Summer Meltdown 9 :: 08.13.09 – 08.16.09 :: Whitehorse Mountain Amphitheatre :: Darrington, WA
And while the lineup isn’t household names, from hosts/curators Flowmotion on through, the level of musicianship and raw talent held its own against anything out there, and perhaps resonated more because so many acts proved such a happy surprise. The anticipation of the known has its own value but there’s no replacing the ontological smack of coming face-to-face with an amazing unknown quantity that rocks your world – something that happened repeatedly every day of the Meltdown. Like kindred spirit Las Tortugas – Dance of the Dead, Summer Meltdown is a celebration of great players and perseverance, a stupendous harnessing of wondrous music unleashed with the wholehearted goal of delighting one and all.
Arriving to cliché drizzle in Seattle, I made my way by train and automobile to the countryside two hours outside the big city, passing numerous signs selling hay, small towns whose compact main streets announced we were going to the country in an almost ’60s way. There’s the vibe of Max Yasgur‘s farm as one approaches the site, a place where folks can get together for fun and music and maybe live up to Joni’s call to be stardust and golden for a few days. However, unlike Woodstock, this undiscovered jewel of a venue was dustup free and featured seamless production with killer sound that bounced between the large Main Stage and the smaller Garden Stage situated next to the Beer Garden, where most alcohol was consumed, a factor in the very kid friendly environment. Waiting in line for coffee or a cocktail one made fast friendships that only strengthened as the hours piled up, and by Sunday one found themselves kissing the neck of the barista that’d just made their latte and slapping hands or throwing the horns to people everywhere they strolled. Seriously, a total absence of conflict and a pervasive vibe of community prevailed in a way that spotlighted our better angels in ways that offset all the darkness of the recent health care town halls and wholesale invitation to dumbness and ignorance rising in America.
Summer Meltdown 2009
Their music seems designed for the long haul, both in its construction and lightly philosophical character. It’s easy to imagine singing “Please Don’t Forget” or many others in the shower, a tuneful splash that wakes us up to the moment at hand instead of leaving us lost in our mistakes and miscues. While I’d enjoyed the few times I’d seen them before, this exhibition on a huge stage in front of their core audience was stunning, a revelation of a band simply MUCH greater than one realizes in hour-long opening slots for out-of-towners. That they’ve literally built this stage, this opportunity, for themselves speaks to their dedication and vision. While they remind me in spots of two of my personal faves – The Black Crowes and Marillion – this band hums on their own frequency, easy to like but layered in such a rewarding way.
Opener “How I Know” was the ideal slow boil, a twinkling, contemplative tune that makes one look up at the stars and sigh a little. Later, “Mind Cell” proved a steady blossoming classic, so lovely and intrinsically strong that it cemented in one fell swoop my move from being an enthusiast to being a full-blown fan, especially as guest John Fricke‘s trumpet entered late in the game shifting things into loose Latinismo. “A Thousand Little Things” showed guitarist/singer RL Heyer to be kin to vintage Dickey Betts in his delivery, while “Future’s Following The Sun,” written by percussionist/keyboardist Bob Rees was a luscious simmer full of twists and inflection I can see Phish diehards getting down to in a big way. Ending the night with the largely untapped cover resource of Elton John’s “Take Me To The Pilot,” Flowmotion closed out their opening salvo on a fab gospel-rock note.
How I Know, Step On This Old Heart, Canopy, Mind Cell (John Fricke on trumpet), I Tried (Muleskinner on vocals, John Fricke on trumpet), See You Through, A Thousand Little Things, What’s Been, Better Luck, Please Don’t Forget, Future’s Falling on the Sun, Take Me to the Pilot (Elton John Cover)
Continue reading for Friday’s coverage…
Ben Bruce :: 1:00-2:00 p.m. :: Garden Stage
“Sometimes you have to jump and pray for wings,” sang singer/songwriter Ben Bruce during his quite cool solo set where his tender, nicely composed songs recalled John Denver and particularly Assembly of Dust‘s Reid Genauer, who Bruce strongly resembled in both voice and all-out-there-on-the-stage delivery. Telling stories about faces in the fire with blinding insight and singing simple songs full of tender vibrations, Bruce showed himself a tunesmith to keep an eye on and even ballsily tackled Otis Redding’s “I’ve Been Loving You Too Long.” Like ALL of the scheduling at Meltdown 9, this proved the ideal music for the hour and audience.
TapWater :: 2:20-3:25 p.m. :: Garden Stage
Vaughn Kreestoe :: 3:45-4:55 p.m. :: Garden Stage
This Bellingham, Washington trio first comes across like a classic organ-drums-guitar soul jazz combo but the plethora of nifty touches and sweet complications quickly affirmed them as a cut above the pack. As one wild-legged onlooker barked, “Crush grooves, man. They are killing it.” They ranged from an instrumental answer to vintage Philly soul to more fiery spaces, but often dipping into the blues underpinning their funk. Executed with precision and full of well placed pauses and general centrifugal force, you might call it an extraordinarily fine soundtrack to a good porno.
Aphrodesia :: 5:00-6:10 p.m. :: Main Stage
Left Hand Smoke :: 6:15-7:30 p.m. :: Garden Stage
Around for close to a decade, this first live taste for me found a very strong boogie band playing feel-good-even-if-the-words-are-sad songs that had the Beer Garden hopping and full of raised glasses. Fronted by brothers Ben (piano, vocals) and Will Mish (guitar), Left Hand Smoke had a strong organ-powered thrust and eagerness to please that was plain ol’ good times, especially when bolstered by wandering harmonica wunderkind Lee Oskar of War fame, perhaps the only man I’ve ever seen rock a leather jacket with his own name engraved on the back and not look silly.
Vicci Martinez Band :: 7:35-9:05 p.m. :: Main Stage
Poor Man’s Whiskey :: 9:10-10:25 p.m. :: Garden Stage
Fittingly, the bar never saw such a sustained, boisterous line as during PMW’s warm-up slot for Friday’s headliner, Jackie Greene. These NorCal hooligans tie one to a friendly whipping post and beat the silly in ya right to the surface. It’s then that their growing sensitive side can really get into your pores, that is when they aren’t inspiring a howling pack of dancers with an Irish drinking song introduced with a Spanish toast and capped with the whole crowd throwing Devil horns in salute. While their recent Dark Side of the Moonshine album, which revisions Pink Floyd along with offering an album’s worth of originals, is drawing some attention, deservedly too (hell, I wrote the liner notes for it!), it’s seeing them in the flesh, awash in their manly musk, that one discovers how strangely subtle and baldly talented they are. Newer pieces like “Easy Come Easy Go” and “Three Years Gone” show some of Brent Mydland’s knack for universal melancholy and the words for easing such sustained ache (“Just like an old song playing on the radio/ You know it’s hard times come/ hard times go”). During crowd pleaser “P.M.S. (Pretty Much Screwed)” they showed their Dan Hicks & His Hot Licks/Cheap Suit Serenaders side with pocket trumpet, tick-tock drums and Charlie Christian guitar swing, with the muskiest of them all, Josh Brough, yelping, “Ragtime!” before a jumpin’ piano solo. A “Wagon Wheel” closer performed in the audience tied a swell ribbon on things.
Jackie Greene :: 10:30 p.m. -12:10 a.m. :: Main Stage
BLVD :: 12:15-1:30 a.m. :: Garden Stage
Fast becoming late set royalty, S.F.’s BLVD turned in one of the day’s finest performances and certainly one of the most high energy sets of the entire fest. Built around the octopus armed machinations of Curtis Sloane (electronic guitar, samples), Dylan McIntosh (drums, samples) and Tripp Bains (bass, keys), the instrumental aspects moves with the insistent hump of an after-hours disco, mid-period Parliament, ’90s electro punch and other mischievous pre-dawn flavors. Early in their set I found myself discussing how their sustained grooves mirrored the wave-after-wave feel of female orgasm rather than the build-and-explode dynamics of rock’s more male energy. Oh, they hit them peaks ‘n’ valleys for sure but one felt gripped by a tide far bigger than any one number. And they’ve fully integrated MC Souleye now, a gyrating, rippling force of nature with a flow that recalls young MC Serch and Organized Konfusion. As weary as many of us were you’d never have known it as we bent our frames into funky origami shapes in response to their manipulations. Cool!
Continue reading for Saturday’s coverage…
Big High :: 12:55-1:45 p.m. :: Garden Stage
LoCura :: 1:55-2:55 p.m. :: Main Stage
Oakland’s LoCura presented an intoxicating stew of flamenco, Cuban son, Portuguese fados, the acoustic guitar/hand percussion end of Brazilica like Maria Bethania and Caetano Veloso and more. It wasn’t the music of any one country but a mélange that spoke of connective tissue and fleshiness in general, music warm to the touch and delivered by an incredibly powerful, appealing frontwoman, Kata Miletich, a singer of vast magnetism and sensuality, strong in all her moves. Flipping between English and Spanish, often within the same song, LoCura proved an effective bridger of gaps, announcing, “We need some fire, some spirit,” and then unleashing rumbas that delivered on both.
North Twin :: 3:00-4:00 p.m. :: Garden Stage
Kristen Ward :: 4:00-5:15 p.m. :: Main Stage
Ward and her dead solid band picked up the twang elements in North Twin and ran with them beautifully. Moving with the shuffling naturalness of Patty Griffin with a touch more hay between her teeth, Ward and her juke joint lookin’ group delivered a no fuss, no muss afternoon set full of lived-in wisdom and inviting material.
Big Light :: 5:20-6:30 p.m. :: Garden Stage
Such swift evolution with these Bay Area boys. Ever since abandoning keys and adding lead guitarist Jeremy “Swordfish” Korpas, Big Light has been on a giddy rise, refining their ridiculously catchy sound and adding simmering layers that have moved them miles away from their jam scene roots, evidenced by opener “Caution,” which emerged from an atmospheric jam into a staccato snare-rim beat and incisive, sonar-touched guitars that sounded like Blur on a great day. More and more, this is pop-rock that refuses any straightjacket that descriptor might imply, as capable of moving into hinterlands as it is at delivering a chorus you won’t soon shake. They were the first band to play in full sunlight and more than a few folks commented on how appropriate it was given their name. And freakin’ Korpas… What’s so damn cool about Swordfish is his immediacy, the way a blast of reverb, delay or just plain ballsy riffage arrives just when the music wants for some small, wonderful tweak. It’s all too reckless and heel-lifting wild to be premeditated and all the better for its sharp surprise. As usual, a powerful feeling of well being infused my bones by the time they said goodnight.
Tony Furtado :: 6:35-8:00 p.m. :: Main Stage
Five Alarm Funk :: 8:05-9:10 p.m. :: Garden Stage
Easily the best straight funk monolith I’ve witnessed in years, Vancouver, BC’s Five Alarm Funk rushed in with massive energy that they never let drop for a millisecond, taking their role as warm-up for festival organizers Flowmotion seriously and turning on the audience with sweaty intent. Ten or more deep on the small stage, they wheeled and leapt with an enthusiasm for their genre that demolished all the half-ass, vaguely canned efforts that purport to be ‘funk.’ As much a workout as a performance, Five Alarm’s set made folks howl and jitterbug with an intensity that left one damp and satisfied on a cellular level.
Flowmotion :: 9:15 p.m. – 12:00 a.m. :: Main Stage
Second set opened with “Ghost Pepper,” another number I think Phishheads would delight at, especially with a saucy percussion break from Rees and trap drummer Scott Goodwin and more intertwined Allmans-worthy guitar play and organ stings. Clauson and Heyer share something akin to the six-string chemistry one finds in The Mother Hips, a language of their own making where each shines VERY brightly on their own but really burn hottest when finishing each other’s sentences. Ballads, reverb-laced, laser sharp funkathons and soaring rockers – the second set had it all, including a glorious take on Supertramp’s “Take The Long Way Home” that they nailed right down to the angelic end section harmonies. In the end this was about as good as ANY headline set I’ve ever seen anywhere, tying together place and moment and people. Flowmotion is an undiscovered country that one needs to explore in depth.
Flowmotion Saturday setlist
Set I: Soukous, Give What You Can (The Meters cover), Without Warning, Home, Walken (Wilco cover), I’m Gone*, Candy, Don’s Funk > Pleasure Opp***
Set II: Ghost Pepper > Drums > Ghost Pepper, 100 Miles, Is That Right?, Miles, My Imagination, Smile, Mercy, Long Way Home** (Supertramp cover), No Worries
E: Free#, Holy Ghost
* w/ Tony Furtado on banjo and vocals
*** w/ Joe Doria on Hammond, Lenny Price on sax and Jesse Kansanback on bass vocals
# w/ Lenny Price on sax
** w/ Lenny Price on Sax & Joe Doria on Hammond
Staxx Brothers :: 12:35-1:35 a.m. :: Garden Stage
LAB/Late Night Jam :: 1:00 a.m. – whenever :: Festival Tent
With three-fourths of ALO on hand – Dan Lebowitz (guitar, vocals), Steve Adams (bass, vocals) and Dave Brogan (drums, vocals) – the last part of Saturday was pure playing satisfaction, beginning with an hour from LAB (i.e. Lebo/Adams/Brogan) full of high end swerve and pop acumen that pulled from the ALO catalog, their solo material and a bang-up cover The Police’s “Man In A Suitcase.” Sans keyboardist/lead singer Zach Gill, the trio had more space to play with and their individual musical identities surfaced more readily than in ALO. Three, at least in this instance, proved a magic number indeed, and their music, as usual, really made folks happy. It’s a powerful thing to witness, especially given their clockwork ability to do so.
Immediately following LAB, Big Light jumped up for a three-song mini-set that featured perhaps the psych-iest, best version of “Heavy” yet and then all of Big High took over, aided by many of the talented players lurking in the shadows, for a triple shot of Led Zeppelin covers that blew wigs WAY off domes. Mesa showed himself one of the few dudes capable of walking in Robert Plant’s footsteps and the renditions hit all the right marks on “The Ocean,” “No Quarter” and “Whole Lotta Love,” with Joe Doria sparkling like Christmas on his keyboard accents on the latter two. After the Zep it was a soulful jam session that was still trucking along mightily by the time my exhausted ass slinked off around 4 a.m. All described too briefly, this late night convocation is the heart of festival greatness and the huge cadre of musicians from earlier in the day just hanging out to take it in adds credibility to that claim.
Continue reading for Sunday’s coverage…
M. Bison :: 2:40-3:40 p.m. :: Main Stage
This Seattle band played jangle pop of the first order, right up there with The Posies, Velvet Crush and a gaggle of other bands that should be hitmakers but due to the Universe’s innate cruelty are not. Invigorating, frequently pretty and always snappy tunes rolled with piano and tambourine bounce. Songs like “Samurai Showdown” showed a bit of a They Might Be Giants influence, but the key lay in their cover of The Kinks’ “Picture Book,” a ridiculously tuneful number with a crazy dark lyric. Juxtapositions like that abound in M. Bison, who provided a swell mid-afternoon session for a flagging but still in the game crowd.
RL Heyer Trio :: 3:45-4:45 p.m. :: Garden Stage
Joined by his Flowmotion bandmates Scott Goodwin (drums, vocals) and always lock-tight bassist Eric Bryson, RL Heyer gave us the best damn roadhouse trio you could ever want. Showing off his falsetto and more traditional blues licks, Heyer and the limber rhythm team knocked out numbers full of electric jazz inflection and 12-bar grit, making occasional forays into the pop realm like an ace cover of The Kinks’ “Sunny Afternoon.” More than once one felt transported to North Mississippi and it was cool to see these varied aspects of three players who’d already done heroic work in Flowmotion at the fest. Heyer has no problems having the spotlight firmly on him, and continually showed off what a crazy talented guy he is throughout this exhibition.
Spoonshine :: 4:50-5:50 p.m. :: Main Stage
Izabella :: 5:55-7:05 p.m. :: Garden Stage
Better every single time I see them, Northern California’s Izabella hit like GLeeMONEX from the Kids In The Hall flick Brain Candy, where moments after they began it was 72-degrees in your head and sunny. They have things SO dialed in now, operating in a vein that proudly carries on what the guys who formed Chicago, Blood, Sweat & Tears and the Sons of Champlin began, where monster talent is harnessed to broadly appealing songs full of clever bits and interesting twists. Lead singer Brian Rogers sings with the seductive force of early Peter Cetera combined with the razor cut of Living Colour’s Corey Glover, and guitarist Sean Lehe is a mountain of unpredictable-but-always-great six-string talent, going different places than what you’d expect and making you glad you came along (and his lead vocal on a tune about a man “spending money like he’s famous” was real nifty, too). Bands like Izabella used to define the boundaries of popular radio and the airwaves would only be better if they did so again. Killer set, and it’s not a bad thing to be so predictably excellent.
Everyone Orchestra :: 9:40-11:30 p.m. :: Main Stage
Everyone Orchestra provided perhaps the finest, most fitting festival closer I’ve ever seen/experienced. Butler has an uncanny read on the unfolding moment, able to pick up on subtleties of environment, general musical tenor, etc. in a way that makes him a busy conductor laying train track just feet before the engine rolls past, adding turns and overpasses as needed, but making sure the whole enterprise doesn’t careen off the rails. That’s no easy task when steering so many people through valleys of Afrobeat, foothills of liquid jazz, rock pockets packed with stadium fervor, etc. Using his hands and body more than his trademark dry erase board, Butler captured the spontaneity, musical prowess and exciting invention that’d preceded this finale and balled it up in a way that allowed him to throw strike after strike across the plate. Taking us from “Total Beauty” to “Sci-Fi Float” to simply “Yes!” Butler seemed gifted with Vulcan mind powers, knowing just when to drop the music down to one or two players or launch the giant beast in full onslaught, never forgetting the audience, who he also increasingly directs with equal sureness, leading us in chants like, “Oh, hey, Meltdown holiday” or the chorus of Bob Marley’s “Stir It Up,” one of the few recognizable tunes in the mix. The explosive, mountain sized ending had many lurkers in the wings dancing on stage and more musicians than one could count all pouring on steam. It was like some patchouli scented Broadway musical and every last one of them deserved the boisterous standing ovation they got.
However, it’s a smaller moment that marks the end of Summer Meltdown for me and one that speaks to the heart of this magical festival. Right after EO’s happy cataclysm a kind soul gave Izabella’s Sean Lehe a plate of warm, freshly fried chicken. Homemade food is way better than flowers to working musicians, and that’s what every single artist that played this weekend is. Lehe shared in this lovely, nourishing gesture, offering me a drumstick that made my eyes roll back in pleasure as the chicken and delicious breading coated my mouth. Greasy faced and smiling so hard our cheeks hurt, we stood mostly silent and thanked our lucky stars for having been part of such deliriously fun, hospitable times. Summer Meltdown is now on my calendar in thick, black Sharpee ink, an annual event that music lovers of all stripes and especially those drawn to festivarian ways will likely love as much as I did.
Continue reading for more pics of Summer Meltdown 2009…
|RL Heyer – Flowmotion|
|Vicci Martinez Band|
|Vicci Martinez Band|
|Poor Man’s Whiskey|
|Symphony De La Steel|
|Five Alarm Funk|
|Flowmotion with Joe Doria|
|Tony Furtado & RL Heyer|
|Flowmotion with Lenny Price|
|The Staxx Brothers|
|RL Heyer Trio|
|Yogoman Burning Band|
|Michael Kang – Everyone Orchestra|
|Steve Adams – Everyone Orchestra|
|Matt Butler – Everyone Orchestra|
|Everyone Orchestra Finale|
JamBase | Washington State
Go See Live Music!
Harmonica player Hook Herrera sat-in during several parts of Gov’t Mule’s 2018 Spring Tour opening show last night in Bethlehem, Pennsylvania.
JamBase contributor Chad Berndtson shares his thoughts accompanied by Andrew Blackstein’s photos and a handful of videos from As The Crow Flies’ tour opener in Port Chester.
The Trey Anastasio Trio took the stage for the first time since 1999 on Tuesday night at the House Of Blues in Cleveland.
The Magpie Salute, featuring a trio of former The Black Crowes members, have confirmed a number of upcoming tour dates.
My Morning Jacket frontman Jim James will soon release a new studio album and has unveiled the video for “Just A Fool,” the LP’s lead single.
Chad Berndtson chats with As The Crow Flies bassist Andy Hess about the new band, his time in the Black Crowes and Gov’t Mule and more.