Follow twitter.com/FutureHeartDay for Bonnaroo updates and music news. Check out Psych Explorations of the Future Heart’s Bonnaroo 2010 “scrapbook” of articles (with even more photos) here, a fan-voted webcast poll here, and video rewinds here, here and here.
Bonnaroo crowds endure heat for Jay-Z, Conan, wtop.com: “Whether a festival like Bonnaroo resonates is predicated on what one puts into it, said Wayne Coyne, the lead singer of the Flaming Lips. The band performed a fuzzy, psychedelic version of Pink Floyd’s “Dark Side of the Moon” on Saturday.
“The magic is really in your mind,” said Coyne. “It’s not going to be the greatest show ever _ your life isn’t going to be the greatest show ever. But if you try to make it the greatest show ever, it might be.”
http://twitter.com/FutureHeartDay is usually dedicated to songs of the day and daily Flaming Lips quotes but – with Bonnaroo tweets lighting up twitter – took a detour in the past few weeks. Here’s a recap of some of the more memorable tweets and pictures that passed through http://twitter.com/FutureHeartDay before, during and after Bonnaroo 2010. Relive the festival – even if you weren’t there…
http://twitter.com/FutureHeartDay “The Flaming Lips and MySpace are flying one lucky fan to Bonnaroo to interview the band for a new program called “Get Close.” Enter to win.” 11:03 AM May 30th via MySpace
Who’s ready for Bonnaroo?, marquee.blogs.cnn, June 10, 2010, 10:28 AM ET: “This year, more than with previous festivals, organizers are spreading the wealth across the web for fans unable (or unwilling) to attend in person. Live performances of 30 acts, including Tenacious D, The National, LCD Soundsystem and Ween will be streamed on YouTube, while NPR.org plans to webcast dozens of complete performances, including The Flaming Lips, Norah Jones and John Prine.
If you want to join in on the fun, we’ve lined up interviews with some of Bonnaroo’s biggest names – including Wayne Coyne from the Flaming Lips, OK Go, Avett Brothers, Steve Martin, The Black Keys, Phoenix, Regina Spektor and more. You can ask any of these artists a question by uploading your video to CNN iReport. But hurry – our first interviews are this Friday.”
Bonnaroo ’10 Lights Up Live Online, billboard.com, June 10, 2010, 5:36 EDT: “More than 70,000 fans are expected to attend the festival, which runs through Sunday. But perhaps as many, or more, will watch Jay-Z, the National, Norah Jones and many others at YouTube.com/bonnaroo. Thousands more might listen to the Dave Matthews Band, the Flaming Lips and others at NPR.org/music. And still more may catch up watching “Live From Bonnaroo 2010” on Fuse on June 17.
“We are exploring all sorts of opportunities to reach out to fans not simply during the weekend of the festival, but all year long to communicate what the Bonnaroo experience is all about,” says Ashley Capps, co-founder of Bonnaroo and president of AC Entertainment.
But the specialness of the live, in-person experience is the most important characteristic of Bonnaroo and other major festivals. It can be delicate balancing how much to open up festival gates to the Web, and how much to keep offline.
“How to do it is certainly an ongoing discussion,” Capps says. “Not compromising the Bonnaroo experience through these other opportunities is very important. But it’s exciting to discuss and, certainly for people who have not yet gotten to attend the festival itself, to get a taste of what Bonnaroo is like.”
Fan videos will also be posted across blogs and YouTube, and tweets that will likely drive Bonnaroo to among the most popular topics on Twitter over the weekend.”
http://twitter.com/HotPotatoApp “Gonna be at #Bonnaroo? Share your pics on Hot Potato: http://bit.ly/9X6dWS What bands are you pumped 2 see? Us? The Flaming Lips, OF COURSE.” 3:10 PM Jun 10th via CoTweet
http://twitter.com/STARDEATHontour “On our way to Bonnaroo! See ya there!” via Facebook
Bonnaroo 2010’s Essential Sets: “For sheer gonzo wow factor, this is the show to see. The Lips have built a career on their carnivalesque live shows, and sister Oklahoma band Stardeath and the White Dwarfs are turning out to be a kind of Lips-in-training (lead singer Dennis Coyne is Lips singer Wayne’s nephew). There are one of two ways this performance goes: so ridiculous that it actually works, or so ridiculous that it just ends up being ridiculous. Either way, there won’t be much else on the Bonnaroo bill like it.”
BEST WIDE-EYED DESCENT INTO DEBAUCHERY: NEON INDIAN “Coming on like a coy Marc Bolan with his frizz of dark hair and black vest, Palomo emoted in theatrical bursts, surrounded at center stage by vintage synths and tangles of wires, and backed by a firm-handed, longhair rock drummer, a giddy female keyboardist in a miniskirt, ripped tights, and fingerless gloves, and a dude in a baggy tracksuit playing a guitar with a screen embedded in the body that displayed images of faces, stars, and random grids. In other words, not exactly the soothing diaper-change of barely-there ’80s nostalgia that “chillwave” usually represents. And it got even stranger during a riveting, bulked-up version of “Deadbeat Summer,” when a crew of scantily-clad ladies wearing homemade feather headdresses (two of whom were fully topless with colorfully painted boobs) bounded onto the stage, cavorting around aimlessly, jiggling to the wistful musings about sunlit streets and a starlit abyss. Depending on your vantage point, it was either hilarious or pathetic, but Palomo just laughed and shrugged. His point was made: chillwave is now officially thawed.”
BEST INFECTIOUSNESS: LOCAL NATIVES “The band wasn’t afraid to sound pretty, and the crowd — one of the day’s loudest — wasn’t the least bit scared to reciprocate, especially during the sweltering ragga breakdowns of “Camera Talk” and the poolside ambiance of “Wide Eyes.” A smoothed-out cover of Talking Heads’ “Warning Signs” was equally well-received as the Natives’ earnest closer “Airplanes,” another “ooh” and “ahh”-laden original that echoed in the head for hours.”
http://twitter.com/futureheartday “Umphrey’s McGee open with Who cover “Eminence Front” – sweet- Flaming Lips screen set up in background”
allsongs: Bob Boilen and Jilly Riley interview Wayne and Dennis Coyne
maxim.com: Allison Hagendorf is a media personality, music consultant, and branded-content producer. She is the newest host on Fuse, where you can catch her each week interviewing today’s most buzz-worthy celebrities and artists, and chatting about mega-hits from today’s biggest music stars.
fuse.blog: Flaming Lips at Bonnaroo
http://twitter.com/FutureHeartDay “SpinnerTweet says “Coyne traded in his trademark suit for a bona fide hipster outfit time time around. Again…thanks MGMT!”” 5:23 PM Jun 11th via web
Bonnaroo 2010 Day 2: Flaming Lips’ Dark Side Of The Moon Is Must-See, chartattack.com: “At 4 p.m., there was a second press panel hosted by the same interviewer that included comedian Jeffrey Ross, The Flaming Lips’ Wayne Coyne, Trombone Shorty, OK Go‘s Damien Kulash and The National‘s Matt Berninger.Coyne and Kulash were excellent to listen to, Coyne being the charismatic rock star he is, and Kulash being the charismatic DIY indie spokesperson he is. Ross quipped that he loved that The Flaming Lips were named after Courtney Love’s vagina, which got a roar from everyone, Wayne Coyne included.
When asked about the Lips’ performance of Dark Side Of The Moon, Coyne admitted to only playing the set live once before, and said he wasn’t sure how it was going to go over.
The Flaming Lips fired up their headlining set on the Which Stage just after midnight, bombarding the audience with lights, confetti and balloons during their entire first set. After playing for 70 minutes, they took a 10 minute breather and came back to do the entire Dark Side Of The Moon album.I can’t help but think this was the must-see moment for everyone at Bonnaroo because the crowd stretched from the stage back past the fountain at Centeroo. Fans wrapped entirely in glowing neon plastic walked through the dense crowd throughout the Lips performance. Glow lights, secondhand marijuana exhaust and body odor rose from the crowd in waves as a visually arresting and utterly enjoyable rendition of Pink Floyd’s classic album capped off a great Friday at Bonnaroo 2010.”
Bonnaroo 2010: Conan calls it a comeback, Margaret Cho talks vaginas, and the Flaming Lips pay off our reporter, Venus Zine, June 12, 2010, 7:00 PM: “After a short break from the sun, I returned to find Tenacious D fighting the devil (they won), as well as play a medley from The Who’s legendary rock opera, Tommy. Not bad for a comedic rock band.
Of course, the talk of the night was the poorly scheduled headlining three-way of the Flaming Lips, Daryl Hall & Chromeo, and the Black Keys. Roo’ers were passionate about the decision they had to make, either checking out a bit of each set or choosing just one of the very epic shows in its totality. My mind was made up early on: the Flaming Lips performing Dark Side of the Moon.
The Lips played a half-hour set of their own songs, but once they got started on Dark Side, all bets were off. For what could have been incredibly cheesy or overdone, Wayne Coyne and company got it just right. The highlight of the show was, without a doubt, the giant balloons filled with real cash thrown into the crowd during “Money,” one of which luckily made it’s way right over to me. Sure enough, the balloon popped and out came five and ten dollar bills all inscribed in bright red ink, “The Flaming Lips love you.” Words that I truly believe from a band giving it their all in the name of rock.”
Wayne Coyne interview on the Forty-Eight w/ @SPINmagazine
SPIN interview with Wayne Coyne now at Harley-Davidson tent, watch tomorrow at spin.com, twitter.com/futureheartday updates 6:21 PM Jun 11th via web
nashvillescene.com: Bonnaroo, The Flaming Lips, 6/11/10
brooklynvegan.com: Flaming Lips played Dark Side of the Moon @ Bonnaroo (pics, video, setlist, download, stream), NYC show on sale today
chartattack.com: Photos of the Week
Bonnaroo ’10 Friday: Kings of Leon come home, music-mix.ew.com (Entertainment Weekly): “Accustomed to people going over their allotted headlining time, the Bonnaroo crowd seemed unsure if the Kings were really done after that, but they were, and seeing as how it was only 11:30 and there was to be music happening until 4 a.m., we needed to keep our energy up. Best shot of metaphorical crack I know of? Standing in the photo pit for a Flaming Lips show, and this is coming from a girl who’s been on stage, dressed as a Teletubbie. I have never in my life experienced chaos like that, as Wayne Coyne and his bubble emerged from the giant vagina-like pattern projected on the back screen and rolled out into the crowd and confetti cannons blasted and huge balloons hit me in the head, and other photographers hit me in the head, and glowsticks hit me in the head, and above me Margaret Cho was dancing on stage like a woman possessed, and then a teenage boy who was absolutely mesmerized like something you see in zombie movies started moving past me towards the stage, unblinking, and then he climbed over me and up almost on TO the stage, and then the security guard next to me yanked the kid down on top of me, and the kid still hadn’t blinked, still hadn’t taken his eyes off Margaret Cho and the dancing and the confetti and the streamers and the flashing flashing lights, and Wayne Coyne with his megaphone and the crowd cheering and the blindness of snow and fire all at once. It was unbelievably awesome. And I got the hell out of there as fast as I could.
From a distant fence, I could survey the scene, and noticed a strange silence. The Flaming Lips had been billed in the program guide as performing Dark Side of the Moon, but they opened with a set of their own songs, which may have contributed to the listless feeling in the crowd who felt bait n’ switched. Or maybe it was because the Lips did not start with OMG I LOVE THIS SONG hits but instead opened with two songs I’d never heard before reaching “She Don’t Use Jelly” and “The Yeah Yeah Yeah Song,” but even those didn’t get it done. Once the confetti-cannon high had worn off, everyone seemed a little confused in a what-now kind of way. I’ve never seen that many people so NOT fired up for a Flaming Lips show, and even though Wayne kept imploring them to get the energy up, the whole thing just felt flat. So I hiked through the chaos — bodies bodies everywhere my god all the bodies — and made it to the Black Keys, who, on the flip side, totally tore it up, building a slow burn on some new stuff (as a fresh four-piece) that built to the crash-bang fury of the oldies (back down to just Dan and Patrick) and ended with an “I Got Mine” so perfectly paced that it left the crowd chanting “ONE MORE SONG!” but their hopes would be dashed by the stage manager, who whipped the crew out to dismantle everything. He was aggressively booed.
Back in Lips land, Dark Side didn’t start until about 1:40 a.m., and even then it seemed awfully slow and dirge-like and still low-energy and clogged with speeches from Wayne about legalizing marijuana. I made it through “Money,” decided the only thing I like less than Pink Floyd is the Flaming Lips covering Pink Floyd (sorry, please don’t yell at me, music is subjective, please understand, you probably don’t like the National or something and that’s okay and we can still be friends), and fled to my happy place. That happy place? LCD Soundsystem. My jam. My dance buddies. James Murphy, my imaginary boyfriend for 2010. Piles of kids were dancing with glowsticks, which they occasionally threw at Murphy, who laughed about how much he liked it for a while until later in the set when he said, “Okay, all irony aside, can you not throw things at us? It actually sucks.”
http://www.flickr.com/photos/thejtrain/sets/72157624134335653/ (click to see all 35 photos)
blogs.tennessean.com: “Bonnaroo photos: Kings of Leon, Steve Martin, more on Friday”
The squeals of electrics and sexy 70’s grooves were dangerously intense, so intense that this man behind us (obviously on a huge acid trip) kept grabbing his face in a crazed Edvard Munch painting The Scream/Macaulay Culkin Home Alone combo of joy and horror shouting “It’s SO AWESOME! WHOAA!” Minus his magic enhancers, I felt the exact same way. As the seamless set progressed, we were treated to a digital remix of “Money” that still kept that famous bass line saunter to the dream escape in “Us and Them”. The additions of Star Death and White Dwarf became creatively apparent during the rendition of “Eclipse”. The bouncing reverberation of multiple guitars and effects layered on top of each other and reflected in the glow of the summer moon.
A faint heartbeat at the end of the song allowed us to take a breather as many around us took another breath in of grass in order to prepare for the “Time/Breath Reprise”. A moog-like synth grinded the two notes of the opening, as coughing became surround sound from the stage and the people around us. “Brain Damage” and “Breathe” became instant highlights of the evening with the opening strains of “The lunatic is on the grass…” as all the, uh, lunatics on the field got far out (even starting to crack open glow sticks and pouring the toxic goo on their bodies and their faces in order to illuminate themselves).”
stereogum: Bonnaroo 2010: Friday In Photos & Videos
99 Problems But The ‘Roo Ain’t One: Bonnaroo Friday Late Night glidemagazine.com “The Breathe performance was particularly spacey with almost grungy undertones. Time was absolutely mesmerizing and intense, while Brain Damage was very passionately performed. Finally, Wayne Coyne’s vocals gave Eclipse the hauntingly beautiful tones it deserved. Ironically, the whole performance reminded me of more A Saucerful of Secrets-era Floyd than it did DSTOM because it was so intense, yet spacier than that of the original.”
BEST UNSURPRISINGLY KILLER STAGE BANTER: STEVE MARTIN AND THE STEEP CANYON RANGERS
“I thought, ‘This might be some bad poetry, but it’s a pretty good country song,'” said Steve Martin, dapper in an all-white suit, introducing “Daddy Played the Banjo.” Equally droll one-liners came as fast and furious as his banjo finger-picking at Martin’s evening bluegrass set with Brevard, North Carolina’s Steep Canyon Rangers; the set would’ve skated along just fine without any jokes, as both Martin and the Steep Canyon quintet are talented bluegrass musicians, but it was heartening to see Martin acknowledge his comedy as the main reason so many fans crammed into the That Tent. (Some musically inclined comedians, such as jazz clarinetist fiend Woody Allen, take a more stoic route in concert.) Martin quipped about his onstage iPad, calling it “a $500 set list,” and introduced one particularly peppy, string bass-heavy barnburner with, “This is a song… well, that pretty much says it, doesn’t it?” His Aspen ode “Pitkin County Turnaround” was charmingly pensive, and his children’s song “Late for School” (recently performed on Saturday Night Live) was full of frantic picking from Steep Canyon banjoist Graham Sharp. But the real showstopper was not the Jack Black cameo (Martin’s newest movie costar ran onstage and waved, fresh off the Tenacious D main stage gig); it was “Atheists Don’t Have No Songs,” a beautiful a capella ballad. Who’s going to denounce a gaggle of men singing, in immaculate harmony, “Catholics dress up for Mass / And listen to Gregorian chants / Atheists just take a pass / Watch football in their underpants”? No one, so the multitudes stuck around for fiddler Nicky Sanders’ manic handiwork on the bluegrass staple “Orange Blossom Special” and Martin and Co.’s gloriously mad encore, a fully folked-out “King Tut.”
BEST HAPPY-HOUR CONFESSIONAL: THE NATIONAL
Quite a few people — mostly single music geeks clearly terrified of aging — have given the National grief of late, labeling them gloomy chroniclers of marital/parental whining and wine-swilling domesticity, particularly after a lengthy New York Times Magazine profile and the May release of their album High Violet revealed a group of adults with responsibilities who indeed possessed a rather bleak worldview. Selections from High Violet were sprinkled throughout the band’s late afternoon set at the Which Stage, and while it’s true newer songs “Conversation 16” and “Afraid of Everyone” may not have the immediate melodic and dramatic oomph of older favorites “Mistaken for Strangers” or “Mr. November,” they are plenty haunting. In the latter, the singer holds a kid on his shoulders, but after reflecting on the burden of protecting his family, repeatedly intones that he doesn’t “have the drugs to sort it out.” Berninger spent the last third of the show hurtling himself through the crowd, perhaps trying to prove that he hadn’t lost a step, or maybe just looking for a little reassurance. “I’d like to thank all the men with strong arms, and all the women with strong grips,” he cracked.
BEST “FUN” TIME: OK GO
Ryan Ross, formerly of Panic! at the Disco and now leading the Young Veins, told SPIN.com that seeing OK Go was a special treat. He was probably referring to singer Damian Kulash’s onstage banter: “Bonnaroo, I know you don’t need me to tell you this, but you’re dirty and lost to depravity and drugs.” And, “This is a hippy festival so I’m going to play some sissy music.” And, “This song is played with an instrument Jesus invented: church bells, motherfucker!” Best of all, the set finished with a canon shooting red confetti. OK, indeed.
BEST MULTI-TASKING: CAROLINA CHOCOLATE DROPS
A true jamboree ensued at the Carolina Chocolate Drops’ That Tent set. Surprisingly, the crowd was densely packed, especially considering the Durham, North Carolina, trio’s music is some of the most esoteric of the entire festival. Their down-home string band style culls from the traditional 1920s-’30s folk of the rural Piedmont region of North and South Carolina; it’s authentic enough to frequently make Tennessee’s WDVX 89.9 radio. Exactly what the brosephs wielding their “I Will Rock Your Face” beer cozies came to see, right? But the Drops had context on their side; as they glibly swapped duties on vocals, autoharp, fiddle, jug, and banjo, they offered some true Southern history to this Manchester melee, and it was enthralling. Tracks from 2008’s Heritage went down easy, as did a cover of Blu Cantrell’s “Hit Em Up Style” — the latter led to an impromptu, full-tilt jig by singer-strummer Rhiannon Giddens. By the time they’d moved into a banjo-heavy cover of “Jackson,” a country tune made famous by Johnny Cash and June Carter, the widely varied crowd was tossing up their baseball/trucker/ten-gallon hats and losing their heads.
WORST ATTENDANCE: HERCULES AND LOVE AFFAIR DJ SET
The tiny Lunar Stage, which housed the atonal wails of the Beatles Rock Band competition all day, converted to a rave at midnight, just in time for every tripped-out Bonnaroo denizen to stumble over to the Flaming Lips, Daryl Hall and Chromeo, the Black Keys, or the lemonade stands. To put it kindly, the poor New York nu-disco group’s DJ set was a buzzkill; 30 or so bodies sprinkled the wide field, avoiding the patches of deep mud still pooling (except for one lone girl in a striped bikini, who danced deliberately in them). As quirky electropop and techno blared (none from the band’s 2008 album), one wayward man sat rigidly on an isolated square of cardboard, staring up into the DJ booth with wide eyes as the frenetic strobe lights illuminated his inner turmoil.
WORST STAGE DIVE BY A FAN: LCD SOUNDSYSTEM
It was 3 A.M. and LCD Soundsystem had just powered through a searing one-two punch of “Us Vs. Them” and “Drunk Girls.” The crowd was reeling, exhausted beyond inhibition, and recklessly engaged in wanton, sloppy dancing. “It’s fucking hot and gross in here,” James Murphy announced with a hint of pride. He had no idea. Halfway through “Tribulations,” an inspired nudist took an addled stab at rushing the band from the wings. Either mistaking the back of the stage for the front or realizing he was being pursued, he dove headlong into a chunk of LCD’s setup before winding up under a pile of security guards. The show went on, though not without other technical difficulties.
spin.com/gallery: Best Pics from Bonnaroo: Day 2
http://twitter.com/futureheartday “Talking about naked body surfer and Wayne Coyne incident on NPR, now” 6:15 PM Jun 12th via web
livemusicblog.com: Bonnaroo 2010: Day Two Photo Dump (She & Him, Flaming Lips, Kings of Leon and more)
Oddball Bands, Eccentric Fans Keep Bonnaroo Weird: Tennessee fest hangs on to trademark vibe in ninth year, rollingstone.com: “Since its inception in 2002, Bonnaroo has cultivated that oddball sense of community, which stars in the campgrounds and pervades the entire festival. Located on the outskirts of Manchester, Tennessee, the Bonnaroo farm plays host to the majority of the fest’s 80,000 attendees, creating a unique (and literal) pop-up society. A midway point between Burning Man and Coachella, Bonnaroo lets many a freak flag fly amongst its thousands of tents.
On Friday, Bonnaroo’s second night, a naked man rushed the stage during LCD Soundsystem’s set, purportedly attempting to bite one of the band’s roadies. He was tackled by, among others, Wayne Coyne, the lead singer of the Flaming Lips. “For those of you who can’t see what’s going on here onstage,” proclaimed LCD frontman James Murphy, “shit just got weird.”
If you ask most people, though, the wacky nature of Bonnaroo is organic, stemming from the individuals in attendance rather than any sort of organization. Whether dressing like characters from Avatar or bringing a dancing pink squid puppet to stages all weekend, fans seem to savor the judgment-free, anything goes environment. “It’s just a different vibe than other festivals,” explains 26-year-old Cameron Freeman. Comparing it to the Vans Warped Tour he adds, “that festival has more of a fuck you attitude. But here it’s a love you attitude.”
To some Bonnaroo veterans, the festival’s current incantation is a bit watered down from its early years. Tennessee native Andy Rogers has been to seven of the festival’s nine events, and reports a decrease in the weirdness of Bonnaroo. “There are more rules,” he said, “and they’re stricter about enforcing them. Fewer parades, fewer late night parties in the camps.” He seems a little disappointed in the direction of the festival, although he admits that the event is still one of the weirder ones around.
Others see those rules as necessary organization lent to the general chaos of Bonnaroo. “There’s basically this understanding that if you follow the few rules that Bonnaroo has,” says festival first-timer Margot Holder, “you can do whatever else you want. They don’t care how you dress, they just want you to be safe.” If Ray Bong and the Flavor Savers have anything to say about it, though, Bonnaroo’s outlandish nature is in good hands. “People keep coming up to us and saying, ‘Glad to see you here’ and ‘You’re keeping Bonnaroo alive,’ ” says BelAire. “We want to come do this every year.”
Friday’s Four-Word Reviews From Bonnaroo, artsbeat.blogs (NY Times):
- The National: Ennui too complex here?
- Tori Amos: Rhapsodic psychocabaret: unscary entertainment.
- Nitty Gritty Dirt Band: Conservative, but right on.
- Les Claypool: Worst dancers (so far).
- Kings of Leon: A carnal sorta homecoming.
- Black Keys: Trying open-mindedness. Trying.
- Daryl Hall & Chromeo: Jukebox dancealong: Bonnaroo gold.
- The Flaming Lips: Dull side of the ‘Roo.
- Galactic: Aggressive, phattish Nawlins funk.
Waking Up at Bonnaroo, newyorker.com: “My fingernails are filthy and my toes are stuck together with mud. That’s because at some point late last night, while trying to fight my way through the crowd of kids to get closer to The Flaming Lips, who thrillingly performed “Dark Side of the Moon” in the second half of their show, I walked into one of the deep, sucking mud holes that are everywhere, as a result of hard rains a couple of days ago. I was glued to the earth, and the only way I could get free was to go down with my hands and yank at my sandals—finally the mud yielded them with a greedy sucking sound—and then forge on, barefoot now, toward the promised land of the cordoned-off V.I.P. viewing area, carrying my loamy foot gear. Somewhere around here are paid showers. Must find them.”
Bonnaroo: Behind the Music, The Effort to Keep it Green, artsbeat.blogs (NY Times): “At Bonnaroo, everything exists on a vast scale. The hundreds of acres of camping. The tens of thousands of sweaty bodies shoving against one another for a better view of the Kings of Leon. And, as at any big festival, the volume of trash, which overflows from bins and by the end of each night lies scattered, crushed and muddy throughout the grounds.
One of the more remarkable things about Bonnaroo is how it handles the waste. Since it began, in 2002, it has hired Clean Vibes, a company in North Carolina, to manage an extensive greening program, involving a network of about 500 volunteers, on-site composting and trash sorting, as well as incentives for fans to sort trash. Last year Clean Vibes — one of a handful of similar companies, which also handles the trash at festivals like Mountain Jam in upstate New York and Allgood in West Virginia — kept about a third of Bonnaroo’s 489 tons of waste from going in a landfill, according to its owner, Anna Borofsky.”
Comedians Play Rock Stars at Bonnaroo, billboard.com: “Brooklyn’s the National, a band not necessarily known for raucousness, worked up a frenzy, performing an expansive set that included horns and strings. While the Flaming Lips’ Wayne Coyne excitedly looked on, the band slowly built their songs until a final rush of catharsis.
Singer Matt Berninger busted a mic stand, frequently jumped down to the crowd (he thanked “men with strong arms and women with strong grips” for helping him back up) and occasionally shouted to the crowd without a microphone, no amplification needed.”
pitchfork.com: Photos: Bonnaroo 2010
Bonnaroo 2010: Saturday Night’s Dead Weather Kick-Off: pastemagazine.com: “If The Flaming Lips were the epitome of a psychedelic groove fest, The Dead Weather was the epitome of blues-grunge badassery. Jack White & Co. stepped out onto Bonnaroo’s main stage after being introduced by fellow festival act Conan O’Brien, who gave the band a warm, yet hilarious, blessing of sorts.
Just three days ago, O’Brien, a long-time friend of White, played what’s been described as a “rockabilly” set at White’s Third Man Records in Nashville. Last night, the man who (over the last couple days) drew more than a thousand people to The Comedy Theatre seven hours before his performance was even scheduled to begin, told the tens of thousand Bonnarooers standing in the rain how much he respected The Dead Weather as people and musicians. Donning a Pabst Blue Ribbon T-shirt and a cowboy hat, O’Brien ended his introduction with a summation of he and the band’s friendship: “I love each and every one of these guys so much…I’d paint their houses.” True love right there, people.
Once White, Alison Mosshart, Jack Lawrence and Dean Fertita took their positions on stage, I immediately regretted not getting to the show early and securing a spot by the “What” monstrosity (although I can’t imagine how long the White-worshippers holding “If you don’t know Jack, you don’t know shit” signs had stood in the muddy field to get the closest glimpse of the Nashville rock collective). Even though The Dead Weather is probably my least favorite of White’s three bands, I was anticipating this show more than most at Bonnaroo simply because it was an opportunity to see the legendary musician for the first time.
It didn’t take long for my intrigue to transform into a much deeper sense of admiration and respect for White’s latest endeavor. Once Lawrence and Fertita’s wailing electric guitars, accompanied by White’s brash rhythms and Mosshart’s seductive shrieks and groans, kicked into gear, I was in. Dressed in all black while playing white instruments, the band performed a variety of tracks from Horehound and Sea of Cowards, both of which have been released over the past year.
I was surprised to see White sticking to the drums throughout most of the set, with the exception of the six-and-a-half minute Horehound track,“Will There Be Enough Water?” and “I Can’t Hear You,” where he wielded the guitar like he came out of the womb rocking it. Seeing him just as skillfully control and perpetuate the chaos of the band’s muddy vintage rock on the drums only enhanced my appreciation of his unbelievable talent.
When I wasn’t drooling over White, I was idolizing Mosshart, whose stage presence was as intimidating as it was seductive. While on the verge of screaming “Stand up like a man / You better learn to shake hands / Treat me like your mother,” the former Kills frontwoman was pacing (sometimes writhing) on stage in her high heels and leopard-print cardigan. She brought the supergroup’s commanding sound full circle and had the thousands gathered head banging their way through the entire hour-and-a-half long set.”
spin.com/gallery: The Best Photos of Bonnaroo 2010
One dead due to Bonnaroo heat, WENN (via MSN): “By Saturday afternoon, more than two dozen fans had reportedly been transported to local hospitals for heat-related emergencies and injuries that could not be treated on site.”
http://twitter.com/FutureHeartDay “Heat index is 105 today” 12:43 PM Jun 13th via web
http://www.spin.com/articles/best-worst-moments-bonnaroo-day-4: “One festivalgoer took his love for the event to a whole new level: He shaved B-O-N-N-A-R-O-O vertically down the center of his densely wooded chest”
“WORST ATTENTION SPAN: WEEN
To say that Ween has stylistic ADD is to also acknowledge that the sky has clouds: The playful duo of Gene Ween and Dean Ween flirt with incongruous genres on their albums, the only connecting thread being the tongues in their cheeks. But even that pales to the frenetic style-swapping of their live show, in which they’re content to play fractions of their vastly dissimilar songs without pause.
BEST FAREWELL SUN-KISS: PHOENIX “The French pop-rock quintet’s astronomical rise over the past year reached a sunny summit on the closing day of Bonnaroo. Having graduated from the tent they played in ’09 to the massive outdoor Which Stage, the dapper boys played much of their new album, Wolfgang Amadeus Phoenix, as the setting sun shot sherbet blues, yellows, and oranges on the clouds shining above the stage. “Love like a sunset!!!” Mars sang on the titular track, while on a new one, “Countdown,” he pleaded, “We’re sick for the big sun.” It was all a bit cinematic — after all, they have contributed to the soundtracks from Virgin Suicides and Lost in Translation, both from Mars’ partner Sofia Coppola. Fans ate it up; many cocked their necks to stare at that big sun and all its splendor.”
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