Edward Sharpe and The Magnetic Zeros: The Real Happiest Place On Earth

December 14, 2009
The Mayan Theater, Los Angeles

What's taken me so long?! As you know, I typically post my reviews in the middle of the night, immediately following the show. What happened? Edward Sharpe and The Magnetic Zeros - that's what happened! Let's just say I've been riding the Edward Sharpe cloud ever since their show at The Mayan Theater on December 14th. I've been too high (figuratively speaking, not literally) to buckle down at the computer and write. Not to mention the fact that my hands were still tingling from all the clapping, for weeks following the show.

It's been a long time - at least a year - since I've been to The Mayan Theater. It's a really cool venue, with great sound, a GA seated area upstairs, and tiered GA standing levels on the floor, allowing the audience to choose their own live music viewing adventure.

I'd been looking forward to seeing Edward Sharpe and The Magnetic Zeros since the last time I saw them, at The Abbot Kinney Festival in September, 2009. The buzz about this band had been building all year and rightfully so. Edward Sharpe and The Magnetic Zeros is more than a band, it's an experience.

This experience was conceived of by Alex Ebert, lead singer of Ima Robot. In Ebert's vision, Edward Sharpe (Ebert's stage persona) was sent down to Earth to heal humankind. However, Sharpe keeps getting distracted by women and falling in love. So while he may be too busy falling in love to save us, Edward Sharpe and the Magnetic Zeros are here to make sure we have a good time. And they deliver.

The mood in the Mayan was light. People were bouncing, dancing, jumping, and singing along. . . and that was simply to the tracks spun by the DJ, prior to the band taking the stage. When Edward Sharpe and The Magnetic Zeros hit the stage, people bounced higher, danced more, and sang louder. The crowd was among the most energetic, enthusiastic, harmonious and nice audiences I've encountered. It seems Edward Sharpe, in his attempt to heal humankind, brings out the best in people.

Before the show began, three screens were illuminated - one large screen which acted as the backdrop for the stage, and 2 smaller round screens suspended above the crowd, on either side of the stage. Throughout the show images of the band were superimposed with images of the audience and various ethereal backdrops. The crowd cheered and made shadow puppets on the screens. Film clips of the band riding their bicycles and interacting playfully were also projected on-screen, which added to the overall happy atmosphere in the venue.

That said, true happiness was achieved through Edward Sharpe and The Magnetic Zeros' music and their performance. On several occasions Sharpe came down off the stage to sing and dance with the crowd. During "Om Nashi Me", Sharpe kept the beat by clapping his hands against the hands of various audience members. During "40 Day Dream" the crowd provided the clapping between the chorus and the verses. The audience also doubled as backup singers, singing the "40 Day Dream" verses as loud as the band, and providing the vocals for the catchy bridge, "ooh ahh ahh yeah yeah yeah. . ." As if they knew it was coming, the crowd began clapping the beat to "Home" as soon as Edward Sharpe and The Magnetic Zeros struck the first note.

As usual, the eclectic band, with their unique instruments did their part to raise the vibration of the show. You can't help but smile along with Jade Castrinos' expressive performance. Stewart Cole... wtf?! I've seen Cole perform with several bands over the years, but playing with Edward Sharpe and The Magnetic Zeros allows his numerous talents to truly shine. Cole plays multiple instruments, with a level of joy and passion that's inspiring and contagious. There are too many to name them all, but each of The Magnetic Zeros deserves proper recognition for their contribution to making an Edward Sharpe show the real "happiest place on Earth."

One of my favorite moments of the night was the band's performance of "Brother." Members of the audience and friends of the band were invited to join the musicians on stage. Meanwhile, Sharpe got off stage and balanced himself on the edge of the rail. With Sharpe's cue, everybody on stage sat down. Then, everybody on the floor sat down. Sharpe hovered angelically, centered between the audience on stage and the audience on the floor, while seated on the rail. He sang the first two thirds of the song perched on the rail before gracefully transitioning back to the stage. This performance propelled "Brother" to my favorite song on the band's debut album, Up From Below ("Om Nashi Me" originally held that rank).

By the way, it's hard to have a favorite song on an album comprised of 13 outstanding tracks. Essentially, every song on the album is a "favorite." But seeing Edward Sharpe and The Magnetic Zeros live adds even more emotion, magnetism (no pun intended, but I can think of no better word), and connection to the already outstanding songs. At an Edward Sharpe show you become part of the music, part of the band, the reason the songs were written in the first place.

If festival promoters are as smart as I hope they are, then this band will be booked at all the major summer festivals this year.

One more note about the audience: Edward Sharpe fans are the happiest and best looking people in town. Some people say "you can't have it all" - go to an Edward Sharpe and The Magnetic Zeros show and prove them wrong.

I See Better in 3D

December 3, 2009
Austin City Limits Music Festival,
Mile High Music Festival,
All Points West Music & Arts Festival

If you paid attention to the date and locations noted above, you're wondering how it is that I was in 3 places at once, 3 months too late. Well, tonight things came in 3's. 3 Festivals, 3 Bands, 3D.

I was treated to a press screening of Larger Than Life In 3D, a. . . it's. . . well. . . essentially, it's a concert, except instead of being stuck behind the tallest guy in the crowd, you're dancing in the front row. Sometimes you're standing on stage. At other times you're a hundred rows back, but you can still see perfectly. It's magic. And I like it.

This particular 3D concert features Gogol Bordello, Ben Harper and Relentless7, and Dave Matthews Band. Gogol Bordello's set was energetic and the crowd was almost as insane in 3D as they are in real life. Somebody blew smoke in my face, but I didn't even smell it.

Next Ben Harper. . . If you thought Ben Harper was sexy in person, wait until you see him in 3D. The last time I saw Harper perform live it was at a last-minute Relentless7 rehearsal show at The Mint, in Los Angeles. I was blown away by the band - some truly amazing players, and I was standing exceptionally close to the stage. The picture on the right is my view of the Relentless7 show at The Mint in January. The picture above, on the left, is my view of the show inconcert3D. As evidenced, the view in 3D is as good as an unobstructed front row seat. Which is why, at one point, I thought Jordan Richardson was going to hit me in the face with a drumstick.

Dave Matthews Band followed Ben Harper and Relentless7. Beach balls were flying over my head during their set. The crowd was clapping and singing along. Dave did some of his wildest dancing, and you couldn't help laughing in response to some of his facial expressions. Did you forget we were in a movie theater? Yes, you can cheer, clap, and dance during the movie. And if you do, you'll have more fun. Of course, the person behind you may not be able to see as well, but that only makes you feel as if you really are at the concert.

After the movie ended, I was in the lobby, talking with one of the producers. We were having a great conversation, but I kept wanting to touch him to see whether I was talking to him in 3D or if he was really there. It was kind of like getting off a boat and still feeling the waves beneath your legs as you walk. Larger Than Life In Concert 3D is as close as it gets to the real thing. You will notice some differences: you can see better, you're not getting hit in the head by beach balls (although, I dare somebody to bring those to the movie theater). and you'll leave so much cleaner than you've ever left a festival.

My Afternoon With Ringo Starr

December 2, 2009
Grammy Museum, Los Angeles
For LP33.tv

I definitely feel blessed every day; some days more than others. Yesterday was one of the more-blessed days. In fact, spending the afternoon with Ringo Starr goes down as one of the highlights of my life so far.

We met Starr at The Grammy Museum in Los Angeles for an interview as part of a larger campaign LP33.tv is doing to support the release of his new album, Y Not. As soon as the video interview piece is edited, I'll post it here.

I wasn't nervous to meet Starr at all. . . until he arrived. I've spent time with some of the biggest musicians in the world. I've been to recording sessions in their home studios and have had dinner with them in their second homes, but it doesn't get bigger than The Beatles, period. And while I have seen Paul McCartney perform live on several occasions, I'd yet to meet one of The Beatles. That fact didn't really hit me until Ringo walked through the door.

He's exceptionally charming, clever, and funny. He has that dry, intelligent sense of humor that could cause you to miss the joke if you're not paying close attention. That's my kind of humor. In fact, the most challenging part of the video shoot was to not-laugh out loud while we were recording. At one point, Starr said something so funny that we couldn't hold it in any longer, and we all burst into laughter.

We talked about his forthcoming album, new collaborations, The Beatles Rock Band, and something he wishes he'd never said. That's all I can tell you about what happened. . . for now. The rest will be revealed by LP33.tv soon.

That said, I can tell you what didn't happen. I didn't tell Starr that The Beatles is the only band I listened to during my adolescence that didn't give my parents a headache. I didn't tell Starr that, instead of those cheesy baby tunes albums most parents play for their kids, my aunt and uncle solely played The Beatles for my three cousins when they were growing up. I didn't mention that, due to this early Beatles immersion, my little cousin named her first dog (a large German Shepherd) Ringo. I didn't challenge him to a game of The Beatles Rock Band although I would have liked to.

Although our time together was brief, a lot more happened than didn't happen. You can watch a little teaser from LP33.tv here.

Butch Walker at The Hotel Cafe, By Request

The Hotel Cafe
November 25, 2009



One of the reasons I love Butch Walker is because he's honest. (Either Walker is really honest or he's a really good liar.) Another reason I love Butch Walker is because he's cool. And not just cool, but sexy cool. Walker reminds you that it's sexy cool to be honest.

And that's what makes a Butch Walker show what it is. Sure, the music is good; his passion and expressive stage presence is entertaining and refreshing; his sense of humor makes you forget about anything his songs may have made you remember. . . But what makes a Butch Walker show a Butch Walker show is that it's one place (especially in LA) where it's okay to be vulnerable; it's cool to be unguarded and real. As they sing along to every song, at a volume that nears screaming (albeit melodic), the crowd acknowledges that they've felt that way too. And while they may not have been brave enough to express it before, Butch Walker shows are a safe place for people to exclaim, "Yeah, I'm a little fucked up," and then to celebrate that we all are.



Last night's show at The Hotel Cafe was the last show of Butch Walker's 4-week residency at the venue. During the 3 prior shows Walker played one of his albums start to finish. Last night's event was a fan request show. Every song on the set list (except two new songs) was requested by fans via Twitter. This proved to be more challenging for Walker as it forced him to re-learn some songs he hadn't played in years, songs he'd forgotten he'd written. In some cases, he played songs he claimed to never have played live before. "There's gonna be a lot of fucking up tonight," Butch Walker remarked early on during his set.

Fans knew the words better than Walker as he played songs he swore he'd never play live again. "I hate playing this song. It's really hard to sing - it has too many words," Walker explained before launching into "Suburbia." "I swore I'd never play this song live again, but you requested it . . . " Walker's commitment to his fans was reaffirmed numerous times during his 2-hour set.



Between songs Walker lent insight into the lyrics and where he was (figuratively speaking) when he wrote each song. He openly explained that some of the songs were hard for him to sing now. "A lot of these (songs) - I'm having trouble connecting with them now because I don't know where I was then." Reflecting back, prior to playing some of his earlier material, Walker remembered that he used to scream a lot more when he was younger. At 40-years old he admits to being much happier now. "I had more things to be angry about back then. Well, I'll try to scream tonight. I'll give it a shot. . ." Walker said before launching into some of his more angst-ridden songs.

Walker played "I'm A Believer" for some fans who flew all the way from Atlanta to see the show. Walker's parents also flew in for the show to which Walker remarked, "I never thought I'd be drinking whiskey from a bottle, in front of my parents. Well, I'm alls growned up now. . ."

Halfway through "Beautiful," which Walker had trouble singing seriously, he added some lyrics, "I'd go get your fucking money back." When he finished singing "Beautiful," Walker explained his inability to play the song without laughing, "I feel like this song is a hair product commercial."

After every song about heartbreak and pain, Walker had a way of making the crowd laugh hysterically. "I decided tonight I'm just gonna talk to you like I'm on YouTube. Like you're watching it. . . y'know? Because when I get home this whole show will be up on YouTube and I'll watch it and think, 'Oh, don't wear that!'"

In response to some holiday song requests, Walker pondered, "There aren't any Thanksgiving songs. We should make up a Thanksgiving song." Then, while strumming an upbeat tune, Walker sang, "White men are assholes. White men are assholes. We took this land, took this land, took this land, took this land. White men are assholes. . . I'm happy to be here."

Walker introduced "Vampires In Love," a song he wrote in 1997, 12 years ahead of its time. "Cuz it would be stupid to do something like that now," Walker said, referring to the current popularity of vampire stories such as the Twighlight series and True Blood. "It just reaffirms my belief that I should never play this song again." Walker let the audience take over the vocals as he playfully mocked the song with dramatic facial expressions. After he finished playing "Vampires In Love," Walker commented, "That song is like Fisher Price My First Song. . . the lyrics are so stupid."



He played fan-favorite song after fan-favorite song, deviating from the fan request format only twice to play new songs. Walker wrote one of the songs for his young son, reminding him to live a complete, full, passionate, fun-filled life, and not to make some of the mistakes Walker had.

Walker took us on a journey from one side of love to another, singing "Let Me Go":
Please just let me go
And I won't be your shadow anymore

Followed by "Last Flight Out":
Is this all there really is?
Life after you
Is it all there really is?
What else can I do?
I’m just gonna taste your kiss
No matter who I’m with

"This is my get out jail free song. I'm not gonna sing it - you are," Walker said as he began playing another fan anthem. If that's the case, all the songs Walker played last night could be considered "get out of jail free songs" - the audience sang every one.



As Walker played the older songs he seemed to get younger. I could picture him, 20 years ago, 20 years old, sitting in his bedroom. . . Just as cool then as he is now. I thought about all the musicians who've collaborated with Walker, those fortunate enough to have his producer credit on their album. "It would be a lot of fun to work with Butch," I thought. He takes what he does seriously, but he also knows how to have fun. Butch Walker has changed since he wrote many of the songs he played last night. He's more relaxed and knows first and foremost how to have a good time. Perhaps that's why he doesn't scream much any more.

Butch Walker leaves the screaming (and sometimes the singing) to the fans.

Wolfmother and Slash Tear Up The Wiltern

November 24, 2009
The Wiltern, LA


One of my friends asked me what I was doing tonight. When I told him I was going to see Wolfmother, he responded, "Wolfmother? I don't know what that is, but I wanna go." And that's why I'm friends with that guy - he knows a good thing when he hears it.

Wolfmother is a good thing.

The last time I saw Wolfmother it was during Voodoo Experience 2009, in New Orleans, Halloween weekend. They were one of only three bands that exceeded my expectations during that festival. The last time I was at The Wiltern was to see Nine Inch Nails' last performance ever and the room still feels charged from that event. The last time I saw a live show was 3 weeks ago, before I left on an Arctic expedition.



Maybe it's due to my long holiday away from live music . . . Or perhaps it's just the fact that Wolfmother is an outstanding band, but that was one hell of a show. The audience was among the best I've seen in LA - clapping, stomping, jumping throughout every song. If they weren't already standing, the audience would have given a standing ovation after every song. There were times it looked as if the band was thinking, "Wait - is this our encore?" during the thunderous applause and cheering that followed every song. No, no. . . that's just your third song, but you played it like it was an encore and the audience responded with the same level of enthusiasm. Wolfmother played every song as if it were their banner hit - a larger than life, extremely energetic and passionate performance start to finish.


I wonder if Wolfmother knows this was the best show they've ever played. I wonder if, from the band's perspective, this was an exceptional show. . . or have they all been this good? Andrew Stockdale's voice, guitar solos, and dynamic stage presence took the show to another level. At one point, Ian Peres was playing keyboards with his right hand and bass with his left hand, simultaneously. At another point, Peres was playing keyboards and his feet weren't touching the ground at all. Peres frequently needed to untangle himself from the cable he'd gotten caught up in while tearing around the stage.



Wolfmother weren't the only ones tearing around the stage. During the encore Stockdale invited Slash out to play "By The Sword." Whatever the audience was doing before Slash hit the stage, they turned up 300 notches when he did take the stage.

This was the last show of Wolfmother's U.S. tour. Wolfmother doesn't just get up there and play -- they GET UP THERE AND PLAY!

And the fans continued screaming and cheering as they traversed the parking garage, on the way to their cars.

http://www.youtube.com/watch?v=_y-AmCr0yRU
http://www.youtube.com/watch?v=H2N91C1PS5Y
youtube=http://www.youtube.com/watch?v=xoOXJcXTYxM

Wolfmother and The Headless Robot – Voodoo Experience 2009

October 31, 2009
Voodoo Experience
New Orleans, LA

Written and Photos by: Colette Weintraub

More than 100 bands played New Orleans Voodoo Experience this year. While many of them were outstanding, only 3 of them exceeded my expectations. Wolfmother is one of them.

I ran into Andrew Stockdale, Ian Peres, and Aidan Nemeth back at the press tent, prior to their set. They were doing an interview with Filter and the interviewer was asking them what they thought of alternative animal names for their band. “Wombat Mother?” “Koala Mother?” The journalist shot off a dozen or so animal names. Stockdale and Peres looked puzzled for a moment as if there were a language barrier between Australia and America, and then they cracked a smile. It was either that or beat the sh*t out of the interviewer; and with a name like “Wolfmother” you can’t be certain which way it will go. As it turns out, the guys are quite nice . . . most of the time.

I’ve always liked Wolfmother. I’ve seen them a few times, at various festivals, and they put on a great show. So when I saw them at Voodoo Experience in New Orleans on Halloween, I expected them to be good. I hadn’t yet listened to their new album, Cosmic Egg, which came out a few days prior to the festival so I didn’t know what to expect musically.

Wolfmother hit hard, song after song, for an hour and a half. The music was outstanding and the guys played tighter than I remembered from previous years. This could partially be explained by the fact that there’s been some shuffling of band members. Or, it could simply be that Wolfmother is a phenomenal band that continues to evolve with their music. As much as I liked Wolfmother before, and as much as I expected from them, their set at New Orleans Voodoo Experience took it to another level. The rest of the audience seemed to agree, their attention captivated, and their hands, cell phones, and cameras, in the air throughout the set.

A couple things happened after Wolfmother finished their set: I wondered how Jane’s Addiction and Kiss were going to make me feel anything at all, and I went back to the hotel and downloaded (legally) Cosmic Egg.

But before that - well, actually, after Kiss failed to impress me and before I purchased Cosmic Egg - I ran into Stockdale and Peres again. This time they were talking to some fans at the bar, in the artist hospitality tent. I was shocked to find Hotshot Robot (an old friend of mine from previous festivals), standing behind the guys, beheaded.

“What happened to Hotshot Robot?” I asked.

“We had an arrangement,” Peres explained. “He was supposed to show up on stage and . . . “

I can’t write the remainder of what Peres said because if I did, my blog wouldn’t make it through the internet safety filters. Let’s just say the robot didn’t hold up his end of the deal and Wolfmother took care of him.

Before: A Happy Hotshot Robot, in tact, talking to Glasgow Friday (more after the jump)


After: Hotshot Robot, headless, with Wolfmother Saturday (more after the jump)


Let this be a lesson. Don’t f*ck with Wolfmother. But do go see their show. Who knows – it may even inspire you to buy music again.

Note: No robots were harmed at Voodoo Experience. Sources close to Hotshot Robot verified that being headless was his Halloween costume.

New Orleans Voodoo Experience: More Than A Music Festival

October 30 - November 1, 2009
New Orleans, LA

Written and Photos by: Colette Weintraub

The Voodoo Experience in New Orleans is in its eleventh year and still going strong. This year's event attracted a reported 100,000+ people during Halloween weekend. The line up - which included Eminem, Jane's Addiction, Kiss, Mutemath, Wolfmother, The Flaming Lips, Lenny Kravitz, Janelle Monae, The Black Keys, Gogol Bordello, Silversun Pickups, and Widespread Panic - definitely helped draw the sizable audience. In addition to the impressive line up, the festival benefits from taking place in New Orleans during Halloween weekend, and offers a diverse range of entertainment and New Orleans cuisine.

In the spirit of Halloween, Friday was disguised as a warm sunny day, only to reveal its stormy nature following a captivating set by Janelle Monae. Earlier this year, I attempted to see Monae in Austin during SXSW. However, the club where she performed was too small to accommodate the crowd. We made it inside the venue, but couldn't see Monae through the packed audience. Nonetheless, we could feel her energy and she sounded great. Monae's SXSW appearance peaked my interest enough to ensure we arrived at The Voodoo Experience in time to catch her set (even forgoing a visit to Cafe Du Monde).

Monae is an engaging performer whether she's dancing with fervor or singing while elevated on a chair. She commands the stage and the audience with her expressions and energetic dancing, but Monae doesn't let you forget that what she came to do is sing. Her voice is beautiful and music is a full-body expression for Monae.

"The day wouldn't be complete without muddy feet," became the mantra of this year's Voodoo Experience after Friday's torrential downpours turned the festival grounds into a muddy obstacle course for the remainder of the weekend. Contrary to what you may expect, the wind, rain, cold temperatures, and mud, added to the experience as good-humored music fans and dedicated musicians braved the elements, in the name of music.
Due to the heavy rain and winds, Silversun Pickups had the option of rescheduling their set and playing a club in New Orleans later that night. Just moments before they were due at the main stage, the band decided to perform their set as scheduled, at the festival grounds, during the worst part of the storm. Their fans were appreciative and didn't seem to mind enduring the pounding rain while the band played.
Knowing we would see Silversun Pickups in LA the following week, we opted for shelter and took cover in the Bingo! Parlour circus tent during the storm. Thankfully, Voodoo Experience offers a wide range of quality entertainment. Inside the Bingo! Parlour we were treated to none other than The New Orleans Bingo! Show. This isn't your grandma's Bingo -- The New Orleans Bingo! Show includes aerialists, clowns that smoke and drink, dancers, and theatrics that transport you to another era. Clint Maedgen takes the lead on vocals, pump organ, keyboard, guitar, tenor saxophone, squeaky dolphin, and more. At the same time, an aerialist hangs upside-down above the crowd, doing tricks on the trapeze. Dancers and clowns add to the experience. Not only did we forget about the rain, we forgot where we were. The New Orleans Bingo! Show kept us dry, smiling, and dancing for an hour and a half.

"If you were in New Orleans and you didn't see Eminem, then you missed everything!!" the Starbucks barista told us as he handed over our Saturday morning caffeine. Friday night's performance was Eminem's first full concert in 2009. Well, we missed it, and the city wouldn't let us live it down. With the constant reminder of our Venti lattes in hand, we hailed a taxi to the festival Saturday. "Did you see Eminem last night??" the driver asked when we told him where we were headed. Before we could answer the question, the driver proceeded to tell us that Eminem last played The Voodoo Experience nine years ago. "Eminem," "Eminem," "Eminem" - you could hear his name ringing throughout the festival grounds early Saturday as fans reminisced about the set he played Friday night. Just when we were beginning to feel like we might have missed the highlight of the festival, The Voodoo Experience hit us with a wave of great music, exceptional live performances, and the reminder that there's more than one highlight at Voodoo Experience.

When we arrived Saturday afternoon, we were greeted by sunshine and the uplifting music of Mates of State. Costumed fans sang along as Kori Gardner (keyboard/vocals) and Jason Hammel (drums/vocals) played their catchy tunes. Mates of State got the crowd amped up which turned out to be essential because that energy was necessary for the back to back music that hit next.

Mutemath played immediately following Mates of State. Not only did they further set the tone for the day, they raised the standard for live performance in general. A separate review of the Mutemath show will follow because enough can't be said here. Between their brilliant music, Paul Meany's voice and keyboard handstands, Darren King standing on top of his drum and diving into the crowd, Greg Hill's guitar pedal wizardry, and Roy Mitchell-Cárdenas on bass and whatever else he could get his hands on, Mutemath quickly became a favorite of festival goers.

It should be noted that in addition to the music reviewed here, there were at least 3 other artists performing concurrently on other stages at the festival. Since I still haven't mastered being in 4 places at once, I stuck with a friend's recommendation and caught Gogol Bordello. Now I know why this band has been on my to-see list for a while. Gogol Bordello had the majority of the audience jumping, clapping, and singing along throughout the duration of their set. When their show came to an end, the crowd demanded an encore and Eugene Hütz and the dynamic band delivered an even more energetic, lengthy encore.

The Voodoo Stage and Playstation/Billboard.com Stage faced each other on opposite ends of a running track. So when Gogol Bordello finished their set on the Playstation/Billboard.com stage, we turned around and walked toward the Voodoo Stage to catch Wolfmother. I've seen Wolfmother perform at other festivals, but something about their set at Voodoo blew me away and exceeded my expectations (which are high). First of all, I was able to hear Andrew Stockdale's amazing voice in a way that I hadn't heard before. The entire band seemed to play much tighter than when I saw them previously. This may, in part, be due to the fact that two of the original band members have been replaced. I ran into Stockdale and Ian Peres a few times during the festival. In addition to being exceptional musicians, they are extremely funny and kind. Although, there was that incident with Hotshot Robot. . . More on that in the additional, forthcoming Wolfmother review.

So up until this point, you've got Mutemath, Gogol Bordello, and Wolfmother absolutely crushing it. Fans, whose feet otherwise may have been tired from standing, were blessed to have the cushion of mud to soften the impact from 3 hours and 45 minutes of incessant jumping. Some people began losing their voices from screaming and out-singing their neighbors and others opted to forgo food and restroom breaks so they wouldn't miss anything. These are bands who just got on stage and played music. No light shows. No dramatic stage set-ups. No real spectacle. They entertained, they crowd surfed, and at times they banged on things in an unconventional manner, but they did not succumb to an over-the-top stage setup or seizure-inducing light show. And they don't need to. Mutemath, Gogol Bordello, and Wolfmother can blow you away simply by playing music.

Cut to Jane's Addiction and Kiss, who rounded out Saturday's line-up. These are seasoned musicians who've been doing this forever. Perhaps they add spectacle just to keep themselves from getting bored - who knows? The question is: do they need it?

I've seen Jane's Addiction several times over the years, including a very cool "rehearsal show" at a sound stage in LA. Sometimes they're great. Sometimes they're a little less than great. But irrespective of my subjective opinion of any given performance, Dave Navarro and Stephen Perkins always nail it. If Navarro weren't a musician, I think he'd carry a portable stage around with him, set it up daily, and just strut around. And I'll bet people would watch him too - that guy was born to be a performer. It also doesn't hurt that he can PLAY guitar. Perkins, I could listen to or watch for hours, even if he were playing unaccompanied. He's a phenomenal drummer. It's also good to see Eric Avery back on bass. It was original Jane's doing what they originally set out to do - play music and entertain.

Kiss, on the other hand, I had never seen live. That band is all about spectacle. Although, being live music veterans, they've learned to do things in moderation. Sure they've got face paint, hair, and silver and black outfits, but forget pyrotechnics (perhaps because paint is highly flammable). So when they perform, Kiss simply shows images of flames surrounding them on screen. The part about not using pyrotechnics is not entirely true - there was a nice fireworks display at the end of their set. While there were a lot of fans who have been with these bands for many years, it was nice to see a new generation of music fans enjoying Kiss and Jane's Addiction at The Voodoo Experience.

Sunday was another beautiful day in New Orleans. By this point, there were enough paths made through the mud and it was considerably easier to navigate the festival grounds. We spent much of the day enjoying the non-music activities offered. We checked out several food vendors and sampled desserts including fried Oreos and white chocolate bread pudding ice cream (be on the lookout for New Orleans Ice Cream, rolling out nationwide!). We stumbled upon the special Vooboo stage set up for kids and watched families enjoying the festival experience together.

Eventually we made our way over to see JJ Grey & Mofro. I had been curious about JJ Grey ever since this I saw this clever music video. Well, they left the barbies at home for this show, but JJ Grey & Mofro were able to get the crowd groovin' on their own.

Next up, Trombone Shorty. The first time I saw Trombone Shorty he was opening for the Dirty Dozen Brass Band in Los Angeles. He was so good that I actually forgot where I was and thought I was in New Orleans. So to see Trombone Shorty in his hometown of New Orleans was better than a fried Oreo. Troy "Trombone Shorty" Andrews has been playing New Orleans clubs since he was 12 years old. He's now 23 and if there had been tables to dance on at Voodoo Experience, people would have been on them. If you have the opportunity to see Trombone Shorty, then do it (even if The Flaming Lips are playing at the same time).
That said, we did head over to catch part of The Flaming Lips' set. I know I just suggested you do one thing and then I did the opposite thing, but with that experience behind me, I stand by my original recommendation -- see Trombone Shorty. I do like the Lips, but the sole reason we ventured across the muddy field to see them was out of sheer curiosity, to see if they did anything different. I've seen them perform for years. I stopped seeing them perform for years. I revisited them during their tour this summer. And then, thinking they may pull out something new for the festival crowd, I saw them again at Voodoo Experience. If you're somebody who doesn't like change, rest easy - The Flaming Lips are doing exactly the same thing they were doing years ago. The show begins with Wayne Coyne rolling out on top of the crowd in a large bubble. Then, there's confetti, enough balloons for everybody to play, and furry creatures dancing on stage. Songs may be performed in a slightly different tempo - "Fight Test" was played ultra slow at Voodoo - but essentially a Flaming Lips show is a Flaming Lips show. They provide good old-fashioned fun that you can always count on.

Similarly, New Orleans Voodoo Experience provides good fun and music you can count on. However, that may be the only constant. New Orleans Voodoo Experience is truly unique and offers a diverse range of entertainment and activities. There's something for everyone at Voodoo Experience - that's why more than 100,000 people showed up.

The Pilgrimage of U2

Preparing for Sunday's show at The Rose Bowl

"Every time we play here it's like a pilgrimage" Bono said to my friends and me following U2's 2005 show at Croke Park Stadium in Dublin, Ireland. That show was also a pilgrimage for the four of us - two traveling in from New York, one traveling from San Francisco, and myself coming from Los Angeles.

When I was 13 years old and feeling trapped in a small town, listening to U2 albums was my escape. I remember the precise moment, sitting alone in my bedroom blaring U2 and thinking, "I want to see this band play in Dublin. Someday, I'll see them play in their hometown." I knew then that in order to realize that dream, I'd have to get out of my hometown.

At 13-years old I had a very influential pep-talk with myself about the path I was headed down and the drastic changes that were necessary if I was going to experience a life that involved fulfilling my dreams around the world. To the people who discount the impact and influence of music -- that night in my bedroom, under the influence of U2, I made the decision to turn my life around for the better. For that reason and their music, U2 will always remain one of my favorite bands.

Tickets for this weekend's concert at The Rose Bowl went on sale months ago. I was vaguely aware that the show was approaching this weekend, but hadn't thought much about it. Then Wednesday, thanks to a very helpful blog posted by the LA Weekly, I was reminded. I was also alarmed by the article's headline: "U2 in Pasadena: Clusterf*ck Nearly Guaranteed Unless You Read This Post."

I've been to a lot of big concerts around the world over the years, including U2 in Dublin (82,000+ in attendance) and Honolulu (the closing show of the tour), without any hassle whatsoever. So it didn't occur to me that this one, in my own backyard, could be a "clusterf*ck." I hadn't given it any thought. The show started at 7:00pm, I'd leave my house at 6:00pm, park, and stroll right into the Rose Bowl. Wrong.

As LA Weekly reported, nearly 100,000 people are expected to descend on the Rose Bowl Sunday. LA Weekly and the Rose Bowl's official website offer warnings about the lack of ample parking and encourage very early arrival (between noon and 4:00pm). Traffic is sure to be extremely congested. This is LA - traffic is congested even without U2.

With that I had a look at my ticket. $250. Suddenly I was pissed off. It's not that I feel a U2 show isn't worth $250, but during the past 7 weeks I've seen amazing shows, at small venues, minus the "clusterf*ck," for much less money. Nine Inch Nails' last show ever was only $65. Thom Yorke's secret show at The Echoplex, with fewer than 700 people in attendance, was a $20 ticket.

It wasn't a question of whether or not to attend Sunday's concert - it became a question of "how?" I called a wise friend who suggested getting a hotel room in Pasadena Saturday night. "Relax, hang out by the pool, wake up, have brunch, walk around Pasadena, and stroll over to the Rose Bowl. That's the only way to experience this show without a headache," he suggested. So at 10:00pm Wednesday night I began researching hotels in Pasadena. Apparently my friend is not the only wise person and evidently a fair amount of other wise people actually planned ahead for this event. Website after website, phone call after phone call, I was met with the words "SOLD OUT!"

Finally, it seemed a room was available online. I called the hotel to inquire about parking. "Oh, we're sold out," they told me at the reservations desk.

"Well, it says you have a room online," I replied.

"It might say that, but our computers update more frequently than the website and we're definitely sold out. Oh wow - all of our properties in the area are sold out!"

"Do you have a wait list?" I asked.

"No, no, we don't. Sorry," she said.

I ran back to the computer and clicked the "reserve now" button on the screen that showed 1 available room. Thankfully, the website must have considered my request "in progress" and held the room for me while I was on the phone with the reservations desk. As quickly as I could type, I filled in the required fields and practically begged the hotel to charge my credit card.

When I received the confirmation screen I smiled and relaxed. Took a few deep breaths. . . Entertained the gracious thoughts swirling around my mind. . . And then, realized the absurdity of it all. I'm staying in a hotel, to see a concert 25 miles from my home. "This U2 show better be good!!!" I thought to myself and then Tweeted to the world.

A few hours later I reconsidered the weekend. Saturday afternoon I'd be sitting by the pool, surrounded by friends. After a day by the pool we'll head to dinner, have some laughs, and catch up. Everybody who's in Pasadena this weekend will be there to see U2. I recalled the vibe on the streets of Dublin prior to the concert in 2005. Every shop was playing U2 songs. The energy was high and so were the people. Just kidding - but everybody was in a very happy, outgoing mood. Pasadena will likely feel the same. Sunday night, we'll all be treated to an amazing performance. I say that with confidence because this band will not subject you to a "clusterf*ck" and then disappoint. U2 puts on spectacular live performances. I remembered the roar and shake of the stadium as 82,000+ fans experienced U2 at Croke Park. There will be nearly 100,000 fans at The Rose Bowl.

Bit by bit my perspective shifted. I thought about the power of this band and their music to inspire 100,000 people to endure traffic, limited parking, and crowds, in order to gather at a single location, for 3-4 hours of live music. I thought about the crowd at Croke Park and how their feet rarely touched the ground as they jumped incessantly during the concert in 2005. I remembered that night in my bedroom, in my small town, and considered the amazing, worldly life I've lived ever since. This is what I love about music. Music brings people together. Music is a movement. Music is a dialog. Music can inspire change and positive action. Music can articulate how you feel when nobody seems to understand. This "clusterf*ck" is evidence of the importance of music. It's the result of a band that's been creating and playing music, while remaining relevant and making a positive difference in the world for three decades.

Suddenly I was thankful that U2 has once again provided the opportunity for a pilgrimage. What's even more impressive is that it's a pilgrimage within my own city. Now I know what Bono meant when he used that word to describe playing in Dublin 4 years ago.

Where The Wild Things Were: Daniel Lanois' Black Dub

October 15, 2009
The Troubadour, Los Angeles
Written by: Colette Weintraub

A movie I really wanted to see - Where The Wild Things Are - opened at midnight and I forgot all about it. The Flaming Lips were playing a "secret" show at a pop-up store in Hollywood and I didn't care (although I did wonder how they would fit that big bubble in there). I haven't slept (much) in days, but I wasn't tired.

Daniel Lanois, the man who produced some of my (and your) favorite albums of all time, was playing at Troubadour last night and that's all that mattered. Considering the room was so packed that it became impossible to navigate through the crowd to get to the bathroom or the bar, I'm not the only one who felt that way.

Lanois does more than produce - he's a songwriter, musician, and quite possibly stylist to The Edge. He epitomizes "cool" and may even love music more than me. Well, he certainly loves music more than he loves me, but he may also love music more than I love music. If that's possible, Lanois is the one to do it.

Lanois' Black Dub features Brian Blade on drums, Daryl Johnson on bass, and Trixie Whitley adding vocals, keys, and more percussion. Whitley is the daughter of the late great blues guitarist and singer, Chris Whitley. On June 10, 1997, I stood wide-eyed in the center of the Troubadour, as Chris Whitely made me question my taste in those whom I had previously thought of as good musicians. That night, twelve years ago, Chris Whitley opened my eyes to another level of musicianship.

Similarly, Lanois' Black Dub reminded me of a band I'd stumble upon in New Orleans. If you haven't been to New Orleans, here's how it works: you can walk into any club (often without paying a cover), at any time of night (literally), and see a level of musicianship you didn't know was possible, by a musician you'd never heard of. You're left standing there, as the words "music" and "musician" are redefined before your eyes and you're not sure how you'll listen to anything else again. I know this about New Orleans, yet every time I'm there I text my friends in the middle of the night: "THIS is music."

Lanois' Black Dub IS music. I didn't have to text anybody last night because my friends and a room packed with people who "know" music were there, in complete agreement. Trixie Whitley belted out songs as if that's what she was born to do. She picked up the guitar and played as if that's what she was born to do. Then, mid-song, she'd move to the drums and play as if that's what she was born to do. Next thing you know, Whitley is hammering away on the keyboard as if that's what she was born to do. Whitley IS music - no matter what she's doing, playing, or singing - and her stage presence exemplifies passion.

"Passion never goes out of fashion," Lanois said between songs. He then went on to share his gratitude for the gift of music. He also shared his gratitude for those who are not musically gifted, but who play the supporting roles necessary to help ensure the music is heard. Although they call themselves Lanois' Black Dub, it didn't feel like the night was about Lanois. "I love singing harmonies," Lanois explained before launching into the harmonies of a song called "Sing." "When you sing harmonies, there's no room for ego. It's not about you. It's about the blend."

Last night's show was about the blend. Whether they were playing "The Maker," a rockin' version of "Ring The Alarm," or a song I'd never heard, the spotlight wasn't on one person - Johnson, Blade, Whitley, and Lanois shined equally. It was some of the most talented musicians looking at each other with admiration, as if to say, "Holy sh!t! I can't believe you just did that!" In fact, Lanois spent much of the night playing with a huge smile on his face. Lanois' Black Dub is a group of musicians who are playing music because it's fun, playing music because they love it, playing music because they can't live without it, and playing with each other because they can.

Trust A Little In Largo: Fran Healy and Andy Dunlop (Travis)

October 12, 2009
Largo, LA
Written by: Colette Weintraub


Oh Largo, you're like a dependable old lover. Even when I try to walk away from you altogether, you lure me back in with the pull of good music and the allure of your distanced "I'm going to serve you from behind the safety of this gate" stance. Although I successfully resisted your temptation since Butch Walker played there December 4, 2008, you sucked me in once again.

And it was even better than I remembered.

"Trust a little in Largo" was the door guy/ticket guy/MC's response to a question I asked about seating. I'm sure he has a name and I'd like to know it because he's one of the reasons Largo exceeded my expectations tonight. The other reason is, of course, Fran Healy and Andy Dunlop (Travis).

Healy explained that the concept of this tour was to play songs chronologically from the first song he wrote to the most recent song he's written. The idea is that they'll write a new song every couple of days, and perform the new song as the last song of the set in the next city they play. "At the end of the tour, we hope to have written an entire new Travis album," Healy remarked.

Whereas the model has been: make a record and then go on tour to support it, Healy and Dunlop flipped the model to: go on tour to support the making of the record.

Already, I loved them.

Then they played the songs, each preceded by Healy's entertaining commentary. Healy introduced "20" as a song he wrote when he was 19, realizing the best years of his life may be coming to an end with his twentieth birthday. "People make a big deal out of turning 21," Healy said. "But really, it's 20 that's the big deal because that's when 17, 18, 19 come to an end. And those are the best years because you're doin' everything for the first time." Healy also noted that this is the first song he wrote that he felt was a good song; a sign that he could make a career out of this.

If there's one thing I like better than ice cream, it's a funny musician. Healy introduced "All I Want To Do Is Rock" by showing a slide show about Scotland. He gave a humorous geography lesson and then ended the slide show with a picture of his view from the window in the building where he wrote the song. There was a longer story about "Turn" which boiled down to being "a song about wishes. A song full of wishes."

"It's an A&R man's dream when a lead singer gets chucked," Healy reflected. "Now he'll write some proper songs," said Healy, mocking the overjoyed A&R guy. This insight set the stage for Healy and Dunlop's performance of "A Funny Thing."

"Flowers In The Window" was written in a house where Travis once stayed. The host introduced the band to the home saying, "Everybody writes a song here." Rebelliously, Healy thought to himself, "well, I'm not writing a song here." But that all changed after he received inspiration while looking at flowers in the yard, through a window (and his obstructed view the morning after).

It seemed as if the guys were playing all my favorite Travis songs. In addition to the songs previously mentioned, they played "Good Feeling" and "As You Are"; "Writing To Reach You" and "Sing." Tonight was the 4th night in a row they played Largo and Healy said they've changed the set every night. Although the songs themselves may change, one thing is consistent night to night - Healy and Dunlop remain true to the original concept, playing the songs chronologically during each performance.

Healy spoke about the inspiration for "Why Does It Always Rain On Me" which was written during a trip to Israel. Somebody told him it would be sunny there (his one prerequisite for the vacation) so he journeyed to Israel. The moment Healy arrived it began raining, and this song was written.

Healy also spoke about the lyric: "I'm being held up by an invisible man." "The invisible man is the A&R guy or manager who's holding you up (supportively) so you can finish the record. Of course, there's a double entendre -- they're 'holding you up' (Healy positions his hands as if they're guns) for the record as well." Healy looked at the audience and continued, "I've never explained that to anyone before." Then he looked at Dunlop, "I don't think I even told you that. . ." Dunlop nodded in agreement.

Another lyric Healy discussed is: "pillars turn to butter" from the song, "Driftwood." He was looking to complete the lyric with the idea of one thing evolving into another, to follow the "Nobody"/"Everyone" dichotomy of the previous line. "Caterpillars turn to butterflies" was the original line, but it was too long to fit the form of the song so Healy abbreviated it to "pillars turn to butter." "But that changes the meaning again. It's another good visual - these strong pillars turning to butter," Healy elaborated.

I spoke with the guys for a bit after the show. Dunlop described how much fun these shows are and how they differ from a typical Travis tour. "We don't want to get comfortable during these shows. When we're on tour with Travis, we want to get comfortable because we're going to be playing these songs over and over again, each night with the band. But here - we don't want to get comfortable. There are some songs we may play every night, but we make the experience different. Especially since we're playing four shows in a row at the same venue - we don't usually do that. We're aware that some people might come to more than one show and we don't want them to think, 'Oh. . . here we go with this again. . ." Dunlop elaborated.

We also discussed the current state of the music business. Healy and Dunlop are now off the major label and releasing music independently. Dunlop reflected, "Music is getting back to what it used to be - small record shops, independent labels, the musician and the fan, spending time with our audience, more intimate shows and settings."

I asked how they conceived of the idea to go on tour as the central creative process for writing another record. Again, it was to do something different - to keep the tours and the music feeling fresh. Dunlop shared his outlook, "You know, we may get nothing out of it. Or we may get a lot out of it. If nothing else, we get to travel all around and see some beautiful places."

Then I shared a perspective, telling Dunlop, "We'd like it if you'd release a double-CD; one CD with all the commentary and another with the acoustic song performances." Dunlop mentioned that they've recorded everything from each show so far and that they may release it following the tour.

As of now, if you're lucky enough to attend one of these shows, you can purchase a CD comprised of 80 minutes of live audio recorded during this tour.