Top 10 Moments from Bonnaroo 2015
Story, photos and video by: Anthony Spak | @spakdaddy
Music Director and Bonnaroo rookie Anthony Spak traveled ten hours down I-75 to Manchester, Tennessee for a weekend of music and arts. Here are his ten best moments from Bonnaroo 2015.
1. My Morning Jacket at What Stage
I remember being introduced to My Morning Jacket late one summer night in my grandma’s living room. I was in eighth grade and was prone to staying up until four a.m. every night watching videos on MTV 2. The demon disco feel of they’re song, “Touch Me I’m Going to Scream Pt. 2” and its creepy, corresponding video hooked me in and I’ve been a fan ever since.
But this Kentucky band’s sound can’t be summarized with just one song. Their two-hour set Saturday night on the main stage showed off the band’s many faces: the hippie-dippie sway of “Wordless Chorus”; the pleasant Americana harmonies of “I’m Amazed” and “Evil Urges”; the hillbilly head bangers of “One Big Holiday” and a few of the best tracks from their new album, “The Waterfall.”
Singer/guitarist Jim James was in rare form, hitting his signature oddball falsettos on “Wordless Chorus” and “Touch Me I’m Going to Scream Pt. 2.” In between songs James, with his long hair tucked back behind a black towel like a hooded monk, would raise his fist up into the air to give the crowd a thumbs up, doing his part to “radiate positivity” as was printed on many a tie-dyed Bonnaroo t-shirt.
Though My Morning Jacket has played Bonnaroo a half-dozen times since their first appearance in 2003, they still performed with the vigor of a new band trying to make a name for themselves at a big festival.
2. Kendrick Lamar at What Stage
“Last time I was here, y’all was at an eight. Tonight, we gonna turn up to 20,” Compton rapper Kendrick Lamar told an excited Friday night crowd.
Right out of the gate, Lamar threw the hungry crowd a bone with “Money Trees” and “Backseat Freestyle,” two bangers off of 2012’s “good kid, m.A.A.d. city.” Most knew the beats and bobbed in time. Most knew the words and sang along, pointing fingers guns towards the stage at the point in “Money Trees” when a deep, ominous voice from the recording proclaims, “The one in front of the gun lives forever.”
On “m.A.A.d. city,” Lamar kept repeating the line, “If Pirus and Crips all got along/They’d probably gun me down by the end of the song,” hammering it into the crowd’s head in an extended version of the song that last at least ten minutes, with break in between. From the end of the set to the end of the festival, you could usually hear someone nearby in the line for the bathroom or the water station singing that line to themself quietly.
A few songs from “King Kunta,” Lamar’s sonically and socially complicated new album, made the set list, but not many. The title track, “Alright”, “I” and a beautifully stripped-down vocal duet of “These Walls” with Anna Moon, who sings on the album version, were performed. I was hoping to hear more from “King Kunta”, but perhaps a huge headlining festival appearance was not the place to perform those less digestible songs, compared to the radio-ready rap of his previous material.
3. Sweetwater 420 Extra Pale Ale
Bonnaroo offered many food options for guests, but the drink selection was slim for festivalgoers. Miller Lite and Coors Light were the main domestics available, with tents dedicated to each beer. As for craft beer, a few were offered at the beer tents but one in particular stood out.
Listed as an American Pale Ale (APA), Sweetwater 420 Extra Pale Ale was my favorite beer that was found cold and on-tap on the farm. At 5.7 percent alcohol by volume (ABV), this brew had a bite to it but also carried an enjoyable, sweet flavor. Dark, but not too dark, this was the perfect beer to grab in between sets or before the long trek back to camp for the night.
Compared to the domestics at $7 for a 16 oz. cup, this beer was also reasonably priced. At $7 for a short 12 oz. and $8 for a tall 16 oz., I didn’t mind paying a little extra for a tasty beer on the go.
4. Mac DeMarco at This Tent
Thursday night was a rough night. Our van left OU at 11 p.m. on Wednesday night and ended up at our campsite in Pod 10 twelve hours later. After some rest during the day, I stumbled my way out to a few shows at night that I was impressed with.
Canada’s favorite gap-toothed goofball Mac DeMarco has been a favorite of mine since I first heard those woozy jazz chords at the beginning of “Ode to Viceroy” two summers ago. I had seen him and his band, with Pete Sagar still on guitar, once before shortly after “Salad Days” was released and was eager to see my favorite current melody maker again.
After a lengthy sound check, the band began, but their sound was still off. The bass was non-existent and then overwhelmingly loud after a change. The drums were muffled and turned down so low in the mix that the proper snap and crack of Mac’s songs wasn’t properly felt. That being said, DeMarco’s voice rang out well across the crowded tent, mostly full of teenagers smoking weed.
DeMarco recently announced a new mini-album, “Another One,” that will be released in August. I was hoping to hear songs off of the new album, at least “The Way You Love Her” which is the first single, but Mac and co. didn’t play anything past 2014’s “Salad Days.”
The set was great for a DeMarco show, but that’s what bothered me as I left the tent following the usual “Still Together” closer that ended with a ten-minute crowd surfing session: Mac DeMarco has become a one tricky pony. Most go to a show expecting him to play his hummable, three minute slacker rock tracks, make bad-mannered small talk in between songs, close the show with his signature ballad, “Still Together” and come back out for an encore, usually a vulgarized version of “Enter Sandman” or “Taking Care of Business.”
Mac DeMarco is a one tricky pony. The set felt formulaic and I left wondering whether or not Mac and his band are tired of playing the same set everywhere they go.
That being said, he is still my favorite one trick pony.
5. Courtney Barnett at This Tent
Before Mac DeMarco, Australia’s Courtney Barnett warmed up This Tent with songs from her excellent new album, “Sometimes I Sit and Think, And Sometimes I Just Sit.” A smash hit at college radio, Barnett’s album is one of most solid pop rock albums made in recent memory and the songs transitioned well on stage.
Charismatic and energetic, Barnett could be seen head banging and shredding her guitar parts at center stage for most of the show. A delicate version of “Depreston” gave way to a crowd sing along; a beautiful, communal moment that you would expect from a festival like Bonnaroo.
There wasn’t any glitter or glowsticks, but what Barnett’s set did have was soul and energy. Keep an eye on her in the future.
6. D’Angelo at This Tent
D’Angelo was one of my few “must-see” shows at this year’s festival. After finding fame in the 90’s R&B scene with his song “Brown Sugar” and then more than 10 years without a release, “Black Messiah” was released in the very last few days of 2014. The album’s perfect mix of soul, funk, rock, hip-hop and moments of political commentary made for one of my favorites of last year.
The singer’s appearance at the legendary Bonnaroo Superjam in 2012 alongside The Roots’ ?uestlove was his last time at the festival. This year, D’Angelo came to the stage at 2 a.m. with a new band and a new batch of original songs.
What transpired was one of the tightest, funkiest sets of music I’ve ever seen.
D’Angelo started off the night slow with “Ain’t That Easy,” “Really” and a few other more relaxed numbers. The pace quickly picked up with “The Charade,” a dance-y song that deals with racial and social unrest, and didn’t stop until the show ended an hour later.
At this point in the set, the band started to extend the songs into funky, stop-and-start explorations that shifted moods and tempos at the drop of a dime. D’Angelo, smiling and clapping his hands above his head, was the conductor, calling out for hits from the rhythm section like a modern day Otis Redding.
After such a long lapse from recording and performing music, it was good to see one of the all-time great soul singers on stage and enjoying himself along with a crowd full of Bonnaroo night owls.
7. Random old man singing on a truck top stage during Florence and the Machine
During Florence and the Machine’s set on Sunday evening, an older man was seen singing obscure glam-rock/hip-hop songs on a roof stage of a truck outside of the Centeroo entrance.
One angry volunteer at a nearby General Store threatened to throw a ripe orange at the singer in an attempt to make him stop singing so she could hear Florence and the Machine.
At the time of my departure the man was still singing and no oranges had been thrown.
8. Flying Lotus at The Other Tent
While most of Bonnaroo was preoccupied with EDM sensation DeadMau5’s set on the main stage, an equally gifted electronic act was playing across Centeroo in one of the smaller tents.
Cosmic and complicated, Flying Lotus is known for his psychedelic hip-hop instrumentals that have appeared everywhere from Kendrick Lamar songs to the black screen bumpers on Adult Swim. His most recent album, “You’re Dead” from 2014, was a smash at college radio and contained some of his most experimental music yet.
Fly-Lo’s set was more psychedelic than I expected. A backdrop of swirling colors and subtle lights added a mystique to the DJ, who also raps under the Alias Captain Murphy. There were times in the set when the DJ came out from behind his mixing station and did some rapping, but the highlights of show were old Flying Lotus classics like “Do The Astral Plane” as well as appearance of Dr. Dre’s “Let Me Ride” and Kenrick Lamar’s “Wesley’s Theory.”
9. Golf cart cab rides for $5
After an exhausting day of walking from stage to stage, dancing and drinking barely enough water to maintain consciousness, I was tired. There was nothing more grueling than making the mile and a half journey back to camp at three a.m. from Centeroo. A few nights, I caved an went to my wallet for help.
Golf cart cab services are an actual enterprise that exists and they were on the farm for the festival. For $5 up front, one of the cab drivers could drive you through the weirdness that is Bonnaroo at three in the morning (shirtless women offering you drugs, overflowing porta potties, wandering young men offering you texts for religions you’ve never heard of, to name a few).
My cab driver Ivan from Russia was polite and talkative. Here is a picture of a sign on the passenger side of his six seated cart.
10. Freddie Gibbs and Madlib at The Other Tent
A friend of mine told me my sophomore year of college that I had to listen to Freddie Gibbs because he was one of the best in the game at the time. Like a snob I ignored him and missed out on one of the most critically acclaimed rap albums of 2014, Freddie Gibbs and Madlib’s “Piñata.”
By Sunday, most of the festival attendees were tired from 2-3 days of partying and seeing music. But Sunday, June 14, 2015 was Gibbs’ 33rd birthday and the Garry, Indiana rapper was down to party. “I’m high and drunk as hell,” Gibbs said on stage while drinking from a bottle of Patron to Madlib, his DJ counterpart. “Play whatever you want, I know all the songs.”
Madlib’s beats were atypical, using sparse rhythmic blasts of gun shot and police siren samples to drive songs, rather than fully-fleshed out instrumentals.
Gibbs’ flow was extremely vulgar but always in time, despite his birthday celebrations before and during the show.
While most were getting a spot secured for Florence and the Machine, one of hip-hop’s most charismatic rappers performed a very vulgar, very enjoyable set as the sun began to set on Bonnaroo.
June 5th, 2015
The Majestic Theater
Story and Photos by: DJ Zach Micklea (@OUUnderground)
Alejandro Rose-Garcia, better known by his stage name Shakey Graves, hails from the capital of the lone star state in Austin, Texas. His music has proven quite difficult to describe as he mixes bluegrass, rock and roll and country elements in his songs. His voice is a puzzle with even more pieces. The Texas-native can be heard chanting, howling, screaming, slurring and even dialoguing on his albums.
The name “Shakey Graves” came in 2007 when playing at Old Settler’s Music Festival. He and his friends were giving each other Indian names around a campfire, and the name stuck.
Rising to fame in late 2014 after an appearance on Conan, Shakey Graves began landing spots on multiple television shows including Late Show with David Letterman and Late Night with Seth Meyers.
Shakey Graves performed Friday, June 5 in front of a sold-out crowd of nearly 2,000 fans at the Majestic in Detroit. The stage was beautifully lit with the spotlight on a Texas flag, which was draped over a keyboard. Before the show started, the line at the bar looked endless. The beer was nearly as warm as the congested theater, but that was not taking anything away from the enjoyment of the concertgoers, who were laughing and dancing to “Pompeii” by Bastille playing over the speakers.
The show’s opener was a female singer by the name of Carson McHone. Like Shakey Graves, she too was from Austin, Texas. Her set started as a solo performance with an acoustic guitar. The venue was so loud that it proved difficult to hear McHone. After her first song, a guitarist, a drummer and a bass player joined her on stage. After the first couple songs, she had won the crowd over. Some pulled out lighters to wave and some began line dancing.
It became clear these musicians were truly living their dreams. The set was a perfect blend of old-school hopscotch country and modern day pop. It was a breath of fresh air to see artists like these on stage playing beautiful music rather than pop stars kissing rappers who do not like to be kissed.
As if the passion being projected throughout the theater was not enough, McHone’s breath-taking voice nearly floored the crowd. Sounding similar to Lady Antebellum’s Hillary Scott, McHone sang loud and she sang hard. She played for nearly an hour and as she walked off stage, those in attendance gave her a thundering round of applause.
At this point in the night, the venue was completely packed. Slowly, the entire audience quieted and awaited the man they all came to see.
It was time.
Shakey Graves ascended to the left side of the stage while the crowd greeted him with a passionate welcoming to the Motor City. Joining him on stage were guitar player, Patrick O’Connor and drummer, Chris Boosahda. The set began with an unfamiliar song. It was a slow build of the bass drum with bluesy guitar licks sprinkled in between. This build led to what could be considered perhaps his most complex track, “If Not for You.” However, this version was not parallel with the studio recording of the song. It was much slower and had a sentimental feeling.
In contrast to an overwhelming number of artists, Shakey Graves plays each song differently during a live set. It gives the audience a real reason to come down to Midtown Detroit to watch him play. This unique factor cannot be heard on any of his albums.
The second song began with very loud tribal drums, which led to the title track of his debut album, “Roll the Bones.” Again, this song was played very differently than the recorded studio version.
After a couple more songs, O’Connor and Boosahda left the stage for Shakey Graves to play some acoustic solo songs. Some of the songs included “Pansy Waltz” from his most recent album, And the War Came, as well as “Proper Fence” from Roll the Bones.
In between songs, Shakey Graves played with the crowd. He talked to people close enough to hear him, he danced, and even played “Push” by Salt & Peppa.
When the band rejoined him, McHone took center stage. The four of them played the hit song, “Dearly Departed,” with McHone singing the part of Esmé Patterson — a folk singer heard on three tracks from And the War Came.
This very unique and intimate set went on for over two hours and each minute was better than the last. To see such a talent perform on stage so effortlessly was an absolute privilege. Shakey Graves thanks the crowd and was overwhelmed by the response. The crowd screamed for over two minutes and it appeared to have brought a tear to the eye of the humble musician.
Shakey Graves exited the stage only to be brought back by an encore-demanding audience. He played one of his more bluegrass ballads, “Hard Wired.” During the song, a female fan joined him on stage, and the two exchange words. It was unclear what was said, but they hugged and she jumped back into the sold out crowd.
When the song ended, the audience gave Shakey Graves one last ovation. The lights in the venue flipped back on and the show was over. The performance was well received by the attendees.
“The show was moving,” Anna Hoffman, a fan, said. “It was life-changing.”
The fan that jumped on stage — a girl named Tori Poloski — said, when asked why she did it, “When am I ever going to have the chance to do it again?”
Her friends forced her to jump on stage to ask Shakey Graves if she could do something very unique. “I asked if I could sing with him,” Poloski said. “He said ‘I’m sorry. Not right now.’ So maybe we will another time.”
When it was all said and done, the show was a very unique experience. Shakey Graves truly is one of the most talented musicians in the music industry today. His ability to mix different styles of music while staying true to the music’s roots is something to behold. The show was a spectacle of musical bliss; art in its truest form.
Jilian Linklater grew up in Lake Orion, MI only a few miles north of Oakland University. She studied song writing at Belmont University in Nashville but has been writing, singing, and playing guitar for much longer. Thursday at the Crofoot was only her second concert. Her first was a few months ago in Nashville for the release of her EP, Walking Stories. I had the chance to see her show Thursday and then interview her the following Saturday. This review will feature bits and pieces from our interview.
I walk in to The Pike Room while the openers are still performing and squeezed my way closer to the stage. The openers have the crowd warmed up, Linklater gets up on stage along with three others that will be her band for the night, and grabs her acoustic guitar. She seems nervous. She doesn’t have as much of a presence as the openers… until she starts singing. She opens with a song off her EP called, “Better Than I Know Myself.” It has a catchy chorus that captivates the crowd …then she kicks it up a notch by remixing the end of her song into Whitney Houston’s, “I Wanna Dance with Somebody.” The crowd sings along; she’s got them hooked.
She finishes the first set, which are mostly pop songs. “I’d say I’m acoustic pop for the most part,” Linklater says. “Being down in Nashville, I have a little bit of a folk side, which is like my song ‘Walking Stories.’ And then I have ‘Better Than I Know Myself’ which is like, straight up pop. And ‘Hard Candy’ which is pop.”
Her EP, which features five songs, actually took them about a year to put together. “I had been working with this guy named Travis Bergman who had been mentoring me since my freshman year of college and helping me with all my songs,” Linklater explains. “I had played him tons of songs over those four years and my senior year he said we should pick our favorites and make an EP.”
The EP is mostly acoustic guitar and vocals. The songs are very cool indie pop with a little country influence. Going into the show, I expected a laid-back, easy-listening concert. But, alongside a full band, her music was much louder and powerful. For the setting they were in Thursday night, the heavy hitting drums and the intense electric guitar fit very well. Linklater is versatile in that way, similar to how she can adopt different genres in her music.
Her band for that night sounded as if they had been practicing for months. However, the group had just formed a week prior. “Our first rehearsal was the Tuesday the week before…I sent them my songs and all the charts and lyrics and stuff,” Linklater said. “Then we had that first rehearsal which was a few hours. And then we just had a rehearsal the day of the show. I’m sure they practiced in between but we only had two rehearsals.”
Between sets, she gives a few funny or quirky comments. She semi-apologizes to her mom, who is in the crowd, about the next song she is about to perform which is called “Four Letter Word.” This song features some really creative song writing. “The first verse is ‘you don’t give a F’ so that’s a bad four letter word.” As the song progresses, that four letter word changes to HOME and TIME. “The last one is LOVE and it’s just kinda showing the simplicity of what we’re all looking for.”
The band leaves the stage for Jilian’s two-song acoustic set. She tells the audience, “living in Nashville gave me the chance to right some sassy country music. So here I get to pretend to be Miranda Lambert.”
Linklater begins to play and about 20 seconds in she stops. “I’m so sorry I have to start over, I’m playing in the wrong key.” She was really embarrassed but naturally drew sympathy from the crowd as she kept strumming to find the right sound. Everyone laughed and she played through the fun song titled “Long Gone, Don Juan.” Once again, showing her versatility.
“I co-wrote that song with a couple a friends,” Linklater explains. “We were in a six hour co-writing session and we weren’t getting anywhere. One of my friends, as a joke, said, ‘what if we wrote a song called Long Gone, Don Juan.’ So I said ‘I know your just joking but that would go well with this chord progression. It’s kinda funky, sassy, a little bit western sounding.’ So everyone said okay and that one was really fun to write.”
Her band returns to play the most powerful song of hers, “Fighter.” She explains that it’s about a friend of hers who struggled with addiction for many years. It was the climax of the concert. The lyrics pulled on everyone’s heart strings as the music enveloped the crowd. The song also featured an awesome guitar solo, part of which can be seen in a video on WXOU’s Instagram (@wxouradio).
“I wanted to write her a song as a way to encourage her and to also get out the feelings I was having about it as well,” Linklater said. “I actually had a woman come up to me after the show and said she had a brother die – I’m assuming from something related to that – and she had to leave the room because she was crying. She thought it was such a good song. So that was encouraging because that is what I wrote it for.”
After thanking everyone once again, she closed her show by playing the title song from her EP, “Walking Stories,” which talks about how every human has a unique and beautiful story. The song features references to some historical and religious icons like MLK, Rosa Parks and Jesus Christ.
Expect to see Jilian Linklater’s name more in the future. She is versatile, creative and has a lot of potential. This show proved that Linklater can perform many styles of music. She’s not your typical indie artist, her songwriting is advanced and professional sounding. A musical product of both Tennessee and Michigan, Linklater brings something new to the table: something substantial and timeless. This girl’s career is far from over.
By Haylie Presnell | @halcyonranger
When Elizabeth Grant fashioned the name “Lana Del Rey”, she meant to evoke a connection to paradise through the moniker and her music. To some listeners this idea was successful; to other listeners it was not. There’s no doubt Lana Del Rey is different from other pop stars in mainstream media right now, but could someone who’s suffered from performance-altering stage fright transfer her sultry genre-changing music to a live performance for nearly 10,000 people?
It was as if nature wanted to mock Del Rey’s “Endless Summer” tour theme as storm clouds, moderate rainfall, and flood warnings rolled in on my way to the amphitheater. Many concertgoers didn’t seem fazed by the ominous clouds: many were dressed as if it were your typical summer day with patriotic apparel, crop tops, and heads upon heads were adorned with infamous flower crowns of various shapes, sizes, and colors.
The night started off with opener, Grimes – an artist that Del Rey picked to start off half of her shows while the other half belonged to her other opening act, Courtney Love. She emerged from backstage and thanked the crowd for coming out despite the frigid weather before diving into “Circumambient”. Grimes was prompt with the timing of her set, leaving little interaction between herself and the audience in between songs. She seemed absorbed with her synthesizer, teeny bopping dance moves, and screaming at the peak of her songs. Her preoccupation with her instrument and her grunge-y styled dancers put off much of the audience; many were preoccupied with their phones, reading magazines and books, and shopping for food and merchandise during the electronic artist’s set. As the night grew on and the booze began to disappear from vendor’s carts, some stragglers began to dance halfheartedly to her closing song “Genesis”.
As Grimes descended from the stage, concertgoers started to stand at full attention for the night’s main act. The lights darkened and a backdrop of a downtown cityscape appeared accompanied by music that had a jazzy yet beach-like vibe about it. Del Rey’s band slowly walked on stage with the self-proclaimed “gangster Nancy Sinatra” emerging from a cloud of thick smoke center stage. Del Rey looked like a sixties singer straight from the era adorned in a lime green dress, chunky high heels, and big hooped earrings wasting no time and jumping right into “Cruel World”, the first track off of her sophomore album Ultraviolence.
Those who were not lucky to be close to the singer in the pit or the pavilion were not left out of the visual spectacle. While Grimes’ set was a simple transmission of stage to screen, Del Rey provided a cinematic film; black and white film, 3D effects of the singer, and clips from her music videos intertwined with the live feed of the show. In addition to effects, the big screens showed the singer affectionately interacting with her fans. To say her fans adore her is an understatement – even as she powered through singles form her major label debut Born to Die (“Cola”, “Summertime Sadness”, “Born to Die”) and those from Ultraviolence (“Shades of Cool”, “West Coast”, “Brooklyn Baby”). She even played “Serial Killer” one of the demoes she made before she went by her current stage name.
In the beginning of the show, it seemed Lana Del Rey was self-conscious of her performance due to her tense facial expressions. As the night went on, there were two very personal moments that brought her to tears: in the middle of performing “Shades of Cool” and upon seeing thousands of lights waving in the audience during her cover of Leonard Cohen’s “Chelsea Hotel”. Every fan was engaged in her show and when the night came to an end with a rousing version of “Off to the Races”, concertgoers sang at the top of their lungs and gave the songstress a parting pair of roses when she walked off stage one final time.