via Braeden Eastman
Growing up, I did not attend many live concerts. I can
attribute to this many factors, but none more so than the fact that I grew up
listening to the music of my father’s generation. Many a moment were spent in
my basement, shooting hoops, pucks, or pool and listening to Led Zeppelin, The
Who, Van Halen, the Stones, and others. I was the one that requested “Jumpin’
Jack Flash” instead of “All Star” at the roller rink and was disappointed when
DJs at school dances didn’t actually end dances with “Stairway to Heaven.” For
all intents and purposes, the bands to which I rocked out were dead (ignore
that all the aforementioned or some of their members have in some capacity
performed live in recent years – they weren’t then). In some ways, this love of
classic rock stunted my growth as a consumer of music. For one, I was somehow
deluded into thinking that I was discovering these “little-known” bands. My dad
often recalls this one time I excitedly told him about this “new, great band” I
had found. What was that band, you ask? The Beatles. I also remember thinking
that I never really needed to listen to new bands or music. After all, how can
one beat listening to “Baba O’Riley” for the 74th time? As such, the
music of the ‘90s sort of passed me by without much fanfare. Sure, I knew the
songs (and know them much better now, thanks to high school/Jive), but I did
not grant them much boom-box time. Even now, especially since graduation, I
feel like I do not hear about songs until several months after their release.
Anyways, you get it so I can quit belaboring my point. I’m slow to the party.
This past Saturday was no exception, really. I was familiar
with several of the bands and knew some songs of course but couldn’t call
myself a big fan of any one group in particular. So you will have to excuse me
if you already know everything there is to know about the following bands.
The first band on my must-see list I missed. Good start, I
know. Unfortunately, it was the band I was most looking forward to see:
Chvrches. A week prior, I had no knowledge that this Scottish, ‘80s-inspired, synth-pop
band even existed, but I soon became enlightened after listening to their album
The Bones of What You Believe on NPR’s
“First Listen” segment. I listened once, and then again. And again. And again.
If you haven’t checked them out yet, I highly recommend that you do. If you
already know of them, then keep listening. Anyways, since I was unable to watch
them live, here’s what Jessica Garson of the DCist had to say of their performance (which she deemed the “best
set”): “Scottish trio Chvrches played a remarkably consistent set that
introduced the crowd to their sprawling musical talent beyond their hit, ‘The
Mother We Share.’ The timing could not have been better as it began to pour
right after they played.”
Had I been there, I am confident I would concur with this
assessment completely. Well, except for the bit about the rain. I arrived
minutes after Chvrches finished their set, and I can say with confidence that
it did not rain for at least another thirty minutes. Anyways, please do listen
to “The Mother We Share,” “Recover,” and the rest of the album. Just listen to
it all. It’s so good. Moving on.
Most I think can vouch that I am a sucker for catchy,
mainstream pop songs that are impossible to listen to without dancing or
singing along. Such songs would include but are certainly not limited to “Party
in the U.S.A.,” “Firework,” and “We Found Love.” Another of these songs is
Icona Pop’s “I Love It.” That song truly makes me want to drive my car into a
bridge and watch it burn. The
Swedish, electro pop/punk duo has been around since 2009 but per my
understanding only fairly recently went big stateside. Their hop-inducing set
included other tunes like “All Night,” “We Got The World,” and “Girlfriend,”
which, guilty-as-charged, is one of my favorites. A few other middling songs
were mixed in, and although I thought their performance could have been better,
perhaps cleaner, their energy alone made up for any misgivings. And even though
the rain did finally start falling during their set, I hardly noticed, and when
they closed with “I Love It," I didn’t care.
After finishing up with the Swedes, I, along with Kara and
friend Sasha, slowly made our way through the mud and rain to Matt and company
at the main stage where City and Colour was performing. Started by the
now-defunct Alexisonfire’s Canadian lead singer Dallas (City) Green (Colour),
City and Colour brings to the stage a collection of folk music that sounds fine
but isn’t exceptional. Matt’s assessment that he was “the worst musician that
ever has been” was certainly a bit harsh, but really, his music and performance
just didn’t have the energy necessary to get the audience through the persistent
rain. Any energy still possessed was quickly subdued as I
felt as though I was in a trance during the rest of his set.
We planted right there as MGMT was the next to take the
stage. This was another of the bands on my can’t-miss list but not because I
know all of their stuff. Like most people, I wanted to see them for three
reasons: 1. “Time to Pretend”; 2. “Electric Feel”; and 3. “Kids.” The set
started off with a few technical difficulties likely caused by the rain, but
the fans were still treated to lesser-known songs from Oracular Spectacular like “Weekend Wars” and “The Youth.” This was
all well and good but not what we came to hear. But then lead singer Andrew
VanWyngarden said the word “pretend” in between songs, and we all knew what was
up. As those psychedelic bubbles and trippy, artificial animal sounds started,
the whole crowd blew up. MGMT’s performance didn’t disappoint, either. Given
the music they play, I didn’t expect it to translate well to a live concert,
but “Time to Pretend” was close to perfect. And so was “Electric Feel.” As I
sang both songs as loudly as possible, I couldn’t help but reminisce about those
glorious days when dance parties at the Tavern were commonplace and handles of
rum were copious. In between those two classics, I was introduced to “Your Life is a Lie,” now one of my new favorite MGMT songs. I do not know why, but I love
the song’s music video.
Although some complained about MGMT’s overall performance, I
was not really one of them. It’s true that some of the songs didn’t match the
excitement created by their hits (How could they?) and came off as downers, but
I enjoyed seeing them nonetheless. One complaint I had was that their set ended
with one glaring omission: “Kids.” They didn’t play it. Yeah, I know. It was
upsetting. Matt Cohen of the DCist
said it best that this “seemed like a big “fuck you” to FreeFest audiences.” I
certainly felt slighted.
The next band witnessed truly needs no introduction for
those of you reading. Continuing with my theme, however, FreeFest marked the
first time in which I saw (and essentially heard) the Avett Brothers, a band to
which I had never really consciously listened, despite the rave reviews I have
heard from just about everyone I know. I’m rather astonished to have since
learned that the band has been active since the year 2000. I’m so out of touch
sometimes. Well, it surely comes as no surprise to those familiar that they
absolutely stole the show. Hailing from Concord, North Carolina, the Avett
Brothers’ folksy and eclectic sound is intoxicating and induces one to dance,
no matter how hard it’s raining. Forget about their play for a quick second –
which was excellent; their energy was second-to-none and a tonic to the
rain-soaked crowds. The entire set featured Scott and Seth Avett bounding
across the stage, hopping on and jumping off pianos, and shredding delicately
guitar solos in the front row of the audience. Bob Crawford plucked an
understated bass, and honestly, I do not know how anyone can play cello effectively
while moving as frenetically as Joe Kwon. My apologies must go out to Mike
Marsh. Although an essential part of any group, it is the plight of the drummer
to be overlooked or dismissed until his untimely, premature death from drugs or
alcohol (re. This is Spinal Tap). I
mean, check out this new album the Avett Brothers "put out" here. The
front cover of The Avett Brothers Sing
Heavy Metal doesn’t even feature Marsh. Perhaps Marsh died recently in a
stick-twirling attempt gone horrifyingly wrong, and this is how the remaining
four are coping? Does anyone know? Only God knows. Or Satan, whomever you
prefer.
Speaking of the macabre and undead, the final act of the
evening was Vampire Weekend. This is yet another band that I ignored when they
first arrived on the scene several years ago. I now can recognize a handful of
songs and like nodding my head and tapping my feet when I hear their cheery
tunes. I wouldn’t say that they were exceptional live, but I think that was
largely due to the inevitable return to Earth from the highs we reached during
the Avett Brothers’ act, as well as the sobering rain, which had begun to fall
even harder. I enjoyed very much “Cape Cod Kwassa Kwassa,” “Mansard Roof,”
“Diane Young,” and “A-Punk,” but it still wasn’t enough to keep us warm and
present as we left in the middle of the set, unfortunately well before anyone
gave a fuck about “Oxford Comma.”
Oh, and Robin Thicke was there. *Fart noise*
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