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Subject:Great Cover-Up, Day Four (Saturday)
Time:10:10 pm
By the time Saturday had arrived, I was starting to feel pretty wrecked. Instead of napping all day, I was trying to get the usual Saturday things done. Big mistake, but I relied on coffee and it carried me through! I also resolved to take better notes and drink a little less, a resolution some other folks were taking that evening as well. At 7:30p I was still only about 15 meters from the door before opening, so I figure that's the sweet spot.

I was still at the bar getting a second beer (ok, so I lied about drinking less) when Teenage Fanclub came on, which sort of typifies my entire relationship with the band in general. But they got the impenetrable brogues down and a rock solid drummer with the most natural looking wig of the weekend and a second guitarist that looked suspiciously like Thurston Moore but that was probably just a weird coincidence. The crew rocked sharply through "The Concept", "Alcoholiday", "Star Sign", and a final song that I couldn't parse out.

There were a lot more wigs in evidence for Jackson Browne to make sure we got the full 70's shag-cut effect. The lineup included an excellent keyboardist and a combination backup singer and tambourine / conga player. While I wouldn't have thought it essential (like cowbell (no, I won't link you there)) this guy was super on-time and had a great sound! The band stuck to the canon familiar to anyone who's listened to the classic rock radio format for like a day: "Boulevard", "Somebody's Baby", "Running on Empty", "Doctor My Eyes", before throwing a fantastic curve at the end with "Redneck Friend".

Next up was the three-piece from Cambridge, Morphene. Taking the stage with the requisite bass sax and bass guitar with only two strings, they coolly sauntered through all the songs I was listening to when other people at the time were listening to Teenage Fanclub: "Buena", "Thursday" (the only song with the words "Wagon Wheel" that I'll tolerate), "Sheila", "Cure for Pain", "Honey White". This was like a delicious, languid trip back to undergraduate school (or, at least all the things I was doing besides that at the time), and it was so good I bought CDs of the albums that I'd taped off of a friend at the time so I could listen to them again now.

Strutting on stage to dampen the shorts of Ladies of a Certain Age in the house was the same guy who was Anthony Kiedis on Thursday, now in much more clothing as Michael Hutchence of INXS. Sporting the perfect jacket and backed by electronic drums and a real saxophone, the band luridly ground through "Need You Tonight", "New Sensation", "Never Tear Us Apart" (on which the saxophone solo was delightfully overwrought), and rounded out their 80's all-star set with "Don't Change".

Almost as an interlude, Tenacious D was up next. The best bewildered comment was "Is this like South Park, but a band?" to which I can only give a similarly bewildered "Yes?". There were songs about penises, and humping, and band breakups and tearful reunions, and playing the best song, and then the dark lord Satan came out and mercifully whisked them all away. Acoustic guitars backed by electric shredding was the order of the day and duly well executed.

One of my ex-es was a huge fan of Pearl Jam (which, due to my programming background I keep trying to write "Perl Jam" which sounds like a Hell of a hackathon cut short by copyright violation notices), so this set was very therapeutic for me due to the fact that this was a "Talledega Nights" level of ridicule aimed squarely at the band. While the band itself played it straight and tight, the lead singer sailed over the top of mockery well into the ironosphere (but, weirdly, with the perfect imitation of voice). All the hits were... er... hit: "Jeremy", "Better Man", (at this point my notebook turned into flannel), "Daughter", (again, flannel).

Next-to-last was The Go-Go's, who hold the distinctive title of "Only L.A. band I like". Boasting an (almost) all female line-up and coming out of the gate with "Our Lips Are Sealed" (and while I prefer the Fun Boy Three version, the Go-Go's version is of course also fantastic) the band continued powerfully through "Vacation", "Lust to Love", "We Got The Beat", and maybe something else? Maybe it was only four? I lost track because during "Vacation" a bunch of beach balls suddenly appeared above the crowd and caromed around the club through the end of the set, getting progressively... er... stickier. Hilarious.

The last slot was absorbed by Metallica, sporting carpet-doesn't-match-the-drapes wigs. The last slot always suffers from the flagging stamina of the audience, but these dudes soldiered on. I didn't know how you don't do "Enter Sandman" as a Metallica cover band, until I started going back over my notes and realized you do it by covering a Misfits song that Metallica also covered ("Last Caress") near the end of your set. Much shredding throughout, though, featuring "Diamond Head", "Small Hours", "The Wait" (which, despite the other cover cover was not a cover of homophonic song by The Band). Another mosh pit briefly flourished and then we were done.

See you next year! Now I sleep.
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Subject:Great Cover-Up, Day Three (Friday)
Time:04:57 pm
I was not my best at wok Friday.

That's ok! I was good enough, and caught a cab downtown for a lovely dinner and briskly walked over and got in line at the perfect time.

I initially heard "Psycho Sluts From Hell", but it was actually Cycle Sluts From Hell, which I would have known if I'd read the little banner on the back wall. This was the same crew that Iggy Pop and Patti Smith in years past, and they have clearly found their genre. I was sure this band didn't actually exist (because how cool would that be?) until I looked them up, but notable tracks included their hit "I Wish You Were A Beer" and "By The Balls", both of those sentiments I can totally get behind.

In between bands, almost stealing the show, was someone dressed as Paul (who was away with The Whom). When Paul came back, I started shouting "Bring back the other Paul!" Sorry, Paul.

Up next was The Clash, and with Joe showing up dressed in a Polish Solidarity shirt, I knew this was going to be good. Despite apparently showing up shortly before going on (and having a little muddiness to the sound), they crushed "Should I Stay or Should I Go?", "London Calling", "Stand By Me". They dedicated their final song (was it "Police and Theives"?) to Trump and the KKK, because yes fuck those guys.

After doing Waylon Jennings last year, the same band took on Steve Earle this year. Like last year, this was solidly performed country with a big and delicious sound. At some point after "I Feel Alright Tonight" but before "The Revolution Starts Now", my buddy asked "Who's going ask for 'Copperhead Road'?", which turned out not to be necessary as that was the very last song.

Up next in full white tux regalia was Roxy Music, even bringing the saxophone into the mix. Slyly pulling off the ethereal essentials, the band glided through some of the best songs. My notes start getting really fuzzy here, but obviously they did "More Than This" and "Love Is The Drug" because it would be ridiculous not to.

REAL PAUL CAME BACK AROUND THIS POINT (geeze, these notes are terrible, maybe the phone is the move here).

After Roxy Music drifted offstage, Siouxsie and the Banshees drifted on in a sparkly cloud of gothic, post punk delight. I, being the uncultured swine that I am, only know "Cities in Dust" and "Peekaboo", neither of which they did. The feel of the music was very much pre-"Peepshow" and as a result rocked harder than what I listened to, but oh it was so well-done, and the hair and makeup was exactly right. EDIT: I deciphered "Passenger" from my notes and remembered that awesome track and the even more awesome horn section. Wow. I was. Yeah.

Continuing the trend back to harder rock from earlier albums, The Pretenders took the stage. They were so good, I've started an online petition to have Cheetie Kumar change her last name to "Hynde" (ok, I just made that up and no.). "Kid", "Brass In Pocket", were featured before rocketing all the way forward to now and (I think) "Blue Eyed Sky".

Featuring multiple Rolands, multiple Kurts, and multiple wigs; Tears for Fears put on a very-nearly-perfect set with possibly the best banter between the co-leads. Oh so saucy, snarky, and British. "Mad World", "Everybody Wants to Rule the World", "Shout", and maybe one more.

Last up was a fully feathered Cyndi Lauper, with a keyboardist in drag and lady bassist in a moustache. I'm reminded that what was simply so unusual in the 80's is now considered something to legislate against by the general assembly. Anyway, this was very sweetly done and featured "Time After Time", "She Bob", a tear inducing "True Colors", and a gleeful "Girls Just Wanna Have Fun" where all the ladies in the house were invited to take the stage. Such a joyful note to end on! We hopped into a cab at the soonest opportunity.
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Subject:Great Cover-Up, Day Two (Thursday)
Time:03:14 pm
Crap on a stick, people. I forgot my notebook. Well, I guess I get to A/B test using my phone vs. using my notebook to take notes. This evening, I resolved to be in line at 7:30, and despite the best efforts of inexplicably terrible downtown traffic, I almost was. This time, I was around ten spots from the front. This time, there was a coat rack. This time, I wasn't driving so this time might be a little more scattered.

We started out which a bunch of dudes my dad's age in Hawaiian shirts, otherwise known as The Beach Boys. These guys might not have been a cover band! But I didn't see an Electro-Theremin on stage so probably they were a cover band. Falsetto is hard, but they held it together. Notable tunes were "Sail on Sailor", "Don't Worry Baby", "Barbara Ann", and "Sloop John B". That last one I just figured out was about a rager of a party on a sailboat, which just sounds weird coming out of even dudes my age. Ask me about old punks sometime.

Award for best and least costuming job goes to the Red Hot Chili Peppers,who took the stage in full socks-on-cox regalia (although it's a bit of a stretch (HEH) to call a solitary sock "regalia"). That is, except for the drummer, who declined to participate. People who argued with me that this was OK are invited to look at the browsing history on my work computer (oops). THEN AGAIN everyone has to sit on that drum stool and... well... yeah. Appropriate choices may have been made. "Give it Away", "Suck My Kiss", "Aeroplane", "Scar Tissue", and "Higher Ground" were all solidly and funkily performed (though only Kiedis was brave enough to leap around). The crowd was festooned with smartphones, so I'm sure there's even video.

Best sideburns were on the lead singer of Humble Pie, who thew down hard with her Janis Joplin voice and wicked guitar chops and reminded me to pick up some old Dirty Little Heaters tracks. Starting out with "C'mon Everybody", and ripping through "30 Days in the Hole", "I Don't Need No Doctor", and "Honky Tonk Women" (and maybe another), Reese and her posse pounded the stage and the crowd.

Sensing the crowd's excitment, the Grateful Dead brought out candles and incense to tone it down a notch. Rather than taking the easy way out and playing just one really long song, they played two ("Brown Eyed Women" was one of them) and then a third that spiraled quickly into the realm of jam. I am far from the biggest Dead fan on the planet (at one point, I wondered idly why nobody had done The Band (and then I was told otherwise and of course that did happen in 2003)), but this did in fact rock and clearly pleased the ones who were.

Sporting a sweater style that hasn't been seen since 1998 and an overall-clad drummer buried under a mass of hair, Nirvana took the stage next. A small yet determined mosh pit formed almost immediately as the band tightly carried us through "Breed", "Drain You", "Aneurysm", "About a Girl", and maybe another? The crowd in turn carried the band, at one point literally when Kurt flung himself into space. Leaving us without doing "Smells Like Teen Spirit" was a brilliant move.

STRIDING NEXT ONTO THE STAGE AND LAUNCHING INTO "TWIST OF CAIN" WAS DANZIG. Shouting is required because Danzig is oh, so serious. These were the most on point costumes and wigs, and the lead signer posed and preened and glowered with just the right amount of camp to make it absolutely hysterical. During "She Rides", a phalanx of corseted ladies came out to gyre on-stage (because of course), flinging stuffed kittens into the crowd at the end. Saving the best for last, they howled through "Mother" to close out the set.

I'm very nearly at a loss about what to say about Queens of the Stone Age. They were a loud, tight, super sludgy delight. They had like ten songs! The hair and costumes were understated, but perfect. Maybe if you're going to do a bald head wig, really do it instead of plopping it on your head and hoping it stays (SPOLER ALERT: It won't). I regrettably didn't recognize any songs, but my scattered end-of-night notes tell me that they lead off with "Feel Good Hit of the Summer" so I guess I'm going to have to buy Rated R now.

At some point, my body will not be able to handle four days of this, but we're not there yet!
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Subject:Great Cover-Up, Day One (Wednesday)
Time:11:15 am
I've been trying a new way of keeping notes. On paper. It's amazing, and it doesn't run down my phone battery. However, my handwriting is shit, so who knows? We'll see how this all shakes out. Maybe I'll end up a flip-phone and moleskine-toting neo-luddite. I'm still using LiveJournal after all, at least occasionally.

I strolled up last night about ten minutes before the doors, and there were already twenty or so people in line. Amazing. The initial burst filled the room about a third, though it filled steadily throughout the evening.

I have it on good authority that the beard for the lead singer of the Deftones was authentic. I'm guessing the dirty dreads of the bassist were not. Cargo-shorts in full effect for the 90's kids, Pivot rocketed impressively through a bunch of nu-metal/grunge hits that I somehow missed while I was trekking across North Carolina going to raves. I have no more hair to shake, but I really wanted to.

Hailing back to the Carter administration, the Atlanta Rhythm Section was indeed a bunch of older dudes. Then again, after recognizing "Imaginary Lover" (a song about masturbating before the Internet) and "Spooky" I realized this brand of Southern Dad Funk was essentially my generation, too. I shave the beard because it's growing in grey. Should have put the "AM Mono" filter on everything for the full effect!

There were so. many. hats. on stage for Carly Simon that we thought it was an ironic twist on "Men without hats" at first. Constantly teasing us with a lyric or two from "Nobody Does it Better", Carly and her band (including a very curly James Taylor) solidly did all the recognizable ones (including "You're so Vain" and "Mockingbird"). This record was right next to "Free to Be... You and Me" in my parent's vinyl collection. If you still want to hear the whole version of "Nobody Does it Better", I can recommend this one.

I immediately thought "Oh, Budget Cramps" when The Mummies took the stage, which I felt terrible about until I read the Wikipedia page which calls them "Budget Rock" and that somehow seems worse. Profanity-laced garage psychobilly was what was happening, with a heaping helping of rapidly deteriorating toilet paper. Loud, raucous, and out of control, but a hysterical delight.

LAST BUT OH SO NOT LEAST THERE WAS Phil Collins strutting through the crowd at the beginning of "In the air tonight". It felt exactly like this, for real. Bonus points for dropping the "H" in "Hold" (ALTHOUGH THE INTERNET TELLS ME that it's actually "Oh Lord" and not "Hold On", which does make a certain amount of sense, but I think it's even odds of me mishearing it for all these years and internet lyrics being wrong, BUT ALSO I should probably believe Ross Grady) and EXTRA BONUS POINTS for the audience doing the extended reverb on some of the phrases. Next up was "Easy Lover" which only would have been made better with a helicopter. Then some Genesis and other stuff I forgot and instead of ending with "One More Night" like sensible people they landed on "I Wish it Would Rain Down" which is fine, too.
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Subject:Wars and rumors of wars.
Time:07:31 am
Last night's dream was about a sudden, immediate draft. Like, they came to work and got us and everyone just went with it and we were all going to go get shot up in elsewhereistan. We were shortly in a line waiting to board a bus/plane/whatever. A tall, lean woman (who later turned out to be an MP) got behind be and slid her arms around me, whispering "I'm not wearing any hose". Missing only part of a beat, I said "Neither am I".

At that point I realized I should phone Laurie and tell her I was suddenly being shipped out to die.
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Subject:LiveJournal is the new Twitter.
Time:03:40 pm
There's been a bunch of talk recently about the possibility of Peter Thiel buying Twitter. For various reasons, many of them good, that skeeves folks out. So there was a little hubub yesterday about this while I was taking a lovely walk through Umstead with my wife and folks were interested in where to flee post-Twitter, and I thought I'd clarify this particular idea.

I feel like we could spend some time on a better mobile app and head back to LiveJournal.

The first response should really be bafflement. But...

LiveJournal already has a similar-featured social networking structure. It's got friends, lists, public and private posts, comments, blocking, favorites. It's got even more where you can have public and private posting on the SAME ACCOUNT.

LiveJournal has a published API, and they encourage people to build clients without specifying what those clients should look like. That means you could build a client that operated suspiciously like twitter. Maybe only do subject lines (100 chars)? Maybe something else? You could embed a lot in the HTML of a LiveJournal post that would be client-specific without affecting the web LiveJournal experience.

If you want to write something long, write something long. The subject becomes the "tweet", and the rest of it doesn't require storify to sort out and doesn't (necessarily) spiral out of control into a fractal tree of replies.

Edit what you've written. Like I just did now.

LiveJournal doesn't have a lot of the crap infecting more modern social media systems. Autoplay. Shit that moves. Promoted Content. Memories. Moments. A completely independent messaging app. Chat. Group messaging. The. List. Goes. On.

The LiveJournal source is more or less open. If you're not keen on cozying up to the Russians. It's possible to build your own system (e.g. The Old Reader, Pinboard), charge a fee, and run it how you like to run it.

There are drawbacks!

Can't text a tweet! Does anyone do that anymore? As long as you're building a fancy mobile app, maybe you could build an international SMS gateway, but is that important?

LiveJournal doesn't do HTTPS, or any modern authentication systems, as near as I can tell. This is a big, big problem.

There are accessibility/ablist problems. Although how far Twitter has gone to solve those is open to debate.

You could be quoted without your knowledge. Someone could link to a post and you'd never know. That could also happen on Twitter, but the ease of retweets means there's usually an audit trail of sorts. I'm not sure how big a problem that would be.

Other things I haven't thought of yet. I'm a old able white dude who reads straight and cis. Rarely do I run into problems at all with harassment. LiveJournal has a mixed history with this, and upping the volume of posting to Twitter levels isn't going to make them build a better system.
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Subject:This is a test post to see if you can post something with only a subject line and roughly 140 chars.
Time:02:58 pm
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Subject:Moogfest, Day 3: (Saturday)
Time:03:35 pm
It dawned sunny that day! We did the breakfast/nap thing again, and then woke up later to do lunch with Laurie’s family in Durham, getting back in plenty of time to hit the Afrofuturism talk, which included Chuck Lightning, Reggie Watts, Janelle Monae, and Christian Rich (who were pulled in at the last moment when Mikki Blanco had to cancel) and was moderated by Kimberly Drew. The first thing they did was take apart the term as an end-all-be-all (Monae: “I didn’t get called it until I started making songs about androids and shit.”), and then proceeded to note that the audience was mostly white (Lightning: “How do y’all feel about being called ‘Anglo-futurists’?”) and Moogfesters, even though this was billed as a free event. The term found some use (Drew: “It asserts black people _have_ a future”), but most of the artists just wanted to make good music. All of them felt that these sorts of discussions should be taking place with more African American kids in the audience.

We slipped back to the hotel for a break and hit Bull McCabe’s for a quick dinner. One of the things about Durham is that it has much fewer restaurants/bars per square mile in downtown than Asheville (I know folks, it seems like they’re everywhere, but really). BMC was so slammed from the event happening on their lawn that they’d set up a reduced menu. This worked for them and they seemed to be handling the huge crowd well.

Post dinner we hit the American Tobacco Campus to catch the (also free) performance by Reggie Watts. It was coming on the tail end of a day of family friendly programming with some of the Yo Gabba Gabba crew and various other super-luminaries (too many to list, but look it up because it sounded nuts). Watts braved the threat of rain and got the massive crowd moving and chanting along with him. Exceptional show!

We had to go back to the hotel AGAIN for earplugs this time, but we managed to catch some of Empress Of in the Motorco parking lot when we got back. It was ok, danceable, some cute samples, and very fluffy. A delightful video show behind her. Many Sunn O))) fans were already in attendance under the assumption that this would be packed.

And, initially, as the clouds cleared off, it was packed-ish. As soon as Sunn O))) started, though, the crowd began… thinning. It’s almost impossible to describe a performance. My eyeballs were shaken by audio pressure waves in the low tens of Hertz. Impossibly huge gouts of fog were rolling across the stage and nearly blotting out the clearing sky. Layer after layer of subsonic feedback swam around me. The weaker patrons fled, allowing us to cover half the distance to the stage easily throughout the concert. I don’t think I could ever buy an album, but I will always buy a ticket.

L. was done for the night, so I walked her back to the hotel. I FULLY INTENDED to hit a dance party or two after that, but I sat down and started to change my shoes and LOST ALL WILL.

Next time. I promise I’ll go harder next time.
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Subject:Moogfest, Day 2: (Friday)
Time:03:34 pm
Friday we got up in time for the free breakfast and then promptly went back to bed for a few hours. Rising again, we went shopping for lunch at the grocery store. The cool thing about a kitchenette hotel room (same price as the ones downtown) is that you don't have to eat out every single meal. The uncool thing was sort of the walk.

Once we were done with lunch, we saw the Keynote for that day, which was full of Sanders-ism and Singularity preaching, after which Laurie decided to take care of her corporeal husk by working out, and I roamed the more durational installations.

The switchboard synthesizer used near-antique telephone components to sequence and modulate sounds coming from a more conventional synthesizer source. The place was criminally empty, but completely without spots to sit and just listen, so maybe it was designed for drop-in/drop-out kind of experiences. The ringing and resonant piece going on was delightful, though.

The durational installation at 21c was full of seating and also mostly full. At least three artists were on stage assembling a piece that was equal parts poetry, drone, and video collage. I sat, enraptured, for a quarter hour until the promise of booty-shaking pulled me Pinhook-ward.

The Party Illegal DJs there served up an hour and a half of their bounce/dancehall/hiphop/pop melange and rotated through at least four DJs by my count. The crowd, unfortunately, was mostly into watching so I'll have to see one of their regular nights and bring a dance partner.

I slipped back to the hotel for dinner, and then Laurie and I headed to see Allessandro Cortini. I'd seen him a few Moogfests ago, and really dug it. He did not disappoint, broadcasting a ever changing mix of throbbing drone and electronic crunch coupled with a video show of multilayered natural and urban scenery just jumbled enough to be slightly beyond identifiable.

We'd made the mistake of thinking Numan was at Motorco again on Friday, so we went there and heard a little of Grimes from outside until we realized what we'd done and hightailed it back to Fletcher, catching the end of Grouper's show. The almost constant resonant ringing played Hell with Laurie's ears, though, and she fled for the lobby. I toughed it out, but found little to enjoy. As soon as she ended, the slow acquiring of seats that had gone on throughout her show turned into frantic stalking.

Numan was amazing, though the Reznor flavoring of his old tracks continues apace. I get it, and it _is_ fun, but I miss the ethereal delicacy of the old stuff, which means I have to get more of the old stuff. Spectacular light show, his voice was holding up well in the second night, and the crowd ate it up completely.

We stopped into Bull McCabe's for the eponymous quick pint on the way back to the hotel and crashed once again.
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Subject:Moogfest, Day 1: (Thursday)
Time:03:33 pm
The first day was a lot of false starts, starting almost at the very beginning, but I'll get to that. We got to Durham and had lunch at Elmo's and then headed over to the hotel, the new Renaissance in Durham just East of East Campus. Our room wasn't ready (which was expected as it was only noon) so we went downtown on foot to check in. After checking in we cruised over to the PLAY and Pollinator installations (Balls and Bees!), finally heading back to the hotel to actually check in.

Unloading the car showed us our first false start of the day. I'd forgotten my CPAP. A quick trip back to Raleigh and we'd really not missed anything as a result. We had a sweet dinner at Bull McCabe's, and then had to go back to the hotel to retrieve Laurie's phone. We made the "Unmanned" talk in plenty of time.

Post talk, we tried to get some coffee at Loaf, only to find it closed. Coffee was found at the cupcake shop, and we headed over to the Carolina Theater to see Dawn of MIDI. We'd almost made it to our seats when everyone was inexplicably ushered back out into the ballroom because even though the front doors were open "the house was closed". Eventually we got seated.

DOM is like if The Bad Plus spent a summer listening to 90's minimalist techno and said "We should start a jam band, but like this". An unfortunate side effect of this is that a lot of their music sounded like the intro to a Battles song. This wasn't a bad thing! I really dug it, but occasionally found myself waiting for the song to "Start". steady all the way through. We stuck around for Julia Holter, afterwards.

Julia Holter is sort of a mix between Syd Barrett and Kate Bush, with a little Dead Can Dance thrown in, except she sounds like Siouxsie Sioux, and it was sort of marvelous in the way that makes you want to use the word "quriky" but also hate the reductiveness of that word and so you ultimately don't but you're still kind of stuck. A beautiful voice and at times large lyrical operatic and small lyrical confidentially poetic.

We slid down to Motorco in hopes of getting in to see Gary Numan by way of checking out Zombi beforehand, but of course we weren't the only True Fans that had that idea and the line was LONG and IMMOBILE. Blood Orange had just started in the parking lot next to it, and the HUGE line for that simply evaporated as it emptied into that space. We knew we liked Miike Snow so after a bit we went to the parking lot.

Blood Orange was a mixture: occasionally 80's style quiet storm with some 90's light funk thrown in (I've tried to remember that 90's 00's band that really drove that style, but it was so forgettable that I can't even remember the name. I eventually got the search terms right: Jamiroquai). Solid grooves and decent guitar playing, though. The video wall was showing postcard-perfect shots of NYC superimposed with ballet dancers, occasionally resulting in a cringing image of a dancer slithering across the Ground Zero memorial.

Miike Snow was spectacular. A few technical problems plagued their set, but their ability to work around and through them was top notch. They mixed the old and the new and the dancy and swayey and finished really really strongly right on the nose at quarter to one. We made our way back to the hotel and literally crashed into bed.
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