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      The 2011 Outside Lands Music and Arts Festival

      Photo: The Recording Academy

      News
      bonus-track-backstage-2011-outside-lands-music-and-arts-festival

      Bonus Track: Backstage At The 2011 Outside Lands Music And Arts Festival

      Facebook Twitter Email
      GRAMMYs
      Dec 2, 2014 - 3:22 pm

      Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.

      By Katie Cleland
      San Francisco

      Playing host to more than 80 bands from Aug. 12–14, San Francisco's 2011 Outside Lands Music and Arts Festival has become quite the contender for "best of the west" music festivals. Set among the cypress and redwood trees of Golden Gate Park, more than 180,000 attendees gathered at the sold-out festival to catch performances by GRAMMY-winning artists such as Arcade Fire, the Black Keys, Muse, OK Go, and the Roots, among many others.

      While fog threatened, sunshine prevailed as fans traveled from stage to stage, sampling local San Francisco cuisine and checking out local artistry. The festival showcased classic hits from music veterans such as John Fogerty and Mavis Staples, while also hosting a variety of promising local talent. New Bay Area tenants Tune-Yards attracted a 1,000-plus crowd after rumors spread that their performance was the must-see set of the Sunday lineup. Local band the Stone Foxes delivered an always-appreciated set of some good foot-stomping bluesy rock and roll. Other highlights included bands from the recent (and not-so-recent) past such as Clap Your Hands Say Yeah, Big Audio Dynamite and the Shins. The lineup also featured hip-hop artists and newly elected Recording Academy San Francisco Chapter Board members Lyrics Born of the duo Latyrx and K. Flay, who threw the beats down with their vocal technique and style.

      In addition to all the festival had to offer, the festival's producer, Bryan Duquette of Another Planet Entertainment, generously provided the MusiCares Foundation with space in the artist hospitality area to speak about the many benefits and programs and services the foundation provides to the music community. The table drew in a multitude of new faces, including new Recording Academy members Foster The People, who stopped by to take a photos and speak about ways they can support The Recording Academy community. It was a great weekend of music and community all around.

      Outside Lands Sample Playlist
      "Ready To Start" — Arcade Fire (iTunes>)
      "The Skin Of My Yellow Country Teeth" — Clap Your Hands Say Yeah (iTunes>)
      "Rush" — Big Audio Dynamite (iTunes>)
      "Tighten Up" — The Black Keys (iTunes>)
      "Who'll Stop The Rain" — John Fogerty (iTunes>) 
      "Pumped Up Kicks" — Foster The People (iTunes>)
      "Lady Don't Tek No" — Latyrx (iTunes>)
      "So Fast, So Maybe" — K. Flay (iTunes>)
      "Resistance" — Muse (iTunes>)
      "Here It Goes Again" — OK Go (iTunes>)
      "Wake Up Everybody" — The Roots Featuring John Legend (iTunes>)
      "Phantom Limb" — The Shins (iTunes>)
      "You Are Not Alone" — Mavis Staples (iTunes>)
      "Beneath Mt. Sinai" — The Stone Foxes (iTunes>)
      "Gangsta" — Tune-Yards (iTunes>)

      (Katie Cleland has worked for The Recording Academy San Francisco Chapter since 2008. She has been passionate about music since she heard the first few bars of Michael Jackson's "Billie Jean" at the age of 4. It wouldn't be strange to see her out at least three times a week at local music venues and, to keep up on the latest emerging acts, she also works a few nights out of the month at local venue the Independent. She is eager to continue the hunt for her new favorite band and share the tracks with others.)

       

      The Flaming Lips' Wayne Coyne at the 2011 Sasquatch! Music Festival

      Photo: Noel Vasquez/Getty Images

      News
      bonnaroo-lollapalooza-others-make-most-festival-time-year

      Bonnaroo, Lollapalooza, Others Make This The Most Festival Time Of The Year

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      The 2011 summer music festival calendar is heating up
      Matt Sycamore
      GRAMMYs
      Dec 2, 2014 - 4:06 pm
      GRAMMY.com

      A bill of diverse acts, tasty food and beverage options, warm temperatures, the smell of summer in the air, and a sea of fellow festivalgoers — these are some of the essential ingredients of the summer music festival season.

      As the music industry dives into another bustling summer festival season, it looks to be a winning one. Despite the still-dormant economy and soaring gas prices, young and veteran fans alike are flocking to festivals in droves.

      "If I wasn't playing these festivals, I'd be at them anyway," says Wayne Coyne, frontman of the Flaming Lips, who are once again active on this summer's circuit having played the Sasquatch! Music Festival in George, Wash., on May 29.

      "Trying to beat the heat when you've been awake until 6 o'clock in the morning and [trying] to sleep in your tent [as] the sun comes up. I think that's the part I like about [festivals] the most."

      There are myriad reasons why festivals are rocking while other live music options might be sagging. This year's installment of the Bonnaroo Music & Arts Festival, which kicked off June 9 in Manchester, Tenn., marks the festival's 10th anniversary. With four days, 12 stages and approximately 200 acts, the festival has been sold out since mid-May.

      "It's actually a value proposition to see a festival," says Rick Farman, co-founder of production company Superfly Presents, co-creators of Bonnaroo. "For $250, plus whatever it costs you to get there, you can see a volume of music that would cost you thousands and thousands of dollars if you were going to regular concerts. And it's more than that. There a lot of [other] entertainment options [at a festival].

      "In this day and age, people are looking for immersive, interesting experiences. When you live at the festival for three or four days you get a really deep, different experience than what's going on in most peoples' lives on a daily basis."

      Summer festivals have big drawing power, with Bonnaroo and Texas' Austin City Limits Music Festival drawing upward of 75,000 attendees in 2010, and the 2011 installment of the Coachella Valley Music and Arts Festival in Indio, Calif., totaling more than 225,000 attendees.

      Of course, the bands are the main attraction. Just taking a quick look at the headlining and supporting talent for some of this year's major summer festivals reveals a breadth across many genres.

      Bonnaroo will showcase a diverse lineup of artists from GRAMMY winners Arcade Fire, the Black Keys, Eminem, Lil Wayne, Loretta Lynn, Neil Young and 53rd GRAMMY nominees Mumford & Sons to non-mainstream artists such as Aunt Martha, Bassnectar, Cristina Black, DJ Logic, School Of Seven Bells, Twin Shadow, and a lot more in between.

      Lollapalooza will also celebrate an anniversary, its 20th, in grand style Aug. 5–7 with GRAMMY winners Foo Fighters, Coldplay, Cee Lo Green, and Muse, as well as Skylar Grey, My Morning Jacket, the Pretty Reckless, and Ryan Bingham & The Dead Horses, among others.

      According to Lisa Hickey, marketing director for C3 Presents, the production company for Lollapalooza and the ACL Music Festival, festivals offer fans a lot to discover.

      "The overarching theme of any festival is musical discovery," says Hickey. "You will have headliners and more well-known acts, but most people are going to check out new music and hopefully discover a new favorite band. You go to a festival because you're excited about 10 bands. But you might see 10 more that you probably wouldn't have seen otherwise."

      And with festivals, there is always the chance that fans will experience something different, and possibly historic. Think Jimi Hendrix's now-legendary instrumental version of "The Star-Spangled Banner" at the 1969 Woodstock festival.

      "Most bands perform a different set at a festival than they would in a club," adds Hickey. "Phoenix comes to mind — when they played the ACL Festival in 2009, it was a record crowd for them. At Lollapalooza 2010, I've heard it [went] down as one of their most memorable performances ever. Bands give back what the audience gives them in terms of energy, and that's really special."

      The ACL Music Festival, slated for Sept. 16–18 in Austin, Texas, has only single-day tickets available for the festival's final day. The lineup will feature more than 130 acts with everything from American Roots and bluegrass (Alison Krauss & Union Station) Americana/folk (Ray LaMontagne) and R&B (Stevie Wonder) to indie rock (the Airborne Toxic Event), singer/songwriters (Brandi Carlile), and hip-hop (Kanye West).

      Other upcoming summer festivals include Summerfest (June 29–July 3, July 5–10, Milwaukee), Pitchfork Music Festival (July 15–17, Chicago), the Outside Lands Music and Arts Festival (Aug. 12–14, San Francisco), and Sunset Strip Music Festival (Aug. 18–20, Los Angeles), to name a few.

      "The festival model really speaks to the way the world has evolved," says Farman. "Access to music is very wide and very easy to get these days. Because people are spending so much time behind the desk at a computer, the opportunity to sample lots of types of music in an environment that's free and immersive is a no-brainer."

      But even though we might be living in the age of the "modern" festival, these multiact, multiday bonanzas have something in common. They are rooted in the spirit of a community event built on the tenets of harmonious coexistence through music and art — a concept that goes back decades.

      As Grateful Dead guitarist Bob Weir said at Bonnaroo in 2007 while reminiscing of his days as a festival artist — and attendee — that's really what festivals are all about.

      "I got a much better taste for it because I was living in the campground, I was getting rained on, I was getting muddy, all that kind of stuff," Weir said.

      "But it's kind of wonderful to look back and see what's grown out of it."

      (Matt Sycamore is a Pacific Northwest-based freelance music writer.)

      Big Chocolate performs at the 2011 Vans Warped Tour

      Photo: The Recording Academy

      News
      bonus-track-big-chocolate-vans-warped-tour-2011

      Bonus Track: Big Chocolate At Vans Warped Tour 2011

      Facebook Twitter Email
      GRAMMYs
      Dec 2, 2014 - 3:22 pm

      Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.

      By Sarah Mudler
      Tinley Park, Ill.

      Following my interview with pop/punk outfit Every Avenue at the Tinley, Ill., stop of the 2011 Vans Warped Tour, I had the chance to sit down with one of the artists paying his dues as a rookie on this year's tour — dubstep DJ Big Chocolate.

      A native of Huntington Beach, Calif., Big Chocolate (aka Cameron Argon) has quickly made a name for himself by introducing the tour's die-hard fans to an addicting alternative sound that combines elements from drum and bass to electro and dubstep. Less than an hour before his set, Big Chocolate took a break from the heat and joined us backstage to discuss his distinctive style, rapidly expanding audience and plans for the future.

      Check out my interview with Big Chocolate below, and click here to catch him in a city near you. To see what Big Chocolate has been up to lately, visit him at www.youtube.com/cameveryday. 



      Set List (partial)
      "Mo Money Mo Problems"
      "I Don't Know You"
      "Revelation"
      "Commissioner" by the March (Big Chocolate remix)

      Check back in at GRAMMY.com soon to see more exclusive footage from the 2011 Vans Warped Tour.

      (A Midwest girl at heart, Sarah Mudler joined The Recording Academy Chicago Chapter in 2004. Coming from a Detroit rock background, she has expanded her musical interests into everything from pop to blues to jazz to gospel, and even a little country now and again. She can be seen haunting local Chicago venues almost every night of the week, and is currently the Senior Project Manager for the Chicago Chapter.)
       

      Chevelle's Pete Loeffler

      Photo: The Recording Academy

      News
      chevelle-club-nokia

      Chevelle At Club Nokia

      Facebook Twitter Email
      GRAMMYs
      Dec 2, 2014 - 3:22 pm

      Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.

      By Crystal Larsen
      Los Angeles

      If you're anything like me, nothing gives you more of a rush than the sound of an eager crowd roaring in anticipation of what's to come as a venue's house lights dim and the band everyone's been waiting for prepares to take the stage. I felt that anticipation stronger than ever on Wednesday night at Club Nokia in Los Angeles as a band featuring two brothers from Chicago, known as Chevelle, took the stage for a very loud night of heavy rock.

      As Chevelle prepared to take the stage, there was no doubt they were the band the audience was here to see. I overheard one fan say she drove 60 miles to see them because they are just that good.

      As the club went dark the crowd began loudly clapping, as if to compel Chevelle onstage. As brothers Pete and Sam Loeffler and Dean Bernardini took the stage and launched into "The Clincher," any sound made by the audience was quickly drowned out. With only one guitar (Pete), a bass (Bernardini) and drums (Sam), the trio's sound filled the venue.

      The stage lights flickered from blue to bright red, accentuating the variety of emotions carried through each song, from anger and frustration to pain and loneliness. I couldn't help but gaze over the audience, which by now stretched to every inch of the venue. There was a sense of loyalty and camaraderie, both between Chevelle and their fans, and among the fans themselves, evidenced by the mosh pit that erupted with each song. As the crowd shouted along to songs like "Letter From A Thief" and "Sleep Apnea," never taking their eyes off the stage, there seemed to be an unspoken understanding that the fans completely understood what Pete was singing about, and Pete likewise rested in knowing they understood him.

      That mutual understanding was solidified when Pete said, "[I'm] glad to have someone who can identify with my s***."

      The set neared the end with "Send The Pain Below," a heavy-hitting track from the band's 2002 release Wonder What's Next. This was one of Chevelle's standout performances of the evening, as Bernardini hit harder on his bass and Pete's vocals shifted from soft-spoken to heavy-stricken, reminiscent of Tool's Maynard James Keenan.

      At the close of "Send The Pain Below," Chevelle left the crowd satisfied, yet still hungry for more, and it wasn't more than a minute before they returned for an encore. The thing I love about encores is how the crowd always seems surprised when the band takes the stage again.

      Closing the evening, Chevelle performed "The Red," which began with a solo electric guitar performance from Pete, followed by "Face To The Floor," from their most recent release, 2011's Hats Off To The Bull. While Chevelle has clearly perfected the art of a tight, cohesive performance, they were arguably no more in synch than on "Face To The Floor"; Pete's shouting vocals meshed perfectly with Sam's hard-hitting drum beats and Bernardini's thundering bass lines. And like clockwork, Pete knew exactly when to throw himself and his guitar toward the ground as each note got heavier and heavier.

      Is it their shared blood that makes Chevelle such a perfect union, or the undeniably strong connection to their fans? I'd say it's weighted equally on both.

      Opening for the band were local favorites and Chevelle tourmates Dead Sara, who kicked the energy quotient up several notches on the strength of lead singer Emily Armstrong's hard-hitting vocal performance.

      Newcomers Blowing Up The Moon started the night. Their set consisted of grunge-influenced rock and was visually marked by frontman Andrew Stogel's flowing blond locks, which he threw around with ease as every strummed note came with a head bang, despite the fact that he was suffering from bronchitis.

      Set List
      "The Clincher"
      "Letter From A Thief"
      "Another Know It All"
      "Vitamin R"
      "Hats Off To The Bull"
      "Sleep Apnea"
      "Same Old Trip"
      "Closure"
      "Jars"
      "The Meddler"
      "Still Running"
      "I Get It"
      "Envy"
      "Send The Pain Below"
      "The Red"
      "Face To The Floor"

      To catch Chevelle in a city near you, click here for tour dates.

       

      Zak Waters

      Photo: Jesse Carmody

      News
      zak-waters-towne-hall

      Zak Waters At Towne Hall

      Facebook Twitter Email
      GRAMMYs
      Dec 2, 2014 - 3:22 pm

      Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.

      By Brent Burns
      Los Angeles

      Los Angeles native singer/songwriter Zak Waters kicked off the first of his Secret Weekends, a series of monthly showcases featuring the finest indie art and music, on Sept. 7 at Towne Hall, a unique 2,000-square foot community venue hidden on an industrial block in downtown Los Angeles. To enhance the creative feeling of each Secret Weekend, Waters is working with artist/promoter Baha Danesh, who is known for her L'art Pour L'art art shows.

      The first Secret Weekend began with tunes from top-tier DJs and local acts, including high-energy folk duo Baywood, who entranced the crowd with a vibrant display of sounds and images across the stage and walls of the Towne Hall. Later, a new set of mysterious musicians took the dimly lit stage and began tuning their instruments. It was Waters and his band, who treated the crowd to a surprise performance. Standing with his side turned to the audience and hunched over his Yamaha M08 keyboard, Waters swayed side-to-side as the band crashed seamlessly into their hot-tempered dance-floor sensation "TNT." The crowd's roar seemed to stretch the walls with excitement, while Waters occasionally glanced over his shoulder to reveal an oversized smirk at the sea of arms in the air.

      By this time, the crowd was pressed against the stage dancing freely despite being packed together like a box of crayons. The energy came in waves, slowing down at moments where Waters shared his appreciation for the astounding turnout of supporters, which clearly put the venue over capacity. 

      The band effortlessly showcased their ability to mesmerize with either fast-paced musical spats or mellow grooves. Every time the warm lights were flashed on the crowd, an endless sea of smiling faces dripping with sweat and lingering excitement was visible. During Waters' performance of DJ/producer Madeon's "The City," a track on which Waters contributes vocals, I had a true awe-inspiring moment. Not only did I have the opportunity to see one of my favorite artists perform, but I was part of one of his latest musical creations, an impressive arrangement of talent and ambiance that rivals that of the Coachella Valley Music and Arts Festival's Sahara Tent.

      Waters also teased the crowd with a few new songs from his forthcoming new album, due later this year, including "Runnin' Around," which will be the first single from the album released with a music video due next month. Make sure you catch Waters' spotlight performance on "Last Call With Carson Daly" on Oct. 3.

      Set List
      "TNT"
      "Heartbreak In The Making"
      "Skinny Dipping In The Deep End"
      "Move On Up"
      "Runnin' Around"
      "Flirt"
      "The City" (Madeon cover)
      "In The Kitchen With The Lights On"
      "500 Dollars"
      "Neon Sun"

      (Brent Burns is the dance/electronica GRAMMY.com Community Blogger.)

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      Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.