VZ Magazine

Dave Stewart and Friends

Play Very Special Concert at the Troubadour Los Angeles

L. Paul Mann

In what was billed as a very special night of music at the iconic Troubadour nightclub in Hollywood, legendary English guitarist Dave Stewart, led a small army of guest players in a marathon jam session. The singer songwriter and guitarist extraordinaire is perhaps best known as one half of one of the 1980's, most successful acts, the Eurythmics. But Stewart has been far from dormant since the demise of of that antithetical new wave band. He has enraged in an endless array of musical collaborations over the years, but his recent focus has been on a trio of albums that he has produced with a group of masterful Nashville based musicians. The first two recordings were 2011’s “The Blackbird Diaries” and 2012’s “The Ringmaster General”. Both of these albums were recorded in Nashville. The concert at the Troubadour, the second in as many years, was assembled to introduce his upcoming album, “Lucky Numbers”. The same group of Nashville musicians traveled to the South Pacific, this time around, to work on the new album. Last years sold out performance, to debut “The Ringmaster General”, featured a host of special guest including guitarist John Mayer, so expectations were high for this years event.

The show did not disappoint, offering up a spectacular stage full of incredibly talented artists. The show opened with a short set by 14 year old Kaya Stewart (Dave's daughter). The young singer performed admirably, offering up a poised and polite set of several songs including a cover of Amy Winehouse's, “Valerie”. Shortly after her performance, Dave and his band swarmed the tiny stage, filling ever crack and crevice with musicians. Stewart fittingly sported his Ringmaster General outfit from his previous album cover. He, indeed, led much of the neigh’s festivities like the ringmaster of his great rock and roll circus. His extraordinary band featured six key players. One of his Nashville cronies, Kieran Kiely, was crammed into the far corner of the stage. He played Hammond organ and a variety of different instruments. Behind him stood master violinist, Ann Marie Calhoun. She has toured with a long list of classic rock , jazz and blues musicians. She played with the rock super group, “Superheavy” on their debut album. The group featured Mick Jagger, Joss Stone, Ar Rahman, Damian Marley, and Dave Stewart. In the back of middle stage the rhythm section poised for action, including Randy Cooke on drums and Mike Bradford on bass. Canadian drummer Cooke has been a go to sessions drummer for some of the world's top touring bands. Likewise, bass player Bradford has been a sessions favorite, for top music stars from Madonna to Deep Purple. In the back of far stage left, Dana Glover sat and stood behind her keyboards. Another of Stewart's Nashville clan, the singer songwriter and keyboardist has produced a string of hi songs for major Hollywood hit films over the last decade. In front of her, on far stage left stood a cramped mini gospel choir led by non other than, Lyn Mabry. Mabry got her start as a singer in the truly legendary band Sly and The Family Stone, before joining P-Funk and becoming one of the original “Brides of Funkenstein”. She has toured with some of the biggest names in pop music since that time. In the front of center stage left, next to the ringmaster himself stood one of the most extraordinary female lead guitarist of our time, Orianthi Panagaris. The striking blonde Australian ax master, is most well known in recent times, as the guitar player for Michael Jackson on his ill fated, “This Is It” project. Since 2011, she has been touring as the first female member of Alice Cooper's live band.

If this “house” band wasn't enough to rock the socks off of the sold out audience, packed to the rooftop, there was also a procession of guest female singers. Australian singer songwriter, Vanessa Amorosi may not be that well known in the United States, but she has sold over 2 million records worldwide, since her 1999 debut recording. She sang an explosive version of “What's Wrong With Me”. The next surprise guest singer was English actress and successful singer, Laura Michelle Kelly. She is best known in England as a live theater performer in hit musicals like “Mary Poppins”. Another English actress and singer, Holly Quin-Ankrah, also wowed the crowd with her guest performance. Veteran American singer, who has also worked on a wide variety of Hollywood film projects also took a turn on lead vocals.

Stewart introduced each song with an intriguing epilogue, including remincsing about his excessive drug days in Hollywood, when introducing the song “Drugs Taught Me A Lesson”. The sweaty audience packed tightly together in the tiny theater responded wildly to every number in the twenty song set, but the wildest cheers were saved for the Eurythmics classics. Songs like “Missionary Man” and “Sweet Dreams”, saw all of the guest singers crammed onstage with the band, leading enchanted sing alongs with an enraptured crowd. It was a very special night at the Troubadour for Dave Stewart and several hundred of his closest friends who happened to be in the audience.

Set List:

I Got love

Beast Called Fame

Every Single Night

Jealous

You and I

This City Never Sleeps

Drugs Taught Me A Lesson

What’s Wrong With Me

Girl In A Catsuit

Filthy Blues

Here Comes The Rain Again

Kiss Of Your Life

Would I Lie To You

Gypsy Girl And Me

So Long Ago

I Need A Man

Missionary Man

ENCORE

Sweet Dreams (Are Made Of This)

How To Ruin A Romance

Black Sabbath 13

First New Recording by Original members in Over 30 years

L. Paul Mann

A group of 60 excited music reporters and special guests were invited to a secret listening party for the first Black Sabbath album in almost 35 years. The mysterious event took place behind closed doors at the Montalban theater in Hollywood. Guests were ushered in to the lobby of the offbeat venue, where everyone was searched for photography and recording devices. Even cell phones were confiscated to help keep wraps on the project. Patrons were treated to an open bar while the first classic albums of the band were played over the sound system. From the opening of the first album, with the iconic ringing bell amidst a thunderstorm, anticipation hung like humidity in the air. As the doors opened to the theater, three large screens revealed the artwork of the new album cover. Reality TV star Jack Osbourne(son of Ozzy) made the welcoming comments and introduced a short documentary on the making of the album. The documentary featured legendary producer Rick Rubin and the three original members of the band. Lead singer Ozzy Osbourne, guitarist Tony Iommi, and bassist Geezer Butler all appeared in the film. It was perhaps, no surprise that original drummer Bill Ward did not participate in the project. Suffering from poor health in recent years, he had to pull out of most of the planned reunion concerts last year. What was surprising to learn was that it was actually contractual obligations that kept him from the recording project. It was now guitarist Tony Iommi who was having life threatening health issues. The recording process was moved to Iommi's home studio in Birmingham England so he could continue his (successful) chemotherapy treatments. Rubin suggested bringing American rock veteran Brad Wilk of “Rage Against The Machine” to the project. Rubin had recently worked with Wilk on Dave Grohl's masterful movie and concert project “Sound City”.

The short Sabbath documentary actually had many of the elements of the “Sound City” film, that made that feature such an extraordinary piece of work. Like in “Sound City” Rubin loomed large in his efforts and ability to get the most out of the masterful pioneers of metal in their long awaited endeavor. Wilk proved the perfect replacement on drums. Offering up the classic booming Sabbath sound, with an element of his own distinctive “Rage” rhythm brought into the mix. After the short film, the light went down and the album was played in it's entirety to the hushed crowd in almost a church like atmosphere. Appropriate applause exploded after each track before patrons returned to a hushed reverent listing mode. The three original members of the band made an appearance to a standing ovation after the the album was played.

Black Sabbath 13 is a classic Sabbath album in every sense of the word. The recording features eight songs that come in at just under, sixty minutes, just like a record from the golden age of rock. The album features a blues drenched metal sound that is the closest sounding recording to the bands first album, that the group has ever produced. Harkening back to the American black blues sounds of the fifties and sixties that influenced all of the top English rock bands of their generation, there is even a bit of harmonica on one track. But make no mistake this is a heavy metal album in every sense of the word. Rubin crystallizes every note on the tracks, wringing the most from each performance. Iommi's blistering guitar solo's lead the way for Butlers thundering bass and Wards intense drumming to follow. While the sound is rooted in the classic Sabbath tradition, newer metal elements of bands like Metallica and Avenge Sevenfold can be heard influencing the mix. Ozzy sings in his trademark lamenting wail, spewing apocalyptic drenched lyrics, focusing on the battle between good and evil, but always with a hint of the possibility of redemption.

Song Breakdown

1. End of The Beginning

An appropriate opening track both lyrically and musically, the song features exploding guitar solos, abrupt changes in tempo, and Ozzie's haunting an prophetic lyrics “Is this the end? Or the beginning? Or The beginning of The End?”

1. 1. God Is Dead

This nearly nine minute song which has already been leaked online could well become the hit song of the album. A classic prodding Sabbath song, Ozzie offers up the burning question relentlessly throughout, not a statement but a question in classic Sabbath structure.

1. 1. Loner

Short brilliant song reminiscent of NIB on the first album with similar abrupt ending

4. Zeitgeist

Slow moody acoustic number reminiscent of “Changes” on Black Sabbath Volume IV. As blues influenced a song as the band has ever recorded, with a lost in space lyrical them.

1. 1. Age of Reason

The band really blazes on this track with drummer Wilk in lockstep with Butlers iconic bass riffs and amazing solo work by Iommi on guitar. This song should translate incredibly well to live arena rock.

1. 1. Live Forever

Live forever is a classic Sabbath metal ballad with Ozzie's lyrics focusing on the ultimate questions associated with mortality.

1. 1. Damaged Soul

Wilk leads the way into new Metal ground for the band on this high energy state of the art rocker.

1. 1. Dear Father

Similar to the track before this final track on the album leads the band into new musical ground with intense mixing techniques. The lyrics reference an abusive father. The track ends most fittingly with the same ringing bell in a thunderstorm that began Black Sabbaths first album.

Black Sabbath 13 is set to be released on June 11^th, 2013

The band has also announced a short North American tour. So Far there are only four dates.

August 4 Holmdel, New Jersey

August 14^th Toronto, Ontario

August 24^th The Gorge, Washington

September 3^rd Los Angels Sports Arena

For more information: http://www.blacksabbath.com/

Behind The Scenes

Opening Day Coachella Music Festival 2013

L. Paul Mann

One of the most prestigious and well organized live music gatherings in the world, the Coachella Music and Arts Festival got underway Friday, April 12^th. Music fans from across the globe, lucky enough to possess the coveted tickets, (that sell out almost as soon as they go on sale), gathered under classic spring time California desert conditions. Hot desert winds ushered in temperatures peaking in the low 90's. Crowds at the festival were surprisingly light, considering over 90,000 tickets had been sold for each of the two separate but nearly identical weekends of the event. The sparse attendance, especially early on in the day, before the fiery desert sunset, might be attributed to the decision in recent years to no longer sell single day passes. The festival now only offers three day passes to the event. Many music fans may still have been working or en route to the remote desert location, opting to attend only the Saturday and Sunday events. Whatever the reason, the result was a wonderfully pleasant experience for music fans on opening day. From the first musical notes shortly after 11am until the final main stage set by headliners Stone Roses, it was possible for concert goers to work their way to the front barricade of most every set. Short lines for food and bathrooms also had the young crowd in a particularly gleeful mood.

The iconic festival in the desert has undergone a metamorphosis since it was founded in 1999, by event organizer Paul Tollet. The lofty vision of Tollet was to establish a music festival model based on European style festivals. Coming on the heels of the infamous Woodstock 99 festival, which dissolved into a chaotic, anarchistic ending, it was an attempt to reinvent the American festival experience. Woodstock 99 was actually not so different than the original iconic event in 1969. Music fans bought tickets and came to celebrate the best music of their generation in a completely unhindered environment. Sex drugs and rock and roll were prominent at the relatively unpoliced event. But corporate America had a big hand in the production and charged exorbitant amounts for the necessary staples needed throughout the show. Price gouging for food, drinks and souvenirs, was rampant. In today’s entertainment world, from sports events to concerts, this corporate price gouging has become an accepted part of the business of entertainment. Oblivious fans are now willing to pay exorbitant prices for tickets, fees, concessions and souvenirs. But in 1999, it was an uncommon and shocking practice. By the final day of Woodstock 99, the perimeter fence had been torn down and droves of outsiders poured into the festival for free, just like at the original Woodstock concert. They brought with them cases of beer, food and even laughing gas canisters, with makeshift merchants offering a Turkish Bazaar of goods for sale. By the time The Red Hot Chili Peppers were playing the final set, the site had devolved into a sewage tinged garbage pit with massive piles of discarded paper items. Led by the mostly naked members of the band, The Peppers whipped the crowd into a fierce tribal trance finale. Many in the audience piled the garbage into massive bonfires and began dancing naked around the huge flames. I still have a camera lens that was singed int the flames trying to catch the revelers in their feverish state of ecstasy. Fed up with the price gouging and chaotic conditions, anarchy broke out in the crowd. Sound equipment, trucks and food stands were lit on fire and looting prevailed.

It was under this backdrop that Tollet wanted to create a more musically diverse, safer, and affordable festival than the typical American model. He succeeded beautifully over the years, with one tiny difficulty, that being the fact that the festival rarely made any money. Only 20,000 people attended the first event, and Tollet was rightfully proud of the inexpensive offerings, from $1.00 bottled water to affordable food and tickets. As the crowds grew over the years Tollet reinvested the money in ever larger big ticket acts like, Paul McCartney, Prince, Roger Waters, Madonna, and a reunited Rage Against The Machine. Legendary marathon sets lasting three hours or more marked the pinnacle of the event. McCartney played a 35 song set with a double encore, that blasted through the city ordered curfew, resulting in a huge fine. When Goldenvoice took over the organization several years ago they changed the original model into a much more financially successful event. Gone were the big ticket older bands, replaced by less expensive newer music stars, attracting a much younger audience. Set times were shortened, replaced by a larger volume of fresh new bands. Camping was expanded to include camping by your car. Prices were raised on everything from camping to bottled water. Promotion turned away from traditional music publications and instead was centered on glam publications like People magazine or TMZ television. The event became a social event for the nearby young Hollywood elite, and their presence was encouraged and exploited in the media. Today's Coachella is a much more trendy event catering to a much younger crowd. To his credit, Tollet’s original vision of a uniquely diverse well run music festival has been kept largely intact. The shift to a younger audience has kept the festival more financially viable, and after all, that is the market where most musicians want to first connect with fans to follow their career.

The new Coachella runs just like the well oiled machine of the old. A backstage glimpse offers a unique perspective on the sheer scope of the massive undertaking. Sometimes the press are envied for their access to entertainment venues. But the reality for the press is a myopic view of what really goes on during an event. Press are cloistered and crammed together in a tiny press tent desperately trying to get their stories out in real time. In today's world media must keep up with an ADD generation obsessed with instant and concise information, like that of a Twitter feed. Photographers are led in to carefully choreographed three song or less photo ops, in massive pits cordoned off at the front of the stages. Endless, releases, riders and restrictions are dealt with before the stealthy photographers run a marathon to the next stage. The artists, their friends and family and crew workers, however, get a rare overview of the multitude of microcosms that make up the event. Each backstage is carefully controlled with separate sets of VIPS allowed into different sections. In the front of each stage is a viewing pit reserved for VIP's. After the press photographers have exited, usually following the first three songs, the pit becomes a happy carefree place. A jovial atmosphere prevails among the lucky few witnessing the live shows, while multitudes of music fans barricaded behind them scream and squirm with delight. Unique photo opportunities abound as the band usually becomes animated towards the end of their set. In back of backstage another whole set of security workers, guard the outer perimeter. Here access yields a whole new world where production people work feverishly to move food, equipment, and musicians, about the various stages. The outside perimeter allows an unhindered walk around the festival with re entry possible at any of the five back stages or the VIP area. The general VIP area is set up for concert goers paying an additional fee. It features its own food court bathrooms, shaded couches, and bars with more alcohol choices, but not much more. Artists, friends and crew exist in a democratic world with a communal catering tent offering up not only sumptuous food buffets, but a good chance to mingle and converse.

As infinitely interesting and educational as a backstage pass may be, the bulk of the real fun was taking place in the crowd of youthful concert goers. Adulate young fans stood patiently pressed against the front of the barricades, where many had spent most of the day, to see their favorite bands. Others laid out blankets in the back in a relaxed picnic like atmosphere. Electronic music fans seemed to exist in their own world, dressed in all manner of uniquely creative costumes, and attracted to the beat of the thumping trance like bass that predominates EDM (electronic dance music). These trance fans spent much of the day in the Do Lab, a popular daytime dance village in the middle of the festival, where dancers are constantly soaked with giant water cannons by scantily clad operators on the wet patrol. Then the drenched young EDM fans vacillate to and from the largest tent stage, the Sahara. Sahara has become ground zero for EDM fans, who attend Coachella, and sports the most elaborate lighting and sound equipment, of any stages at the festival. The highlight, in sheer numbers of the crowd on day one, may have been Bassnectar's midnight set. Video and computer artists worked feverishly backstage processing live images of the massive crowd and mixing them with digital graphics. Then the technicians would coordinate the images with a stupendous light show.

Performance Highlights and Stone Roses:

Friday may have had the most diverse line up of the entire three days of the festival. Some of the more interesting highlights included:

The Tokyo Ska Paradise Orchestra

This oversized group of musicians offered up a quirky Japanese version of ska music.

Dam Funk

Dam Funk from nearby Pasadena, played a modern version of funk music. The name is an acronym for vocalist and keyboard player Damon G. Riddick.

Beardyman

A young London based musician Beardyman, played his own unique version of Beatbox, music creating a crescendo of sounds during his solo performance.

The Shouting Matches

Former Bon Iver member Justin Vernon, laid down some classic blues rock with his new band, “The Shouting Matches”.

Youth Lagoon

Young San Diego songwriter Trevor Powers brought a fresh new sound to the festival with a band under his moniker Youth Lagoon.

Jake Bugg

Jake Bugg, a young English songwriter, brought his soothing folksy solo show to the desert. Bugg has been a festival staple across the globe since he was chosen to open the introducing stage, at Europe’s most prestigious music festival, the Glastonbury festival, in 2011.

Polica

Minnesota based Indy band, Polica, played a memorable set, lead by the hypnotic vocals of Channy Leaneagh. Justin Vernon, who had just finished playing lingered backstage. He once told a reporter, “They're the best band I ever heard”.

DJ Thomas Gold

By mid day, Berlin based DJ Thomas Gold, already had the Sahara tent packed with young dance crazed fans, reveling in his string of hit remixes.

Johnny Marr

Johnny Marr, the legendary English guitarist and songwriter, rarely plays in the US, (even though he has spent much of his time in Portland, Oregon) so his Coachella slot was much anticipated. With a tight band of English rockers he played a strong set of songs sifted from his long career. His new solo album, “The Messenger” was well represented. The set also including some rarely heard Goth classics by the band he was a member of for six years, The The. But the crowds biggest reaction came with each Smiths song that he played. The seminal 80's new wave band created timeless classics, mostly pinned by Marr and singer Morrisey. Unfortunately the songs fell flat without Morrisey's distinctive whining vocals. But to be fair, Morrisey's solo versions of the Smiths catalog also sound hollow without Marr's distinctive guitar. It is akin to The Rolling Stones without Kieth Richards. The crowd nevertheless reveled in the well known classics. Marr once even played with legendary Beatle Paul McCartney. Ironically McCartney’s son, who is also a singer songwriter, James McCartney, was playing on a separate stage at the same time as Johnny Marr's set.

James McCartney

The younger McCartney played a pleasant set of mostly upbeat folksy tunes.

Metric

The Canadian Indy pop synth group Metric, played an upbeat set on the main stage. The band is an offshoot of Broken Social Scene, another successful Canadian Indy band. Indy music was well represented on the opening day of Coachella with sets from bands across the globe.

Passion Pit

Following Metric two of the currently most successful and inspiring Indy bands played next, back to back on the outdoor stages. East Coast rockers Passion Pit whipped the crowd into a frenzy with their catchy riffs and spirited live show.

Of Monsters and Men

Meanwhile Icelandic Indy band Of Monsters and Men played one of the most intricate musical sets of the day, with exciting live versions of their new hit songs.

Lee Scratch Perry

Across the field in the Gobi tent a much different musical scenario was unfolding. Reggae Dub music pioneer, Lee Scratch Perry played a truly inspiring set. This icon of Jamaican music is the real deal, and his innovative band played classic Reggae music in an entirely fresh and new way.

Jello Biafra and the Gunatanamo School of Medicine

The Gobi tent became ground zero for the most interesting music of the festival for awhile, as Perry played his innovative music and then was followed by American punk era icon, of Dead Kennedy’s fame, Jello Biafra. Jello has enlisted a band of veteran hard core rockers including guitarist extraordinaire Ralph Spright of “Victim's Family” under the moniker “The Guantanamo School of Medicine”. The band came onstage burning on all cylinders and never let up during their hour long set. With a persona larger than life, lead singer Jello flashed onstage in a bloody doctors coat and launched straight into some of his most classic punk anthems. Flailing about the stage like a madman he had whipped up the crowd into the only mosh pit of the day, within minutes. Jello was really the only performer with something to say other the than the usual festival fodder pleasantries. An avid political activist, the impishly glaring Biafra would launch into a political diatribe before nearly every song. From the injustice of wealthy conservatives exploiting the poor, to the false promises of president Obama as a bastion of liberal change, no politician was safe. The anarchical singer focused his frustration with pin point laser like focus on various social injustices. Jello's show offered up the most hard core musical experience of the day.

Palma Violets

London based band the “Palma Violets” played a set of Indy music with psychedelic underpinnings wowing the crowd.

Sparks

The American veteran rock band “Sparks” brought their own unique mix of campy classic rock music to the festival. Los Angels natives Ron and Russel Mael have been playing together for over forty years and produced some memorable hits which lit up the evening crowd at Coachella.

Beach House

An entirely different mood settled over the crowd listening to the eerily dreamy sounds of Baltimore based bands “Beach House”. The strange vocals of French born singer Victoira Legrand emanated into the night air of the desert, painting the festival with her moody siren like melodies. The dimly lit stage created a dreamy trance inducing visual.

Yeah Yeah Yeah's

Meanwhile over on the main stage the “Yeah Yeah Yeahs” were playing to possibly the biggest and most receptive audience of the evening. Lead singer Karen. O pranced about like an iconic rock star in an undulating outfit that could blind the audience when the stage lights reflected off it in just the right angle. The animated singer dashed about the stage performing a myriad of rock antics. At one point she stuffed her microphone down her pants and wiggled wildly. During another song she wore a light attached to her head illuminating her face like an old school horror movie. While the wily singer captured the spotlight, the band was busy laying down some of the tightest tunes of the evening.

Blur

Another highly anticipated set came next on the main stage. English rock band “Blur” played a spirited set offering up their well know hit songs to an adulate crowd. The band has not toured together in nearly a decade. Lead singer David Albarn, (also of “Gorillaz” fame), led the group in a high energy alternative music frenzy. On April 17^th Coachella organizers officially announced that Stone Roses would lose their headline spot on the second weekend of the festival, switching set times with Blur. This was no doubt in reaction to Blurs' much stronger showing in their first weekend perfomance.

A Band of Horses

The Seattle group “A Band of Horses” had an adoring mostly female crowd swooning in front of their stage, including a few well known actresses in the VIP pit.

Purity Ring

The Canadian synth duo “Purity Ring”, also gave a moody performance that enchanted the crowd.

Grinderman

A small crowd gathered for the relatively unheard of Grinderman. But that crowd was treated to one of the most intense sets of music of the evening , next to Jello Biafra’s all out punk assault earlier on. Grinderman is actually the side project of London based rocker Nick Cave. Standing in the VIP pit, a well informed Jello, relayed the history of the band, formed as a side project to “Nick Cave And The Bad Seeds”. The band employs several members of that group including Cave and guitar and mandolin playing madman, Warren Ellis. Grinderman is a much more hard core sound than the more well known “Seeds”, who played the main stage on Sunday.

How To Destroy Angels

Another relatively unknown band “How To Destroy Angels” was playing in the next tent over, also to a small crowd. The band is led by maniacal music legend, Trent Reznor of “Nine Inch Nails Fame” and contains his new wife, Mariqueen Maandig on lead vocals. The band played behind a translucent screen emanating different colors and patterns. The intense music similar in vein to “Nine Inch Nails” combined with the screen created a nightmare like performance, detaching the band from the audience tactically, but engaging them viscerally.

Jurassic Five

A completely different vibe was being offered up by Hip Hop veterans “Jurassic Five”. The Los Angeles rappers made a big splash in the music world in the early 90's with their alternative brand of hip hop. The group reunited for the first time in over five years to play the prestigious Coachella festival. The band had the large crowd swaying to their beats throughout their set.

The Stone Roses

The highly anticipated reunion show by “The Stone Roses” closed out the main stage but it also may have been the most disappointing set of the night. The pioneers of the Manchester sound as far back as 1983, have been regarded as one of the most influential modern day English rock groups. Unfortunately, lead singer Ian Brown's vocals seemed harsh and forced throughout the evening. Whether he had laryngitis or has just lost his vocal abilities is unclear as the group has only just reunited after a more than fifteen year hiatus. The surprisingly light crowd at the main stage dwindled rapidly during their performance. But to their credit the rest of the band jammed admirably, with an especially intense psychedelic tinged finish.

Tegan And Sara

Indy darlings Tegan and Sara closed out the other outside stage, in front of a mass of riveted fans. While their drummer suffered a temporary malfunction the duo spent awhile bantering with the audience. “I see a lot of happy faces out there. I even saw some nice boobs. You are lucky to be at Coachella”, Tegan quipped. (You can tell the cute Canadian identical twins apart by their haircuts). Then the girls launched into a pair of acoustic songs while the drummer worked out his technical difficulties.

Bassnectar

The biggest crowd and certainly the most youthful was crammed into the Sahara tent for the final performance of the night by veteran DJ Bassnectar. Nowadays a DJ's success can be measured by the size of his light show. The most successful EDM artists like Deadmaus, Skrillex, and The now defunct Swedish House Mafia, offer up massive visual displays of technical wizardry. Bassnectar has come a long way since he performed on the 2004 jam cruise, in the tiny night club aboard the ship. I needed a flash to photograph him because there were virtually no lights on him. At his closing show the first night of Coachella, he stood in a towering DJ booth, flanked by massive video screens. A small army of operators worked backstage mixing live video of the crowd and the performer with computer graphics. The video was synched with a massive lighting show. Huge L.E.D. cubicle cylinders sent pulsating images throughout the venue. The crowd responded in a frenzied dance ecstasy. For many young EDM fans the Sahara tent is the pinnacle of a successful Coachella experience.

GIRLZ RULE !

Vans Warped Tour 2013

L. Paul Mann

Female vocalists and girl bands have always been a prominent part of the diverse line up that is the signature of the Vans Warped Tour, now about to commence its 19^th year on the road. From the early days of the tour, with bands like “No Doubt” to last years surprise new hit group from Los Angeles, the female driven Dead Sara, the girls could always be heard loud and proud throughout the festival. But, at this years annual kick off party and showcase concert, held at Club Nokia, in the LA Live center, downtown Los Angeles, it was apparent that girls would be taking an even bigger role in Vans Warped Tour. 2013. As evidenced from tour founder Kevin Lyman's opening remarks, to many of the diverse performances of the evening, the girls may be taking over this years events.

While the Warped Tour may be more well known, for it's testosterone laden Screamo bands, dominating the main stages, it has always been the multitude of musical genres from multiple generations of music on the smaller stages, that have made the festival so unique. At his years Kick off party, eleven acts represented a wide array of musical genres, from dance music, to rock, and featured no less than five accomplished female singers, in the mix. Comedian Grant Cotter bravely took over the duties as MC, quelling the crowd between sets, with appropriate sophomoric humor. Taking a direct approach he singled out individuals in the crowd, like a laser in a nightclub. By keeping focus on standouts like the beaver head guy, wearing a fur cap, he kept the audience engaged, during down time in the near five hour marathon concert. Opening act, Echosmith played clean pop rock led by a young girl named Sydney. This young Los Angeles band has apparently been playing together since they were still in middle school and have huge potential to the upside. All members of this quartet play a tightly coordinated and passionately polished brand of pop rock. Brian Marquis, brought the tone down in the next set, with a smooth acoustic performance. The accomplished singer songwriter and guitarist, was a prominent member of the post hardcore band from Boston, “Therefore I Am”, when the group toured with the Warped tour in 2009. His short folksy set showcased his enormous songwriting talent. “New Beat Fund” turned the volume all the way back up for a spirited rock set that harkened back to the golden days of glam rock. The animated quartet played a tight set of hard and fast rocking music. The onstage antics included a beer drinking ghost mascot. Charlotte Sometimes, the first of three female alumni of the hit television series, “The Voice” who played the Kick off party, took the stage next with a more mainstream pop sound. This young singer songwriter sings with an old soul, shaped by life experiences full of extreme challenges. Her songwriting skills are matched by her immense vocal talents. The most unusual act of the evening followed with an emo rap set by wunderkid MC Lars. The upbeat and gregarious rapper played together with his laptop, and prodigious musical partner, a female singer and multi-instrumentalist, who played everything from an accordion to a violin. The young rapper brings a uniquely sophisticated, slant to the rap genre, often based on classic English literature. Another alumnus of “the Voice” brought girl power back to the stage next, with a folksy bluesy performance that channeled Janis Joplin. She covered songs by that Blues legend, as well as a host of other classic performers, including the Police hit, “Roxanne”. The music took a decidedly different turn when DJ Big Chocolate took the stage. At first, it seemed that the young band oriented audience didn't know what to make of the dance music set by the former singer for the death metal band “Burning For The Masses”. But after the animated DJ, curmudgeoned the audience into creating a mosh pit like the “ones he is used to” at his previous Warped tour shows, the crowd became enraptured in a dance craze fever. The third alumni from “The Voice”, young female singer Dia Frampton, then brought the pace back down again. The bubbly, young barefoot singer who has already made a name for herself on national television, played pleasant pop music and quickly endeared herself to the crowd. Gin Wigmore, a feisty female singer with a decidedly different vocal style led the next booming rock set. Fronting a polished and professional five man group of hard rockers, the New Zealand singer captured the crowd with the most brilliant set of the night. This band, (think No Doubt but with a more rockabilly and less ska sound), may be poised to be one of the next break out bands of the summer. Much like Dead Sara, at last years kick off party, this band set themselves apart from all the others with their pure musical ability to play classic explosive rock music. The final set of the evening was led by Craig Owens, who has returned as the front man in the post-hardcore band Chiodos. A well known veteran of the warped Tour, the charismatic singer led a trio of musicians in an acoustic homage to his musical talent.

You can see all of these fresh new performers, as well as dozens of other diverse musical acts, at this years Vans Warped Tour, set to begin its 40 date national tour, on June 15^th. California shows include the popular Ventura stop, on June 23^rd, two nights in Pomona, June 20^th and 21^st, Chula Vista on June 19^th, and San Francisco on June 22^nd.

To see the full lineup and purchase tickets visit the Vans Warped Tour Website: www.vanswarpedtour.com