From the quiet capitol of North Carolina, Annuals are as close as possible to being a family without sharing the same DNA. Long-time friends Adam Baker (Singer/Songwriter), Kenny Florence (Guitar) and Mike Robinson (Bass) have been in bands together since they were children, about 7 years now. In the last few years, Zack Oden (Drums/Guitar), Anna Spence (Piano/Synth), and Nick Radford (Drums), no one over the age of 22, have joined the vast lineup. This multi-talented group cannot be typecast in the lineup however; members often switch instruments live and in studio and offer input in the way of samples, vocals and percussion creating what might be called a musical commune.
Annuals have a sophisticated and layered sound that belies the age of twenty-year-old lead singer and songwriter, Adam Baker. Adam's creativity has truly found a place to evolve and blossom as he has embedded himself in a group of extremely talented musicians, which has made it possible for the creation of sprawling, hypnotic tracks that are elaborate yet impeccably polished. From the vocals, which alternate between sweet and otherworldly to loud shouts of glee, to the mammoth guitar explosions and strange indiscernible noises, Annuals infuse their music with an array of intense emotions.
As young as they are, Annuals draws influences from a diverse range of artists such as Mike Patton, Brian Wilson, Paul Simon, Radiohead, the Beatles, Hank Williams Sr., Bjork and Aphex Twin. The mixing of styles, from electronic to folk to rock results in a totally singular sound.Reminiscent of high drama acts such as Arcade Fire and Sufjan Stevens, this musical collective appeals to both experimental and pop fans who appreciate well-produced material and astounding artistry.
Live On Stage:
Not much out their on the Annuals, but from the few songs I've listened to though they kind of remind me of Broken Social Scene. Also how many indie bands out there feature 2 drummers, 2 guitar players and 2 keyboardists? Definitely an interesting set-up that makes for an interesting sound - it's dreamy and expansive in the course of a song. Here they are on Conan with "Carry Around"....
Music Videos:
Here's the Annuals with the trippy video for "Brother"....
Since there were no shows up for download we'll go with one more video since these guys have definitely got me interested in checking them out - they'll be playing This Tent on Saturday at 2:45 PM. Not sure if this is an official video, but here's "Fair"...
For more on the Annuals head over their official site.
There probably is a Waterloo, Tennessee. One of the members of Uncle Earl, who declines to be named here, swears that she saw a road sign for it while driving to the quiet countryside just beyond Nashville where the band recorded what eventually became their second full-length album. Something about the name spoke to them: the quasi-mythical collision between the emblematic battle that marks the end of Napoleon’s reign, and Tennessee: the equally legendary hub of stringband and country music...it makes for a tidy yet elusive encapsulation of where this four-woman band (or “all-g’Earl,” if you will) is taking the acoustic stringband tradition.
While their fiddle-led, banjo-flecked sound holds profound echoes of the rural Americana, the new album from Uncle Earl, Waterloo, Tennessee, is equally marked by a grandly elegant sense of loss; the breaths of something wistful escaping, bloodied but unbeaten, from the throes of a dying European empire. The music of Uncle Earl points toward the roots of stringband music (Scotch-Irish ballads, Celtic fiddle tunes, the blues), but by including original material and opening their sound to an array of influences past and present, they arrive at something haunting and timeless, yet instantly appealing and accessible.
Uncle Earl’s previous Rounder album, the much-heralded She Waits for Night (2005), was produced by old-time stalwart Dirk Powell (Cold Mountain, Balfa Toujours, Linda Ronstadt and Ann Savoy), and introduced the band to the world as an exciting new voice within the emerging young old-time genre. As She Waits for Night gradually receded into their collective memory, band members KC Groves (mandolin, guitar, vocals), Kristin Andreassen (guitar, fiddle, vocals, clogging), Abigail Washburn (banjo, vocals), and Rayna Gellert (fiddle, vocals), began casting around for a collaborator to challenge them -- to refine the sound that they have been developing over the years of shifting lineups that resulted in the current band coalescing in 2003.
“For this record,” Gellert reflects, “we wanted to try something different. We were feeling more solid in our own musical identity, and the idea of working with someone outside of our musical world was exciting.”
“At the Rockygrass festival in 2004,” Groves recalls, “we met John Paul Jones and asked him to sit in with us at a bar gig. We played a nice two-hour set with both John and Chris Thile playing mandolin. After a lot of discussion and debate, John’s name rose to the top of our producer wish-list. We mustered up the nerve and asked him to produce the album. He said that he had just bought our first CD...so I guess the whole thing was a bit serendipitous and filled with a bit of magic right from the beginning.”
While known to legions of rock fans for his multifarious role in Led Zeppelin (making his presence felt on bass, keys, and as an arranger and songwriter), Jones has long been a devoted fan and follower of traditional American music. “I had bought a mandolin in Evansville, Indiana, whilst touring with Led Zeppelin in 1970,” he recalls. “Later I met some friends in New York who gave me a Dillards album, and was much taken by the energy and drive of the music. The harmonies, too, reminded me of all the Everly Brothers records I used to sing along to in my teenage years. Latterly I came across Alison Krauss and Union Station on British radio, which re-awakened my interest. I then caught concerts by Del McCoury, Nickel Creek, Tim O’Brien, and Gillian Welch and gradually sought out more and more traditional music.”
“Going into this, we really had no expectations at all,” KC Groves explains. “We had no idea what it was going to be like to work with John Paul, and we wanted to remain open to his suggestions and his production style.”
It was quickly apparent, as extensive pre-production between Jones and the band gave way to two weeks in the studio, that this was a potent, productive collaboration. “He had a respect and love for the simple old-time tunes we play,” Kristin Andreassen recalls, “but he wasn’t so deep in that tradition that he would become doctrinaire or forget the bigger picture of making listenable, danceable, and enjoyable music by whatever label you might choose to put on it.”
“One of the most unexpected things about working with him was how innately he took to our strange little world,” Gellert continues. “All bands are a sort of mini-culture, with in-jokes and in-language and all that stuff. I swear, never in the history of the world has anyone ever assimilated to a new culture as quickly and easily as John did with us. Within the first day he was referencing all our in-jokes, using our strange cartoon vocabulary, all of it.”
The humor, empathy, and wit that characterized Uncle Earl’s interaction with Jones is apparent in the digital grooves of Waterloo, Tennessee’s sixteen tracks, from the opening fiddle tune “Black-Eyed Susie” to Groves’ eloquent, bittersweet closer “I May Never.” In between, the band -- with special guests including Erin Youngberg on bass and Jones on an array of instruments (Piano, bass, Papoose guitar, and wobbleboard) -- take in an impressive range of styles and instrumental permutations. At times, Jones encouraged the band to peel away layers of their sound, resulting in the stunningly stripped-down readings of “The Birds Were Singing of You” and “Little Carpenter.” He also pushed the band to deliver some of its most swaggering, full-tilt string band music yet, as evidenced by the loping “D&P Blues” and the raucous fiddle tune “Streak o’ Lean, Streak o’ Fat.” “Streak o’ Lean” features Jones hammering away on piano, while Washburn delivers emphatic spoken commentary -- in Chinese.
Ted Pitney, of fellow forward-leaning stringband and label-mates, King Wilkie, offered Uncle Earl his song “The Last Goodbye,” which the band delivers as a bittersweet yet gently-propulsive kiss-off. Realizing the song could use a bit of percussion, the g’Earls enlisted Gillian Welch, who contributes a subtle but driving performance behind the skins.
Co-written by Andreassen and Washburn, “One True” has been a longtime staple in the band’s concert sets, but makes its first appearance on record here. “I think of ‘One True’ as a really interesting hybrid between old and new,” Andreassen explains, “because the groove is so very old-timey but the lyrics and the arrangement are esoteric, even poppy.” Also brilliantly straddling the line between antiquity and modernity is “Bony on the Isle of St. Helena,” a ballad of Napoleon’s last days resurrected from a shape-note hymnal, boasting one of the most delicately nuanced instrumental arrangements Uncle Earl has yet to devise. The song is powerful evidence of the Napoleon fixation which gradually overtook the band during the making of Waterloo, Tennessee. “As I recall,” Gellert explains, “Kristin was looking for ‘songs of exile’ and got all obsessed with these songs about Napoleon on St. Helena. But things got even squirrelly-er when I had a very, very vivid dream that I WAS Napoleon...after having that dream, I had to learn more. So while we were in the studio, I was reading a book about Napoleon’s imprisonment on St. Helena, which made Napoleon a presence throughout the recording, as I’d be sharing random details about his time on St. Helena...” “In general,” Groves picks up, “we are interested in history and nerdy stuff!”
“Our time in the studio (Karian Studio, outside of Nashville, TN) was wrapped up in magic from start to finish,” Gellert concludes. “One big magic moment. I remember thinking when it was all over that if a tiny fraction of the joy of making this album could come through on the recording, I’d be thrilled.”
Looking back on the sessions for Waterloo,Tennessee, Jones recalls that “it was definitely one of the most enjoyable productions that I have ever been involved with, we pretty much laughed for a month. The band brought tremendous grace, humor, and musicianship to the project not to mention a lot of hard work. Making a record of any style of music is all about performance at the time of recording. It requires dedication, commitment, discipline, patience, all in equal measures, but it has to be enjoyable and fun otherwise the music doesn’t breathe. This record just sings out aloud.” Live On Stage:
Nothing like some good 'ol traditional bluegrass music - especially when it's coming from an all female ensemble, it just makes those harmonies sound a bit sweeter. Here's Uncle Earl with "One True"....
Hot Chip began their acclaimed 2004 debut Coming On Strong with heartfelt advice and a warning, Take care into the home, before taking you for a musical ride around their own. They begin their astonishing sophomore record with a different kind of warning: FIRE IS HOT, STEEL CAN CUT /GLASS WILL BREAK IF YOURE NOT CAREFUL!Triumphant and gloopy synths begin the frenetic and bewildering Careful, giving way to rave rhythms, war drums, syrupy vocals, computed crowd chants and a song celebrating balloons and physical intimacy; the frenetic opening minutes of this truly adventurous record.
Careful cuts through the listener and represents a more confrontational sound for Hot Chip, usually found only in their visceral live show. The confrontation is echoed throughout the rest of the album, whose musical inventiveness almost pokes fun at the caution in the lyrics. Joe Goddard explains: The completion of Careful was a major turning point in the process of making this album. I wanted it be a real departure from the first album, but Alexis and I were worried that the music we wanted to make was incompatible. Once wed managed to complete this track together, though, it re-affirmed our belief that we could find common ground.
Alexis Taylor and Joe Goddard began to work on the album in earnest. Out of the tension of these sessions, with the two songwriters / producers pulling against one another, there eventually emerged some great moments of beauty, laughter, love and slaughter. Where one man cannot talk of his pain, another can record it. And then fuck with it. Then you get Owen in to mash into the guitar like nobody else. And while Felix is pushing synthesizers through a Machinedrum, quick, record him while hes not looking, and Al can come over all Eno/Manzanera - hes got nimble fingers and vocal chords. Itll work, dont worry. This became Hot Chips creative process. And it really did work. But be careful, it's crazy in there
The Warning is an amalgamation of great songwriting and forward-thinking pop-production. Its an honest record emotionally and sonically, made by people exploring sound in the warmth of home, not studio, and it is a brittle pairing of voices which sing of LOVE, COLOURS, LOSS, and WARNINGS. It is the only record you will hear this year, which is brave enough to try and better all of the best records of yesteryear and tomorrow. If you want something which evokes the textures of Aphex Twin recordings, Madlibs sense of deranged hip-hop holiday, the intimacy of Princes fantastically claustrophobic parades, and more than merely the spirit of certain wonderful Paul McCartney experiments in disco, Hot Chip would recommend The Warning. Its cheaper than buying the Richard D James Album, Madvillainy, Dirty Mind and McCartney II after all.
Of the title track, Joe explains: The Warning comes from a real love of 2-step garage rhythms and melodiesthe rhythmic devices used in programming garage appear everywhere in Hot Chip, and I still find some garage records to be amongst the funkiest and most soulful. While The Warning insists that Hot Chip will break your legs, snap off your head over a luxurious garage beat, Look After Me speaks plainly of the growing distance between a couple, and acknowledges vulnerability and the need for unequivocal support between two people. Alexis: Ever since seeing it on The Box in the late 90s I had been hooked on Sparkles duet with R Kelly, Be Careful. Eventually I tried to rip off the chord structure, melody and mood to make the beginnings of Look After Me. For the middle-eight sections descending chord progression I mimicked the synth-line in Princes If I Was Your Girlfriend almost note for note. Joe heard what I thought was a take on the modern R&B ballad to be more in keeping with an old-fashioned soul classic of the Al Green ilk, and we were soon adding plucked live violins and very soft drumming.
Somewhere between these unspoken ideas emerges an incredibly personal Hot Chip song, tying the record together at the center and underpinning the albums mood of caution and warning. But its also a song that openly borrows from other records in an attempt to make something new, encapsulating the duality of the Hot Chip sound, at once very felt, and very considered.
The bathos of Coming On Strong is more often than not replaced by pathos in The Warning. And I Was A Boy From School, a beautifully melancholy ballad of loss and acceptance, is Hot Chips greatest pop moment so far wonderful in its simplicity; heartbreaking in its honesty: We tried, but we didnt have long, We tried but we didnt belong. But Boy From School began life as a Casio waltz, before looking towards the spirit of Giorgio Moroder. Joe explains: 'I Feel Love' by Donna Summer was in my mind. I thought if you could combine that rhythmical power with a beautiful chorus then you could make a dance record that would be much better than most. In fact, the sound of the song is still very gentle, and though I now realize that that is something to be proud of, back then I wanted to compete with people like the DFA.
One of the most unusual aspects of Boy From School, and Hot Chip in general, is the direct contrasting of vocal styles, Alexis often taking the higher 'female' lead, and Joe the lower, 'male' response, in a world which recalls the classic soul or country and western duets of the past, but is clearly somewhere stranger altogether. And rather than rich harmonies, they create a denser texture, singing in direct unison, leaving the harmony to the instruments; the effect is quite unique.
The androgynous and yearning tone in Alexis vocal performances, and the frailty and primitivism in certain drum sounds, have reminded some listeners of Scritti Politti or the Young Marble Giants, as much as the R Kelly or Wookie tracks that inspire some of the music. The space between conception and realization is where you find Hot Chip; and it's what makes them so distinctive, so fascinating. That and the fact that they are happy to leave imperfections in: The idea of including the inaccuracies that occur when people play instruments in the song is extremely important to us. It is the antithesis of a lot of modern record productions, where every mistake is ironed out digitally. When I think about the producers and songs that I really cherish, I think that certain rash decisions or mistakes in the playing or mixing are often the very things that I love.
Hot Chip have made quite a leap with The Warning, in terms of sophistication and clarity. A deliberately simple tune and lyric, such as Colours, transcends its initial child-like innocence to seem gorgeous and, somehow, profound. I wanted to write lyrics as direct as the ones youd find in Kraftwerk songs. Wed just seen them at Brixton Academy and I was struck by how well they said something about motion or light, or radioactivity, in so few words. (Alexis) For a while I wanted this album to sound a lot like Can or Neu - I wanted the propulsive force of the song to be powerful but seem effortless and for the keyboard sounds to be glistening and beautifully sculpted, in the way that Kraftwerk make their instruments sound. We were after simplicity and directness. (Joe)
When Hot Chip started their album with a chorus that confides: The stories you told were awful /I hope that they werent just artful, /I hope that you will be careful, you would be forgiven for thinking they could be writing about their own music, giving you a new warning. People have often mistaken what is at times an opaque, and other times a transparent honesty for something more sinister or artful (God forbid, a sense of humor !), and the irony of this is not lost on the songwriters. But that is Hot Chip in a nutshell: musical perverts who know how to tease you just right, who are tender when you are just getting used to their brashness and confidence.
As The Warning says, LET ME SPELL IT OUT FOR YOU. This time round, you may be able to tell that Hot Chips tongues are deeper inside your cheeks than they are embedded in their own.
Hot Chip also play live, they have toured with people like LCD Soundsystem, Mylo, Stereolab & recently Goldfrapp and played their own shows/tours too of course. They will be doing stuff like that all year.
The Warning was recorded by Hot Chip at home. Live On Stage:
If you dig electro-pop and are looking to dance and get a little sweaty and I'm sure you've already circled Hot Chip's Friday afternoon slot on your schedule. These guys essentially rely on synthesizers and drum machines and even use them in their live sets, check out "Over And Over"....
One more live clip for you - the video is a little shakey, but great sound... "Boy From School" Music Videos:
Their music has a definite throwback sound to the days of Kraftwerk and '80s synth and their videos are no different. Check out this one for "Arrest Yourself"....
Sonya Kitchell's rare gift may result from some fortuitous conspiracy of genetics and environment, or it may be the manifestation of something more mystical -- but there's certainly no denying her exceptional talent. Kitchell is an eloquent songwriter, dazzling singer and old soul who just happens to be 17 years of age. This budding artist's extraordinary gift lies not just in her songs and singing but in the decisions she makes within both realms. To hear where Kitchell chooses to go, one moment to the next, in any of these songs is to experience, all at once, her taste, her preternatural musical savvy and her depth -- as in deep. Once the novelty of this has worn off, the listener can simply soak up the myriad pleasures and insights of Kitchell's debut album, Words Came Back to Me (to be released April 4, 2006, by Velour and Starbucks Hear Music), because this artist's achievements are without caveat -- Kitchell is the real deal, pure and simple.
The album is an understated, largely acoustic affair, seamlessly melding elements of jazz, R&B, folk and other roots forms in a song-serving, rather than genre-adhering, way. There is undeniable warmth and wholesomeness to Kitchell's dusky alto, but just as evident is a knowingness that is ageless and timeless. From song to song, she manifests a warmth reminiscent of Carole King ("I'd Love You"), the gossamer touch of Joni Mitchell ("Words"), the soulfulness of Van Morrison ("Let Me Go"), the yearning of Al Green ("Can't Get You Out of My Mind") and the structural sophistication of Burt Bacharach ("Tinted Glass"), and yet the sound is all her own, unadorned, authentic and from the heart.
"My whole life I've been a sponge for everything around me," Kitchell says. "I soak it up, and I want to take as much of it as I can and make it part of myself. When I listen to something that I think is amazing, rather than think, 'I could never do that,' I think, 'I want to do that, and I'm going to do that.'"
Sonya's experience with deeply felt self-expression dates back to the afternoon of Sept. 11, 2001, when the twelve year old came home from school struggling to cope with the enormity of what had happened that morning. She jotted down some therapeutic writing in her journal, and as she wrote, a melody formed in her head -- a song was born. She sang it for her mother and a local folk artist who told her, "People need to hear this song, Sonya." At that moment, making music, which had been "a thing I did," she says, became her vocation and passion. It was then, too, that Kitchell came to see the act of songwriting "as a way of processing what I'm going through. 'Train' is about things going really fast, and wanting it to be fast and wanting it to slow down at the same time, and not being able to make up my mind. 'Let Me Go' is about my parents and me coming into my own as my own person. And then, a lot of the songs are about different guys -- that's never been done before," she says with a wink. Kitchell grew up in a hothouse atmosphere of creativity on forty picturesque acres in rural western Massachusetts, where the family home has always been flooded with music and art. Sonya's father is a top-selling poster artist with a passion for world music, and her mom is a graphic designer whose tastes run toward female singer/songwriters. For as long as she can remember, one of Sonya's favorite pastimes is to tinker on the piano that sits in the living room, which her grandfather, a classical pianist and Vietnam war correspondent, brought back from Hong Kong.
The natural environment around Sonya's home is one of her major inspirations. "A lot of my writing comes from where I live, which is in the country," she says, "and it's spectacular at all times of the year. Whenever life is crazy for me, I go for a walk in the woods near my house. It's like clearing my palate, and then I can write and reflect. And a lot of times I write sitting on my bed and looking out my window at the hills and the trees. It's just a really amazing place to create art from." Sonya's first performance came at the tender age of eight, when she sang during a piano recital. In 1999, at the age of 10, she began studying voice with the jazz singers Sheila Jordan and Rebecca Paris. Soon after she'd written her September 11 song, Kitchell became the subject of a story in the local paper, and she was asked to gather some young musicians for an appearance at a local club, the Iron Horse. Over time, a formal group coalesced, the Sonya Kitchell Band. Meanwhile, one of her compositions, "Romance," was awarded best jazz vocal and best original song at the 2003 DownBeat Student Music Awards, and she was one of 40 composers under 30 years old to be selected for a weeklong workshop in jazz composition for the Betty Carter Jazz Ahead Program at the Kennedy Center in Washington, D.C.
In 2004, Sonya was spotted by Velour, who began work as her manager and record label. She recorded and released the EP Cold Day for Velour and began performing live with her talented band, sharing bills with such artists as Taj Mahal, Dar Williams and Susan Tedeschi. In 2005, she recorded her first full-length album with co-producers Steve Addabbo (Shawn Colvin, Suzanne Vega) and Jeff Krasno. As advance copies made the industry rounds, Words Came Back To Me so impressed the principals of Starbucks Hear Music that Words will be Hear Music's second-ever release on their Hear Music Debut CD series, making the record available in all Starbucks Company-operated locations in the U.S and Canada beginning April 4, 2006. The album will be available at all traditional music retail outlets on the same date.
When asked why adults relate so strongly to her songs, Sonya replies, "My dad was an abstract painter, and when people look at art that is nothing but washes of color, they see what they want to see, or what they need to see in it. So I try to write in a way that people can take from it what they need to take from it, and they can hear what they need to hear. So I think maybe that's why it works. Besides, teenagers feel things so intensely, and maybe people forget what it was like when they're past that point." Does she have an ultimate career goal? "In the long run, I have high goals," Kitchell says. "If I could create even a fraction of the amazing body of work of a Joni Mitchell or Carole King or the Beatles -- or last as long as U2. To be able to support myself. And to have a family some day. I also want to be politically active and make a difference. But really, what I've always wanted is to write a lot of songs that stick around.
Live On Stage:
Sonya Kitchell holds the distinction as being the youngest performer at Bonnaroo this year at the tender age of 17 - but I wouldn't hold that too much against her. After giving her a quick listen she sort of reminded me of a female version of Ray LaMontagne - though I'm sure she gets compared to the likes of Norah Jones a lot more. Here she is with "Let Me Go"....
Man I seem to be striking out lately on finding shows to download, but you can out this NY Times video feature on Sonya which includes a performance from SXSW....
One have one video for ya, her she is again with "Let Me Go"....
For more info head on over to her official website. Oh and if her name sounds familiar it probably because you've seen her album Words Came Back To Me on the music kiosk in your local Starbucks - it's the album that sort of looks like the cover of a Joni Mitchell album.
Born in the dust-laden family garage with archaic samplers, Radio Shack mics, and broken record players, Mute Math have been noisily calculating their notes for the past few years. This electro-alt rock collaboration between longtime friends Paul Meany(vocals/keys), Darren King (drums), Greg Hill (guitar), and Roy Mitchell-Cardenas (bass) has crept up on the music scene with the onslaught of a worldwide fan-base driven to their website from countless video blogs and non-stop touring.
The four piece (originating from New Orleans) has scattered influences that are apparent without being obvious, and touch on everything from DJ shadow styled beats, moments of beauty and grandeur a la Bjork, and vocals that pay legitimate homage to Police-era Sting. When asked about this vast expanse of musical territory that we are asked to find them dwelling within, Meany replied, "I blame it on the past forty years of music". They act on the idea that their magic is to be found in the mixture of countless thoughts. Their live show thrives on this random energy too involving homemade instruments, live sampling, a junked-out keytar, and the kind of freak-outs that keep any given performance worth the price of admission.
Live On Stage:
I honestly had no idea who Mute Math were before doing this post - my first guess was it was a hip hop act, doesn't ask me how I came up with that conclusion. So I have a feeling most people aren't familiar with them either. Thanks to the now posted schedule you can catch them on Thursday at 10 at This Tent. Here they are with "Reset"....
No live shows out there for download, so here's one more song from the same performance at Exit/In....
It's a light day today - only have one music video for you, but I'll also throw in a behind the scenes look at the video for no extra charge. Check out "Typical"....
Making of....
As always head on over to Mute Math's official website for more info.
After taking a quick glance of the set times, here's what my schedule looks like as of now....
Thursday - 6/14
9 PM - 10 PM - Sam Roberts Band
11:45 PM - 1:30 AM - Tea Leaf Green / Rodrigo y Gabriela
1:30 AM - 2:30 AM - The Whigs
Friday - 6/15
1:15 PM - 2:15 PM - Cold War Kids
2:15 PM - 3:30 PM - Tortoise
3:45 PM - 5:OO PM - Kings of Leon
7 PM - 8:15 PM - David Cross plus Aziz Ansari & Nick Kroll
1:30 AM - 3 AM - Mago
Saturday - 6/16
12:45 PM - 1:45 PM - Dr. Dog
2 PM - 3 PM - Hot Tuna
4:15 PM - 5:30 - The Hold Steady
5:45 PM - 8 PM - Ben Harper / Franz Ferdinand
9 PM - 11 PM - The Police
Sunday - 6/17
1:15 PM - 2:15 PM - Charlie Louvin
3 PM - 4:30 PM - Ratdog
4:30 PM - 5:30 PM - The Decemberists
5:30 PM - 7 PM - Wilco
7:15 PM - 8:45 PM - The White Stripes
9 PM - 11:30 PM - Widespread Panic
I know a little light on Friday right now and don't really have much late-night stuff filled in yet, but just my initial first pass through - but that already 20 acts that I want to catch. More thoughts to come.
Official Bio:
