Langerado Music Festival :: 03.11 & 03.12 :: Sunrise, FL

By Brett Saul

The Langerado Music Festival was a phenomenal time, as always. Aside from a few harmless kinks, this weekend festival just continues to get better every year. The stellar line-up, glorious Florida sunshine, and chillin' Everglades venue all played a huge role in Langerado's surge in popularity, drawing about 12,000 people each day.

Highlights this year included the art of cartoon-master Lebo, the available onsite camping, and the late night shows in town. My only gripes were the no re-entry rule (new to this year's fest) and the dark parking lot that was impossible to navigate through (1.5 hours to get out on Saturday night). Beyond these details, I couldn't ask for a better time. Every band sounded fabulous. There were a few that didn't seem to fit the bill in my opinion, like the Velvet Underground meets Modern English music of Clap Your Hands Say Yeah, but tons of other peeps seemed to enjoy it, so perhaps they did fit?

By Brett Saul

Bottom line - this south Florida festival now belongs to the cream of the crop when it comes to southern festivals. So if you missed it this year, you have no excuse in 2007. And don't forget to bring your canned food. This year's artist Robert Marx joined forces with Conscious Alliance to collect 2,500 pounds of non-perishable goods (300 more pounds than last year) for the Daily Bread Food Bank of Miami.
-Genessa Poth


As the attendees were delayed entry to the Friday night sound check (a new addition this year) for over half an hour at the fourth Langerado Music Festival beginning on Friday, March 10, 2006, at Markham Park in Sunrise, Florida (at the edge of the Florida Everglades), the sweet vocals of Theresa Andersson could be heard wafting from the Sunrise Stage. As the audience one-by-one finally made it through the security and ticket checkpoints and arrived in front of the stage and Theresa suddenly noticed her fans, she announced, "I guess the sound check is over."

Buckethead by George Weiss

While another New Orleans group specializing in Cajun rock, Sketch and The Dirty Notes, drove their rhythmic bayou funk in the Swamp Tent to a crowd of about two hundred people, Hot Buttered Rum serenaded the still-growing crowd back at the Sunrise Stage, yelling out, "How's it hanging Langerado? Are you ready?" Aaron Redner told the fans that they drove a long way (72 hours from San Francisco) to be at the festival (in their new biobus, Seanu, named for bus guru and builder Sean) and dedicated their first song, a John Hartford favorite, "I'm Still Here" to everybody in Louisiana rebuilding their home. "Firefly" was dedicated to Missy Baron, while Sharon Gilcrest sat in with her fiddle on "Wedding Day" and "June Apple." The attitude and musical altitude were high as the field was filled with dancers in the sunshine. As the day segued into night, the group paid homage to their "Well-Oiled Machine," written for their first biodiesel bus, Buster, and ended the set with "Honey Bee" and "Cumberland Blues." And with a gracious group bow, they announced their excitement for the upcoming Duo.

Meanwhile, the few thousand attendees were truly "using time for fun" as one t-shirt declared, particularly at Buckethead's crazy performance in the Swamp Tent. In full "KFC" bucket regalia and robotic mask, he and his band performed very loud electronic "finger-licking good" noise.

The Benevento/Russo Duo started their ninety-minute set at about 7:00 p.m., by yelling comments to the crowd, "Sobriety!," "George Bush!," and more, to which the crowd likewise responded. Next, they stated, "This is the Duo sound check party, at the sound check stage. You're just going to hear fifteen minutes of sound, that's all." The lights dimmed as they yelled, "You guys want to hear the bass? We'll start with the bass turned up, you just yell real loud when it sounds good enough." The fans were already screaming in the dampish air at the aptly named Swamp Stage, with the Everglades visible in the distance, as the stage lights' primary colors changed frequently. The crowd grooved and fused into the electronica vibe, especially to "Memphis," a song on their new album, which is scheduled for release in July.

The rock music of Perpetual Groove ended Friday's sound check in the Swamp Tent. Starting at 7:30 p.m., they played over an hour and a half, beginning with "Crapshoot" and transitioning into "Mr. Transistor" and later "Diggin' in the Dirt" (apropos given the black dirt abounding, including on most feet). We wandered away as the crowd danced on and on, ending only after the final notes of the encore "Bulls on Parade" sounded.
-Randi Whitehead

SATURDAY :: 03.11.06


Rose Hill Drive by Brett Saul

With influences ranging from Led Zeppelin to Stone Temple Pilots, this burgeoning Boulder-based rock band of youngins has a big, sexy sound full of classic grit and soul. Rose Hill Drive, which includes the Sproul brothers - Jake (bass/vocals) and Daniel (lead guitar) - and their longtime pal Nate Barnes (drums), woke up the crowd Saturday morning with their super-smooth bass lines and radical guitar solos. Halfway through, Jake thanked the crowd for their enthusiasm. "You're all so awesome man. It's so early; it's like midnight for us." Growing up on Rose Hill Drive, the band developed a reputation for being loud and really rockin', a rep that turned out to be well deserved. Starting out with bluesy numbers like "Cool Cody" and "Cross the Line" and moving on to songs with a bit more attitude like "Guru," this long-haired trio, Jake in cowboy boots and Daniel sporting Converses, are a contemporary blast-from-the-past. Following the festival, the band said they would be playing a couple of hometown shows prior to going back on tour. These twenty-something-year-old guys are a rising phenomena, playing with the likes of artists like Gov't Mule. They say they hope to strut their stuff again come Langerado 2007. According to Jake, it's the "warm weather" and "beautiful babes" that will keep them coming back.


As another beautiful day near the swamp began, on Saturday morning, a bit before noon, the John Ginty Band, winner of the Sonic Bids Contest, played a tease of Alison Krauss and Gilliam Welch's "Ill Fly Away" as they ended their set. John then thanked and God-blessed the crowd, leaving the stage with only a hat wave, as one fan simply and accurately remarked, "That was too short."


Lotus by George Weiss

Over at the Everglades Stage, Lotus played their one-hour set, including several tunes from their 2003 debut Germination. A red-headed chick with a tattoo on the small of her back declaring "music is the reason" grooved in the already heavy noon sunshine, cooled only by the breeze from the nearby swamp. Their electronic sound, a mix of Particle colliding with STS9, with heavy doses of funk, jazz and ethnic overtones, was infectious. Their new CD, The Strength of Weak Ties, is scheduled to be released in May.


Kinky by Brett Saul

One of my favorite things about this festival is the diverse line-up. If world music is your thing, Langerado should be your fix. Kinky is one of the most high-energy bands I've seen to date. This five-piece band from Mexico is in constant movement around the stage, spinning and dancing. Vocalist/guitarist Gilberto Cerezo was born to entertain and likes to twirl and walk about the stage in a mad but fun sort of way. Kinky, who facilitates the unification of Latin dance club beats with South American percussion, had the whole crowd pumpin' to their Spanish techno. "The Headphonist" was an outstanding song, with Cerezo leading you to believe that you were actually promenading down the sidewalk earmuffs in hand. Although most of the lyrics are in their native tongue of Espanola, these guys suck you in like a vacuum. Their unique sound, which invites you to come alive and get kinky, has a little something for everyone.


Drive-By Truckers by Brett Saul

In the heat of the late afternoon, at 2:00 p.m., Drive-By Truckers, a great and unique Southern rock band, erupted on stage. With the pedal steel adding new dimension to their gritty grind, their country music (torqued with shroom) sound was smoother than ever, and the songs seemed more tightly woven. Telling fans "don't snort the black dirt," they rocked the festival for about an hour. A Blessing and a Curse, their new album, said to be toned-down in style, is set to be released next month.


Meters by George Weiss

The Meters took the Sunrise Stage by storm at 5:30 p.m. with "Funky Miracle" followed by "Look-Ka-Py-Py," and "Change/Reform." These grandfathers of New Orleans funk performed other old favorites including "Cissy Strut" and "Fiyo on the Bayou," to a full and joyous crowd. With an almost-full moon to the east and the sun setting over the Everglades to the west, the ninety-minute set earned one of the highlight moments of the weekend. The still revolutionary "Poppa Funk" a/k/a Art Neville and his gang of old-time friends and band mates enjoyed the show as much, if not more, than the fans, who found the tunes as exciting as when they were first played forty-or-so years ago. After "Africa/New Orleans," they ended with "Ain't No Use," and as the crowd screamed for more to no avail, one fan opined simply, "Delicious."


Franti by George Weiss

This barefoot musician was a crowd favorite and had everyone chanting his name, "Franti! Franti! Franti!" welcoming him onto the stage. Highlights included "Tell me lies, lies, lies, sweet little lies," about forgetting life's troubles (specifically Hurricane Katrina and the war) for a little while and the legendary Billie Holiday cover "Summertime." Like many other artists, Franti voiced his love for the Florida sunshine. "It's so nice to be out here because what this festival has become is not just the first festival of the year, but this festival also marks springtime and I'm tired of winter," Franti laughed. Spearhead's reggae-like grooves, which call for self-discovery and tell stories about coping during hard times, had the crowd jumpin' up and down, dreads abound, hands held high. Franti, who has become somewhat of a social protest icon over the years, called to every direction for peace, justice, and social consciousness. And everyone cheered him on. Thought-provoking lyrics such as Franti's have become commonplace on the festival circuit. And ultimately, for the disillusioned Generation X, this form of free expression and community appears to be one of the main attractions. They eat it up by the spoonful. And Franti just keeps dishin' it out. "We unite in this common theme that we all love the music, and we all love self expression," said Franti, who says Langerado is one of his favorite fests. "I think a great song is something that brings out emotions in us that we never knew existed. What music does is it helps us to consider the other."


Burning Spear by George Weiss

This chillin' scene was definitely ablazin' in the afternoon sun. With his mic wrapped in the traditional red, green, and yellow string, reggae-master and Rasta-guru Winston Rodney took everyone back to the homeland of Jah love and Irie. It was all about the roots as usual, and Burning Spear laid it down with beautiful rhythms and messages for the audience to embrace. The crowd was a hodgepodge of lazy blanket camps and high energy. Like a plethora of other artists, Winston called for unity: unity of races, unity of peoples, and unity of creeds.


Umphrey's McGee by Brett Saul

These Midwest virtuosos attracted swarms of fans, opening with mellifluous jazz pickin' in "Women Wine and Song" and transitioning into some rockin' riffs in "Partyin' Peeps." Guitarist and vocalist Brendan Bayliss was really feeling the music as usual, almost Hendrixish in his expressions. The guitar vibrations were cruising via his veins into his lips and the creases of his brow and cheeks - very neat to watch. Umphrey's McGee's ability to traverse genres was clearly present at this show; the band shifted effortlessly from whimsical melodies to anthem-like harmonies to killer grooves. I think their cult-like following will agree with me when I say that Umphrey's McGee is the stuff that stays with you, the hum-doo-digady your brain heats up the next day on the car-ride home. In fact, by the time the band finished playing, no one was ready for the ride to be over, but with the ever-colorful Flaming Lips teasing the crowd with their sound check next door, the "Umphreaks" realized that all good things must come to an end.


Flaming Lips by Brett Saul

Hmmmmmm? Where do I start with this one? All that I can say is if you weren't there, you missed out on the performance of a lifetime. And when I say performance, I really do mean performance. For The Flaming Lips, it wasn't just about the music, although the music was awesome – especially the "Bohemian Rhapsody" (Queen) cover. It was about getting down and having a kick ass time on Saturday night. Wayne Coyne is the ultimate entertainer, and he welcomes the "rising tide of new hippie culture" with open arms. "Camp out, smoke pot, have sex, do drugs, and hear music." That's what festivals are all about, Wayne says. And as for the emergence of downloading tunes off the Internet, Wayne's all for it. "I think it's a great thing. When the day comes that you can pull music in liquid form into your ear," he chuckles reminiscing about when he was a kid barely able to afford cassettes. And while Wayne may seem to be one of the more explosive, outspoken characters in the jam scene today, he is sincerely devoted to his fans, going all out no matter what the cost: inviting audience members to dress up in costumes and boogey down on stage, shooting confetti and multicolored streamers into the crowd, and blowing up balloons and big plastic balls for you to play with. And if that isn't enough, he'll climb into a larger-than-life space bubble and float across the sea of hands that is the audience leaving people to say, "Is this really happening?" In a word, The Flaming Lips set was unbelievable, one of those things where you just had to be there to genuinely understand how cool it was. The industrial stage design was chockfull of eye candy, including a smoke machine and a giant movie screen behind the band. It was as if the band in their nostalgia was trying to rekindle the "anything goes" philosophy of earlier days. "Just fucking sing anything as long as it's loud and crazy," Wayne commanded the crowd. Wayne also spoke briefly to the crowd about their new anti-war album At War with the Mystics, set to hit shelves early April. "Save a couple hits of acid for that one, okay."


Langerado by Brett Saul

With songs like "Helicopters" and Floyd's "Have a Cigar" right from the get-go, everyone in the swamp tent was sure that this was going to be over-the-top. And it was. If you weren't shakin' your bootie at this show, you must have been sleepin' cause it just got better and better. The Disco Biscuits, or "Bisco" as they are now being dubbed, are known for their psychedelic waves of color, light, and sound. The tent-top turned out to be the perfect prop, doubling as a giant canvas for the band to play with. Outside, on the outskirts of the tent, gangs hacked and girls in big glasses hula-hooped. A surreal purple glow seeped out from the stage as the Biscuits spun their web of trance fusion. While the band has seen some hard times in the past few years, including drummer Sam Altman leaving the band to go to med-school, their sound has not suffered. Their appeal is evolving. Their fans are no longer just University of Pennsylvania kids at parties. These old college chums have grown up, and they continue to deliver stellar shows. What used to be a little secret spread mostly by word-of-mouth has become a well-known force in the land of jam.


Ben Harper by George Weiss

The much-anticipated, provocative-yet-soulful Ben Harper and his band of Innocent Criminals concluded Saturday's line-up, kicking off their act with political protest songs from the new album like "Better Way" and "Both Sides of the Gun." Harper mixed in old-school songs from past albums as well like "Glory and Consequences," the reggae-funky flavored "How Many Miles Must We March," "Diamonds on the Inside," and "Temporary Remedy." The songs "Black Rain," which details the injustices of Hurricane Katrina, and "Please Don't Talk About Murder While I'm Eating," both from the new album, were played midway through the set. Harper's lap steel guitar was spellbinding as usual, and "Where Could I Go" brought the crowd back to the pure gospel of Harper's earlier days. And everybody got their lighters out for some gentle swayin' during "Burn One Down." To close the evening, the encore was a show in itself. Harper serenaded the crowd packing in tons of fan favorites like the acoustic and heartfelt "Walk Away," "Amen Omen," "With My Own Two Hands," and Bob Marley's "War." It seemed that Harper fans, many of whom were disappointed after the Zooma tour was canceled, were finally getting their fill. Harper started off hardcore, worked his way back to his spiritual roots, and came back again full circle. It's all about the message. With Harper, you can't just enjoy the music; he wants you to think about it. And chances are people will be thinkin' about this encore for a long while.


Umphrey's McGee played their late night gig at Revolution, a club in downtown Ft. Lauderdale. In the brick-enclosed outdoor courtyard on a balmy south Florida night, festival attendees could be identified by their still-blackened, swamp dirt feet.

Gutwillig w/ UM by Brett Saul

A few minutes after 11:00 p.m. the first set started strong with "In the Kitchen" and "The Crooked One." Brendan Bayliss then stated, "Thanks for coming everybody, that's all we have. I just came to Florida to get a tan," before launching into a song about life, "Believe the Lie." The not-quite sold-out crowd (almost a thousand strong) had room to groove and dance under the three-quarter full moon as the palm trees swayed in the breeze and the stuffed deer and water buffalo heads on the brick wall behind the bar gazed on. With Brendan being obviously amused by the juggler at the side of the stage, they played "Lenny," "Roulette" and "Tribute to the Spinal Shaft" before wrapping into "Bridgeless" to end set one.

As the clouds raced across the moon about a minute after 1:00 a.m., fingers raced across strings and drumsticks banged drums as set two began with "Nothing Too Fancy" dropping into "Push the Pig." "Jazz Odyssey" followed, which led to Pink Floyd's "Another Brick in the Wall Part 2" with Mark Brownstein from The Disco Biscuits suddenly replacing Ryan Stasik on the bass. In the jam that followed, Jon Gutwillig, also a Disco Biscuit, took over Bayliss's guitar before they wrapped back into "Push the Pig." Brendan playfully fought Jon to get his guitar back while Jake played "fight sounds" to the delight of the crowd as they wove "Resolution" in and out of "Norwegian Wood." Their improvisational groove continued to progress through their various musical styles as they ended the set with "Eat," "Ringo" and a cover of A Flock of Seagulls' "I Ran." The show didn't end until almost 3:00 a.m. with an encore of "Miss Tinkle's Overture," including a tease of "You Shook Me All Night Long."

SUNDAY :: 03.12.06


By Brett Saul

Pnuma Trio's clubby, lounge acid-jazz got the blood pumpin' early Sunday morning. Their super sticky beats gave the crowd the dancing heebie-jeebies. It was the perfect medicine for the daze left over from the late night before. The band launched their techno-grooves with "Air," a very ethereal song, and finished off the session with "Balance." This is the second Langerado for the Pnuma Trio, who promoted themselves at the fest last year. Bassist Alex Botwin appreciated the festival's organization and multiple stage set-up; however, what he was really diggin' was the color-infused cartoon art of south Florida native, Lebo. "I really enjoyed seeing Lebo's artwork all over the festival," Botwin said, referring to the retro-Cuban cartoon art installations and stage flags placed throughout Markham Park. "I don't think that a better painter could have been picked to create the atmosphere of Langerado." Botwin, who'd been touring non-stop since late January, was happy to lay back and just be a fan following Pnuma's set. "I personally enjoyed how relaxing it was to be able to hang out with other artists and actually see some music. It was a good break. I will definitely be in attendance next year."


After the Sunday morning sacred steel gospel set by The Lee Boys, Slightly Stoopid started their 1:00 p.m. set on the Sunset Stage with "Bandelero" from last year's CD Closer to the Sun. Asking the fans, "Are you ready to dance?" they played "Dance the Boogie" before a ska version of Peter, Paul & Mary's classic "Leaving on a Jet Plane." Miles Doughty, Kyle McDonald, Ryan Moran and Oguer Ocon, the four young "bandeleros" of the band, pleased their crowd of many "stoopidheads" with their fusion of reggae, rock, blues and early punk, creating a fine variety of ska. Dan Delacruz and Chris Welter from John Brown's Body, touring with the band for most of March, added an additional island sound to the show with their trumpet and saxophone. Young in age but not in band experience (having over ten years together musically), front men Miles and Kyle continually encouraged the fusion and interaction with their audience.


MOFRO by George Weiss

Florida folk gathered to watch their homeboy lay down his front porch, funky romp about the sunshine state. Opening with "Lazy Fo Acre (It's a slow lazy summer)," this Florida band was feeling comfy in home court. Although there was a nice breeze, the sun's rays were beginning to beam down hard, and steam ascended from the pit as the heat coalesced with the sweat of the crowd. By the fourth song, the clean-shaven JJ Grey had everybody doing a little rain dance with the bluesy "Pray for Rain." "It's our absolute privilege and pleasure to play here today," Grey said. The song "Florida," which pleads with the world to save the Florida pinewoods and swampland, was of course another highlight. Grey, who continues to reside on his Granny's old chicken farm in northern Florida, inevitably tugs at the heartstrings of those who've grown up in the Florida backwoods. In a way, he's become the mascot for environmental preservation down South. His mission, which comes through crystal-clear in his lyrics, is a shared vision for many Floridians who are watching in dismay as their state's incessant condo/golf course campaign pushes on despite the locals' protests. To these people, MOFRO represents more than just music - they represent hope. "It helps put you in a place and time that makes things relative," Grey says.


Meanwhile, at the Florida Native Stage, a new addition to this year's festival, The Legendary JC's funk and soul thrilled a small crowd, especially the vocals of Eugene Snowden, often said to be reminiscent of James Brown.


Antibalas by George Weiss

On our way past the Sunrise Stage, we caught a few minutes of Antibalas Afrobeat Orchestra. After hitting the stage with peace signs held high, they started their percussive jam beating steel pipe rails and other objects including metal pie plates with iron chains while dancing madly. Their unique blend of West African traditional and popular music with a jazzy flair was infectious. Not a jam band but a live-orchestrated experience for band members and audience alike, the organized cacophony, including drumming of wooden and metal wind chimes and other unique instruments, was rhythmic and extremely energetic. Fans declared that "Any reason to move is a reason to groove, and if there's no reason, we'll make one," as if justification for enjoyment was even being debated in the "no groove deficit zone."


Next to the Flaming Lips, nobody looked like they were having as much fun performing as Kid Koala a.k.a. Eric San. This guy's eclectic dub was on fire. Koala was scratchin' everything from hip-hop to old school blues and funk, and his spinnin' technique was definitely something to be appreciated. The crowd was able to observe every detail via a pull-down screen, which magnified Koala's handiwork with records and keys. Koala rolled from one genre to another, from harmonica and tooty horn sounds to good ol' bump bump, there was a little something for everyone in this dance party. Think Slinky or bouncy ball, the sound just kept going up and down and in and out. "It's about to get scary in here. Y'all didn't know koalas could get scary, did yah?" San teased the crowd. This one-time piano prodigy, Ninja Tune's first North American signing, is also a cartoonist. Check out one of his albums to see his talent, both on paper and turntables, for yourself.


This Venezuelan dance-mix house band, which has done most of its touring in South America and Mexico, is literally a nonstop DJ session, bringing a wide range of infectious beats and salsa remixes to the table. "We're always on tour," says lead singer Julio Briceno. "We're pretty much out there all the time." And it seems all of the face-time with fans has been good exposure for this dynamic sextet. With their new sexy album Chillout Venezuela just out, these boys say the possibilities are endless and are thinking about possibly touring Japan in the next year or so.


G. Love by Brett Saul

With a stone Buddha looking out at the crowd, G. Love's set was a state of pure Nirvana. During sound check, a dozen or so G. Love shirts were flung out to the girls who could jump the highest. And of course, when the heartthrob that is G. Love came out on stage, he rocked it in true hip-hop/rock star fashion. With Langerado being the last stop on his tour, G. Love made sure to save the best for last and dished out all the sassy goodies including "Let's Make Love Tonight," "Unified," and "Jersey." "It was a beautiful day to play music man," Garrett Dutton a.k.a. G. Love said. "We had our best Langerado set ever. Jammed with Robert Randolph and Slightly Stoopid, met Jeff Tweedy from Wilco, hung with the Black Crowes, and enjoyed the warm weather and hot vibrations from the crowds. Incredible time. Just too short!"


Robert Randolph by Brett Saul

This sizzlin' set was a sweet combination of pedal steel, funk, and R&B. While warming up, gum-smacking' Robert, dressed in a Mets jersey and red, velvet top hat, asked the crowd how they were feeling. "It feels good out here in Florida. Can I get a witness in this place?" "Don't Stop 'Till You Get Enough" rocked the house, and like two lovebirds, the keyboard and bass called back and forth to each other. This show was wicked cool. The whole crowd seemed to be vacillating in unison to the Family Band's hot jam. Even the photographers were sweatin' this one, trying to capture the nonstop action on stage as fast as possible. The band's cohesive nature really proved to be a sight to see. With each member giving 110 percent, the individuals interconnected to form one ubiquitous funky shade of blue. Looking back, it's easy to imagine why Robert Randolph kept the pews full and the fans a wavin'. His new congregation has a bit of an edge; let's just say they're a bit more contemporary. But no matter who's listening, if the jam circuit has it their way, it looks like the Family will be around for a few more soulful sermons.


Keller Williams by George Weiss

Rushing back to the Sunrise Stage for Jammy nominee Keller Williams' show at 5:30 p.m., Keller started with his acoustic guitar kicking into "Thin Mint," which segued into "Apparition" and then Ani DiFranco's "Freak Show." Keller followed up with "Cookies" before transitioning into a psyched-up version of "Up in My Cadillac." Other highlights included "Breathe" and a cover of David Wilcox's "Boob Job," to which a Keller show virgin stated, "She got a what?" The Grateful Dead's "Attics of My Life" and Keller's own "Love Handles" caused the energized crowd to dance around to the emerging calypso beat. Hot Tuna's "In The Kingdom" led to "Yoni," "Conservative Christian" and "Right Wing Republican" before Todd Snider's "White American Males." "Best Feeling" ended the show, echoing the atmosphere exactly.


The Spam Allstars created their very own tropical oasis next to the misting tent on the Florida Native stage. This whimsical, jazzy band attracted tons of dancing bodies as well as those simply looking to chill in the shade. This relaxation station was right next-door to the kids' area, which meant that this was the hang out for families. The crowd tossed around a beach ball while DJ Le Spam projected his calypso-like magic. The various worldly percussion elements paired nicely with Mercedes Abal's flirty flute licks. And couples throughout the crowd took advantage of the sultry love music as the horizon faded into pinkish-orangish hues.


Wilco by Brett Saul

For Wilco's Jeff Tweedy, it just keeps getting better. His Chicago-based band has risen to the highest echelon of indie rock, earning a few Grammys and gold records and fine-tuning their craft, which has been in the works since the late 80s, into something truly exciting. Wilco started off their set with conversation and interaction with the crowd: clapping in unison and screaming back and forth at each other. "I'm gonna scream at you and you scream back at us," Jeff told the crowd. The crowd answered back with a wimpy roar. "As a rock singer, I'm supposed to tell you that you must be able to do better than that," he teased. "How many people are from Florida," Jeff asked the crowd. "It's very Dante-esque here for us northerners." Wilco started off with the crowd favorite "Handshake Drugs" and moved on to songs from the new album like "Kicking Television," "Shot in the Arm," and "Hell is Chrome," which had a raging, psychedelic guitar solo. By the end of their performance, it was beginning to get dark and the band had turned on the glitz and glam of the lights. This rock band, which many would argue is experiencing a new surge of success and popularity, is finally putting all of the pieces together to form a solid "collective vision" that is Wilco.


The Black Crowes by Brett Saul

The Black Crowes rocked it Sunday night. Chris Robinson's dirty, guttural voice, the vintage rock & roll persona of the band, and the magnificent lights all joined forces to make the show a great one. The band started out with songs like "Sting Me" and "Black Moon Creeping" and ended with "My Morning Song" and "Sometimes Salvation." Their southern, classic sound was music to the ears for many people looking just to have a good time and remember what it was like to watch longhaired guys jam out with heart and soul. These passionate fellows, with cigarettes dangling' from their lips and patches on their jeans, were all attitude and grit 'til the end.

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Gizmo starstarstar Fri 3/31/2006 06:37PM
0 Votes Thumbs down! Thumbs up!

BUCKETHEAD was the shit! definately one of the best guitarists out there right now, no question! you gotta see him to beleive it!!!

Nestarobins starstar Sat 4/1/2006 08:09AM
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Did the writer really just say, "There were a few that didn't seem to fit the bill in my opinion, like the Velvet Underground meets Modern English music of Clap Your Hands Say Yeah, but tons of other peeps seemed to enjoy it, so perhaps they did fit?" WHAT DOES THAT MEAN? "fit in?" Believe it or not people like diversity.

jimutts star Sat 4/1/2006 10:33AM
0 Votes Thumbs down! Thumbs up!

The new Lotus album comes out in April and also is titled The Strength of Weak Ties. I'd like to hear more about the music, track titles tell me nothing about a set. Could have looked that info up on a billion websites. How did the improvs progress, how were the new Lips songs live?

kyleP13 Sat 4/1/2006 02:27PM
0 Votes Thumbs down! Thumbs up!

great read, enjoyed it

tcuchad Sat 4/1/2006 05:50PM
0 Votes Thumbs down! Thumbs up!

Buckethead was killer. I bought his set ( at the show and it sounds great. I hadn't heard a Buckethead live sbd before.

WyoBisco starstar Sat 4/1/2006 06:25PM
0 Votes Thumbs down! Thumbs up!


Come on now you said the late nights were one of the highlights well where's the biscuits report cause that show was the tighest, most insane part of the weekend (if sunday night w/ conspirator(&electron) didn't top it). weak. overall good reviews on all the acts though, i was hopin you guys would put out a full report and you came thru. it was a beautiful weekend down in florida...

Alex.Anastas starstarstarstarstar Sat 4/1/2006 06:38PM
0 Votes Thumbs down! Thumbs up!


I can't agree more with Gizmo...

I have to say that this article makes me believe that this was a good festival, but I have heard that organizers got complacent this year, with a lack of water, affortable food, NO RE-ENTRY, and BS checks. All in all, though, seems like a good time!

dedhed6111 star Sun 4/2/2006 09:49AM
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no reviews of lake trout or brothers past?

phreakyJew Sun 4/2/2006 05:47PM
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It was an amazing festival indeed but you guys are missing reviews of the two of the best acts of the weekend: The Secret Machines and The Brazilian Girls. These two groups had many people scratching their heads thinking how come I never heard them before?

grnenergy Sun 4/2/2006 08:20PM
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May Keller's funked out after-parties continue forever! I feeeeeeel nice! owwww! Langerado was out of sight!
The Crowes were on fire and the weather was PERFECT!

Biscoonthebrain starstar Mon 4/3/2006 04:54AM
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This write up is decent. I just want to know where the write up about the conspirator and Biscuits are. YOu wrote abou Umph, big deal. The highlight of the Umph show was when Brownstein and BArber came out and the show got dark for a minute. The biscuits friday night was insane and there where a ton more people at that show then was at Umph. And the COnspirators, YOu had Brothers Past, Electron, Conspirators and The Disco Biscuits all in the same show, are you kinding me. I stood beside the keyboardist for Brothers and the bass player for PNuma and watch Aron Magner and Browny and DJ OMen blow my mind, Not to mention that Joe Russo Made a apperiance on Drum for the Electron. So wheres all that at. The Crow and Robert Randolph i didn't even know that the Crow where at the festival. Until someone told me at the conspirators show. Bisco was the only reason that late night was the best. LOtus was sick, Pnuma was sick and The Djs where sick and Kellar and Brothers were sick, other then that every thing else was a great opportunity to get 10 burrito or try to sneak out to your car for some free water and try to sneak back in. Let not forget the BIscuits in St Pete on Thursday that was probably the highlight of my weekend.

javis starstarstar Mon 4/3/2006 05:04AM
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wheres friday night bisco and sunday's late night mind blower brother's past>electron>conspirator>encore by the biscuits this show was so incredible my friend pissed on himself... no joke!!

amigodeldiablo starstarstar Mon 4/3/2006 07:04AM
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LASTING IMPRESSIONS ON THE EARTH--the music was awesome but there was no where to recycle, I strongly feel that a festival
of this size should be more responsible for there waste! I remember Clean Vibes at the first Langerado doing the right thing, let's bring them back! I'm sure i'm not the only one who feels this way---

MangoNutbag starstarstarstarstar Mon 4/3/2006 09:34AM
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Clap Your Hands Say are the tits.

and if you are going to compare them to other bands they sound much more like the Talking Heads.

cloudhidden Mon 4/3/2006 10:47AM
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Minor correction,
The author seemed confused in writing about Keller playing a Todd Snider song. He wrote,
"Hot Tuna's "In The Kingdom" led to "Yoni," "Conservative Christian" and "Right Wing Republican" before Todd Snider's "White American Males."

The title of Todd's amazing song is "Conservative Christian Right Wing Republican White American Males" It is not (3) separate songs.

southfloridajams starstarstarstarstar Tue 4/4/2006 12:01PM
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I just wanted to thank everyone who came out to Langerado this year. Despite some very minor glitches, this was easily the most exciting and diverse event we've ever had. We take all your comments and suggestions to heart and that's what helps us to make this event better year after year. To all the people who I met over the weekend, who've emailed me and left messages for us on the Langerado message board thanking the crew at Langerado, it has been our sincere pleasure putting on this event for you. Thank you for allowing us the opportunity to take chances with the lineup and experiment with new sounds. I met so many people who hadn't heard of Kinky, the New Mastersounds, the Secret Machines, etc, who came to see Keller and Umphreys's and got turned onto so many new things. To me that is what makes a music festival so special . You come to see a bunch of bands you know and love, and leave having just discovered a whole slew of new bands you'll be seeing and listening to for years and years. If every festival put out the same lineup year after year, we'd all get bored out of our skulls. The thrill is in the new discoveries you make. Being a fan of the jamband scene for so many years has opened my mind up to so many completely different styles of music. That's what's so great about Jambase right now. I see people complaining about Jambase covering events like Pitchfork Music Festival or some "indie-rock" tour, and they say things like "this has nothing to do with jambands, why is jambase comvering it?" Because to many people, myself included, the jamband scene, and the people who love it so much, has the ability to transend musical labels and appreciate the diversity that can coexist between the many genres of just plan "music" that are out there...

Anyways, enough of my rambling. I can't wait to let you all know about our plans for 2007, but that will have to wait until the fall. In the meantime, be safe in your travels this summer, wherever the music might take you. I know I will be at 'Roo, Waka, Lolla and whatever else I can make it out to. As Frank Zappa said "Music is the Best!"



oysteria starstarstar Wed 4/5/2006 08:51AM
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I say not "cream of the crop" for the south. I say this is a greedy , greedy fest. Music was superb as well as variety of bands. But a festival is about more than the music. I didnt see most of the early daytime bands like lee boys, which from the review seemed awesome. but at least some people went through the gates early so those vendors could make that money, dolla bills yall. To cheap to provide even one recycling center. Pigs walking through the campsite busting kids for underage drinking. Anyone who liked this fest, get your ass to Live Oak, in north FL. They let you come and go as you please. South Florida eats a sweaty turd.

amigodeldiablo starstarstar Thu 4/6/2006 07:15AM
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right on ,Oysteria, I agree this is a poorly organized festival that is obviously produced by greedy promoters who dont realize that there is much more to this scene than the music. There is no excuse these days to not provide recycling to their environmentally concious fanbase !

msynan starstarstarstar Thu 4/13/2006 04:05PM
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I'm really happy to see the Legendary JC's get a mention in this review. They were one of the most talked about bands at this festival and are getting ready to show the whole country how to mix funk gospel and especially SOUL. The James Brown comparisons for Eugene Snowden are legitimate. If they make their way to your town, this is a must see show... just ask anyone in Fla., Ga. or SC