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SATURDAY :: 09.18.04
The Gourds : 09.18 : Austin, TX |
Smack in the middle of the weekend, Saturday's show also filled up the fastest of the three. Zilker Park handled the crowd nicely, and Kevin Russell of The Gourds mentioned backstage before his set how proud he was to see how well the park's natural feel was maintained amidst the big crowds and festival setup.
Unfortunately, the most disappointing set of the weekend was the one I was most eagerly anticipating in Modest Mouse. Realizing that it takes more of the listener to digest a band's stage performance in a festival setting, I quickly regretted not going to their show at Stubb's BBQ the night before to see them more in their element. Maybe Isaac Brook's vocals were indie-cool or hip-disgruntled, but to me they just sounded half-assed on Saturday compared to what I've heard on their albums. Everyone went crazy when they played "Float On" though, so maybe I was just missing something.
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| Trey Anastasio (left) Ray Paczkowski (right) : 09.18 : Austin, TX |
After a mellow set of predominately Bob Marley staples from The Wailers, Trey Anastasio took the main stage as the only double-set act of the festival. In his first performance with his ten-piece solo band since Phish's final show in August, Anastasio was focused and confident onstage and the band was tight. The first set was solid, kicking off with "Curlew's Call" and running through a nice handful of well-executed but standard originals as well as a nice sunset rendition of the Five Stairstep's "Ooh Child."
During the set break I made the difficult decision to stay put at the big stage, and forgo the Pixies' set across the park. After the previous night, I realized you have to take advantage of good seats when you can. Anastasio's second set proved much more exploratory than the first, kicking off with a monster version of "Mr. Completely" which wound into a surprising instrumental take on the Phish classic "Stash," which had an almost Caribbean feel to it with the horn section. In a set full of extended improv, an easily overlooked highlight was Anastasio's crisp playing on a gorgeously concise version of "Drifting." Keyboardist Ray Paczkowski's playing was outstanding throughout the night, and the "First Tube" encore worked the sold-out crowd into frenzy before everyone hit the streets in droves.
SUNDAY :: 09.19.04
Sunday's crowd was considerably smaller, as out-of-towners presumably went back to wherever they call home. The daytime heat was still fairly stifling, so having a few less bodies around made the day a little easier. The Roots threw down an amazing set early in the day, showcasing their skills as one of the most musical acts in hip-hop. With ?uestlove's impressive drumming as the backdrop, the band tore through material from The Tipping Point as well as older numbers, while also teasing covers like Santana's "Black Magic Woman" and Chic's "Good Times." The set dissolved into a somewhat disjointed series of individual solos but still maintained the attention of a big crowd.
Luther Dickinson of NMAS : 09.19 : Austin, TX |
The North Mississippi Allstars started immediately afterward on a nearby stage, and after a few tunes bassists Chris Chew addressed the crowd before launching into a raucous version of "Coal Black Maddie." Before the band left the stage, guitarist Luther Dickinson gave a shout to the rest of the bands to play that day, including the Drive-by Truckers who would follow them on the same stage.
As the crew changed equipment, members of the NMAS and the Truckers hung out on the side of the stage, displaying a sense of camaraderie between two bands at the forefront of a gritty southern rock revival. The Truckers' set was loud and raunchy as expected, but also displayed a newer sense of maturity especially in some of guitarist Mike Cooley's songs from their new album The Dirty South. Guitarist Jason Isbell's fills were particularly impressive on Sunday, and Patterson Hood treated the crowd to the now rarely-played chestnut "18 Wheels of Love," written as a wedding present to his mom.
Billy Martin of MMW : 09.19 : Austin, TX |
Towards the end of the day Medeski Martin & Wood threw down a nasty set, consisting almost entirely of new tunes from the recently released End of the World Party (Just in Case). Although the trio would weave in and out of themes, they kept their set funky and danceable for the most part. Billy Martin was tight as always, and John Medeski used the hour-long window with masterful efficiency to sample a vast palate of sounds and colors.
It was during MMW's set that I noticed the weirdness on the side monitor for the smaller stage. After showing close-ups of the band for a little while, the screen would change over to one of a few short animated films, which were pretty cool for the most part. From there the image would switch to some sort of public service announcement that was always for a good cause, but with a subtle advertisement snuck in. And then every once in a while there would be a close-up of a revolving cell phone kiosk, reminding you that there were chargers available at the corporate sponsor's tent. Sweet, sweet brainwashing. Oh well, I reckon someone's got to pay for these damn festivals of peace, love, and music. At least they didn't last very long, and, as I said before, the cartoons were cool.
The last set of the weekend was Ben Harper and the Innocent Criminals, and I was really impressed with what a well-balanced and thoughtful performance they put on. After catching everyone's attention with "Steal my Kisses" and "Burn One Down," Harper changed things up with a gospel number called "Take My Hand." The latter tune is from an upcoming album he recorded with the Blind Boys of Alabama, and prefaced it with a few words about universal spirituality. Another great moment in Harper's set was his rendition of "Homeless Child" on the pedal steel and a cover of Marley's "War." Unafraid to talk on stage, Harper discussed politics, voting, Austin, and whatever else was on his mind without ever sounding preachy or pretentious. He encored with a few solo acoustic numbers to close out a great weekend of music.
In its most ambitious year to date, the Austin City Limits Festival has proven to be one of the most well-run music events of its kind in the heart of one of the best towns in the country. While its safe to say that promoters have probably found Zilker's happy capacity with this year's crowd, there's no doubt that they'll fill it again next year if they can continue to attract the same high-quality of talent. If you're looking for a festival where you have the option, rather than the obligation, to camp--or you just want to visit Austin on a big weekend--keep your eyes peeled for next year's lineup. If you buy tickets early, it's one of the best bangs you'll find for your buck.
Words by Travis Langdon
Images by Jeff Levi
JamBase | Austin
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