There is less than one week until I’m back on Mulberry Mountain for Wakarusa and I can’t even think about anything else. The schedule for this year’s festival is so full of what I would consider “must-see” acts that “a few schedule conflicts” doesn’t even begin to describe my indescision. On one hand I am upset that I simply won’t be able to see everyone I want to, but on the other, I realize that this is why Waka is such a fantastic festival. It gives festi-goers the freedom to simply wander and find excellent music everywhere. Whether you’re looking for the moobahton/dubstep of Wick-It the Instigator or the fast pickin’ fun of The Devil Makes Three, there will be something for everyone happening almost all the time.

Of course, the best experiences at music festivals comes when you are at the right stage at the right time and you find some new awesome act that just blows you away, the one act that you will remember to tell all your friends about when you get home. This is where Waka truly excels. From the Backwoods stage to the Revival tent there are hometown acts playing alongside well-known favorites all weekend long, and you’re going to have to try really hard not to find something you’ve never heard before that gets you moving. If you are at all skeptical, or even if you aren’t, check out the videos and links below and start getting pumped.

Sunsquabi
This Boulder based ‘electro hydro-funk’ trio is reminiscent of Lotus or Boombox in their earlier years. You may have seen them at this years Snowball Music Festival or at Red Rocks during last years Global Dance Festival.

ALO
I’ve basically been listening to ALOs newest album, ‘Sounds Like This’, on repeat since it came out. I don’t think I’ve been this excited about a band with this type of sound since I first heard Ween.

Rubblebucket
I first heard their single “Came Out of a Lady” on a local radio station and I’ve been hooked ever since. Here it is performed in the Sherwood Forest last summer.

Govinda
With its fluid violin melodies and heavy beats, Govinda is straight baby makin’ music. I can’t wait to see what the hula hoopers and fire poi dancers do with this in the background.

The Motet
Known for their awesome tributes to the Grateful Dead and The Talking Heads, the Motet is about as funky as it gets. This band is so full of funk in fact, it can’t be summed up with one video…so here’s two.

Pretty Lights
If you don’t know Pretty Lights yet then you REALLY haven’t done your homework. I’m only mentioning him here because I was looking for an excuse to post this awesome recap video from New Years.

Perpetual Groove
Another group you probably already know. They’re playing Thursday night at the same time as Pretty Lights and Friday night at the same time as the Avett Brothers. Tough decisions.

Quixotic
After stealing the show at last years Wakarusa, Quixotic is redefining what being a great act is all about. Their signature fusion of Cirque du Solei style acrobatics and hypnotizing beats makes it really hard to look away from the stage, even if it’s just to exchanged open mouth expressions of awe with your friends.

Split Lip Rayfield
Old-style fast pickin’ bluegrass party music. Notice the one string ‘Stitch Giver’ gas can bass. It doesn’t get more authentic than this.

MartyParty
How much dub could dubstep step if dubstep could step dub? Apparently quite a bit. Check out MartyParty on the Satellite Stage on Thursday night (Friday Morning).

SAVOY
These Boulder boys throw down. If you’re all about lasers and dubby electro house then this is as good as it gets.

Cordovas
Good ol’ southern style blues rock with a modern twist. This band makes me wish I had a cigarette and a glass of somethin’ strong to sip on. Check out their recently released self-titled album and prepare to be impressed.

MarchFourth Marching Band
I never thought that I would willingly pay money to see a marching band perform but these guys are more than worth it. In fact I’m not sure why more marching bands aren’t this fun and entertaining. Just watch the video and you’ll get it.

That 1 Guy
This guy is the Dr. Seuss of music. With homemade instruments that’ll drop your jaw and crazy lyrics that’ll melt your mind, this is creativity and originality like you’ve never seen before…unless you’ve seen him before.

Soullive & Lettuce
Hitting the main stage on Friday afternoon, this collaboration of funk all-stars is one of my most anticipated sets of the weekend. Check out Soullive’s most recent studio release of Beatles covers, “Rubber Soullive”.

Blitzen Trapper
Another group you have probably heard of. Their highest charting single is about turning into a wolf…and if there is any place to throw your head back and howl at the moon, then it’s probably Wakarusa.

Break Science
There is no doubt that Adam Deitch has mad drumming skills, but out of the many projects he has been a part of, no group has really featured those skills as well as Break Science does. Grab their most recent release ‘Monolith Code’ for free from the Pretty Lights Music Label website.

Balkan Beat Box
Funky party rock electronica from Isreal? Don’t mind if I do.

Nobody Beats the Drum
This Dutch three-piece has a unique sound that will take any party to the next level. Check out their late night set on Friday (Saturday morning) in the Revival tent.

The Lumineers
These Denver based folk-rockers are definitely on the up-and-up. Their self-titled debut album was just released April 3rd and it has already reached number 45 on the Billboard charts. Keep your eye on these guys.

Gary Clark Jr.
This guy is straight up awesome. I know it’s still early in his career but I see this guy joining the ranks of Jimi Hendrix, B.B. King, and Stevie Ray Vaughn. Check out this video from the Crossroads Guitar Festival and see for yourself.

The Sheepdogs
This Canadian group made waves as the first unsigned group to appear on the cover of Rolling Stone. Now they are on a non-stop summer tour as they work to release their next full-length record. I’m hoping to see these guys move up to the main stage next year.

Big Gigantic
Even though I almost blew out my eardrums at Big G at Waka last year, they were still one of the highlights of the festival. Now with a main stage spot and a sexy new set-up, these guys are definitely going to outdo themselves.

Opiuo
Opiuo is dopio. Bad puns aside he is seriously one of my favorite up-and-coming electronic acts and I am sure I am not the only one. Even if you only get over to the Satellite stage once he whole weekend, go see this wub-dub glitch master at work.

Toubab Krewe
If an old Louisiana blues musician, Oriental folk instruments, and a West-African drum circle where in some kind of crazy musical orgy, it would probably make a sound like Toubab Krewe. Then again what else would you expect from a group on the Nat Geo Music label?

Adventure Club
These guys drop some down and dirty rub-a-dubstep that will keep you from feeling clean for weeks. Strap on your bass face and check em’ out Sunday afternoon at The Untz Satellite Stage.

The Floozies
I just saw this Denver duo for the first time at the Sonic Bloom Pre-Party and I was definitely impressed. I can’t wait to see how they close out the festival Sunday night.

This list is just the tip of the iceberg. For a complete list of artists with video links check out the video tab on the Wakarusa home page. Can’t wait to see you all on the mountain! WAKA WAKA!

Photos by Patrick Hagan and Ben Giordano, words by Patrick Hagan

Global Dub Festival returned to Red Rocks Amphitheatre to kick off the summer for its celebration of ear-splitting dubstep music. This year marked a landmark attraction of talent from across the Atlantic who filled Red Rocks to the top with Colorado dubstep fanatics. Headlining the show was Flux Pavilion whose massive anthem “I Can’t Stop” has reached the ears of anyone who has even heard of dubstep and had the entire amphitheatre head-banging in unison. Supported by Flux’s good friend Doctor P, Datsik, Downlink, and Dirtyloud the night was one that Red Rocks will surely never forget and one that those of us who went will never quite hear properly from again.

Last night, Bay Area residents were given a plethora of can’t go wrong musical options: Star Slinger was turning the knobs at Slim’s, I Break Horses was drenching The Rickshaw Stop in reverb, and the almighty Tenacious D made all the ladies cream supreme and rocked the socks off a sold out crowd at The Fox. But despite all of this awesomeness, our choice was clear: Justin, myself and the rest of our friends would be doing a pre-High Sierra warm up of sorts with Marco Benevento at the Oakland edition of Yoshi’s.

As Justin mentioned in his post from a few days ago, our crew is always super excited for any configuration featuring Marco, but I was especially amped for this occasion. This wasn’t just any Marco trio show, but a special one-off treat for the Bay Area featuring Matt Chamberlain on drums and Reed Mathis on bass. I don’t know the last time this trio played together live, but my guess is 3-4 years and last night they sounded as if they were 30 shows deep into a months-long tour. (Matt appears on most of the tracks from Marco’s first two solo albums, as well as the recent “Escape Horse” track with Mr. Michael Gordon).

If you aren’t familiar with drummer extraordinaire Matt Chamberlain, it’s probably because he hasn’t been on the live circuit much. He is one of the most requested session drummers in the business and has recorded with and appeared on albums from a veritable who’s who in rock and pop: Bowie, Morrisey, Shakira, Kanye, Fiona Apple, and The Boss just to name a few. The guy was even in Pearl Jam for a hot minute. Needless to say, he should be on everyone’s musical bucket list, and I am just grateful I got to see him playing with one of my favorite musicians on the scene.

The first set started a bit after 8pm, and I could tell from the start that we were in for a treat. There was no rust to shake off; they just let it all hang out from note 1, stretching each song even further than I’ve heard Marco go in the past. Reed was using the pedal I’ve seen him utilize recently with 7 Walkers and others (but never before with Marco) which made his bass scream electric guitar tones, while Matt was doing some of the most precise drumming I’d ever seen. The rhythm section was absolutely locked in, which allowed Marco to run wild all over his keyboard. Solo after solo, Marco was really stretching some of these songs further than I’d ever heard him take them before, and just when it seemed like the whole tune was going to fall apart, he reeled it right back into the main theme, while the crowd hollered their approval every single time.

Yoshi’s is one of the original sushi & jazz clubs, and even when it’s at its 330 person capacity the shows there feel extremely intimate. This led to a more-chatty-than-usual Marco who was bantering back and forth with the crowd on several occasions. When he wasn’t making inside jokes about jazz leprechauns haunting his hotel room, he was cracking the crowd up with his musings on Thursdays (“today…is still happening”), the dangers of throwing circuit bent toys into the crowd (“really, you didn’t see a battery powered toy coming towards you…really?”), the one celebration balloon all by it’s lonesome self on the ceiling or finally how his new single has sold literally dozens of copies (or as he put it, “a million”) since it hit iTunes. This loose vibe translated over to the music as well, as each member of the trio toyed with the structures within each song, yet they always managed to make the sounds gel. One vivid example would be Matt Chamberlain’s start-stop drumming in the first set closer, which led to the most unique version of “The Real Morning Party” I’d ever heard — and for you Marco fans out there, you know that’s saying something.

In addition to the originals and an instrumental rendition of “This Is How It Goes,” Marco’s first song ever to feature vocals and lyrics, the crowd was treated to many of Marco’s signature covers: The Knife’s “Heartbeats”, My Morning Jacket’s “Golden”, Led Zeppelins “Friends, and even Sleigh Bell’s “Infinity Guitars,” which has recently been working its way into Marco’s sets, and got the third slot in the show.

Here are two short clips I captured towards the end of the second set, by which time a perma-grin had been plastered onto my face:

All in all, it was one of the better Marco sets these eyes have seen, right up there with the post-Phish show at the Highline Ballroom on 12/29, the euphoric Jam Cruise atrium solo sets, and the mindbending 2010 show at the Independent with Reed and Andrew Barr. Grateful for the exposure and introduction to Matt Chamberlain, everyone went home happy, and pumped by the revelation that we’d all be reunited again at High Sierra, just a short six weeks away.

In case you missed it earlier this week, Phish released another free set of MP3′s through LivePhish.com called Live Bait Vol. 07.

Live Bait Vol. 07

compiled by Phish Archivist Kevin Shapiro, May 2012

Track Details:
1. Wilson > Buried Alive > Tweezer
(12/28/95 Worcester Centrum Centre – Worcester, MA)

2. Stash
(10/31/10 Boardwalk Hall – Atlantic City, NJ)

3. Split Open And Melt
(12/4/99 Firstar Center – Cincinnati, OH)

4. You Enjoy Myself
(7/31/92 Blossom Music Center – Cuyahoga Falls, OH)

5. Runaway Jim
(8/11/98 Star Lake Amphitheatre – Burgettstown, PA)

6. Reba
(8/10/96 Alpine Valley Music Theatre – East Troy, WI)

7. Gumbo
(8/3/98 Deer Creek Music Center – Noblesville, IN)

8. All Things Reconsidered, David Bowie
(7/27/92 Saratoga Performing Arts Center – Saratoga Springs, NY)

I’m always happy when I see a few tracks on there that I had previously heard through way of the Phish ‘net’ presence back in the day, but some of these were definitely new to me. And seeing an All Things Reconsidered on the list has me hoping it’s one of the band’s list “200 songs” they’re planning on busting out.

Review by John Stephens

It’s the beginning of a work day, a drastically boring one, yet mentally I am still stuck in the dimly lit enclosure of One Eyed Jacks, closing my eyes now to see and hear Josh Tillman and the apostles of Father John Misty as they continue to make a home of my brain. When I tell you this was a show to cradle your heart and all of your senses, I tell you yellingly, with all the conviction I can muster.

Moon Hooch @ One Eyed Jacks NOLA - 5/23/12 || Photo by Wesley Hodges

The soothing confines of One Eyed Jacks – now beginning to feel like a home-away-from-home – invited us right in comfy as Moon Hooch began their tantalizing set. Right out of the gate, the trio put on a striking display of dual brass-blowing wonder-mongers, including Wenzyl McGowen on sax, tubes, the whomp-ish contrabass and clarinet, and Mike Wilbur on sax, accompanied by drumming maniac, James Muschler, whose percussive equations would make your head spin. From experimental adventure jazz to moments of wubbery that mimicked modern U.S. dubstep to four-on-the-floor raveups, this quick-and-dirty 30-minute set piqued our interest and captivated those who got down to Toulouse early enough to see it. From the first song to the last, this psychedelic Brooklyn bunch had everyone’s attention rightly pinned.

Har Mar Superstar @ One Eyed Jacks NOLA - 5/23/12 || Photo by Wesley Hodges

And then came one of the most memorable experiences of my life, in the form of a cheerful yet amusingly unkempt bassist (who may or may not have just moved out of his parents’ basement), a lead singing bundle of erotic energy, who, despite his shining, spotty baldness and short, thick stature, didn’t fail to moisten most (if not all) of the panties in the house, a Mac computer, a quick picking Quinn Catfish on the six-stringer, and headliner front man Joshua Tillman manning the drums to boot. This mesmerizing morsel of commotion was none other than Har Mar Superstar, an alter-ego performance piece envisioned by the explosively sensual Sean Matthew Tillman (aforementioned chubby guy), whose tongue-in-cheek raunchiness and fiery handle on glam-pop mania is guaranteed to hurdle you into a dimension of dance and dropped pants. Lead man Tillmann laid it all out, explaining, “It’s about me going out and getting as sweaty as possible, moving around as much as I can, and in a sense glamour-ing everybody for the night and making them feel better about themselves.” Well, consider all of that accomplished, as Har Mar’s fortune of fleshy love was so continuously drenched in sweat that he’d strip off one garment at a time, resulting in the last couple of songs performed in nothing but grippie-undies and socks. The bat-shit bizarre nature of this dance-pop extravaganza was hugely entertaining, and to emphasize the endeavored accomplishment of Har Mar Superstar, we did all feel better about ourselves, we really felt fucking great.

Har Mar Superstar @ One Eyed Jacks NOLA - 5/23/12 || Photo by Wesley Hodges

At this point, the ticket for the show had already paid for itself, as the two opening acts already had us hooked deep in the cheeks of our senses, but blessed be the sultry seduction of New Orleans, for the graces of beignets and blue liquor lured the stunning likes of Father John Misty to our doorstep. Lead by the whimsical neurosis of Josh Tillman, who recently left his place as drummer and harmonizing vocalist for Fleet Foxes, this brand spanking new six-piece of folk rock deliciousness seized the crowd from the onset, as it started with ‘I’m Writing a Novel’ and continued from there to burrow deep into the marrow of our bones with a wide, strident spectrum of emotion.

Tillman wasn’t the least hesitant to get in touch with the crowd, evidenced by his ease of conversation with the patrons between songs, including anything from some strange divulgence of introverted existentialism to quick-witted humor, to his sincere invitation of questions from the audience, after which he confidently stated that “questions are drugs for the brain,” qualifying himself moments later by assuring us, through a grin, that there are other drugs for the brain, too. And don’t think he didn’t bring the charm, as he was sure to tell the ladies in the audience how much prettier they were than the girls at any of his other shows (although, unlike Har Mar, he didn’t make out with any of them on stage).

FJM’s set swept us through the greater mind and ideas of human nature, propelled by Tillman’s coarsely poetic investigation of himself and the immediate world around him. Riddled with desire, humor, mischief, sex and drugs, Tillman’s lyrics, surrounded by a euphoric array of instrumental cohesion, spilled simple truths about the lives of our species, such as when he crooned to the audience the guilty lyrics of ‘Now I’m Learning to Love the War,’ - “Let’s just call this what it is/ the jealous side of mankind’s death wish/ when it’s my time to go/ gonna leave behind things that won’t decompose.”

Together with the band, the audience swayed and swung to the rhythm of the sound, from the deep, chilling tone of ‘Only Son of the Ladies’ Man’ to the hot-blooded detonation of ‘This is Sally Hatchet,’ and everywhere else in between. It was a wide, righteous swing hung by a righteous night, the kind of night that affirms one’s belief in music and in the artists that dedicate their lives to it. And in a touch of brilliant mystery, as it was the last local show for our beloved, God-fearing editor of LMB NOLA and member of experimental creole sauerkraut duo Mountain Lion, Wesley Hodges, who is days away from his departure for Los Angeles, Tillman left us with the words of the long and winding road ahead on “Funtimes In Babylon”, repeating the lyric “Look out, Hollywood, here I come.”

It was just over a decade ago that The Shins came into the limelight. In 2001, James Mercer and his bandmates (at the time) put out Oh, Inverted World. For me, I caught wind of the band in about 2003 and it took mere seconds before I fell in love with their sound, specifically James’ voice. In 2005, I saw them along with M. Ward in support of the White Stripes on the ever-amazing Coney Island in Brooklyn. By the time Wincing the Night Away released in 2007, I was a full-blown fan. From there on out, I stayed in tune with Mercer’s happenings, to even include his side project, Broken Bells.

Somewhere in 2009 the band started to change shape with some new faces to replace the founding members. Now James is backed by an entirely new line up from the Coney Island show I mentioned above. The new band consists of Modest Mouse drummer Joe Plummer, Yuuki Matthews of Crystal Skulls, Jessica Dobson on guitar and Richard Swift on keys. Port of Marrow was released in March of this year at the same time that the band kicked off a tour in Europe to support said album. In April they touched back down in The States and hit the ground running in support of their the new album. I was happy to catch them in Boston on this fine Friday evening a few weeks back.

CIti Performing Arts Center (AKA “Wang Theatre”) is one of the most gorgeous theatres that I have ever stepped foot in to date. In walking through the lobby into the main foyer, I looked up to a muraled ceiling that seemed to be about three stories high with balconies looking down from all angles. Two large vintage chandeliers hung from the center and every square inch seemed to be slathered in gold leaf or made of beautifully polished marble.

As per usual, I sadly missed the opening act on account of traffic from CT to Boston. Real Estate was just finishing as I made my way into the seats. From the little I did hear, they were a very complimentary start to the evening. The crowd was mature and the staff was extremely friendly. Walking down towards the stage, Beastie Boys was coming through the house sound. #RIPMCA

The lights dimmed down and the band took stage slowly. The fans were happy to see them and they were happy to be back in Boston. They opened with “Caring is Creepy” and followed with “Australia.” From where I was allowed to photograph, I wasn’t able to get a good enough shot of one of my favorite sites of the evening: a female guitarist…rocking out! It made me smile all the same.

The stage was set with the scene from the cover of their new album. Perched on top of the hill was this Donnie Darko looking rabbit figure. The show lighting was great and highlighted the three dimensional scene as it moved about the stage and the crowd. The band was set almost as if they were at the base of the hill. As I was admiring the simplistic yet unique stage decor, they started to play “Simple Song,” the first single off of their latest release.

After my time in the pit, I slowly made my way into my seat to enjoy the rest of the performance. My seat just happened to be pretty much smack in the very middle of the room which made for an excellent spot. “Bait and Switch”, “The Rifle’s Spiral”, “No Way Down” and “It’s Only Life” from the new album were played intermittently between favorites like “Saint Simon”, “So Says I”, “Kissing the Lipless” and “New Slang.” And if one hadn’t known the band was different from earlier albums, they might have never known. The sound was amazing and James’ voice, that I love so much, was flawless. He sings with much intensity and kind of looks like a smaller Kevin Spacey (randomly noted).

They played for a good long while and closed the show with “Sleeping Lessons” and as soon as the build up of that song reached its break, everyone started singing at the top of their lungs. The stage lights began dancing around the theatre and Joe (on drums) was going to town on his kit!

….Just put yourself in my new hooves,
And see that I do what I do…

The band walked off stage waving and smiling in modest fashion as the crowd cheered and pleaded for more. After a few moments off, James returned to stage alone (donning a different shirt) and made mention of how they/he always have a good time in the city of Boston. He stood under a light with his acoustic guitar around his neck and he played “September” off of the new album. Afterwards, the rest of the band took stage and they proceeded to play another two new ones and the mood remained pretty mellow.

Before the last song of the evening, James introduced the new members to his band, thanked the crew, the opening act and us. “Good Night! Be Safe!” he says as they made their way into “One by One All Day.”

The Shins hit Sasquatch Music Festival over Memorial Day weekend and will continue their US tour through the beginning of June! CERTAINLY check them out if they are in your neck of the woods!

The Shins @ Wang Theatre, Boston, MA 5.4.2012

Caring is Creepy
Australia
Simple Song
Bait and Switch
Phantom Limb
Rifle’s Spiral
Saint Simon
No Way Down (new upbeat version)
So Says I
Sphagnum Esplanade
Kissing the Lipless
Mine’s Not a High Horse
It’s Only Life
New Slang
Sleeping Lessons (rocked the fuck out!!)

Encore:
September (acoustic – just James)
40 Mark Strasse
Port of Morrow
One By One All Day