Outside Lands | 08.28-08.30

Words by: Kayceman, Dennis Cook & Justin Gillett | Images by: Dave Vann & Susan J. Weiand

Outside Lands Music Festival :: 08.28.09 :: Golden Gate Park :: San Francisco, CA

Outside Lands Festival 2009 by Weiand

There’s something intrinsically cool about a festival that opens one of its big stages with Akron/Family and closes the same stage opening day with Tom Jones. There’s a crazy quilt quality to Outside Lands Music Festival, who’s second year combined thoroughly mainstream entertainment with scattershot echoes of S.F.’s Summer of Love, forward looking audio explorers and an increased local focus. Once again, Golden Gate Park was cordoned off and transformed into a playground for adults looking for strong musical diversity combined with good food and drink in a striking outdoor setting. While hardly a full blown “happening” in the classic San Fran sense, Outside Lands offered a sanitized and commercialized version of the sort of wooly, wild gatherings this city is famous for, dotting the huge space with a ridiculous amount of distractions, pleasure triggers and a kaleidoscope of aural delights. For three days at least, folks were welcome to unfurl the freak flags they’d tucked away in the drawer next to their work clothes, and despite some kinks that still need working out (one day they’ll figure out an effective, non-headache inducing way to move the masses in and out of the park), this second outing showed a major new U.S. festival evolving nicely. (Dennis Cook)

Friday, 08.28

Akron/Family :: 1:45-2:30 p.m. :: Sutro Stage

Beginning like some lingering hippie dream left within the soil of the park, AkAk quickly grew pointy teeth and howled for freedom inside the thick heat and humidity that gave Friday a muggy overtone that was hard to shake. Their newer material has a lovely connection to the elements, which worked well in wooing the gathering crowd. But things truly exploded with “Ed Is A Portal,” where their hardcore admirers ignored the unremitting sun to dance, rant and sing with the damp trio. Aided by Howlin Rain‘s Joel Robinow and the Rain’s new drummer Raj Ojha, Akron/Family wove a more succinct version of their usual spirit dance, culminating in a sing-along about living in Woody Guthrie’s America. This band truly makes one glad to be alive. (DC)

Built to Spill :: 2:30-3:30 p.m. :: Lands End Stage

Akron/Family :: Outside Lands 2009 by Weiand

Not even an early slot on the first day of the festival or a blazing hot sun could slow Built To Spill’s maelstrom. The three guitars of bandleader/singer Doug Martsch, Brett Netson and Jim Roth weaved in and out of each other with nuanced slide work and heavy use of distortion pedals. “The Plan” was stretched out with call-and-response guitar licks that led to an ambient back section, while “Unconventional Wisdom” turned violent with its high-pitched guitar progression. As heavy and guitar-based as this music is songs like “You Were Right,” “Carry The Zero,” “Car” and new one “Hindsight” (from the forthcoming album due in October) reminded fans that underneath the wall of noise and occasional punk rock delivery is a serious songwriter crafting brilliant hooks and radio-ready melodies. (Kayce)

Los Campesinos! :: 2:30-3:15 p.m. :: Presidio Stage

Despite a name that suggests mariachi outfits and flower bedecked senoritas, this Welsh seven-piece charmed enormously, suggesting a kinder, gentler Clash or mayhap a ballsier Dexy’s Midnight Runners with their dense, happy sound full of noisemaking violin and unruly electric guitars to offset the crunchy sugar of their boy-girl vocals. Their accents were too thick to catch even a single song title accurately but it mattered not a lick when music is this wholeheartedly inviting and performed with such arms-outstretched enthusiasm. One of the hidden gems on Day One. (DC)

The Dodos :: 3:20-4:10 p.m. :: Sutro Stage

Midnite :: Outside Lands 2009 by Vann

From go, their set possessed a gravity that pulled listeners from down the field, their steps gaining bounce as the full force of their increasingly filled-in music overtook them. Heck, even Dave Matthews gave ’em props during his Saturday headlining set! For just three guys they make a hellacious amount of sound, loud enough to require earplugs but also sometimes so sweetly sung that it seemed Meric Long was uttering some siren-like alien tongue. Equal measures clatter and croon, The Dodos set continued to mingle folk, rock and jazz (this last beefed up considerably by the totally pleasing vibe work of newest member Keaton Snyder) into music easy to take in but hard to pin down. (DC)

Midnite :: 4:05-5:05 p.m. :: Twin Peaks Stage

St. Croix’s international reggae sensation delivered one of the best sets I’ve ever witnessed by them, resisting the urge to “lively up” their unique, Nyabinghi influenced, deep roots reggae for a Cali festival audience. Instead, they stuck to their persistent, insistent, dub touched steadiness and created a sound that made love to the ground they, and we, stood upon, a vibration that stirred the place where things grow, in the earth and us. Truly holy music. (DC)

Silversun Pickups :: 4:15-5:15 p.m. :: Lands End Stage

Silversun Pickups :: Outside Lands 2009 by Weiand

Following Built to Spill – which caused frontman Brian Aubert to “geek out” and profess his adoration of the legendary act – L.A.’s Silversun Pickups played on the same stage to a crowd twice as big and twice as rowdy, and they played almost twice as loud. Cranking out the kind of indie fuzz-rock that acts like BTS, Dino Jr. and, obviously, Smashing Pumpkins helped create, SSPU may not be doing anything particularly new, but that doesn’t always matter. As if trying to prove this point, songs like “Kissing Families,” “There’s No Secrets This Year,” “Swoon” and others were played with confidence and attitude, the screaming vocals and crashing sheets of guitar underscored by pretty harmonies and subtle string accents. With a knack for writing catchy rock songs with big guitar lines, a cute girl on bass who rips, a good, very likeable bandleader and a huge sound that could one day fill stadiums, Silversun Pickups are worthy of the hype. (Kayce)

The National :: 5:00-6:00 p.m. :: Sutro Stage

Despite an initial impression of simple pleasantness, The National pulled out a phenomenal set. About the halfway mark all the great curves and sheer richness of their songwriting and delivery became clear. Exciting, muscular live musicians, the band achieved a cumulative effect, where the secular tales and gospel punctuation of their music combined to reveal perhaps one of the best rock bands currently striding the boards. It’s no mystery to me after this set why this Brooklyn group is beloved on the U.K. festival circuit. (DC)

Q-Tip :: 5:50-6:50 p.m. :: Twin Peaks Stage

Tea Leaf Green :: Outside Lands 2009 by Weiand

Starting with a shout-out to J Dilla and dedicating the second half of his set to the recently departed DJ AM (most of the crowd clearly learned of AM’s sudden death from Q as there was a rapid array of texts and Google searches being fired off), Q-Tip put on a very solid set that had the masses dancing hard. Backed by a full band (bass, drums, guitar, keys and DJ), Q let his unmistakable flow roll atop heavy funk breaks that were peppered with classic samples and a few instrumental solos. After a quick piece of Michael Jackson’s “Human Nature,” Q dropped Tribe hits “Bonita Applebum” and “Scenario” before shocking everyone by bringing out A Tribe Called Quest co-founder Phife Dawg. The legendary duo hadn’t been together in years and after running through “Award Tour” an excited Q-Tip reminded fans just how special this reunion was when he closed the set by saying, “Don’t know if y’all will ever see that again.” (Kayce)

Tea Leaf Green :: 6:00-6:45 p.m. :: Presidio Stage

I love TLG’s energy. Their huge charisma and abundant talent were on glorious display at their Lands debut, where they showcased a bundle of topnotch new tunes and a general togetherness that announced in no uncertain terms that the quartet with Reed Mathis in the bass position has fully gelled. “This is the best day of my life,” said Trevor Garrod (keys, lead vocals), “I even swam in the ocean, because it was hot.” I was again struck by how memorable and flexible their compositions are, and hearing them with a good sized crowd only reaffirmed the feeling that their music would be glorious shared with massive main stage size audiences, perfect songs for 30,000 people to belt out as one voice. All the crazy chops onstage were harnessed to pointed purpose, serving each number so it struck with maximum impact. And it’s not that they no longer improvise or jam but the freakouts are controlled bursts that actually work far better than some of their earlier meandering. A great barrelhouse fueled take on “Taught To Be Proud” and a rowdy “If It Wasn’t For The Money” were happy reminders that TLG makes music one can tuck away for rainy days, just the gleaming coin one wants to pull from their pocket when they feel broken and bereft. What they were is no longer, but the metamorphosis taking place may ultimately land them a much bigger audience, and it couldn’t happen to nicer, more deserving guys. (DC)

Tom Jones :: 6:50-7:50 p.m. :: Sutro Stage

Tom Jones :: Outside Lands 2009 by Weiand

“I’m alive! I’m doing my thing and singing my song! I’m a man!!!” roared Tom Jones to begin the best set I caught Friday and perhaps the highlight of my two days in the park. An old school showman of the highest order, Jones led a huge, incredibly tight band through his lengthy catalog, setting off joy bombs on the lawn with “Delilah,” “What’s New Pussycat?,” “She’s A Lady” and “Kiss.” More fit and frisky than he’s any right to be at 69-years-old, Van Morrison’s favorite singer showed he’s lost almost none of his explosive, seductive vocal range or unbridled, wholly manly charm. So, when he asked us, “Are we gonna have a good time tonight?” the positive affirmation was almost deafening. The new songs from his recently released 24 Hours album were surprisingly excellent and largely on par with the sort of quality material that he built his rep on in the 1960s. He also murdered (in a good way) covers of “You Can Leave Your Hat On” and “Mama Told Me Not To Come,” while taking side trips into credible G-Funk (seriously) and a dirty blues where Jones growled, “I don’t need to be your best friend/ I don’t even need to see you come/ I just want to be your plaything.” His appeal cut across multiple generations and his sex appeal made most folks a little moist, regardless of whether their pendulum usually swings this direction or not. At the end of his set, he wistfully offered, “We gotta go right now, but we’ll be back one day. I promise.” For men like Tom Jones the show truly must go on. (DC)

Thievery Corporation :: 7:40-9:00 p.m. :: Twin Peaks Stage

In an inspired bit of counter-programming for those not into Pearl Jam, Friday’s headliner, Thievery Corporation were the tasteful, classy alternative for those that wanted to simmer rather than sizzle. What’s impressive about TC is how it could just be more background listening for the folks that buy those Buddha Bar compilations but isn’t. Skillful choreography, a panoply of gifted spotlight musicians and a quiet sort of pageantry were the linchpins of their set, which ultimately felt like a glimpse at what radio may sound like in a few decades as the continents continue to cross-pollinate. Thievery Corp moves the notion of the DJ forward a few miles, infusing the sustained roll of the club with strong musicianship and an almost unfailing ear for interesting flavors. (DC)

Pearl Jam :: 7:50-9:50 p.m. :: Lands End Stage

Pearl Jam :: Outside Lands 2009 by Weiand

14 years ago Pearl Jam played in San Francisco’s Golden Gate Park. That was a crazy night. Eddie Vedder got sick and was only able to perform a few songs before Neil Young came out and triumphantly finished the set. This evening wouldn’t be quiet as crazy and we wouldn’t see Neil, but we would get two Young tracks and the power of Pearl Jam’s performance stood up well against their live shows from back then. Soon after the sun had set with the sky still glowing orange, the band kicked into an almost two hour rock assault with “Why Go.” By the time they hit “Corduroy,” lead guitarist Mike McCready was drilling into truly nasty ground as Stone Gossard and Vedder both pushed their guitars into the mix for an overwhelming three guitar attack. Playing both “Got Some” and “The Fixer” from the forthcoming new album, the crowd reaction spoke to the band’s incredibly strong following, as no one missed a beat or lyric.

As much as they excel at big ball swingin’ power rock, Pearl Jam is equally adept at haunting slow burns like “Elderly Woman Behind The Counter In A Small Town,” “Better Man” and “Black.” Although Vedder’s voice was shot from heavy touring, it hardly mattered and he was even able to use it to his advantage on “Crazy Mary.” Any shortcomings in Vedder’s range were swooped-up in the over-the-top drum work by Matt Cameron, the thunder bass of Jeff Ament and the never-ending riffs from McCready, which even found him taking intricate solos behind his head. This is a band in the truest sense of the word. If Vedder’s vocals are hurting the rest just play harder. And this isn’t just any band; this is a band of seasoned pros that have been playing to huge crowds for more than a decade. These guys have mastered their art form and they bring it hard every single night.

The marathon double encore included a psychedelic “Daughter” that called to mind vintage Pink Floyd, an awesome reading of The Who‘s “The Real Me,” a devastating “Alive” and a final blow out with Young’s “Keep On Rockin’ In The Free World.” 14 years after their first appearance in Golden Gate Park and long past their commercial prime, Pearl Jam proved to be a very impressive headliner for Outside Lands. (Kayce)

Pearl Jam :: Outside Lands 2009 by Vann

Setlist
Why Go, Animal, Severed Hand, Corduroy, Low Light, The Fixer, In My Tree, Elderly Woman Behind The Counter In A Small Town, Even Flow, Got Some, I Am Mine, Given To Fly, MFC, Down, Black, Save You, Do The Evolution, Go
Encore 1: Wasted Reprise, Better Man, Daughter, The Real Me (Pete Townshend), Crazy Mary (Victoria Williams), Alive
Encore 2: Throw Your Hatred Down (Neil Young), Rockin’ In The Free World (Neil Young)

Continue reading for Saturday’s coverage of Outside Lands…

Saturday, 08.29

Loop!Station :: 12:00-12:40 p.m. :: The Barbary

The Barbary :: Outside Lands 2009 by Weiand

Just the sort of wood floored, stained glass saloon one could want in a town where months of gold mining could be lost in a single night of cards, carousing and canoodling, The Barbary, a “spiegeltent” or “magic mirror tent” imported from Belgium, showed off Bay Area talent all weekend. Hosted by the Vau de Vire Society, the air conditioned, largely seated space offered a respite from the summer heat and a great opportunity to catch some homegrown treasures. To wit, Loop!Station, who are probably correct in their claim of being the world’s only live looping voice and cello duo. I entered thinking I’d find a small choir of ladies and instead discovered just Robin Comer, a potent, intoxicating vocalist, and Sam Bass, who pulled WAY more noises from a cello than I ever imagined possible. Often marked by drone and drift, their music is a slow seduction that required some patience to really understand. However, their emotive, intense, interesting approach ultimately left most impressed. (DC)

Infantree :: 12:00-12:40 p.m. :: Panhandle Solar Stage

Quite the hodgepodge, Infantree initially struck one as quirk-grass with hickey harmonies, acoustic guitar and banjo playing off electric keys and trap drums, but soon more indie rock currents emerged and their set ended with some blippy Caucasian reggae. Not sure what to make of this band. (DC)

The Dirtbombs :: 12:45-1:35 p.m. :: Twin Peaks Stage

Extra Golden :: Outside Lands 2009 by Weiand

Caveman percussion pummel called us closer, followed by serrated guitars that stretched hamstrings to unleash forgotten pogo instincts. A beat, a noisy swirl, a totally human moan and then it all exploded into an all-encompassing sound that retains the rawness of the garage but handled by folks way more clever than newbies just picking up their instruments. Formed in the early ’90s, this Detroit institution and adored underground perennial rattled and rolled with the same moxie as The Sonics, early Roxy Music and Brian Eno and others that keep rock nasty and tough and glued to the dance floor. Watching The Dirtbombs leap, kick and snarl, one felt like they’d been delivered to the fountain of rock’s origin, a place where this music is still a bit dangerous and exciting and unpredictable, inspiring us to twist and shimmy as they went up, down and every which way. (DC)

Extra Golden :: 1:35-2:15 p.m. :: Panhandle Solar Stage

“Sometimes you eat, sometimes you get eaten.” Sage advice offered to a mostly listless audience at the start of this stunning African/American collaboration’s set. Beaming in full sunlight, one basked in their interwoven mixture, a fractal basket forming in real time to hold together stinging African accents and the rough edged mores of urban Chicago. Hearing them again for the first time in almost a year, I found their cross-continental hybrid had grown even more together. Eventually, after some playful shaming from the band, most people hopped up and moved a bit, which only makes sense when music this quicksilver smooth and original is passing over you. (DC)

Raphael Saadiq :: 2:05-3:05 p.m. :: Lands End Stage

Eric McFadden Trio :: Outside Lands 2009 by Weiand

Strolling onto the plush green grass of the Polo Fields main stage area with the warm sun (though thankfully a few degrees cooler than Friday) shining down and Raphael Saadiq belting out buttery R&B tracks while talking about Hurricane Katrina, it felt a little like New Orleans’ Jazz Fest. With his remarkably tight, sharp dressed band that included horns and a back-up singer, combined with his super-pro skills as a frontman, Saadiq’s set was a prime way to roll into the second day of Outside Lands. (Kayce)

Eric McFadden Trio :: 2:05-2:45 p.m. :: The Barbary

EMT played The Barbary every day of the fest and mostly to packed houses. Just before their Saturday set, Kitten On The Keys played quality burlesque behind the piano, singing songs about her snatch and greeting McFadden with, “Hello, sexy man! I heart you more than bagels and cream cheese.” EMT hit like a heatwave, a blur of unwholesome sound that took your knees out from under you. McFadden (guitar, vocals), über-bassist James Whiton (a real force of nature with seemingly no end of extraordinary vision on his instrument) and drummer Doug Port wrangled flamenco, hard rock, gypsy jazz and more into an utterly cool whole. Their brute force sometimes hides what not-simple-at-all music is happening, much like the more complex bits hidden within The Stooges’ raging. The swing between fierceness and hushed observation would flop in lesser hands, but with some of the strongest songwriting and playing happening in the S.F. area today EMT soared mightily. (DC)

Groundation :: 2:20-3:05 p.m. :: Presidio Stage

Dengue Fever :: OL 09 by Weiand

More one-drop rich than Midnite, I was drawn in by Groundation’s Mighty Diamonds style harmonies, tempered by welcome feminine energies. Unlike most roots reggae being made by newer groups, this feels honest and not just a recreation, a genuine effort to move the genre forward a bit. Groundation did so with jazz inflection, Cuban accents and engaging builds, creating reggae traditional enough to appeal to traditionalists but fresh enough to snag picky sourpusses like me. (DC)

Dengue Fever :: 3:10-4:00 p.m. :: Sutro Stage

It was evident from the start that this always-fun band has moved a fair distance from their Cambodian Rocks origins, with their opener carrying echoes of ’70s Ethiopian pop with sax and Farfisa dancing in the wings. It took them three albums to introduce songs in English – powerful, compelling lead singer Chhom Nimol sings primarily in Khmer – so for the majority of us the vocals are a mysterious quantity to be enjoyed as another instrument (nothing wrong with that either!). However, when Nimol began one tune a cappella one didn’t need to understand the words to know we were dealing with a real powerhouse. One new cut had a spook house shiver – what one expects to find at an after hours shindig at Disney’s Haunted Mansion – that burst into a surfy sing-along with a suddenness that left one a little disoriented. It’s getting harder to pinpoint where this Los Angeles band is headed from tune to tune, but it’s all pretty effective, right down to one piece that could be the theme song to a Bond film set in Cambodia. (DC)

Portugal. The Man :: 3:10-3:50 p.m. :: Panhandle Solar Stage

Looking like they’d jumped from a vinyl sleeve circa 1972, Portugal. The Man showed equal facility with gutsy classic rock and feeling drenched ballads. There’s a lot of buzz around this band, who drew a big crowd, but based on what I caught I’m not entirely sure why. Sure, it’s nice to see real men cry while organ and emotional guitars whoosh around them, and it’s never a bad thing when folks put their foot on the amp and just rock it out. Perfectly decent rock ‘n’ roll but not much to report beyond that. (DC)

Mastodon :: 3:55-4:55 p.m. :: Twin Peaks Stage

Mastodon :: Outside Lands 2009 by Vann

Starting with The Dirtbombs and ending with The Mars Volta, the Twin Peaks Stage was a psychedelic hard rock fan’s little slice of heaven. And right in the middle was the heaviest and baddest of the bunch, Mastodon. No matter how many times you’ve seen these metal gods they always seem bigger, louder and better than you remember – and if it happens to be that special first live encounter with Mastodon chances are you either run towards the light with glee (and earplugs) or run away in fear. Certainly a divisive band at a festival with Dave Matthews Band and Black Eyed Peas headlining across the way, Mastodon wound up winning over many skeptical music fans with their virtuosic playing. Superhuman drummer Brann Dailor and bassist Troy Sanders made the park shake with sludge-metal rhythms as the twin guitar hysteria of Brent Hinds (definitely the best face tattoo of the weekend) and Bill Kelliher twisted into impossible shapes. Mastodon has slowly been inching towards a slightly more accessible sound for years and these efforts are evident in moments of fist-pumping power rock, the addition of a keyboard player (which adds a moody Floyd vibe), banjo intros, whammy bars, a lot less screaming and increased tempo dynamics. Another note worth mentioning about their set, it never stopped. From the first note till the last lick the sound never broke. Much like the jam band tradition, there was never a moment of dead air as every song transitioned into the next with a jam segue, loop or just a bit of distortion. This was clearly one of the best sets of the weekend. (Kayce)

Jason Mraz :: 3:50-4:50 p.m. :: Lands End Stage

Saturday’s main stage lineup was custom made for folks that get their listening cues from VH1/MTV and major chain stores. That’s just fine, for what it is, but Jason Mraz was seriously the lowest lowest common denominator music I’ve come across in forever. I entered his set as he ordered “a table at the gratitude café,” just the first of many lines that made me physically wince. It’s never my goal to be unkind to musicians, and Mraz’s band were total pros that played slickly but well, but Mraz’s music seems designed from the outset for TV show montages and department store backgrounds, asking little to nothing of the listener and always aiming for the widest possible mainstream appeal. Obviously, I’m not Mraz’s target audience and he really seemed to make a huge amount of people sway. But, his calculated, mincing stage persona, hipster Bing Crosby hat, unctuous attempts at blue eyed reggae and many other elements rubbed me so very, very wrong. (DC)

Trombone Shorty & Orleans Avenue :: 4:00-4:45 p.m. :: Presidio Stage

Os Mutantes :: Outside Lands 2009 by Weiand

Already well situated in a happy pocket when I arrived, Shorty and his men delivered their typically excellent style of funk ‘n’ soul, which always strikes me as similar to getting one’s toast or coffee delivered to them just how they like it – a basic hunger fulfilled in a way that makes you want to order up more. Shorty seemed a stronger lead singer than the last time I’d seen him at High Sierra, and his skill as a bandleader only keeps growing. Introducing one number, he said, “I wanna see if Pete [Murano, lead guitar] can give us some chicken grease. I’m talking New Orleans pot pie chicken grease.” And it sounded even better than that finger lickin’ description! Nice one from a rather reliable young band. (DC)

Os Mutantes :: 4:50-5:50 p.m. :: Sutro Stage

Brazilian superstars and adored U.S. hipster icons, Os Mutantes rolled out an intoxicating set that highlighted pretty much the cream of their catalog (“Jardim Electrico,” “She’s My Shoo Shoo” and “Tecnicolor” being standouts) while offering promising new material that hints that their story isn’t finished yet. Founder/guitarist/singer Sergio Dias, decked out in a royal blue jacket that suggested some religious office, lead his young, enthusiastic band through an exciting, very pleasing performance accented by some Stephen Stills-esque guitar workouts by Dias and killer, rock chick vocals from Zélia Duncan, who more than gives original female lead singer Rita Lee a run for her money. (DC)

Bat For Lashes :: 4:55-5:35 p.m. :: Panhandle Solar Stage

Playing on the smaller Panhandle Solar Stage. where bands were relegated to shorter 40-minute sets, Bat For Lashes was a bit of a mixed bag. Coming off Mastodon’s metal rage, it was difficult to transition into the singer-songwriter vibe of Natasha Khan (aka Bat For Lashes). She has a gorgeous voice falling somewhere between Bjork (if she were from this planet) and Feist, and her little band was adding the right touches, but it just wasn’t particularly engaging under the circumstances. But, a healthy crowd was gathered and something tells me that in a different environment the whole Bat For Lashes thing might unlock before my very eyes. (Kayce)

Black Eyed Peas :: 5:40-6:40 p.m. :: Lands End Stage

Black Eyed Peas :: Outside Lands 2009 by Weiand

“Put ’em up!” was the oft-repeated instruction that welcomed me to the Peas’ set. A decent enough muddle of club musics, at least they stretch beyond the usual Ibiza/North American tributaries for Latin and Caribbean touches. But, their clean room/studio perfection made them sound about as alive as the blowup robot that loomed over them onstage. There was far too much auto-tuning going on (curse you Lil’ Wayne!) but they are very active performers (dressed like cyberpunk pimps & hoes) who excelled at reaching and stimulating the now-massive crowd assembled at the main stage. I only made it through part of their set before the creeping feeling that I was watching a band created at Westworld became too strong to ignore. (DC)

JJ Grey & Mofro :: 5:50-6:35 p.m. :: Presidio Stage

JJ Grey is absolutely one of the most soulful, ear-catching singers of his generation, and his songwriting and guitar work are dead solid, too. However, this set, like many others I’ve caught in recent years, was pretty much more of the same. Mofro has been stalled in largely the same comfortable place for years, where decent, if not especially noteworthy, backing players execute Grey’s Southern tinged rock & soul pretty well. Nothing here is bad and most present clearly enjoyed this set, but one longs for Grey to be surrounded by musicians with as much ambition and natural talent as him. It’d be nice to see Grey pushed out of his comfort zone, where he might discover the x-factor that could move Mofro from being a nice but sadly predictable band into the richer territory hinted at within the existing framework. (DC)

TV on the Radio :: 5:40-6:40 p.m. :: Twin Peaks Stage

Playing their final show of the tour, and, according to lead singer Tunde Adebimpe, the near future, TV on the Radio made the most of their time. Starting with an ambient groove that found guitarist Kyp Malone on bass, the members eased onstage revealing the addition of a three-piece horn section (featuring Antibalas‘ Stuart Bogie). Instantly, the horns made their presence felt and they would prove to be the difference makers in a superb set. Often shaping songs more than just adding highlights, the horns gave TVOTR everything from a rough Motown soul grind to Afro-grooves to obtuse sax squalls, but nothing seemed out of place or overdone. Perhaps suffering from something like Eddie Vedder’s end-of-tour vocal strain, Adebimpe stayed away from the delicate beauty he’s capable of and gave a much harsher, almost punk vocal performance which helped keep the songs aggressive and tense. Everything was fuzzy with distortion but even when things would get heavy they always remained funky and danceable. Everything worked, but highlights included “Golden Age,” “DLZ,” “Dancing Choose,” “Staring At The Sun” and the fierce mid-set combo of “Wolf Like Me” and “Red Dress.” After a set like this one can only hope they don’t stay off the road too long. (Kayce)

Deerhunter :: 6:40-7:25 p.m. :: Panhandle Solar Stage

The Mars Volta :: Outside Lands 2009 by Vann

Hustling from TV on the Radio to Deerhunter in much the same way I did for Bat For Lashes after Mastodon, I got pretty much the same underwhelming result at the Panhandle Solar Stage. Eager to check out Bradford Cox‘s experimental indie rock/noise-pop band, after TVOTR it just came off flat. The heavily processed, delayed vocals and guitar showed moments of promise but never seemed to take off and would often revert to repetition instead of exploration. When trying to wrestle Pavement and My Bloody Valentine into pop arrangements there’s no question you might fail, and perhaps in a dark club with more speakers this could work, but in a field with little focus it didn’t. (Kayce)

Conor Oberst & the Mystic Valley Band :: 6:40-7:40 p.m. :: Sutro Stage

“Just two more nails left to go in this pine coffin,” Oberst quipped cheerfully. For someone with such a gallows sense of humor, he was pretty damn uplifting. He seemed happier with this group than any of the Bright Eyes outings I’d witnessed, which made for lively, switched-on performances, beginning with a jammed out “I Got A Reason” and extending through a fine guest turn from Jenny Lewis and songs about love that makes your back hurt and sad lynch mobs full of national men who believe in God. In the live setting, the music was as memorable as Oberst’s tremendous lyrics at one of Saturday’s best sets. (DC)

The Mars Volta :: 7:30-9:00 pm :: Twin Peaks Stage

Working their mojo fast and hard like a spike to the vein, once The Mars Volta entered the airwaves there was no turning back. Abusive guitar passages full of strange notes and whacked-out effects tumbled along with Thomas Pridgen‘s destructo drumming while unsung hero Juan Alderete smothered it all in bass and frontman Cedric Bixler Zavala crawled around on his belly singing about “mental hygiene.” And that was just the first song, “Goliath.” After Cedric got back on his feet he grabbed the giant stage sign (which almost crushed him) and kicked the crap out of it before regaining his composure and remarking that it was very appropriate they were playing the Twin Peaks Stage, warning us, “Don’t drink the coffee because there’s a fish in the percolator.”

With their punk energy meeting their advanced, intricate approach to music, The Mars Volta is creating some of the most exciting rock music of the day. Usually when something gets this technical it looses some soul, dries up and borders on prog, but here the juicy Latin rhythms and punk ethos never let that happen. However, influence and intent will only get you so far. It’s the manner of execution and inspired implementation to create something new that makes The Mars Volta special. Putting these dynamics on display with tracks like “Roulette Dares (The Haunt Of),” “Drunkship of Lanterns” and new one “Luciforms,” the band shifted effortlessly from amazingly heavy sections to pristine, tranquil moments of peace back to neck-snapping metal. As much as any other single aspect that draws fans to this Grammy Award-winning band, it’s their ability to keep listeners on their toes, stringing them along through multi-part songs with impossible time changes that allow fans to get lost in the music. At Outside Lands we were swept up in the current with no idea how to get back to shore – a glorious way to close out Saturday night. (Kayce)

Setlist
Goliath, Cotopaxi, Roulette Dares (The Haunt Of), Eunuch Provocateur, Viscera Eyes, Halo Of Nembutals, Drunkship Of Lanterns, Luciforms, Ilyena, The Widow, Wax Simulacra

Dave Matthews Band :: 7:30-10:00 p.m. :: Lands End Stage

Dave Matthews Band :: Outside Lands 2009 by Weiand

You know how you can tell you’re truly big stuff? When news helicopters fly over your concert to get footage for the late broadcast.

I’m not sure how I avoided it but this was my first time actually watching DMB in concert. One just misses things in the busy, modern shuffle, and while up to speed on his radio singles and new album Big Whiskey and the GrooGrux King, I came in with a pretty clear slate. And you know what? They were really good. “We’ll start off a little stoney and then fizzle a bit,” remarked Matthews, who’s a very personable dude onstage with the rare ability to erase the obvious distance between the audience and himself in such a gargantuan setting. You just feel like he’s talking to YOU and not just some random, amorphous blob o’ people. He was also able to sell lines like, “Don’t cry, baby, don’t cry,” in a way that made you dry your tears and snuggle into him, which the Roman Legion sized audience did with every song. He’s also quite funny, throwing out zingers like, “You look beautiful tonight. What’s that scent you’re wearing? Is it Eau de Reefer?”

The band is serious business, too. The instrumentation, solos, etc. suggest a monster ’70s jazz-fusion group that’s suckled the teats of James Brown AND the ’70s singer-songwriter brigade. Saxophonist Jeff Coffin is far groovier with DMB than he ever was with Béla, and moments in his playing drew strong comparison to Gary Bartz’s work with Miles Davis. Tim Reynolds also proved a real treat, especially when the guitarist whipped out his Flying V and shredded with controlled abandon. But really the whole bunch of them onstage were hugely impressive, weaving melodies together with merit badge worthy knot-work.

I found this kinda ideal music for a summer evening in a world famous park as dusty rose tinted clouds rolled by and the temperature fell with the sun. Matthews’ music is a warming joy buzzer grounded in the line, “Doesn’t everybody deserve to have the good life? But it don’t always work out.” Dreams and mishaps, broad aspirations and laughter at our tumbles, these are the cornerstones of DMB, and even this outsider could see they do people a world of good with their music, especially when delivered with such clockwork proficiency and a stage acumen that knows just how to get jumbo crowds off. (DC)

Dave Matthews Band :: Outside Lands 2009 by Vann

Setlist
Why I Am, You Might Die Trying, Don’t Drink The Water, Stay or Leave, Spaceman, Cornbread, Lie In Our Graves, Alligator Pie, Shake Me Like a Monkey, Gravedigger, Jimi Thing (with Fergie and apl.de.ap of the Black Eyed Peas), You & Me, Ants Marching, Two Step
E: Stefan solo, All Along The Watchtower (Bob Dylan cover with Robert Randolph), Thank You (Falettinme Be Mice Elf Agin) (Sly & The Family Stone cover with Robert Randolph)

Continue reading for Sunday’s coverage of Outside Lands…

Sunday, 08.30

Big Light :: 12:00-12:40 p.m. :: Panhandle Solar Stage

Big Light w/ Cummins :: Outside Lands 2009 by Vann

Even under thick clouds (that wouldn’t break all day) during the first slot on Sunday, Big Light still drew a nice crowd. Ever since adding super-shredder Jeremy Korpas on guitar last May the band has developed incredibly fast and there’s a reason they’re playing a huge festival like Outside Lands. And there’s also a reason that a big time keyboardist like Umphrey’s McGee‘s Joel Cummins came out just to sit in with them for this show. It’s not yet full-blown smoke machine guitar god madness and huge rock blowouts, but the potential is there and that’s what folks are responding to in Big Light. Fred Torphy writes interesting, relatable songs that could be considered pop in some cool alterna-rock reality, and the band (particularly drummer Bradly Bifulco) is getting more powerful and dynamic with each show. It’s been a fun summer watching these local boys find their feet, and it should be interesting to see where they go now. (Kayce)

Bettye LaVette :: 12:50-1:50 p.m. :: Lands End Stage

It’s a joy to see 63-year-old soul queen Bettye LaVette singing on the main stage of a festival like Outside Lands. The Detroit native’s road has been long and hard, and she has struggled as much as any artist to earn her spot. And on top of all that, girl be looking good! She danced and shimmied across the stage like a woman half her age, and she wasn’t afraid to sex it up with her hips. All that aside, it’s about her voice, just like it was when she recorded her first Top 10 single at age 16. LaVette still has the voice, but the pain of the past few decades and her troubles with the record industry have given that voice the emotion, intensity and anger to become the truly special singer she is today. With a sharp band providing just the right support, from grinding gospel organ to searing blues solos, when LaVette exposed herself with deep, raw vocals she had the small, early-day crowd under her spell. (Kayce)

Robert Randolph & The Family Band :: 2:35-3:35 p.m. :: Lands End Stage

The Avett Brothers :: Outside Lands 2009 by Weiand

With a sound that draws from Robert Randolph‘s humble beginnings playing steel slide guitar with a touring gospel act, Randolph and his Family Band served up an almighty midday set on the Outside Lands main stage. The tight-knit cast of musicians, that truly stays in the family (Robert’s cousin Marcus Randolph drums and his sister Lenesha Randolph sings back-up), did a good job of getting the crowd pumped up for the diverse line-up still to come. One of the only soul inclined funk acts to be playing over the three-day music festival, the Family Band’s set was unabashed musical and lyrical bliss. Occasionally playing a Bo Diddley signature Gretsch guitar instead of his stalwart steel guitar, Randolph displayed a keen musical talent, especially when the band busted into Hendrix’s “Purple Haze,” with Randolph handling the guitar solo on his slide. Another cover was the socially inclined Michael Jackson classic “Man in the Mirror,” which saw Lenesha taking command of vocal duties. With the band often falling into simple scat jams, listeners got the impression that this band would play just as well in a small club as they did on a massive, slightly obtrusive festival main stage. (Justin Gillett)

The Avett Brothers :: 2:55-3:55 p.m. :: Sutro Stage

Featuring Scott and Seth Avett (banjo and guitar, respectively) along with stand-up bassist Bob Crawford and on most gigs, including this one, Joe Kwon on cello, The Avett Brothers are a true American treasure. Refusing to be backed into any box or genre, they play folk, country, rock, bluegrass, blues, classical. They’re all of it and they’re none of it, and whatever it is, it’s distinctly American. Like all the greats from any of those genres, what makes The Avetts special is the songwriting. They sing about universal issues like love, pride, family, friends, death, pain, murder and heartache, but they do so in a way that’s fresh and compelling yet still classical and timeless. With the addition of a drum kit (which both Scott and Seth take turns on) the band truly does become a country-rock act with ease, but it’s moments like “Murder In The City” with just Scott and Seth accompanied by one guitar and sharing vocals that we see the real power behind this band. With a new Rick Rubin produced album about to drop at the end of the month and a live show of this caliber, The Avett Brothers appear poised for huge things. (Kayce)

The Dead Weather :: 3:50-4:50 p.m. :: Twin Peaks Stage

The Dead Weather :: OL 09 by Vann

How does Jack White do it? No matter who he’s playing with, what material they attack or where they are, dude is the living breathing definition of a Rock Star. It’s hard to tell if Jack finds the players or if they are just pulled into his orbit and find him. Regardless of how it happens, Jack White aligns himself with musicians who constantly help him turn vintage blues into contemporary rock gold. And with The Dead Weather Jack has found the ultimate foil in singer/frontwoman Alison Mosshart of The Kills. More than just complimenting Jack, Mosshart is the female version of White. Rock star cool with jet-black hair and radiating sex, like Jack, Mosshart was born for this. With White spending the majority of the time behind the drums, the stage was left open for Mosshart to prance like a giant leopard, balancing on speakers, hanging off the mic stand and spitting on the ground. Watching her grind against the music and give herself completely to the thundering rhythms (Jack Lawrence on bass is a monster of epic proportions) it appeared that Mosshart studied at the same school of rock where The Mars Volta’s frontman Cedric Bixler Zavala got his freaky degree. Pulling most of the material from the band’s Horehound debut, standouts included, “60 Feet Tall,” a wire-tight, tense reading of “So Far From Your Weapon,” Dylan’s “New Pony,” a psychotic version of “Treat Me Like Your Mother,” a dirty-funk romp through “Cut Like a Buffalo” and new one “Jawbreaker” that found guitarist Dean Fertita (who plays guitar in the same over-driven, filthy manner Jack White does) dropping some strange keyboard accents. Everything shook hard but the final song, “Will There Be Enough Water,” was the climax of this carnal offering. With Lawrence on drums, Fertita adding organ grooves reminiscent of “No Quarter” and Jack White out front on menacing guitar, White and Mosshart shared a single mic as they sang so close their lips were almost touching. First it was The White Stripes, then it was The Raconteurs, now we have The Dead Weather. It’s nice to know there are still some things we can just count on. Jack White is that something. (Kayce)

Modest Mouse :: 4:20-5:20 p.m. :: Lands End Stage

Even though many old fans of Modest Mouse have turned their backs on the Seattle alt-rockers – claiming the band has left behind its musical morals, now favoring pop sensibilities – Isaac Brock and co. managed to pull off an impressive set on Sunday, that saw the band pulling deep from its five album catalog. Performing with the surprising absence of guitarist Johnny Marr, the group played a no-nonsense, straightforward show that went over well with the clearly enthused crowd that packed close to the main stage. With 16 years of experience as a band it’s no wonder that the musicians onstage played extremely well. Occasionally an accordion was brought out to add a more distinctive tone to songs, an accent that helped define the unique Modest Mouse sound. The band proved with its Outside Lands performance that even a group of veteran rockers (still far from old) who’ve seen their share of success, can still play with as much dedication and heart as an eager young band looking for its big break. (JG)

Brett Dennen :: 5:45-6:35 p.m. :: Presidio Stage

M.I.A. :: OL 09 by Weiand

After emerging on the scene with the release of his self-titled 2004 debut, Brett Dennen has been busy making a name for himself as a respected singer-songwriter. Hailing from outside the Bay Area, Dennen occasionally sings about the region and often cites the “City by the Bay” as a favorite place to play. Typically playing solo, Dennen’s Outside Lands performance saw the folk/pop musician accompanied by four other instrumentalists who helped add perspective to Dennen’s often-minimalist music. With messy red hair and tall stature, Dennen is commanding onstage even though his stage dialogue and demeanor is humbling and slightly self-deprecating. As he danced around the stage and crooned into the mic, it was clear that he was having a good time and drinking in the pleasures of playing at an outdoor music festival in Golden Gate Park. (JG)

M.I.A. :: 6:05-7:05 p.m. :: Lands End Stage

This past year, the M.I.A. song “Paper Planes” has been everywhere. The track has been hyped and played so much that even if someone did enjoy hearing the song back when it came out in 2007, listening to it now with any semblance of enjoyment is simply impossible. The nonstop rotation of the single has somewhat eclipsed the career of M.I.A – as tends to happen with musicians who quickly rise to prominence with one song. Being in the category of people who don’t really care for the overplayed tune, or subsequent M.I.A tracks, I was slightly disinterested in seeing the musician’s live performance, although after seeing photographs and reading reviews of M.I.A performances at festivals earlier this summer, I did want to check out what everyone has been buying into. After taking the stage, I quickly realized that an M.I.A show is more spectacle than performance. The musician, of Sri Lankan decent, was dressed in an elaborate costume and displayed a true knack for showmanship. Backed by male and female dancers, the sunglass sporting M.I.A, aka Mathangi Arulpragasam, got the crowd pumped as massive screens and flashing lights helped shock the audience into submission. As intense as the show was the performance lacked for serious musicianship. M.I.A rarely seemed to be focused on her vocals and the drummer seemed to be playing along with click track. The people onstage seemed less concerned with the music than they were about the overall show and stage aesthetics. In a nod to the Beastie Boys, who were forced out of performing at the festival due to Adam “MCA” Yauch cancer diagnosis, M.I.A did a short medley of Beastie classics, including “So What’cha Want,” “Sabotage” and “Intergalactic,” which seemed an appropriate and heartfelt tribute to the ailing MC. (JG)

Ween :: 5:35-7:35 p.m. :: Twin Peaks Stage

Ween :: Outside Lands 2009 by Weiand

Kicking off their manic set with the crushing guitar work inside “Exactly Where I’m At,” things started hot and Ween never let off the gas. Wasting no time getting the crowd lubed up, the island vibe of festival favorite “Bananas and Blow” made sure the casual fans were just as excited as the hardcores, and a stellar reading of “Roses Are Free” that put any cover versions you might have heard to shame sent the Twin Peaks crowd into hysterics. But, this gig was far from just sing-along hits. Ween busted out the rare Claude Coleman Jr. (drums) sung “The Final Alarm,” which sounded like a lost P-Funk nugget from the ’70s, as well as “Ice Castles” and a vicious “Buckingham Green” that would have made Black Sabbath blush. Two things really stuck out about this set. The first thing is the band’s overwhelming instrumental abilities and group dynamic. Whenever talk of Ween comes up people become so fixated on the inside jokes, juvenile behavior and crazy-weird fans that rarely do we hear enough about how insanely talented these dudes are. Deaner is a guitar god, plain and simple. Hunched over and thick with distortion, dude can rip as well as anyone and the rhythm section of Dave Dreiwitz and Coleman cover so much sonic territory that there is never a flat moment or boring interlude. The second big thing is the songwriting. It’s lazy to just call them weird, quirky or an acquired taste. Whether it was the pretty pop of “Flutes of Chi,” the super heavy “Johnny On The Spot,” country rager “Learning To Love,” chugging rocker “I’ll Go Crazy” or the drugged-out “Zoloft,” every song had a distinct feel but they all were clearly Ween. Maintaining such an unmistakable voice while swapping genres so freely is no easy thing and with all the fog machines and face-melting solos this was a stand out set of the festival. (Kayce)

Band of Horses :: 6:40-7:40 p.m. :: Sutro Stage

Leaving the Ween party to check out Band of Horses and their “Weed Party” (which was played towards the beginning of the set) was no easy decision, but it was the right one. Openers “Great Salt Lake” and “Is There A Ghost” filled Lindley Meadow with Ben Bridwell‘s distinctive drawl and instantly the very packed crowd was swaying in time and belting out choruses. Switching from weeping pedal steel to crunching guitar, Bridwell led his Horses (which have truly found their galloping legs) through a powerful set that included the upbeat “Islands On the Coast,” the introspective “Marry Song,” a stop-you-in-your-tracks beautiful version of Gram Parson’s “A Song For You,” the country-stomp of “The General Specific” and the twin tear-jerkers that might be their best songs yet, “The Funeral” and “Ode to LRC.” It’s one thing to write great songs and perform them well, but there’s an x-factor in all great bands. Here that factor is Bridwell’s voice. When he sings, “The world is such a wonderful place,” Bridwell pushes his vocals to their limit, and when they start to break it opens a window into all the pain, joy, dreams, failures and deep-seeded emotions we all struggle with. Vocals more than any other aspect of a band are often very personal. What one person relates to and digs another may not. For those gathered at the Sutro Stage’s final show of the weekend, it was clear Bridwell was their bard and when he let loose it struck deep. (Kayce)

Tenacious D :: 7:50-9:20 p.m. :: Lands End Stage

Tenacious D :: Outside Lands 2009 by Weiand

When it was announced in July that Adam Yauch had cancer, subsequently forcing the Beastie Boys to cancel their remaining summer music festival appearances, speculation immediately arose about who would replace the New York hip hop group at these festivals. Pretty quickly Lollapalooza nabbed the Yeah Yeah Yeahs and shortly thereafter All Points West landed Jay-Z. All eyes were on Outside Lands. Who would the organizers decide on? What band would be chosen to fill the almighty shoes of the Beasties? Tenacious D. The self-proclaimed “greatest band in the world” must have known that they really needed to step up and deliver an impressive set at Outside Lands to make true believers out of those that question the power of The D. Strutting out onstage and looking at the massive crowd, Jack Black and his cohort in crime Kyle Gass were stone faced as they picked up their guitars and lurched into a massive set that comprised the better parts of the duo’s two albums. Even though Black and Gass performed with a few backing musicians, the two still managed to carry on classic D stage banter. Although, anyone familiar with the group’s HBO series or severely less funny feature film knows the stories and could predict how the stage show would play out – the band staged a mock fight and pretended to break-up only to stage a come back; a guy dressed in a devil costume came out and sang a few songs; Black attempted to prove his physical prowess only to be mocked by Gass, etc.

While the group is considered somewhat of a joke band, the musical chemistry between Black and Gass was impressive and clearly evident during this set. When the two sang together their harmonies were so honed and precise it was surprising that two overweight stoner dudes were responsible for them. As the duo closed out their set, Black gave a salute to the Beastie Boys and Yauch – the least the musician/comedian could have done. For their encore the band played a medley of tunes from The Who’s Tommy, which saw the comedic team, mainly Gass, displaying some impressive chops on acoustic guitars. (JG)

Continue reading for more pics of Outside Lands…

Images by: Dave Vann

Built To Spill
Incubus
Tom Jones
Pearl Jam
Black Eyed Peas
Mastodon

The Mars Volta
The Mars Volta
Dave Matthews Band
Dave Matthews Band

Continue reading for more pics of Outside Lands…

Images by: Susan J. Weiand


Black Joe Lewis & The Honeybears
Sambada
The National
Tea Leaf Green
Zap Mama
Thievery Corporation
The Dirtbombs
Black Eyed Peas
Albino!
Trombone Shorty
Dave Matthews Band fan
Street Sweeper Social Club


Big Light
The Morning Benders
Robert Randolph
Bettye LaVette
Calexico
Modest Mouse
Lucinda Williams
Ween
Tenacious D