. And see if you can name all the samples used in it without consulting this website.

– Primavera Sound announced some seriously amazing additions to their lineup.

– It’s finally happening. The Beatles‘ entire catalog will soon be available on iTunes. (Do you suppose this means that Glee and Niki Minaj will finally be booted the top ten?)

– Sufjan Stevens made his late night debut with a performance of “Too Much”.

– He’s not even two weeks out of prison and Lil Wayne released a new track. Seriously.

– A Joe Strummer biopic is reportedly in the works.

– New tracks from Dr. Dre‘s Detox dropped. One features Akon, the other Eminem.

– Iron & Wine detailed their forthcoming LP. He also played a show in Miami recently, which Lauren Guagno  reviewed.

– Ghostface Killah AND Redman announced solo efforts this week. Yes, the Wu Tang reunion is still on. And, yes, RZA‘s still the only one holding out.

– The Strokes finished their new record… at least that’s what Julian said.

– Still reeling from this year’s Bonnaroo? Well, it’s time to get geared up for the next one since the festival’s organizers set the 2011 installment’s dates.

– Joanna Newsom’s not dead, I promise. However, she is getting her own tribute album.

– And speaking of tributes, Neil Young‘s tribute concert has some impressive artists lined up.

– The original members of Depeche Mode reunited for a remix album.

– It looks like we’ll have to wait a little long for that new Guns N’ Roses title than we originally thought. Shockkker.

– Arcade Fire and Spike Jonze collaborated on a new music video.

– Foo Fighters will headline Sasquatch! 2011.

– PJ Harvey‘s not telling us something, at least not right away. Click here to find out more.

– I bet you didn’t know that Flava Flav is planning a vodka and fried chicken franchise, did you? Well, he is.

– After the big fuss we made about Kanye West‘s My Beautiful Dark Twisted Fantasy someone actually had to review it. Michael Denslow stepped up to the plate.

– We don’t cater exclusively to indie rock elitists. We also review artists your mom likes, like Norah Jones. Check out Chris Coplan’s take on her latest title here.

– Jeremy Larson chatted up Paul Sprangers of Free Energy.

– Nick Freed did likewise with Tim Kasher.

– We posted our look at  sophomore slumps titled “And Then There Were None.”

– Not sure what kinds of coal, er, presents to buy for your loved ones? Consult our holiday gift guide.

At the beginning of the show, I immediately received what I hoped for. Arriving early at Miami Beach’s Fillmore, I was able to get to the very front, right at the center of the stage, where I waited patiently until the show would start. I thought to myself how special the experience was going to be. I was able to place my hands on the cool surface, making me feel connected in a way I’ve never felt.

As I was saying, what I hoped for was the quiet, enchanting music I’ve come to know by Iron & Wine. As soon as Beam quietly took the stage by himself, with an acoustic guitar in tow, I knew I was going to get what I wanted. He began with an a capella and yet flawless version of “Flightless Bird American Mouth”, followed by an acoustic rendition of “Upward Over the Mountain”, which was, again, beautiful.  It didn’t take long at all for me to grab my boyfriend’s hand and close my eyes. It sounds cheesy, but it’s true. The third song he would play alone was “The Trapeze Swinger”. Everyone seemed to be in synch with one another and all was quiet and still, give or take a few sways. Hearing Sam Beam sing, “Please remember me,” over and over again was heart breaking and it was just what I began to expect from this show. I thought to myself how peaceful and content I felt, but, quickly after, his band joined him on stage and a wide array of sounds filtered throughout the air.

It wasn’t too different at first. They played “Peace Beneath the City” and it gave the same affect on myself and the crowd, but I immediately felt like I was losing that intimacy. Then, sure enough, the ensemble shuffled out song after song and eventually it just took me away from the state I was in. I looked at the people around me and got the feeling that I wasn’t alone in this. I even heard some people asking, “What is this?”, to their friends and loved ones. It wasn’t too odd, that is until I started noticing the stark differences. Well into the set, I heard the beginning of what somewhat sounded like “The Sea and the Rhythm”. To get personal, I listen to this song when I need help falling asleep because it’s normally an incredibly soothing tune. However, I couldn’t tell what I was hearing live, simply because of the added drums and distorted sounds. When he started singing, and I realized I did get the song right, I was actually deeply upset. I have nothing against the idea of altering songs for a live show, but this was a completely different song.

Basically, the remainder of the set featured songs I’ve come to know that felt oddly unfamiliar to me. (With the exception of new tune “Monkeys Uptown”, off his forthcoming album, Kiss Each Other Clean.) There were so many different sounds coming from the stage that, in hindsight, it just seemed unnecessary. I wasn’t sulking or complaining. I actually tried to get back into the feeling I had in the beginning. Sam Beam has this angelic voice I only associate with very few such as Jónsi and this is why I yearned for the familiar yet original, stripped-down sound. Instead, his voice just felt distant, shielded by all of the instrumentation.

In the end, I don’t mean to come off as whiny. Maybe I’m wrong and people around me were enjoying it more than I thought they were. Although I am making it sound like it wasn’t a good experience, it was. However distant, hearing Sam Beam’s voice is still a treat that I’m glad to have experienced.

Next time I’ll just have to catch his strictly acoustic show, apparently.

Setlist:
Flightless Bird, American Mouth
Upward Over the Mountain
The Trapeze Swinger
Peace Beneath the City
No Moon
Naked as we Came
Woman King
Morning
Carousel
Love and Some Verses
Monkeys Uptown
House by the Sea
The Sea and the Rhythm
Pagan Angel and a Borrowed Car
In My Lady’s House
Summer in Savannah
Innocent Bones
——

Gallery by Lauren Guagno

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Above, you’ll find the artwork for Iron and Wine‘s forthcoming album, Kiss Each Other Clean, and below the 10-song tracklist. For an early taste, grab the album’s first single, “Walking Far From Home”, as a 12″ Record Store Day single on November 26th (aka Black Friday) or digitally on November 30th. The entire album will follow on January 25th via Warner Bros. And now you know.

Kiss Each Other Clean Tracklist:
01. Walking Far From Home
02. Me And Lazarus
03. Tree By The River
04. Monkeys Uptown
05. Half Moon
06. Rabbit Will Run
07. Godless Brother In Love
08. Big Burned Hand
09. Glad Man Singing
10. Your Fake Name Is Good Enough For Me

– A 12-inch colored vinyl version of Cee-Lo’s “Fuck You”, which aso includes the instrumental version.

– MGMT’s “Congratulations” on a gatefold 7-inch with a remix by Erol Alkan and a 20-page storybook.

– A 7-inch single from Bruce Springsteen with “Because the Night” and “Save My Love” from The Promise: The Making of Darkness on the Edge of Town.

– The Walking Far From Home EP from Iron & Wine featuring a title track, “Summer in Savannah”, and “Biting Your Tail” on 12-inch vinyl and CD.

– A translucent 7-inch vinyl featuring archival versions of Bob Dylan’s “The Times They Are A-Changing” and “Like a Rolling Stone”.

– The Gaslight Anthem covering The Rolling Stones’ “Tumblin’ Dice” plus a previously unreleased track on colored vinyl 7-inch.

– A 12-inch of “Heathen Child” by Grinderman, as well as a version with Robert Fripp.

– Tracks from Sharon Jones & The Dap Kings’ I Learned the Hard Way spread across 11 7-inch singles with 10 bonus songs and 8 instrumental versions.

– Four previously unreleased songs from Dr. Dog on a double 7-inch single.

– A 10-inch Drive By Truckers single with a holiday motif.

– Roky Erickson’s DVD, Night of the Vampire, featuring his live performance in L.A. with The Black Angels as support.

– Three live tracks recorded during U2’s European tour in 12-inch format called Wide Awake in Europe.

– Metallica’s 2008 live concert recorded in Nashville’s Grimey’s record store’s basement on CD and double 10-inch.

– The Ting Tings’ “Hands” with a remix by Passion Pit on 7-inch.

– A single from Soundgarden on 7-inch featuring the previously unreleased “The Telephantasm” and a live version of “Gun”.

– Anthrax’s Live At The Sonisphere 10-inch picture disc.

– KT Tunstall’s Have Yourself a Very KT Christmas.

– The long out of print self-titled debut from Queens of the Stone Age on double-gatefold, colored, 180-gram vinyl plus download (hardcopy to come December 7th).

– A 7-inch plus mp3 from Cage the Elephant featuring “Shake Me Down” and “Aberdeen” from their forthcoming album.