This past Saturday, on one of the hottest days of summer, the Happy Owl Fest flew into the quaint, Grateful Dead-esque ‘venue bar’ known as American Beauty, located in the midtown section of Manhattan. Typically, I would not be very excited to be inside for a festival in the middle of the summer, but fortunately, this venue’s air conditioning battled the 100 degree heat without mercy. At times, there were rumblings of people actually being cold. Add to this the ample selection of good craft beer, and American Beauty’s only food offering, a free personal cheese pizza with each beer, and you have a lovely way to spend the better portion of your weekend day. I haven’t even talked of the line up yet, which of course was the reason I was there in the first place.
The schedule was ambitious, including nine acts between the hours of 3pm and 3am, with a bonus side hustle of the Phish webcast from Chula Vista, CA, which was projected in the main bar while the bands played on in the main stage area. I was one happy camper that I was able to catch the full sets of Polyvamp, Sylfox and the Hustler, Formula 5, and Sprocket. Alone across these four bands was an eclectic mix of music that should satisfy a majority of musical tastes. In sum, the Happy Owl Fest navigated improvisational rock, funk, and electronic with a dash of blues, not necessarily all at the same time.
Should this event take place again next year under similar circumstances, I wouldn’t hesitate to make the trip. The balance between venue, beer, food, music and price of admission was quite welcome. The only suggestion I would make is for the venue to make a small investment in a house lighting system. On one hand, the noir scene makes for a rare experience in dedicated club venues these days. On the other hand, a little lighting action would would inject some energy into the room, in this photographer’s opinion.
Till next year, enjoy my gallery from the first Happy Owl Fest.
One of the most fun aspects of attending a DSO is trying to figure out what Grateful Dead setlist they are recreating. Opening the show with a fast “Bertha” made it immediately feel like a 1970s show to me, but because the band has played it for their entire career, it didn’t help much in determining a year. “Me and My Uncle,” “Loser” and “Black Throated Wind” confirmed that it was a show somewhere between 1970 and 1979, which, again, doesn’t do much in helping me decide.
Thurday, July 14 was pleasantly welcoming upon arrival compared to the tediousness of last year. The security lines moved much more quickly both on and off site, and the shuttle system ran smoothly. Once inside, campers had a plethora of events to choose from. Beginning promptly at 10AM, a yoga class at the Above the Waves stage kicked off the weekend’s bevy of Wellness programs. A Festival Fuel seminar followed at noon, a talk that gave information as to which food would best combine portability, nutrition, and ease of preparation; extremely useful for any frequent festival goer. It seemed that Bisco was aiming to make its patrons not only headier, but healthier, this time around.
Bisco veterans Orchard Lounge kick started the Friday festivities on July 15 with some filthy deep house beats. Being their 9th appearance at the festival, the trio floored the crowd with a qualified style. Thundercat continued to electrify the main stage at 4PM with a sophisticated brand of jazz-fusion that only bassist Stephen Bruner can deliver. Lettuce ensued, though seemed lacking in the wake of such intense technical musicianship as the Thundercat brought. 7PM rang in the Disco Biscuits first set of the evening. Humidity wasn’t the only reason for a high moisture level, as guitarist Jon “The Barber” Gutwillig slid into the opening bars of “Jamilia” with a sensuality that made the ladies blush. “Park Ave.” completed the segment, as Bisco classic “Caterpillars” brought us into an inverted arrangement of “Mulberry’s Dream”. The band seemed to struggle through “Feeling Twisted”, as bassist Marc Brownstein took off his five string and clumsily muddled around on his less mastered instrument, the mini-synth. The conclusion of “Caterpillar” rounded out the set.
Saturday July 16 was chalk full o’ fan favorites, starting with Tom Hamilton’s American Babies at 1PM. Ott grooved next, bidding a warm farewell and asking everyone to stick around for the Biscuits’ day set to follow. Rolling out another classic cover, the Biscuits pulled the pin with “Pygmy Twylyte”. Next was an inverted version of “Humuhumunukunukuapua’a” which they recently played during the Bisco Inferno run in Denver, CO. Decidedly matching the sunny mood, the Grateful Dead’s “Viola Lee Blues” continued the cover trend. The segment continued with a stunning “Shelby Rose”, leaving many first timers with an apprehensive grin. “Little Betty Boop” concluded the first in the trilogy of Biscuits sets. The crowd seemed excited for Jewish rap superstar Lil Dicky, AKA Leftward Slopping Penis, but expectations were crushed for the first 15 minutes of the 6PM set, as there was an alarmingly obnoxious “hype” man screaming into a microphone and making air horn noises from behind a turntable. Lil Dick came out at a seemingly random moment and performed none of his well known comedic songs, instead going back and forth with an unknown rapper in perverse and simpleminded rhyme.
CW: You couldn’t have picked a better spot! Your long-time loyal Vermont fans thank you for choosing to throw it here.
CW: I’m pretty sure you nailed it. I think it’s funny, a few years ago I recall having a conversation with you about the 
CW: Awesome-speaking of which, can you tell me a bit about the Kitchen Cabinet?
CW: Nice, so we’re going to see whats inside the Kitchen Cabinet and it’s going to be good, I’m sure!
CW: That’s all amazing…and yeah the tutu, clearly that’s going to draw many, many ladies Ryan. And men.
First up was Toronto’s 
The next band up was Alter Bridge. Alter Bridge brings a powerhouse lineup with Myles Kennedy on lead vocals/guitar, Mark Tremonti on lead guitar, Brian Marshall on the bass and Scott Phillips on the drums. Alter Bridge got the audience going with their short but dynamic set that included “Isolation,” “Come to Life,” “Addicted to Pain,” “Blackbird,” “Cry of Achilles” and “Rise Today.”
Co-headliner Breaking Benjamin took the stage next. The crowd filled in quickly as the first notes of “So Cold” hit the air. Breaking Benjamin released a new album in 2015, Dark Before Dawn. The album reached number one on both the Billboard 200 and the alternative and rock charts. The album proves that the newly formed Breaking Benjamin lineup is still strong and can produce hit singles. In fact, I forgot how many hit singles Breaking Benjamin has until they starting ripping through one after another: “Sooner or Later,” the new hit single “Angels Fall” and “Blow Me Away.” They took a brief break from their hits to pay tribute to some of their personal favorites kicked off by the “Imperial March” theme from Star Wars. They teased some short clips of “Schism” by Tool, Nirvana’s “Smells like Teen Spirit” and “Walk” by Pantera. Then it was right back to the hits, “Blow me Away,” “Polyamorous” and “I Will Not Bow.” Lead singer Ben Burnley showed a lot of love to the fans, thanking them profusely and alternating between devil horns and a heart symbol. The band ended with fan favorite “The Diary of Jane” and Ben Burnley told everyone that he hoped to come back to Syracuse again soon.
At the end of the show members of both North Mississippi All Stars and Los Lobos came on to play “The Sky Is Crying.” The North Mississippi All Stars also celebrated their 20th anniversary. The Tedeschi Trucks Band wraps up their Wheels of Soul Tour on August 7 in Salt Lake City, Utah, at the Red Butte Garden.