NYS Music 20​18

Author: Chuck DeFilippo

  • Brooklyn Comes Alive: ‘My Life Before, Then Forever After’ with Karina Rykman

    Multi-instrumentalist Marco Benevento entrusted his iconic top hat upon Karina Rykman, a fill-in bassist in her early 20’s, at the Music Hall of Williamsburg. Rykman’s mouth agape, Marco’s stare tracked dead in her eyes, sealed shut in the moment. She was in disbelief, but this three-day stint would soon end. It didn’t.

    Benevento, in addition to Ween bassist Dave Dreiwitz, played instrumental roles in shaping Rykman-on-the-rise. She dove head first into a towering repertoire of Benevento tunes,  learning them backwards and forwards, day-in and day-out, Rykman recalls.

    “That first run with Marco was one of the most spectacular moments of my life. I thought that was my last show with them ever,” said Rykman, increasing with excitement. “It was the best time, then scaling the walls (of the Music Hall Of Williamsburg green room post set) throwing ice, tequila and limes.” The room was packed with Karina’s friends, family and teachers. Karina was home.

    “Marco is committed to the vibe and always goes the extra mile,” said Rykman, as she reminisced about the pop-up record player and miles of christmas lights that decorate their oasis backstage. Night after night, the ‘Green Room Road Case’ lives on as Karina’s enthusiasm parallels her sheer musical talent.

    The New York Native has a pure starvation and aestheticism for all things music. It predates her Benevento/Dreiwitz days. It is infectious, inspiring all those around her. In eighth grade, two years after quitting piano lessons, a friend placed a guitar in her lap and taught her The White Stripes’ “Seven Nation Army.”

    “I remember my life before [that moment], then, forever after,” said Rykman. “I was fixated on playing all the time. That was my vibe.”

    Two years after joining Benevento’s band full time, Rykman comes full circle, hosting the second set of The Jam Room at Brooklyn Comes Alive on Saturday, September 29 at Music Hall of Williamsburg. Rykman will play host, alongside Turkuaz guitarist Craig Brodhead, to an undisclosed list of phenomenal musicians and guests. The set will start at 1:45 am, merely 15-minutes after Grammy Lifetime Achievement Award winner and The Meters’ bassist George Porter Jr. ends the first installment of this unique collaboration.

    The Jam will consist of 100-percent improvised music. “How do you prepare for that?,” asked Rykman. “Simply put, you don’t.” Take all the music you’ve learned, scales you’ve studied or harmonies you’ve practiced and “throw them all out the window! It is a crazy exercise of staying focused and in the moment,” added Rykman.

    “I’ve played with people 20-plus years older than me; musicians who have committed themselves longer than I have been alive. It’s really humbling. I’m always absorbing because they have been there. I am just delighted to be accepted.” 

    The female bassist will also be playing with her new project, The Karina Rykman Experiment, at BCA at Rough Trade from 5 to 6 pm. Rykman’s Trio consist of NYU friends, Chris Corsico on drums and Adam November on guitar. “The guys in my band are slaying. Crushing it onstage and off. November is a loop-master and creates a whole world of soundscapes, so there is a lot going on.”

    Three is the magic number. Karina first performed in a trio with Benevento and has taken matters into her own hands. “Harmonically it’s just me and Marco, which makes me deeply, deeply focused on what he is doing. I play a lot of lead and fuzz bass too, which almost acts like a guitar sonically.” Expect no less when The Karina Rykman Experiment takes the stage.

    New Yorkers, beware. Rykman deems Brooklyn Comes Alive “not for the weak of heart.” Whether she is serving as a proving ground with her own ensemble, backing Marco in pure bliss, or sneaking off to see as much new music as she can, BCA will be another one for the books.

    “There’s this scene where people come out to see great improvisers improvise. It’s not for everyone, but there is something to be said to observe those who have toured their asses off and have played music for so many years.” Especially, in the Jam Room. “A collaboration brews with people that don’t perform together often, or ever!,” explains Karina. “To see someone who has put in their 10,000 hours create on the spot, is something to behold.”

    Nobody knows what to expect. As the Jam Room takes flight, the motion will be from “recreational to medical, if you know what I’m saying,” said Rykman [laughs].

    karina rykmanInspired by the vibrant musical communities of Brooklyn and New Orleans, the event brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes and collaborate in never-before-seen formations. Each attendee will receive a wristband that grants access to every venue and makes hopping from set to set a breeze, recreating and paying homage to the atmosphere of Jazz Fest by night, which initially inspired the festival’s concept.

    Past editions of Brooklyn Comes Alive have seen unforgettable cross-collaborations amongst legends and favorites like George Porter Jr., John Scofield, Johnny Vidacovich, John Medeski, Bernard Purdie, Henry Butler, Oteil Burbridge, Cyril Neville, Eric Krasno, Jon Cleary, Joe Russo, Skerik, and Marco Benevento, plus members of Umphrey’s McGee, moe., The Disco Biscuits, The String Cheese Incident, Trey Anastasio Band, Lotus, Snarky Puppy, Lettuce, Soulive, The Motet, The New Mastersounds, Break Science and more. Tributes to Herbie Hancock, Earth Wind & Fire, The Allman Brothers, Jamiroquai, and Green Day comprise just a few of the many highlights over the last three years.

  • Dark Star Orchestra: A Grateful Dead Time Capsule

    “Dark Star” was first performed, without lyrics, by the Grateful Dead in September 1967. The first version with lyrics was heard three months later. The tunes’ sole focus was improvisation. “Dark Star” was played regularly through the 1960’s, but seldom-heard after 1974. It only appeared on odd occasions in ‘78, ‘79, ‘81 and ‘84 and was last performed in March of 1994 – (deaddisc.com)

    Unbox, Dark Star Orchestra; a continuation of spirit, improvisation and the greatest acid-trip, that ever was, the Grateful Dead. In the midst of digging, we teleport back to the sounds we fell in love with in 1965, obsessed over by ‘69, and post ‘96, we’re left, only aching for more. Dark Star (DSO) is NOT a cover band. They give birth to all that is Dead, then reinterpret it in modern day. DSO is a time capsule – like the vivid memories, postcards and totems we buried long ago.

    “I view it as performance art,” said DSO drummer Rob Koritz. “We are blessed to play music that is 95 percent improvisation and when we’re firing on all cylinders, I can play how I want.”

    Dark Star Orchestra is the idiom of self-expression. In true honor of the Grateful Dead, DSO has made this genre all-inclusive – pulling from rock, jazz, country, The Beatles, Chuck Berry, psychedelia and blues. For Koritz, the list goes on.

    Their testimony goes out to Deadheads and non-cult listeners alike. There is a common thread that weaves through our mind and ears. It’s music. “They hear it and say WOW” added Koritz. “Pretty much everybody will find something.” And when you get confused, just listen to the music play.

    Koritz did everything music. He was in opera, theatre, college marching band and even studied as a classical percussionist. From a music major state-side to traveling overseas, and experiencing the Grateful Dead, Rob is an encyclopedic anchor to DSO in his own regard. A band members’ father is a profound  jazz musician, while another roots himself in progressive rock. A melting-pot would be far to mundane to describe this stew.

    Dark Star Orchestra is prepared in the framework of the Grateful Dead’s catalog. Whether they are playing on a beach or filling massive arenas across the world, familiar tunes will be heard. On the bands’ fourth annual return to Frontier Field, earlier this month, they performed two sets with an encore of “Mr. Charlie” and “C’est La Vie (You Never Can Tell).” Read the full NYS review here.

    Set 1: Alabama, Bucket, West LA, Memphis Blues, Lazy River Road, Esau, Blow Away, Ramble On, Sunrise, Music

    Set 2: China Cat > Rider, She Belongs To Me, Lost Sailor > Saint of Circumstance > Drumz > Dear Mr. Fantasy > Throwing Stones > World To Give > Saturday Night

    “We may go way further out than the Dead would have one night,” said Koritz. “Others we may not be as far out [more structured musically], it all depends.” For the lay-listener Dark Star Orchestra is explained as a group playing Jazz, i.e. improvisational music, in a Rock idiom. The experience becomes trance-like at each venue; in the ear of each listener a different note is digested.It is synonymous with the individual experience. It is unique. Memories of the Dead are relived through this music, we deem our own.

    Like Frontier Field, DSO continues to recur at venues around the world. This past May marked the 7th annual Dark Star Jubilee in Ohio and the band has already announced their 7th annual return to Jamaican Jam In The Sand at Jewel Paradise Cove Resort on January 15-19, 2019.

    DSO is excited to return to Pisgah Brewing Co. for a two night outdoor show in Black Mountain, NC on Friday August 17 and Saturday 18th. The Orchestra carries on across the Midwest with dates in Chicago, Illinois and Ohio. NYS Music fans, be on the lookout for more dates TBA in Rochester and Albany, to name a few upstate. DSO plans to reveal more shows throughout the holidays, with a special New Years Eve show announcement.

  • Hearing Aide: Harsh Armadillo ‘Bite’

    The first ‘Bite’ sinks raw into your gums, perking your ears with sound. Harsh Armadillo and their latest four-track EP release is uninviting to the easy-listener. Regardless, you delve in for seconds and it becomes clear- there is no turning back. It’s “quick, punchy and powerful,” said vocalist Andrea Belaidi. Harsh Armadillo Bite

    Bite hooks your lip and reels you deep into the 24-minute storyline of Harsh Armadillo on the rise.

    Since their inception in 2013, the New Hampshire based ensemble is out for blood. Harsh Armadillo debuted their first full-length album Thayer It Is in 2014 and quickly began to draw crowds of 700 or more. Harsh Armadillo was named New England Music Awards’ Best Band in NH (2017) and has shared the stage with bands like The Nth Power, Kung Fu, Twiddle, After Funk and Kat Wright.

    The seven-piece is equipped with keyboards, synth and organs, saxophone, trumpet, guitars and drums making their soundscape endless. R&B, funk and soul roots create a whirlwind of driving dance grooves that are paired with slow feel-good vocals and melodic leads throughout the EP.

    Bite was recorded at Iron Wax Studio in Erving, MA with Alan Evans of Soulive. “Working in Alan’s studio was like getting catapulted through a black hole and emerging with no pants or conception of time,” siad Max Harris (saxophone, vocals). Harsh Armadillo looks up to artists like Evans which made the four day recording endeavor energetic and natural for the band. “It was just wild seeing how Alan did his thing,” said bassist Thomas Forbes.

    “The EP all works together in sequence. These songs are comprised of bits and pieces that make it different,” said Max. The band recorded the album together – all in one room, whereas it is typical for bands to record each part layered independently. “The intention was for it to be a cohesive unit. There’s something about proximity,” that makes it all flow, said Max. “We learned that it was okay to have bleed into the drum parts.”

    “Gravy” starts the EP off smooth, building in volume, before the drums and horns crash in unison. The groove is sharp and interrupts with syncopated off-the-beat phrases. Male and female vocals, funky guitar licks and changing drum and bass grooves drag your head from left to right with your feet. The feel livens up in the bridge with syncopated snare, contrasting horn pads and rolling bass fills. Soon you timehop, fired-up for the hot saxophone solo in “Two Wishes and a Truth.” When playing these songs “we want someone like ‘Sput’ from Ghost Note (one of our idols) to turn around and say: What was that?,” added Forbes.

    The new songs are all about pushing the envelope. Spoken-word rap in “Animal” contrasted by Dmitrys’ synth leads expand your mind. When the band digs through the bridge they become unstoppable, in full break dancing force. Songs like “Live Action” are amped up and refreshing from the laid back push-and-pull of the rhythm section. It drives hard, so you better hang on.

    Guitarist Camden Riley felt that the EP is “one tiny seed planted; It is a landmark of how we are as a unit [at this moment in time].” According to the band’s press release, “The EP is about biting hard into life and being the most unapologetic version of yourself possible. A lot of the songs have this swaggy feel that everyone’s frothing over these days. I think Questlove calls it drunk drums. Either way it’s an addiction. It takes a team to get this feel.”

    Harsh Armadillo is cueing up for the second EP release of the series within the next few weeks. Evolving with the changing times of the music industry Max Harris felt “You can’t put an album out every two years and still be relevant.” Harsh Armadillo’s second release “Blame Bad Habits” was exactly that – two years in the making, which became boring by the time it was ready to drop. Thus, the ensemble is ‘keeping it loose’ as they move forward not only as a band, but moreover as a tight-knit collaboration of friends.

    For those wondering about the ‘moldy basement’ – it’s Dmitrys’, the bands keyboard player. “It [actually] is moldy,” added Dan [the band laughs]. To this day, Harsh Armadillo continues to practice in the same stinky rehearsal space where they were founded. “That’s where the fun comes in.” It allows Harsh Armadillo to sound raw, capturing a live feel effortlessly on Bite. “An idea sparks the song…and then we start arguing in the most exciting sense of the word. The idea is growth – to push the bar one-hundred percent.”

    “Stay Harsh, Dan.”

    Key Tracks:

    “Gravy” is one thick serving of horns, backed by ‘2’ and ‘4’ on the snare. It cuts right to the groove and sucks you into the song. Tight melodic hits occur when you least expect it and the drums continue to push and pull you in time. Andrea’s smooth vocals, add the right amount of soul, half way through the track.

    The EP would not be complete without “Live Action.” As their press release describes, “It tracks the speed of the missile and shoots just enough in front of it to hit it.” With lightning speed it is too energetic to soak up the funk from each instrument. Guitars take the spotlight early on with hot, up-beat rhythm and a blazing guitar solo within the first minute of listening. It is ever-changing. “Live Action,” is all Harsh’s best ideas morphed into one; from funk to a jam band with heavy synth-lead, to soulful vocals and back around again.

  • Victor Wainwright Brings the Train to Funk ‘n Waffles

    Attention, passengers. This is your conductor speaking. Victor Wainwright and The Train is about to leave the station. Please stand clear of the Boogie Woogie and enjoy the ride.

    Victor Wainwright

    “The blues was bleeding the same blood as me. The blues didn’t have to explain the mystery of pain that I felt; it was there in the songs and voices of singers like Lonnie Johnson and Blind Lemon Jefferson, in the cries of their guitars.”

    ― B.B. King, Blues All Around Me: The Autobiography of B.B. King

    Four-time BMA Pinetop Perkins Piano Player of the Year winner (‘13,’14,’17,‘18) and BMA BB King Entertainer & Band of the Year recipient (‘16), Victor Wainwright sets out on his new endeavor, Victor Wainwright and the Train. The 12-track, band-titled album not only pays homage to the Blues, but also is a full-fledged attack on the music industry – a rebirth of the genre.

    Wainwright is an entertainer – period. “Musicality and the songs themself are second,” said Wainwright. Growing up, Victor idolized BB King. “Seeing King for the first time changed my life! When I watched him, right away I could put my finger on exactly what IT was.” Sheer musical talent and technical skills on stage can only be admired by musicians and artist alike. For the lay listener it is about seeing a great show. They want to be entertained.

    “Artists need to take up the mantle and use Blues as a tool to see past the 1-4-5 (a rudimental chord progression) of a guy sitting on a porch, singing about his dog,” said Wainwright. “I want to invite people in and get them to be apart of this community. It needs younger people to keep it alive.”

    As the highly anticipated Funk ‘n Waffles shows in Syracuse and Rochester approach later this week, diehards and Blues-fans-to-be will have their hands full. The steam train will take flight at Funk ‘n Waffles Downtown in Syracuse, Friday July 6. Showtime *8 pm (corrected from 6pm). And carry on Saturday July 7 at Funk ‘n Waffles Music Hall in Rochester, NY, beginning at 8 pm also. Tickets: $15. (advance), $20. (door). Info: (585) 448-0354 or visit https://www.funknwaffles.com/

    Victor Wainwright

    “Musically people haven’t seen anything like this before. It touches on new and exciting, while being familiar and honoring the Blues,” said Wainwright. Victor hinted at a few surprises that will be in store for these gigs including more original music, familiar tunes from your childhood and songs outside the normal Blues repertoire. In addition, Doug Woolverton, who played on the record, will be joining the Train for these Funk ‘n Waffles dates. “Laughter is a huge part of our show. When people are laughing with you, in combination with slow songs, sung from the heart – it becomes a super powerful combo!”

    The record is a testament, backing the mountain of Wainwright’s accomplishments. It is a stout stew of Boogie Woogie, Blues, Rock ’n Roll, wailing horns and free-flowing expression from the drums, keys and bass. The opening track, “Healing” leaves no time for thought. In-your-face stride piano reverberates, before the track takes off in up-tempo eighth-notes topped with Wainwrights soaring voice. The Train is alive.

    Not only did Wainwright compose all of the record, but also produced it himself, with the help of Dave Gross in New Jersey. “What I tried to convey is power. Not in a Marvel comic book sense, but in the form of passion,” said Wainwright. “Exactly like a steam train.” All of the overwhelming energy captured on stage is heard on tape. The band feeds off each other collectively in the studio, achieving something monumental.

    “Wiltshire Grave” has a spooky, New Orleans second-line feel, featuring Pat Harrington on guitar. The tune lingers, allowing you to digest the beauty in each instrument. The raging horns punch through making way for sweeping keyboard licks and an edgy solo guitar. The track also features off-the-cuff percussion effects such as a baseball bat and bicycle bell. All listeners are stopped dead in their tracks. Likewise, “Money” sits back in the pocket, relatable in message – warranting payment to Uncle Sam without delay. Let’s hope he can catch the up-tempo localmotive.

    Notably, the album pays a direct tribute to Wainwright’s idol, BB King, in “Thank you Lucille.” For Victor, “some things deserve to be said as directly as possible.” Upon hearing of King’s passing, Wainwright rushed to the side of the road. His world came to a complete halt. “Lucille is a deity. King talks to her like it is human. I almost felt said for her,” said Wainwright. “She will live on!”

    Victor Wainwright and the Train was released March 9, 2018 and quickly topped the National Roots Music Report charts for Blues in April. It now sits sixth in the Top 50.

  • Bonnaroo 2018: Waking Up in the Present

    Bonnaroo days bleed together and it was hard to resist the sun making a full circle upon The Farm, as birds chirped at 5:30am – music still thumping from The Ville and Kalliope. With Eminem, Anderson.Paak, and two sets of Bon Iver today, it seemed hard for them to compare to the rising wave of 16-year-old Billie Eilish. She was the talk of Roo – before, during, and after her set.

    Read Part 1 of NYS Music’s Bonnaroo coverage HERE.

    Earlier on, she spoke to press about her quick rise to stardom, losing those ‘friends’ close to her and fighting a fake internet-driven world. She was unfiltered and spoke like any 16-year-old would, but something so intriguing and real laid beneath the surface.

    Bonnaroo

    It wasn’t until she took the Which Stage that teens flocked and the rest not much older. Whispers and smiles filled the crowd about her age and attitude. That discomfort Eilish felt off-stage suddenly disappeared as the barriers blended into all of Centeroo. Her music is seamless in hope and heartache as intimate feeling slowly cuts.

    “Put your hand up if there’s somebody you fucking hate out there,” screamed Eilish – finger pointed up. It was unanimous. She is human and her music speaks to us. Eilish continued in choreographed dance with her brother and stage partner, Finneas O’Connell. They played “Lovely” for the third time ever at her debut-Roo performance as well as the catchy dance groove of “my boy” that’s refreshing, moving Bonnaroovian’s parallel to Eilish.

    As Eilish concludes, “Those of you who fuck with me, thank you … And those of you who don’t fuck with me [pause]. Thank you too.” The crowd willing drops to the hay-filled grass with little effort for Eilish during the bridge of her final song. Bodies drive up with hard crashing drums bordering your favorite rock-dub breakdown.

    Captivating music and artists like Eilish continued to pour in including rapper, drummer and producer Anderson .Paak, First Aid Kit and Old Crow Medicine Show. Rebelution took That Tent by storm along to Bon Iver’s first set on Which Stage. The Rebel-horns were fiery, screaming out with improv every chance they could. Glowing totems danced with the packed crowd and swayed with lighters on mellow tracks like “Fade Away.”

    Bonnaroo

    A white curtain was draped from What Stage as a Godzilla-spoof Eminem appears on screen. The crowd goes nuts and the curtain falls to Slim Shady himself spitting the tongue-twisting Dr. Dre cover “Medicine Man”. It was just like a scene out of 8 Mile – hands swaying back and forth with “Kill You,” “Rap God” and “Like Toy Soldiers.” Fireworks blast into the night sky during “White America.” The set caused immediate controversy about alleged ‘gun shot’ sound effects during the performance.

    Bonnaroo

    Bon Iver’s second appearance on Which Stage was poetic. It was hard to categorize it in purely musical terms. It was moving. Opening with a heartfelt acapella chorus of “Heavenly Father.” Likewise, TU Dance accompanied the ensemble with white t-shirts stamped “PEOPLE,” reminding us we are all human. It was as if Bon Iver didn’t exist, there was just music and pure emotion. Iver featured a five-piece trombone section and countless guest including Francis and the Lights, Sylvan Esso, Moses Sumney and Naeem Juwan. It was captivating and the crowd agreed, swaying slowly or too mesmerized to move their eyes away from the stage.

    It was unbelievable to think, most haven’t experienced this many bands in a lifetime let alone in three days. Sunday morning crept upon us and frankly it was hard to digest all the music we loved, wanted to see and the ones we didn’t, but had got sucked into the live performance anyway.

    For the fourth and final day at Bonnaroo, it hardly felt like the end. Canada’s Broken Social Scene played That Tent with a massive 10-piece band. They could have gone wherever they wanted and still griped the crowd’s attention. “Texico Bitches” and “Shampoo Suicide” moved Bonnaroovian’s equally. The band was drum-driven with dynamic and transparent intent. “I don’t have much to say, we’re just gonna keep playing….On the count of three, let everything out and scream as loud as you can.” The music had taken over. “One more time.” The crowd yelled beyond belief.

    Bonnaroo

    By this point Bonnaroo fever had caught up with us – trapped between the heavenly vocals of St. Paul & The Broken Bones or Moon Taxi’s third return to Bonnaroo. St. Paul was unruly, biting the cord and letting the gold microphone dangle from his mouth as the band slows in a mountain-sized retard. The band fades away.

    In route to Moon Taxi, you were halted by the experimental trio that is Daniel Caesar. The drums would not let up – what seemed to be a 12 minute constant solo. The keys and bass kept pushing and pulling during “Streetcar,” while Caesar expresses his love of felines. “Do y’all like cats? [crowd cheers] Do y’all know my cats name? I try to facetime my cat every day…dead ass [seriously].”

    By the end of Moon Taxi you could feel the world during “Two High.” It was real – invading your brain. We were floating like beach balls as big as the moon. Three of them surfed the crowd during screaming keyboard-synth solos on “Make Your Mind Up”. Seriously, where did they come from?

    The band also paid it forward with a rock mashup of “Lose Yourself” [Eminem], “All These Things That I’ve Done” [The Killers] and MUSE’s “Uprising” as the amber-sun came down on Tennessee. When there are just too many bands to see, take the ‘moon taxi’ whistling the melody to “Good As Gold.”

    Bonnaroo

    Finally, the end was upon us although it didn’t sink in until you woke up singing “Mr. Brightside” at 6:30 Monday Morning. The Killers were fantastic, bring a Las Vegas strip show to Bonnaroo. Brandon Flowers dressed in an all red suit with gold pleats mirroring a modern day Elvis.The Killers played a Tom Petty tribute of “American Girl” with the intro of “Free Fallin.” It was wild. Fireworks filled the sky. Stage lights were beaming through the night on The Killers first Bonnaroo gig.

    Ambient keyboards began. Two notes and Roo instantly goes wild, screaming at the top of their lungs. Flowers licks his lips and grins back at them – then turns slowly to the band. “I don’t think they’re ready. Did you get that one in the back,” he looks out. Bonnarovians are going wild and the keys lean into the same two notes as before. But this time, a little harder and longer…

    “Read My Mind” was only the beginning of the end. A near 15 minute wait cued an encore of “The Calling” and “When You Were Young” featuring a collective Bonnaroo choir: I got soul, but I’m not a soldier.

    So as you can see this whirlwind we call Bonnaroo is unlike no other. It is ever expanding. The festival takes eight or more months to prepare 24/7 – nearly twice as long as any other festival. With dates booked for June 13-16, 2019. We can only wait to see what will top a fantastic 2018 Roo.

    Bonnaroo Day 3 Gallery

    Day 4 Gallery

  • This Crazy Dream Called Bonnaroo

    “I want you to take one moment to be present enough [in this dark world] to realize that you’re surrounded by people that you may never see again, but for some reason we all came here today. And we get to be present. And we get to be right here with each other. So no matter what you are going through, I know this doesn’t make it go away. But for one second, just be present, enjoy music, and lets just fucking do this!”

    Hayley Williams, Paramore.

    Williams speech, as she sat cross-legged at the edge of What Stage, embodied the spirit of Bonnaroo for artists and fans alike. We were truly one – over 60,000 pieces woven together for the 17th annual gathering on The Farm. With 150 performances, art & culture, community building and sustainability efforts, it was effortless to make Bonnaroo your personal oasis out of the masses. But, we hardly had time for the music – chasing back to back sets which quickly wore holes through our shoes, top and bottom. Artist big and small, including Paramore, made their debut-Roo appearances and revealed unheard material. It’s only to be expected when you hear the word Bonnaroo. It swallows and consumes. It sucks you up and spits you out four days later of non-stop musical bliss. Welcome Bonnorovians.

    Bonnaroo Part One: Thursday and Friday

    There is no void in the wake of DREAMERS, a powerhouse rock trio with heavy New York roots. Lead guitarist and vocalist, Nick Wold’s feet tuck into his chest and plummet to the Who Stage, kicking off their first Bonnaroo performance at 5pm. They’re abrupt – snapping you into consciousness. The band drifts from punk, alternative and electronic music in its bare form.

    “A triangle is the strongest shape in music,” said Wold, as he form his hands accordingly. Debuting their new single “Screws,” the band shows off an eclectic mix of grunge guitar, electronic drums and bass that moves. “It’s about composition and playing tight together to communicate exactly what we wrote,” added Wold. “We are excited to express this thing we have been feeling and working on.” The driving chorus of “Wolves” picked the crowd off their feet while the breakdown in “Painkiller” sent everyone into oblivion.

    “Bonnaroo is one of those holy grail festivals. So it is a cool thing for us to be here,” said Wold. The band is excited to soak in the music vibe and become one with the audience to see all the new acts throughout this lineup.

    Iowa’s Lissie, continued at That Tent with the title track of their forthcoming album Castles, featuring an all female front with bassist Megan Mahoney and guitarist Toni Lindgren. Swelling peaks and valleys made the set dynamic, heard in “Love Blows” and “Feels Good.” Lissie sang with heart and makes a vivid connection to the lyrics in real time with “Best Days.” The soulful singer was in control, engaging the crowd. The performance strayed away from the electronic record with Luke Anderson on acoustic drums.

    Stripped down at On Tap Lounge, R&B singer Jalen N’Gonda revealed “Medicinal Fix” for the first time live. Accompanied only by a Cajon, N’Gonda’s set was jazzy and syncopated, stretching each chord higher than the last. Songs like “Honey” (If Only Honey Was As Sweet As You) were soothing, displaying N’Gonda’s pun personality. “I hope you think it’s sweet.” A solo guitar take on “Hollar” was proof Jalen is just as strong with or without his full band.

    As night fell, New Jersey bred Jasha Tull, known as Space Jesus, gave Bonnaroo new life. “You can have all the psychedelics you want, just don’t get paranoid out there. Drink lots of water and hug your friends all day!” The love was real and bass roared across Centaroo from The Other Stage. Massive screens surrounded the DJ with psychedelic visuals sucking you into the wormhole. Festival-goers, two females in particular, were stretched over the barricades head-banging with each drop. As the rave settled, Tull called a friend up on stage, who proposed to his fiancé for their first Bonnaroo. YES!

    If you haven’t hear the name, Pigeons Playing Ping Pong, it is exactly what it sounds like – an overwhelmingly energetic jam-funk band bouncing from one groove to the next. Fans gathered in That Tent for an epic hour and thirty minute set, like a flock of pigeons taking the name way too literally. Getting lost in “Horizon” while actual ping pong balls soared across the stage covering the floor post-set. Lead vocalist Greg Ormont’s eyes nearly popped out of his head singing neverending songs like “F.U.,” while the band swung in unison with their flock.

    “We’re all staying for the rest of the weekend to hang out with you guys,” said Ormont, and the crowd went nuts. The band featured trumpet and sax players of The Revivalists, Michael Girardot and Rob Ingraham for many tunes. It was only Thursday and us Bonnaroovians couldn’t get enough. “Welcome to the flock. This one goes out to you!”

    As Thursday rolled into Friday morning in Manchester, the party was still going with various DJs across the campgrounds and a secret set from Cage The Elephant at Plaza 9. The main stage lineup was impressive; featuring Paramore, Manchester Orchestra, The Revivalists, Sturgill Simpson, Muse and Bassnectar.

    With the sun high, dripping sweat, our 15-hour trek around Centroo began. There were just too many good artists to pass up. In route to Which Stage, the second largest at the venue, edgy post-glam Pop lured you into the intimate On Tap Lounge.

    Nude mannequins stood on either side of the drums – headless, wearing ball caps. “Undies! Undies!,” lead singer, Julia Lauren Bullock screams. She pressed her lips to them and launches them back at the packed tent. “Yeah, that’s a big fucking pair of underwear.” The ambient keypads lingered in the Tennessee heat. Bullock, stretches the mic cable through her dirty blonde hair, back facing the crowd, dancing with it.

    Meet The Foxies. Bare syncopated drums kick off “Our Blood Is Fire,” from their 2016 EP Oblivion. The band sets off, inviting ‘our friends’ up onto stage. The trio screamed the hook, ‘fire – fire – fire’ pressed up against guitarist Jake Ohlbaum’s cheek. It was a party-gone-wrong and Bullock was the antagonist. The Nashville based band continued with their latest 2018 single of “Be Afraid Boy,” in your face and full of attitude.

    Early on, New Orleans iconic brass band sound blew north with Trombone Shorty & New Orleans Ave. Troy Anders, a.k.a Trombone Shorty conducted the band with conviction, cueing each syncopated hit and crescendo. The rhythm section with dirty-growling horns moved in the breeze, left to right in unison – making the set as visually funky as it was sound. The Alto Sax player was breakdancing and dragging staff from backstage into the groove. Screaming arena-rock guitar solos contrast the driving second-line style, making mashups of The Jackson 5 and RHCP’s “Give It Away” riveting. These guys are truly masters of their craft – constantly moving on stage and switching instruments seamlessly.

    Trombone Shorty walked back from behind the drums dripping in sweat, as if he had just emerged from a Louisiana Swamp. “One more time,” Shorty calls out and the horns scream with the crowd – Ba-Da-Da-Daaaaa. Five minutes later the energy cuts abruptly, with an outro only possible at Bonnaroo. His arms spread to the ceiling of This Tent, folded across his chest and burst back out in the air slowing the band. “We love you Roo, see you next time.”

    Vivid clouds and clear skies paint a soundscape for the love that is Bonnaroo. One can’t help, but to be submerged in the culture and essence of each band, being, and walk of art that roams The Farm. Manchester Orchestra appears on Which Stage blowing your thoughts to the back of Centroo and filling your mind with sound. Now, you’re just hanging on for the ride.

    “I’ve Got Friends,” is energetic with landscape overtones pouring from the band. “Cope” amplifies intensity with raging distorting leads. The band disappears into their backdrop and the music becomes faint. Hairs rise on your skin as Manchester Orchestra drives up in melodic progression. Rock-cinema pours out of the lower 108 speakers spread in front of the stage. Ending with bassist Andy Prince, dangling his instrument from its headstock, over his shoulder to the floor – ringing in discord.

    No introduction is needed for Paramore. It was only 6:15 and we had been lost in musical paradise. “It doesn’t seem like life just, suddenly got better once we sang about it, but I will say that singing about it and dancing about – it sure makes the time go by a lot more fun, I guess,” Hayley rambles on.

    Williams was frisky and vibrant. In between her intimate prose with all of Roo, she jolted up for Paramore classics including “That’s What You Get,” “Ain’t It Fun” and “Ignorance.” Williams’ Bowie inspired makeup, megaphone, and high-kicks made the set anything but, hard times, a-play-on she kept throughout the show, even After Laughter.

    What made Bonnaroo’s stages so exciting is that the bands always spiced up their music. Paramore, in particular, gave “a little Roo treat” featuring their drummers band, HalfNoise. Zac Farro go out from behind the kit to sing “French Class” alongside Williams, while excerpts from the music video played on screen.

    With nearly 90 degree heat, we needed a wakeup call. “Y’all ready to Rock n’ Roll?” David Shaw of The Revivalists screamed across Which Stage. Saxophonist Rob Ingraham, was strapped into a 4-point harness, twirling his sax and jumping across stage.The guitar stacks followed suit. As the band took on “Wish I Knew You” and “It Was A Sin” the wood began to bow beneath their feet like a trampoline. Michael Girardot bounced his feet in the air crashing into his keyboards, as the whole rig tipped back into one of the two dueling drum-sets. Everything was ready to come down. But it didn’t.

    Shaw, dressed in overalls, was ‘The Farmer’ rounding up his roo-cattle engaging them at every chance he could, pointing the mic out into the fields. “I don’t know if Shaw is late for the Hoot-N-Nanny or early for the Okie Dokie (a later band playing the Who Stage),” said Ingraham. The energy was real. Shaw jumped on and off stage relentlessly, eventually charging the gates around the pit screaming out, lost in the crowd.

    Red as David’s beanie, an apple rockets on-stage inches above the monitor. Shaw reaches down and snatches it up. Crunch – It sinks into his teeth. He then throws it out to the herd for feeding. Shaw had made it home – all two tons.

    The chaos continued with Country artist Sturgill Simpson performing on the What Stage on his birthday. His footsteps onstage cued the ovation of “Happy Birthday.”

    British Rock trio MUSE was overwhelming, shoving their discography down your throat with little breath in between. Opening with “Thought Contagion,” “Hysteria”, and “Interlude” to name a few. Despite their fame, it was MUSE’s first appearance at Bonnaroo. Eleven screens backed the drummer featuring live video onstage an kaleidoscope effects. The band carried on with precision, playing their hi-tech carbon-neck instruments and touch sensitive picking. Before their six-song encore, the band tributed Rage Against the Machine’s “Guerrilla Radio” into “Back In Black,” by AC/DC.

    For “Madness” lead Matt Bellamy wore 3-D style glasses revealing the lyrics in real time to the slow electrified trance. Giant balloons soared during “Starlight,” as hands clapped in uniform with the snare. When they burst the sky was filled thousands of tiny silhouettes falling like snow, cannons and confetti tying everyone together.

    The night would not come to and end without the infamous Tom Petty Superjam at This Tent. Heavy attendance was required to fill the shoes of Petty. Cage The Elephant’s Matt Shultz, David Shaw, My Morning Jacket drummer Patrick Hallahan, Sheryl Crow, Justin Vernon of Bon Iver.

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