On June 28th, Island Park in Williamsville, NY will become the center for a new, one-day festival, setting up shop right in the middle of suburbia. Intune Music & Lifestyle Festival will be laying down its inaugural foundation for a day of music, artists, workshops, and other various activities. Upon speaking with one of the organizers, Amanda Gutierrez, she said that the festival is a tribute to a friend, Zack Yambor, and their goal is to turn the pain of his loss into a positive for the community. The vision is truly inspirational and what they plan on encompassing within the gates is a large offering to satisfy anyone who plans on attending.
Throughout the day, those in attendance will be treated to various musical acts such as Skyes, Sumkind, Steel Keys and Brass, Bertioga, Dysrupt, and Kooli. Headlining the festival though is none other than Break Science, featuring Lettuce drummer Adam Deitch. Besides the music, there will be eight free workshops, teaching anything from yoga to live graffiti. Local farmers and food vendors will be there as well to show off their latest with live cooking demos. The fest will take place from noon to 10pm and feature a jam-packed day for a great kickoff! Tickets are $20 presale and you can get them here.
And if you’re a musician who’s interested in playing, there’s still TWO open slots that the organizers are looking to fill via a contest. Hit the link if you think you have what it takes.
With so much to offer, here’s a summary of activities you can expect to see at the festival.
MysteryLand USA was my first EDM festival but I doubt it will be my last. As a middle aged rocker that occasional enjoys the occasional jam band, I really didn’t know what to expect. However, when I got to the grounds of the original Woodstock at Bethel Woods, I could already feel the excitement in the air. My normal routine for festivals or concerts is to get there early and to scout the stages and setup. I start planning my shots and my day with no one else around, understanding the lay of the land. For Mysteryland this was at high noon on Saturday, and there wasn’t a single light, laser or LED to be seen. There were however, huge circus-style tents, a Spanish stage with sugar face designs, a vinyl area with old albums all over and an octagon building that was brought over from the Netherlands. There was even a large boat set-up as a stage. But the highlight was the main stage. It was a house of cards, no, it was a castle of cards. It looked amazing and in the middle was an area that the DJs and artists could practice their craft and entertain the 20,000 fans in attendance.
When the gates finally opened all the festival-goers were greeted by sheriffs and state troopers with their canine unit drug sniffing dogs. Festival organizers, ID&T, said they were going to run a clean festival and to the best of their ability they did a great job. After spending two days, it wasn’t the typical cloud of smoke, nor did I walk by underage drunks passed out at three in the afternoon. Did I mention that they enforced a 21 and over policy? Additional fences were added to increase security and there were 850 people working the festival besides the 250 performers. This wasn’t the normal festival; ID&T were planning for the future and wanted to prove to their hosts that they could offer up a quality, successful festival on the holy grounds of Woodstock and keep it safe and clean. The goal wasn’t as much about making money as it was getting an invitation back.
One of the aspects of the festival that I did look forward to were the costumes the ravers put together to express themselves. While some outfits were purchased, it seemed like most extravagant and therefore the best ones were handmade. I saw people dressed as animals, Dr. Seuss characters, the whole cast from Alice in Wonderland, aliens and more. There was even a parrot and a pirate combo with her on his shoulder, put that by the boat stage and it was the perfect scenario. As per any electronic music event, there were no shortages of hula hoops or fuzzy boots, and more than your fair share of glitter and body paint. A few of the outfits (or lack of) made me thankful that I have three sons, because if I had a daughter wearing a bra and panties out in public I wouldn’t be the happy-go-lucky guy that I am. Honestly in the proper setting it really does barely raise an eyebrow.
Some of the things that made Mysteryland unique compared to most festivals that I’ve been to were the amount of International visitors. Over 27 countries were represented and more than half the states also had a solid presence. The European touch on the festival was evident in the hospitality and organization, especially in the media area. Overall this festival was other worldly and I look forward to the next one.
In its largest attended event, the seventh annual DelFest of 2014 kicked off with host The Del McCoury Band breaking wide open the second observation: that music would achieve excellence whether it be felt by the souls of the listeners or performed by the masters. Music would take on a leading role in the senses of the receiver’s mind, body and soul.
A community of music aficionados amassed Memorial Day weekend below the ridges of the Allegheny Mountains. Location is the first noticeable observation. Two mountain ridges overlap to form a V shape and an enormous American flag proudly waved in the tender breeze in the forefront. The natural and vast stonewall embedded into the mountainside provided a sense of security. The trees lining that same stone ridge were so green summer dripped off the stems of the distant leaves but ever so gently whispered “love,” from, earth. One could sense that something great would happen.
“Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven.” ~Henri Frederic Amiel
The identity of DelFest is defined through lack. It lacks the mainstream energy in spite of approximate 10,000 gatherers. DelFest lacked in a garbage strewn concert field, instead a lush green lawn cushioned dancing feet (thanks to Clean Vibes). DelFest lacked individuality dictated by ego of its guests but rather like-minded strangers embraced diversity and co-creation was encouraged. DelFest lacks in standardized instruction but rather affords educational mind expansion by offering guests The DelFest Academy. Chosen student musicians were given the opportunity to perform on stage Thursday night. Cheaper by the Half Dozen played the traditional version of “CC Rider” and Caterpillars on the Bow rocked a bluegrass version of Dylan’s “Knockin’ on Heaven’s Door.” DelFest lacks in providing popular genre yet nurtures niche music with roots so deep only those that know it, understand it.
As the long weekend began to take shape, the third observation began to unfold – a sense of community. If music had the sun, community had the moon and under puffy white clouds by day and a billion stars by night, those elements co-mingled in harmony. Nothing and everything mattered at the same time. Acceptance was immediate and therefore fear of everyday life dissipated into the distant forests. Whether it was hula hooping or dancing or arts or picking at a campsite, ancient tribal rituals were called into play giving birth to a spiritual movement.
Every community develops its own tradition and DelFest is no exception. Although the DelFest dictionary has not been written, a spoken language has emerged. A rather simple collection of phrases, words and actions gave rise to an even greater sense of community and Del McCoury himself was not only center stage, but often interacted as well. The “Delfie” (think Del selfie) was an added goal of festival attendees. The “Delbow,” the act of touching elbows was another way of giving love (unless a hug was otherwise expected). Del is a prefix for any exclamation of excitement such as “Delmazing” or the first and most common term of absolute joy, “Del Yeah!” A group of men gathered together and wore “Delmets,” grey and white wigs to honor Del McCoury. Photographer Pati Bobeck was present when the “Delmet” boys were able to reach Mr. Bluegrass himself backstage for the most honorable “Delfie” of the weekend. Onlooker and wife of a “Delmet” boy proclaimed, “Del has the best hair in bluegrass!” The photo, turned Internet meme, captivated the unspoken kinship.
Kinship was celebrated on stage as well. Multiple guest sit-ins, collaborations, and honorable song covers sprinkled throughout artists’ sets for the duration of the weekend. Emcee and musician, Joe Craven introduced each band with eloquent words. The moment the newly rearranged Yonder Mountain String Band appeared, no one could have expected the exceptional delivery. Famed dobro artist, Jerry Douglas, John Frazier on mandolin and The Traveling McCoury’s packed a wallop to a receptive and appreciative crowd.
Headlining Friday and a late night set Saturday, Railroad Earth is the true embodiment of colliding energy defying the natural. Opening with “Seven Story Mountain”, with its mystic middle jam immediately secured the enchantment of the dream. The set was bolstered with songs of distinction attracting more of the same brilliance the weekend was offering. Mysteriously appearing out of the fog of the late night stage, mandolin maestro’s Ronnie McCoury and artist at large Jeff Austin collaborated for an extraordinary version of “Head.” Fiddler Timothy Carbone could not hold back his excitement and bellowed out mid song, “Look who!” Download the show here.
First time to the DelFest stage, Ricky Skaggs and fellow bluegrass hero brought his Kentucky Thunder and a special partnership with piano virtuoso, Bruce Hornsby for an unfathomable combination of artists that astonishingly flourished. Community was the thriving theme of the weekend. The Del McCoury Band often fielded song requests from audience members. After performing late night and then again for the wake up slot the very next morning, Cabinet was not alone with bloodshot eyes hidden behind sunglasses. The crowd and Cabinet supported each other like the hazing initiation into the bluegrass club had been successful.
Both Carolina Chocolate Drops and The Reverend Payton’s Big Damn Band equally embodied the unrestricted communal ideal, which interpreted into major crowd participation. Creatively, Carolina Chocolate Drops, a traditional African-American string band included historical facts with talk sets between songs. The anomaly of a black man and a banjo was quickly erased when Rhiannon Giddens factually tutored the crowd. She expunged racial inequality by speaking truths such as that of the history of the banjo; initially the picking instrument was traditionally a black instrument until the mid-nineteenth century. Whites integrated the instrument into the mainstream to what is now known as modern country and bluegrass. Download their show here.
The most poignant performance was also a most tranquil and comfortable release of any emotion that may have been left over. Tim O’Brien and Darrell Scott dug deep, a subterranean level reaching the core of human emotion. At any moment during the duo’s set, a stream of consciousness could be attained and catharsis being the end result. O’Brien opened with “Walk Beside Me,” a song made known by Railroad Earth and anyone familiar with their setlists would know it as “TOB” – Tim O’Brien’s initials. O’Brien is the place where songs begin and just as his webpage states, “things come together.”
For the grand finale, The String Cheese Incident took the stage Sunday night opening with “Song in my Head,” the title track from their first release in nine years. String Cheese fused bluegrass, rock and slight elements of electronic, reaching in and pulling out the inner child, squeezing the last ounce of time left together at DelFest. The crowd was particularly receptive to an orchestra of players, including Tim O’Brien, Nick Forster, and Jeff Austin during a rendition of Grateful Dead’s, “I Know You Rider.” Included in the second set was a nod to album producer Jerry Harrison, with a cover of “This Must Be the Place (Naive Melody).” Download the show here.
Indeed, it was the place. An adjacent railroad on one side and a river yonder provided the texture reminiscent of Americana sustaining the essence and the very music heard at DelFest. Everything came together with great success as though the collective whole swallowed the Divine and breathed it out onto the fairgrounds. Music provided harmony, the harmonization was perfect, the dream was attained and heaven was found on earth.
Woodstock has gone through two major official reincarnations since the original fest changed the musical landscape forever. With the 45th anniversary this year, many have wondered whether the third installment of this epic music festival would be in the works. While this appears to not be happening, original promoter and co-creator Michael Lang appears to be in the early planning stages of the 50th anniversary of Woodstock, an event that launched so many careers into the stratosphere.
Details are minimal at this point: the site will likely be near the original Bethel site, and it’s anyone’s guess which bands will be present. Considering the past two were fraught with issues (Mud, fires, crime etc.), one would hope they go back to the original mindset: hippies, peace and love. NYS Music will be monitoring this story and keep you abreast of any changes. Who would you like to see at Woodstock’s 50th?
On day three of Rock on the Range, rangers traded in their ponchos for T-shirts and bikinis. Already a step ahead of the first two days before it had even begun, a karaoke version of “Sweet Caroline” had everyone singing at the top of their lungs. The music faded out, replaced by the heavy guitar intro to “Pleasure and Pain”. Rather than waste time with small talk, they made the most of the short set, packing in as many songs as possible.
An opening slot on the main stage didn’t seem to do Trivium justice. Following the recent departure of drummer Nick Augusto, the band was still on point, getting everyone moving on their latest single “Strife” and setting the bar high for the bands that followed, with a contagious energy on closing song “In Waves”. Australia’s Twelve Foot Ninja brought the Jäger Stage a quirky and refreshing fusion of rock and reggae before it was time to return to the main stage for Adelitas Way. Lineup changes and some time off the road served the band well. Frontman Rick DeJesus never stood still, promising to join whichever side of the stadium gave him the most energy. The closing notes of “Invincible” came, and DeJesus made good on his promise, crowd surfing from the front of the pit to the back, and then back again. Asking Alexandria’s lead singer Danny Worsnop is working his way up again in new project We Are Harlot, featuring members of Silvertide and Sebastian Bach. The new group were obviously no stranger to big crowds, delivering an impressive and fast paced set. Wolfmother seemed to be an unusual choice with this years metal heavy lineup. Donning short shorts, guitarist and singer Andrew Stockdale hit every note without hesitation throughout a set that seemed to flow together like one long guitar solo.
Mastodon hit the main stage next, fueling the crowd with melodic metal. Each song had it’s own character with each member of the band singing a song or two to keep things fresh. Over at the Ernie Ball Stage, Of Mice and Men were playing to perhaps the most insane crowd of the weekend. A circle pit that looked more like a running track moved nonstop amidst an insane sea of bodies flying through the air.Impeccable skill from guitarist Mark Tremonti combined with the powerful vocals of Myles Kennedy made for an unforgettable set from Alter Bridge. The new single “Addicted to Pain” marked the first sighting of Spider-Man crowd surfing his way to the front, and the classically inspired guitar played against heavy riffs throughout the too short set.
The general consensus at past years of Rock on the Range appeared to be that Five Finger Death Punch brought a performance far bigger than their opening set times. This year the band was second to last on the main stage, and security had doubled in size in preparation. A traffic jam of crowd surfers rolled above the crowd the instant “Under and Over It” began. Each and every member did their part to entertain and interact with the crowd as they sped through a hit filled set list. Guitarist Jason Hook sat down with an acoustic guitar midway through the set, accompanying singer Ivan Moody on “Remember Everything”. The lighter ballad was the calm before the storm, which picked back up for the duration of the set.
Just a few short minutes after 9 pm, the lights on the Main Stage dimmed for the last time as headliner Kid Rock slowly made his way out onto the stage. Before he walked out, a clip of Journey’s “Don’t Stop Believin”” was played from the speakers and cut off appropriately during “born and raised in south Detroit” leaving the audience to scream the lyrics from the top of their lungs and officially introduce Kid Rock. He spoke a small prayer from behind the stage getting the crowd riled up in anticipation and finally emerged onto the stage accompanied by sparklers going off in the background. Kid Rock took into account that it was a rock show so he kept the energy high by jumping up and down across the stage and doing cool little mic tosses during “You Never Met a Motherf***er Quite Like Me.” Other songs included in the setlist were “American Badass,” “Cocky,” and of course, “All Summer Long.”
The 12th annual StrangeCreek Campout took place at their traditional location that is Camp Kee-Wanee in Greenfield, MA over the 2014 Memorial Day holiday weekend. Hosted by Wormtown Trading Co, this music festival has become a yearly tradition for dedicated fans, also known as “worms” or “creek freaks”, to enjoy a few days of “good times, great music and each other”. The 33 acres of woods and open areas left plenty of room for folks to explore and play for the weekend, while the three stages and cabin sets supplied a never-ending musical soundtrack.
Friday started with Eaturaura kicking off the main stage with their electronic dance music while B.A. Dario got the groove flowing on the River Worm stage with their heavy jams. The River Worm stage was the farthest, but worth the walk for it was located right by the Green River that saw festival goers consistently enjoying the rocky beach throughout the weekend. Wild Adriatic had great stage presence on the main stage as they threw themselves into their set of pure rock and roll and Consider the Source beckoned to the masses with their Middle Eastern hard jams. Turkuaz proved that you can’t stop the funk with the heavy rain that fell that evening as they still blasted apart the main stage, while Upstate’s Eastbound Jesus performed on a soggy Vernville stage with a sincere “North Country Girl” set closer. The Vernville stage was just on the outskirts of the woods in a clearing, in between the main and River Worm Stages, next to a graffiti tent of colorful weekend memories that were drawn. Donna the Buffalo sang out easy-going folk tunes to a sea of fans in rain jackets as Primate Fiasco was sheltered by the trees; their fans were deep into the mud and into their psychedelic Dixieland. The big headliner of the night was Zach Deputy, a one man band of funky soul with loops of spitting beats and contagious rhythm. Deputy recalls the fond memories he’s made at StrangeCreek, reminiscing of his first sets played there and how it “popped his festival cherry”. The late night music was held in the three cabins setup near the community bonfire and in the craft vendor village. Jeff Bujak held his Silent Disco set known as Silent Bujak with dance crazed techno and a stand out remix of Talking Head’s “Naïve Melody”.
Gabriel Marin of Consider the Source
Saturday brought sunshine and Hot Day at the Zoo to start the day off with their unique acoustic bluegrass blend that they have named zoograss . Combining progressive folk with rock and roll, the quartet put a new spin on classic favorites as they went from the Grateful Dead’s “Cumberland Blues” into a funky “Foxy Lady”. Domino Theory won hearts with their Americana light rock jams like “Everybody Love My Mary Jane” and guests were treated when Scott Murawski, guitarist from Max Creek, sat in for a few songs. The Lee Boys performed the always needed slide guitar soul saving for the festival. The Jiggle the Handle reunion brought together New England jam band fans for Max Creek drummer, Greg Vasso, and company for a set of improvisational rock and a wicked rendition of Paul Simon’s “I Know What I Know”.
The big act of the night, and for who the festival is partly named after, was Max Creek who shared the stage with a large inflatable duck mascot. The set started with some light plucking and bounce from “Windows” followed by Mark Mercier whispering out Paul Simon’s “Diamond’s on the Soles of Her Shoes” as the whole band brought out the upbeat island rhythm. They covered The Beatles “Come Together” with a serious jam that came marching out of it before ending the set with “Will The Circle Be Unbroken,” a traditional folk sing-along. As Silent Bujak took over the Holistic Cabin again, Pigeons Playing Ping Pong bounced in your face funk right next door around the Wormtown Cabin.
Sunday’s weather emphasized everyone’s gratitude and love for the StrangeCreek festival. With love in the air, the day started with a wedding on the main stage during the acoustic and adorable duo of Flagship Romance. They have smooth sailing ahead of them with their gentle love ballads as they serenaded the newlyweds and other festival goers who were treated to a full on reception with hot buffet. Plenty of guests were still arriving with day passes still available, and with a blue sky forecast, the last day of StrangeCreek was shaping up to be beautiful. Rev Tor Band filled the air with a light reggae gospel spell with their jazzy guitar riffs as Ryan Montebleau stood tall and solo with “75 and Sunny” being a great representation of the festival itself.
Alan Evans of Playonbrother
One of the most talked about tribute bands on the scene, Z3 is a Frank Zappa tribute trio and were joined with original Zappa band member, Ed Mann, on the main stage for an extra dose of authenticity. The Juicy Grapes squeezed out some soulful funk and sensual female vocals while Alan Evans Playonbrother rocked out with fresh material and a solid Cream cover of “Sunshine of Your Love”. Be on the lookout for Playonbrother at this year’s Catskill Chill as they will dedicate one of two sets entirely to Cream. The main stage came to an end with an all-out bust out from Rusted Root, as they celebrated their 25th anniversary with a set of world rock and percussion of all shapes. StrangeCreek continues to be a special gathering of first timers and longtime wormers in a family friendly environment full of music and good times. With a successful 12th year under their belt, StrangeCreek only has the best to look forward to.
If you’d like to hear some music from the festival, check out these free downloads from a few sets over the weekend:
Governors Ball, relatively new to the festival scene, is hitting Randall’s Island in New York City with force this coming weekend, June 6-8 2014. Growing from humble beginnings in 2011 as a one day festival with a dozen or so smaller acts, the 2014 festival is bigger than ever, having sold out while there were still just over two weeks to go before the show and is headlined by the likes of Jack White, Outkast, and the Strokes, among many other well known acts. Even in its beginning, Governor’s Ball has attracted more people than even Dave Matthews’ Caravan tour stop at Randall’s Island.
Several bands who have made or will be making other big festival appearances such as Coachella and Lollapalooza will be headlining each of the days, mixed in with smaller bands you may or may not be familiar with but promise to deliver a strong performance set against the Manhattan skyline. The four stages will have something for everybody, from indie/alternative rock to hip hop and electronica. With 68 bands scheduled at this time – and who knows what last minute surprises there may be – there were be plenty to choose from. has a few acts of note to see, both on the headliner and supporting band side.
Day 1 Headliners: Outkast, Phoenix, TV On The Radio
Outkast reunited this year after a seven year hiatus, taking the opportunity to celebrate their 20th anniversary (which passed in 2012 while on break). While they don’t have any new material since 2007 there is a bit of hype about their return. Try to be cool with Phoenix. The alt-rockers from France are still riding the wave of their chart-peaking 2013 release Bankrupt!
Don’t miss: Damian Marley, Bastille, Neko Case, Little Comets, Julian Casablancas & The Voidz
Day 2 Headliners: Jack White, The Strokes, Skrillex
The lineup for Day 2 is jam packed with festival goodness. Jack White and Skrillex both have sets going on simultaneously. Lazaretto, Jack White’s second solo album, will be officially released June 10, just a few days after the festival. What better way to get the ultimate live preview of some new tracks than in the company of thousands of others? Likewise, dubstep artist Skrillex released his latest album, Recess, in March.
Don’t Miss: Spoon, Broken Bells, Fitz and the Tantrums, The Naked & Famous, Sleigh Bells
Day 3 Headliners: Vampire Weekend, Interpol, AXWELL Λ INGROSSO
Governor’s Ball wraps up with the hometown talent of Vampire Weekend and Interpol along with Swedan-based house duo Axwell and Sebastian Ingrosso. Vampire Weekend released their chart-topping Modern Vampires of the City about a year ago.
Don’t Miss: Head and the Heart, Cayucas, Wild Belle
With Governor’s Ball’s strongest lineup yet this year, festival organizers have done a decent job with scheduling the four stages such that festival-goers can catch most of what they’d like to see. Since it is difficult to be in two places at once, there are a few overlapping sets where you may have a tough choice to make between stages (i.e., Jack White vs. Skrillex). We suggest looking at the full schedule posted at lineup.governorsballmusicfestival.com and making an itinerary in advance. The website makes this easy, featuring an interactive tool that allows you to make your own festival schedule and share with friends on Facebook and Twitter. There’s even an iOS and Android app to help guide you through the lineup.
The music doesn’t stop at 11pm. Well, Randall’s Island will hush to the chatter of the crowd at 11 but there are a number of after shows going on starting anywhere between 9pm and 11:30pm at venues in Brooklyn and Manhattan. Output Club, Brooklyn Bowl, Irving Plaza, Knitting Factory, and Grasslands Gallery will host several of the supporting bands along with others. Some after shows are sold out already, but the rest still have tickets available, and you can enter to win tickets to all of them here.The Strokes only recently announced a warmup show at the Capitol Theatre on May 31st, but tickets sold out rather quickly.
Governor’s Ball, 2013
Location/Lodging: Nestled on the East River between Queens and Manhattan (approximately parallel with the northern end of Central Park/115th Street), there is certainly plenty to do on the off hours of the festival for those who would to spend the earlier part of their afternoon off of Randall’s Island, especially since there is no lodging on the grounds. Randall’s Island is easily accessible by subway, bus, Manhattan Ferry, the Brooklyn Shuttle, bike, and even car/taxi. Governor’s Ball has partnered with Hotels For Hope to provide brokerage services to help attendees find a room, and for every room booked through this service $2 is donated to Answer the Call, a charity benefiting the widows and children of fallen FDNY and NYPD service members. So, check out this hotel search tool before going direct to the hotel to help a great cause.
Governor’s Ball offers a wide array of activities suited for the whole family (and yes, the festival is quite family friendly). Art installations will be on display – “surprises are in store” according to the festival. A photo booth will be set up, taking both stills and motion GIFs set against a logo backdrop. Lawn games will be set up in a tailgate help-yourself setting, so grab some friends and meet new folks over some corn hole and bocce. A face & body painting station will be on hand to add to your festival flair. There will even be a silent disco – a dance party with a live DJ performance pumped through wireless headphones.
Hungry? So are we thinking about what’s on the menu. Hint: it isn’t your typical nacho and cheese concessions. Foodies will be in for a treat with over 54 NYC-area vendors – food trucks, caterers, restaurants – showcasing their grub. From specialty sandwiches to Lebanese and Asian goodies to coffees and Italian ice, just to name a few, the festival experience will be well rounded with this spread. Not to mention gluten free and vegetarian offerings.
Couldn’t get your ticket in time? General admission is sold out but there are a very limited amount of VIP and Cabana tickets available, but at a price.
Still not able to make it? Be sure to follow on Facebook, Twitter, and Instagram for live updates from Governor’s Ball throughout the weekend!
Friday’s start of Boston Calling 2014 was a little far off from a “summer” music festival as the grayish-blue cloudy skies and chilly air swept through City Hall Plaza. “Banana Pancakes” singer and one of the most chill Dads out there, Jack Johnson ,noted humorously, “So Boston this is what you guys call summer? I had to put shoes on,” something that’s likely uncommon for the Hawaiian native. The weather however seemed to have no affect on the singer/guitarist as his voice sounded remarkably similar to what’s heard on his records and with his band including dazzling pianist Zach Gill, Johnson was able to bring the summer vibes to Boston. Upon one fan’s brief speech earlier in the night of discovering good music during Edward Sharpe & The Magnetic Zeros’ performance, Johnson responded during his own set, crediting Fugazi as the gateway introduction to his love for music.
Prior to Johnson taking the stage, the crowd heard performances from Cass McCombs and Edward Sharpe & The Magnetic Zeros. The Edward Sharpe gang brought sing along tunes that kindled high spirits and enraptured the city in one feel good atmosphere. Still to this day, nearly five years since their first album released, one song remains as absolutely relevant as it ever did, and that’s the widely popular “Home.” The group played the song acoustically and there’s just something about the realness of front man Alex Ebert’s voice and lyricism that paraded a calming nature over the crowd. Their performance also featured storytelling from Alex Ebert as well as members of the crowd. At one point Ebert went over the railing and into the crowd to take a phone from a girl who was filming. The singer filmed back up on stage before returning the video to the delighted fan. Edward Sharpe & The Magnetic Zeros carried out an involved show with their fans that broke down the barrier between audience and performer.
Though Saturday’s rainy overcast weather hung over Boston, spirits were high amidst the crowd with acts like Death Cab For Cutie, The Decemberists and The Head and The Heart all putting on great shows.
The last day of the festival featured some indie bands who been around for a while like Built To Spill, Brand New and Modest Mouse. Brand New front man Jesse Lacey credits both Modest Mouse and Built to Spill with much of their own band’s start up inspiration, saying that they likely wouldn’t be here without them. Brand New gave a straight up rock and roll show, smashing over amps and breaking off lights and using them to play their guitar for thunderous sounds. The night’s headliner, Modest Mouse, lit up Boston with everyone’s favorite dance party disco groove “Dashboard” and the well-known hit “Float On,” both of which had the audience in high applause. Tegan and Sara, another early 2000’s indie band, played Sunday to an excited crowd with heavy synths and stadium-like drums, fitting for their newest album.
This May’s Boston Calling festival brought connections between bands and their inspirations, gave the audience an important role in performances, and fought weather with spirits aided by music- pretty impressive for only the third-ever event.
Columbus, Ohio promised sunshine for Day Two of Rock on the Range, and by early Saturday morning it was pretty evident that we had no such luck. Sponsors and staff manned each and every entrance to Crew Stadium, armed with ponchos to hand out to already wet and weary rangers. What looked like a sea of garbage bags was really a dedicated horde of music revelers who stuck it out right from the start, filling the Ernie Ball Stage up in preparation for some Christian rock.
Kicking off the festivities was female fronted Stars In Stereo. With everyone’s ears still ringing from the night before, the melodic tone of front woman Bec Hollcraft’s vocals were a great way to ease into the harsher male dominated lineup to follow. Fellow Christian rockers We As Human hopped on next, wowing the crowd with their nonstop antics. Between climbing the scaffolding, towering high above the stage, and jumping into the pit for some crowd participation, the set was anything but dull.
The Main Stage didn’t get off to quite as energetic of a start, with opener Rev Theory clearly growing frustrated by the lack of enthusiasm. As the rain poured down for the worst storm of the day, the band did their best to distract the crowd and finally succeeded when they broke into “Hell Yeah”, during which it was nearly impossible not to crack a smile.
The Jägermeister Stage hosted one of the biggest breakout acts of the weekend next. Pennsylvania’s Crobot reminded rangers what true rock ‘n’ roll is all about – dirty, grungy hooks to bring the genre back to its purest form.
The sun finally started to “Shimmer” when Fuel took the stage to rock out to some newer tracks followed by the old favorites. The second half of their set was a welcome throwback for twenty-something’s to reminisce their glory days.
Winning the award for quirkiest band of the day was Sweden’s Avatar. The metal band’s short Jägermeister Stage set provided some unique entertainment while the main stage was set up for Pop Evil.
With a recent string of #1 singles under their belts, it was no surprise that the main stage was packed when Pop Evil arrived. Drummer Joshua “Chachi” Marunde moved around more than most singers do, and frontman Leigh Kakaty made sure the crowd was awake by jumping in for “Last Man Standing”. The real show began, however, when members of the armed forces joined the band on stage to close the set with “Trenches”, featuring a jaw dropping collaboration with Run DMC that had everyone talking for the rest of the day.
Another new act hit the Ernie Ball Stage next, Texas natives Nothing More. They incorporated some unique elements, including a separate small drum at the front of the stage that frontman Jonny Hawkins would drum and jump on throughout the set.
Theory of a Deadman lit up the main stage with some entertaining singalong tracks, including “B***h Came Back” and “Bad Girlfriend”, as well as throwing in a more serious ballad, “Not Meant to Be”. With everyone bouncing and singing along to each of the songs, it was clear that the band was a Rock on the Range favorite.
The Pretty Reckless, the second of two female fronted bands slotted for Day Two, hit the Ernie Ball Stage. Lead singer Taylor Momsen’s voice was a force to be reckoned with, and the overall charismatic nature of the band shone through throughout their set. Chevelle began what was to be a heavy night to follow, building up the energy level that would remain until the final band left the stage with nonstop crowd surfing and moshing. The band may be a trio, but lead guitarist/singer Pete Loeffler had no problem amping up the crowd on his own.
With the side stages closed for the evening, it was finally time for Slayer.
The pit suddenly transformed into a hulking mass of muscles and bald heads, scaring away the younger crowd for the duration of their hour long set. Holding nothing back, the band powered through an intense set, clearly unaffected by recent lineup changes. Closing out with “Raining Blood”, Crew Stadium exploded into a frenzy of bodies flying in every imaginable direction.
Not to be outdone, Avenged Sevenfold brought their spectacularly haunting stage set up to close out Day Two. With too many hits to choose from, the band did their best to please everyone from the most diehard fans to brand new ones, making sure to include a few from each album. Without the addition of fireworks and pyrotechnics, the set would arguably be one of the best of the day. With them, it was a no brainer.
Midway through the set, lighters filled the sky as the band slowed things down a bit to honor the band’s late drummer, Jimmy ‘The Rev’ Sullivan. Frontman M. Shadows took a moment to let the crowd know that they are not a band to usually use tracks in their live show, but revealed that that the vocals we had been hearing in the background all night, in fact, belonged to Sullivan. An impressive guitar solo preceded the final few songs of the night, wrapping up with “Unholy Confessions”.
While at Mysteryland USA 2014, writer/photographer Chris De Cotis had the opportunity to sit down on Sunday, May 25th for an interview with DJ and electronic musician Moby, not long after he arrived at Bethel Woods Center For The Arts. Richard Melville Hall is a classically trained musician who has been performing in the electronic dance music scene for three decades. He ascended to fame and commercial success in the late nineties while I was still in college and earned a Grammy award three years in a row from 2001-2003. I asked him questions about his career as a musician and about his perspective on electronic dance music, music festivals, and the music industry. His stage name is a nickname given to him at birth; he is a distant relative of Moby Dick author Herman Melville and is a part of a family with a long arts tradition.
Interviewing Moby at Mysteryland 2014
Chris De Cotis: How do you think music festivals have changed the music business?
Moby: I first started playing festivals twenty five years ago, and mainly in Europe, because at that point festival culture didn’t really exist in the States. Festival culture in the States seems like it was Woodstock, then Altamont, then US festival, then there weren’t really that many festivals. And then Lollapalooza happened, which is a travelling festival. And Lollapalooza was a festival in that it involved a lot of musicians, but it didn’t feel the same way as like, a Glastonbury. And then slowly European festival culture came to the states, Coachella being one of the first really big European-style festivals, and now, it’s everywhere. And I think, one of the ways it’s changed the music business is that the utility, or the criteria by which a lot of music is judged now is ‘how does it work at a festival?’
Still, a lot of music is judged on how it works in your living room, how it works in your car, how it works in your earbuds when you’re going to work. But now, there’s this… like dance music, most music played here isn’t the sort of music you’d necessarily want to listen to at eight o’clock in the morning when you’re making breakfast, but it has a utility where it makes perfect sense here.
CD: How do British festivals compare with American festivals?
Moby: It’s very hard to generalize. There are great European festivals, and there are shitty European festivals. There are great American festivals, and there are terrible American festivals. They’re neither better nor worse, they’re at times different and at times quite similar.
CD: Outside of the PR part of it, your set, and then the Speaker’s Tent engagement, will you get to see any other parts of the festival?
Moby: I have about three hours between the public speaking I’m doing and my DJ set, and so I’ll be walking around, probably going to a vegan food truck and going to different stages, seeing what’s going on.
CD: Is there anything in particular that you really want to see?
Moby: To be honest with you, I haven’t really looked at the festival lineup. The nice thing about a festival is that you can wander around and be randomly, accidentally exposed to things.
CD: Do you have a favorite genre of EDM?
Moby: No, I like everything. I mean, when I’m home I listen to a lot of, you know, I listen to WC and I listen to Led Zeppelin, and I listen to Pantera and you know, I like everything.
CD: Do any one of these genres inspire you right now, more than any other?
Moby: No, again, I just like everything.
CD: Do you think dance music is, or will be, or has been considered ‘pop’ music, generally?
Moby: The funny thing is, if you look at the state of electronic music in 2014, there is Lady Gaga, and then there is, you know, big pop records that are made by electronic musicians, and then there is obscure, minimal Berlin techno which will never get played on the radio. As a very broad musical genre, it can exist at the most mainstream and the most underground concurrently.
CD: Has it become harder for you to evolve or progress as a musician as you’ve achieved more success?
Moby: I don’t know. My goal as a musician is just to make music that I love, and hopefully in the process make music that other people like, or that other people love. I’m not too concerned with evolving or progressing, I’m more interested in just how the music resonates with people emotionally.
CD: What other things that you are passionate about has your success allowed you to pursue?
Moby: I’ve been an animal rights activist for a very long time, and so, as a result of whatever random, weird success I’ve had, I’ve been able to financially help different animal welfare organizations, and environmental organizations and human rights organizations, and I think, as a quasi-public figure, when I look at an issue that I’m interested in or concerned about, it’s figuring out how to be the most effective activist. And sometimes that means just donating money, sometimes it means speaking out about it publicly and trying to draw more attention to it. Sometimes it means getting creatively involved with an organization to see if I can help them in other ways.
CD: What topic will you be discussing at the Speaker’s Tent today?
Moby: I started working about ten years ago at an organization called the Institute for Music and Neurologic Function. It was started by Oliver Sacks, who is a neuroscientist, a neurologist. I will be talking about music therapy from both the personal anecdotal level and from a clinical level. Looking at the science behind music therapy, how it effects the endocrine system, how it affects neurotransmitters.
CD: What is your assessment of the dance music scene over the past five years, and where do you feel we will be five years from now?
Moby: My background is very strange. When I was really young I played classical music, and then I grew up playing in punk rock bands and studying music theory. Djing and electronic music is… something I came to later, for me.
What’s been very interesting, because I started making electronic music in the late eighties, and at that point electronic music really was a ghetto, and now, practically speaking, it’s become like the most ubiquitous dominant musical form on the planet. Because every hip-hop artist, most pop artists, dance artists, they all use the same equipment. I don’t think it’s overstating it to say that probably eighty to ninety percent of the music currently being listened to on the planet is produced in some context electronically, and I don’t see that ending because the means of production used to be so much more complicated.*
Now you just need software, and I feel that the ubiquity of the software, and how egalitarian it is means that anyone can make electronic music, and I just see that continuing to lead to electronic music just being so ubiquitous.
Stay tuned for Chris’ review and photos from Mysteryland USA.
*Ed. note: The late eighties and early nineties marked the beginning of a large growth in the availability and variety of specialized professional audio equipment like synthesizers, drum machines and samplers to more people and at lower, yet still generally high prices.
On June 28th, Island Park in Williamsville, NY will become the center for a new, one-day festival, setting up shop right in the middle of suburbia. Intune Music & Lifestyle Festival will be laying down its inaugural foundation for a day of music, artists, workshops, and other various activities. Upon speaking with one of the organizers, Amanda Gutierrez, she said that the festival is a tribute to a friend, Zack Yambor, and their goal is to turn the pain of his loss into a positive for the community. The vision is truly inspirational and what they plan on encompassing within the gates is a large offering to satisfy anyone who plans on attending.
