Monday, July 20, 2020
Where Are They Now? Where Was I? An Unreleased Review of Chiodos' "Devil"
I have been a moderate fan of Chiodos for about six years, and what I have come to expect is that the "Devil" is in the details. Either there aren't as many present in this album, or there aren't enough aural concepts and mechanisms that coincide with the title. They possess their own identity, yet I believe they have a tendency to take advantage of it. While I know differences exist between the first three songs, not including "U.G. Introduction," I felt I was listening to the same song. My favorite of the first four happened to be "We're Talking about Practice," and while on the subject, Craig Owen's vocal performance has improved; though I found the lyrical denouement of "Why The Munsters Matter" more engaing. While "3Am" sounds out of place, it was a pleasant tone shift from the tracks preceding. One of the heaviest tracks exercise alliteration and in name and contemplation in context, while "Expensive Conversations in CHeap Motels" seems to exercise whoreable contempt of an ex-lover, while engaging in nonconsensual S &M , as well as blasphemy, but with a title like "Devil" wouldn't you expect some sort of sacrilege? "Duct Tape" itself is versatile, while the song is not as much its equivalent as a sturdy entry in their catalog and a favorite off this record. "I'm Awkward and Unusual," I would say so, but the song has the potential to resonate with millions of people who feel the same way, despite their career path, and is an acceptable statement and expected in concerns to their lifestyle:"The life I live is taking all I have." While music can be an extension of its creator, it can also absorb what gives that person their identity and standardize it. While the final trio of tracks did not possess the same issue as the first three, I could feel that I have heard them before, somewhere else, but still appreciated their sound; the honesty and instrumentation of the aforementioned; "Under Your Halo" as a whole; or the digital canoodling and effects on"I am Everything That's Normal" Favorites: We're Talking About Practice, 3 AM, Duct Tape, Expensive Conversations and Cheap Motels, Looking for a Tornado, I'm Awkward and Unusual, and Under Your Halo.
Sunday, July 19, 2020
Firefly 2018: A Recollection
The prospect of recalling my exploits in a music festival was daunting, especially with so many variables to consider. I disregarded the notion for the first Firefly excursion, but I feel different the second go-around; not that the first trip wasn't memorable.
What may follow will not be a recollection of each performance to the same depth, but a recollection of most sets that I have seen, with the commentary I feel is appropriate and intriguing; length may indicate a deeper connection with music, but will not always depict quality.
While I remember the last excursion having more well known and regarded indie stalwarts on a Thursday, this year's first official day left much to be desired. The days that followed more than made up for it, but it would have been nicer if some of the bands were spread out; some circumstances can be held without our control. The festival was akin to a steam train.
Two artists that I have discovered and heard for the first time were Zeek Bruse and Chicano Batman. While I favored the former for the artist's sound, message and intent of the music, I have to give Chicano Batman props; they can best be acknowledged by the idea "come for the name, stay for the show." With their matching uniforms and equitable talent in their respective instruments , they embraced their "underdog status" and proved their worth. I may not remember any track titles, but I will listen again.
Zeek Bruse presents a potent blend of soul and rock. His voice has quite the range, and does captivate as the Fireflio proclaimed. One song I will not forget, as will many others who have seen him perform would be his rendition of "Smells Like Teen Spirit" They proved their mettle, and that they can rock. Although this selection is an overused classic to demonstrate that rappers and artists of other genres can rock their set with the best of them, it was effective, and it did draw fireflies to the performance that set hearts ablaze. I did enjoy their cover of Kings of Leon's "Sex on Fire" and Jeff Buckley's "Lover, You Should've Come." I cannot name all of the titles, but I did like "Broke Man" and "Winter" which I remember, and the denouement entitled "One People" left others, and me at peace.
The first set that I caught on Friday was Lights. I came because nostalgia suggested I do so, and I might have missed a song or two, but the set was not for a lack of The Listening, not in album tracks, but in attendance. I did hear songs I never realized were hers until after I heard her perform "Up We Go" or "Same Sea." I have been considering "Skydiving," but the visualization this song instigated will do for now; until my courage reaches that level. I have to applaud her for her cover of Cher's "Believe," it was a different approach, but it's a tough one to cover.
The real reason for the excitement had to be Jimmy Eat World, they have been on my "must see live list" (not actual name) since their 2004 masterpiece. The band has released some quality albums since their breakthrough album and the aforementioned, but I still wanted to hear their older songs. They did play the title tracks of those two albums. "Bleed American" opened their set, and was the former title of their breakthrough until the tragedy that engulfed America occurred; they shifted to S/T. While "Futures" was on my wishlist, it was "A Praise Chorus" that released those endorphins and accompanying nostalgia; an unexpected surprise worthy of praise, and those vibes it brought, angelic. A few numbers from Integrity Blues made an appearance, as well as a new song that did not hint at their future direction, but "Love Never" criticized without doing so constructively. Before slowing the set down, Jim stated that not all songs are "Master of Puppets," some are best heard when "Nothing Else Matters" (paraphrasing). For Jim to use this analogy before jumping to "Hear You Me," uber cool, although I am not an authority on cool; it's the little things. "The Authority Song" was my second favorite of the set. The set would not be the same without playing their break out hit, so we could revel in the sweetness of its sound, positive message, and good memories associated with the song.The host band was engaging in sound and also with the crowd, endowed with manners and gratitude.
I may not be as big a fan of Foster The People as my friends, but it was worth it to "Pay The Man," one of my favorites included with my admission into the Sacred Hearts Club. They played an equitable portion of each album, and while I do not remember most of the songs played, it was enjoyed regardless. To see the smile on Mark Foster's face was more than enough confirmation that he was feeling the vibe. The dance across the stage, multiple times, as well as the energy lead guitarist Sean Simino; keyboardist, Isom Innis; and drummer Mark Pontius all displayed affirmed they were in the zone. About three or four songs into the set, some fans in front of us raised their sneakers in the air; they were not pumped up kicks, but they saved that for second last; plenty of time to outrun the gun. They ended with "Sit Next To Me," and in the sardine scenario, it does not sit well; the statement stands. Their cover of "Blitzkrieg Bop?" "Hey Ho, Pre-mo!"
I admit that I cannot call myself a Logic or Rick and Morty fan, but I respect the integration, and the debate taken place between the eponymous characters as to which Logic was better; we heard both sides. Logic kept the crowd in line with a few rules/requests to ensure everyone was involved and reciprocated the energy and effort Logic had released. I forgot the exact number, but it was an illogical percentage, yet there were more than enough fans to match that, at the least. Aside from the songs I heard prior and had recognized ( "Everybody," "Take It Back," "Killing Spree," and "44") there was more left to be inspired.
He had engaged with the crowd in a more paternal manner, one scenario involved an invisible basketball and a hoop of arms. He was full of gratitude and reveled in the fact that he could do what he loves for a living and that his aspirations have become achievements in present and in wait.
He engaged in nostalgia, recounting his last stint at firefly in 2016, where he put his positivity to use after an incident preceding. He also reconnected with an old pal in the name of Plank, given to him by a fan.
One of the reasons Logic resonated with me was his spreading of peace, love, and positivity, which is what I aim to spread. I also really dug the song and accompanying video to the song with the number of the American National Suicide Prevention Hotline as its title; the message of both, spoke to me; suicide is no joke, nor is one of its instigators, depression. I have seen their effects, and the allure of the former, so I took it to heart. The song played its part in the set, albeit a shortened one.
If you have yet to find out, he is bi-racial, and an intense performer.
If I had more to say about the Arctic Monkeys, I would, but their live show is likely to knock you off that fence if you are uncertain. They managed to play at least one song from every album, and temper their energetic cuts like "I Bet You Look Good on the Dancefloor" from their debut with the title track off of their latest.
I've heard from my cousin that Royal Blood rock one heck of a show, sounding like a band twice as large, at the least, compared to this dynamic duo of rock. They even honored the prince of darkness with an instrumental interlude, before playing their biggest hit; its not that hard to figure it out. It was as if the heat did not deter, and they played with the intensity of the sun.
Its only fitting that the "greatest rapper alive" be accompanied by the best DJ, and hype man, in the world. DJ T Lewis really prepared the crowd and Wayne for an unexpected experience. It took me by surprise at how humble and how awestruck by the crowd Wayne appeared. The gratitude he expressed to the fans, and even GOD, shocked me, because his persona does not convince you otherwise. He started with "Mr. Carter" and another big Tha Carter III track. He would play "Ms. Officer," "A Milli," and "Lollipop" later. Snippets of other features were performed, and the legacy of Lil Wayne may last "Forever." I heard songs I could not recognize, and still connected to the energy. "The Motto" had "Every Girl" and guy in the crowd amped.
While I knew "Mirror" would be a long shot, I at least heard "6 Foot 7 Foot" from the same album. Well done, Wayne. I'm on my way to believe the hype.
In ad-Vance, Joy was not an artist I would see solo, merely because the majority of his music does not connect with me, but since an opportunity arose, why not? He did captivate his audience with his manner and song choice, how timely was "Saturday Sun?" "Lay It All on Me" and "Riptide"
were saved as the best for last, but his medley of "All Night Long/Sorry" from Lionel Richie and Justin Bieber, respectively won "best of the set."
The Killers have spent half of Firefly's lifetime (not consecutively) on a stage at this festival. "It's not easy to put on a rock show" Brandon Flowers said before quoting Evel Knievel, "People do not come for the perfect landing, but the intent..." and then Flowers promised they were going to give it all that they have. They certainly followed through, and nailed every song on the set list. They managed to play a lot of hits. from each album. While the finale of Day and Age would have been perfect to send off those leaving the festival that night, they opted to inject some energy with their perfomance of "Spaceman" which may have helped reinvigorate the battle born through the set, after a long day, considering the "The Way It Was." Their cover of "American Girl" with a "Free Fallin' outro was another standout. What I really liked was when they gave a fan a trial on the drum kit, and gave their energetic percussionist a break. Their journey through Sam's Town was brief, but they played a flashback hit and "Read My Mind." While the three minutes of silence was perfect for recalling "All These Things That I've Done." It added more to the performance once they laid everything on the line, and brought a favorite to life on stage, before ending with "Mr. Brightside."
Eminem was easily one of the top three artists that convinced me to make the trek.. The possibilities were endless, and potential to let down the crowd was equitable with overwhelming it. With all of his hits, it was hard to determine which would make an appearance. His career was not in need of a Revival, but his latest presents the notion that his confidence yearned for reassurance. How a "Rap God" can curl up in a ball of insecurity, insignificance, and inadequacy, I cannot tell you, because I am far from one. In spite of his affliction, he was as potent and engaging as ever; tag teaming with Mr. Porter and the almighty Alchemist.
The cinematized Rapzilla intro and the warning that preceded the performance on the screen on the side of the Firefly stage: "If you are easily frightened by loud noises or offended by explicit lyrics. You should not be here" was enough to let you know that Shady's back. After vying for Donald Glover for Pres, he jumped into "White America."
Shady also featured his protégé, Skylar Grey, on a string of three songs where she took on the role of Beyoncé for "Walk On Water," while hardly as volatile, and not as visceral as earlier material, it is quite accurate in the context of confidence, and a moving piece of music; coming from the source. The selection segued perfectly into the opposite end of the spectrum, from perspective of icon to "Stan." Questions of "Why am I an Icon?" surfaced in his mind. He even wore a shirt ordering everyone to "Get Off My Dick." Could this be the product of overwhelming praise?
As "Sing for the Moment" is a favorite of mine, I didn't expect him to perform it, and even more surprised to hear "Cinderella Man" from Recovery, which does depict Em justly. He honored Proof with his "Toy Soldiers," and it wouldn't be the same if Em did not honor Tupac on his 47th birthday.
At one point, they took a loose total of what albums the crowd had owned. With "Stan" and "White America" we had a preview, but would he play songs such as "The Real Slim Shady," or "Without Me?' Yes. Along with "I Am" and a few others that I could not recall. We heard a few throwbacks to when Em was a tad more off the wall. As for hits, more recent ones, that surely was not all.
Whether you regard him as a profanity and vulgarity ridden "Monster" or an artist "Not Afraid" to tell the truth, he still coasted effortlessly across "The River" with his latest, Ed Sheeran assisted, hit.
As the outer lights were replaced with a stagnant cosmic display that escorted a stillness in the air, the awkward silence awarded the patience, and those willing to prepare to lose themselves within the music; a song that had HOVA thinking "I wish I wrote that s---"
It was nice to see Royce Da 5'9'' pop in to perform "Fast Lane" with Eminem. The gratitude he expressed to the crowd and honoring all involved, as well as reminding all in the crowd to honor their fathers for Fathers Day was endearing; not something I would expect to take place if you told me a decade ago. The utilization of a full orchestra and a talented guitarist and drummer, really helped to elevate the experience as well.
One band that I have yet to hear before the show was the Glorious Suns, a band full of vigor in spite of the weather that may have hindered my focus a bit. They may not have been as volatile as a "Sawed off Shotgun," but they did earn my respect as I look back. They managed to slip in a Fatboy Slim cover? "Praise You" like I SHooooooould.
Kamasi Washington played alongside "the man who taught me everything I know" for a special Father's Day performance of "The Rhythm Changes,'' before giving us a preview of his upcoming album. At one point, Washington remarked how traveling all around the world, music is a uniting force transcendent of any barriers we set for ourselves or others set for us. Even if some festival guests were early for an artist they wanted to see, they still appeared to enjoy Washington's contributions to the music.
MGMT incorporated some trippy and odd visuals, but I would not expect a poopmoji dancequeen on loop for one of the songs, yet nor would I put it past them. They embraced all of the eyes on themselves and then incorporated googly eyes and a stick figure aesthetic into the screen.
A gator-ode was played after a survey of who likes Gatorade was taken. Lemon Lime was Andrew Vanwyngarden flavor of choice, while orange was Ben Goldwasser's flavorite.
In honor of the ten-year anniversary of Oracular Spectacular they offered a decent helping, but not without playing one for the "Kids." Over half of their set included new tunes, but that is to be expected, why wait to play with new toys when given the chance?
Alt J is an odd bird, one of which may be too high for me to accurately capture in text. Their music is worthy of any praise and attention it receives, but if you are not well acquainted with their direction or fail to pay attention, you may get lost in the music; that is not a bad thing. I feel I might have enjoyed their set more had I been more prepared and not distracted.
Although Kendrick Lamar was in my Firefly 2018 Top Three, I came ill prepared, in all honesty. The only full length I heard prior was Good Kid, M.A.A.D. city, only singles and snippet from the following albums. In a congestive climate of artists, in any genre, it is necessary to stand out, but the problem is when other artists chase success by what is proven to work, they may be noticed, but they may not survive; especially when image takes importance over the music. Lamar proclaims "there is a difference between black artists and wack artists"
What may follow will not be a recollection of each performance to the same depth, but a recollection of most sets that I have seen, with the commentary I feel is appropriate and intriguing; length may indicate a deeper connection with music, but will not always depict quality.
While I remember the last excursion having more well known and regarded indie stalwarts on a Thursday, this year's first official day left much to be desired. The days that followed more than made up for it, but it would have been nicer if some of the bands were spread out; some circumstances can be held without our control. The festival was akin to a steam train.
Two artists that I have discovered and heard for the first time were Zeek Bruse and Chicano Batman. While I favored the former for the artist's sound, message and intent of the music, I have to give Chicano Batman props; they can best be acknowledged by the idea "come for the name, stay for the show." With their matching uniforms and equitable talent in their respective instruments , they embraced their "underdog status" and proved their worth. I may not remember any track titles, but I will listen again.
Zeek Bruse presents a potent blend of soul and rock. His voice has quite the range, and does captivate as the Fireflio proclaimed. One song I will not forget, as will many others who have seen him perform would be his rendition of "Smells Like Teen Spirit" They proved their mettle, and that they can rock. Although this selection is an overused classic to demonstrate that rappers and artists of other genres can rock their set with the best of them, it was effective, and it did draw fireflies to the performance that set hearts ablaze. I did enjoy their cover of Kings of Leon's "Sex on Fire" and Jeff Buckley's "Lover, You Should've Come." I cannot name all of the titles, but I did like "Broke Man" and "Winter" which I remember, and the denouement entitled "One People" left others, and me at peace.
The first set that I caught on Friday was Lights. I came because nostalgia suggested I do so, and I might have missed a song or two, but the set was not for a lack of The Listening, not in album tracks, but in attendance. I did hear songs I never realized were hers until after I heard her perform "Up We Go" or "Same Sea." I have been considering "Skydiving," but the visualization this song instigated will do for now; until my courage reaches that level. I have to applaud her for her cover of Cher's "Believe," it was a different approach, but it's a tough one to cover.
The real reason for the excitement had to be Jimmy Eat World, they have been on my "must see live list" (not actual name) since their 2004 masterpiece. The band has released some quality albums since their breakthrough album and the aforementioned, but I still wanted to hear their older songs. They did play the title tracks of those two albums. "Bleed American" opened their set, and was the former title of their breakthrough until the tragedy that engulfed America occurred; they shifted to S/T. While "Futures" was on my wishlist, it was "A Praise Chorus" that released those endorphins and accompanying nostalgia; an unexpected surprise worthy of praise, and those vibes it brought, angelic. A few numbers from Integrity Blues made an appearance, as well as a new song that did not hint at their future direction, but "Love Never" criticized without doing so constructively. Before slowing the set down, Jim stated that not all songs are "Master of Puppets," some are best heard when "Nothing Else Matters" (paraphrasing). For Jim to use this analogy before jumping to "Hear You Me," uber cool, although I am not an authority on cool; it's the little things. "The Authority Song" was my second favorite of the set. The set would not be the same without playing their break out hit, so we could revel in the sweetness of its sound, positive message, and good memories associated with the song.The host band was engaging in sound and also with the crowd, endowed with manners and gratitude.
I may not be as big a fan of Foster The People as my friends, but it was worth it to "Pay The Man," one of my favorites included with my admission into the Sacred Hearts Club. They played an equitable portion of each album, and while I do not remember most of the songs played, it was enjoyed regardless. To see the smile on Mark Foster's face was more than enough confirmation that he was feeling the vibe. The dance across the stage, multiple times, as well as the energy lead guitarist Sean Simino; keyboardist, Isom Innis; and drummer Mark Pontius all displayed affirmed they were in the zone. About three or four songs into the set, some fans in front of us raised their sneakers in the air; they were not pumped up kicks, but they saved that for second last; plenty of time to outrun the gun. They ended with "Sit Next To Me," and in the sardine scenario, it does not sit well; the statement stands. Their cover of "Blitzkrieg Bop?" "Hey Ho, Pre-mo!"
I admit that I cannot call myself a Logic or Rick and Morty fan, but I respect the integration, and the debate taken place between the eponymous characters as to which Logic was better; we heard both sides. Logic kept the crowd in line with a few rules/requests to ensure everyone was involved and reciprocated the energy and effort Logic had released. I forgot the exact number, but it was an illogical percentage, yet there were more than enough fans to match that, at the least. Aside from the songs I heard prior and had recognized ( "Everybody," "Take It Back," "Killing Spree," and "44") there was more left to be inspired.
He had engaged with the crowd in a more paternal manner, one scenario involved an invisible basketball and a hoop of arms. He was full of gratitude and reveled in the fact that he could do what he loves for a living and that his aspirations have become achievements in present and in wait.
He engaged in nostalgia, recounting his last stint at firefly in 2016, where he put his positivity to use after an incident preceding. He also reconnected with an old pal in the name of Plank, given to him by a fan.
One of the reasons Logic resonated with me was his spreading of peace, love, and positivity, which is what I aim to spread. I also really dug the song and accompanying video to the song with the number of the American National Suicide Prevention Hotline as its title; the message of both, spoke to me; suicide is no joke, nor is one of its instigators, depression. I have seen their effects, and the allure of the former, so I took it to heart. The song played its part in the set, albeit a shortened one.
If you have yet to find out, he is bi-racial, and an intense performer.
If I had more to say about the Arctic Monkeys, I would, but their live show is likely to knock you off that fence if you are uncertain. They managed to play at least one song from every album, and temper their energetic cuts like "I Bet You Look Good on the Dancefloor" from their debut with the title track off of their latest.
I've heard from my cousin that Royal Blood rock one heck of a show, sounding like a band twice as large, at the least, compared to this dynamic duo of rock. They even honored the prince of darkness with an instrumental interlude, before playing their biggest hit; its not that hard to figure it out. It was as if the heat did not deter, and they played with the intensity of the sun.
Its only fitting that the "greatest rapper alive" be accompanied by the best DJ, and hype man, in the world. DJ T Lewis really prepared the crowd and Wayne for an unexpected experience. It took me by surprise at how humble and how awestruck by the crowd Wayne appeared. The gratitude he expressed to the fans, and even GOD, shocked me, because his persona does not convince you otherwise. He started with "Mr. Carter" and another big Tha Carter III track. He would play "Ms. Officer," "A Milli," and "Lollipop" later. Snippets of other features were performed, and the legacy of Lil Wayne may last "Forever." I heard songs I could not recognize, and still connected to the energy. "The Motto" had "Every Girl" and guy in the crowd amped.
While I knew "Mirror" would be a long shot, I at least heard "6 Foot 7 Foot" from the same album. Well done, Wayne. I'm on my way to believe the hype.
In ad-Vance, Joy was not an artist I would see solo, merely because the majority of his music does not connect with me, but since an opportunity arose, why not? He did captivate his audience with his manner and song choice, how timely was "Saturday Sun?" "Lay It All on Me" and "Riptide"
were saved as the best for last, but his medley of "All Night Long/Sorry" from Lionel Richie and Justin Bieber, respectively won "best of the set."
The Killers have spent half of Firefly's lifetime (not consecutively) on a stage at this festival. "It's not easy to put on a rock show" Brandon Flowers said before quoting Evel Knievel, "People do not come for the perfect landing, but the intent..." and then Flowers promised they were going to give it all that they have. They certainly followed through, and nailed every song on the set list. They managed to play a lot of hits. from each album. While the finale of Day and Age would have been perfect to send off those leaving the festival that night, they opted to inject some energy with their perfomance of "Spaceman" which may have helped reinvigorate the battle born through the set, after a long day, considering the "The Way It Was." Their cover of "American Girl" with a "Free Fallin' outro was another standout. What I really liked was when they gave a fan a trial on the drum kit, and gave their energetic percussionist a break. Their journey through Sam's Town was brief, but they played a flashback hit and "Read My Mind." While the three minutes of silence was perfect for recalling "All These Things That I've Done." It added more to the performance once they laid everything on the line, and brought a favorite to life on stage, before ending with "Mr. Brightside."
Eminem was easily one of the top three artists that convinced me to make the trek.. The possibilities were endless, and potential to let down the crowd was equitable with overwhelming it. With all of his hits, it was hard to determine which would make an appearance. His career was not in need of a Revival, but his latest presents the notion that his confidence yearned for reassurance. How a "Rap God" can curl up in a ball of insecurity, insignificance, and inadequacy, I cannot tell you, because I am far from one. In spite of his affliction, he was as potent and engaging as ever; tag teaming with Mr. Porter and the almighty Alchemist.
The cinematized Rapzilla intro and the warning that preceded the performance on the screen on the side of the Firefly stage: "If you are easily frightened by loud noises or offended by explicit lyrics. You should not be here" was enough to let you know that Shady's back. After vying for Donald Glover for Pres, he jumped into "White America."
Shady also featured his protégé, Skylar Grey, on a string of three songs where she took on the role of Beyoncé for "Walk On Water," while hardly as volatile, and not as visceral as earlier material, it is quite accurate in the context of confidence, and a moving piece of music; coming from the source. The selection segued perfectly into the opposite end of the spectrum, from perspective of icon to "Stan." Questions of "Why am I an Icon?" surfaced in his mind. He even wore a shirt ordering everyone to "Get Off My Dick." Could this be the product of overwhelming praise?
As "Sing for the Moment" is a favorite of mine, I didn't expect him to perform it, and even more surprised to hear "Cinderella Man" from Recovery, which does depict Em justly. He honored Proof with his "Toy Soldiers," and it wouldn't be the same if Em did not honor Tupac on his 47th birthday.
At one point, they took a loose total of what albums the crowd had owned. With "Stan" and "White America" we had a preview, but would he play songs such as "The Real Slim Shady," or "Without Me?' Yes. Along with "I Am" and a few others that I could not recall. We heard a few throwbacks to when Em was a tad more off the wall. As for hits, more recent ones, that surely was not all.
Whether you regard him as a profanity and vulgarity ridden "Monster" or an artist "Not Afraid" to tell the truth, he still coasted effortlessly across "The River" with his latest, Ed Sheeran assisted, hit.
As the outer lights were replaced with a stagnant cosmic display that escorted a stillness in the air, the awkward silence awarded the patience, and those willing to prepare to lose themselves within the music; a song that had HOVA thinking "I wish I wrote that s---"
It was nice to see Royce Da 5'9'' pop in to perform "Fast Lane" with Eminem. The gratitude he expressed to the crowd and honoring all involved, as well as reminding all in the crowd to honor their fathers for Fathers Day was endearing; not something I would expect to take place if you told me a decade ago. The utilization of a full orchestra and a talented guitarist and drummer, really helped to elevate the experience as well.
One band that I have yet to hear before the show was the Glorious Suns, a band full of vigor in spite of the weather that may have hindered my focus a bit. They may not have been as volatile as a "Sawed off Shotgun," but they did earn my respect as I look back. They managed to slip in a Fatboy Slim cover? "Praise You" like I SHooooooould.
Kamasi Washington played alongside "the man who taught me everything I know" for a special Father's Day performance of "The Rhythm Changes,'' before giving us a preview of his upcoming album. At one point, Washington remarked how traveling all around the world, music is a uniting force transcendent of any barriers we set for ourselves or others set for us. Even if some festival guests were early for an artist they wanted to see, they still appeared to enjoy Washington's contributions to the music.
MGMT incorporated some trippy and odd visuals, but I would not expect a poopmoji dancequeen on loop for one of the songs, yet nor would I put it past them. They embraced all of the eyes on themselves and then incorporated googly eyes and a stick figure aesthetic into the screen.
A gator-ode was played after a survey of who likes Gatorade was taken. Lemon Lime was Andrew Vanwyngarden flavor of choice, while orange was Ben Goldwasser's flavorite.
In honor of the ten-year anniversary of Oracular Spectacular they offered a decent helping, but not without playing one for the "Kids." Over half of their set included new tunes, but that is to be expected, why wait to play with new toys when given the chance?
Alt J is an odd bird, one of which may be too high for me to accurately capture in text. Their music is worthy of any praise and attention it receives, but if you are not well acquainted with their direction or fail to pay attention, you may get lost in the music; that is not a bad thing. I feel I might have enjoyed their set more had I been more prepared and not distracted.
Although Kendrick Lamar was in my Firefly 2018 Top Three, I came ill prepared, in all honesty. The only full length I heard prior was Good Kid, M.A.A.D. city, only singles and snippet from the following albums. In a congestive climate of artists, in any genre, it is necessary to stand out, but the problem is when other artists chase success by what is proven to work, they may be noticed, but they may not survive; especially when image takes importance over the music. Lamar proclaims "there is a difference between black artists and wack artists"
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