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Archive for July, 2010


The HullabaLOU stage – Photo by Jason Ashcraft

So, it’s finally over. Louisville’s largest music festival at Churchill Downs was realized with over 78,000 people flocking to the downs to hear a wide range of solo artists and bands, spanning an eclectic mix of genres. And it all happened pretty flawlessly with only a small amount of snafus and just a few people being either arrested or escorted out of the event. The heat wave that struck the area kept temperatures hovering in the upper 90’s and heat indexes in the 100’s mostly. Those who braved the temperatures were treated to wide range of musical legends and pioneers, and plenty of Kentucky born and bred artists. That was probably the biggest accolade of the event. Show management didn’t forget that to throw the biggest music festival in Kentucky you had to get some of the biggest names in Kentucky. Mission accomplished.

Day 1 – Friday

Whiskey Bent Valley Boys

Whiskey Bent Valley Boys – Photo by Jason Ashcraft

This bluegrass/folk band from Pewee Valley, Kentucky performed on the Bluegrass stage, which of all places happened to be right in the middle of Churchill Down’s Paddock. The band features MSD lead guitarist Robbie “Mason” Dixon on Banjo, who made a point to thank Churchill Downs for dedicating an entire stage to the roots music of Kentucky during the festival. Agreed. Dixon then proudly proclaimed they would be playing some “good old-school mountain music that your grandma and grandpa used to play while sitting on their front porch.” That they did, and from that point on a jam session ensued. Their set was littered with plenty of “yee-haws” coming from both the audience and the stage.

B-52’s


The B-52’s Keith Strickland & Kate Pierson – Photo by Jason Ashcraft

Having missed the Athens, Georgia based B52’s performance, I did catch their post-show media press conference interview with founding members Keith Strickland and Kate Pierson. Strickland, the lead guitarist, was sporting a My Morning Jacket t-shirt and commented on the band almost immediately at the start of their questions. “They’ve (MMJ) got a lot of light in their music,” Strickland described. Strickland also commented on how he looks forward to seeing them (MMJ) perform again soon.


The Doobie Brothers


The Doobie Brothers – Photo by Jason Ashcraft

The Northern California based Doobie Brothers drew a large crowd to the Fleur De Lis stage at mid-evening. During their set there was a faint aroma of a burning doobie blowing in the hot breeze which was quite funny. The Doobies, as they are often referred to by their fan base, have been playing together as a band for over 40 years, with a short stint in the mid-eighties. They’ve been known for amassing a huge biker type of following, but not on this night at Churchill Downs, although the crowd seemed just as rowdy and noisy. The Doobies took their audience on a journey through four decades of their hit singles including “Taken it to the Streets,” “Long Train Runnin,” and “Dixieland” of which they gracefully changed the lyric from “Mississippi moon” to “Kentucky moon” to make it little more personal for their fans. It sent the audience into a bit of frenzy every time they uttered the word “Kentucky” from that point on, which they did a lot.


With Tom Johnston – Photo by their roadie


Day 2 – Saturday

Brigid Kaelin

Brigid Kaelin and Peter Searcy – Photo by Jason Ashcraft

“This is why you should never date a musician,” Brigid proclaimed as she led off into one of her many fascinating and charming alt-country-roots-rock tunes that she happily performed in front of a sizeable audience. With Peter Searcy at her side on bass and Hog Operation’s Steve Cooley on guitar, the little Louisville-based music saw-ista even broke out a 26″ Stanley saw and artistically played “Somewhere Over the Rainbow” with a violin bow. She later broke out a pretty interesting take on Led Zeppelin’s “Immigrant Song.” Kaelin has perfected her own little sassy style of music with lots of little red-head boozy lyrics. You just can’t help not wonder what she will sing or play next.

The VilleBillies


VilleBillies & The Twin Spires – Photo by Jason Ashcraft VilleBillies onstage – Photo by Jason Ashcraft

Having been on a musical roller-coaster over the course of their career as musicians, it was awesome to see one of Louisville’s favorite alt-rock-hip-hop-country bands perform. They opened their set with an instrumental version of Black Sabbath’s “Iron Man” and then right as you thought they were about to cover the song, Tuck, Dylan, and Demi ran onstage and led the band right into their own song “One Shot.” “Wow,” I thought to myself. These guys rock more then they rap. They even took time out to wish they’re mama a happy birthday. See, they’re good southern boys.


Even Big Bird made an appearance again – Photo by Jason Koerner


At their post-show press conference – Photo by Jason Ashcraft

At their post-show press-conference the VilleBillies announced an up and coming 3rd album with a yet-to-be-determined release date, but possibly by fall. As they joked about they’re own slight dysfunctionality as a band, they hinted the possible album title name as being Dysfunctional Family.The VilleBillie’s also commented on their recent audition and filming for their own reality TV show on MTV, which was to be titled “The Beverly VilleBillies.” In short the band described the entire process as the producers wanting to mis-represent their persona in a negative way. As Demi explained it, “If reality TV was actually ‘reality TV’ then we could have done the show. But it wasn’t and we said no.”

(ALSO: You can read my 2009 interview with the VilleBillies’ Demi Demaree here. )

Ben Sollee


Ben Sollee – Photo by Jason Ashcraft

The Lexington, Kenucky native Ben Sollee, was on hand at the Fleur De Lis stage. Having not been able to stay for very long to see all of Sollee’s performance, it was quite evident that the classical cellist also had a little rock-n-roll in his blood to. Sollee recently began an awareness tour called “Appalachian Voices” with Jim James of My Morning Jacket and Daniel Martin Moore, that promotes awareness of the controversial mountain top removal process in the Appalachian Valley. If it weren’t for not missing the VillieBillies set starting just 15 minutes after Sollee’s set, I would have loved to stayed. This is one festival that makes you choose who your going to see.

Ricky Skaggs


Ricky Skaggs with his band – Photo by Jason Ashcraft


Yes, the Cordell, Kentucky native and bluegrass/country music legend essentially headlined the Bluegrass stage in the paddock for the entire festival. Packing in the paddock with enough people as if a Kentucky Derby Champion was gracing the gardens, the grey haired Skaggs and his bluegrass orchestra fired up shortly after Skaggs announced “Nothing like being introduced”. With that Skaggs demonstrated his mastery of the mandolin backed by his 6 piece bluegrass instrumental ensemble. Skaggs even mangaed to playing a few “tear jerking” country tunes as he described it before I had to jet off 30 minutes after his set began to catch another legend on the back turn.


Ricky Skaggs – Photo by Jason Ashcraft

Al Green


The lady’s man, Al Green – Photo by Jason Ashcraft

In case you were wondering whether soul-rock icon Al Green still has it or not, well, I’m here to say “yes” he still does. Green, now 64, still hasn’t lost his charm either as he strolled onstage royally 20 minutes late, and brought roses for the ladies too. He was the only dude in the entire festival decked out in a red and black three piece tuxedo. Did I mention he hasn’t lost his class either? Well he hasn’t. And just like he did back in the 70’s, Al hit every note in almost every key and at every decibel level he’s always been known for. The man is the epitome of soul music.


At 64, this dude can still dance – Photo by Jason Ashcraft

But then something unexpected happens. At about mid-set and mid-song Al became increasingly frustrated with one of his sound techs running the stage monitors he listens to the music from. Just as he finished a song, he turned and screamed to his sound tech “Hey mother-f**ker, you wanna walk home?” in obvious displeasure with the mix in his monitors. Damn, Al is passionate about what he does. Once that gotten straightened out, he was back to his happy and energetic self and busted a few dance moves in between throwing roses to all the ladies in the front of the audience. Now this may come as a surprise to most of my readers, but I’ll just say this right now. Al Green proved to be one of the surprisingly top performances of the entire festival.

Day 3 – Sunday

Hog Operation


Hog Operation on the Bluegrass Stage – Photo by Jason Ashcraft

It was early and it wasn’t much of a surprise that after two days of intense heat, there wasn’t much of a crowd for one of Louisville’s homegrown bluegrass jam bands. Unlike his band mates, this was Steve Cooley’s second performance after he played guitar for Brigid Kaelin during the heat wave on Saturday. Even though the crowd was quiet, Hog Operation’s music wasn’t. They jammed out and threw in a few typical covers including a bluegrass version of the Beatles “Norwegian Wood.”

The Black Crowes


The Crowe’s Chris Robinson – Photo by Jason Ashcraft

Finally a performance in Louisville from the Black Crowes that was decent. Having come through Louisville pretty regularly over the past few years, the Crowes finally gave a performance that paid homage to songs they wrote in the early part of their career including “Remedy” and “She Talks to Angels.” The psychedelic-americana rock boys drew several thousand fans and was by far the largest crowd in the infield since the Derby. Without a doubt they deserved the main HullabalLOU stage as opposed to the Avett Brothers who only had a meager few hundred.


The massive crowd for The Black Crowes – Photo by Jason Ashcraft

If the Robinson brothers have more performances like this in store, they can tour Louisville all they want from here to eternity. And even though they usually turn down in-person media interviews. That being said, don’t be expecting to read any exclusive behind the scenes sh*t from me. They’re too big of rock stars for a little hometown publication like Louisville Music News apparently.


The Black Crowes – Photo by Jason Ashcraft

Dwight Yoakam


Dwight Yoakam & band – Photo by Jason Ashcraft

“We don’t got no God damn band. We don’t need to f*ckin’ practice Randy,” is what was going thru my head upon waiting for the Pikeville, Kentucky native Dwight Yoakam to take the stage. That’s a line from Yoakam’s character Doyle in the movie Slingblade. I know it’s totally stupid for me to think about that because it’s totally inverse from Yoakam’s onstage attitude and demeanor while he plays. Yoakam, the final performer for Fleur De Lis stage on Sunday night, was essentially the headliner for that stage. There was a huge crowd of people that flocked to the stage right before he began.

Yoakam, who practically helped create and popularize country music’s twang sound, blessed the audience with a set of all his classic hits like “Guitars, Cadillacs” and “Fast as You”. This guy is probably one of Kentucky’s greatest country musical exports ever, and it was literally perfect that he would close the festival’s Fleur De Lis stage out, right after another Kentucky music great, Loretta Lynn.


Dwight Yoakam & band – Photo by Jason Ashcraft

Unfortunately one of the festival’s only blunders decided to happen during Yoakam’s set, with a power failure on the stage at mid-song. Good ole’ Dwight just kept on playing even though his band quit from the sudden silencing of their instruments. But Dwight just kept on playing and the audience applauded him for his effort. He may have finished the song, but I couldn’t really tell. Minutes later the power was restored and then shortly after that he broke out a cover of Johnny Cash’s “Ring of Fire” which was nothing like the original version. He Yoakam’d it up a little and almost made it his own song had you not known the lyrics. Dwight is Kentucky to the core and his style of country was a perfect fit for Louisville’s largest music festival.

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Louisville Kentucky’s Waterfront Park, for the first time in its short-lived history, hosted the largest event it’s ever known. The Forecastle Festival, now in its 9th year, transformed Louisville’s 70+ acre downtown riverfront park into a hot and humid hippie haven drawing over 27,500 attendees. The large majority of which representing the teenage/young-adult-pot-smoking-and-liver-torturing-minimal-apparel-bearing-sustainable-living-promoting-live-music-liberal-enthusiast sub-culture.


Photo by Kate Eldridge

Who would believe that just 7 years ago Forecastle was literally a grass-roots gathering in a 13 acre neighborhood park on one small stage? Today it has quickly grown to be one of the regions must attend summer music and activism extravaganzas, not to mention a huge PR machine for all those involved. It has its own experience. But, on the flip side, the ironic characteristic about this festival – given that it heavily encourages the green and sustainable lifestyle – is that it generates a massive amount of leftover non-recycled plastic water bottles. Even in the face of 90+ degree temperatures, attendees were limited to very few free sources of water. That being said, surely show management will make a positive change in that regard for next year’s event.


The Main Stage – Photo by Staci Core


500 Miles to Memphis, the alt-country punk concoction from Cincinnati certainly lives up to their name, residing almost exactly 500 Miles from Memphis, Tennessee, that is. Aside from vocalist Ryan Malott somewhat sounding like Billy Joe from Green Day at times, their performance lacked a little of the luster that their punk-roots are usually known for. Maybe it was because of the swarm river bugs that kept invading the stage during their set. Or maybe they were uninspired by the somewhat small audience that arrived to hear them play on the East Stage. They’ll probably have a much better performance at their next gig in Louisville on August 28th at 3rd Street Dive.


File Photo of 500 Miles to Memphis – Photo by Steph Keller

Arnett Hollow, one of many Louisville-based artists charmed their significantly sizable dancing audience on the North stage, even though having a competing set time with Dead Confederate and Manchester Orchestra. Arnett Hollow gracefully blends new-age bluegrass with a world music sound, and is highlighted by a violin that sounds like its straight out of the 19th century.


Arnett Hollow onstage – Photo by Kate Eldridge

Dangerbird, yet another Louisville-based band, was a better fit for the North Stage. With an arsenal of Gibson guitars they have a bluesy and classic rock style that can, at-times, seem a little Led Zepplen-ish. Brian Gray’s vocals were diverse and his range of styles kept pace with the instrumental variations. Overall, they get a thumbs-up.


Dangerbird onstage – Photo by Kate Eldridge

Dead Confederate delivered an intense set of their emo style country-rock, set to a perfect sunset along the Louisville skyline on the festival’s East Stage. And although being from Athens, Georgia, they don’t possess an overbearing southern style. Vocalist Hardy Morris embodies childhood innocence in the way he performs with his eyes hid away from the audience by his bangs most of the set. Dead Confederate, as a band, has managed to transform downbeat rhythms into emotionally charged and high intensity songs that draw you in. They had one of the best performances of the entire event and probably deserved to be on the main stage.


Dead Confederate onstage – Photo by Kate Eldridge

Devo, the 80’s new-age style of rock inventors, surprised festival-goers with one of the most entertaining performances of the entire event. Playing quite a few songs off their new album “Something for Everybody” – their first album release in 20 years – their performance was decked out with extremely clever use of animated imagery projected on a large digital screen behind them. You just can’t help to not like a band who both lyrically and visually illustrated the sadistic human addiction to “feeding and breeding and pumping gas, cheeseburger, cheeseburger, do it again.” Yes, they said that.


Devo’s Mark Mothersbaugh onstage – Photo by Kate Eldridge

Drive By Truckers, another Athens, Georgia based band playing at Forecastle, delivered a pretty decent performance of their southern style alternative rock, and a stage performance that doesn’t really to match the music’s pace. Although they lack an energetic stage presence, these guys have the ability to construct a song that makes their audience to do the moving around for them. Their Forecastle performance held this notion to be true as well.


Drive By Truckers onstage – Photo by Kate Eldridge

Lucero, the Memphis-based southern alt-country rock band has delivered some aw-inspiring performances in their day. Unfortunately, Forecastle was not one of those days. Leading their set off with somewhat of an obnoxious mic-check, they had rather an all-of-the-sudden set start, and then it all went downhill from there. It was hard to watch to say the least. Better luck next time.


Lucero onstage – Photo by Kate Eldridge

The Broken Spurs, one of Louisville’s best up-and-coming straight rock-n-roll bands – who just recently shared the stage with AC/DC in Freedom Hall – seemed slightly misplaced on the smaller North Stage, given the large crowd they drew. Rocking out on their collection of Gibson guitars, coupled with lead vocalist Adam Kramer’s Mick Jagger-ish sounding vocals, the Spurs brought their usual high-energy style, which was exemplified by the entire band’s obvious joy for playing. Never mind the “You Ain’t Shit” t-shirt that Kramer wore. These guys are quite entertaining.


The Broken Spurs’ Adam Kramer onstage – Photo by Kate Eldridge

The Pass, another Louisville, Kentucky based group, surprised with a flashy on-stage performance of their new-age style of pop rock. Playing to a pretty sizable audience, the band brought an eccentric on-stage presence and had several songs that were pretty appealing. There were times when vocalist Kyle Peters voice sounded dead-on like The Cure’s Robert Smith.

The Ravenna Colt, from Shelbyville, Kentucky was probably the top act of the North Stage drawing quite a large crowd of on-lookers. The band features ex-My Morning Jacket founding member and guitarist, Johnny Quaid, who takes up both guitars and vocals in this alt-country-blues rock band. Quaid zestfully showed his old school rock roots with songs laden with guitar solos from his Gibson SG. The rest of his band just followed his lead. Since releasing their debut album “Slight Spell” in February 2010, the band has only made a handful of regional live performances. They’re definitely a talented group so hopefully they’ll hit the road with a little more consistency sooner or later.


The Ravenna Colt onstage – Photo by Kate Eldridge

Whistle Peak, another band from Louisville was definitely a sight and sound to be heard. That is of course if you don’t mind music which sounds like it’s being auditioned for an Atari video game soundtrack or band members who dress like they just came from a Sunday night dinner reception at the yacht club. They must have been asked to play for diversity’s sake.


Whistle Peak onstage – Photo by Kate Eldridge

That’s a wrap on some of the more memorable musicians and performances, with the exception of acknowledging the Flaming Lips’ typical visual and auditory spectacle, which started with them emerging onstage from between some digitally projected – eh-hum – female “flaming lips.” Or the Smashing Pumpkins’ shocking and down-right boring set that Billy Corrigan lead and that sent some people packing midway through their set.

Having not yet been to anything like Bonnaroo or Woodstock, I get the sense that Forecastle is what it would be like, but on a slightly smaller scale. Yes, Forecastle Festival has that kind of growth potential. The music, the message, and the crowd just keep growing in both size and quality in all its distinct forms. Musicians, activists, artists, and concert-enthusiasts take note of this event. The Forecastle Festival has built a reputation for being a major social destination. If this sounds like your audience or your interest, then you’ve got to attend this festival.

scuttlebuttpress@yahoo.com

* This review also appears in the September 2010 Issue of Performer Magazine and the August 2010 Issue of Louisville Music News

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