Photos from Monolith, Day One

I’d call the Monolith Festival this weekend a rousing success in terms of quality, diversity, and incorporation of local musicians and artists. Here’s some highlights from my Friday.

CLAP YOUR HANDS SAY YEAH
Clap Your Hands Say Yeah played in the daylight to a 1/3-full main stage audience. We all know that the lead singer Alec Ounsworth has an unusual warble, to say the least, and after seeing them I was kinda lamenting the way that the “Saaaatan, Saaaatan…” line stuck with an iron will in my brain all afternoon. But all the reasons that made them the blog sensation superstars are still in full effect – their exuberant and melodic sound, the catchy, solid, danceable tunes. The Talking Head comparisons are unavoidable in my mind, and I really enjoyed their show. Next time, smaller venue for me.

Upon This Tidal Wave of Young Blood – CYHSY

KINGS OF LEON
Oh Kings of Leon. I’ve been waiting for you guys. After seeing them at the Ogden Theatre a few months ago and being completely converted, this was one of my most anticipated sets and they didn’t fail me, bringing an hour of excoriating rock (okay, 56 minutes) which was more than I expected for a festival act at 7pm.

They played a fantastic set, including the claptastic Spiral Staircase, Four Kicks (which always makes me feel all pugilistic), and a slightly-sped-up version of Fans which sounded great to these ears — it’s one of my current favorite tunes. I took a video of Charmer that regrettably starts with some too-loud audio and an out of focus bit, but then it shapes up and ain’t too bad — it gives you a sense of the swagger in their show and how they project a huge enough sound to challenge those red rocks.

I think they were one of the best-suited bands to the huge venue; as I wrote in the little blurb for the festival program, “Their live show pulls songs from all three of their full-length studio releases, a catalog of material that grows and shimmers in a live setting. The songs seem to pull air from the ether around them in a supernova of raw and unbridled Southern garage rock.”

Fans – Kings of Leon


Black Rebel Motorcycle Club electrified the second stage in a set that I’ll talk more about when I post that interview soon. The Decemberists also played the main stage and it sounded superb from up above, but I regrettably didn’t make it back down those billion stairs until Cake, who I thought played a great show as usual. There was some skepticism from folks who haven’t followed their consistently fun, intelligent, clever output since the “Going The Distance” hit, but I think they converted a few. I only got one picture – John McCrea rockin the white-rimmed sunglasses, fedora, and track jacket like a child molestor on vacation (sorry but come on).

You Part The Waters – Cake

Saturday dawned clear and lovely. More pics coming.

Monday Music Roundup, Monolith edition

Attending a music festival could be my favorite way to spend a weekend. But you always end up seeing fewer shows than you thought, especially when there are five geographically disparate stages. Next time I go to a festival, I am going to hire me a scheduling assistant to do nothing but look at the clock and tell me when to move it along, please, to the next show. And then physically force me to do it (“Get up, Heather. Walk now.”).

So I didn’t see all the bands I wanted to, but what I saw was pretty rad. Festivals are like big appetizer samplers where you really just get your appetite whetted to know who you oughta see when they come back through to the small clubs near you. This week’s roundup is five finger-lickin’ bands from Monolith that were more or less new to me, and perked up my ears.

Sad, Sad City
Ghostland Observatory
I missed almost all of Ghostland Observatory‘s set on the main stage early on the first day because my interview with Black Rebel Motorcycle Club went so well that we just kept talking and lost track of real time. I emerged from the cavernous maze of backstage hallways to see an imposing DJ dude in a spangly blue cape with a huge star on the back, a frantic lead singer, and bunches of indie rock kids wildly flailing in time to the beat in the broad daylight. It was awesome. I will absolutely make time to see these guys when they come back, because the song and a half that I got to see only left me wanting more of this stuff. Ghostland Observatory is from Austin, TX and their newest album is called Paparazzi Lightning (2006, Trashy Moped).

Kid On My Shoulders
White Rabbits
We saw these guys on Saturday afternoon on the indoor WOXY.com stage with about 12,482 people all crammed into a very small space. It was hot and I couldn’t get any pictures worth crap. But I loved the sounds emanating from the White Rabbits. The band had a disproprotionately high number of short guys wearing dapper suits in it, and I thought that it was fronted by Fred Savage at first, which was awesome. This song boasts a ferocious thrumming piano line that I miss each time it stops, and ska-pop harmonies that blend with a welcome aggressiveness. I like it! Fort Nightly is out now on Say Hey Records.

Duck & Cover
The Hot IQs
I am all in favor of girl drummers (being an aspiring one myself), and I was pleased to see a few this weekend. Elaine A of the Hot IQs kept a fierce beat, and I loved her style. She played with panache and confidence, giving backbone to the new-wave/Devo/danceable sounds of her band. Not only is this Denver band hot, they are also smart, and took home the Best Indie Pop Band award from our local alt-weekly The Westword. This tune is off their Dangling Modifier EP (that title just wants someone to make a joke about it. Yeah, I’ll dangle your modifier. What?). To hear more, check out their recent feature on WOXY.com with some exclusive in-studio performances.

Yea Yeah
Matt & Kim
Yeah, so speaking of girl drummers, Kim from NYC duo Matt & Kim is insane. I don’t know if I’ve ever seen a pair perform with as much energy as they did Saturday afternoon. They were, like, vibrating with sheer unbounded elation, just like that picture above. I was kind of expecting fey poppiness like Mates of State, but Matt stormed the stage like an even-more-enthusiastic-for-life Ben Folds, accompanied by a wide-mouthed-in-excitement, about to fall off her drum stool whirlwind of Kim. This tune is off their self-titled album (IHEARTCOMIX Records), and they pack a lot of punch for just two people. Sebastian from Merry Swankster was standing a few rows in front of me for the show and took a tiny video clip so you can see a bird’s eye view of the stage.

The Start of It
Meese
If the Hot IQs are the best indie pop band, then The Westword anointed Meese the best pop band in Denver. Go figure the difference. Both are good. While I speculated that perhaps their name referred to more than one mouse, it’s actually the last name of the two brother-member-founders Patrick & Nathan in the band. To borrow a lyric from the song, these “kids of the frozen Front Range” surprised me with a much poppier sound than I had remembered – keyboard-driven indie rock. This particular song sounds like something lost from the Third Eye Blind files, and is listed on their MySpace as “Winter 2007 Recordings.” Solid.

[the New Belgium second stage with Meese playing]

For each artist I saw and enjoyed (see more pics; other reviews coming), there were at least three that I missed. Didn’t see Rocky Votolato, Born In The Flood, Monster Maker, Bob Log III, Cat-A-Tac, Kid Sister, YACHT, Broken West, Das EFX . . . so many more. I guess there’s always next year to try again (happily).

Sing loud cuz it’s outside, sing loud cuz you’re still alive. Just sing loud, alright?

Last night at Monolith, the Flaming Lips closed the festival with a visually dazzling carnival of floating orbs and shimmering lights and confetti and dancing Santas. Sitting there under the stars, I had a moment. Maybe I was all festivalled out from the two nonstop days of sun, music, sponsored-by-New-Belgium-Brewery drinks, and lots (and lots) of stairs up and down, but during the song “Yoshimi Battles The Pink Robots” I found myself sitting back, looking up at the stars, and all around me at the gorgeous silent beasts of red rock rising up to both sides, listening to the swell of the crowd singing along at the top of their voices. I felt something twist and swell and stab inside of me.

It was just a split second that can strike you anywhere, even at a crazy music festival on an indian summer night. Despite all odds, it was this faith-affirming moment (even if everyone around me was singing about not letting robots eat them) that made me glad for the power of something that beautiful through music. My mind started to wander to one of its favorite subjects, as it often does, wondering what it would have been like to hear the lovely and pure “Ship Song” bouncing off those rocks when Pearl Jam played there in 1995. I’ve heard the recorded moment dozens of times, but it’s got such an innocence and immediacy that I can now picture it hovering and echoing live in that specific setting.

On the dark and winding drive home, I was explaining the perfection of that particular cover to my friend & rockstar concert companion Jake, who is [wonderfully enough] as big of a Pearl Jam addict as I am. He asked if I’d heard the “It’s OK” tag from the Virginia Beach show in 2000. That Dead Moon song is one that they often work in as a tag at the end of “Daughter” and I’ve even posted another live version of it before from a few weeks after the Virginia Beach show. It’s absolutely one of my favorites, the simple strength of the creed-like lyrics and the way the crowd always sings at their very strongest. But I hadn’t heard this exact one he spoke of.

So we cued it up. And it kicked the wind out of me:

It’s OK (Virginia Beach 8/3/00) – Pearl Jam

This concert was Pearl Jam’s first time back on stage since nine fans in the crowd had lost their lives during their set at the Roskilde Festival on June 30, 2000. With the melody of the song starting to pulse and build and carry through the night air, Ed says to the crowd:

“The last time we had to ask the crowd to do something it was under completely different circumstances than this. So, it’s a little nervewracking to . . .
It’d be nice to start, uh, anew.
So, I was gonna ask you to do something and maybe you’ll do it?
[crowd cheers]
And it’s uh . . . singing.
Sing.
Sing loud cuz it’s outside, sing loud cuz you’re st-. . . you’re still alive.

Just sing loud, alright?“

Man. I know that it makes me sound like a weepy emotionalist to just come right out and say it, but Ed’s speech and the way the crowd sings along with all their hearts fairly reverberates with redemption, and listening to that moment made hot tears spring into my eyes last night that just would not stop coming even as I looked out the car window and tried to make them go back into my eyes. But at the same time, I was so glad for it, glad that music could still move me like that twice in one night for such different reasons.

The real, non-rambling reviews from Monolith start soon.

[thanks to Five Horizons for the mp3 clip]

The open arms of Red Rocks wait to embrace me as one of their own

Well kids, in just a bit here I’ll be heading out the door to the superb natural wonder of Red Rocks for the fabulousness of the first Monolith Festival, all day today and tomorrow. It’s a first for such a massive music festival here in Colorado, and it’s also the maiden voyage of this blogger to the natural stone arena, if you can believe it.

I’ll be interviewing Black Rebel Motorcycle Club this afternoon, and by Sunday I’ll try to have rocked my socks to the sounds of Cake, Kings of Leon, Spoon, The Broken West, The Flaming Lips, Clap Your Hands Say Yeah, The Decemberists, Ghostland Observatory, Art Brut, Brian Jonestown Massacre, Earl Greyhound, Matt & Kim, Meese, Rocky Votolato, Born In The Flood, and Gregory Alan Isakov. At least.

I might not survive. But I will enjoy the effort and experience.
Stay tuned.