Austin City Limits: Highlights From Weekend Two

Tweet

Photo by Roger Ho for ACL Fest

Austin City Limits: Highlights From Weekend Two

Written by Elisa Regulski

Cool breezes ruffled the trees as festivalgoers shuffled into Zilker Park. We were all here for the second weekend of the Austin City Limits Music Festival, but this wasn’t the typical feeling. Actually, it was the coldest fest on record.

Draped in a free airline blanket (given to me by my concerned Uber driver – what a sweet lady), I dashed to as many sets as I could. As always, the weekend was filled with diverse sounds and performances. As I reminisce about this little vacation from the world, these are the acts that will always stick with me.


Jenny Lewis

Photo by Sydney Gawlik for ACL Fest

Covered in dazzling pink sequins and baby blue accents, the VRBO stage looked like a nostalgic talk show TV set on Friday afternoon. When Lewis glided on to the stage, she was met with a chorus of people screaming her name.

“Get it, Jenny!”

“Jen-naaaay!”

There’s something about her presence that, even when’s she’s decked out in a sparkling pink mermaid dress, Jenny Lewis is approachable enough to be greeted by her first name. It’s like a reunion of old friends. We’ve all binged her records alone in a quiet room. Now we get to revel in the lyrics together.

In her rich alto timbre, Jenny Lewis crooned songs from her latest album On The Line. Her clarion voice pierced the air on “Wasted Youth,” “Redbull and Hennessey,” and “Do Si Do,” but it was her classic Rilo Kiley hit “Silver Lining” that revved up the crowd the most.

Thousands of listeners effortlessly swayed to the music, taken in by the sweet nostalgia. Later, Jenny Lewis pivoted to a slightly more cerebral tone in “Born Secular.” You’d think the heady subject matter would discourage a crowd of carefree festival attendees, but that was far from the case.

As Lewis ruminated on her traditional church upbringing, a JL superfan leaned in my ear to tell me a story. She said her mom worried about her because she exclusively listened to Rabbit Fur Coat as a teenager. Her mom thought she was depressed.

Unsure what to make of that, I raised my beer and said “Well, you’re still here!” And she tangoed gracefully with a sparkling festivalgoer in a flower crown next to her.

As if summoned by the heavens, pink and blue balloons floated onto the field. If you’ve never been to a Jenny Lewis concert, this sums it up perfectly – there’s a mixture of joy and sorrow, regret and optimism laden in her lyrics. And even at an escapist music festival, you’ll leave feeling like you’ve just waded in the holy waters.

Joseph

Photo by Katrina Barber for ACL Fest

A trio of sisters singing in tight, powerful harmony? Oh yes. More of this please. Every inch of their set oozed with emotion. These women show no fear, and they sent their rich tone halfway across the field on Sunday afternoon. Believe me, by the middle of their set, everyone was looking toward The American Express stage to see what they were missing.

The crowd let loose during the exuberant anthem, “White Flag.” As the buzzing energy calmed down, Joseph lured us in once again, this time without the backing band. Singer and guitarist Natalie Closner Schepman wailed on the song “Without You” as Allison and Meegan Closner supported with their perfectly balanced backup. It was impossible not to feel their strength and power.

Joseph’s latest release Good Luck, Kid is the empowering album we need right now. If you’re looking for a sonic pick-me-up, this will do the trick.

Lizzo

Just three years ago, I heard whispers of this new artist named Lizzo. Media were swirling around her backstage saying she was the next big thing. Hey, Speakers In Code even did a portrait session with her.

Portrait of Lizzo backstage at 2016 ACL Fest. Photo by Rachel Waters.

Only about 150 people showed up to her Sunday morning set in 2016. We were drained, exhausted, and beat down by the Austin heat. Yet somehow, this dynamic performer and her crew of dancers gave us the shot of adrenaline we needed.

This year, Lizzo drew a crowd of 75,000 people to the ever-so-tiny Miller Lite Stage. Due to her immense popularity from weekend one, C3 Presents decided to showcase her set on the screens near the Honda Stage (where, let’s face it, she should have been all along).

After reliving my childhood at the Third Eye Blind set, I pushed toward the Honda stage and wedged into the crowd. As I stood on top of the hill, I saw people scattering below me like a frantic swarm of ants. It was nauseating if I looked at it too long. But as soon as the screens lit up with Lizzo’s face, the energy lifted.

Lizzo’s rich voice gently reached my ears from thousands of feet away, but I still felt its power. After her opening song “Cuz I Love You,” the rest of the set was a non-stop singalong.

Complete with positive mantras of affirmation, epic twerking, and a groovy flute solo, Lizzo’s Sunday evening set was the only headliner we needed. When the lights came up and we settled back into reality, we took a bit of that inspired self love with us. Even if it’s microscopic at first, that little ray of light is going to burst and make everyone a bit brighter. There’s no doubt about this y’all: Lizzo’s changing the world.

[FEATURE] Arkells Keep Their Eyes On the Prize In New Album Rally Cry

Tweet

Photo by Matt Barnes

Arkells Keep Their Eyes On the Prize In New Album Rally Cry

Written by Elisa Regulski

It was a Tuesday night in Sheffield, and Arkells frontman Max Kerman felt the energy rushing from the crowd. Weeknight be damned. People were here for the party. Kerman soulfully wailed on his gospel-infused alt rock, and the crowd seemed to be drinking it up. As the Canadian rockers rounded out their set, they heard a strange roar rippling through the arena.

“You’re shit! You’re shit!”

“We’ve never gotten heckled that way before -- ever,” Kerman remembered. He was not totally sure why people would start doing that now, especially as the audience sang along to every chorus.

It wasn’t until after the show that Kerman realized what happened. “It turns out they were saying ‘Yorkshire,’” he laughed, “which is the area that Sheffield is in.”

Apparently, this is a common misconception.

“A bunch of people came up to me after the show and were like, ‘By the way, that was awesome. We were saying Yorkshire -- no worries,’” Kerman said.

There was no mistaking the enthusiasm at this year’s Austin City Limits Music Festival. The five-piece stopped in for a whirlwind set on October 13th and quickly jetted off to tour the rest of the country. Despite waking up at 3 am to catch a flight, Max Kerman was chipper enough to discuss their new album, Rally Cry, in the bustling media tent.

“We never try to repeat ourselves,” Kerman said. “The production is very focused. I like how sharp it is.”

Photo by Matt Barnes

Fans of Arkell’s earlier records Morning Report and High Noon will undoubtedly latch on to their latest release. The tracks are both raucous and easy-going, and it’s the perfect way to recover from the post-festival doldrums.

The focal point of Rally Cry sits with the effortlessly sing-able “People’s Champ.” The anthemic hook makes you want to punch the sky and shout at the top of your lungs. The straightforward “Relentless” is an instant bop, complete with perfectly percussive hand claps on the one and the three.

The real gem, however, is tucked away at the end of the album. In “Eyes On The Prize,” Arkells find a delicate balance between radio-friendly melodies and joyous shouting from the rafters. The familiar indie melody immediately slips into your bones, making you feel like you’ve heard this hit a thousand times. Then, like a screeching U-turn, the band takes you to church. The rollicking chorus drops as Anthony Carone plays a delicate trickle across the keys. Like light through stained glass, a choir of passionate voices shine in. When the song returns to its original chorus, it has morphed into something completely new.

“We’re not that precious about who we are and who we think we ought to present ourselves as,” Kerman said. “We’re more interested in being inspired by whatever is out there that grabs our ears.”

[RECAP] Join The Revolution: 2018 Austin City Limits Music Festival (Weekend Two)

Tweet

David Byrne at the 2018 Austin City Limits Music Festival | Photo by Jason Gonulsen

Written by Elisa Regulski

Despite its proximity to the Lone Star State, Austin is not Texas. Culturally, this city sits over the rainbow. Splashes of color fill street corners and locals have a song for anything. Austinites have proven that any place can be a stage if you try hard enough, and they’re not afraid to let you know how they’re feeling.

As Austin City Limits attendees filed into Zilker Park this fall, they probably noticed something different. Maybe it was the cool breezes sweeping through the trees. Maybe it was the spacious layout and easy-going flow. Maybe it was the black-and-white Beto For Senate shirts and the unapologetic “Just Fucking Vote” signs.

This year’s music festival had an edge to it. And no, it wasn’t just thanks to Metallica’s double bass drum. At almost every set, people heard some sort of political outcry -- some more subtle than others.

David Bryne’s cover of Janelle Monae’s “Hell You Talmbout” startled people out of their mundane festival worries. The roaring parade of crashing cymbals and popping snares rang as a call to action. From Trayvon Martin to Sandra Bland, Bryne and his band made sure that we said their names.

Brandi Carlile called on Pearl Jam guitarist Mike McCready to finish the set with The Star-Spangled Banner. As his roaring riffs blared over the field, Carlile faced the drums and kneeled. The cameras made sure to zoom in on the words “Beto For Senate” on the back of her shirt. The image covered the screens.

Chvrches frontwoman Lauren Eve Mayberry spilled a messily eloquent statement during Saturday evening’s performance. The audience wildly cheered as she daintily referred to Ted Cruz as a “cockpopsicle.” Her cathartic monologue seamlessly slid into “Leave a Trace,” proving that, sometimes, you just have to dance it out.

Lauren Eve Mayberry of CHVRCHES | Photo by Jason Gonulsen

“No matter what we look like… or how we dress, we deserve respect in every room!” You could hardly hear the last syllable of Janelle Monae’s passionate speech over the wave of screams rushing toward the stage. Dozens of artists pleaded with the crowds to vote, but it often faded into the soundtrack like white noise. When Monae said the words, it was like a golden pink ballot box fell to the field. Her words carried weight, and people leaned in to listen.

A sparkling little gem wedged itself onto the second Sunday’s lineup, almost without a sound. Those who knew about it didn’t broadcast it. They crept to the tent early and leisurely secured their spot. While hipsters and Instagram influencers flocked to the headliners to catch some golden social media coverage, a few hundred fans waited to see The Revolution.

Yes, that Revolution.

The set swirled with purple lights and funky bass lines. The sound was delicately built, layer upon layer. I wanted to dissect their musicianship, to shrink inside the guitars and live there for a while. But this music was made for dancing, and that energy was infectious.

When The Revolution roared into “I Would Die 4 U,” the tent filled with emotion. Sweat flowed into my eyes and quickly blended with my tears. From the outside, this set looked like your average drunken debauchery. But inside the flimsy tent walls, we were joining the revolution.

[FEATURE] Carson McHone: Artistic Evolution

Tweet

Photo by Mike Holp

Carson McHone: Artistic Evolution

Feature by Elisa Regulski

As the grass tickled our legs on a lethargic Austin City Limits morning, a crystalline voice floated above the speakers. For many listeners, Carson McHone’s set simply acted as a peaceful start to the weekend’s manic, musical marathon. Her lilting waltzes and resonant vocals were like a slowly steeping cup of tea gradually erasing the sleep from our eyes. As her set progressed, however, the songs slipped into our veins like an energizing jolt of espresso. Like McHone’s musical career, her performance evolved throughout her Friday morning performance. By the end of her one-hour set, she had us feeling antsy and eager for what’s next.

McHone’s lyrics ring with deeply personal poetry, but they’ll make you feel like she took inspiration straight from your diary. The songs sound timeless, and they’re continually morphing into something new. What begins as a heavy heartbreak ballad can rapidly transform into commentary from last night’s news segment. McHone sees this evolution most clearly in her beautifully hypnotic song, “Dram Shop Gal.”

“I don’t trust no man who slicks back his hair
Though he may be a millionaire”

“When I sing that lyric, it was about a guy that I used to date who was a barber. And now I’m singing about Donald Trump.” McHone said.

Though her personal views always pierce through the music, McHone doesn’t consider them protest songs. To her, subtlety has more power than vehement arguments.

“I’m not going to tell you who to vote for in those words, but I’ll certainly tell you who to vote for,” McHone said.

As she put in the miles on the road, the country’s political divide pounded like a piercing headache. Local Austinites know that this city’s liberal bubble is too thick to see through, and sometimes, it takes a cross-country tour to understand the pervasive, political rift.

“It’s different -- so different,” McHone said. “It’s wild to meet people who hold completely, utterly different values than I do. To me, they are monstrous values, and yet they are welcoming me into their home. In any other circumstance we would be spitting at each other, and yet we are connected on this certain level to where we can appreciate each other.”

As her lyrics subtly inch toward social change, McHone’s artistic life rushes like a rollercoaster. The past year has brought both euphoric highs and shattering lows. Rolling Stone named her one of the top ten new country artists you need to know, but the loss of her bass player punched a dent into her personal life.

“It’s been a devastating year but also really really powerful and really beautiful.” McCone said, adding another word that’s rarely used to describe hardship: “Empowering.”

More changes may come in the future, but for now she’s focusing on “how to evolve as an artist” and craft songs that will carve new avenues for discussion.

“If I can establish some sort of relationship with people that listen to my music and enjoy it, then at some point those conversations can be had.” McHone said.

[INTERVIEW] Traveller: Country Music’s Quirky Group of Highway Guys

Tweet

Photo courtesy of Facebook

Traveller: Country Music’s Quirky Group of Highway Guys

Interview by Elisa Regulski

Call them a super group if you want, but Traveller’s Robert Ellis, Jonny Fritz, and Cory Chisel don’t really care if you call yourself a fan. With five solo albums between the three of them, these quick-witted songwriters aren’t interested in clunking down the music business conveyor belt. Instead, they’re turning their attention to crafting catchy and memorable country music.

This goofy group of highway guys churn out songs even faster than they dish one-liners, and they won’t sacrifice their authenticity for anything. You won’t see these country troubadours playing the beer-drenched bars during South By Southwest, but you will hear them cracking jokes as they tune guitars under the sweltering Texas sun. After their Saturday morning set at the Austin City Limits Music Festival, Traveller sat down for one last leap through the backstage media circus.

Q: When does your album come out?

JONNY FRITZ: March 2nd is the release date here.

ROBERT ELLIS: There’s a music festival in March we should play here in Austin. We should get on that. It pays great.

JONNY: Oh, the pay is incredible.

CORY CHISEL: The exposure, alone!

JONNY: The opportunities! Free sunglasses!

COREY: Professional hydration!

JONNY: And $700 rooms! In Pflugerville! There’s a dog motel I really like to stay at… a kennel.

Q: I heard a little bit of your origin story during your set today, but what’s the real story?

ROBERT: That’s the real story. We were hanging out in Jonny’s backyard, and we said we should start a band…. And then we told Cory that he was in it. And then we booked a tour!

JONNY: And then we ran into a promoter, the guy who books Newport Folk Festival, and Robert approached [him] and were like “hey, we’ve got a new band: me, Jonny, and Cory Chisel. Will you book us at Newport?” …And the three of us had never, at that point, actually hung out.

ROBERT: We had no songs!

JONNY: By the time we could actually find time to get together and write and the festival… I think it was two weeks.

Q: So what’s your tour going to look like?

JONNY: Sold out.

ROBERT: I mean, we are exhausted old men. We don’t feel like touring. So we’re kind of only taking the choice best stuff. If all three of us aren’t like “YES let’s do this,” then we don’t do it.

Q: Do you think you’ll do more Traveller or more solo stuff?

JONNY: I would rather only do Traveller stuff, honestly.

CORY: I think one of the things that we’re experiencing ...is that individually it’s lousy being a singer/songwriter by yourself. But then getting out there with a bunch of guys that are, legitimately, not here for the fans. We’re here because we love to play these songs and we really hope that the audience does too, but if they don’t then we’re good.

ROBERT: Fuck ‘em!

CORY: And we mean that with all the love in our hearts.

Austin City Limits: Weekend One At ACL 2017

Tweet

Photo by Mike Holp

Weekend One At ACL 2017
written by Elisa Regulski

Catchy jingles filter through the air, the spirit of giving pervades every radio show, and smiles effortlessly stick to the faces of millennials passing by. No, it isn’t Christmas; it’s ACL.

The first weekend of October heralds a new kind of holiday season. The Ghosts of Summers Past stay hidden in the depths of our dreams as we awake to a utopic vision of cool breezes, party anthems, and cold beer. Sure, Austinites love to be swept away by the jolly spirit, but this year’s festivities had a dark cloud lingering above it.

As revelers entered the festival gates, tensions rose and hearts sank. The pavement pounded as kick drums thumped at faraway stages, but you couldn’t reach the action until you passed a thorough TSA-style bag check. Even though these security measures were implemented long before the nightmarish shooting in Las Vegas, the air still hung with mourning. For a crowd that just wanted to immerse themselves in the throng of reverberating bass lines, this stood as sobering and melancholy reminder.

When faced with tragedies like these, there are a few options. One: you can avoid the festival, stay home, and get your money back (C3 Presents, the production company that puts on the festival, graciously offered to refund tickets to those who no longer wished to attend). Or two: you can attempt to heal through cathartic, sweaty outdoor melodies. There’s no right or wrong way to recover from tragedy, but the majority of ticketholders opted for the latter.

While most artists didn’t allude to the heartbreak overtly, each set surged with a fresh bout of passion. As Portland-based belters Joseph wailed on their anthemic hit “White Flag,” the harmonies worked like Neosporin to the crowd’s aching wounds. Austin groove-artists Capyac lit up a portable George Foreman Grill and threw fresh pancakes into the crowd like frisbees. After the first ten minutes of this delicious game, we stopped scratching our heads and went along with it. After all, pancakes still taste delicious even with a little bit of Zilker grass mixed in. Vulfpeck filled the park with supreme silliness and infectious melodies. Their acapella version of “Back Pocket” sounded like the Glee Club you always wished you could join.

Several artists honored the late Tom Petty with covers from his catalogue of hits, but no one did him justice quite like Lukas Nelson & Promise of the Real. Leaving the crowd feeling verklempt yet hopeful, Nelson closed out his set with a near-perfect rendition of “American Girl.” Most of the time, famous covers require a little extra spice to make them ring, but this one needed no embellishment. With the exception of Nelson’s signature voice, the tune played out exactly as the heartbreakers would have performed it.

The three days, filled with sunburns, dehydration, and over-exertion, also beamed with a glimmer of optimism. On day one, Festivalgoers trudged through the gates with aching muscles and wounded hearts, but with every synching harmony and swelling riff, they gained a touch of their verve and strength back. The solution to our country’s violent culture won’t come down the chimney over night, but we can hope that each note played contributes to its healing.

Old Settler’s Music Festival Gets Boots Stompin’ For The Thirtieth Year

Tweet

Written by Elisa Regulski

With the refreshing Texas breeze sweeping across the Hill Country, a thousand twangling instruments humming in the air, and a fair amount of craft beer, you’d think Old Settler’s Music Festival was bluegrass utopia. Despite it’s familial atmosphere and earthy roots music, however, I wouldn’t rush into naming this Americana heaven.

This year marked Old Settler’s 30th year, and many of its revelers have attended since year one. Talk to any of the festival’s regulars, and they’ll tell you the same thing: camping is the way to go. As you weave your way through Camp Ben MucCulloch, you’ll see RVs fighting for every square inch of space they can muster. Tribes of campers claimed their space, hanging twinkle lights and custom signs from their bohemian bungalows.

When you camp at Old Settler’s, you best come prepared with three things: food, water, and an instrument. Bluegrass jams lilted listeners to sleep into the wee hours of the morning (despite the campsites’ quiet hours—these pickers are rebels). BBQ grills wafted their smoke through the trees, and gallons of water sat beneath the billowing canopies. Don’t expect the festival grounds to supply enough water for you. Drinking stations were hard to come by, and the bathrooms were not equipped with hand sanitation pumps. If you’re expecting to grab a quick bite from a food trailer—forget it. That is, unless, you want to spend $12 on a plate of noodles.

In general, prices seemed to be a big deterrent for the regular attendees. For an event that takes pride in its returning festivalgoers, the costs reflected that of a major corporate festival.

Despite a few organizational flaws, Old Settler’s never failed to deliver what its fans care about the most: the music. Whether it was a twangy Led Zeppelin cover or a traditional folk song, your ears were always satisfied.

Gregory Alan Isakov’s rich, vibrant sound filled the fields with resonance on Friday night. You’d expect this tone from an intimate listening room, but not from an outdoor festival theater. Even as conversations trickled over the melodies, the crisp sound waves pulled you in.

The Lone Bellow’s high-energy set was a constant tug on your heartstrings. The ebb and flow between privately intimate lyrics and raucously wild guitar licks made the listener feel like they knew these musicians on a deeply personal level. Their presence has changed drastically since their three-piece acoustic days, with their new sound effortlessly filling up an outdoor amphitheater.

A midday songwriting session with Sarah Jarosz and Anthony da Costa inspired a group of aspiring musicians at the Discovery Stage on Saturday. Often answering the same questions, Jarosz and da Costa did their best to let us in on their unique creative processes.

The Old 97’s closed out Saturday evening with a whiskey-drenched dance party on the Bluebonnet Stage. Their lyrics are salty and their energy is high, and you can’t help but laugh when Rhett Miller wails the phrase, “He’s got the whole world in his hands/I’ve got Lone Star in cans!” Cheers to you, Rhett.

So maybe this isn’t a utopic fairy tale of a festival, but if it’s raucous boot-stomping and sleep-deprived jam sessions you’re after, you’ll get your fix at Old Settler’s.

[INTERVIEW] Moving Hearts and Hips: Gina Chavez’ Musical Legacy

Tweet

PHOTO BY RACHEL WATERS

Moving Hearts and Hips: Gina Chavez’ Musical Legacy

Written by Elisa Regulski

“It starts raining on us in the desert, men are screaming for Rhianna, and I’m just like ‘this is totally not what I expected in Saudi Arabia.’”

Six days at a massive music festival in Austin was nothing compared to what Gina Chavez referred to as “the weirdest but best gig ever.”

When Gina and her band arrived at the U.S Embassy to perform as part of the U.S State Department’s American Music Abroad Program, she had no idea that a party like this would take shape. Women tore off their abayas and gay men shouted requests. Drenched with rain, the revelers in the crowd basked in her Latin-infused sound as she played in front of a massive American flag.

“I do love that…some tax dollars go to making these cultural exchanges happen.” Chavez said, “The fact that we can provide this little piece of earth where people can come and be themselves for a couple hours.”

Gina’s no stranger when it comes to world travels. She recently finished touring through Australia and spreading her music across Jordan. Even with all of her cultural exchanges, however, Chavez still confesses that there’s so much she doesn’t know.

“I’m a Catholic. I consider myself a well-educated woman, and I realized I knew, like, zero ZERO about the life of Muhammad,” Chavez passionately explained, “And this is why we have so much of the awful racism and stereotyping we have in our world. We’re not even open to knowing about it.”

Chavez’ strives to connect and educate people through music. Combining pop, folk, and Latin sounds, her music has a life of its own. She was first inspired by the six-count chacarera rhythms heard in Northwest Argentina. Today, her infectious beats and smooth vocals excite listeners all over the world.

Her songs have garnered impressive recognition, from being named Austin’s Musician of the Year in 2015 to winning the 2014 Grand Prize in the John Lennon Songwriting Contest. Most importantly, though, Chavez wants to inspire.

“It may seem kind of cheesy, but I want to move people’s hearts and hips,” she laughed.

Her ideal concert setting would include a vast audience that’s full of different cultures. The people may look different, but they’re all soaking up the music in the same way.

“[People are] realizing we’re all the same. We all want to party. We all want a shoulder to cry on, and we just want to be loved.”

Chavez reaches for that musical utopia one show at a time.

“I like the fact that music can bring us together and break down barriers. I think, on some level, if I could claim my own legacy that would be part of it.”

[REVIEW] The Head and the Heart bring 'Signs of Light' to Austin, Texas

Tweet

Photo by James Minchin

Written by Elisa Regulski

Touring with their new album, Signs of Light, The Head and the Heart finished up a two-night stint at Stubb’s Outdoor Amphitheater in Austin, Texas on Saturday.

The palm trees sparkled under the bright, spinning lights, but it was ultimately the layers of sound that sent listeners into another world. Within minutes of their first song, “All We Ever Knew,” this six-piece band from Seattle managed to turn an intimate acoustic ballad into a wall of electric vibrations that spread throughout the space.

While The Head and the Heart have a litany of memorable songs, it’s really their craftsmanship that makes their sound so delicious. Their songs start quiet, forcing the listener to lean in to their lyrics. Then, without anyone hardly noticing, the volume increases. Soon, Charity Thielen croons harmonies a third above Josiah Jonhnson’s melody. The violin peeks through and, before you know it, the entire crowd is singing along to the bridge.

This pattern continued all night as The Head and the Heart showed off their latest release. They sprinkled in songs from their first two albums throughout the set, which were always met with a hearty cheer and a feel nostalgic “aaaaw”s.

Giggles and smiles flashed through the audience during “Ghosts,” a fan-favorite from their debut album. Smothering Stubb’s in a healthy dose of campiness, The Head and the Heart heralded three colorful ghosts onto the stage. As the people in the costumes awkwardly bumbled around, a bright yellow Pacman arrived to eat them up.

This cheesy interlude was a much-needed break from the rotation of new songs they were pouring out. While Signs of Light honors their tried-and-true songwriting style, hearing the new tracks in a live setting often became tiring. The honest, inspirational tone would be perfect for a quiet listening room, but the integrity often got lost in such a large space. Sounds of menial conversations often competed with their driving, heartfelt performance. Sometimes, no matter how hard you listened, it was difficult to remain focused.

Luckily, this band has enough chart-toppers to reel the crowd back in. During “Lost in My Mind,” everyone’s attention immediately darted back to the stage. The opener, Declan Mckenna, brought his band onto the stage and ignited a revelrous dancing spree. Riding shoulders and shimmying for their lives, the party people turned a song that’s normally introspective and simple into a moment full of wild abandon.

The night continued with predictable arrangements of their best songs. They took little musical risks in their performances of “Down in the Valley” and “Sounds Like Hallelujah.” Songs blended in to the next and created a seemingly steady stream of sound. Restlessness itched through the crowd, but when they closed the set out with “Rivers and Roads,” everyone became still.

Laden with poetry but simple with lyrics, “Rivers and Roads” oozed nostalgia. It’s one of those songs that transcends recordings and takes the listener back to a pristine, untouched moment. The Head and the Heart didn’t need to layer any musical riffs or ornamentations on this one. They let it speak for itself.

Throughout the show, millennials snapped selfies and sent videos to friends. It was often easier to see the stage through someone’s camera than it was through the crowd.

But during the last song, technology was silenced. People cried the words, “My family lives in a different state” in raw, belted bliss. They cheered when Charity Thielen wailed during the bridge, and they held each other until their knuckles ached.

The only phone I saw came out during the final chorus. As the crowd cheered and waved goodbye to the band, the owner discretely slipped his phone back in his pocket. As he hid it from view, I managed to see the screen that read: “Mom: call ended.”

Flirting with Danger: A Conversation with July Talk

Tweet

PHOTO BY RACHEL WATERS

Written by Elisa Regulski

It’s Saturday. It’s SATURDAY.

If you repeat anything long enough, it starts to feel true.

This hypnotizing mantra is how July Talk geared up for an 11:30 AM Sunday set at this year’s Austin City Limits Music Festival. Well, that, and a shot or two of whiskey.

Leaving bite marks on the microphone cables and puddles of sweat on the stage, July Talk turned that languid Sunday morning into a surreal, surging nightclub. Touring extensively with their latest album, Touch, this Canadian alt-rock band rides on pure adrenaline. Comprised of singers Peter Dreimanis and Leah Fay, bassist Josh Warburton, guitarist Ian Docherty, and drummer Danny Miles, July Talk shot to critical acclaim in 2015 with their Juno award for Alternative Album of the Year.

July Talk’s latest single “Push and Pull” will definitely wedge itself into your brain, but it’s ultimately their live shows that have catapulted them into the public’s eye. Their impulsive decisions flirt with danger and dance with seduction. Often stealing hats, shoes, and sparkly things, Leah Fay and Peter Dreimanis spiral into a frenzied abandon. But don’t shudder over their kleptomaniac tendencies. They always give everything back.

Well, most of the time.

While chatting in the abrasive Texas heat on the second Sunday of ACL, Leah and Peter shared some of the band’s most outrageous stories.

“I had this idea that I wanted all of the bras on stage.” Leah said. “Listen--I know how hard it is to find a good bra. I promise I will give these all back to you.”

While Leah had the best intentions, it became pretty clear that the horde of people watching their show didn’t. Reaching a maddening state of mob-mentality, the revved up concertgoers snatched the bras in sheer bliss. Even Leah lost her favorite bra that night (I hurt for you, girl).

At least underwire doesn’t cost $300. During a show in Vancouver, smart phones became the object of desire.

“Leah just goes and snatches all these phones.” Peter remembered, “She ended up with four phones.”

As the selfies and videos rolled, a crowd surfer floated to the edge of the stage and lost a shoe on the ride down. Ready to return everything at the end of the set, Leah put all of the phones inside the shoe and placed it on top of an amp.

In a whirlwind of erratic energy, the crowd surfer saw his shoe, grabbed it, and bolted off.

“[He] probably puts the shoe on, realizes there’s phones in it, and then goes ‘I’m a fuckin’ millionaire man!’” Peter Dreimanis’ arms were waving, reliving the scene.

Stomachs sank and the energy dropped. July Talk owed a lot of people a bunch of money.

Without missing a beat, their tour manager jumped on the “Find My iPhone” app and tracked the drunken reveler down. Using elements of persuasion (and maybe a few vague threats) the phones returned to their respected pockets and purses.

Just like their live shows, the band’s songwriting seems to be a no-holds-barred kind of setting. Impulses fly, ideas spark, and, ultimately, songs are made. Even genre barriers can’t hold back July Talk’s songwriting style. Their first songs ranched from boot-stompin’ country to swirly psychedelic tunes.

“We kind of just allowed ourselves to do what we wanted.” Peter said, “Which was super liberating, and when we look back at it, it’s kind of naive”

No matter what they write, though, you’ll always be able to pinpoint their sound. Peter Dreimanis’ gritty, raw voice has the same unaltered, sandpaper-like quality of a Leonard Cohen ballad while Leah Fay’s floating pop soprano would melt effortlessly into a Jenny Lewis/Angel Olsen duet. When you combine those two voices, there’s a distinctly unique series of vibrations that can only be called “July Talk.”

“I don’t think any of us could write a July Talk song by ourselves.” Leah said, “The whole point is that everyone gets their fingers wet in it.”

[RECAP] ACL ’16: Flying Solo

Tweet

ALL PHOTOS BY RACHEL WATERS

Words by Elisa Regulski

Twelve girls in flowing maxi skirts linked arms and weaved their way through the crowd. Helium- filled balloons shot toward the Austin skyline and skittered their way back to the field. As baskets of chili fries and guacamole-covered hamburgers wafted their tantalizing smell through the crowd, people turned and eyed them lustfully.

You notice these things when you dance through a festival on your own.

Wandering aimlessly through a horde of 90,000 revelers has an oddly meditative effect. Like looking up at the stars on a clear Autumn night, you realize how many of us there really are. From the center of the festival, you can hear hundreds of sounds melting together. When pulsing electronica mixes with vulnerable acoustic blues, you know you’ll never taste that musical cocktail ever again.

This year’s Austin City Limits Music Festival celebrated its 15th anniversary, and while the music has shifted and the styles have changed throughout the years, the festival’s intent remains the same.

Whether you were smushed against Matt Shultz’s armpit during Cage the Elephant’s crowd surfing session or you were absorbing Gina Chavez’s lyrical Latin folk music, endorphins twinkled and hearts roared.

Even as a lone reveler, the buzzing energy felt tangible. I caught more than thirty sets during the ACL’s second weekend, but these are the moments I can’t stop thinking about.

Two Door Cinema Club

Two Door Cinema Club’s catchy, electronic swirl always perks me up when it plays on the radio, but their sound soars to new levels when they perform live. Like a thoroughly satisfying cup of coffee, their tone is full of bold, rich strength. When the lights picked up in a mesmerizing cyclone of color, the crowds melted away. I was engulfed in their sound, and that was all I could see.

Young the Giant

Young the Giant’s life-affirming anthem “Cough Syrup” got me through many stressful college midterms and sinking breakups in 2011. It’s the kind of tune that makes you want to roll your windows down on the highway and taste the breeze. This five-piece indie rock band wasted no time and launched into this song early in their set. This time, it took on a slower, groovier tempo, allowing frontman Sameer Gadhia to slide through the chorus and soak up the melody like a sponge.

City and Colour

Known for his emotional acoustic ballads, City and Colour ended their Saturday morning set with a surprising cover. Still ringing in his pure falsetto, Michael John Albert Green let his golden vocals soar in D’angelo’s “Shit, Damn, Motherfucker.” There’s something oddly cathartic about hearing Green’s resonant, angelic voice cuss out a former lover. Never abandoning his sweet vibrato, Green managed to get the whole field singing along to his twisted take on the song.

Lizzo

I’ve been told, in times of doubt and low confidence, to channel my inner Beyonce and flash a well-manicured middle finger up to my haters. While this advice was well-intended, what I really needed to do call upon the confidence of Lizzo.

With her mammoth vocals and powerful presence, Lizzo strutted across the stage like she was queen. Sure, all hip hop artists add some swagger to their performance, Lizzo’s shines so genuinely that it’s infectious. Body-positive, celebratory, and fierce as hell, this Sunday morning show set the bar high for the rest of the day’s headliners (and, let’s face it, they didn’t live up).

“Tell me how you’re feeling!” She yelled into the crowd.

We’re feeling good as Hell, Lizzo, and that’s what this whole thing is about anyway.

Weekend Two of the Austin City Limits Music Festival Starts Today

Tweet

Photo by Jason Gonulsen

Festival season lives on today when Weekend Two of ACL gets underway. We'll have coverage during and after the weekend. Stay in touch on our Instagram page, where most of our images will be posted first.

Until then, please enjoy this playlist by Speakers in Code writer Elisa Regulski.

Hangovers and Hangouts: 2016’s Music Festival on the Beach

Tweet

Written by Elisa Regulski

Growing up in southern Alabama, the smell of boiled peanuts and fried poboys greeted me everywhere I went. Auburn University’s blue and orange flags waved proudly over sandy driveways, and honey-coated drawls often had a twinge of passive aggressive bitterness slip in. Gulf Shores, not surprisingly, mixed up a sentimental cocktail of childhood memories for me. Of course this time my drink included copious amounts of Jack Daniels and Tecate. I was here for Hangout Fest, after all, and this glorified spring break trip included all of the stereotypical party tropes.

The pre-party kicked off with jiggling thighs and bouncing butts at Big Freedia’s ass-worshiping dance party. Maybe it was the sheer adrenaline (or maybe I’ve been slacking on my yoga), but this booteylicious celebration left me drenched in sweat. My reflexes weren’t swift enough to join the stampede of twerkers piling onto the stage, and that’s probably okay. After one fan took off his belt and embarked on a strip tease, I realized that I probably had the better view.

The next day began with the words, “Jason Isbell? Is he some new EDM artist?”

Instead of punching this frat boy in the face, I flashed an insincere smile and whipped out the ultimate Alabama insult: “Oh honey, bless your heart.”

As the aggressive hordes of bachelor parties bumbled their way towards the bass-thumping electronica, the crowds by the surf stage pulled back like low tide. It was their loss, though, because Isbell’s "Cover Me Up" hung in the muggy air as a sobering reminder of what passionate music can do. The woman next to me embraced the emotional deluge and let her salty tears flow.

I sobered up/ I swore off that stuff/ forever this time

The wild cheers that accompanied this line could hardly compete with the raging beat-dropping a few stages over.

Coated in a comforting haze of Americana melodies, I drifted back to my condo for some sweet relaxation. My bed hugged me as I slipped under the clean covers, free from any sand. My midsummer slumber was short-lived, however, when I was awoken by a friend urgently tickling my foot. Eyes groggy and unfocused, I stumbled into the living room to see steaming vomit and blood-soaked sheets. Unsure where he was and what was going on, my friend Andrew sat huddled around trash can, spewing incoherent mumblings.

The ER wasn’t equipped to handle the influx of patients from this weekend. Sick, dehydrated festivalgoers sat in hallways hooked up to IVs. Doctors loudly shouted from rooms about how “all the idiot drunks will be coming this weekend.” Nurses shot judgmental glances at the worried faces that came to check in on their friends.

When Andrew was discharged from his hospital room, he was only greeted with a massive medical bill and a hangover something fierce. No irreparable damage or worrisome medical issues accompanied, thankfully, and he still made it out to see Foals that evening.

Sunday’s massive crowds didn’t bother me, but the parade of misogynistic chanting roaring behind me did. Maybe I’m confused, but I always thought music festivals were a mecca for love, positivity, and acceptance. My exhausted and emotionally drained body couldn’t handle any more negativity, so I spent some quiet hours among the waves and desperately tried to shake it off.

Thankfully, Florence and the Machine are experts in the art of shaking it off, and after this set, my weekend ended with fireworks. Taking advantage of my press pass, I weaved my way to the VIP pool and graciously accepted the beer handed to me. As I danced in the sand and hugged strangers, the entire festival shifted.

People looked each other in the eye and shared brief and intense interactions. I met Carly, who brazenly snuck into the VIP area by carrying a four-foot tall trash can and walking with confidence. I met Steve, a forty-year-old retiree, who, through some insanely lucky connections, manages to score free wristbands to festivals in order to relish in the people-watching. And finally, I met Paul, who works at the Gulf Shores Emergency Room with his husband. From the exhausted and overworked nurses to the facility’s lack of funding, I garnered a newfound respect for those who took care of my friend the day before.

As the song says, the dog days were over, but so was my weekend. A symphony of splashing water erupted in the pool as the fireworks blared. Lynyrd Skynyrd’s anthem gave us our cue to leave, and we reluctantly obliged. So goodbye, sweet home Alabama. I’ll see you next year.

Interview | BRONCHO at Fun Fun Fun Fest

Tweet

Photo by Rozette Rago

Interview by Elisa Regulski

You may not know these fuzzy punk rockers by name, but you’ve almost certainly heard their music. Hit play on their top track on Spotify, and the chorus will instantly perk your memory. These musicians are more than just catchy hook-slingers penning tunes like “Class Historian” and “Try Me Out Sometime.” With songs peppering TV soundtracks and tours supporting
Billy Idol, BRONCHO will soon garner instant recognition (even if fans can’t agree on their pronunciation).

Their afternoon set during Austin’s 10th annual Fun Fun Fun Festival brought back some of my favorite memories from living in Oklahoma. Their lazy yet driving music sounds straight out of one of Norman’s quirky dive bars, and I jumped at the opportunity to discuss it with them.

Do you ever miss playing in those small venues in Oklahoma?

Ryan Lindsey (Vocalist/guitarist): I like playing in those small places. There’s a place in Norman called The Deli. Did you ever go there? It gets really packed in there, and everybody is in a good spot. So yeah, it’s nice playing a dingy little place. We’re pretty dingy, so…

Ha! But in a good way. You just finished up a tour with Billy Idol. Was it a big adjustment going from small stages such as the Deli to the sold-out tour with him?

RL: Yeah, it was nice because in those environments you get taken care of differently. There’s chips and salsa around a lot.

Oh, nice! That’s always a plus. Do you have any crazy Billy Idol stories?
(The band chuckled at the thought. There’s obviously some juicy memories there)

RL: Is this off the record? They’re good dudes...extremely wild.

Did you have a pivotal moment when you realized you were making it and could quit your day jobs?

Nathan Price (drummer): No! We got booed the first show. As we walked on stage we had hecklers.

RL: We walked on stage and the first thing we heard was “YOU SUCK.”

What would you say to those guys now that you have songs on TV shows and play huge tours?

RL: Thanks alot!

Do you have any advice for aspiring bands?

RL: Go play with Billy; you’ll love it.

Always a good idea! What’s your songwriting process like?

RL: It usually starts with melody, but sometimes it starts with just a conversation. A couple of songs we just worked on we had in conversation for probably two or three years. I’m not really sure how we ended up turning it into a song, but we made it happen.

What song is this?

RL: It’s a new one that we haven’t released yet. It’s called “Signora Borealis”

What’s this long-term conversation about?

RL: It involves a woman and it involves Dallas. And what those two things can do when they come together.

What are you goals for the band’s future?

RL: We need to write down our goals. That’s one thing we haven’t done.

NP: Yeah, our goal is to make some new year’s resolutions.

Fun Fun Fun Fest Wraps Up Austin’s 2015 Festival Scene in One Wild and Raucous Weekend

Tweet

Written by Elisa Regulski

Though it takes place just across the street from August’s maddening music circus, Fun Fun Fun Fest never tries to be like the Austin City Limits Music Festival. Often hailed as the “Anti-ACL,” this three-day whirlwind simply and honestly lives up to its name. Even during in the bone-chilling drizzle (55 degrees is cold for us, y’all), Auditorium Shores bustled with buzzing vibrations and resonant laughter.

Dogs, children, teenagers, and seasoned festies poured through the illuminating gates beginning Friday afternoon. Tacos, pitched from a cannon, flung through the air and inspired olympic competitions of hand-eye coordination. Wrestlers displayed their spartan might and solid-steel egos at the outdoor ring, and quick-witted jokesters whipped out punchlines at the JASH Yellow Stage.

Attendees confessed that they hadn’t heard of many of the bands on this year’s lineup, but the festival introduced a slew of new artists to eager ears. Welsh scream punk band Joanna Gruesome attracted more people with each passing song. The Grifters could have played for hours without noticing time go by, and the crowd would have absorbed it all. Alvvays provided a lilting sunny soundtrack to Sunday’s cloudless afternoon. Even new listeners caught on to the to the ethereal lyrics in “Marry Me Archie” and sang along with them.

Of course, headliners CHVRCHES, Jane’s Addiction, and Wu Tang Clan sent audiophiles swirling into musical oblivion, but Sunday’s closer Ms. Lauryn Hill commanded attention like a legendary queen. A DJ mixed tracks to ease the anticipation before her grand entrance, but revelers would not have it. Twenty minutes of club remixes pounded the speakers before she descended onto her plush throne center stage. This diva wouldn’t deign to adjust the microphone herself. She is Ms. Lauryn Hill, afterall. Her enormous self-confidence isn’t only wonderous; it’s expected.

Noise ordinances require the festival’s amplified music to stop by 10:00, but the party didn’t end at the clock’s toll. Thousands of wristband-wearers scuttled through downtown bars and comedy clubs to catch the intimate FFF Nites concerts. Mikal Cronin, A Giant Dog, and Murder By Death put on fabulous performances, but the true show-stopping event occurred during Peaches’ Friday night set at Cheer Up Charlies. Following a sparkly dance session on stage, local couple Nathan Garcia and Benny VandenAvond professed their love and got engaged. If that doesn’t raise the bar on everyone’s ultimate wedding proposal, I don’t know what will.

After a rapturous weekend of love, lights, and loud music, I calmed my racing heartbeat with a stroll through the city. While stomping through the mud along the bridge, I watched the festival bustle below me. Fun Fun Fun Fest isn’t Lady Bird Lake or Mount Bonnell beautiful, but it’s awe inspiring all the same. Passion, geekery, and minor obsession made this event as quirkily wonderful as it was, and I finally had a solid breath to soak it all in. Though the city of Austin will take a break from the festival scene for the rest of the year, FFF Fest once again boosted this city’s eternally endearing charm.

Fun Fun Fun Fest Packs The Acts For Its Tenth Year

Tweet

Written by Elisa Regulski

Fun Fun Fun Fest is more than just a lovely little alliteration. For die-hard Austin audiophiles and festival fanatics, this three-day event is the highlight of the year. Oversaturated commercialism takes the backseat and makes room for revved-up musicians, quick-witted comedians, and adrenaline-pumping athletes. Auditorium Shores has quite the spread laid out for you this weekend, and the schedule can often feel overwhelming. There’s no need to plan your weekend with spreadsheets and detailed schedules, however; this convenient listicle has the fest’s top ten acts conveniently organized for you. So turn off your phone and soak up the fun. It’s time to revel on, fellow wristband-wearers!

Mikal Cronin
When Mikal Cronin’s sunny brand of indie rock warms your eardrums, you’ll feel like you’re sinking into the welcoming sand near his childhood home in Laguna Beach. Surfy, vibrant, and as brisk as the California breeze, Mikal Cronin’s music will send your spirit swirling on Friday afternoon.

Cheap Trick
Cheap Trick’s “Surrender” just begs for a 5,000-voice chorus to scream along. Don’t leave this ‘70s powergroup hanging. They’ll want to hear the loudest “don’t give yourself awaa-aaay!” that you can muster.

Twerking Lessons with Big Freedia
Who says festivals can’t be educational? On Sunday afternoon, The Queen of Bounce herself will bestow her knowledge of the ancient art of twerking to any reveler who craves instruction. This brief lesson at the Jash Yellow Stage will get you ready for Dirty Sixth Street in no time.

Alvvays
Sweetly psychedelic and enormously captivating, Alvvays will serve up a giant helping of poppy shoegaze brilliance on Sunday. Molly Rankin’s sugary vocals will float above driving bass lines and send listeners swaying to the sounds. Catch this Toronto five-piece at the Orange Stage at 4:10.

Jane’s Addiction
Jane says you’d be a fool to skip out on this headlining set. Seeing this act is a no-brainer. With a top to bottom performance of Ritual de lo Habitual, Jane’s Addiction will fuel your musical dependency once again.

BRONCHO
The pulsing chorus to BRONCHO’s “Class Historian” will get your feet jumping to the beat-- if you can keep up with the pace. Their quick guitar rock will offer a perky energy boost for your Sunday afternoon and allow the sweaty dance party to continue.

Kurt Braunohler
Whether it’s on The Tonight Show, Conan, or Comedy Central, Kurt Braunohler makes stomachs ache from laughter on a daily basis. Friday gets a lot funnier with his 3:55 set at the Jash Yellow Stage.

Eric André
The host of Adult Swim’s The Eric André Show will inspire continuous giggling trills on Sunday afternoon. You may know him from such shows as 2 Broke Girls, Comedy Bang! Bang!, and Man Seeking Woman, but even if you’ve never seen his face before, the hilarity will flow freely.

Murder By Death
Airy folk-pop can step aside. Murder By Death smears a satisfying amount of grit and grime over their gothic Americana sound. Their lyrically-driven compositions will sound even earthier as they accompany the sunset behind the Jash Yellow Stage on Saturday.

Ms. Lauryn Hill
D’Angelo and the Vanguard’s last minute cancellation made room for Ms. Lauryn Hill’s comfy headlining spot. Although some fans still mourn the loss of D’Angelos Fun Fun Fun Fest debut, they won’t be bereft of soul-satisfying beats. Ms. Lauryn Hill’s Sunday evening set will bring out the dancer in all of us and place a big, shiny bow on this weekend’s festival.

Fun Fun Fun Fest runs from November 6th through November 8th in Austin, Texas.