A collection of updates, giveaways and more – as found on twitter…
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In the days leading up to Bonnaroo’s 20’11 line-up announcement, rumours were boiling over – especially after AC Entertainment’s Ashley Capps tweeted, “The line up for #Bonnaroo just went over the top tonight…beyond thrilled. Great line up and some once in a lifetime shows.”
Who could it be that put it “over the top”??? That’s the question that was mulled over on discussion boards…
Being that it was Grammys weekend, the tweet was widely interpreted as a related clue. Sure enough, Grammy heavy-weights Eminem and Arcade Fire are both headlined this year’s ‘Roo, and other standouts from the award show are also on the festival’s bill (i.e. Mumford & Sons, Florence And The Machine, Ray LaMontagne). Likewise, Bonnaroo.com uploaded videos leading up to the announcement of Widespread Panic, My Morning Jacket, Robert Plant and Primus – all of which are prominently scheduled in the 10th anniversary line-up.
Most other top rumours – including The Black Keys, Cold War Kids, Matt and Kim, Big Boi and Gregg Allman – also proved accurate (though the Cee-Lo Green, Radiohead and Rolling Stones’ rumours were alas, just rumours).
Looking past the bizarrely mainstream headliners, this year’s line-up is as diverse as attendees have come to expect: The Strokes, The Decemberists, Iron & Wine, Deerhunter, the recently reunited Buffalo Springfield (with Richie Furay, Stephen Stills and Neil Young), Dr. John with The Original Meters, Dr. John with Dan Auerbach, Henry Rollins, Bassnectar, Girl Talk, Explosions In The Sky, Gogol Bordello, Beirut, Grace Potter & The Nocturnals, Mavis Staples, Loretta Lynn, Wanda Jackson, Karen Elson, The Low Anthem, Smith Westerns, Freelance Whales, Amos Lee, The Black Angels, Deer Tick, Abigail Washburn, Chiddy Bang, Lil Wayne, String Cheese Incident, Béla Fleck And The Flecktones, The Walkmen, Sleigh Bells, School Of Seven Bells, Best Coast, !!!, The Drums and Wavves and many more…
Vevo.com/bonnaroo webcasted the following sets at the following CST times (click on the links to watch the streams archived by theaudioperv).
Friday June 10
The Drums – 12:00pm
School of Seven Bells – 1:00pm
Bela Fleck and the Flecktones – 2:00pm
Grace Potter & the Nocturnals – 3:15pm
Walkmen – 4:30pm
Best Coast – 5:00pm
J. Cole – 5:45pm
Florence + The Machine – 6:45pm
My Morning Jacket – 8:15pm
Saturday June 11
Del Mcoury & Preservation Hall Jazz Band – 11:30am
Primus – 1:00pm
Ray LaMontagne – 2:30pm
Alison Krauss & Union Station – 4:00pm
Kylesa – 5:30pm
Wiz Khalifa – 5:50pm
Big Boi – 7:00pm
Mumford & Sons – 8:00pm
The Arcade Fire – 9:30pm
Sunday June 12
Smith Westerns – 12:30pm
Mavis Staples – 1:30pm
Neon Trees – 2:30pm
Bootsy Collins – 3:00pm
Chiddy Bang – 3:30pm
Galactic – 4:15pm
Cold War Kids – 5:00pm
Warren Haynes Band – 6:15pm
The Strokes – 6:45pm
Explosions in the Sky – 8:15pm
Widespread Panic – 8:45pm
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Spin: “Heartfelt, heady and totally funky, the [Twin Shadow’s] live show transformed George Lewis Jr.’s intimate debut Forget — where the Twin Shadow main brain played all of the instruments — into a freewheeling full-band boogie fest. The tracks grew exponentially at every turn. Canned kits became crushing drums, bass burbles became serious bumps, sound effects became walls of synth, and Lewis transformed into a dance-driven taskmaster. Between songs, he pointed at the cameraman in front of him and addressed the fans: “If this guy doesn’t shake his ass, I want you to break down the barricade and make him.” Even spare, mellow album moments like “Tyrant Destroyed” could’ve cracked a disco ball by dint of their sheer dynamism, and on the heartbroken “Slow,” Lewis shattered a few hearts in the audience by shredding his voice on the clutch lyric, “I don’t wanna believe, or be, in love.” He followed with an arena-sized guitar solo that inspired the kind of frothing cheer usually saved for soccer matches, not chilly ’80s-inspired indie pop dreamed up in a Brooklyn bedroom.
Even for longtime naysayers, it’s hard not to be an Arcade Fire fan these days… It was a thrilling 90 minutes: the eight members banged on pianos, tambourines, violins, and xylophones, and hollered in unison on highlights “Ready to Start,” “Keep the Car Running,” “No Cars Go,” and “Intervention.” Meanwhile, clips from their short film with Spike Jonze played on two massive onstage screens. “Alright you fucking hippies let’s do it,” Butler said, smirking mischievously before launching the punk blaster “Month of May.” On the swaying Caribbean beats of “Haiti” and the open-ended groove of “Sprawl II (Mountain Beyond Mountains),” Regine Chassagne took over on vocals, and twirled with colorful streamers. Communal good vibes abounded, despite the moist heat (even at midnight). “Me and my brother [bandmate Will] grew up in eastern Texas, so it’s nice to feel proper humidity for once,” said Win, wiping his brow between songs. “Trust me, it’s nice. It’s really cold where I live.” That being Montreal. Later he added, “You know, any festival where you can see My Morning Jacket and Lil Wayne is OK with me.”
For 75 minutes, a few thousand Bonnaroovians were under the spell of one cool grandma: 73-year-old Wanda Jackson, the Queen of Rockabilly who, like the First Lady of Country Loretta Lynn, is experiencing a second act thanks to Jack White…. she praised White for saving her career and shook her head at his stubborn ways in the studio. “Jack picked this one,” she later said, introducing her cover of Amy Winehouse’s “You Know I’m No Good,” given a sharp edge from her nine-piece band. “Rip It Up,” another newbie, twisted with the same ’50 vibe as her hits “Let’s Have a Party” and “Fujiyama Mama.” Between songs she recounted her career highlights, including her 2009 induction into the Rock and Roll Hall of Fame and her days as Elvis’ tourmate and girlfriend: “I wore his ring around my neck for almost a year.” She added that her granddaughter had urged her to perform at Bonnaroo, and even lightly scolded a guy up front for reaching down for a beach ball: “Just let the ball rest, honey. It’s tired. There’s already enough dust in the air.”
Spin “Dressed like homesteaders and uniformly coated in the ubiquitous Bonnaroo dust, the Low Anthem took the stage looking like apparitions from a bygone era. Indeed there was ghostliness and grit to the quartet’s sad, homespun songs, which seemed more the work of Appalachian savants than Rhode Island virtuosos.
Singer Ben Knox Miller wore his hair in a pair of utilitarian braids, sitting at a keyboard marked “This Machine Kills Solipsis” as he led the band through a stark version of the old Rev. Gary Davis blues tune “Sally, Where’d You Get Your Liquor From?” Their own music ran the gamut from gospel stompers to careening calliope to ambient meditations, but every last bit was soulful and bewitching. They huddled up around the microphone for taut beauty “Charlie Darwin,” and spread out for the rollicking “Hey, All You Hippies!” They swapped clarinets, singing saws, French horns and strange cymbals, and even invited renowned Kentucky cellist Ben Sollee up to perform on “This God Damn House.”
But the stunning set’s best moment came about halfway through, on “Home I’ll Never Be,” when Josie Adams let loose an incredible rasping, twanging wail belied by her general waifishness. By the time the final echo of that outburst faded from the tent, there were glassy eyes all around, and about a half-dozen tales of old spirits by old souls left to go.
In the early hours of Sunday morning, multinational gypsy punk crew Gogol Bordello threw the kind of show that could pretty much only be described as a bar-mitzvah-turned-rave. The unwieldy band — nine members to begin with — added Brazilian-American worldbeat crew Forro in the Dark to its ranks, and from 2:30 until nearly 4 A.M. beamed an ecstatic swirl of Balkan folk, Jamaican dub, Latin groove, English punk, and Spaghetti Western sounds into the audience.
[Black Keys] served their sound up neat in a shot glass from the What Stage on Saturday night. Brothers’ “Howlin’ For You,” “Tighten Up,” “Everlasting Light,” and “Next Girl,” the set’s highlights, all growled with garage-blues distortion and cutting leads. A bassist and keyboardist joined to beef up a few jams, including a cover of “Act Nice and Gentle” by the Kinks. But it was otherwise just drummer Patrick Carney and guitarist Dan Auerbach.”
Spin “For its tenth anniversary, Bonnaroo’s programmers reasserted their allegiance to New Orleans’ ever-fluid musical influence — jazz, funk, blues, R&B, rock, hip-hop — and booked a variety of the city’s most legendary acts from Dr. John and Allen Toussaint to the Meters and Lil Wayne. As the man whose 1974 album collaboration with the Meters and Toussaint, Desitively Bonnaroo, gave the festival its name and perhaps its original self-conception as part utopian playground, part playfully funky swamp of whateva-whateva, Mac “Dr. John” Renneback was honored with two spotlight gigs.
The Strokes’ set sounded great, but their interest seemed limited. They played the usual mix of the classics — the best being Is This It’s “Hard to Explain” and Room on Fire’s “Under Control” — plus the two best tracks from their new album Angles: first single “Underneath the Cover of Darkness” and ’70s glam rocker “Gratisfaction.” Casblancas continued on in his charmingly slack anti-glory: “Well, that was that one,” he said after finishing one song. Then the quintet left the stage 15 minutes early to an orchestral version of the M.A.S.H. theme song.
When a band doesn’t rely upon words to get its message across, there’s room for personal interpretation, and no one is better at letting fans choose their own adventures than Explosions in the Sky. Austin’s Mark Smith, Munaf Rayani, and Michael James (accompanied by drummer Chris Hrasky) let their guitars do the talking just as the sun started to set and the breeze began to blow. The combination of the quartet’s panoramic post-rock and the sudden cool-down made for epically cathartic results — it felt like a time to reflect on the long weekend’s events, to heal from the damage done, or celebrate the fact that you came through it all intact. While the band toyed with the loud-quiet dynamic, luring listeners into a place of placidity then blowing them back (sometimes physically) with squalls of shred, everyone seemed to have their own reaction to the trio of guitars, which at times sounded like an entire string section, ringing bells or a swarm of cicadas.”
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Follow Bonnaroo updates and other music news at twitter/FutureHeartDay.
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